Writing and Architecture
A story is not a story until it is told. The way that this is done gives it depth, meaning, and tone. A house is not a house until it is built. The way that this is done gives it character, purpose, and life. Writing and architecture are very similar in that the idea of the piece is expressed through the choices that are made. It is up to the author or designer to determine how the idea will be interpreted and what method will be used to communicate the idea. Choosing the means that will express the idea is a critical decision that will affect the outcome in dramatic ways.
When designing a house, an architect will establish an architectural idea that will be an underlying factor in the design. After choosing an idea, a means of articulating the idea is determined that will suit the client and relate to the context of its surroundings, whether it be sympathetic or contrastive. The basic form or shape of the house begins to give it meaning and locates the frame of reference. An important factor in building a house is whether the house is built to replicate past periods, such as Victorian, or has a modern design. The actual design of the house, where the walls, doors, and windows will be placed, brings out the architectural idea. In a book dealing with the architecture of houses the author has this to say: "Windows do more than let in light and air. The way they are placed in a wall affects our understanding of the whole house" (Moore, Allen, Lyndon qtd. in Allen 203).
The materials bring another level of understanding to the design. The difference between cedar shingles and modular steel panels is significant when determining the tone of the house.
I shall always remember how as a child I played on the wooden floor. The wide boards were warm and friendly, and in their texture I discovered a rich and enchanting world of veins and knots. I also remember the comfort and security experienced when falling asleep next to the round logs of an old timber wall; a wall which was not just a plain surface but had a plastic presence like everything alive. Thus sight, touch, and even smell were satisfied, which is as it should be when a child meets the world. (Norberg-Shultz qtd.
Such like the House at Regensburg; aestheticism played a part but here it is interpreted in a different sense. Eames created an aesthetic effect that arose from the ‘careful juxtapositions of ready-made structural elements’. This can be seen from the webbed trusses, which are formed from reflections and transparencies. Where selected objects are a part of the architecture itself, as much as the building. The eucalyptus trees filter the light entering the house, only selecting judicious objects, which creates a unique effect for the interior of the house. The design of the house achieved a ‘poetry of form’, that were in a state of difference with the ‘absolution of Mies’.
Martin, A. J. (2010). Should Students Have a Gap Year? Motivation and Performance Factors Relevant to Time Out After Completing School. Journal Of Educational Psychology, 102(3), 561-576. doi:10.1037/a0019321
Writing can be a very difficult process for those who do not know how to go about constructing
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.
Gehry’s additional design of the exterior has created an unconventional model form of house. The asymmetrical form characterizes the entire external side of the house. According to Goldstein, Gehry tried to slant the house roofline, create a false perspective and cause an absurd viewer’ perception or expectation (1979, 9). The complexity of the form might also produce a relationship with the house’s elements such as door, wall, and roof. For example, those elements, which linearly constructed, were hardly noticed since the distraction of geometric form around the exterior part of the house. It’s even barely hard to find the entrance of the house as a result of the salient angles of exterior.
Think about the things that make a home look nice. Think about the specific components that pull the whole place together. The paint or wallpaper on the walls, the hardwood or carpet on the floor, the furniture, and even the paintings or decoration on the walls. All of these important characteristics make up interior design. Interior design has been around for as long as the very first homes were built. But, what many people don’t know about are the continuous changes in interior design throughout history. From the looks of the early 17th century home, or the introduction to neoclassicism in the 18th century, to the move towards modernism in the 1900s..Interior design is an ever changing feature.
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).
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.
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.
Remarkably, unlike in the description of art or music, the notion of atmosphere remains largely unaddressed in architecture. Atmosphere, can be argued, is the very initial and immediate experience of space and can be understood as a notion that addresses architectural quality, but the discussion of atmosphere in architecture will always entail, by definition, a certain ambiguity. After all, atmosphere is something personal, vague, ephemeral and difficult to capture in text or design, impossible to define or analyse. Atmosphere, Mark Wigley says, “evades analysis, it’s not easily defined, constructed or controlled”.
Although some interior features have arts and crafts characteristic, Wright expresses his ideas by the inside and outside being so different, they appear to be two different buildings. Wright helped pioneer the concept of open floor plan, with elements of one large room or a fireplace being the central axis point. Wright wanted to design space within the house to flow nicely. Rather than creating box like rooms, he uses many different elements to create connection throughout the house. With a combinations of open walls, high ceilings, and lowered floors, Wright is able create organic
Wright designed according to his desire to place the residents close to the natural surroundings. He felt that a house should be a natural extension of its surroundings and not just positioned on a site. Wright designed his buildings so its layouts and features could merge with its surroundings rather than merely resembling a rectangular box on a lot. Wright stated, “A building should appear to grow easily from its site and be shaped to harmonize with its surroundings.” His main objective was to demonstrate how people can be harmonious with
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...
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.
This usually entails the manipulation of texture, proportion and the setting pleasant utilization of sunshine with the intention to realize symmetry, harmony and an accurate equilibrium in complete human life. The essential ideas of good design are pure and to an enormous extent innate. When analyzing the universal properties of sunshine, house, colour and supplies, the inside designer appears to be like at the interplay of the natural legal tips that govern them. The precise design of a room works not only on the customarily ignored senses of odor and listening to but additionally on the emotions. Coloration schemes are selected to copy the mood of a room. Understanding how every side of a design contributes to a common look and feel of a room or area constantly takes precise experience and each architects and designers manipulate these to good