Balmy Alley: A Formal Analysis

Burnt homes, flipped cars, destroyed shops were scattered. The uncertainty that had left her earlier returned at full force as they seemed to move away from the populated area. After about another ten minutes of driving, they came to a stop. ‘At be twenty doll’rs the old cab grunted out. Liana gave the grumpy old man the money and exited the car with her things. In front of her stood a gloomy, run-down ill maintained two story house. The house looked abandoned as if it held no life. The doors and windows were covered in a thick layer of dust. The window panels look rotten and ready to fall off at the slightest hint of a strong wind, ivy cling to the outer wall of the house. The land surrounding the house was filled with unkempt undergrowth.Liana urged herself forward and came to a halt in front of the dirty covered door. Taking a deep breath she reached out and knocked on the

The building had been abandoned for a long time. It was four storeys and overlooked a deadly set of stairs that ran alongside a cliff. It was a rich building: rich in culture, rich in beauty, but richest of all in its history.

This neighborhood has great sentimental value to my family and I and was immediately drawn to this location for this assignment. I chose to observe my surrounding neighborhood block while taking my dog on a few walks around the block for about an hour. My neighbors probably thought I was insane because walking around the block about 5 or 6 times while writing down notes as to different things I observed wasn’t creepy. I drew an aerial view of the block and added a legend at the top of the page. I drew the streets, lake, lights, drains, stop signs and the amount of traffic flow that was experienced at the separate times of data collection. I found many similarities and differences in the physical architecture of West Evans Avenue, South Xavier Street and West Warren Avenue. The drains on the streets of Xavier and Wolcott were in the exact same place on the street. The street lights were also placed in strategically similar places all over and spaced out pretty

Then I stepped closer to the entryway toward the museum to see the tall ceiling. “What could be in a building so high?” A wooden archway with very intricate patterns carved into it, glowed a sandy-brown color, as it curved upward and pointed to the sky, as if I were in the inside of a small mountain. It seemed to be welcoming everyone in as flowers hung down from it like curtains.

The primitive feelings of the architecture should give us a sense of safeness, a shelter. The safeness of the space will allow us to have a mental traveling, unconscious brain activity that leads to emptiness and allow our imaginations to come in and create our own interpretations of the space. Within our perception, architecture also has its role to slow down our perception of time, slowness. Every journey in the architecture is a sequential process that involves the time factor, movement and transgression from one space to another space. To capture this idea of slowness, every space has its potential to allow people to stop and every walking forward is moved by curiosity for the framed scenery rather than direction. It should provide “the options”, not the command for moving, capturing the sense of natural flow and effortlessness where it makes movement and stop come naturally based on individual

The first building one sees upon walking up the marbled Memorial Steps is Eaton Hall. Situated upon a hill, this incredible building has its own set of marbled stairs leading up to it. Upon reaching the door, the visitor, having traversed three sets of marbled, is struck with a sense of bafflement: there is no door; it was merely a façade. Such an experience is a metaphor for Eaton Hall: a marvellous exterior conceals a forlorn interior.

Dr. O’Rourke began her presentation by telling us that “To understand what a building is communicating we also must look at it like we look at a painting.” This presents an initial point of view that differs from the normal perspectives from which buildings are viewed, such as the utilitarian or the engineering

The rowhouses' potentially beautiful facade is marred by rusty air-conditioner units and a high trim of metalwork, corroded to a bright green, contrasting with the clean brick and the white window frames. Trees obscure my vision slightly, holding onto their last few dirty-brown leaves. A puff of air, cool enough to make you shiver but too warm for a jacket, rustles them.

This newly discovered appreciation led to the emergence of buildings with very distinctive features that seemed to have been formed out of solid stone. The resulting rough forms of the Barbican are thus softened by the various lakes and gardens while the towers that occupy the background serve as the frame of the general picture.

However, despite the joy conjured up by the sight of Nowhere- Everywhere, the structure is massive. It is also characterized by a kind of raw beauty. Its unadorned, wooden nature seems to be stripped down to its barest elements. The viewer is compelled to ask: why are there two pyramids? What does that signify? The two works are entirely symmetrical, and flank one another several breadths' distance away. Together they create a taller and more imposing impression than they would alone. When standing between the two large structures, the gazer has a sense of being overwhelmed by their size. The immediate sensation which I received upon looking at the work was like being at a theme park or in a city at a small child, and looking

The architecture of some of the houses include: Sears homes, modular homes, one to two story traditional houses, farm houses, barns, and some apartment buildings. Some of the houses appear older than others, and some of the houses did not seem to be taken care of. Some examples include: chipped paint, shattered windows, unkempt lawns and gardens, collapsed wood work, and unpaved roads and driveways.

Question One: What architectural style does the building represent? How does it link with the events going on at the time?

Typology is the taxonomic classification of characteristics found in buildings and urban places, according to their association with different groups, such as degrees of development, levels of formality, and thought processes. It stands to reason that 2 buildings with the same typology would have more similarities than they would differences. However this is not always the case. More often than not buildings with the same typology can differ greatly. Take for example the Bertram House and the Tubac House. These two buildings are both a house typology however they represent this same typology in varying ways – some ways similar others vastly different. These differences have come about due to many influences such as style, lighting, form, spatial organization, plan of the building, school of thought, separation of private, semi-private and public space, materiality, and focus of the building. This essay aims to theorize how buildings with the same typology can have such massive differences between them.

The art of poetry is comparable to architecture, in that each of these artistic expressions require space and structure. Both are also used as mediums to communicate feelings, thoughts, and ideas. Poetry acts as a shadow of a building, revealing the aftermath of architecture and its effect on the surrounding culture. This essay will argue that the built environment has the power to either hinder or uplift masses of people, and that these resounding effects on said culture can be determined through the vessel of poetry. This requires subjective interpretations of literature within their contexts, and could be misunderstood, and while architecture and poetry are not always necessarily related to each other, they can be influenced by one another. Now, we will examine literature pieces produced after architectural works of World War One and World War Two.

unpleasant, it is surrounded by forest overgrowth , an eerie lake and the building itself is rotting ,