The goal of an architect is to design accordingly to the time with an understanding of the

Tweed explains spaces are not merely objects, but processes that are constantly changing. Tweed reveals the Latin, Japanese, and English word for space, “refer to both extension and duration, a temporal and spatial ‘interval” (120). Tweed uses the Mexican chapel to explain that religious spaces have history. After a federal immigration law was passed, there was a notable change in the chapel. In fact, the chapel had, “much more resonance- and, shrine officials report, many more visitors- than it did during the late 1960’s” (120). Tweed implies that change does not have to be physical in appearance; there can be a change in history, tradition or

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.

“Architecture should not be seen as representing a magical transition from the worldly to the heavenly, as had been implied by the Baroque Style, but rather as a medium that told nothing less than the story of the “origins” of mankind.” (Ching 610)

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 matters because they often symbolize something that goes beyond being just a mere object. They symbolize something that has a deeper meaning, something that is special to us. They often covey emotions

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

As a paradigmatic place of public involvement and symbolic disclosure, theatre has always served as a suggestive source of inspiration for architects and played a role in relation to architectural theories and ideas. Every collective memory unfolds within a spatial framework. Space is a reality that endures: since our impressions rush by, one after another, and leave nothing behind in the mind, we can understand how we recapture the past only by understanding how it is, in effect, preserved by our physical surroundings.

On his book on Modern Architecture, Curtis writes that modern architecture was faulted for it’s “supposed lack of ‘recognizable imagery’” towards the end of the 1970s. This statement supports the idea of Jencks’ double coding where architects must now make

Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.

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.

Before the end of my second year at Rensselaer Polytechnic Institute School of Architecture, I began to ponder on the possibility of quitting architecture. It was a convoluted time of uncertainty; I wasn’t sure whether I was prepared to become an architect and take on the responsibility and commitment to better the built environment. Nevertheless, I decided to give myself one last shot at architecture before giving up – I accepted the internship offer from MAD Architects in Beijing, China. There, I got to meet many young architects

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 book, Sensory Design published by Joy Monice Malnar and Frank Vodvarka in 2004, explores a new multi-sensory method of design for architects in 335 pages. The opening of the book starts with a question “What if we designed for all senses?” Very similar to articles from Pallasmaa, the book leaves the reader wanting to know more about this method although this book covered many topics and included many references. Malnar is an associate professor at the University of Illinois, and Vodvarka is an artist who wrote many articles on architectural history.

“ 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).

Architecture can be viewed with two different types of properties. Properties that can be seen like shapes, their composition, the spaces they create and, the colours and textures that make up their appearance. These properties are considered to be visual while other properties are considered to be abstract. These properties can only be described using words; the meanings behind the architecture and the stories that can be told about it. The context, its cultural background and its function also affects how we view architecture. The question is, what