What Happened To Gehry's House?

Ray Bradbury uses personification in his short story The Veldt to make the inanimate objects come to life. The house and deadly nursery prove to be a true and raw form of author’s craft. However, people may describe it as a simile or a metaphor, which is not correct considering the specifics of personification that were in play. In addition, the fact that even the things inside of the house, like the stove, had personification added in to describe them. Personification is a form of author’s craft that, in a way, must be used precisely, and in The Veldt, it is used as such, and in many creative

Firstly, Bradbury describes the home with human qualities and actions giving a personality, with “mechanical paranoia,” and a “hissing sigh” (Bradbury 287; 284). Next, the house is granted human-like parts as well. One example of this would be an “attic brain which directed pumps” (Bradbury 290). Also, the house is able to identify feelings as a human would, whom are unlike any other animal on this planet: “[Humans] depend on insights from personal experiences to determine that some mental states have certain ‘feelings’ associated with them and others do not, which we call ‘emotions’” (Welsh). An example of this would be when the house says, “Sara Teasdale, as I recall your favourite,” (Bradbury 289). This displays the idea that the house has knowledge of one’s favourite poem, something that a dog or stereotypical robot does not know, and exhibits a sense of affection. For these reasons, this is influential because it demonstrates that the house itself is a human, showing the lack of need for real humans and that a planet without them would have no great

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

Here’s fixed viewpoint into a home’s living room situates the reader into the infinite qualia occurring throughout history. The tangible space-time continuum as represented by transtemporal windows inserted onto the living room allows the reader to fluidly explore the impermanence of the “now” and define the “here”. The reader creates and completes the three dimensionality of the living room and transcends into the fourth dimension, spacetime, the interwoven continuum of space and time in which the living room and the moments projected onto it are occurring simultaneously and separately. Pages 193-194 bases itself in the living room of 1986. Four windows overlay it, spanning the years 1352-2014. Diagetically, the individuals located in each

The term “Glass House” does not just describe the house itself; but also the surrounding environment. While designing and building the house, Johnson has also found architect to re-design the surrounding landscape. In fact, part of the designed landscape refers to the The Burial of Phocion by France artist Nicolas Poussin. (Tutter, 2011, p.2) The sense of enclosure seems to be disappeared, or expanded widely to not just where the four glass-walls are; but the entire land that the Glass House is positioning on. The image of the landscape is reflecting, as well as showing through the house which sense of interior and exterior become unsettle, persistently questioning the entire problem of the relationship of the numerous spatial elements in particular

This metaphor can be further expanded upon in the exploration of Claudia Benthien analogy of the body or skin as a house ‘solid, enveloping, and concealing forms, as rooms in which life happens’ (Benthien, 2002, p99). One could propose that Buffalo Bill is living in the wrong house. The house metaphor can be developed further in relation to The Silence of the Lambs and its cinematography. The shooting of the film takes particular interest in the detail of the character’s occupancy. In addition the cinematics of the film use physical housing as a

This essay will describe, analyse and provide theoretical commentary for the staff room of Masters Home Improvement at Parkinson. Access and analysis of this consumer space was able to be conducted over a period of one month prior to the report being written, and is based on first hand experience as an employee of Masters. The essay will consider the space from a cultural anthropological view as it observes staff conduct and the motivations behind the behaviours. The report will then consider the semiotics of the space in regards to signs and symbols and how staff members respond to their impressions of these messages. Finally the essay will discuss critical theory and Marxism in relation to the political economy of the space (Brennan,

The Glass House set out to change people’s way of life. My personal aim, and it was not the public’s nor the modern architects’ aim at all, was to show that modern houses can be beautiful. I only had one objective, and I still do, that it has to look beautiful.

The incorporated single-family habitation and studio-display space of House D, designed by PAUHOF Architeckten, lays on a precarious incline inside the sloping scene of Austria. The level band of windows that watches out onto the open rough scene offers a streamlined band of daylight demonstrative of Le Corbusier's pioneer beliefs.

When asked to state a preferred sculptural work, few seldom answer in terms of architecture. Usually, when the term architecture is brought up, those of us who are non-architects tend to close mindedly think only about buildings. This apparent disconnect between what is conceived as architecture and what is conceived as art has long plagued the architects of this world. It is almost as if there is an accepted notion that architects can be artists, but artists simply cannot be architects which decidedly makes architecture first and foremost architecture, not art. Architect Frank Gehry is one such architect with artistic tendencies whose works have fallen victim to the preconceived ideas of architecture as art. Having a love for sculpture before entering into the world of architecture, it makes sense that Gehry would attempt to conceive works where both of his passions could shine through. Ultimately, this is what would motivate Gehry to create structures in which art and architecture could be seen as equals. In the end, however, Gehry’s goal of designing buildings where art and architecture were of the same importance would eventually become a self-contradictory objective. This can best be seen in the design of Gehry’s most renowned work, the Guggenheim Museum in Bilbao, Spain. By attempting to combine the most interesting aspects of art and architecture into one massive building, Gehry created a structure so revolutionary that it, like himself, would forever be known not

“Only if we are capable of dwelling, only then can we build.” This claim was made by German philosopher Martin Heidegger in his lecture ‘Building Dwelling Thinking’. In the lecture Heidegger goes beyond architectural and design practices by referring ‘building’ not only in architectural construction, but to the whole range of human productive activity. When thinking about ‘dwelling’ it is usually connected to buildings. The goal of a building is to allow one to dwell, but not all buildings are in the domain of dwelling. Christian Nordberg-Schulz describes ‘place’ as that which in we dwell, within which we are at home. The truck driver is at home on the highway, but he does not have his accommodations there; the working woman is at home in her office, but does not have her dwelling place there. Dwelling is not only limited to the dwelling place. Schulz stated that dwelling as being in a harmonious relationship with one’s surrounding environment. He believes that dwelling is based in the idea that our dwelling in place grants us an identity and a meaning that we would otherwise lack. Thus, in order to dwell in a place one must personally connect with that place which leads us to exclude others from that place as a means to affirm that identity. Many critics claim that if place is an essentially relative concept based on a personal sense of belonging then dwelling must be too.

In this essay, I intend to look at Question 1, The Modern City 1, Paris. I have decided to choose and examine Maison de Verre (1928-32) by architect, Pierre Chareau which is situated in Rue Saint-Guillaume, Paris. Maison de Verre, also known as House of Glass was built in the era of Modern Movement and of course, it somehow has a strong relation with the early modernist issues materially, structurally and spatially. I will first explore how the house relates to the industrialisation issue in general but to be specific how Chareau’s interest and decision to use certain materials like steel really brought forward the sense of the industrial design of the house. Then, I will talk about the relation of the house with the issue of mechanisation and how successful Chareau was in portraying a set of machines to live in with amazing planning since the very beginning. His concept of “mobility” in most of the mechanical designs really captured my interest. Last but not least, I will discuss the issue of hygiene in this house as I think that it is somehow a response to the spread of diseases in the twentieth century and people started to think more about the idea of cleanliness. At the end of this essay, I will conclude it with a summary of the three modernist issues which will be discussed later and the influence of Maison de Verre on the following architects’ generation.

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.

Hiring an architect to develop and construct a home cost a great deal of money. The patrons wanted their home to be reminiscent of a monument serving as a reflection of their power and wealth. As a result, homes were built with little regard to the people’s need and desires. The Schminke House is designed with the purpose of meeting

After a long, tiring walk home, Peter and I eventually reach our destination. Peter runs into his room, and flops on the bed. He appears to be angry with me. Oh, well. He’ll thank me later. We’ve been home for about an hour, and finally Mary comes in and slams the door. As soon as she does, the entire house transforms. Everything grows larger and begins to resemble a house. The dirt walls turn into stone and there are immense windows with violet drapes. The furniture transfigures from home-made, wooden chairs and tables into elaborate and expensive furnishings. All of the clothes in the wardrobe change into exquisite masterpieces of fabric. The house is spacious and immaculate. Peter, Mary, and I are standing here in a state of shock. And