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The merits and demerits of globalization
Regionalism and Modern Architecture
Globalization and its benefits
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As time progresses, the modern day society and cultures are slowly integrating into "a world that is increasingly becoming one global economically and technologically interdependent whole, where universal mobility is taking architects and architecture across borders and through continents at an unprecedented speed." (Tzonis and Lefaivre, 484) The universalizing of culture is in some ways an advancement for humanity, however global integration is threatening to subtly disintegrate the stylistic innovation in architecture as the universal styles and cultures takes over. In order to address the threat of globalization in architecture, it is a imperative to focus on the use of critical regionalism throughout the world. By the integration of buildings into the site and usage of local materials and style, the architect can revitalize and preserve the uniqueness of the local cultures in their modern design interpretations.
When designing, a critical regionalist must stress site specific factors. These range from the topographic elements, to the climatic conditions and solar orientation of the site. The universal style tends to remove the topographic elements by leveling the entire site and placing the building onto it. The removal of the topography results in the disconnection from the location. As such, the building can be built in any flattened location and uniqueness is lost. The integration of the topography into the design is crucial. Mario Botta coins the phrase, "building the site." (Frampton, 478) What he implies by this is not only how the buildings rest on or into the site but how it reconstructs and builds up the site. Rather than the building becoming a freestanding object, it becomes one with the location and culture. ...
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... the vernacular of the area, along with the timber which evoke the heavy forested setting of the town of Säynätsalo. His design considerations ultimately lead to the design of a building that successfully interacts with the environment and locale, preserving the uniqueness of the cultures nearby.
The universalizing of culture, although an advancement in the communications and interaction of humanity, ultimately is threatening to disintegrate the styles in architecture as the universal styles continues to progressively overtake the locale. However, by focusing on the use of critical regionalism throughout the world, the uniqueness of cultures can be preserved. By the integration of buildings into the site and usage of local materials and style, the architect will revitalize and preserve the uniqueness of the local cultures in their modern design interpretations.
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
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...
Globalization accompanies with the localization. People often read design via their recognitions of visual signals. By creating a more humanistic approach to visual design, a global design consisting of localization, graphic signal, research, marketing, and both linguistic and semiotic communication to breakdown the global code of design (Jones, 2011).
People are made of complexities and contradictions. Venturi recognized that buildings should be complex and complicated, too. He theorized and built buildings inspired by this principle, and succeeded because of his emphasis on individual experience and the interaction between humanity and architectural forms. In pursuit of this goal, his pluralist and revolutionary style of architecture embraced difference and ambiguity and rejected the rigid rules of modernism. While undoubtedly influenced by Venturi’s ideas, later postmodern architects failed to live up to his principles by forming their own inflexible rules and not concentrating on the human experience with buildings.
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 the process of development of human society, architecture and culture are inseparable. Cuthbert (1985) indicates that architecture, with its unique art form, expresses the level of human culture in different historical stages, as well as the yearning towards the future. According to his article, it can be said that architecture has become one of the physical means for human to change the world and to conquer the nature. Consequently, architecture has been an important component of human civilization. Since 1980s when China started the opening and reforming policy, a variety of architectural ideas, schools and styles have sprung up. Accompanying with a momentum of...
Frank Lloyd Wright has been called “one of the greatest American architect as well as an Art dealer that produced a numerous buildings, including houses, resorts, gardens, office buildings, churches, banks and museums. Wright was the first architect that pursues a philosophy of truly organic architecture that responds to the symphonies and harmonies in human habitats to their natural world. He was the apprentice of “father of Modernism” Louis Sullivan, and he was also one of the most influential architects on 20th century in America, Wright is idealist with the use of elemental theme and nature materials (stone, wood, and water), the use of sky and prairie, as well as the use of geometrical lines in his buildings planning. He also defined a building as ‘being appropriate to place’ if it is in harmony with its natural environment, with the landscape (Larkin and Brooks, 1993).
Correspondingly, Katie Llyod Thomas shares similar views on how modernity has increasingly concealed tectonics. She conceptualizes how materiality is secondary to form with hylomorphism in her Architecture and Material Practice. “Hylomorphism, which understands materials as a subset of matter, does not provide a way of positively distinguishing materials, and underscore the architectural tendency to use materials as mere finishes,” says Katie.6 Modernity has instigated materiality and tectonics to become inferior to the architectural form; therefore, concepts and spaces are given more importance and further worked on more attentively, leaving materiality till the end. As Katie mentions, materiality in the design process of a student is in fact consider in the later stages, where it is discussed as a technical issue rather than a conceptual one.6 Materiality and tectonics is a conceptual joint, it is the structure that forms an architectural expression, represents an emotion, and it is what creates a space. Considering all factors, materiality shall not be left to discuss at the end, but worked on as the design is developing, therefore working on form alongside materiality and
To understand the role of place in architecture, the author compares architecture to language. Language has patterns and arrangements, architecture relates directly to what humans do. It changes or evolves as
Renzo stated in an interview, “Architecture is about exploring. Culturally, historically, psychologically, anthropologically, and topographically, every job is different.” Renzo is particularly well known for adapting designs to their location. He later went on to say “(architecture) should make a contribution to the contex. … you must employ a homeopathic process, ... you can easily destroy their (cities) subtle dynamics” (Archinect, 2006).
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.
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...
Solar Flare Studios. "Modern Architecture : International Style." Solar Flare Studios. Accessed April 22, 2014. http://www.solarflarestudios.com/demosites/architecture/international.htm.
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
An important aspect of Critical Regionalism is that the occupants of the building should experience the local climatic conditions as well as the response to the nature of the landscape sensitively and thoughtfully. In my view, I think that each of these architects has achieved this aspect in whatever environment they worked with. In conclusion, I think that these international and regional architects have reached an interaction that contributes to the symbolic and iconic architecture that suggests new formal possibilities.