Compare And Contrast Interior Architecture Vs Interior Design

In A Home Is Not a House, Reyner Banham starts by arguing that the main function of the typic American house is to cover its mechanical structure. In fact, he states that the use of mechanical services in architectural practice varies constantly because mechanical services are considered to be new in the profession, as well as, a cultural threat to the architect’s position in the world. To show his argument, Banham states that American houses are basically large single spaces divided by partitions inside that give a relative importance to the use of internal mechanical services, causing a threat to the need of architectural design. Similarly, American cultural characteristics, like cleanliness and hygiene, also foster the use and need of mechanical

When I was reading your response to this week’s discussion, I noticed you made some important points that I agreed with. We both agree on the belief that architecture is and should be considered art. You mentioned in your response, that there are buildings globally that hold a historic artful meaning or appearance. I could not agree with you more, our book is filled with pictures of historic architectures that have beautiful art sculptures, paintings, images, and much more on them. Architecture I believe is another form of self-expression and another art form. According to our book, “Exploring Art: A Global, Thematic Approach,” written by Margaret Lazzari and Dona Schlesier, states that, “The designs of individual homes embodied climate concerns, aesthetic preferences, and cultural choices” (Lazzari and Schlesier 128). This quote to me means, that the art is present in architecture. The structure of the home is being built according to the owner’s likings and cultural beliefs. Which in other words is an example of architecture being self-expressed.

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.

In addition, I will examine the differences between male and female sexuality and how each tended to be perceived and treated by society. Then, I will look at prominent female artists and their personal experiences and beliefs on feminism and the female in their art focusing on how it tended to be received along how male artists responded to it. Mainly, I will be analyzing the clash of sexualized images in art, focusing on the differences not only between male made art versus female art, but the differences in the women’s art community, as well. What are the reasons and goals for women to use a “sexualized image” of women in their art versus

In 1889 Dorothy Draper was born to a wealthy and privileged family, during one of the most exclusive communities in the American history. Dorothy Draper was the first to professionalize the interior design and in 1923 established the first interior design company in the united states. During this time, it was unheard of, and also at this time it was considered daring for woman to go in the business. Carleton Varney wrote in his biography of his mentor. The Draper touch, was her way of revolutionized from breaking away from the historical term “period room” styles that dominated her work predecessors and contemporaries.

All three of these women worked during the time when crowded and stuffy Victorian interiors were popular. They all paved the way for interior decoration as a profession, each adding something to the profession. During their lifetimes, the task of interior decoration went from a job only an architect could do to an established profession, and styles such as Arts and Crafts, Prairie style, Art Nouveau, Beaux-Arts, Classical Revival styles, and Art Deco were emerging. For all three of these women, the architecture of the time influenced their work in different ways. Elsie de Wolfe started designing interiors around the time the Arts and Crafts style was becoming popular. The Arts and Crafts style was cleaner and more refined than the Victorian style, which is similar to the way Elsie de Wolfe designed her interiors. They both stripped away the Victorian elements of design, leaving cleaner and more refined interiors. Eleanor McMillen Brown took inspiration from some classical revival styles and the art deco style of the time when designing her interiors, but they were also still more refined than the Victorian style. Dorothy Draper was influenced mostly by the Art Deco style, as she designed commercial spaces that would reflect the art deco architecture of the time.

Interior design is a profession that is undertaken academically just like other professional careers. It mainly involves the development and imparting of skills, knowledge and attitudes that pertains the activities undertaken in the building and construction industry. The profession of interior designing goes beyond designing how a structure will look because it incorporates environmental issues especially aesthetic value of the structure to be constructed, the ergonomics, local fire codes and besides studying fundamental design issues and practice in the building and construction industry (Guerin & Thompson, 2014). Even though the profession is not as old as some of the established professions, the fact remains that the fundamentals of design

In his essay, Dell Upton suggested that what ultimately distinguished architects from builders in the eighteenth century was that builders, as identified by Thomas U. Walter as, “uneducated, unskilled, and immature practitioners, whose only passport to the patronage of the Public is the assumption of the appellation Architect.” In short, a builder is essentially is an individual who attempts to practice architecture without the “general knowledge of the elements of nature.” Contradictory to this claim, Upton believes that individuals aspiring to be architects hold the elements of “pursuing a course of Architectural training in a Technical college, embracing Mathematics,

In their respective essays, Helen Molesworth and Sheila Cavanagh underscore the key role that design plays in overcoming cultural anxieties about race, gender and abjection. Drawing from both essays, pick a room—bathroom or kitchen—and discuss three formal strategies that designers employ to overcome the fears triggered by these spaces.

The human body is the ultimate tool for discovering the environment. Human anatomy is considered to be nature’s peak of perfection and certain features serve as inspiration for many architects. To study the relationship between the human body and architecture, one must not be limited to human body parts resemblance to architectural works but to a larger extent consider human emotions, sensory nerves, the mind and general human psychology. In essence everything that makes us human. In its simplest definition Architecture can be described as an art or practice of designing buildings. It is practiced in a way that accomplishes both practical and communicative or expressive requirements. To relate it to human body then Architecture can widely define the place, the site, the energy, the systems, the building, the flora and fauna. These components that bring aesthetic property to humanity apart from the utilitarian purpose it serves. The perfect balance of a normal human body and the proportions are incorporated into architecture from a point of view of imitation, idealized allusion and the actual human use. Evidence of such human incorporation into architecture is seen from the Ancient Greek Architectures where it was common for tower columns to take shape of a human being like in the colossus of the Ancient

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

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.

“ 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