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Cultural diversity in the USA, essay
Importance of cultures as identity
Cultural and identity
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Culture gives identity to its origin and makes its origin unique. Culture means a group of people’s way of life and way of understanding the world, belief, and value; which is different from other groups’. Each country has different cultural activities and rituals. This is why every country or region has their own culture. Culture can be expressed by arts, including architecture. ‘An architecture capable of supporting our identity has to be situationally, culturally, and symbolically articulated. I am disturbed by the notion of regionalism because of its geographic and ethnological connotations and would rather speak of situational or culture-specific architecture’ (Pallasmaa 1988, p. 130). Is it necessary applying a country’s native style …show more content…
In a primordial culture, tradition is often identical with day-to-day reality. On the other hand in a modern society such as America, tradition is the standard against which everyday things are measured. America is not a traditional culture, it is a colonial place and turns into a nation and a culture created by signing a piece of paper or artificial origins. Heterogeneous nations of immigrants also fill in this region. As a result, they have no real native traditions. All American traditions are artificial in a sense and therefore all the more valuable and more to be treasured. American often argued against their best traditions, they view Spanish Colonial as just Spanish misunderstood and assume New England saltboxes were just Elizabethan Tudor buildings misunderstood. Nevertheless, they actually have brought these things as part of its cultural baggage, and adapted them to American present circumstances throughout the history of the country. They have made those things theirs and added to the ongoing tradition that they …show more content…
In discussing Spanish architecture, we begin with Spain and go behind its traditions to the ancient world on both sides of the Mediterranean. We must talk from Spanish architecture on the Iberian Peninsula to Americas, about what happened to Spanish architecture as it intersected with Native American traditions in the eighteenth century. After that, consider how Spanish architecture continues to be meaningful in the twentieth century, whether in Spain or California or Texas. Then avoid thinking that a tradition in that country is not genuinely American because it does not look different from everything else that has happened in the world. Although none of American architectural traditions are native, except in Southwest, we must see that American are fundamentally a culture that is “other”, and that their traditions are “other”. They use their inventiveness to make that “other” tradition their own. Hence, American architecture and building types are the intersection of architectural traditions, innovative technology, and individual talent.
Louis Sullivan strongly pushed the design of the tall building with non-historicizing mode, was very much involved in the traditional expression of the tall building and the traditional manipulation of form that characterize the New York skyscraper at its best. Sullivan uses natural forms as a replacement for traditional architecture language in the Bayard Building, but when those columns leap
of 'rebellious' liberation's and shifting views, a change fundamental to the future. These years for
Polletta, Francesca and James Jasper. “Collective Identity and Social Movements.” Annual Review of Sociology 27.1 (2001): 283–305. Print.
The tight censorship employed in the city ensures that the very idea of resistance or rebellion continues to be a foreign notion, a necessary state of things if the rulers are to be able to continue to control the masses by purely mental and psychological means. The strongest of punishments – the death penalty – is reserved for “this one crime of speaking the Unspe...
(Image taken from Tranchtenberg, Marvin, Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Second Edition. Prentice Hall, Inc. New Jersey: 2002.)
When walking around a city, you may notice that the architecture and art look similar to other works. Many of these designs have changed along the course of history and time whilst others have not. The designs that many people still see in society and day to day living is from two of the many cultures of the old civilizations, Roman and Islamic. The art and architecture forms from the Islamic and Roman cultures have many comparisons and contrasts between them. They, the Islamic and Roman nations, have both adopted from other cultures and have made their own discoveries in the art and architecture worlds. The Roman and Islamic architecture and art vary drastically from each other and yet have varying comparisons between the two.
...rrain: the need for self-realization in everyday life” (Melucci 1989, p. 23). What makes the contemporary movements distinctive from tradtional movements is that it is active on variuos levels within and outside of the political sephere. Moreover, (Melucci 1989, p. 75) argues that contomberary movements establish their collective idientity outside the political domain and “translate their action into symbolic challenges that overturn the dominant cultural codes”. The differences that characterized the contemporary social movements - the building of unity in the face of heterogeneity and differentiation, the creation of the symbolic challenges, and their political characters – make it difficult to be approached by the aforementioned theories which are politically reductionist and only analyse the outcomes of the actions ore movements (Barholomew & Mayer 1992).
In all cultures it is easy to see the effects of change. Change can be a revolution, a new form of thought, or a new idea surfacing. No matter what these changes are, they often emerge from the minority. In several cases this results an uprising, turning the social system on end. Simple examples of this type of change can be seen in the French or American revolutions, and even in the hippie movement of the 1960's. These changes depict how an idea shared only by a select few can snowball into the mindset of thousands. Within A Doll's House and An Enemy of the People, Henrick Ibsen shows his standpoint on the benefits of social change, and evolution within a people.
Commercial architecture does it respond to the identity surrounding it? Or does it merely respond to the conditions of Globalization? In order to answer the question above, in the following written piece I must explore the key elements of globalization and identity. I intend to relate both factors to commercial architecture, using the Hilton Tower in Manchester as a prime example. This written piece will effectively be split into two parts (Globalization and Identity).
Architecture, the practice of building design and its resulting products, customary usage refers only to those designs and structures that are culturally significant. Today the architecture must satisfy its intended uses, must be technically sound, and must convey beautiful meaning. But the best buildings are often so well constructed that they outlast their original use. They then survive not only as beautiful objects, but as documents of history of cultures, achievements in architecture that testify to the nature of the society that produced them. These achievements are never wholly the work of individuals. Architecture is a social art, yet Frank Lloyd Wright single handily changed the history of architecture. How did Frank Lloyd Wright change architecture?
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...
Frank Lloyd Wright has been called “one of the greatest American architect as well as an Art dealer that produced a numerous buildings, including houses, resorts, gardens, office buildings, churches, banks and museums. Wright was the first architect that pursues a philosophy of truly organic architecture that responds to the symphonies and harmonies in human habitats to their natural world. He was the apprentice of “father of Modernism” Louis Sullivan, and he was also one of the most influential architects on 20th century in America, Wright is idealist with the use of elemental theme and nature materials (stone, wood, and water), the use of sky and prairie, as well as the use of geometrical lines in his buildings planning. He also defined a building as ‘being appropriate to place’ if it is in harmony with its natural environment, with the landscape (Larkin and Brooks, 1993).
The author explains architecture as an identification of place. Architecture starts with establishing a place. We define ‘place’ as a layout of architectural elements that seem to accommodate, or offer the possibility of accommodation to, a person, an activity, a mood, etc. We identify a sofa as a place to sit and relax, and a kitchen as a place to cook food. Architecture is about identifying and organizing ‘places’ for human use.
An important aspect of Critical Regionalism is that the occupants of the building should experience the local climatic conditions as well as the response to the nature of the landscape sensitively and thoughtfully. In my view, I think that each of these architects has achieved this aspect in whatever environment they worked with. In conclusion, I think that these international and regional architects have reached an interaction that contributes to the symbolic and iconic architecture that suggests new formal possibilities.
Vernacular architecture is a nineteenth-century invention but it still occupies a marginal position even in a time of rapid technological development and globalization. Today, as culture and tradition are becoming less place-rooted and more information-based in the twenty-first century, main problem about the meaning and function of vernacular traditions therefore arise. Will vernacular traditions be affected by the cultural, ecological and technological changes? What part they will play in them? Will they be able to adapt or response in order to come to terms with the new cultural and ecological circumstances, or will they be forced to disappear? Can certain changes more easily be incorporated than others, and will there be cultural or regional