michael gonzalez In the short reading, The Cunning of Cosmetics, by Jeffrey Kipnis, he begins by explaining what architecture is reacting to and how it effects the direction it is going in. As a result from explaining this, he starts to ponder on his job on Herzog & de Meuron and question, “When did my infatuation with HdM’s work begin?”(Kipnis 23) he starts to realize that buildings have the “Ability to insinuate itself into my psyche” without forcing itself upon someone. He is able to analyze this in the magazine he was reading Arch- Plus by Nikolaus Kuhnert and see how he separated the magazine into two sections – Ornament and Minimalism, through this he able to explore prime examples such as Signal Box and Ricola Europ, explaining how the use of their materiality and modern ornamentation can give a “Erotic allure…the sirens of the Odyssey”. Overall he is clarifying that …show more content…
In the eyes of Loos style and beauty are derived from the simple and minimalist forms because it allows for “undreamed-of blossoming in the other arts. Whereas Kipnis finds the style and beauty in the aesthetics of the building such as the material and the makeups integrated into it. With this being said, Loos understands Exterior cladding as wallpaper, in other words, something that is just there without true meaning because it was generated on a computer without purpose. In contrast, Kipnis has a different view of exterior cladding by examining it as cosmetics to building, just as woman or man would apply make-up, cologne and clothing to one’s self it enhances the appearance of the person. Similarly, Kipnis sees the exterior cladding as a way to enhance the experience of the building creating an “erotic camouflage” (Kipnis 26). Overall in my opinion I lean more towards Kipnis view point because I believe the modern cosmetics give a more alluring feeling that something that has just white walls and no meaning or function to
In his opinionated book, From Bauhaus to Our House, Tom Wolfe describes his views on the way architecture has framed our modern world. He frames his book long essay with an excerpt from America the Beautiful, "O Beautiful, for spacious skies, for amber waves of grain, has there ever been another place on earth where so many people of wealth and power have paid for and put up with so much architecture they detested as within thy blessed borders today? . . . Every child goes to school in a building that looks like a duplicating-machine replacement-parts wholesale distribution warehouse . . . Every new $900,000 summer house in the north woods of Michigan or on the shore of Long Island has so many pipe railings, ramps, hob-tread metal spiral stairways, sheets of industrial plate glass, banks of tungsten-halogen lamps, and white cylindrical shapes, it looks like an insecticide refinery." (Wolfe 1) This quote, in short, is the premise of his critique. He does not like the way modern architecture
“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.
Mies' well known theory of “less is more” is apparent by the spaciousness and functional quality of the Seagram building; everything serves a purpose, either for aesthetic appeal or functionality. “Less is more” is a concept used throughout the architectural world today. “Mies van der Rohe stands as a great moral force of the International Style. The essence of architecture, to Mies, lies in the expression of structure. And his precise, sophisticated, and consistent style of architecture sets an exam...
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...
Makeup has been around for a long period of time, and has been used by umpteen potbelly of different cultures and races throughout the world. Makeup dates back to the early 1800s it was really quite toxic due to the fact that the ingredients used include mercury and lead. In the 1920s the upper class of women wear tiring makeup in public while many others wore makeup looking cheap and tacky. After a few years up until the 60s movie stars set out a lot of the new trends in many makeup styles. With many people copying their styles such as Marilyn Monroe’s signature murky eye-liner and ruby red lipstick. Which nowadays is quite popular. The 60s, attitude gave a more stylish look. Over the years as all makeup styles changed, everything seemed to
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...
In keeping with the theme “less is more” Mies only used stone, steel, and glass. “The columns were shiny chromium-plated steel; the walls were polished book-matched marble in deep shades of green and red; the floors were Roman travertine; and the onyx and gray tinted glass contributed to the feeling of sophisticated tasted and luxury” (Fazio, Moffett, and Wodehouse p.490). The use of materials to complement a design’s emotional reaction has stuck with the modernist movement. His implementation of these materials created a language that spoke poetically as you move through the structure. “Mies van der Rohe’s originality in the use of materials lay not so much in novelty as in the ideal of modernity they expressed through the rigour of their geometry, the precision of the pieces and the clarity of their assembly” (Lomholt). But one material has been one of the most important and most difficult to master; light. Mies was able to sculpt light and use it to his advantage. During the day the Barcelona Pavilion Is completely naturally lit. It captures the light with its’ clear walls surrounding the façade. The overhang from the long roof blocks direct sunlight to soften its intensity. He “was replacing the visual dependence of architecture on effects of light and shadow by playing with reflections” (Kostof p.703). The reflective pools are also a way he played with light. Adding black glass on the pool’s floor emphasized the water’s
Functionalism is therefore a value. The study of the backgrounds of functionalism in architecture involves the larger problem of the value of use and specifically, the place of fitness in beauty. The meanings of the terms used – function, fitness, utility, and purpose – will vary somewhat with each writer
It has been almost four years since Jaqueline Traides teamed up with Lush Cosmetics to make the public aware of the cruelty of animal testing. Lush, a company that prides itself on not testing their products on animals or using animal ingredients, displayed a live action performance art on a typical day in their Regent Street store in London as a protest against the companies that still continue this process knowing there are other humane ways (Vrba, 1-2). Britain actually outlawed the testing of animals for cosmetics long before this event took place, but not without a fight; the cosmetics industry attempted multiple delays of the law going into effect in order to keep the testing in place, but eventually gave up (Vrba, 22-23). Inspired by
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.
Abstract: Contemporary architects have a wide variety of sources to gain inspiration from, but this has not always been the case. How did modernism effect sources of inspiration? What did post-modernism do to liberate the choice of influences? Now that Contemporary architects have the freedom of choice, how are they using “traditional” styles and materials to inspire them? Even after modernism why are traditional styles still around?
Aesthetics: Pertains to the physical appearance and image of building elements and spaces as well as the integrated design
Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.
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