Truus Shroder Childhood

Two examples that I find especially thought provoking are the Danziger studio and the Goldwyn Library. Built to blend into the local surroundings, the luxury residence was given a humble, rough exterior. Davis' explains that the rough exterior of the architecture reflects the underlying social phenomenon of "repression, surveillance and exclusion"(Davis, 224) that collectively forms the "fragmented, paranoid spatiality"(Davis, 229 ) that LA embodies. Moreover, The house's "camouflage"(Davis, 229 ) exterior creates a stark contrast to its luxurious interior, which places further emphasis on the exclusion and barrier between the "opulent"(Davis, 256) interior and the "rough"(Davis, 224 ) environment. I find Davis' assessment of the Daziger studio particularly agreeable and accurate as I truly believe that an architecture, its purpose and characteristic, sheds light to not only its physical environment but also its social environment, something that might not necessarily be as apparent. On the other hand, I find Davis' assessment of the Goldwyn library rather exaggerated. Judging from photos taken, the fifteen foot security wall is not as grotesque and 'fear-imposing' as Davis puts it. Davis described the library as "baroquely fortified...menacing...bizarre"(Davis, 246) and "paranoid"(Davis, 251). Although security and 'vandal-proof'' maybe, as Davis suggested, the initial goal of the design, I do not believe that it is as exaggerated as Davis

The house, similarly to Emily, is a symbol - and the only surviving tribute of the decaying privileged class. By the time the story takes place plenty has changed. What was once “a big, squarish frame house that had once been white, decorated with

The Walls weren’t able to provide for their children . The father was an alcoholic , who wasn’t able to maintain a job .The mother was an artist, that one may say she was in “dream land “. They were always on the run or as the dad called it , doing the “skedaddle.” The dad would often tell the kids , it was because the mafia or the cops were chasing after him. In addition the dad never seemed to appeal to civilization, he would always tell the kids: ”These cities will kill you”.

We learn from the first paragraphs that focusing on the scenery will help her forget the nervous depression which she has been diagnosed with: ""So, I will let it [her illness] alone and talk about the house"(947). The main character’s focus on the environment is the reason for which the reader gets plenty of information about the setting.

The Room itself represents the author’s unconscious protective cell that has encased her mind, represented by the woman, for a very long time. This cell is slowly deteriorating and losing control of her thoughts. I believe that this room is set up as a self-defense mechanism when the author herself is put into the asylum. She sets this false wall up to protect her from actually becoming insane and the longer she is in there the more the wall paper begins to deteriorate. This finally leads to her defense weakening until she is left with just madness and insanity. All of the characters throughout the story represent real life people with altered roles in her mind.

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

After being crushed with deep sorrow over the death of his beloved Ligeia, the narrator moves into a decaying abbey to leave behind his lonesome house. Although he leaves the exterior of the house untouched, the narrator decorates the interior with strange but lavish furniture. “The furnishings take on the shapes and colors of his fantastic dreams” as he attempts to cope with his loss (Kincheloe). This supports the idea that the narrator would rather live in his own colorful fantasy (like the inside of his house), than engage in the dark reality (as represented by the outside of the house). Losing Ligeia meant the narrator lost his fulfillment in life; which is why his reality is now gloomy and undesirable. Not only does is the furniture an example of dream imagery, the walls of the desolate house also have a dream effect. The moving images on the walls cause the house itself to seem restless and alive. The narrator imagines this because it represents himself; always on the edge of monstrosity with each changing mood. As he hallucinates on opium, his sense of reality and fantasy is put together as one. With each furnishing, a looming memory of Ligeia haunts him as he reminances her during his opium dreams.

What Bechdel is trying to tell us is that the constant renovations and changes her father made hid his inner struggle with his sexuality. Therefore, the house became an illusion because it no longer represented a private place where one could be unguarded. It instead perpetuated the false narrative that Bechdel’s family life was fine and that they were a perfect family. It added to the fictional idea that they were the all american nuclear family. But, that was far from truth.

In his essay, Heidegger discusses the type of dwelling which is poetic in a sense. He then questions further that are the dwellings poetic in a true sense if yes then are other dwellings incompatible with the poetic ones? He further questions about the coexistence of the man’s social and historical life. For Heidegger, poetry is the things that let the man dwell and dwelling is through building. He believes that art of building is very much similar to the art of poetry. The way the verses in a poem depict a simple fact in a really creative way is same as that of the technique of constructing a building and then making the building alive by dwelling in that particular building. This philosophy of Heidegger is reflected in his architectural design sense that he connects the building styles with human life. This poem tends to remove the misconceptions that poems snatch away the realities of this world or poetry is mere fantasy but it’s not like that. Actually, poetry brings fantasy to life. Same as the opposing above and below and belonging to each other; the writer sees different contrasting things as

His goal was to create a building that was timeless, that could last without any imposing function. Stripping back the building to its essentials of structure, craftsmanship and style, he created not just objects, but symbols of everything Meis stood for in design “If buildings may be judged as embodiments of a viable system of ideas, the buildings of

Where the window represents the light of the outside world coming into the dark home, it can also represent how the world may see us from the outside looking, such as the simple old man contemplating by the window. But could also represent the superego, or how we project ourselves into the world, but then as the shadows grow darker near the staircase, the mood of the painting changes. With the stairs representing the parts of our mind, or ego, and contain our memories, desires, and ideals, the parts of our mind in which we communicate within ourselves to see who we truly are. And as the staircase darkens going upwards, so do the thoughts and memories throughout our lives. In the lower right corner, we see what looks like a woman stoking a fire. But I see this as representing the id, or the most primitive part of our psyche, the leftover remnants of when we were simple animals crawling out of the jungles of Africa. Where our primal instincts, sex drive, lust for violence, and impulses. With the woman by the fire standing in the shadows, stoking the flames of our instinctual nature, ever present, but always

“Human houses should not be like boxes, blazing in the sun, nor should we outrage the Machine by trying to make dwelling places too complementary to Machinery. Any building for humane purposes should be an elemental, sympathetic feature of the ground, complementary to its nature-environment, belonging by kinship to the terrain.”

The house is placed on the north-west corner of the site, with the main body angled south so it lies diagonally facing the garden and noodle factory. This leaves a lot of open space in the back providing the residents a pleasant view with the house remaining private. The house occupies approximately two thirds of the site, and with the back façade towards the street it is not inviting towards pedestrians. The main entrance is on the first floor and is not welcoming as the view is blocked by the exterior stairs. Cars are able to drive under the building, drop off their passengers and circle around the garden space before returning to the road. Once you arrive at the entrance you have the option of taking exterior stairs to the second floor and access to the first floor terrace or the houses public areas. The house is made of reinforced concrete with a iron frame for structural support; the facades are lined with glass windows and iron handrails for the staircases, both interior and exterior. Looking at Schminke

He chose the site for the house because he understood that humans were in close relationship with nature, therefore a plan which was in line with nature would connect to what was fundamental in people. For example, while all of Fallingwater is opened by large bands of windows, the inhabitants are sheltered as if to be in a deep cave. Conviviality, privacy and comfort are not compromised, allowing people room to relax and explore the amusement of a life clean in nature.

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.