Perseverance, a single word that defines the human experience. The individual perception of this existence transpires into a longing to leave a mark that extends beyond a lifetime. Street art and other markings left on the built environment visualize determination, hope, frustrations and an overall culture of a given space. The relationship of our need to mark our surroundings is what gravitates me to the observation of the city through the view of local lived spaces. Since childhood, I would stare out the car window examining the cracks and creases of the city, those minor details that get lost in the grandness of it all. My eyes would be drawn to spaces that were marked and scared over the years, street art being the most influential in my life. It was in the lines, colors and shapes that I found the soul of the city. Years later, I still find myself attracted to the mark-making of locals expressing themselves, making statements about their environment. Only recently, I concentrated on the fact that the paint alone is not able to publicize the character of an area, the built environment in which it was created plays a large role in the effect.
Building from my background of art and architecture, I have developed an understanding for both creativity and the technical. Through the years, the analysis of artworks evolved my ability to look closer at elements of art to find the cultural influences and perception of the artist. I consider the city itself to be a living piece of art, which can be broken down into comprehensible list of elements similar to those used in analyzing artworks. In recent years, the architectural classes have offered me a more technical way to view the city and individual buildings. Learning about the int...
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...ty of Oregon and transform it into a replicable process that can be applied to cities around the world.
When I was in middle school, my goal was to be an architect and to use my skills of math, art, and science to create an ideal environment. Over a decade of influences, hardships and opportunities helped in discovering that my greater interests lie within creating an organic experience that extends beyond a single building. What is unchanged is my commitment to use my knowledge and abilities to create a built environment that visualizes the emotions of the general public. I am not your typical applicant, I distinguish myself with personal discipline, ambition, and creativity. I hope to be a part of the progressive city planning that the state of Oregon is known for at the University of Oregon and its surrounding area. Thank you for your time and the opportunity.
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.
Those who argue that street art is nothing more than graffiti that violates personal property do not characterize it as a valuable art form. These critics argue that some places cannot afford to keep the property clean; if it gets really bad, the whole building will have to be painted, and that is expensive (O’Lear). Unwanted artwork will cause economic problems with removing the art from illegally used canvases such as building, billboards, and sidewalks. Critics also uphold that there are numerous outlets that people could use that are more tasteful and less destructive. (O’Lear). Turkey Stremmel, the co-owner of Stremmel Gallery, suggests that there are other ways to create the murals artists plaster on street surfaces. Artis...
Vandals; Cornbread, Taki 183, Phase 2, Banksy, Jean-Michel Basquiat are only a few of the OG street artist who were able to take claim of their identity and express their art through their graffiti.
Stephen Dobyns’ poem “The Street” on Balthus’ painting The Street affirms his belief “that no one can see his neighbor” due to people’s concerns with their personal duties in their ordinary paths of life (1). Balthus illustrates people’s compulsion with menial tasks as blinders obstructing vision to the outside world. He positions each subject of the painting to symbolize his or her inherent dexterity and purpose within the society. However, we pick up on his theory that individuals become consumed with their selfish pursuits forming weak and divided communities. Dobyns elaborates on Balthus’ painting to transparently elucidate the deliberation behind the work of art. The structure of Dobyns’ poem reflects the systematic steps of people within the painting as he plainly interprets their motives. In separate stanzas, he relates the story of each person in the painting to reveal their deliberate duties. This emphasizes the artist’s vision of the world. Through poetry, Dobyns brings life to the differing individuals, allowing the reader to enter more fully into the vision of the painting.
He has an unusual combination of talent and vision. In addition to the conceptual rigor he applies to architecture, John’s work clearly communicates his passion for what architecture and urbanism can and should be in the Western United States. His office, Sparano + Mooney Architecture, was recognized in 2013 with the distinction of the AIA Utah Firm of the Year as evidence of the quality of the practice and its work. John’s approach to design is to address the entirety of an architectural commission. His projects creatively engage both the architectural issues of the buildings themselves and their impact on the larger context, in both urban and natural
From the early Greek temples of yesteryear, to the high-tech autonomous buildings of tomorrow, the question of whether the function of a building or its aesthetics qualities are more important has plagued the minds of architects around the world. Webster's II New College Dictionary (Please do not use the encyclopedia or the dictionary to open your essay--way too high school.) defines aesthetics as "The branch of philosophy that provides a theory of the beautiful and of the fine arts" (18). The definition of Functionalism is defined by Webster's as "The doctrine that the function of an object should determine its design and materials" (453). Now, if the function of an object decides the type of design and materials used how does one integrate aesthetics into design, and moreover, how important are aesthetics to an architect? Frank Lloyd Wright was one of the greatest and most renowned architects of the 19th and 20th centuries, and while his buildings where lauded for displaying great artistic design, the issue of function was compromised by the blatant fact that his roofs leaked. This is because he let the aesthetics of his buildings become the focus of the structure, and neglected to adequately address the function of the building allowing for this problem to take root in his designs (Palermo, 4 Mar. 1999). As is apparent from Frank Lloyd Wright, there is a certain balance that has to be attained between aesthetics and functionalism in order for a structure to be appreciated as a successful building.
Art is all around us. The architectural design of buildings to the ornamentation of jewelry and art is in almost everything. To those who have little prior knowledge of certain architecture styles and or influences, a building can appear, as just a building and a piece of jewelry can appear as just that. With the idea that art is everywhere there are two art styles that have heavily influenced the architecture seen in todays communities, those being Art Deco and Bauhaus. These styles represent so much more than architecture, they represent a time period and a cultural and political reform. The purpose of this paper is that one will be able to understand
In order to create innovative public architecture, considered to be the most civic, costly, time intensive and physical of the arts, the project holds a degree of risk, strife, and negotiation . Overcoming these tasks and creating worthy public architecture is a challenge designers try to accomplish, but are rarely successful. The people involved in a potential public building, can be larger than the building itself. Public architecture tries to please all, even the doubters and critics, but because of the all these factors, a building is closer to failing than succeeding.
In an attempt to understand the bigger picture, different spatial contexts will be introduced starting by architecture and landscaping. Later in chapter two, collected key finding will be applied on a more specific context; Exhibitions and spatial installations.
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...
Public art should be appreciated even though it may not be understood by all. It is a way to bring in tourism, excitement, beauty, creativity, and pure enjoyment to communities. I would like to end my paper with a quote from Pablo Picasso that expresses the way I fell about art, “Art washes away from the soul the dust of everyday life.”
Renzo respects that is it important to not become self referential with design. Therefore, to truly understand the reality of a city, Renzo will never accept a new job without visiting the space first. This is to find the fundamental emotions, which he states is the true source of inspiration (Archinect, 2006). Furthermore, Renzo and his team will make hundreds of models after research to test their theories. “Versions enable us to understand how the pieces will work with each other”, Renzo once said (BMIAA, 2015).
...ial installations, the changing functions and programs, and a deeper analysis into not a departure from the old, but rather a nod at the ever-changing definition of art and architecture.
In the ancient ages, people lived in caves and made some drawings on the walls of the caves. They used everything which would help them to drawing such as mud, tree shells and blood of people. In that sense, the root of graffiti was based on the ancient ages. However, modern graffiti is more different. After the 1960s, with the global rebellion of people, especially consisted of young people, graffiti gained a great importance. In the 21.St century, graffiti has affected young people’s daily life in two ways regarding its bringing different approach to art as ideologically and socially as well as its being practical and creative.
“In a decaying society, art, if it is truthful, must also reflect decay. Moreover, unless it wants to break faith with its social function, art must show the world as changeable. And help to change it.” This quote by Ernst Fischer, a German composer, means that truth in art exposes the parts of society, and of life, that no one wants to see. In order for art to change society, it must first reflect the fears and failures of its people. The artist can change how people think of themselves and the world by using less conventional methods of creating art. The artist, in doing this, introduces new ideas of human placement in time and space, new frontiers of thought, that are furthered by the disciplines of science and philosophy. The artist works to introduces unique- and sometimes offensive- ideas so that society will be exposed to new ways of thinking and understanding the world. The artist does this through experimentation with color, style, and form. Therefore, the purpose of the artist should be to challenge how individuals perceive themselves and the offensive aspects of society reflected in art to bring about innovations in the greater society.