Law Jia-Hao A0085833X
AR5221
27 April 2015
Iconic Architecture, Urban Space and Capital – Marina Bay as Iconic Architecture In “The Enigma of Capital”, David Harvey writes that due to the crisis-prone nature of capitalism, new needs and desires have to be continuously created among consumers in order to sustain endless accumulation of capital (Harvey 107). According to Paul Jones, iconic architecture has become one of the main strategies by which cities all over the world compete for attention and visibility. It is believed that by doing so, more consumers will be attracted to consume in these cities, further drawing yet more capital investment and hence, accummulate and continue to grow capital. Alongside this, the rise of iconic architecture
…show more content…
The first defines an icon as a sign or representation that stands for its object by virtue of a resemblance or analogy to it (Dictionary.com Unabridged). In other words, an object has come to be imbued with an ideal or history tied to it, and thus serves as an icon. In the second definition, which is more applicable to the iconic architecture this essay focuses on, an icon is one that is unique, purpose built to be famous and have unique symbolic or aesthetic qualities (Sklair 28). Simply put, the lies in the way iconic ty is imbued, and the intentions of infusing the object with iconicity; in the latter, iconicity tends to inform the form of the architectural object, with the intention of grabbing and sustaining attention. While Sklair and Jones examine iconic architecture on the scale of individual buildings, the elements which URA manipulates in designing the Marina Bay area, and its intentions qualifies it as iconic architecture in spirit. The degree to which Marina Bay bears the “unmistakable marks of a proactive, developmental state heavily involved in the formulation and implementation of its vision” (Yap 390) is a strong argument for considering Marina Bay as a whole as iconic architecture. Thus, within the definitions and characteristics set out by Sklair and Jones, this essay considers the Marina Bay area iconic
In the capital of financial services, two insurance buildings dominate Boston’s skyline. The Hancock Tower and the Prudential Center are structures that display the uneven change and the urban development that has occurred in this city over the course 19th century. Located in back bay these edifices work with the directionalities of their adjacent streets and the cultural history of the structures that surround them. Boston’s foundation was composed in a manner that designated and organized space. This creates the tension and contrast present in that between the two structures. The iconography that these structures have over the city is important. It represents a sense of the past as well as the purpose that the built environment has with a changing society. Even though these structures dominate so much of the skyline, they interact differently with the public. There is a physical boundary that separates the functionalities and interaction in which society can actively have with them. This essay will focus on the structural purpose in regard to the form following function of these skyscrapers and how they each demonstrate a design aspect that characterizes Boston through a visual perspective.
Levittown project was taken up in the U.S. after the end of Second World War, with the aim of providing mass housing facilities to people in the wake of increasing urbanization and problems of accommodating large population in limited urban area (Friedman. 1995). The first of Levittown apartments were constructed on Long Island, New York and they symbolized the modern trends of urbanization and housing developments (Clapson. 2003). This paper shall study the impact of Levittown project on trends of further urbanization and analyze the aesthetics of design and development involved in it.
For instance, highly populous and famous cities such as Oslo, New York, Alexandria, and San Francisco hold some of the important architecture projects that have shaped individuals’ lives. Reporter David Owen, in his New Yorker article “Psychology of Space”, argues how the architecture firm Snøhetta utilizes their magic through their projects to build people’s moods, shape their relationships with cities, buildings and other individuals, and create illusions with exhilarating effects. The author’s argument is rhetorically compelling because his arrangement of ideas, selection of words, and supporting evidence maintain his public engaged in the magic of architecture and persuade anyone reading his article that architecture plays a critical role in their lives in numerous
While the history of the city is certainly important, critics argue it prevents necessary and inevitable development. The land that is taken up by historical buildings is not being utilized to its full economic potential . I examine the amount of buildings landmarked over time, in each borough, and in the city as a whole, to look for an indicator of the act no
An icon is a person or symbol that is very familiar to people that are in that area. A few of the icons in the 1920’s were Albert Einstein, Amelia Earhart, Charles Lindbergh, Henry Ford, and many, many others. Icons in the 1920’s were very particular because almost anyone could be an icon. Even someone that did something bad could be an icon. There is a difference between an icon and a role model.
It is also to echo the skills and prestige of modernist designs and high construction standards’ architects that set a new hallmark in
This explains why for ‘many directors, commercial and industrial architecture are just a necessary shell for their business processes’ (Susanne-Knittel Ammerschuber (2006) pg10). They consider dimensions for example surfaces, floor levels and converted space to be the stand out feature of this corporate architecture. Through doing this, the architectural ethos is overlooked during design. The architectural potential is therefore limited as it tends to overlook the surrounding context; the urban environment, local identity as well as the surrounding landscape design. Instead it...
In order to create innovative public architecture, considered to be the most civic, costly, time intensive and physical of the arts, the project holds a degree of risk, strife, and negotiation . Overcoming these tasks and creating worthy public architecture is a challenge designers try to accomplish, but are rarely successful. The people involved in a potential public building, can be larger than the building itself. Public architecture tries to please all, even the doubters and critics, but because of the all these factors, a building is closer to failing than succeeding.
One World Trade Center (WTC) is the tallest building in the Western Hemisphere measuring up at 1776 feet tall. The built output sets new standards of design, construction, and prestige. Its beauty in New York City’s magical skyline makes it an icon. It is the most recognised and desirable office address in the world. In this essay I plan to argue that the social, political and economic status of society has affected the built output of this building considerably, for the good. Making the building one of the best skyscrapers in the world.
In 1867 in his paper "On a New List of Categories", Charles Peirce said that there were three kinds of signs: icons, indices, and symbols. According to Thomas Sebeok "a sign is said to be iconic when there is a topological similarity between a signifier and its denotata". Icons are then something that resembles the object that they represent. That similarity between icon and object is fundamentally what sets icons apart from the other two kinds of signs. Indices do not have any similarity with their significants, but have a cause and effect relationship. Symbols do not have any direct relationship with an object other than the meaning that imposed or collectively agreed upon a group of humans.
The subjects are portrayed in 3D and portrayed very naturally. Iconography is the interpretation of visual symbols, images, or the imagery used. This is basically the symbolism that the author “sneaks” into their piece. This may be done with color, symbols, or inanimate objects. Some of the obvious symbols that I noted in this piece is the prominence of wealth.
skyscraper architecture "http://www.coshe.com/search/" The architectural design of the 20th century skyscrapers has been redefined due to the advancement of our modern technology. Benny Louie Humanity 450 Dr. Maureen Schmid 17 May 1999 The architectural design of the 20th century skyscrapers has been redefined due to the advancement of our modern technology. In our modern society, the architectural design of skyscrapers is changing the downtown landscape of metropolitan areas. Due to the change of technologies, it has changed the architectural design of skyscraper dramatically in terms of the its function, design structures, heating and cooling systems and it social status in society. The basic function of the architecture is to provide a roof over peoples’ head. The main purpose of architecture is to act as a shelter for people to protect themselves against Mother Nature. As civilization development advances, we increased our knowledge and became more creative. People start to design buildings for means of displaying wealth and social status. The skyscraper fits the criteria to show the social status of such building with great height and elegance to the society. According to O’Gorman, “architecture is a form language, of communication.” (P.89) This communication is represented in the forms of texture, shape and style that reflects certain period of time. In the early period, architectures were associated with style and culture. “The Greeks built marble temples with Doric, Ionic or Corinthian columns. Egyptian architecture used heavy lotus columns, massive battered walls and pyramidal forms. The Gothic style used point arch, vast areas of stained glasses, pointed rib-vault construction.” (P. 92) Each had its unique characteristic feature to express its message. In the 20th century architectural design, architecture is no longer viewed as simple shelter to provide a roof over peoples’ head. Architectures are designed with a more environmental conscious issue like cost, energy conservation and practicality of the structure. The interior environment is designed according to the space function of the structures. For example, “a dance hall, needs a large open-space with sufficient room for the band and a bar and maybe for tables and chairs around the edge so that people can sit and chat.” (Conway & Rowan) This concept always applies to real life s...
... architectures would led to a more organic organization beneficial to the people that choose to make their lives in this city. Although this model of a sustainable city is not a perfectly closed loop, it lays the foundation for one that is. Over time, with constantly evolving and improving technology and new methods of design from the scale of products to buildings, the gaps in the loop could be closed, and a “true” sustainable city could be fully realized.
A city has to be beautiful, though the definition of “beauty” is so vague. The beauty can be physical, such as enjoyable parks, streetscapes, architectural facades, the sky fragment through freeways and trees; or it can be the beauty of livelihood, people, and history. As landscape architects, we are creating beautiful things or turning the unpleasant memorial.
Constantly judged and evolving, the practice of architecture is forever plagued by the future. The future of people, of culture, technology and its resulting implications on the built environment that more often than not, outlives their creators. Much of the conversation surrounding this future architecture currently hinges itself on the creation of new experiences, forms and spatial relationships brought about by technological innovation.