I started my diagram by examining the Gropius House by architect Walter Gropius. I decided to examine the plan by looking for geometries, regulating lines, and interior/exterior relationships within the massing.
I found a grouping of rectangles as the prominent geometry. None of the rectangles are separated from the rest. The interior space is the largest rectangle with the entryway at the bottom that aligns to the diagonal. The exterior space is the smaller rectangles that group around the main interior space. The regulating lines that I uncovered seemed to regulate the geometry and size of the building. The main regulating lines were the horizontal datum line on the very top of the massing and the diagonal line that regulated the bottom of the massing. The rectangles fit between these
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The vertical lines seemed to break up the larger rectangle into four smaller rectangles. As the building is seen from right to left, the rectangles become smaller and more subdivided. Although almost all of the walls are vertically or horizontally arranged, as in a grid, there is one wall in the interior heart of the building that is diagonal. There is a circle representing the outside stair that has a spiral pathway from it to the main building. The pathway to the front entrance of the house is a rectangle that is skewed along the diagonal. This rectangle takes away from the interior rectangle that it lies inside of, which is also cut by the main regulating diagonal line.
I took the observations that I had of the plan and tried to figure out the actions behind the result. The main organization that I noticed was the two regulating lines, the horizontal datum above and the diagonal line below, that intersected at a point which gave the impression of the compression of the rectangles by these lines. The rectangles also
In The House on Mango Street by Sandra Cisneros, there is an emphasizes on how rough it is to be part of the low economic class . Through her words you can create an image about the way poverty affects children. She goes through the book making great remarks on the topic. The different experiences that Esperanza goes through have a lot to connect with her family's financial status. She specifically describes her feelings about the poverty they live in through three of her short stories. The three short stories in which poverty seems to be an obstacle are The House on Mango Street, Our Good Day, and Chanclas. When the book begins the downgrading of Esperanza's esteem begins with it.
matter how hard people wish on a star or on a candle, the wishes never seemed to be
A discussion of the overall building layout – It was explained that the building size currently shown on the drawings is set per the equipment shown within. If bidders were to provide different equipment, the building size may increase or decrease accordingly.
with circles added at the perimeter to add or subtract space. The result is a space that is centralized and yet axial. Its simplicity is ingenious. The façade and the space of the church just barely intersect. In fact, the church has no actual f...
Lost in the hills of Poly Canyon lies a land filled with bizarre structure built by past students that make up the architectural study area. This chunk of land is designated for architectural students to build their senior projects on.
This image is Stuart's Topological Map of the Crystal Palace and Guide to the Revised Official Catalogue of the Exhibition of the Industries of All Nations. The map was prepared by Henri C. Stuart and published by G.P. Putnam and Co. for the use of visitors to the New York Crystal Palace. With the accompanying legend, visitors would be able to see the layout of all the exhibit classes in the building, as well as the entrances and stairways. As seen in this plan, all the room in the spacious building was used for displaying the different forms of industry. The position of the Machine Gallery in relation to the Crystal Palace can also be seen. The restrooms are between the Palace and the Gallery, adjacent to Saloon areas for the Gents and Ladies respectively. In addition, for the convenience of visitors, a note below the map states, "Wherever this sign (*) occurs on the diagram, is a prominent point of interest to the visitor." The sculptures displayed along the main naves are clearly labeled, so that one could use them as "You Are Here" signs to know where one was on the diagram.
(Image taken from Tranchtenberg, Marvin, Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Second Edition. Prentice Hall, Inc. New Jersey: 2002.)
James F. O'Gorman, Dennis E. McGrath. ABC of Architecture. Philadelphia: University of Pennsylvania Press, 1998. Document. October 2013.
“Thus today we have four sections, NW, NE, SW & SE, as well as the rectangular plan combined with radiating plan, giving the city conditions of stability as well as outwards growth ”.
...ection of the parlor and the sitting room would be done strictly for large formal get-togethers such as, weddings and funerals. During large social functions it can be assumed the right door would be used primarily, however both provide access. This connection is unique because it takes the first floor plan from being closed to open. With the use of these doors one would be able to view from the parlor across the sitting room into the dining room and notice if the table had yet been set for dinner. At the same time it provides the homeowners the ability to shut off the parlor from the remainder of the home allowing for a more intimate setting. The connection between these two rooms is distinct because it provides the homeowner a chance to enjoy both a closed and an open layout on the first floor. This allows the first floors leisure space to be more flexible.
The volume of the lobby rises above the roof plane in a tapered form inspired by the butte walls of nearby Table Mountain. It is a light-filled space that celebrates the sense of arrival and functions as a glowing civic landmark at night. Its symbolism is deeply rooted in the notion of the courthouse tower on the town square. To support the large welcoming roof that shades the elevated pedestrian plaza at the public entry is a series of large columns that reference the iconography of Greco-Roman Historicism of important civic buildings in America and Western societies. They create a strong formality and civic presence which architecturally identifies the building as a courthouse.
Built in the 16th arrondissment in Paris, the L-shaped plan lies along the south end and east side of a private cul-de-sac. The shape of the structure was influenced by the site. The larger portion follows the road, the main axis running through the site, whilst the smaller section sits perpendicular, crossing the axis. The two pieces are contrasting in design; the larger a more dominant and robust living block built to house a family in the Jeanneret house and La Roche’s private areas on the other side. The smaller feels more delicate as it has no ground floor and is raised on pilotis, housing only the light and airy gallery space. Both exteriors mimic the intended use of the interior.
Le Corbusier’s Towards a New Architecture suggests architects all over the world in the 20th century to take actions. His architecture is broken down into three parts, Mass, Surface, and Plan which is the main elements. He claims that mass is the simple, creative forms of geometry that engineers try to figure out but instead architects have abstained from using it. The surface is the face of mass where architects are afraid to use whereas the engineers used it to reflect the shape of the building Lastly, the plan is the heart of the building as it does not only generate the elevations but ensure the spatial experiences itself.
the house I am surrounded by four columns leading to the most elegant doors I
This essay will attempt to analyse the history of the development of modern ways of fabrication of buildings, and techniques for designs, which use digital tools to translate ideas and data into structures that can be intricate and adjustable, and endeavour to pre...