Reflections At Keppel Bay Analysis

Habitat ’67, designed as a major theme exhibition of the 1967 Montreal World Exposition, was originally intended as an experiential project for a new housing typology that could incorporate the qualities of a “suburban” home into an “urban” high-rise. Located on Mackay Pier in the St. Lawrence River, overlooking the city of Montreal on one end and IIe St. Helene on the other, the building sits on a narrow strip of land. Habitat ‘67 deals with its site condition in an intriguing way by fragmenting the architecture with rectangular boxes. The project builds a system of repetitive three-dimensional modules which are composed of boxes, a system that can be adopted to a wide range of site conditions. The modular is made of stacked rectangular boxes in varied geometrical configurations which gives the building the opportunity to break the traditional form of orthogonal high rises.

“The museum has changed people’s perception of museums, about the connections between art, architecture, and collecting.” (Freshome). Admiring the Architect, Frank O. Gehry, and how he would not just design, but how he would blend previous designs with his own and create a building made his work unforgettable.

Australia is one of the continents over the world. The vast, varied land and the culture in this abundant place has a deep and lasting impact to the architectural design traditions—Tectonic. Tectonic can be regarded as one distinctive characteristic which is relating to building or architectural construction. It also gives ability for people to read a structure, or see how a structure was put together. Among those architects who had used this tradition in their designs, Donovan Hill and Glenn Murcutt, as Australian architectures, have their own style relates to tectonic. For example, Donovan Hill composes different materials and layered against with one another in D House, while Murcutt establishes a harmonious connection to the surrounding landscape and local climate with Magney House.

The buildings around the San Francisco Museum of Modern art, are skyscrapers and geometric shaped buildings. The SFMoMa stands out, with its color and design. As looking at the SFMoMa from across the street, the circular structure within the SFMoMa drives they eye to look at it because of how out of place it looks compared to the building itself

This project is considered an infill design maximizing the amounts of units on site but still providing great senses of spaces within the building itself. Further, the idea of the terraces to overlook the city is a great illustration of architecture that cares about its users since it integrates nice relaxing spaces for the residents to congregate or just be. On the other hand, the Star Apartments are units strictly used for the homeless population. We had the great opportunity to tour it and even walk in one of the single resident units. This marvelous project must inspire other architecture firms and city programs to design and incentivize buildings like such. In fact, the homeless population in Los Angeles grows every year making it the largest population in the United States because of weather conditions and perhaps social communities. In previous lectures, we had learned that a law was passed in L.A. to raise money from the government directly strictly towards homeless housing and programs to help them. In fact, this topic in specific awakes great interest on me, making it my top choice for our final presentations in class. Moreover, I have visited the building several times after our first toured visit, and I believe it has great potential to make a difference in the urban fabric because of its location and notorious design. One of the aspects that I enjoyed the most that Webb mentions in his book is the second level social space on the building and the amazing opportunities spaces like this

This portfolio will consist of thirty photographs showing common exterior features of general housing in urban Bristol. Each photo will be paired with an in-depth explanation of the background and practical use of these particular construction techniques. This will then be accompanied by an address and a map to allow the reader to have a better understanding of where each terminology was photographed. To ensure maximum picture quality, all photographs will be taken with a Canon 70D digital camera. Adobe Photoshop CS6 will be used to enhance pictures if necessary. Effective time management is essential to this projects success as subjects need to be located and photographed in suitable weather conditions.

As a paradigmatic place of public involvement and symbolic disclosure, theatre has always served as a suggestive source of inspiration for architects and played a role in relation to architectural theories and ideas. Every collective memory unfolds within a spatial framework. Space is a reality that endures: since our impressions rush by, one after another, and leave nothing behind in the mind, we can understand how we recapture the past only by understanding how it is, in effect, preserved by our physical surroundings.

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.

Boston’s ICA situated at Fan Pier in South Boston represents a shift from preconceived architectural constructs to more innovative forms. The building’s position in the middle of a currently undeveloped urban landscape gives it a striking entity that engages the viewer in a way that facilitates its various functions as a contemporary art museum. Furthermore its structure and location alter the population’s understanding of museum architecture as it has traditionally been defined, that it is a “shell” that contains significant artistic work. A visual paradox becomes evident between

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.

This section of the book first gives an introduction explaining the project by the author Philip Beesley, in collaboration with others, Hylozoic Ground. It is an installation that was presented at la biennale di Venezia 12th International Architecture Exhibition. In this installation, Canada offers a vision for a new generation of responsive architecture exploring the boundaries between environment, building, technology and human experience. Beesley defines the Hylozoic Ground as an “immersive, interactive sculpture environment organized as a textile matrix supporting responsive actions, dynamic material exchanges, and ‘living technologies’”. Later on, the chapter called Synthetic Geology by Geoff Manaugh, talks about future possible applications to Beesley’s works like new soil deposits, new agricultural fields, and new landscapes, landfills remediation, archeological excavation and the possibility of colonizing distant planets. The last chapter of this section, Liberating the Infinite Architectural Substance by Neil Spiller, is about liberating the attributes of the material world, both man-made and natural, and that to Beesley the “prima materia” is the Earth. It also explains how the Hylozoic Ground make you experience a “microcosm of the city’s macrocosm”.

The entryways of the building come from four different sides and meet in the middle. The overall shape of the building creates different views and facades. The building was not created just on the looks of it; it is made up of a three dimensional, stimulating, tactile human thing.

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).

Centered in the house is a ramp that takes you on a journey from the underbelly of the house on the ground floor to the main body on the first floor and then on to a roof garden. Throughout the house views of the surrounding nature are framed, your mind is free marvel, as the forms evoke a sense of exploration and delight. Villa Savoye is better experienced than viewed through an image, only then can you understand the greater meaning and purpose that informs its beauty. One might argue that this is not beautiful architecture and a poor example, however upon visiting this house you cannot deny that the house is beautiful in its own right, evoking a response from the occupant. Le Corbusier’s masterpiece is moving; therefore achieving what he believed architecture to be about. This experience and the emotion that is felt can only be described in words. Shapes play a big role in the architecture but clearly the meanings behind are more important.