The World Of Architecture : Tadao Ando's Work

For a great many years, architecture has been a breaking point for different artisticeras in history. Some of the most famous “works of art” have been chapels, temples, and tombs. Among the most dominant and influential eras of great architecture are the sophisticated, stoic Greeco-Roman periods and the more mystical, elemental Japanese eras. These two very distinct and very different eras have more in common than you may realize.

In Gehry’s house, he used big openings, unique wall surfaces and light conditions in a large room or visible framework, they all showing the postmodern style and making relationships between architecture and its origin. Gehry tried to “make a very tough sculptural

A lot has happened in architecture since Louis Kahn death in 1974, some of it are really good, some are dreadful and we have different preferences about which is which. However, Kahn’s work look better than ever on its own terms. Better in its solidity and gravity. He was an architect of beautiful contradictions and one of the few to create architectural elements out of scale with the human figure. His buildings are very elegantly designed but are constructed of basic, often crude materials. Consisting of

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.

The large number of people moving into cities and the majority of the population living in poverty both urban and rural it is the price of the concrete block that creates Mexico’s vernacular housing. A build as you go, use what you have, and build only what you need attitude all combine to help create this endemic. However, looking across suburbs throughout Mexico, “what you need” can be misleading, many of the houses are only partially built and continually adding on. “SEEING CONCRETE BLOCKS AS VERNACULAER, REMOVES THE NOTION THAT THIS MATERIAL IS HOMGENIZING AND AHISTORICAL” – FRY 2008. Tepetzil concrete blocks are the most popular blocks, most are exposed, however wealthier families will add a coat of painting or plaster to the outer wall. Modern machinery has accelerated the production of blocks and are now formed at a very low cost. Both rural and city citizens recognize these to be very light weight, durable, able to with stand multiple weather conditions and most of all easy to build with; which help make the tepetzil block to be the most popular. Due to low wages and frequent unemployment, the overhead cost of purchasing and building with Tepetzil blocks outweigh the negatives. The deep history of architecture housing throughout Mexico is special, not only from the diverse structures within each city, but the world as

Nowadays, as modern societies provide an almost fixed time-table for humans to operate in various fields, we have far less freedom regarding our natural and momentary impulses than in the past. In other words, "we are increasingly detaching ourselves from organic and functional periodicity which is dictated by nature, and replacing it by mechanical periodicity which is dictated by the schedule, the calender, and the clock"(Jackson, 1994). The influence of this modern style of living on our sense of time can be seen on our relationship to every object we interact including buildings and architectural works.

We also see walls/doors as a symbol that is ensuring the isolation of the characters. Each character will be analyzed through the text first, and then I will analyze using other critics’ perspective on the issue.

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)

Due to the use of concrete, the idea was that the architecture would be able to be a

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.

Moshe Safdie is an architect who really examines how a building can shape an area. Not only how the space may look but its functionality, impact on the environment, and impact on the surrounding community. He seeks to engage and enrich the communities making unique and inviting spaces to fit the needs of each project. (Safdie Architects)

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.