The Design Philosophy Of Antoni Rovira I Trias

In O’Gorman’s piece ABC of Architecture Venustas is touched on but not analyzed to the extent of both Utilitas and Firmitas. Contrary to Vitruvius’ criteria, modern buildings are built using the Vitruvian factors of Utilitas and Firmitas. The architect does not usually have the freedom to design whatever they desire, they usually follow a set of criteria and constraints in the form of a plan.

There are within the city ten principal squares or market places, besides innumerable shops along the streets. .... On the nearer bank ... stand large stone warehouses provided for merchants who arrive from India and other parts with their goods and effects. They are thus situated conveniently close to the market squares. In each of these, three days in every week, from forty to fifty thousand persons come to these markets and supply them with every article that could be desired.

In the past, many men in the field of architecture have become famous for their works, especially in the time of the Renaissance in Italy. These men included Filippo Brunelleschi, Leon Battista Alberti, and, perhaps the most important of all, Andrea Palladio. Widely regarded as the most influential and famous architect in the Western world, Andrea Palladio was “the last of the great Humanist architects” (Trachtenburg, 2002, p. 311). Since it is impossible to encompass all of Palladio’s accomplishments in one single essay, this paper will aim to give a detailed overview of Andrea’s early life, influences, greatest works, and his Palladian following.

The Design Argument The name teleological is derived from the Greek word ‘telos’ meaning ‘end’ or ‘purpose’. Thus nature is viewed as directed in order that something beneficial may result. More popularly it is referred to as the ‘argument from design’, but this wording assumes the very thing that has to be proved. A better description would be the ‘argument for design’.

The eighteenth-century city was a place in which actual physical space was subjected to a complex mental layering of conceptual spaces, focusing on the design theory of architects as Boullee and Durand, with his charts. Which legacy was continued later on through the architecture of Paul Philippe Cret, Frank Lloyd Wright and Louis Kahn, some of the most outstanding modern architects of 18th-19th century. Furthermore, distinctive features of neoclassicism and outlines

To tell the story of the growth of early Los Angeles it is necessary to visit the culturally significant union station in old downtown on Alameda street. The buildings owes it begging to the American phenomenon of the railroad, the institution that allowed for American expansion into the modern era and more specifically the growth of the west coast metropolis of Los Angeles that prior was just a small Spanish town. Just across the street from the Avila adobe, one of the first and oldest existing Spanish settlements in L.A., lays Union station, a building that holds on to the city’s Spanish roots through Spanish mission style architecture. At the time of its erection, the building not only told the story of the small Spanish town that Los Angeles was but also hinted at the industrial metropolis that Los Angeles would be through the art deco language. Through the fine usage and mixture of elements at a macro and micro scale, Union Station successfully mixes the two languages of Art Deco modern and Spanish mission style to form a landmark that is a remnant of a significant transitional period in LA’s history.

Many architectural and urban forms and elements that we witness today are largely influenced by how buildings were design and laid in Rome. Not only in terms of its external design that brought upon important messages but the design of interiors and the significance of spatial arrangement of spaces exist within them has created the sense of physical experience in the buildings as well. Rome’s urban development and the rise of architectural movement began during the time of Augustus

Cities are characterized by the patterns of streets and squares that define their arrangement, a concept that undergoes frequent changes since the establishment of cities 10,000 years ago. There are multitude factors that influence such changes with system of government, values, population size, values, artistic sensibility, building methods, design techniques, paving techniques, military considerations, and transport technology being the main determinants. Medieval architectural designs emphasized on rigid grid forms, that contemporary writers of the history of urban planning and design, assume the presence of grids even in plans where they exist in approximate forms. Absence of grids is often perceived as lack of planning. Nevertheless, it is critical to note that the complex patters of streets in medieval cities were neither random nor chaotic.

Historical buildings play an important role in describing the social and cultural beliefs and values of a place of its establishment. People visiting the historic buildings are able to develop a proper insight into the community beliefs and practices that exist at the time of construction of a building (DuTemple, 2003). In this context, the present essay examines and evaluates the way in which the architectural building of ‘The Colosseum’ describes the societal and cultural values of Rome. In addition to this, the essay also demonstrates the technical and spatial features of the buildings and illustrates the way through the building is able to develop a language of classical architecture in Rome. The thesis statement of the present essay can be stated as ‘The extent to which the architectural building of ‘The Colosseum’ in Rome depicts the cultural and societal values and principles practiced in Ancient Roman Society’.

The Trajan design was named after the 13th Emperor of Rome (circa. 100AD), who was a keen builder of public buildings. As was customary for Roman buildings of the time, his buildings bore distinctive stone-chiseled plaques to honor those who built them. Wherever you went in Rome, you could be sure of seeing his name adorning an edifice somewhere. Trajan ’ s Column, a large column dedicated to him, bears inscriptions in the distinctive style and is one of the most famous examples of Roman square

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.

At first sight the Sagrada Família is awe inspiring and breath taking and with this has become recognized as the universal symbol for Barcelona, Catalonia, Spain's capital city, and is unmistakably one of the most magnificent structures ever erected in this region. Spain is embedded with cultural tradition and it is believed its rich history is traced back somewhere within four hundred years of when Rome was established. Thus, setting forth the foundation and importance of history and the conviction of this culture to wrap their hearts around the place that has become what Barcelona is recognized for. The Sagrada Família's design was perfected by Antoni Gaudi, an architect, who was innovative and forward thinking in his creations and who

Gropius traces the growth of the New Architecture and the work of the now well-known Bauhaus, with accuracy, calls for a new artist and architect educated to new materials and approaches as well as meeting the requirements of the age. It is also mentioned in The New Architecture and the Bauhaus that the intention of the Bauhaus was not to reproduce any “style”, system or belief, but simply to exert a revitalizing impact on design. Even though the outward forms of the New Architecture differ primarily in an organic sense from the old, it is the inevitable logical product of the intellectual, social and technical conditions of our age. A gap has been made with the past, allowing us to face a new aspect of architecture corresponding to the technical civilization of the age we live in. The analysis of the dead styles has been destroyed. Furthermore, the new building throws open the walls like curtains to allow an abundance of fresh air, daylight and sunshine. Instead of securing the building ponderously into the ground, it poises them lightly, yet firmly at the same

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.

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