Henry Van De Velde

Ching, Francis D., Jarzombek, Mark M., and Prakash, Vikramaditya. Global History of Architecture (2nd Edition). Hoboken, NJ, USA: John Wiley & Sons, 2011. ProQuest ebrary. Web. 21 October 2015.

The rapid social and cultural change in architecture would result in the break of cultural continuity between old and new architecture. Also, the loss of identity in the built environment is experienced in all major cities of the UAE.

In this ted talk by Parag Khanna, How Megacities are changing the map of the world. The main theme of the talk is about how global networking civilizations in which the cities are now been compete more than the borders. This means that we are now moving into the a world where technologies has taken place in most of our cities, for example the way the infrastructural development and hyper-connected cities are rising to the top more than the state(page 12.10) due to the rapid growing of the people moving to the cities.

One of the most recognized architectural movements are the modern movements which comprise of the International Style, Art Deco Style, and Moderne Style. Modern Movements occurred between 1925 and 1950. Out of the three styles of architecture, International Style has been selected for this art analysis. The International Style of Architecture occurred between 1920s and 1930s, and it is characterized by starkly unornamented rectangular shapes which are very different from the traditional forms of architecture. The reason why International Style of architecture has been chosen for analysis in this paper is the fact that the rectangular shapes used in constructing the style have been punctuated with bands of windows which depict the modern purpose

As writer, interior designer, educator, and American architect Frank Lloyd Wright once said, “The mother art is architecture. Without an architecture of our own we have no soul of our own civilization” (BrainyQuote). The purpose of this paper will deal with the description of...

Postmodernism is a universal movement, present in every art and discipline. In architecture, postmodernism is precise as well as ambiguous thereby in need of an explorative pursuit for a consensus of what is meant by the movement in this perspective - between the works of Charles Jencks, a primary theorist of this architectural turn; Heinrich Klotz, a leading architectural critic; and William Curtis, an architectural historian. The progression of this paper is highly influenced with Jencks’ studies as his works are often times referenced as well by both Klotz and Curtis in their individual interpretations and further accompanied with either supporting statements or contradictions.

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.

By associating Modernism and its movement with the constructivism of national identities at an international stage, Kenneth Frampton and Yukio Futagawa’s article “Modern Architecture, 1920-1945” examines International Modernization- a phenomenon pursued by emerging societies rather than in the well established colonial or industrial powers such as England and France. The article “Modern Architecture, 1920-1945” emphasizes and proposes five principal linkages: The socialist culture and industrial norm- The Weimar Republic (1923-1931), From perimeter block to open city- Holland (1915-1939), Modernization and machine form- Czechoslovakia (1918-1935), Revisionist Modernism and international stage- Paris and New York (1937 and 1939), and the diaspora of the the modern movement -Russia, Switzerland and England (1930-1939). Frampton and Futagawa argues that modern architecture played a prominent

This book was written by Juhani Pallasmaa with regard to ‘Polemics’, on issues that were part of the architecture discourse of the time, i.e. 1995. It is also an extending of ideas expressed in an essay entitled “Architecture of the seven senses” published in 1994.

Whether it be and architectural response to a state of war, a public works project indicating the actual role of a governing body, or a built environment designed to impose and promote a future of cultural assimilation, architecture, and environmental design are tools being used by both subjects and the enforcers of the social contract to convey their will and intention. While it may seem that with the United States in the hands of a seemingly aimless land developer that country would be on a likewise tumultuous trajectory, but the built environment tells another story. I leave you with this image showing, in truth, that the power of the of the governing body resides and is subject to the will of its constituents. And that while architecture and the built environment are generally seen to be focused on a scale of grandeur and imposition, simple architectural interventions have the ability to convey the intent of those under the social contract and their resolve to uphold

The Museum of Modern of Art was the first to use the words “International Style”, which was a fitting term to introduce modernist arts to the world. Johnson and another renowned architect Henry-Russell Hitchcock organized a major show under the title “Modern Architecture: International Exhibition”. There they described the International Style that expresses several design principles, that concerns with volume rather than mass and solidity, regularity instead of axial symmetry, and the proscription of “arbitrary applied decoration”. Exhibits featured leading European and American architects, especially the likes of Le Corbusier and Ludwig Mies van der

Although, most post-modernist architects had been associated with modern architects in terms of training during the twentieth century, they refused most their teachers ideas. In addition, today's architects cannot deny the modern architecture ways of designing any building. Their design, for instance, has many philosophical meaning such as constructional, environmental, sociological, commercial and metaphorical meaning.

The greatest challenge for both India and Japan in the modern world of architecture is to define what is regional and what is modern and make it fit in a global architectural vision, without framing a loss of national identity as a natural outgrowth. In both India and Japan the architectural industry including not just university trained architects relying heavily on theory and international trends but on lay designers who often make up the bulk of national designers and builders, struggle with the marriage of international views and standards in

Under the trend of globalization Chinese architects are always struggling in how to engage in the trend of globalization and keep its unique culture and tradition. There are a large of numbers of cities in China undergoing a delirious wave of development. Traditional dwellings are demolished everyday replaced by high-rise commercial high-rise buildings which has no characteristic. The image of cities became similar and lost their identity. There are normally two ways to deal with this identity crisis. One way is to build landmark to display it character which always ignore the tradition of the city. An example is the Galaxy Soho designed Zaha Hadid, which as a giant out-space invader intrude in a historical area of Beijing Hutong area without any considering the surrounding texture and culture. The other way is considering the tradition but in fact it just superficially make a direct reference to tradition forms. For example, on the street of Xi’an the first capital city in China, there are a lots of buildings topped with a pitched roof on high-rise to structure or Shanghai Museum which directly mimic a form of traditional cooking vessel. Those buildings always as kitsch for their superficial mimic.

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'.