Architecture As Space By Peter Goldberger

Two examples that I find especially thought provoking are the Danziger studio and the Goldwyn Library. Built to blend into the local surroundings, the luxury residence was given a humble, rough exterior. Davis' explains that the rough exterior of the architecture reflects the underlying social phenomenon of "repression, surveillance and exclusion"(Davis, 224) that collectively forms the "fragmented, paranoid spatiality"(Davis, 229 ) that LA embodies. Moreover, The house's "camouflage"(Davis, 229 ) exterior creates a stark contrast to its luxurious interior, which places further emphasis on the exclusion and barrier between the "opulent"(Davis, 256) interior and the "rough"(Davis, 224 ) environment. I find Davis' assessment of the Daziger studio particularly agreeable and accurate as I truly believe that an architecture, its purpose and characteristic, sheds light to not only its physical environment but also its social environment, something that might not necessarily be as apparent. On the other hand, I find Davis' assessment of the Goldwyn library rather exaggerated. Judging from photos taken, the fifteen foot security wall is not as grotesque and 'fear-imposing' as Davis puts it. Davis described the library as "baroquely fortified...menacing...bizarre"(Davis, 246) and "paranoid"(Davis, 251). Although security and 'vandal-proof'' maybe, as Davis suggested, the initial goal of the design, I do not believe that it is as exaggerated as Davis

Interior design and architecture are essential, and often overlooked, aspects of everyday life. In modern society people rely on function, durability, and visual appeal when selecting designs for their homes, businesses, and places of leisure. The way that a space is designed influences such things as mood, which, in the case of a business, can impact the productivity of employees and either draw or repel customers. In residential design, the design becomes very personal and, to be considered a successful design, must properly reflect the home owner while at the same time offering some practicality that makes the space livable. An effective design, for any space, must solve some problem, be it function, flexibility, or some other criteria. Simply solving a problem would not please the customer, however, unless it offered some visual appeal. Creating function with style is the real job of any interior designer, and is essential in a content society.

This concept of space being defined pertains to the ideas of modernism in reference to the importance of space, and exactly how to efficiently utilize it. Similar to that seen in the courtyard in front of Wiess Law, the large open space helps create a more communal and interactive area for the visitors to be more aware. Such as Mies embraces the idea of creating areas for individuals to become more contemplative about their surroundings, William Watkin had similar ideas when designing the original building and its landscape. This concept coincides with the building itself and its architectural

Architecture should be nurturing, responsive and alive, dynamically shifting spatial balances, organically expressive forms, subtly luminous colors and biologically healthy. To achieve such life-enhancing architecture, it has to address all the body senses simultaneously and fuse our image of self with experience of the world. By strengthening our sense of self and reality, architecture serves its all-important function of accommodation and

On his book on Modern Architecture, Curtis writes that modern architecture was faulted for it’s “supposed lack of ‘recognizable imagery’” towards the end of the 1970s. This statement supports the idea of Jencks’ double coding where architects must now make

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.

As suggested by the title, this piece of literature attempts to highlight the importance of sensory experience in architecture. It is indeed a response to what the author terms as ‘ocularcentrism’ of Modern Architecture. Ocularcentrism is the act of prioritizing visual stimuli to all other sensory stimuli available to a human perception. He quotes famous German poet, Goethe, in his defense, “the hands want to see, the

In Wright and An alto's houses, a powerful sense of insides is generate by opacity. Which, in Falling water is express in roughly dressed stone masonry walls and, in Villa Mairea. By white-painted, solid walls. The transparency of glass windows in both houses thereby connect the two. In both houses, the architects created a strong sense of insideness yet, at the same time, devised ways to connect inside and outside and thereby create a robust continuity between the two. This inside-outside relationship can be translate into environmental and architectural experience in four different ways: (1) in-betweeness; (2) interpenetration generated by inside; (3) interpenetration generated by outside; and (4)

One man that was part of many of these guilds was Vitruvius Pollio. He most well known for writing De Architectura or the Ten books on Architecture. It is a compilation of how he thinks architecture should be done. Some of the books include subject on materials, religious, public, and domestic structures, mechanics, clockwork, and panting. This work was originally written in Latin, and dedicated to Octavius, the emperor at the time. Vitruvius wrote these books in the last period of his life, after working for Julius Caesar, and being trusted with the design of siege engines and artillery by Augustus. Once retired, he became Octavia’s patron, and used this time to work on De Architectura. In this writing he points out that an architect

Poldma dissects the Interior Design one element at a time. Her book will assist with the research

Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.

Everyday we live and move through spaces without realizing the influence they can have on our daily lives. Built environments are designed to directly affect behaviour and attitudes in a specific and intended way; this can be referred to as architectural determinism (Marmot 2002). Almost all architectural patterns use the physical arrangement of elements, and materials to influence behavior. This can range from placing design elements in specific places to encourage or discourage people’s interaction with them, placing them to prevent access to a specific area, or placing them to direct or

The book consists of twelve chapters that propose this idea that designers should explore the nature of our senses’ response to the spatial built forms that people invest their time in. It tries to cover a specific topic in each chapter that in order to deconstruct the book, it is necessary to cover each chapter individually.

“ Architecture organizes and structures space for us, and its interiors and the objects enclosing and inhabiting its rooms can facilitate or inhibit our activities by the way they use this language”(Lawson pg.6).

Architecture can be viewed with two different types of properties. Properties that can be seen like shapes, their composition, the spaces they create and, the colours and textures that make up their appearance. These properties are considered to be visual while other properties are considered to be abstract. These properties can only be described using words; the meanings behind the architecture and the stories that can be told about it. The context, its cultural background and its function also affects how we view architecture. The question is, what