What Is Jimenez Lai's The White Elephant

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

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)

In A Home Is Not a House, Reyner Banham starts by arguing that the main function of the typic American house is to cover its mechanical structure. In fact, he states that the use of mechanical services in architectural practice varies constantly because mechanical services are considered to be new in the profession, as well as, a cultural threat to the architect’s position in the world. To show his argument, Banham states that American houses are basically large single spaces divided by partitions inside that give a relative importance to the use of internal mechanical services, causing a threat to the need of architectural design. Similarly, American cultural characteristics, like cleanliness and hygiene, also foster the use and need of mechanical

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

The Eyes of the Skin of Architecture Juhani Pallasmaa 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.

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

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.

Maison Carree and Gallier Hall “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)

INFLUENCES IN FRANK LLOYD WRIGHT’S ORGANIC ARCHITECTURE Frank Lloyd Wright is one of the most important architects of the twentieth century; with his buildings and his ideals of an organic architecture, he got to be known by everyone. Who does not know about the Fallingwater? This building is considered his masterpiece and represents all his principles. For him, organic architecture was designing by integrating a building to its site and context, and he was able to achieve it with most of his projects. However, Wright’s career did not started like this; he went through a lot of complex periods that ended consolidating his ideals as an architect. Moreover, each of these phases had different kind of influences that Wright took and learned from. Therefore, it’s important to acknowledge how outside architecture and social factors influenced his “Organic” idea.

‘The avant-garde understands itself as invading unknown territory, exposing itself to the dangers of sudden, shocking encounters, conquering an as yet unoccupied future ... The avant-garde must find a direction in a landscape into which no one seems to have yet ventured.’ JURGEN HABERMAS, "Modernity versus Postmodernity," Modernity: Critical Concepts Using the

Throughout my day trip to Chicago, Illinois as part of American Experience, there was one question that behind my experiences that guided my thoughts: “What does modern architecture mean?” It is a simple question to ask, but a much more difficult question to answer. After all, we hardly even recognize

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.

Vahid Farbod Assignment 2 – Journal Article Deconstruction Malnar, Joy Monice and Frank Vodvarka. Sensory Design. Minneapolis: University of Minnesota Press, 2004. 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

Considerations in Casino Design “ 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).

Arch 8011 Research Methods 2013 Jonathan Jordan, 1361176 ARCHITECTURE: WORDS OR SHAPES Introduction 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