Essay The Architecture of Moshe Safde

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

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.

Question 1. Choose an architect or practice whose work is covered by or relevant to this course and discuss critically one or more of their design projects or drawings or urban proposals as precedent case-studies. Selectively situate this work in relation to their body of work, and against the practices and concerns of the period. Focus on the architectural qualities of a specific key aspect of the design of the projects. Selectively consider how they might relate to the historical situation, cultural values, theoretical concerns and design practices of the time. This may involve a selective analysis of compositional design practices, material fabrication production and the experiential reception of built outcomes of the projects.

The one-floor museum consists of an array of sculptures and memorials created by a wide variety of artists, some who were Holocaust survivors themselves. There are pieces of art that commemorate the resistance of the Jewish survivors, the soldiers, the heroes, the children, etc,. In 1953, the museum was established as a place to remember heroes of the Holocaust and to commemorate the six million Jews who lost their life. Yad Vashem is known as the Hall of Remembrance. In the 1980s, the Yad Vashem went under construction and created new exhibits, which make visitors feel the absence and disorientation that the victims felt. The first exhibits in the Yad Vashem took a more modern approach, focusing on the heroes, while the newer exhibits took a postmodern approach focusing on the survivors and their traumas. Until the 1980s, the pain of many is suppressed in favor of heroism of the few, which was an Israeli attitude that was not uncommon at the time. The attitudes changed and artists started creating memorials that were no longer including heroizing motifs, but focused more on contemplation, respect, and sorrow of the Holocaust. Individuals tend to focus on the positive aspects of an event, rather than the negatives, this is true in all aspects of life, not just the Holocaust. Finally the Yad Vashem embodies respect for the dead, instead of praise for the heroes. The victims are

Because of the simple box style he uses, most all of the walls were constructed off site and then assemble or put together on site. This caused the actual construction process of this building to be completed in just weeks with efficiency that should be considered rather innovative. This shows that even the way something comes together can be part of design or architecture. Ultimately the end result or final product can reflect to the process and the journey made to get to it, which is just another outstanding design reflected in Adjaye’s project.

Leon Krier was criticised for publishing a costly monograph on Albert Speer’s architecture (1985)in which, while acknowledging the crimes of the Nazis and the man, Krier nonetheless claimed the book’s only subject and sole justification was “Classical architecture and the passion of building” (cited by Jaskot, ‘Architecture of Oppression’, 2000). Discuss this claim, the controversy and the issues (historical, philosophical and ethical and possibly others) they raise. Can architecture, Classical, Modern or otherwise, be autonomous from politics and valued independently of the circumstances of politics and history that adhere to it?

Architecture should be nurturing, responsive and alive, dynamically shifting spatial balances, organically expressive forms, subtly luminous colors and biologically healthy. To achieve such life-enhancing architecture, it has to address all the body senses simultaneously and fuse our image of self with experience of the world. By strengthening our sense of self and reality, architecture serves its all-important function of accommodation and

No running water. No electricity. But fiercely committed to the motto that greets all who enter their front gate, "We Refuse To Be Enemies", no matter how much the Israeli government did to try to take away their land. I left wondering if I have what it takes to live out that sort of peace. Leaving this place one can hardly imagine how a government and people so familiar with suffering could continue to inflict such pain on others. Yet, as you walk into Yad Vashem (holocaust museum in Jerusalem), a heavy air fills this place. Although I carried a camera, it simply felt wrong to take pictures. The experience had an overwhelming effect. The opaqueness of the images. Photo after photo. Story after story. Books upon books full of the names of the deceased. Entire rooms full of shoes. I left with one single word pounding in my chest: How? How could something like this happen? How can human beings continue to do this? I felt the stare of Jewish eyes as I wandered through the memorial - aware that I am an outsider. I felt like an outsider. I felt ashamed. The single candle at the beginning of the children's memorial and the quote, "To kill one is to kill all of humanity" will

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

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

The History of Greek Architecture The architecture of ancient Greece is represented by buildings in the sanctuaries and cities of mainland Greece, the Aegean islands, southern Italy and Sicily, and the Ionian coast of Turkey. Monumental Greek architecture began in the archaic period, flourished through the classical and Hellenistic periods, and saw the first of many revivals during the Roman Empire. The roots of Greek architecture lie in the tradition of local Bronze Age house and palaces. The following paper will cover the basic forms of Greek architecture.

Larkin put "The Building" in the middle of his collection for a reason, it is a pillar that supports the rest of the collection with its long lines and many verses, and because of this, is maybe a bit more clearer than some of his other poems in the ideas and views that are expressed through it. Of course, being a Larkin a poem, there is the obligatory underlayer which so many people miss, but in "The Building" it is easier to discern and comprehend.

The ‘Community Architecture’ is kind of architectural practice between architects and users. Also, it can be described as architect follow the wish of users or community to design the building fit the requirement by using local materials and helps the residents to build the structure. Royal Institute of British Architects (RIBA) described ‘Community Architecture’ should follow the idea about "The aim of community architecture is to improve the quality of the environment by involving people in the design and management of the buildings and spaces they inhabit." () In general, architect call ‘Conventional Architecture’ product, nevertheless ‘Community Architecture’ represents the process rather than the product and most proponents claim that the built product of ‘Community Architecture’ is often better than the product of conventional architecture. “Community architecture means that the personal who inhabit it are involved in and may even be instigators of, its creation and its management as well. The inhabitants are the clients; and the architect works for, or at least with them--in contrast to the typical situation where architects and user never meet.” () The ‘ community architecture’ was the newly invented notion that user participation in the environment is more important than any of another architectural concept, especially in contrast to ‘conventional architecture’. The reasons of that could be limited resources, materials and

“ 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).

Finally, many tools were used to document our site visits that would used during the modeling of the buildings. As stated before, PlanGrid was very useful when viewing the construction sheets. PlanGrid was used on an iPad for easy access during the site visit. The iPad, as well as our phones, was used to take pictures of any notable changes or major features of the buildings. The pictures were used as references during the modeling portion of the project. A measuring tape was also used to take the dimensions of sections of the buildings that were not clearly labeled on the construction sheets. For example, the Architecture Annex’s terrance needed a measuring tape to measure its dimensions because the top-down view was absent from the