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History and terms of architecture
The importance of preservation
20th century architecture history
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Recommended: History and terms of architecture
Although preservation is not a new concept and been practiced for centuries, designating historic landmarks, structures and buildings as historically significant and preserving them is a new phenomena, which brings us to a fairly straight forward question of what to preserve and what not to. The advent of new materials and advancement of construction technologies changed the style of building significantly from time to time, especially over the course of last two centuries. Although the basic construction materials like brick, wood, lime and stone are in use for centuries, the recent addition of concrete, steel and glass to that list completely overhauled the mode in which the buildings are being built. Taking into account the need, the scale and the pace of construction posed by rapid industrialization, the style of building took an unprecedented form of architecture starting in early twentieth century.
History of Preserving Modern Architecture
Preservation of modern architecture is unique in its own way and adds a whole different dimension of preserving old buildings. The vast difference in the materials of construction from the traditional ones, the complexity involving preservation and renovation adds to the diversification of preservation. It is not just the difficulties in preserving but the indifference towards the modernist buildings which is the major factor for the neglect. “For all the talk of technical difficulties, in reality it is the unpopularity of modernism that is often the greatest challenge for advocates of postwar architectural preservation” (While 2007, 649)
Unlike the previous movements for preservation, restoration and conservation of historically significant buildings, the movement of preserving the m...
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...he buildings, that are focus of current preservation efforts, are all equally pertinent.” (Prudon 2008, 21).
The preservation of modern architecture itself challenges some of the fundamental concepts of preservation of historic buildings. As the time scale of buildings shrink, these challenges need to be addressed taking into consideration the burgeoning new modes and materials of construction.
Works Cited
Prudon, Theodore H.M. Preservation of Modern Architecture. John Wiley & Sons, Inc., 2008.
While, Aidan. "Modernism vs Urban Renaissance: Negotiating Post-war Heritage in English City Centres." Urban Studies, Vol. 43, No. 13, 2006: 2399–2419.
While, Aidan. "The state and the controversial demands of cultural built heritage: modernism, dirty concrete, and postwar listing in England." Environment and Planning B: Planning and Design, Volume 34, 2007: 645-663.
...buildings they make. Those walls hold stories that are unique and they cannot be repeated. Taking care of those buildings helps humans to preserve the lives and stories of the people who lived in them earlier.
...struction. I really love the architecture of these buildings and wish that we had more resources to be able to preserve this piece of American history.
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
Duncan’s (1991) analysis of western museums is defined through the theme of “durable objects” as a criterion to judge the heritage of American and European art as a ritual of the modern state. In this manner western art museums are built like “temples” as a symbolic and figurative representation of greatness of western culture throughout the world: “[They] are more like the traditional ceremonial monuments that museum buildings often emulate—classical temples” (Duncan 90). This interpretation of American/European museums defines a dominant source of cultural heritage that ritualizes
(Image taken from Tranchtenberg, Marvin, Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Second Edition. Prentice Hall, Inc. New Jersey: 2002.)
The. Bryant, Julius. Finest prospects : three historic houses, a study of London topography. London : English Heritage, Iveah Bequest, Kenwood. 1986.
Items displayed in museums hold historical significance and are representative of society’s culture. Preserving valuable collections for education and enjoyment is a primary role of museums. While fulfilling this role, the architecture of the museum is also an important factor. Historical buildings are converted into museums and architects must consider the use of the space and the museum’s purpose during their initial design. Other museums are built with a clear purpose in mind. As museums are designed, many characteristics are determined. Display and storage spaces as well as visitor services impacts museum’s functionality. Based on the function of a museum, architectural requirements are different.
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
In conclusion, the controversy of demolishing the original American Folk Art museum’s has been finalized without remorse. According to Diller Scofido+Renfroshas no reasoning could have been found for the integration of the American Folk Art Museum. However, preservation is essential to architecture in the 21st century. It disciplines architecture. Preservation of the American Folk Art Museum will make the site meaningful by keeping the qualities that make it what we call architecture. My opinion is that there are ways to integrate the buildings. Diller Scofido+Renfroshas could have redesigned for a better integration without demolishing the neighboring building ruining a cultural institution. Diller Scofido+Renfroshas is portraying an egotistical and disrespectful opinion towards architecture.
...f structure, a museum. The one contradiction in the contemporary design theory that Libeskind dares to fight is that to work in the upcoming century means to work with reduced means. His works pose optimism in the sense that architecture, if filled with a satisfactory amount of reasoning, and justification with the help of the advancement in material technology, and the foremost, creativity, will be able to address the profound of any project seeking for poetic embodiment. While modern architects have tried hard to eradicate the traces of history from the forms, postmodern architects like Liberskind would embody the traces of history in between the forms. In Lisbeskind’s Jewish Museum, the invisibility, the implication, and the embodiment come first, then the advancement of material methodology assists the build of the visibility, and the physical infrastructure.
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...
In China, urbanization is at dramatic pace but in static patterns. This leads to the Chinese cities losing their own styles, and being built in the static architecture modes which are introduced from developed countries. Moreover, the traditional architecture cultures are being eroded by the static modern architecture patterns. Some of them are even on the boundary of extinction. Recently, architects in China have shown an increasing interest in the issue of traditional architecture in the modern era. This paper studies on the causes and effects of the erosion of the modernity to the traditional architecture and the possible solutions. It will be divided into three parts: the first part focuses on the causes and effects; the second part presents the combination of modern architecture and traditional culture; the third part concerns the cultivation enhancement of Chinese architects.
Dorrell, E., “Refurb row at Modern Museum”, Architects Journal, Vol. 225, Issue no. 6, Feb 2007, pg. 14
Human beings are susceptible to the force of nature. They had to make shelter for themselves. Material was one of the most basic tools to create shelter. By development of building construction, selection and use of materials also developed. The relationship between the architecture and the materials before invention of modern materials was simple and generally naturally [1]; in the past, architects always use tradition materials according their experimental skills. For choosing structural materials, they had attention to important factors such as availability (local materials) and harmony with climate and culture [2], although this way was forward with feedback. But this relationship was not continuing simply.