Evolutions of Architecture

8/14/2019 Evolutions of Architecture

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DeconstructionIn the 1980’s a new tendency was born: the deconstruction,which was also called “new modern architecture” inits beginning. It was meant to replace post modernarchitecture. A very signicant dierence of this style isthat it started rather from an intellectual movement thanfrom a signicant building marking it’s beginning. Thenew slogan was “form follows fantasy” analogous to the

tradition formula pronounced by Sullivan “form followsfunction”. In 1988 Philip Johnson organized an expositioncalled “Deconstructive Architecture” which nally broughtthese ideas to a larger audience. Those ideas even had aphilosophical base developed by Jacques Derrida.

The idea was to develop buildings which show how dierentlyfrom traditional architectural conventions buildings can bebuilt without loosing their utility and still complying withthe fundamental laws of physics. The houses looked as if abunch of parts had been thrown together and left exactlythe way they fell on the oor. These buildings can be seen

as a parallel to other modern arts, which also became moreand more abstract, questioning whether a certain objectis still art or not. Thanks to their signicant dierences toall other buildings, the deconstructive ones made clearto the observer, that architecture is an art and not just anengineering discipline. This movement was also inspired bythe futurists of the early 20th century in Russia who also brokewith all architectural conventions of their time. Because thedeconstructive houses were huge abstract sculptures youcan enter rather than real buildings, the number of realizedworks is rather small. Due to the high costs and the fact thatbig companies were not interested in such buildings for theirrepresentative skyscrapers and even less for their functionalbuildings, only small projects for the public sector or privateclients were realized.

http://library.thinkquest.org/26491/db-style.php3?browser=3&styleIndex=3

Zaha HadidZaha Hadid is a contemporary outstanding deconstructivist

architect. Born in Baghdad, on October 31, 1950, the Iraqi-British achieved a degree in mathematics from the AmericanUniversity of Beirut before moving to London, to study atthe Architectural Association School of Architecture. Aftergraduating, she worked with the Dutch architect RemKoolhass, at the Oce for Metropolitan Architecture (OMA).She then became partner in 1977 and established her ownLondon-based practice in 1980.

http://www.egodesign.ca/en/article.php?article_id=58

Zaha Hadid_The World (89 degrees) Rosenthal Contemporary Arts Center

http://butdoesitoat.com/lter/zaha-hadidhttp://aisyahrozi.com/random/10-words-i-wish-id-never-see-again/

http://my.opera.com/Nikio/blog/2007/05/23/deconstructivismhttp://www.topboxdesign.com/tag/deconstructivism/page/2/

http://www.civilprojectsonline.com/building-construction/deconstructiv-ism-walt-disney-concert-hall/

[JONGWOO KIM]



BrutalismBrutalist architecture is a style of architecture whichourished from the 1950s to the mid 1970s, spawnedfrom the modernist architectural movement. Examples aretypically very linear, fortresslike and blockish, often with apredominance of concrete construction. Initially the stylecame about for government buildings, low-rent housing andshopping centers in order to create functional structures at

a low cost, but eventually designers adopted the look forother uses such as college buildings.

Critics of the style nd it unappealing due to its “cold”appearance, projecting an atmosphere of totalitarianism,as well as the association of the buildings with urban decaydue to materials weathering poorly in certain climates andthe surfaces being prone to vandalization by grati. Despitethis, the style is appreciated by others, with some of theangular features being softened and updated in buildingscurrently being constructed in Israel and Latin America, andpreservation eorts are taking place in the United Kingdom.

http://en.wikipedia.org/wiki/Brutalist_architecture

http://www.lunch.com/Reviews/d/Brutalist_Architecture-Pho-tos-1381045-Brutalist_architecture-166107.html?pid=0

http://travellingsahil.blogspot.co.nz/2010/05/tracing-santo-domingo.htmlhttp://www.ickr.com/photos/caspar_borkowsky/4155932258/

Le CorbusierCharles-Édouard Jeanneret, better known as Le Corbusier(French pronunciation: [lə kɔʁbyzje]; October 6, 1887 –August 27, 1965), was an architect, designer, urbanist,and

writer, famous for being one of the pioneers of what is nowcalled modern architecture. He was born in Switzerland andbecame a French citizen in 1930. His career spanned vedecades, with his buildings constructed throughout Europe,India and America.

He was a pioneer in studies of modern high design andwas dedicated to providing better living conditions for theresidents of crowded cities. A few of his buildings are inBrutalist architecture style.

http://en.wikipedia.org/wiki/Le_Corbusier

[JONGWOO KIM]



Art DecoArt Deco (/ˌɑrt ˈdɛkoʊ/), or deco, is an eclectic artistic anddesign style that began in Paris in the 1920s and ourishedinternationally throughout the 1930s and into the WorldWar II era. The style inuenced all areas of design, includingarchitecture and interior design, industrial design, fashionand jewelry, as well as the visual arts such as painting, graphicarts and lm. The term “art deco” was coined in 1966, after

an exhibition in Paris, ‘Les Années 25’ sub-titled Art Deco,celebrating the 1925 Exposition Internationale des ArtsDécoratifs et Industriels Modernes (International Exhibitionof Modern Decorative and Industrial Arts) that was theculmination of style moderne in Paris. At its best, art decorepresented elegance, glamour, functionality and modernity.Art deco’s linear symmetry was a distinct departure from theowing asymmetrical organic curves of its predecessor styleart nouveau; it embraced inuences from many dierentstyles of the early twentieth century, including neoclassical,constructivism, cubism, modernism and futurism and drewinspiration from ancient Egyptian and Aztec forms. Although

many design movements have political or philosophicalbeginnings or intentions, art deco was purely decorative.

http://en.wikipedia.org/wiki/Art_Deco

RegionalismWhen the term “regionalism” is used for architecture, ittypically denotes an architecture that is derived from its localsetting. Unlike most universally designed post-World War IIarchitecture (think glass oce buildings, shopping centers,and tract homes), an architecture derived from a regionalismconcept becomes inherently site specic, responding to thelocal climate and culture.

But because of our internationally based economy,construction materials can easily be from across an ocean asthey could be from down the street, thus making regionalismarchitecture more of an aesthetic style emulating the localenvironment rather than an architecture constructed ofregional materials.

The seaweed and wool bricks described in this article bringup an interesting point of creating building materials fromabundantly available materials, but are these bricks ananswer to an area of the world where mud is abundant and

seaweed is something served only at the local Japaneserestaurant?

It’s very cool that these bricks, constructed of materials nottypically used in masonry, perform better than traditionalbricks. But is it worth it (or maybe the proper term should be“appropriate”) to use a building material that may perform alittle better than what is required, but needs to be shipped aconsiderable distance?

When it comes to building materials and sustainability(whether real sustainability or perceived) the “new fad”always seems to be presented as the universal piece ofachieving green architecture. Universal – there’s that wordagain.

http://bluearchitecture.wordpress.com/2010/10/07/regionalism-architecture-more-than-just-style/

[JONGWOO KIM]

[VERA WU]



LayeringLayering, like all architectural structures, reects a divisionof the software into units. In this case, the units are layers;each layer represents a virtual machine. A virtual machine isa collection of software that together provides a cohesive setof services that other software can utilize without knowinghow those services are implemented.

Symbolic ArchitectureTerm coined by Charles Jencks in the 1980s to describearchitecture with a strong degree of personication or withallusions to cultural ideas, historical references, and otherpre-Modernist themes, or in which there were visual jokes,puns, and mnemonic motifs.

To provide some intuition, a rst denition of a symbolicarchitecture is an architectures that utilizes symbol

manipulations in a xed manner to represent its processing.A common alternative to symbolism is to use analogrepresentations and transformations.Now the term symbolic architectures will be dened inmore detail. A natural question to ask is what is a symbol?Allen Newell considered this question in Unied Theoriesof Cognition. He dierentiated between symbols (thephenomena in the abstract) and tokens (their physicalinstantiations). Tokens “stood for” some larger concept.They could be manipulated locally until the information inthe larger concept was needed, when local processing wouldhave to stop and access the distal site where the informationwas stored. The distal information may itself be symbolically

encoded, potentially leading to a graph of distal accesses forinformation.

Newell dened symbol systems according to theircharacteristics. Firstly, they may form a universalcomputational system. They have memory to contain thedistal symbol information, symbols to provide a pattern tomatch or index distal information, operations to manipulatesymbols, interpretation to allow symbols to specifyoperations, and, capacities for there to be: (a) sucientmemory, (b) composibility (that the operators may makeany symbol structure), and (c) interpretability (that symbol

structures be able to encode any meaningful arrangementof operations).

Finally, Newell dened symbolic architectures as the xedstructure that realizes a symbol system. That it is xed impliesthat the behavior of structures on top of it (i.e. “programs”)mainly depends upon the details of the symbols, operationsand interpretations at the symbol system level, not upon howthe symbol system (and its components) are implemented.How well this ideal hold is a measure of the strength of thatlevel.The advantages of symbolic architectures are:1. much of human knowledge is symbolic, so encoding it ina computer is more straight-forward2. how the architecture reasons may be analogous to howhumans do, making it easier for humans to understand (theip-side of 1)3. they maybe made computationally complete (e.g. TuringMachines)

[VERA WU]

http://hexacool.blogspot.co.nz/2008/09/shanghais-icon-architecture-ren.html

http://funbelowsun.blogspot.co.nz/2012/07/the-new-half-moon-building-in-dubai.html

http://djcadteam8.wordpress.com/tag/symbolism/

[VERA WU]



BiomorphicThe term ‘Biomorphic’ refers to a design style that began inthe 20th century. This style is heavily inuenced by naturalbiological patterns and elements such as petals, leaves andshapes that mimic day to day shapes and surfaces of organicelements. The style is still commonly used today in the 21stcentury, and is becoming more advanced due to the aid ofdeveloped computer graphics software and technology.

After researching the term ‘biomorphic’ as well as biomorphicarchitecture, I gathered some images and information thatcontribute to my understanding of the term and how itcould be applied to my project. The overall picture regardingbiomorphism is that it is a man-made alternative to trying tobe as organic as possible, or to design an object or buildingthat has been heavily in uenced by ‘nature.’ To achieve this,these designs consists of natural patterns that are seen in theenvironment, organic shapes, a smooth edge to the design,and to imitate natural elements to a building.

[EMILY SMITH]



FoldingFolding covers a broad range of criteria - origami, generalfolds in material, folding in buildings, etc. Folding inarchitecture creates quite a beautiful array of patterning andshape, symmetry through means of bending, manipulating,folding and cutting material. When done with order andattention to detail, the results look very aestheticallydynamic, and gives a sense of three dimensionality, depth

and thickness. Using folding on the exterior of the facadeof a building could potentially create a really interestingfacade for a hotel, and could add to its exterior beauty andintricacy. Some of these pictures I have found from a quicklook on the internet, are very good examples of a range ofdi erent kinds of folding. From origami like folds in theexterior material of a building to delicate precise foldingof softer materials, there are clearly many di erent waysto approach this idea in architecture. This idea would be apotential option for inuencing the exterior design of a hotelor any other building that we may design.

[EMILY SMITH]



RegionalismPatterns in ornamentation have been a signicant aspect toarchitecture for a very long time and has in uenced manyaspects of previous buildings as well as today’s buildings.Ornamentation, especially in the Victorian age used to beone of the major factors to creating grand buildings, andbaroque-like interiors. Nowadays however, ornamentation,especially pattern ornamentation inside spaces are much

more drawn back and stark. Patterns of ornamentationcan be used for the sake of ornamentation or includingthe ornamentation as a part of the structural members orelements in the building. Patterns of ornamentation in morehistorical buildings were included on the ceiling- like thetop photo, taken from Auckland rail station, collums, pillars,walls, etc. Nowadays, there is hardly any ornamentation, asthe ‘contemporary’ look is stark and drawn back.

[EMILY SMITH]

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Evolutions of Architecture