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Recommended: role of monuments
Bernard Tschumi was a one of the few architects that connected with the people and essential focused on the inhabitants. He did not care how you should inhabit it, but what you experience from it. These experiences essentially become stories of events that are eventually retold events. Tschumi argues that these events or in other words sequences that establish a memory of the proceeding frame or space. These sequences often tell a story or follow a scenario. The architecture itself becomes part of the experience and therefore, becomes a script and tells a narrative. Architects often find themselves telling a story within the design concept as well. Now Superstudio, focuses on the reconstruction and metamorphosis of an object. This object can be influence the social communication to become a form of reality and can essential become a direct experience of reality. Which relates to the creating spaces in a building to have scenarios that can be interpreted in many ways. This relates back to Tschumi relation to sequences. However, through the use of scripts Superstudio tells a narrative of the architecture and the experience of reality. One example that we see a narrative being told through, is the reflection from the window of the Continuous Monument, which is a superstructure that runs through the city of the New York. This Continuous monument reflects upon the ancient skyscrapers and essentially preserves a memory in time were cities were built.
Bernard Tschumi primarily focused one the situations, which he refers to them as sequences and claims that they are cumulative. These frame of sequences come from side by side and they essentially establish a memory of the prior frame and often connect to an experience. But also to follow a...
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... have scenarios that can be interpreted in many ways. Superstudio describes that Continuous Monument as, “… a form of architecture all equally emerging from a single continuous environment: the world rendered uniform by technology, culture and all the other inevitable forms of imperialism.” The continuous monument serves as a testimonial that architecture is the center of the relationships of technology.
All in all architects are referred as sort of authors of buildings. They create scenarios for life itself. Even when it comes to the design process an architect places a scenario or a character to develop the design further. As stated by Neutelings Riedijk Architects, “Spaces in a building relate to each other like scenes in a theatrical performance”. Architecture is the telling of a story. The buildings itself are the backdrop of in which life is represented.
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.
...’s book accomplishes a lot in its timid three hundred pages, it lacks more examples of modern architecture and historical landmarks such as the ones discussed above. Also, the lack of chronological order is a new approach, but it might not appeal to all readers.
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.
Yusufzai, Zinat. “The Lucidity of Place.” Thesis of Master of Architecture in the Virginia Polytechnic Institute and State University (2001): 10-20. http://scholar.lib.vt.edu/theses/available/etd-11302001-161439/unrestricted/thesis-low-res.pdf (accessed February 19, 2014).
According to Lee W. Waldrep (2010), author of the book Becoming an Architect: A Guide to Careers in Design, an architect is an imaginative person who designs a wide spectrum of structures for buildings (Waldrep, 2010, p 2). These structures must meet safety requirements in addition to being aesthetically pleasing. Architects must compete with other architects to attract clients by presenting designs. This process generally rests on building a good reputation as an architect. Because of the nature and the large amounts of time spent on designing, architects must work long hours when their skill is required during different stages of construction.
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).
This book is a general survey of architectural history that tries to restore the traditional grand monuments with a broader, more embracing view of the built environment. Kostof emphasizes on the study of architecture as a whole and said, “All buildings of the past, regardless of size or status or consequence, should ideally be deemed worthy of study.”
In the text, tectonic expression means relating to construction, and defined as “building construction in general, but also formal amplification of its presence in relation to the assembly of which it is a part.” He calls for the return of the irreducible structural unit as the ideal architectural form, and the visual expression of both structural and construction elements. Frampton references Heidegger to imply that the essence of the tectonic is an act of making that is revealing. Tectonic expression should “reveal” the logics of construction, clarity of structure and the articulation of details and joints. He goes on to argue that architecture grounded on tectonic principles offers resistance against the postmodern “decorated shed” approach to architecture, the homogenization of the built environment, and the erosive and corrupting impact of consumer culture. Instead of emphasis on mere stylistic expression, the tectonic form should be derived from, and “reveal” the properties of materials, structural logic and crafts of making.
In his newly published book – Narrative Architecture – (which will form the premises for this chapter) Nigel Coats stated “In exploring narrative, I have no predominant theory from which a new architecture can spring”, he also claimed that “Concepts of narrative are built into the post-millennial language of architectural debate, but relatively few of these concepts are organized in prints” (Coats, N. 2012). However, his theory and thoughts summarize an intuitive approach which he started to practice during the 70s and 80s by forming the architecture group (NATO) Narrative architecture today. His theory also offers a new way to interpret buildings, and to create new opportunities to understand, appreciate, and design spaces and buildings… differently.
"Complexity and Contradiction" in Architecture by Robert venturi addresses architecture as the only place where redundant and simple construction, in thinking and in material reality takes shape.The objective of the series was to explore and promote ideas that were too complex or involved for exhibit, and were therefore written on museum exbhition.
Technology allows us to construct structures that we would never have been able to make in the past. Some of the creations are impressive based on what they accomplish but others are masterpieces in themselves. Man’s capability to build such tall buildings, as the skyscrapers we are familiar with covering our cities today, is a major expression of the advancements we have made as a culture. The power necessary to build such tall structures inspired competition between architects to see who could build the tallest one. One skyscraper that has inspired many and served as a model, for high rise buildings that were created after, is the Chrysler Building. The Chrysler Building serves as an identifying mark to anyone that views the New York City
architecture to just the designing of buildings. He feels that architecture involves more than just
Buildings reflect the values and ideas of society within periods. The role of architecture in shaping society and vice versa largely depends on the period in question and who or what affects first. The Enlightenment, and the subsequent period the Post-Enlightenment, reflect the biggest change for current ideas regarding architecture and society and current theories. At the same time, individual identities and understanding of society, progress and truth all follow a similar evolving path. It is during this dramatic shift in thinking that the role of architecture to society and the idea of progress and truth becomes a more complex relationship. How this relationship works and its implications is based on the theory that there is a direct link between the two. One cannot develop without the other. Who leads whom and to what extent they influence each other is evident in architectural trends and pioneering works by architects such as Robert Venturi, Frank Gehry amongst others.
Constantly judged and evolving, the practice of architecture is forever plagued by the future. The future of people, of culture, technology and its resulting implications on the built environment that more often than not, outlives their creators. Much of the conversation surrounding this future architecture currently hinges itself on the creation of new experiences, forms and spatial relationships brought about by technological innovation.
Every person with a job, no matter what occupation, makes an impact on society in some way, shape, or form. Some people leave their legacy by defending people in court, some saving lives in a hospital, and others planning and building works of construction. These planners have a large-scale effect on everybody in society and have an eye for detail, as well as enjoy using mathematics to ensure proper construction. That is why I have chosen architecture to be my career. An architect is a person who designs buildings and supervises their construction. A broader view of an architect is a person who is responsible for inventing or realizing a particular idea or project. Architecture varies from the pillars of the Greek Parthenon, to peoples’ homes. I often find myself marveling over the design of large-scale building projects such as the skyscrapers of New York City. Most of these buildings belong to a myriad of well-known companies such as Chase and Toshiba. That is why I have particularly chosen to become a commercial architect.