ARCHITECTURE
Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. Historical civilizations are often identified with their surviving architectural achievements.
Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. Historical civilizations are often identified with their surviving architectural achievements.
Modern concepts
While the notion that structural and aesthetic considerations should be entirely subject to functionality was met with both popularity and skepticism, it had the effect of introducing the concept of "function" in place of Vitruvius' "utility". "Function" came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural.
To restrict the meaning of (architectural) formalism to art for art's sake is not only reactionary; it can also be a purposeless quest for perfection or originality which degrades form into a mere instrumentality".Nunzia Rondanini stated, "Through its aesthetic dimension architecture goes beyond the functional aspects that it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development.'
Among the philosophies that have influenced modern architects and their approach to building design are rationalism, empiricism, structuralism, poststructuralism, and phenomenology.
In the late 20th century a new concept was added to those included in the compass of both structure and function, the consideration of sustainability, hence sustainable architecture. To satisfy the contemporary ethos a building should be constructed in a manner which is environmentally friendly in terms of the production of its materials, its impact upon the natural and built environment of its surrounding area and the demands that it makes upon non-sustainable power sources for heating, cooling, water and waste management and lighting.
Development of the Style
To restrict the meaning of (architectural) formalism to art for art's sake is not only reactionary; it can also be a purposeless quest for perfection or originality which degrades form into a mere instrumentality".Nunzia Rondanini stated, "Through its aesthetic dimension architecture goes beyond the functional aspects that it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development.'
In the late 20th century a new concept was added to those included in the compass of both structure and function, the consideration of sustainability, hence sustainable architecture. To satisfy the contemporary ethos a building should be constructed in a manner which is environmentally friendly in terms of the production of its materials, its impact upon the natural and built environment of its surrounding area and the demands that it makes upon non-sustainable power sources for heating, cooling, water and waste management and lighting.
Development of the Style
Since the mid-19th cent. there had been repeated attempts to assimilate modern technology in practice and theory and to formulate a modern style of architecture suitable to its age. A functionalist approach eventually replaced the formerly eclectic approach to design. Technical progress in the use of iron and glass made possible the construction of Sir Joseph Paxton's celebrated Crystal Palace in London (1851), in which a remarkable delicacy was achieved. In the ensuing years iron, steel, and glass enabled architects and engineers to enclose the vast interior spaces of train sheds, department stores, and market halls, but often the structural forms were clothed with irrelevant ornament.
As late as 1889 the exposed, iron skeleton of the newly erected Eiffel Tower in Paris was met with public outrage. In Chicago, William Le Baron Jenney pioneered the use of a complete steel skeleton for the urban skyscraper in his Home Insurance Building (1883–85). His contemporary, Louis Henry Sullivan, first articulated the theory of functionalism (see functionalism), which he demonstrated in his numerous commercial designs. In addition, experiments in concrete construction were being carried out in France by François Hennebique and Auguste Perret, and in the United States by Ernest Ransome.
As a result of these advances, the formal conception of architecture was also undergoing a profound transformation. Frank Lloyd Wright, a pupil of Sullivan, experimented with the interpenetration of interior and exterior spaces in his residential designs. In Holland, where Wright's work was widely admired, the architects of de Stijl sought to organize building elements into new combinations of overlapping and hovering rectangular planes.
As late as 1889 the exposed, iron skeleton of the newly erected Eiffel Tower in Paris was met with public outrage. In Chicago, William Le Baron Jenney pioneered the use of a complete steel skeleton for the urban skyscraper in his Home Insurance Building (1883–85). His contemporary, Louis Henry Sullivan, first articulated the theory of functionalism (see functionalism), which he demonstrated in his numerous commercial designs. In addition, experiments in concrete construction were being carried out in France by François Hennebique and Auguste Perret, and in the United States by Ernest Ransome.
As a result of these advances, the formal conception of architecture was also undergoing a profound transformation. Frank Lloyd Wright, a pupil of Sullivan, experimented with the interpenetration of interior and exterior spaces in his residential designs. In Holland, where Wright's work was widely admired, the architects of de Stijl sought to organize building elements into new combinations of overlapping and hovering rectangular planes.
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