The World Of Modern Architecture Essay

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

you of a deep blue sea or a clear black sky. The photo has strong

The Middle Ages, also known as the Medieval era, though scarred with a history of violence and war, has given the world some of the most marvelous and beautiful pieces of art, particularly in architecture. The Middle Ages is the name given to the time period from the late 5th century to the 15th century, particular to European history. The construction of these types of buildings was a constant for various cultures for a thousand years. They can be categorized into three phases; Pre-Romanesque, Romanesque and Gothic. The most important buildings during medieval times were religious, defensive and governmental or power related.

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.

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 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

Postmodernism is a universal movement, present in every art and discipline. In architecture, postmodernism is precise as well as ambiguous thereby in need of an explorative pursuit for a consensus of what is meant by the movement in this perspective - between the works of Charles Jencks, a primary theorist of this architectural turn; Heinrich Klotz, a leading architectural critic; and William Curtis, an architectural historian. The progression of this paper is highly influenced with Jencks’ studies as his works are often times referenced as well by both Klotz and Curtis in their individual interpretations and further accompanied with either supporting statements or contradictions.

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.

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.

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

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.

In relation to this the book ’Le Corbusier ‘by Kenneth Frampton (British architect, critic and historian, born: 20/11/1930) also holds a link within some of the opinions, movements and beliefs of Le Corbusier. Focusing from the early stages of Corbusier’s life to his last works, we find ourselves indulging in facts and creations of Corbusier himself such as the Dom-ino. As featured in the previous reading ‘towards a new architecture’ Corbusier talks about the engineers aesthetic ‘two things that march together and follow one from the other one at its full height, the other in an unhappy state of retrogression’. After some research in to this I was lead to the dom-ino design (image above). The dom –ino was an early example of the engineers aesthetic and became the theoretical basis of most of Corbusiers houses up to 1935 and extended on a scale much larger than the two story house. The dom-ino led to a number of prototype buildings such as the United De Habitation. The design allows the concept of the free facade, The pieces were to be pre-fabricated allowing the construction time of the design to be reduced and thereby a product of Corbusier’s application of

The Bauhaus school was founded in 1919 in Weimar by German architect Walter Gropius (1883 - 1969). In 1923, Walter Gropius introduced the agreement between “creative artists and the industrial world”. The Bauhaus is most famous for the idea of combining forms and functions. They combined both fine arts and design elements to create a curriculum that trained artists and designers to be capable of producing both functional and aesthetic work. One of the main goals was to bring design and technology together. During the Bauhaus period, Fine art and craft were combined together and aimed toward problem solving for an innovative, modern and industrial society. Nowadays, the Bauhaus legacy continues in modern designs, such as minimalism, or design brands like IKEA. In this essay, I will analyze Bauhaus’s influence on modern design, including architecture and furniture design by exploring different examples from different periods of time.

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