Theory is the knowledge of the subject based on technical facts or fantasy , which extends the vision of human mind to explore new ideas and concepts. Theory can encompass scientific dimensions of building tectonics and structure plus can also assimilate the philosophical ideologies proposed by thinkers and philosophers , in the world of creativity and spiritual exploration . Practice , in contrary is the reality check on those ideas and notions which are locked in to the pages of a book. Practice brings all of the theoretical concepts to the real world . Hence , the application of theory by practice is crucial and critical process . This process is therefore implemented by Interpretation in architecture. 3.d) INTERPRETATION IN ARCHITECTURE: ‘‘Interpretation is the revenge of the intellect upon art’’66 Interpretation is the implementation of the acquired knowledge and skills .The local institutes though teaches architecture effectively but the criterion to evaluate the efficient usage of the education is by the materialistic outcome of the thought process .Its the encounter of creativity and imagination with the reality. This is the product of the design pedagogy followed and the environmental illusions generated by the spatial design. ‘As architecture is a interpretive , critical art’ , which transforms in the designers mind and after several refinements yield in a design solutions. Architecture is therefore , seeking the coherence of the mediums and so as interpretation , which is persistently striving for unity and harmony amongst them. 65 http://studioworks.gsd.harvard.edu/studioworks/launch.html (accessed on 10th January 2010) 66 Adrian Snodgrass and Richard Coyne,2006,Interpretation in architecture , design as a way of think... ... middle of paper ... ...oblems and cities potential. • Natural influence and character of the space, to facilitate the seeker of solitude and spirituality. • Vastness of views to and from the site , to raise the building on a pedestal and give it a monumental position. 5.b) SITE INTRODUCTION: The site is situated at Shahdara ,near Barakaho and Bani Gala in the suburban area of Islamabad , the federal capital of Pakistan. The site is accessible by the Murree Express Road. The site sits in the lap of nature and shares its boundaries with the low density human settlement and foothills of Margalla. The neighbourhood of the site is dominated by land under Quaid –e-Azam University , so the presence of students in the area brings in freshness to the environment. The topography of the site has great variations of contours and sits on a high point , hence it is visible from a great distance. Thus,
middle of paper ... ... Site 1 Grid Reference: 211690 Types of Management: - Recurved Sea Wall - Wooden groynes Site 2 Grid Reference: 205687 Types of Management: - Straight Sea Wall - Wooden groynes Site 3 Grid Reference: 201686 Types of Management: - Rip rap boulders Site 4 Grid Reference: 222693 Types of Management: - No management, all natural. Managed retreat. Site 5 Grid Reference: 228695 Types of Management: - Rip rap boulders - Rip rap rock groynes - Wooden groynes - Revetment Site 1 is near Herne Bay and the sites are along the coastline towards Reculver in a North East direction. Site 5 is situated on the beach below the Twin Towers at Reculver.
Sam Ridgway in The Representation of Construction emphasizes the role of representation in architecture stating, “The world of architecture is a world of representation” (268). He continues writing, “Architects do not build buildings; they represent them, mainly through drawings, models, words and numbers. In turn, buildings are also interpretations or representation of these mediating instruments and artifacts that precede their construction” (268). It is through realizing that representational tools are “value laden” that contemporary architects may move forward from the “ideological stagnation plaguing most architectural creation” (269). Comparing the preceding eras to the contemporary era, “there is an inverse relationship
The book, Towards A New Architecture by Le Corbusier is not at all what one would expect. Thinking that the great master architect would limit himself t...
“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.
In the early twentieth century the Modern movement of architecture and industrial design came about. This movement was a reaction to the change within society and the introduction of new technologies. The ever changing world and technology meant artists to evolve alongside the changing world and this kind of ‘industrial revolution’ that was happening. Modernists ideas have seeped into every form of design especially architecture and design. Although most modernists insisted they were not following any style in particular, their work is instantly
area of huge use to man and nature. It is a sustainable area on a
Practice over theory is the essential key to my learning process. I easily memorize theory, or "book learning," of the actual material on a subject, for example, in Medical Laboratory Technology. Nonetheless, I excel in the actual, practical application of the information, performing procedures, specific tasks, or analysis in the hospital Lab setting. Also, part of the ISTJ academic scenario, which also reflects my learning, is the repetition boosting retention of the material, along with multiple ways of
An architect’s goal is to design appropriately to the time. In the mid to late twentieth century post-modernist such as Venturi found the purism and oversimplification of modernism lacking. Venturi recognized that the world is not simple in nature, but full of complexity and contradictions. Post-modernists aim for an implicit richness of meaning through complexity and contradiction rather than an oversimplified blatant clarity of meaning. A building is basically comprised of a variety of paradoxes, such as outdoor and indoor, primary spaces and secondary space and so on. In Complexity and Contradiction in Architecture, Robert Venturi states that “Blatant simplification means bland architecture” and elaborates on the necessity of complexity and contradiction architecturally appropriate for modernity (Venturi, 25).
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...
of their buildings. One of the basic questions that this paper will be seeking to answer is whether architects and critics accepted ...
Architectural Design (AD) was first launched in 1930 in the UK as its architectural based journal. By then it was just a British scene which thereafter spread and became international. Architecture has then taken great revolution from time to time. There are several Current Trends in Architectural Designs which have taken place since its launch (Anderson, 2011).
Jencks briefly explains post-modern aesthetics from their modernist predecessors’ and pinpoints the instant of modernism’s death, writing “Happily, we can date the death of Modern Architecture to a precise moment in time… Modern Architecture died in St. Louis, Missouri, on July 15, 1972 at 3:32 p.m. (or thereabouts)...” (23). Unlike Jencks, literary scholars talk about the first, most original or famous representatives of modernism, but they completely avoid pinpointing an ultimate end to the movement. Due to architecture’s visual character and Jencks’ early, authoritative, and internationally read scholarship, the differences between modern and post-modern aesthetics are often clearer in architecture than in literature. Architecture provides a helpful visual counterpoint for modern and post-modern aesthetics in literature. According to him, architectural post-modernism favours pluralism, complexity, double coding, and historical contextualism.
In our days Architecture is undergoing from a systematic change, driven from the continuously discoveries and the other needs from science, industry and commerce, that are rapidly eroding the former boundaries between the natural and artificial. Architects and architecture schools, for long years before, have attempted to capture the logic of living systems, as design inspiration, and to give to the architecture multiplying environmental yields. Technological tools, however, that the architects had available in the past, did their work quite difficult and time consuming. In our days the digital tools, that the architects they have available, are much more specialty.
Behind every architectural work there is an architect, whether the architect is one man or woman, a small group, or an entire people. The structure created by any of these architects conveys a message about the architect: their culture, their identity, their struggles. Because of the human element architects offer to their work not just a building is made, but a work of art, a symbol of a people, a representation, is also created.