Architects as Managers of Change in Croatia
Transition in a social sense is a change from one system into another. Globally, the modernist paradigm changed to the post-modern with the disappearance of central authorities, universal dogmas and foundational ethics. The post-modern world introduced fragmentation, instability, indeterminacy and insecurity. Architectural responses to these conditions occurred as a 'semantic nightmare' of the post-modern discourse and/or the attempted completion of 'the modern project'.
In Croatia, transition occurred as a quantum leap from the Socialist, one-party, state-controlled market system, into a capitalist, parliamentary democratic, free-market system. In 1989, with the fall of the Berlin Wall, disappeared the raison d'etre of the 'buffer zone', known as Yugoslavia. A Pandora's box of political nightmares was opened. Yugoslavia disintegrated into 5 new independent nation-states: Slovenia, Croatia, Bosnia- Herzegovinia, Yugoslavia (Serbia and Montenegro) and the former Yugoslav Republic of Macedonia. The surprising national optimism and excitement upon which these states were formed quickly back-fired. The war, in the beginning of the 1990s, completely destroyed the Croatian economy, especially the tourist industry. The war in Bosnia-Herzegovina, in the mid-1990s, transformed Croatia into an enormous refugee camp. The compounded effects of war and transition of the political and economic system, in fact, placed Croatia amongst the levels of Third World countries. A corresponding cultural transition, returned Croatia to the romantic nationalist sentiments of the mid-19th century. The transitional field within the Croatian architectural profession of the 1990s was widened to surrealistic di...
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...e tectonic intelligence of the construction of ellipsoid steel frames and the steel mesh presents the contribution by the member of the design team, (first name) Sabljak. The bridge and its immediate surroundings, with the views on the Bay of Kvarner and the highway, indicates a new type of optimism that Randic-Turato are able to implement.
Within a transition, Randic-Turato are generating endless strategies and scenarios for activity. Their work is a link with Rijeka's cultural and architectural production of the last century as well as anticipating and embracing the nature of a transitional context. The production of meaning, as the premise of existence and operation of the office, has to transform in the future into the production of urban and architectural culture on the regional level. In spite of everything, Randic-Turato possess the energy for that task.
As he immerses his audience into combat with the soldiers, Shaara demonstrates the more emotional aspects of war by highlighting the personal lives of the men fighting. For example, when Shaara reveals the pasts of James Longstreet and Lewis Armistead’s, I started to picture them as the men that they were and not as soldiers out for blood. After suffering a devastating loss of three of his children to fever, Longstreet is tossed into battle. In Armistead’s case, he not only suffered the loss of his wife, but also of a friend fighting on the Union side, General Winfield Scott Hancock. Shaara saves his readers a front row seat to the inner turmoil of General Chamberlain regarding his hindering duty as a soldier clashes with his duty to family as he strived to serve the Union as well as protec...
196) The use of the Shakespearean quote in the novel The Killer Angel is to characterize the actions of the soldiers. The excerpt that reads “what a piece of work is man… in action how like an angel!” refers to how the soldiers put their lives on the lines to save others and to fight for what is right. Which was the fight to end slavery. The excerpt that reads “Well, boy, if he’s an angel, he’s sure a muderin’ angel” refer to how soldiers have to kill in order to protect what they deem is right, it may not be the right thing to do, but it is something they deem right. The term “killer Angel” may also refer to those who have fallen because of the casualties of
The purpose of this lab report is to see if the upsurges and the diminutions on the invasive species populace along with the inferences that modifications of the ecosystem as one.
The novel The Killer Angels by Michael Shaara depicts the story behind one of the bloodiest, and highly significant, battles of the American Civil War, the battle of Gettysburg. The battle consisted of 51,000-casualties between the Union and Confederate army forces. Mainly focused on letters, journal entries, and memoirs, Shaara tells the story of Gettysburg by using characters from both sides of the war. The characters chosen grasp the divergent views regarding the impending days of the war, and countless numbers of those views develop throughout the novel. Such views come from the Confederates own General Lee and General Longstreet, and the Unions own Colonel Chamberlain and soldiers from both sides. From those depicted
Zebra mussels were introduced to the Great Lakes in 1988 and have created havoc from there. Adult zebra mussels can live out of water which allows them to spread from one body of water to another (Zebra Mussels 4). They issue an ideal problem because they can threaten human health and hurt the Great Lakes economy by damaging critical industries such as fisheries, agriculture, and tourism. For example, they can attach to boat motors and boat hulls, reducing performance and efficiency (Zebra Mussel 2). They have a negative impact on humans too. These mussels are trained to latch onto rocks, swim rafts and ladders where any swimmer can cut their feet from the mussels hard shells. Zebra mussels clog irrigation intakes and other pipes which affect the agricultural aspect of their cycle as well. Zebra mussels wreak havoc on ecosystems because they consume huge amounts of phytoplankton, like algae, effectively starving populations of native fish and other water wildlife. But now, because of the zebra mussel, the amount of plankton in the lakes has been significantly cut, so the marine population (which feeds on plankton) is pretty much gone in Lake Huron, and it is falling very rapidly in Lake Michigan (Kirk Haverkamp 7). President of the Alliance for
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
What makes modern architecture? Before answering this, one would need to understand what the term “modern” exactly describes. In architecture, modernism is the movement or transition from one period to another, and it is caused by cultural, territorial, and technological changes happening in the world. In Kenneth Frampton’s Modern Architecture: A Critical History, he details these three major societal changes that impact and create modern architecture.
According to Charles Jencks, "The modern world, compelled forward by the imperative of continuous growth, is a juggernaut with no reverse gear". To architecture, modernism is like the discovery of the American continent all over again, a territory that is not owned,...
(Image taken from Tranchtenberg, Marvin, Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Second Edition. Prentice Hall, Inc. New Jersey: 2002.)
Through the modern era technologies evolved and avant garde was not just a matter of being ahead in you design concepts,. but also in the materials that you use. Modernist designers, in an obsession of moving forward, where always looking to enhance their ideals with new materials. When the modernist bubble burst the post-modern views came forward, embracing styles and techniques of history, architectures where liberated to be able to blend and combine techniques from throughout history. Contemporary architects, in various forms, continue on with the post-modern legacy of taking inspiration from history and seek out to use traditional building methods not only for convenience but also economical, environmental, contextual and symbolic reasons.
When linking the concept of cultural relativism to architecture, one would realize that both these components depend on each other. One cannot exist without the other (Kohler, 2003). Kohler remarks that in order for architecture to be progressive, The transfer and acceptance of technologies and techniques has to be based on a sound knowledge of regional culture (Kohler, 2003). In other words, the existing architecture or urban environment has to distinguish the features of regional diversity. Cultural exchange must consider the environment. No clash exists between regional and environmental appropriate construction techniques (Kohler, 2003). This is so because traditional architecture has adopted economic and environmental solutions. Conflict can only exist if one considers the ‘international style’ that has popularized the modern era with its high resource consumption. Kohler (2003) also stresses that there should be no regional cultural boundaries in order for architecture to be progressive (Kohler, 2003:86)
Charles Jencks in his book “The Language of Post-Modern Architecture “shows various similarities architecture shares with language, reflecting about the semiotic rules of architecture and wanting to communicate architecture to a broader public. The book differentiates post-modern architecture from architectural modernism in terms of cultural and architectural history by transferring the term post-modernism from the study of literature to architecture.
Architecture has been known as the product of aesthetics, structure, and function that serves to address social needs, resolve environmental and humanitarian problems through built form. Architecture not only shelters, but also has the ability to consolidate boundaries within our society. It realizes the role by physically defining space and by imposing its symbolic, representative meaning onto our living environment. As Ludwig Wittgenstein once said, “Architecture immortalizes and glorifies something”. Indeed, architecture must be documentary and didac...
The aim of this essay is to explain how Post-Modernism has influenced our contemporary built environment and explain what other movements have derived from it.
Behind every architectural work there is an architect, whether the architect is one man or woman, a small group, or an entire people. The structure created by any of these architects conveys a message about the architect: their culture, their identity, their struggles. Because of the human element architects offer to their work not just a building is made, but a work of art, a symbol of a people, a representation, is also created.