Architecture

About: Architecture is a research topic. Over the lifetime, 25849 publications have been published within this topic receiving 225266 citations.

Programs and Manifestoes on 20th-Century Architecture

Abstract: The present volume offers eloquent testimony that many of the master builders of this century have held passionate convictions regarding the philosophic and social basis of their art. Nearly every important development in the modern architectural movement began with the proclamation of these convictions in the form of a program or manifesto. The most influential of these are collected here in chronological order from 1903 to 1963. Taken together, they constitute a subjective history of modern architecture; compared with one another, their great diversity of style reveals in many cases the basic differences of attitude and temperament that produced a corresponding divergence in architectural style. In point of view, the book covers the aesthetic spectrum from right to left; from programs that rigidly generate designs down to the smallest detail to revolutionary manifestoes that call for anarchy in building form and town plan. The documents, placed in context by the editor, are also international in their range: among them are the seminal and prophetic statements of Henry van de Velde, Adolf Loos, and Bruno Taut from the early years of the century; Frank Lloyd Wright's 1910 annunciation of Organic Architecture; Gropius's original program for the Bauhaus, founded in Weimar in 1919; "Towards a New Architecture, Guiding Principles" by Le Corbusier; the formulation by Naum Gabo and Antoine Pevsner of the basic principles of Constructivism; and articles by R. Buckminster Fuller on universal architecture and the architect as world planner. Other pronouncements, some in flamboyant style, including those of Erich Mendelsohn, Hannes Meyer, Theo van Doesburg, Oskar Schlemmer, Ludwig Mies van der Rohe, El Lissitzky, and Louis I. Kahn. There are also a number of collective or group statements, issued in the name of movements such as CIAM, De Stijl, ABC, the Situationists, and GEAM.Since the dramatic effectiveness of the manifesto form is usually heightened by brevity and conciseness, it has been possible to reproduce most of the documents in their entirety; only a few have been excerpted.

Chapter 4 : bioclimatism in vernacular architecture

Abstract: Any analysis of the role played by energy in architecture is faced with serious limitations due to the lack of studies in the architectural bibliography, especially studies of popular architecture. An awareness of these limitations will allow us to understand better why architects have paid little attention to the interaction of form and energy, and to the bioclimatic approach in contemporary architecture in general. The first limitation stems from the very essence of bioclimatic analysis; energy is immaterial, difficult to represent in images, changing in time and wrongfully left out of the architectural literature. This is why it is difficult to find a basic knowledge of the functional aesthetic possibilities of bioclimatism in the cultural experience of present-day architects. The second limitation to this knowledge, even more important than the previous one, is the low value given to the more anonymous popular architecture as opposed to representative architecture. The latter is the kind of architecture built by established power, which attempts to impress the observer and clashes with, dominates, and often destroys the natural environment. This style of architecture is crammed with theoretical aesthetic concerns, which would rather create artificial environments than be integrated in the natural milieu. To sum up, it is the architecture undertaken by well-known authors, found in important buildings, which have been commented and widely appreciated by architecture critics throughout history. Nowadays, representative architecture can be said to describe the architecture found in large office buildings, which embody the legacy of such works from the history of culture as the pyramids, classic shrines, medieval castles and large Gothic cathedrals, baroque and Renaissance palaces, etc. These modern buildings, clad in glass as a symbol of their modernity, are incongruously dark and require artificial lighting during the day, while the flimsy casing separating them from the outside makes it necessary to use air conditioning all year round, even when outside conditions are pleasant. We can well affirm that these buildings are so wrong that they work worse than the climate. In comparison with this type of representative architecture, we find popular architecture, performed by the people as a direct response to their needs and values. These buildings show a greater respect for the existing environment, whether natural or artificial. They do not reflect theoretical aesthetic pretensions and use local materials and techniques as far as possible, repeating over and over again the course of history models which take the constraints imposed by the climate fully into account. Our popular architecture—so often forgotten in official circles—may well be the kind which can best teach us today how to assimilate the bioclimatic approach in the practice of architectural design. However, we should not consider these solutions to be models to copy in current architecture. Our technical capacity and our cultural grounding prevent us from returning to these obsolete architecture forms, but what may be of use as a lesson and a source of inspiration is the attitude of the builders of this popular architecture, which recovers a relationship to the environment which has been lost in the more official architecture of the 20th century.

Placing Words: Symbols, Space, and the City

Abstract: The meaning of a message, says William Mitchell, depends on the context of its reception. "Shouting 'fire' in a crowded theater produces a dramatically different effect from barking the same word to a squad of soldiers with guns," he observes. In Placing Words, Mitchell looks at the ways in which urban spaces and places provide settings for communication and at how they conduct complex flows of information through the twenty-first century city.Cities participate in the production of meaning by providing places populated with objects for words to refer to. Inscriptions on these objects (labels, billboards, newspapers, graffiti) provide another layer of meaning. And today, the flow of digital information -- from one device to another in the urban scene -- creates a digital network that also exists in physical space. Placing Words examines this emerging system of spaces, flows, and practices in a series of short essays -- snapshots of the city in the twenty-first century.Mitchell questions the necessity of flashy downtown office towers in an age of corporate Web sites. He casts the shocked-and-awed Baghdad as a contemporary Guernica. He describes architectural makeovers throughout history, listing Le Corbusier's Fab Five Points of difference between new and old architecture, and he discusses the architecture of Manolo Blahniks. He pens an open letter to the Secretary of Defense recommending architectural features to include in torture chambers. He compares Baudelaire, the Parisian flaneur, to Spiderman, the Manhattan traceur. He describes the iPod-like galleries of the renovated MoMA and he recognizes the camera phone as the latest step in a process of image mobilization that began when artists stopped painting on walls and began making pictures on small pieces of wood, canvas, or paper. The endless flow of information, he makes clear, is not only more pervasive and efficient than ever, it is also generating new cultural complexities.