The Theory Of Architecture, Architecture And Architecture

There are 25 major specialties in engineering that are recognized by professional societies. In any one of those 25 specialties, the goal of the engineer is the same. The goal is to be able to come up with a cost effective design that aids people in the tasks they face each day. Whether it be the coffee machine in the morning or the roads and highways we travel, or even the cars we travel in, it was all an idea that started with an engineer. Someone engineered each idea to make it the best solution to a problem. Even though engineer 's goals are similar, there are many different things that engineers do within their selected field of engineering. This paper will focus on the architectural field of engineering.

A sophisticated house or dumpy gas station catches the eye for a moment then becomes lost amongst other thoughts. However, like the art in our homes, a building's purpose is not to be stared at like a museum painting. They influence the mood of those who occupy the space. Even for people who live far away, it creates a happy thoughtfulness that these places still exist in our throwaway

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.

"Our relationship to almost every building changes over time, and for all kinds of reasons". (Goldberger, 2009).In everyday experiences when we confront a building, it is rare for our non-related architectural perceptions and thoughts to disappear from our mind, no matter how intense our interaction is. This happens when a piece of architecture functions just as a background mood in our consciousness, however closely we encounter the object. This can be explained as the effect of time on our relationship to architectural works in everyday experiences in modern and post-modern eras. This can bring an advantage of numbing a negative feeling towards a piece.But our relationship with buildings

In A Literature of Place the writer Lopez describes for us his vision and how his imagination was shaped by nature of water in a dry southern California valley. Lopez tells us how he believes the human imagination is shaped by architecture at the early stages of our lives. In the writing, he takes us on a visual journey through his description in writing of time and places for example, how he made you see southern California in his vivid view through just words. Lopez talks about the sound of the wind in the crown of eucalyptus trees, the sensation of sheen earth, mahogany and scarlet cloud piled above a field of alfalfa at dusk. Lopez explains why he feels language seemed so magical to him talking about the first

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

In this picture, Victorian style house stands alone in the field. A railroad track cuts through the foreground. There is a bare sky behind the house with no secondary objects in the immediate surroundings of the building. this enables us to keenly focus on the articulation of the building and its relationship with its environment.

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.

In Wright and An alto's houses, a powerful sense of insides is generate by opacity. Which, in Falling water is express in roughly dressed stone masonry walls and, in Villa Mairea. By white-painted, solid walls. The transparency of glass windows in both houses thereby connect the two. In both houses, the architects created a strong sense of insideness yet, at the same time, devised ways to connect inside and outside and thereby create a robust continuity between the two. This inside-outside relationship can be translate into environmental and architectural experience in four different ways: (1) in-betweeness; (2) interpenetration generated by inside; (3) interpenetration generated by outside; and (4)

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 word phenomenon is loosely defined as: something that happens. The study of phenomenon in psychology terms is the study of how people experience and interpret these things that happen. Also as architects, we create the things that happen in a building for people to experience. Post-modern architects embraced this idea of creation and took it to places never imagined before. In this essay, I will explain why phenomenology and the post-modern movement went hand in hand and how they were crucial together in the context of the times in which they came into fruition.

The opening chapter describes a sense of place through few examples. A place is perceived through our sensory responses and cognitive memory which makes that space unique and special as a type.

“ 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.

Architects are now called upon to create designs that provide social change, improve the health of a building’s inhabitants, increase equality and in general improve social life (Dutton and Mann 1996 in Woodward 2007, 3). Bioclimatic design falls within this brief as it priviledges designs that are at one with the surrounding climate and produce a harmonious microclimate for the inhabitants, thus improving health and providing social change. However, until recently technical aspects of producing bioclimatic designs were ceded to specialist-trained engineers in the field of Bioclimatics (Altomonte 2009, 13). Thus, keeping architectural education focused on its long-held traditions of culture, emotion and improving the landscape. This ensures that there is a continued gap between the traditional education of new architects and the education of principles of bioclimatic design. Which makes it difficult for architects to incorporate bioclimatic principles into their final designs.