"Ornament serves strength with strength. It is not an afterthought as is decoration. It is not merely applied but becomes one with the object it helps create". Leon Alberti was an Italian architect, artist, rationist and renaissance humanist in the early 1400's (1404 -1472AD). He wrote variety of books on paintings, sculpture and about family and society but his most important book was when he decided to renew Vitruvius book. "De Re Aedificatoria" Arts of Building (1452) created works that renowned Roman architect Vitruvius Ten Books on Architecture. Alberti aims to replace Vitruvius book because for Alberti this idea of clear language is essential. Since its written in a noble language (Latin). He addresses a particular group …show more content…
The main elements of a building are: Region, the space they inhibit; Platform, the space where they built; Compartation, how they cut the space, plan the structure; the walling, the roof and the apertures which are the opening and windows. Some consider that ornament is something additional to a entirely useful entity to make it more outstanding. Others suppose that ornament is intrinsic to an object and the only way to observe the attractiveness of that thing is to apprehend its adornment. Ornament can also be described as accessible demonstration of attractiveness; it is what makes beauty noticeable. Usefulness, durability and beauty of ornaments defines the fundamental elements of a building; however, ornaments now-a-days urbanized differently. " I see ornament in architecture as having dual function. On the one hand it offers support to the construction and draws attention to the means it employs; on the other... it brings life into a uniformly illuminated space by the interplay of light and shade". -Henry Van de …show more content…
It revives our humor and imagination and it gives us a visual reference. Ornamentation has an artistic intention and highlights architectural moments. In architecture, ornamentation can be divided into three main categories. Mimetic is the idea of imitating symbolic or significant forms and forms which have definite meanings. Applied ornamentation tends to add beauty to any structure. However, organic ornamentation focuses mainly on the functions and materials of any building. In the 20th early century, the anti-ornament emerged. Architecture today, is primarily about space. Ornament, on the other hand, has to do with non spatial figuration. The aesthetic functions of ornaments can be reduced to the practical details of a basic building. The entire building can be an ornament, there is no need to add ornament over. Also, today, other means of visual communication have replaced ornamentation which became a dead
Louis Henry Sullivan's architectural adornment has yet to be known by individuals simply because of the adept evolution from forms from nature, and the penetrating geometric structures and connections found through every one of his works, yet more importantly the humanistic condition of consciousness that has been proposed. Sullivan recommends that in construction design, works of art should not stand on their own as an accessory, but instead be produced by the standards of building proposals, design, objective, and form. Sullivan's various structures were principally borrowed from natural forms, and their application gained from geometric understanding; they were then transformed and modified to the steel sections and curves, and enlivened
The Portinari Altarpiece (1476-1479) by Hugo van der Goes, is an astonishing Netherlandish masterpiece (figure 1). Situated in the Galleria degli Uffizi amongst the Italian masters, it dominates the space in terms of size and virtuosity. In considering the complexities of its treatment and meaning, any analysis needs to integrate a number of points. Recent technical development has allowed new revelations but this needs to be assessed in the context of Hugo’s stylistic and physiological proclivity, the demands of the donors and the function of the altarpiece within a contemporary fifteenth century context.
In my examination of the works, I came across a particular sculpture that portrayed both beauty and craftsmanship. A 15th century sculpture (1490), made in Venice, Italy by Tullio Lombardo, shows a life-size figure of Adam. Titled Adam, the work is the most prominent in the gallery mostly because of its 6-foot standing. It immediately caught my attention and gave me a very realistic impression. One beige color and made of marble, Adam is depicted simply, yet the statue has intense emotions. His meaningful glance is seen in the upward and tilted head position. Adam has almost lifeless looking eyes and seems to be staring into the distance. With these sagging eyes, parted lips, and lacking posture I feel Adam’s guilt is displayed in this figure.
“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.
Materiality is a critical feature in all of his projects, and in this case, the architect did not only blend the building with the landscape, by sinking it carefully into the slope, but he also uses genuine local materials to give the space atmospheric ideals. Always working towards a consistent visual appearance, Zumthor uses this quality factor in the interior building method. Using a system of specifically, almost scientifically, arrangem...
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...
Roseman, Ronald. "Baroque Ornamentation." The Journal of the International Double Reed Society Number 3. 1975. IDRS. [17 October 2003] .
...just the physical features. This is the same way Gothic Architecture was design to overwhelm and make feel the individual inferior to the institution behind the building. Consequently, the conceptual aspect of the building came as a secondary element in the design of the building. Such as the experience and feeling of the people coming to this building and being inside. The same way Gothic Architecture did it.
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
Leon Battista Alberti can be considered one of the most wonderful architects in the Renaissance. Everyone knew who he was and that he was a man in which he believes architecture represented only one activity among many. He was considered to be one of the great scholars at that time. He was born in Genoa in 1404 where he was the inadmissible son of an important Florentine merchant family. Alberti was given a great education first at the University of Padua where in his early age he has attained to the mastery of Greek and Latin, and then later in his scholar career, he was at the University of Bologna where in which he studied law. He began interest in architecture in the 1440s during the last years of Brunelleschi’s lifetime and it was probable then in which he began to compose his greatest theoretical work. Alberti have practiced all three arts however there was no certain paintings or sculptures on him and his reputation as an artist rests equally on his writings and on the buildings. (Murray pgs.45-47)
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...
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.
Interior design is one of the most important professions. When thinking of design and architecture industry, it is necessary to keep in mind that the professionals emphasis on matters of everyday life when commencing a project. Important sectors of interior design consist of: residential, commercial, hospitality, healthcare, education and corporate designs. Thus, the field deals with numerous factors and affects almost everyone in some way. Design is goal-oriented– it strives to achieve a certain purpose. An essential goal of interior design is to create functional spaces that convey a specific mood for an audience using design elements, thus outlining a design for communities versus individuals.
In Laugier’s book, “An Essay on Architecture,” he addresses early architects’ ignorance. Laugier explains how architects did not study nature and the set rules nature has already created for us. In his Essay, he reveals the flaws that many early buildings throughout Europe posses. Some of the more general flaws he exposes are disproportioning in architectural design, unnecessary placement, and ignoring the primitive and original purpose of a building all together. Therefore, Laugier believes appropriate and appealing architecture can only be designed and crafted when the architect behind the building has followed the rules of nature.
The development of structures by humans was one of our great advances as a species. The idea that we can manipulate the materials around us to create structures for purposes shows an advancement of intelligence. Architecture has changed much throughout history. It has been influenced by many factors, such as religion, culture, time period, economy, and what was needed at the time of construction. Some structures have purpose, others are a mere form of art and expression. Regardless of being decorated lavishly or plainly made, the beauty of architecture is something we see everyday, and has been around for thousands of years.