Architecture is seen to be a reflection of society for as structures are designed to not only answer functional, but also the social problems of the day. Whist being both a shelter and a representation of the people that occupy it - a home is seen to be one of the most important spaces within one’s life and the way that it has evolved just like our culture is rather more interesting than one would expect. Evans describes this in his article ‘Figures, Doors and Passages’ for that “If anything is described by an Architectural Plan, it is the nature of human relationships” (Evans, 1978, pg73). The planning of domestic spaces in 16th century Italian Villas were designed in a matrix of connected spaces which answered to the social mannerism of the day and this can been seen though the planning of spaces in response to closeness, classes and accidental social encounters with the occupants. This can then be seen to develop over the centuries to the now more conversant corridor model plan also answering to its current society within the context of privacy, distance, connectivity and segregation. How this came about in the 19th century British homes is much more than just trends and style, but a closer insight into the relationship between spatial organisation and social formations.
Most wouldn’t think twice about the layout of the house they occupy, and even if they did the presumption that it is purely developed from absolute function would be a misconception. The plan of domestic spaces has developed over the centuries and this essay is set out to describe how this came to be, focusing on the influence that mannerisms had on design. From analysing two specific house plans from different time periods, one would begin to see the impact ...
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...tination. The following essay explains why the plan is laid out in this way constantly referring to the comparison of the social manners and the plan of the villa.
Taking a step forward to 19th century England and the unique and highly ornamented Modern Gothic styles Red house. A style of which Jan Marsh outlines in her video series in that “the Gothic revival in the Victorian times took medieval architecture as inspiration to create a new form for what is known now as modern gothic. Of course all the surviving original gothic buildings are all ecclesiastical, however, the Red house is seen to be one of the first domestic homes in this new gothic modernism” (Marsh, 2013). Located in South East London the Red House by William Morris and Philip Webb is a significant building of 19th-century British architecture. The 1859 house designed by both Morris, the owner of the
Interior Decorators such as Elsie de Wolfe, Eleanor McMillen Brown, and Dorothy Draper helped to pave the way for the Interior Design profession today. Their influential decisions to stray away from the Victorian style of design helped guide both the interior decorating profession, as well as architects who no longer wanted to design in the bulky and cluttered Victorian Style. Elsie de Wolfe designed during the Victorian movement, however “had adopted the 1890’s preference for Neoclassicism” (Smith, 22). Unlike the cluttered and dark interiors of an average Victorian interior, her interiors were, “in the words of one visitor, ‘[models] of simplicity’” (Smith, 20).
And, what are the influencing factors on the importance of inclusion at several points in the historical record? It is my opinion that Kenwood House gains and retains its stature and relevance in architecture, through its association with a few key noteworthy and influential figures. Without the role of the first Earl of Mansfield, or the first Earl of Iveagh, Kenwood would have never became noteworthy, or would have suffered and decayed at the expense of time. It is an important building today, as much for those who owned it and lived there, as it is for any one architectural reason. The first Earl of Mansfield, William Murray, acquired the estate in 1754.
It will discuss the different types of dwellings throughout recorded human history from the perspective of how art and culture influences building design. This will fulfill my own curiosity to understand the different influences on homebuilding and design over the years and how people have dealt with these changes.
In contrast, the architecture at the time represented wealth and stability, traditional enduring values. During this time, there was a lot of social change that came from science and philosophy. The kick from the Industrial Revolution accelerated the trend, even though ideas from the Gothic Style started it. Steam-powered sawmills could now create elaborate materials, cheaper and faster. As a result, houses became increasingly ornate. Lower income families could finally afford tr...
During the time that A Doll’s House and The Yellow Wallpaper were written, decisions for anything from the biggest issue to the smallest detail, was arranged
The reason for this piece is to attempt a comparison between two architectural examples that employ classical design from different stylistic eras of architectural history. The two styles I've chosen to discuss are the Renaissance and Baroque periods. An understanding of classical architecture needs to be made, as it is the fundamental style of any period that developed architecturally
Typology is a system of similarities that emphasizes the character of form. Giulio Carlo Argan defined typology as "not just a classifying or statistical process, but one carried out for definite formal ends", with the analysis and reduction of the physical functions of buildings and their configurations taking place in a ‘typological series'. (Sam Jacoby, 2) The form is the primary object that when we are doing architectural research. The design method of typology is based on the study of social cultures and histories. It is not a new design method. It is the only design method in pre-industrial society and traditional culture, so
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.
A teacher of design and history theory of architecture, Mary McLeod examines and builds an argument about what constitutes ‘otherness’ in the discipline of architecture at a time of flux in her 1996 work Every day and Other Spaces. Other can be defined as a new architecture. She starts with the underlying claim that the idea of other is greater than just doing differently. Most that advocate this idea are broken into two categories, those that side with the theorist Jacques Derrida (deconstructivists) and with Michael Foucault (heterotopia.) The political and culture implication and role remained vastly unknown at the time. This is one question put forth by McLeod, followed by the discussion of the notion of ‘everyday life’ and several other
Tadao Ando’s Koshino House and Frank Lloyd Wright’s Fallingwater both served as homes throughout the 1900’s. In both houses space is the most important element. Wright’s approach to space in Fallingwater came from him wanting to create a harmonious balance between individual privacy and social activity. The house contained private bedrooms and bathrooms whilst also having an emphasis on unbroken communal space, such as the living room flowing into the kitchen- what is now known as open plan. This was practically unheard of at this time in domestic residences. Ando’s approach to Koshino House was similar to this although it was perhaps not his strongest motivation. Ando felt it necessary for the space in which he created to be able to support all of the functional requirements of one’s everyday living.
In 19th century art, architecture and literature specific spaces such as the attic, studies and private garden were perceived as places of imagination and contemplation within a home. There is no one meaning to the term ‘space’ and throughout time and with the evolution of literature and architecture, space can be seen and understood in many different ways. It can be as literal as erecting walls and a roof creating a surrounded space or in the way Gaston Bachelard in ‘the poetics of space’ so deeply analysis, that it is our own creative minds and imagination in which we create intimate spaces. The house becomes a home from those who inhabit it. In Gilbert and Gubars ‘The mad women in the attic’ and ‘The Yellow wallpaper” by charlotte Perkins
Throughout the world, there are an abundance of diverse cultures, each truly unique in comparison to another. Culture is described as the “characteristics of a particular group of people, defined by everything from language, religion, cuisine, social habits, music and arts” (Zimmermann). Each of these traits is what sets each society apart, and is what influences their expression of design. Throughout this course, we’ve learned how planning and design have varied all through history, however we decided to take it a step further and focus on how different regions throughout the world create spaces that reflect their own cultures’ particular interests. Being a group composed entirely of Interior Design majors, our emphasis is investigating the use of material, color, motifs and layouts of their interior spaces, and how they reflect their societies. Not only do we explore a culture’s influence on design, but we briefly touch on environmental factors as well. Of all of the regions throughout the world, we decided to focus our research on the cultural practices and designs of Mexico, India, and Japan. Our reasoning behind centering on these three cultures is that these cultures are some of the most well-known, yet each entirely distinct within their own way, thus providing a greater understanding of design styles around the world.
Frank Lloyd Wright and Le Corbusier are two very prominent names in the field of architecture. Both architects had different ideas concerning the relationship between humans and the environment. Their architectural styles were a reflection of how each could facilitate the person and the physical environment. Frank Lloyd Wright’s Robie House, is considered one of the most important buildings in the history of American architecture and Le Corbusier s Villa Savoye helped define the progression that modern architecture was to take in the 20th Century. Both men are very fascinating and have strongly influenced my personal taste for modern architecture. Although Wright and Corbusier each had different views on how to design a house, they also had similar beliefs. This paper is a comparison of Frank Lloyd Wright‘s and Le Corbusier ‘s viewpoints exhibited through their two prominent houses, Frank Lloyd Wright’s Robie House and Le Corbusier’s Villa Savoye.
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 chapter one of Frampton’s writing, “Cultural Transformations,” he describes how changes in society create new architectural styles due to new cultural needs. Frampton starts by explaining the relationship between man and nature in different architectural styles. Man and nature were distinct entities; however, for the sake or ornamentation in architecture, the two were constantly combined. This idea soon changes with Baroque architecture where man and nature started to be distinctly separate, and this later leads to the Neoclassical style which shows an increased desire for man to have control over nature (Frampton 1). Neoclassicism essentially stems from a new cultural formation that grew from the life styles of declining aristocracy and the rising bourgeoisie, and this transition leads