KARACA 1
Süha Enes KARACA
Senior Assist. Almasa Mulalic
Freshman English
15 May 2014
THE FIVE FUNDAMENTAL PRINCIPLES OF ARCHITECTURE
Nowadays, architecture has been a part of our life. Architecture depends on order, eurhythmy, symmetry, propriety, and economy. It is an application of thinking. Order gives due measure to the members of a work considered separately, and symmetrical agreement to the proportions of the whole. It is an adjustment according to quantity. By this I mean the selection of modules from the members of the work itself and, starting from these individual parts of members, constructing the whole work to correspond. Arrangement includes the putting of things in their proper places and the elegance of effect, which is due to adjustments appropriate to the character of the work. Its forms of expression are these: ground plan, elevation, and perspective. A ground plan is made by the proper successive use of compasses and rule, through which we get outlines for the plane surfaces of buildings. An elevation is a picture of the front of a building, set upright and properly drawn in the proportions of the contemplated work. Perspective is the method of sketching a front with the sides withdrawing into the background, the lines all meeting in the centre of a circle. All three come of reflexion and invention. Reflexion
KARACA 2
is careful and laborious thought, and watchful attention directed to the agreeable effect of one’s plan. Invention, on the other hand, is the solving of intricate problems and the discovery of new principles by means of brilliancy and versatility. These are the departments belonging under arrangement.
Eurhythmy is beauty and fitness in the adjustments of the members. In other word...
... middle of paper ...
...d, all owing to the nature of his site. There will also be natural propriety in using an eastern light for bedrooms and libraries, a western light in winter for baths and winter apartments, and a northern light for picture galleries and other places in which a steady light is needed; for that quarter of the sky grows neither light nor dark with the course of the sun, but remains steady and unshifting all day long. Economy denotes the
KARACA 6 proper management of materials and of site, as well as a thrifty balancing of cost and common sense in the construction of works. This will be observed if, in the first place, the architect does not demand things that cannot be found or made ready without great expense.
References: http://www.gardenvisit.com/history_theory/garden_landscape_design_articles/landscape_theory/vitruvius http://en.wikipedia.org/wiki/Symmetry
He suggests that the use of “electronic imaging prevents imagining and promotes thinking about architecture rather than bring architects, contractors, clients and critics to think within architecture” (275). Inspired by Frascari, the strategy of technography is encouraged (278). This is a “different way of thinking about the relationship between a [working] drawing and a future building. Rather than “simply Cartesian, technical lines showing edges, corners and joints these technographic drawings reveal both the symbolic and instrumental representations of the future building.. it is to make visible what is invisible”. Ridgway remarks, “The fact that any of this could be considered contentious indicates that extent to which architects have become alienated from the heart of their profession” (279). He asserts, “Part of any technography must be an acknowledgement of the historical context of construction knowledge. This is not only so we can better understand our rich architectural ancestry, but because it re-establishes a connection with the origins of our profession in building” (279). Rather than a “miniature projected representation of an imagined building, details are drawn as poetic constructions themselves, following the logic of drawing and not building and representing the “built detail symbolically, in addition to instrumentally. The symbolic and practical are one and the same thing” (280). “What are the symbolic qualities we are trying to embody in our buildings and how would we represent them in drawings?” becomes the question (278). These drawing “may not be easy or straightforward to understand or interpret.
A good design begins with a creation or plan for the making of an object or service. It is a strategic approach towards a person’s (usually a client or target audience) required unique expectations. A design generally defines the specifications and parameters in achieving its main objectives. Often there are no key attributes as to what would make a design successful and interesting. Products and peoples needs and wants or taste often change and revolve around time. This brings a definite change in the market and its emerging’s trends. This cycle of evolution will always exist, but finally it is the factor of emotional response with the customer that will determine whether a product is successful or not. Whether the design is an object or it is a concept, the design that we see is an accumulation of various concepts and decisions that have been brought together from a variety of disciplines. In order for a consumer to view the design as something that is good it takes a unique combination of aesthetics, quality and ergonomics to make a design successful. Often we recognize a bad design at its first glance and a bad design often forces one to take in many confusing and conflicted content. So what makes our design/ product fail?
“In the Cause of Architecture” is an essay written by Frank Lloyd Wright in 1908. In this work, Wright outlines many of his architectural values. This text goes into great detail about the philosophy behind Frank Lloyd Wright’s architecture, as well as many important milestones in his life, such as working for Adler and Sullivan. This text is useful because it comes straight from Frank Lloyd Wright himself. It talks about many things important to his role as a notable American, such as his influences for his architecture and his architectural
Post modern architecture: A revival of architectural elements of the past or a version of aestheticism?
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...
Architecture is the concept of bringing structure, materiality, form and space together as a whole, provide people with enclosed atmosphere to experience. Considering this, it is important to identify that materiality and the purpose of details has been a key methodology to bringing architectural intentions into the design in an affective manner, more over producing an architectural expression. However, this position is rather declining in architecture, reducing tectonics and materiality to being secondary to form and space. With the start of modernism, the attempt to achieve minimalistic style has caused detailing to increasingly develop into a decorative aspect of a building, neglecting its individual contribution to architecture.
To understand the role of place in architecture, the author compares architecture to language. Language has patterns and arrangements, architecture relates directly to what humans do. It changes or evolves as
“What do we mean when we speak of architectural quality? Quality in architecture […] is to me when a building manages to move me. What on earth is it that moves me? How can I get it into my own work? […] How do people design things with such a beautiful, natural presence, things that move me every single time. On word for it is Atmosphere”
In conclusion, although the development of modern architecture and the intervention of computer technology to advocate this development, the contemporary architectural outcomes have became more complex and complicated with potential formulation problems. As a result, the new architecture theories came to put boundary lines between being in the range of these problems and producing elegant modern built environment. The seduction of computer-produced form also enhances architects to involve in seeking for new theories to develop the discipline and work to combine formulization with materialization. Finally, some of these theories are accepted and some other still a controversial aspect in architecture.
Being an architect is a very important thing, you have a large amount of responsibility. You control a large aspect of someone’s life whether it is where they walk in a shopping centre or where they sleep and eat, and that is why it is very important to design for yourself and your client. You have to imagine the space as if you were there, you need it to be
What is architecture? Is it the practice of designing or rather the art of designing buildings? Is architecture the necessity of shelter? If so, then when did humanity transcend living in caves and progress on to communal living as seen in the remains of Catalhoyuk? Humanity did not stop the progression of architecture at communal living; architecture continued to evolve to accommodate the ever increasing needs of humanity. Has architecture existed since the days that humanity resided in caves and simply evolved with humans to become the modern day building method? These questions and many more have been asked and debated for centuries, and as architects we study the arguments and ideals of the greatest of the host who have asked: what is architecture?
The book as a description of modern architecture, its styles and influence succeeds but falls short as a prescriptive methodology. His work is still recalled for the need by modernists to categorize everything into neat little boxes, not necessarily for the sake of uniformity, but for sake of some ambiguity. The ambiguity may be the triumph of this book as post modern architecture era is supposed to create more questions than the answers.
However, architecture is not just the future, after all, buildings are intended to be viewed, traversed and lived by us, people. Despite this, many architects today rarely think deeply about human nature, disregarding their main subject matter in favour for efficiency and an architecture of spectacle. In this there seems to be a misconception that underlies much of architecture, that is, human’s relationship with the city, the building and nature. In much of today’s architecture, people are treated with as much concern much as we treat cars, purely mechanically. The post-modern search for the ‘new’ and ‘novel’ has come to disregard the profound affect design has on our lives, impacting our senses, shaping our psyche and disposition.
The role of the architect is a question that evokes a spectrum of answers from Norman Foster’s definition; ‘Architect is an expression of values… the way we build is a reflection of the way we live.’ [Foster, cited in Tholl, 2014: Online] This debate of who and what an architect should be and do is not a recent one to emerge but has lead many architects and designers as far back as Vitruvius [15BC] to produce documentation on what they believed to be the make-up of an architect. In Vitruvius’ ‘The Ten Books On Architecture’ he quickly establishes two fragments that make an architect, the manual skill and the theory and scholarship.
“Architects plan, design, and observe construction of facilities used for human occupancy and of other structures” (The Top 100: The Fastest-Growing Careers for the 21st Century, Fifth Edition 27). In 2010, 2 percent of U.S employment, about 2.3 million people, possessed jobs in architecture and engineering. The majority of architects tend to be civil architects, with about 249,120 workers, followed by mechanical and industrial engineers (Bureau of Labor Statistics 2). Architects have to design buildings that satisfy their clients and protect the health, safety, and welfare of the public. Architects need to take aspects into consideration such as climate, soil, state building regulations, zoning laws, fire r...