The Architect's Use of Space

The architecture of the 1920s was very elaborate and strongly influenced by European movements. Soaring business profits and higher wages allowed American to afford more expensive architecture (“The Great Depression (1920–1940"). The indoor architecture included walls that tended to be one color with a glossy finish; floors were typically linoleum or vinyl, usually patterned. The fire places were bold and stepped. Also, chrome and etched glass became popular with much of the architecture ("Period Style- 1920s"). For example, in the novel The Great Gatsby, Nick states "… with a tower on one side, spanking new under a thin beard of raw ivy, and a marble swimming pool, and more that forty acres of lawn and garden" (Fitzgerald 5). In addition to

Frank Lloyd Wright once said, “Every great architecture is-necessarily-a great poet. He must be a great original interpreter of his time, his day, his age.” In other words, movements of architecture become movements because of individuals who fabricate their own new styles. Wright states this by saying every architecture reflects his/her time period with originality.Throughout history there have been many great architectures who have worked in many different styles of architecture, such as Gothic, Byzantine, Craftsmen, and Prairie. Many architectural styles such as Romanesque and Gothic went from being a style of architecture to defining a whole period in history. For example, the Craftsmen style of architecture, which originated from the Arts and Crafts movement, went on to define that time in history. Frank Lloyd Wright and the Greene brothers both have exquisite styles of architecture with many similarities and differences in which they pioneered themselves. Wright and the Greene brothers both share similar ideals of architecture in which can be found in their different styles today.

Architecture has proven to be an important part of society and culture in both art history, and human history. Art is created to reflect the values of the society that creates it, and architecture is no different. Each piece of architecture can be identified by certain characteristics that makes it a part of a specific culture. Both the Great Stupa at Sanchi, located in central India, and the Parthenon, located in Greece, are examples of architecture that share similar characteristics, however can be specified to their location and time period because of their differences. The Great Stupa at Sanchi and the Parthenon, although created for different purposes, proved to be important because of its functionality to society.

'Architecture traditionally has been the slowest of art forms. It was not unusual for great cathedrals take centuries to complete, with stylistic changes from Romanesque to Gothic or Renaissance to Baroque as common as the addition of chapels or spires. But because the function remained the same, the form could be flexible and its growth organic’. (Reflections on Baroque, 2000, p. 250). According to Martin Filler architecture can be changeable from past to future. When looking at the history of architecture, architectural concept was stable, but the form of the buildings was changed age by age. Based on this hypothesis, are there any connection point between today and the past? This essay takes the differences and similarities of Baroque and Contemporary period as sculptures and architecture.

This essay will focus on how those works are informed by both regional and international course. In this context, Sydney Ancher and his strong Miesian simplicity as well as Peter Muller’s affinity with Frank Lloyd Wright’s organic architecture principle.

The author traces the disruption of the museum architecture and the development of the museum as an independent building type. She highlights four key stages of its architectural formation associated with four time periods. They are Arcadia and Antiquity, Metropolis and Modernity, New Century, A New Aesthetic, and Recent Reactions: Fragmentation, Contradiction, expression.

The built environment of many institutions are primarily focused on the use from able-bodied people to get around easily, rather than considering the population of non able-bodied individuals who may have a harder time getting around. Thus, one of the common elements from our shared built environment here on campus is the crosswalk that is at the corner of Fourth and Gregory because of the fact that it gives students, who are able-bodied or non able-bodied, enough time to get across the street. Whereas, it also lets students travel across the street diagonally in order to help make their travel time shorter. However, the crosswalk does privilege those who have the ability to see because the crosswalk is not a sounding crosswalk where there would be a sound to alert those who cannot see that it is time for them to walk across the street. Hence, although I do believe that the creators of the crosswalk were smart with their idea of having students be able to cross diagonally but if they would have added sounds to the crosswalk the crosswalk would be relevant to the environmental justice movement because it does not exclude anyone from using the crosswalk unsafely.

Mies van der Rohe is one of the most prominent figures in modernist architectural history, the man who popularised some of the most influential phrases of the era, e.g. “less is more”, and strove to push his ideas and philosophies, not just on what he thought a building should be, but of what he thought architecture itself was. He changed the cityscape of America, showing the world a style that was simple and elegant, with such a controlled palette of expressions that shone through in its geometric beauty.

There is often some confusion when people start talking about the post-modernism and modernism in architecture in terms of  their philosophical terminology differences. Modern architecture is known for its minimalism (Linder, 2004); buildings were functional and economical rather than comfortable and beautifully decorated. The post-modernism architecture, however, is called a “neo-eclectic, significantly assuming the role of a regeneration of period styles for designing houses, and a never-ending variety of forms and characteristics, asymmetrical designs for commercial buildings” (Fullerton Heritage, 2008). An example of these two polar opposites, “Less is more” made by Mies van der Rohe in 1928 (Blake, 1976) and "Less is a bore" made by

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.

Santiago Calatrava is a Spanish neofuturistic architect. Calatrava was born in the Benimamet neighborhood of Valencia, Spain on July 28th, 1951. After becoming a qualified architect and civil engineer, he earned his doctorate degree in technical science from the Eidgenössische Technische Hochschule (Swiss Federal Institute of Technology) Department of Architecture for his thesis titled “Concerning the Foldability of Space Frames” in 1981. It was also during this time that Calatrava opened his first practice of architecture and engineering in Zurich, Switzerland. Throughout his career, Calatrava has received numerous honorary doctorate degrees ranging from technical science to philosophy. He has also claims membership to various organizations from the Schweizerische Ingenieur- und Architektenverein (Swiss Association of Engineers and Architects) to Real Academia de Bellas Artes de San Carlos (Royal Academy of Fine Arts of San Carlos).

The Sant Antoni Market is one of the most popular and architecturally brilliant markets in Barcelona. Originally designed by Antoni Rovira i Trias, an architect and urban planner who publically favored the destruction of walls in Barcelona and supported free growth in the city. Trias was a very outspoken architect and called for a change in the way Barcelona should be urbanized and he actually won the competition, in 1859, for the design of the expansion of the city. However, the central Spanish government in Madrid favored Cerda’s plan instead. Nevertheless, Trias continued with his work as an architect and he designed the markets of La Concepcio in 1885, the Born in 1873, and most importantly for this research paper, the San Antoni market completed in 1882. Throughout this research paper, I will be analyzing the design philosophy of Rovira i Trias in his works particularly the Sant Antoni market and how it

In 2006, Mendes da Rocha received the Pritzker Architecture Prize. The jury cited his “deep understanding of the poetics of space” and an “architecture of profound social engagement.” He said that “All space must be attached to a value, to a public dimension. There is no private space. The only private space that you can imagine is the human mind.” Throughout his works, simple and powerful are

The five principles of architecture that Le Corbusier proposed in 1923 can be noted in, not only Le Corbusier’s work, but also in other modern architecture, because each principle contributes to the overall aesthetic of the building, as well as providing a functional use. However, all five principles don’t have to be incorporated into one design, which is what this essay will explore. It will attempt to show that one principle can prevail over the other four, but all five are needed to create a full representation of Le Corbusier’s envision of architecture. This is shown through Le Corbusier’s villas, specifically the Villa Shodhan and this essay will analyse how the principles contrast against one another. Furthermore, a small scale design project will be created alongside the essay in an attempt to produce a unique villa through the embodiment of Le Corbusier’s five principles of architecture. Through further analysis of the Villa Shodhan I will also argue that not all principles are independent and that some principles can function efficiently without the rest. Nonetheless, Le Corbusier’s most renowned villa, Villa Savoye, utilizes all five principles; therefore, it is the most accurate image of Le Corbusier’s five principles of architecture. However, after this villa had been completed it became clear that the flat roof, which served a domestic purpose as a roof garden had failed

Words on paper can sometimes seem a long way off the tangibility of real world design, but every great building starts its life on paper. Architectural beliefs and sensibilities are established through a system of thought, a manifesto that dictates how and for what reasons design choices are made. The manifesto encompasses more than just architecture so it performs a grounding role, contextualising and justifying design in a paradigm of thought appropriate to the time and space from which it had originated. The Italian Futurist were predominantly paper architects, with few of their projects every being realised in a physical form, but their thoughts and ideas demonstrate a vision for the modern world unlike what had come before. In the