preface. Modern architecture is all too often an exercise in sensationalist form making. The visual image occupies a tyrannical immediacy in modern life and this has been absorbed into the practice of architecture. Yet we spend the majority of our time within spaces - so what are the qualities of these spaces? If architecture is about our experience of space, then what are the important aspects of these spaces, and how can we learn lessons to help us design spaces of an appropriate quality - with memory and with meaning? poetry : ‘work in which the expression of feelings and ideas is given intensity by the use of distinctive style and rhythm; poems collectively or as a genre of literature’ (Oxford Dictionaries, 2013) The construction and composition of a space can be related back to poetry, by the use of similar methods and devices. By looking at these devices present in poetry, it is possible to begin to deconstruct how an atmosphere is created within spaces. Firstly, rhythm is a key identity of poetry and consequently space, defined as a harmonious sequence of elements (Oxford Dictionaries, 2013), which signals the need for coherence between the range of devices used. The idea of repetition is also fundamental in poetry, where poetical devices such as rhyme and assonance, contribute to the rhythm of the whole. Does this signal that order and regularity are crucial in the composition of spaces? It is interesting to analyse the use of similes and metaphors in poetry with relation to spaces, in the way they are descriptive devices used to represent ideas by comparison to something else. It is important for spaces to cohere with their historical/social context through the use of devices such as this. The way viewers pe... ... middle of paper ... ...t simply be lost. Just as ‘absence becomes presence’ in Whiteread’s work, the idea of working with a physical structure of the past encourages a more conscious attitude to compliment the characteristics of old by representations of the present. Lessons can be learnt from Whiteread and Matta-Clark about the importance of the past, and our perception of space. The fusion of new and old creates a powerful relationship, which affects the atmosphere, and the ability to evoke emotions. This relationship between past and present can often be lost in new builds, due to the freedom of materials and forms. The restrictions ‘offered’ by existing structures creates a necessity for sensitivity, which is reflected in the atmosphere of the spaces. Scarpa and Fehn’s work are illustrations of how a composition of past and present can work in harmony to create coherence in a space.
Imagery uses five senses such as visual, sound, olfactory, taste and tactile to create a sense of picture in the readers’ mind. In this poem, the speaker uses visual imagination when he wrote, “I took my time in old darkness,” making the reader visualize the past memory of the speaker in “old darkness.” The speaker tries to show the time period he chose to write the poem. The speaker is trying to illustrate one of the imagery tools, which can be used to write a poem and tries to suggest one time period which can be used to write a poem. Imagery becomes important for the reader to imagine the same picture the speaker is trying to convey. Imagery should be speculated too when writing a poem to express the big
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.
“Form follows function.” Every great Modern architect thought, designed by and breathed these very words. Or at least, their design principles evolved from them. Modern architects Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Pierre Chareau, and Rudolf Schindler to name a few believed that the function determined the space whether the space was solely for a particular purpose or they overlapped to allow for multiple uses. Form didn’t just follow function, function defined the space. By focusing on the relationship between the architecture and the interior elements, Chareau’s Maison de Verre expanded the idea of functionalism to include not only the architecture but also the space it creates and how people function within that space.
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...
One particularly useful cross-disciplinary element employed in concrete poetry is the use of space. The poetry of Emmett Williams, Seiichi Nikuni, and Ilse and Pierre Garnier in particular, make use of spatial relationships in their poetry. The use of space can be employed in place of traditional grammar and syntax to convey meaning in concrete poetry, particularly when the spatial position of one element is taken into consideration with other elements of the poem. Another element that may arise from these spatial relationships is a temporal aspect that all poetry employs, but which becomes uniquely meaningful in the context of the concrete poetry of the twentieth century. Without these relationships concrete poems may appear as crude distortions of words on a page, with no significant sense or meaning to communicate. Therefore, the temporal/spatial relationships between poetic elements become necessary tools which the reader needs in order to fully understand the linguistically driven meaning behind many concrete poems.
...ace we carry. In fact, he asserts that Descartes dichotomy (between mental (res cogitans) and material space (res extensa) (Lefebvre 39) these ways of knowing space involves and propagates a fundamental misunderstanding of the ways in which space structures our lives. To apprehend, physical, mental and social elements as one, he introduces his conceptual triad - spatial practice (perceived), representation of space (conceived) and representational spaces (lived), in order to reconfigure the ways in which representation functions in our experience of space. In Lefebvre’s system, representation pervades all spatial experience. The physical, mental and social now have the required setup to be conceptualised in a unifying meta-theory. Lefebvre does this by, “bringing the various kinds of space and the modalities of their genesis together with one theory” (Lefebvre 16).
On a positive note, there are designers who have accomplished what seems like the impossible and created spaces that stand timeless in their place. The Eiffel Tower, Grand Central Station, Sydney Opera House are just a few examples of spaces that provide a unique experience for the people and contribute to the identity of the city.
True architects are needed to create architectural beauty and they do so by using “elements which are capable of affecting our senses, and of rewarding the desire of our eyes...the sight of them affects us immediately” (16). Le Corbusier’s says that we must standardize architecture with respect to function so that we can mass produce it until we perfect its aesthetic through competition and innovation. Le Corbusier believed that Architecture schools weren’t teaching students correctly and that engineers would be the ones who save architecture. Architecture is a thing of plastic emotion. “It should use elements capable of striking our senses, of satisfying our visual desires…arranging them in a way that the sight of them clearly affects
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.
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.
With the interaction between the development of computational approaches in architecture and the contemporary forms of spatial design intelligence, some new architectural design theories emerged to make differences between architects and control designing processes. These theories are almost employed in all designing realms, from architecture to urban design to provide fields of ideas and solutions that privilege by complexity. Most of these theories are oriented to relay on understanding and using computational methods to generate exotic and complex geometries. In this respect, three of these theories will discussed and tested against three buildings. The theories are: parametric design, genetic architecture and emergence, which characterize some of the contemporary architectural design approaches.
From the time of the ancient Greeks all the way to modern day, some part of humanity has almost always been interested in the past. For the ancient Greeks, it was discovering Mycenaean ruins and composing stories about them. Today, inspiration is still drawn from classical architecture. One has to look no further than the U.S. capitol building, or even the University of Michigan's Angell Hall to see remnants of this architectural style. This raises the question of why does it still persists? Logically, the best way to answer this is to examine the origins of classical architecture, and what it represented then and now. Furthermore, the study of ancient architecture can show insights into past civilizations which otherwise would have been lost.
It is this moment of recollection that he wonders about the contrast between the world of shadows and the world of the Ideal. It is in this moment of wonder that man struggles to reach the world of Forms through the use of reason. Anything that does not serve reason is the enemy of man. Given this, it is only logical that poetry should be eradicated from society. Poetry shifts man’s focus away from reason by presenting man with imitations of objects from the concrete world.
I believe that a better understanding of our basic human sensibilities is key to designing buildings of lasting resonance. The following discussion looks to the beginnings of architecture for its groundwork, namely through the reconsideration of the the ‘Cave’ typology. It seeks to tease out its latent spatial qualities as well as our innate cognitive responses and expectations of this environment, through it remedying the current design approach that is increasingly prospect