Building of Dwelling Houses in Estonia
Not wanting to analyze the building of dwelling houses in Estonia inefficiently and seemingly scientifically (where would I have got competent statistics from),
I simply try to express the thoughts which are connected with that topics somehow and have come into my mind. What kind of “scientific” analysis it could be or who should make it, if even the architectural critics seem not to manage with the simplest things. That reminds me an article in the EE some time ago about a Finnish lady (naturally in Finland) completing or taking her doctor's degree. She was examining Finnish post-war modern house, it's morphology, the structure of the Finnish family, the connections between them and making conclusions which extend to this day. Those observations about architecture were much more smarter than those that the most of self-confident architects could do.
Unfortunately it has to be confessed that I don't remember such a research work or sentiments in Estonian science, but no doubt, they could be necessary. The typology of the houses used by most of the architects goes back to the living model of the middle class at the end of the 19th century. That model was idealized and carried on through a hundred of years up to the end of this century. No doubt that our living style is changing — repeating banalities: paradigm changes — as well as the composition and make-up of the family. There was a news in a newspaper about Estonia which declared that 50 % of the children are illegitimate (it is possible, of course, that some parents live together without getting married officially) and 12,5 % of the born children know nothing about their fathers. The living with grandparents is not so popular any more.
(As to the models of living it is worth of observing what has happened in North-
America — though some europercentage followers don't accept that — it may happen that we will be on the same development level soon. In that country the grown-up children don't want to live with their fathers and mothers, at least statistically). Even such an every day activity as cooking is changing essentially. An apartment or house is not a small production unit with its storages, kitchen and dining room any more. The kitchen can be as presentable as the dining room, also the furniture and the quality of the activities, they can become more melted. There are some theorists who admit that not only eating but washing procedures as well will leave the house to so-called town-social level.
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
Gehry draws his inspiration from famous paintings such as the Madonna and Child which he qualifies as a “strategy for architecture” (Friedman M. , 2003, p. 42) and which he used as an inspiration for a project in Mexico . Through his interpretation of the paintings and artwork, Gehry looked for a new kind of architecture. His search for a new type of architecture culminated in 1978 with his own house in Santa Monica. What was once a traditional Californian house would be redesigned to become one of the most important and revolutionary designs of the 20th century, giving Gehry international prestige and fame. Frank Gehry’s “Own House” uses a mixture of corrugated metal, plywood, chain link and asphalt to construct a new envelope for an existing typical Californian house. This house has been inspired by Joseph Cornell, Ed Moses and Bob Rauschenberg. Gehry comments on his house by saying that there was something “magical” (Friedman M. , 2003, p. 54) about it. He admits having “followed the end of his [my] nose” (Friedman M. , 2003, p. 54) when it came to constructing the “new” house, which led Arthur Drexler, former Director...
...ime period in American history. The country had bounced all the way to its feet and was going stronger than it had in two decades. Men were coming home from war, eager to start families and be good American consumers. One could go on with a peaceful conscience knowing that the automobile that he just purchased was bought in good faith: it would help support the economy, create jobs, and contribute to better opportunities for Americans. Or so one believed. Living in the suburbs suddenly became an attraction that appealed to returning veterans. Neighborhoods near schools and churches were ideal places to raise kids, and start a family. The middle-class family was evolving at a speedy pace that was taking families away from large cities at an even quicker pace. To own your own home, have your own car, and raise your family in the suburbs was the “all American” dream.
When an architect is influenced they create. They make what they see in their mind. But people could always improve what they’ve already created. Homes at one point were only one story houses. But suddenly to someone’s mind they thought homes should be two stories or even three. Back in High School, most of my classmates wanted to become architects and they’d be asked how they were influenced to draw a blueprint like the one they had. Some would respond with “I saw this house that had this this and this and I really liked it so I put it into my home.” Meaning they would be inspired by a home that was already
Victory in the Great War allowed the United States to rise as one of the dominant powers in world affairs. As soldiers returned home, there was a new sense of hope and prosperity. This aura, driven by money and wealth acquired from the war, was the basis of the 1920s. The 1920s is attributed to be the “Golden Age” of America as business prospered, innovations arose, and the standard of living boomed. The change in the standard of living induced drastic evolvement in the class system of America. There were 2 major classes in the 1920s: the upper class and the lower class. There was no in between, one was either fortunate to be wealthy, or attempting to gain the fortune to be wealthy. This stark division was the source of the drastic change for
A class system began to appear with a well-defined wealthy class, middle class, and working class. The wealthy class replaced gentry’s, and now you could rise to wealth instead of being born into it. In 1850 the wealthy class, which was 10% of the population, controlled 70% of the wealth. (Lecture 11). A distant middle class made up of lawyers, doctors, teachers, clerks, accountants, and other office employees, appeared during this time (Give Me Liberty 348). The middle class had women who stayed at home and manage the household and men were expected to work (Lecture 11). The middle class was often drawn to evangelical religions and were the driving force of the temperance movement (Lecture 11). The working class made up the rest of the class systems, these were the low wage, unskilled workers, mostly made up of immigrates and blacks (Lecture
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...
Many researchers have theorized why the wealthy desire to move back into the city. Schwirian believes that many wealthy people are drawn to the architectural design of some of these old houses in urban areas (Schwirian 96). Harvey believes in a number of theories, and ...
Middle class families were better off economically than their working class counterparts. In these families men worked in jobs considered to be middle class white-collar occupations. Women were therefore staying home and surviving on the man’s salary. With these middle class women staying home along with the smaller amounts of household production, a new type of labor arises. Women in this early 19th century time period become more and more involved in child rearing. The household work for these middle class women is task-oriented and unwaged. This makes them more and more dependent on their husband’s salary and more responsible for the children who were also out of the labor force.
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.
As the middle class began to further divide, those who grew in wealth became known as a banking/industrial class. Along with their sudden economic prosperity there came a desire for social transformation- an aspiration for new aristocracy. They carried their traditional middle class values into prominence with their accumulation of wealth. They sought to achieve a merit oriented Society rather than social climbing, for their children's sake, into the existing one based solely on birth. This hindered the new class from ever attaining Aristocratic Social acceptance for their new wealth and deemed them the nouveaux riche. Despite obvious disapproval from the Aristocracy the nouveaux riche continued their economic ascent through "personal contact [which] was a crucial element in filling posts" (Loftus 5). This dependence upon others for mounting economic standing was contrary to the middle class value of independence. This industrial class was forced to rely upon the connections, potentially aristocratic, in order to succeed. Loftus explains that middle-class values were carved out in these attempts to define a society based on merit rather than aristocratic privilege. However, the importance of cultural capital and social networks to success in the period implies that the rise of the middle-classes in the Victorian period saw the replacement of one set of privileges with another (Loftus 4). However the Nouveaux Riche failed to fully assimilate into aristocratic society due to lack of pedigree.
the middle class was growing in size and influence, and the working poor were leaving their
Simon Unwin, the author of the book ‘Analysing Architecture’ says that the ‘the purpose of architecture is to design buildings’ is an unsatisfactory definition because the definition limits architecture to just the design of buildings. He feels that architecture involves more than just designing buildings. He also believes that the definition fails to explain the real purpose of architecture and transfers the problem of comprehending the word ‘architecture’ to the word ‘building’. This definition doesn’t go in-depth to analyze and understand the essence of architecture in our everyday lives. It fails to relate human life and needs to the buildings built.
Frank Lloyd Wright and Le Corbusier are two very prominent names in the field of architecture. Both architects had different ideas concerning the relationship between humans and the environment. Their architectural styles were a reflection of how each could facilitate the person and the physical environment. Frank Lloyd Wright’s Robie House, is considered one of the most important buildings in the history of American architecture and Le Corbusier s Villa Savoye helped define the progression that modern architecture was to take in the 20th Century. Both men are very fascinating and have strongly influenced my personal taste for modern architecture. Although Wright and Corbusier each had different views on how to design a house, they also had similar beliefs. This paper is a comparison of Frank Lloyd Wright‘s and Le Corbusier ‘s viewpoints exhibited through their two prominent houses, Frank Lloyd Wright’s Robie House and Le Corbusier’s Villa Savoye.
The process of building a house is a very complex and difficult task. In the following paragraphs, I will be explaining the many different steps that are required to build a house.