history of architecture homework help

Boost your journey with 24/7 access to skilled experts, offering unmatched history of architecture homework help

Trusted by 1.1 M+ Happy Students

4.4Trust Pilot

4.4Edu Reviewer

5App Review

4.8Student

Place An Orderand save time

^*Get instant homework help from top tutors—just a WhatsApp message away. 24/7 support for all your academic needs!

Recently Asked history of architecture Questions

Expert help when you need it

Q1: Book Link: https://archive.org/details/richard-ingersoll-world-architecture-a-cross- cultural-history/page/v/mode/2up Questions - Select ONE of the following: A. In what ways did architectural cultures we have studied engage with the cosmos? Were there common practices that transcend time and geographic locations? Reference specific projects to explain your answer. B. In Modules 1-4 we saw examples of symbolism in a variety of places, including cities, buildings, theories, and objects. Identify and explain three examples of symbolism in any of the above categories. For each example, explain what it is, where it's located, who created it, and what it symbolizes (one paragraph for each example). Are there any commonalities among your three examples? If so, explain why they exist. If not, explain why you think there are no commonalities. Questions - Select ONE of the following: C. Religion played an important role in shaping architecture and urbanism outlook of various cultures. Explain this role comparing and contrasting the three major built cultures we covered thus far (Olmec, Greco/Roman, Chinese). D. A theme that repeated across the modules we have studied thus far is how the designed environment (architecture and urbanism) engaged with nature. Explain the different attitudes to incorporating elements of nature among Harapan, Aegean, and pre-contact American architecture. Support your answers with specific examples. E. Select and explain three historical instances where technology influenced the designed environment. Support your answers with specific examples. Format: Select one question from A-B and one from C-E. You will answer two questions total. The answer to each question should be in 600 words (+/- 50). Write in full sentences and paragraphs paying attention to spelling and grammar. Bullet points and/or outlines will not be accepted as an answer. Use proper and consistent citation. Submit your answers through Canvas. See below for instructions on submission. Sources: Your answer must be supported by scholarly published materials such as your textbook (Ingersoll textbook). However, you can also use the following to support your answer Sources listed under LTU library guide on Architecture: https://libguides.Itu.edu/c.php?g=955370 Extra readings posted to Canvas Recorded lectures and your notes from them 1 LTU e Page Exam outlines and Module Review recordings from Canvas Discussion notes Example of unacceptable sources • Material published on the internet blogs & pages. • Anything prepared by or with another student. Grading: ● This is an open book, open note essay exam. This is NOT a group project, so do not consult with or work with your friend on this exam. Any indication of collaboration and/or plagiarism is considered cheating which would be reported as a potential honor code violation. • Each question is worth 10 points earned according to the following criteria: 5 pts Content: Correct and cited information, contribute to your answer, focused and logical argument. Spelling, grammar, staying within the word count limit. Using proper word choice, tone, and terminology. Overall organization. Explaining answers with specific examples. 2 pts 2 pts 1 pt Plagiarism Lawrence Technological University and the College of Architecture and Design are committed to academic integrity and honesty. All members of the LTU community are charged with upholding the Academic Honor Code in their academic work. Students are expected to present and submit only their own work in tests, and assignments. If you have a question regarding proper attribution of work of others, contact the professor prior to submitting your work for evaluation or refer to the university policies on the subject. Plagiarism in any form is a serious academic dishonesty offense that will not be tolerated. Violators will receive a failing grade and will be subjected to disciplinary action. Some examples are: Quoting, paraphrasing, or summarizing written material, even a few phrases, without acknowledgment. Page 2 • Failing to acknowledge the source of either a major idea or an ordering principle central to one's own paper. LTU e ● Relying on another person's data, evidence, or critical method without credit or permission. . Submitting another person's work as one's own. • Using unacknowledged research sources gathered by someone else. Reference chapters are mentioned which you can find on the book (link is provide). re to search MODULE 1 MODULE 2 MODULE 3 MODULE 4 Date Aug. 23 Aug. 25 Aug. 30 Sept. 1 Sept. 6 Sept. 8 Sept. 13 Sept. 15 Sept. 20 Sept. 22 Sept. 27 Sept. 29 Oct. 4 Oct. 6 Oct. 11 Oct. 13 Oct. 18 Oct. 20 Discussion Groups None 1-3 4-6 7-9 None 1-3 B 4-6 7-9 ASSESSMENT DAY NO CLASSES None 1-3 4-6 7-9 None 1-3 4-6 7-9 None Lecture Topic Introduction Prehistory Mesopotamia/SW Asia/Achaemenid Persia Old and New Kingdom Egypt MODULE 1 REVIEW SESSION Biblical Jerusalem Indus Valley/Mauryan India The Aegean Sea Classical Architecture MODULE 2 REVIEW SESSION The Greek City-State Ancient Rome Ancient China MODULE 3 REVIEW SESSION Ancient Mexico Mayan Pre-Contact America MODULE 4 REVIEW SESSION Textbook Sections Preface 1.1-1.3 2.1, 4.1 2.2, 3.2 3.3 2.3, 4.3 3.1 None 4.2 5.1 5.2, 7.2 5.3 7.3 10.3 Notes Quiz 1 Quiz 2 Midterm Exam posted 72°F SunnySee Answer
Q2: ANTH 3: Coyote Wash Pueblo Chronology Construction Project For this project, you are presented with a set of data from the Coyote Wash Pueblo, a hypothetical Ancestral Pueblo site from the American Southwest. Using the information provided (e.g. site plan, provided dates, ceramic information) on the course project Gaucho Space page, write up a chronological report analyzing the history of the site. Including an introduction and conclusion, your project report must address the following: N 3 Reconstruct the relative chronology of the construction and expansion of the pueblo. Using the information on the site plan (e.g., architecture, wall alignments, presence of subfloor deposits) identify the set of rooms first constructed. Next, determine the blocks of rooms that were apparently added to the initial construction, and the sequence in which they were added. Include a figure that indicates the sequence of construction, accompanied by a written justification. You may find a color-coded approach using the provided maps to be best suited for this. Using the tree-ring and radiocarbon dates, offer your best interpretation of the absolute dates associated with each construction phase or room addition. Include a figure that indicates your best interpretation of the chronological phases. Again, a color-coded approach may be well suited for this. How do you interpret the differences in the total number of pottery sherds found on the floor's surface in each room versus the sherds found in excavation (i.e., total fill sherds)? Include a graphical representation of the pottery fill sequence alongside your written explanation. The text of the Pueblo Construction Chronology Project must be approximately two [2] pages in length or approximately 500-750 words. It must include graphs, data, and images included in the project handout to provide support for your arguments. No sources aside from course resources are required for this assignment. You must properly cite, in text, any resources you do use from the class to defend your arguments. All information from these sources must be properly cited according to Chicago Author/Date format. Each posted question must include an associated graph/figure visualizing how you are interpreting the relative chronology for a minimum of three [3] included figures. Each paragraph must directly reference and explain your figures and each graph must come with a key. Plot out and explain the patterns you observed in the archaeological record – why did you come to the conclusions you reached given the data provided to you? Grading Criteria Assignment Rubric Quality: content accuracy, specificity, citations to support arguments, depth of argument, persuasiveness. Quantity: adequacy (length), compactness. definitions of terms used, provides details, provides examples to illustrate points, comparisons used when appropriate. Visualization: use of graphs to visualize data. Graphical Representation Content Style: Organization Structure: includes all listed sections. Includes robust introduction and conclusions. Includes thesis statement. Sequence (rational flow, logical organization - doesn't ramble), appearance (correct margins and headings, neatness, etc.), pagination, correct citation format (Chicago Author/Date). Total Score: Style: Clarity Sentences: clarity, relevance (on-topic), fluency, no use of clichés, no use of unknown referents. Paragraphs: structure (topic sentences, development), length (not too short or too long - minimum paragraph size is 3 sentences; a paragraph should not extend longer than the full length of a single page), coherence. Diction: conciseness, no overuse of the passive voice and weak verbs, no repetitive phrasing, does not use exaggeration, no overuse of modifiers or misplaced modifiers. Vocabulary: correct word choice, no repetition of words, no use of colloquialisms. Style: Grammar Use of correct spelling, grammar, and punctuation. Appropriate sentence length. Score 30 30 10 20 10 100See Answer
Q3:Question 1 Which of the following is not one of john Ruskin's seven lamps of architecture? purpose ℗ truth sacrifice beauty E) memory 10 PointsSee Answer
Q4:Question 2 Which of the following best describes the difference that Ruskin sees between building and architecture? Architecture goes beyond building by adding useless ornaments. There is no distinction between architecture and building. Any building of cultural significance like religious and public institutions, is a piece of architecture everything else is mere building 10 Points O Architecture is the masterly. correct and magnificent play of volumes brought together in light. Anyone who does not follow this precept is merely building.See Answer
Q5:Question 4 Given the choice of two marbles equally beautiful but of different costs, which does Ruskin think a designer should choose? The more expensive, because it shows the spirit of sacrifice as a devotional offering B The cheaper because it is more cost effective The more expensive because it can impress without much craftmanship. The cheaper because it will allow you to pay your craftsman more, and they will be able to carve more detail into it. 10 PointsSee Answer
Q6:Question 6 Which of the following is not a type of architectural deceit according to Ruskin? A Facades that hide the true functional layout of a buidling False suggestion of structural support The painting of surfaces to represent some other material The use of machine made ornaments 10 PointsSee Answer
Q7:Question 7 Which of the following best describes Ruskin's attitude to iron? It is false when cast and used as a structural support, because it is usually used in a way that reflects the structural laws and proportions of an older material, either clay wood or stone. Bit is false when cast and used as a structural support, because it looks too skinny to actually support anything. It represents the law of truth, because it is the true material of the era, rather than a false representation of the past. It should be used as much as possible, because its shininess is a symbolic representation of the "lamp" of truth 10 PointsSee Answer
Q8:Question 8 Why does Ruskin object to machine made ornament? Ornament should reflect the amount of human labor and care spent upon it. Machine made ornament is too expensive. Machine made ornament allows for buildings to look too ornate and buildings should look as simple as possible. Machines cannot properly imitate historical forms. 10 PointsSee Answer
Q9:Assignment Requirements. Written 1000-1500 words, 10-12 point font, standard margins, double spaced, citations in Chicago Style, divided into the following sections: • A thesis that explains the basic concept of your building and how it ties into 18th/19th century architecture • General description of your project ● A research section placing your project in the context of the history of 18th and 19th century architecture by comparing it to at least one other building from that period that is of a similar building type, style, or exhibits similar design principles/nGeneral description of your project A research section placing your project in the context of the history of 18th and 19th century architecture by comparing it to at least one other building from that period that is of a similar building type, style, or exhibits similar design principles • A description of and justification for the style that you have chosen to design your building in. The justification should be specific, and you are encouraged to base your justification on the theories of style of some of the architects we have studied in this course. • • A description of the materials and structure of your building Footnotes that cite the sources listed in your bibliography when you use information or ideas from them • A bibliography (not part of the page count) of at least three non-website sources (scholarly articles and books). You may use internet sources as well, which should also be included in the bibliography. • Images of the building(s) discussed in the historical context section. Images should be numbered, labeled, and referred to in the text.See Answer
Q10: Good choices. Include dates. The thesis is a little general. What are his innovative approaches? What is the historical context? How does that impact the building? Your conclusion is probably closer to what you want for your thesis in terms of specificity. Outline: Your descriptions of the buidllings don't really line up with each other. You talk about the urban context of Prague but not LA. Why? You'll need to break these buildings down along similar categories of analysis and really hold them up against each other. Right now you're talking about each in isolation. Ultimately the idea of context, function, and nature of each commission leading to different interpretations is a strong justification, but it will only work if the buildings are really analyzed against each other. The gendered reading of the "Dancing House" needs to be more than asserted here. It needs to be interrogated. How is this a combination of masculine and feminine? Why is that appropriate in the setting of Prague? Why is there no gendered reading of the Disney Concert Hall? Is it specific to the commissions? A phase that Gehry moved out of? An interpretation imposed on the buidling by others? Sources: These should be stronger. There are literally dozens of books about Frank Gehry. I shouldn't see these totally random things dredged up from the internet on a college level Works Cited page about somebody who has been written about as frequently as Gehry. Source 1 is about an AI light show that incorporated Gehry's building. It is not directly about the building. Source 2 is about the acoustics firm, not Gehry's contributions to the Disney Concert Hall. Source 3: The Vojack isn't a published paper. It was written for a class by a random student majoring in business. You can't use it as a source. It would be like citing one of your classmates' papers. Books and articles have been edited and peer reviewed. You could however use some of the sources he did. He actually demonstrates the kind of bibliography I expect to see in a college level bibliography. You should get some primary sources, his talks interviews, something. Format this properly. Thesis: 1.75/2 Outline: 1.5/2 Building choices: 2/2 Images: 1/1 Bibliography: 1.5/3/n Project Preliminary Proposal- Outline Architect: Frank Gehry Buildings: Walt Disney Concert Hall (Los Angeles, USA) and Dancing House (Prague, Czech Republic). Thesis Statement The idea is to analyze and compare two iconic Gehry buildings: Walt Disney Concert Hall and Nationale-Nederlanden Building, commonly known as the Dancing House. These masterpieces illustrate Gehry's innovative approaches and the evolution of his style by examining their structural features, design philosophies, historical contexts, and cultural impacts. Specific characteristics of each building will be explored, including their forms, materials, spatial arrangement, and cultural significance. Introduction Frank Gehry, renowned for his groundbreaking architectural designs, has left an indelible mark on the built environment with his avant-garde creations. Among his most celebrated works are the Walt Disney Concert Hall in Los Angeles and the Nationale-Nederlanden Building in Prague, both of which epitomize his innovative approach to form function and symbolism. Analysis The genesis of the Walt Disney Concert Hall can be traced back to an international design competition in the late 1980s, where Gehry's visionary proposal stood out among over 70 submissions. In contrast, the inception of the Nationale-Nederlanden Building stemmed from a commission by the Dutch bank, which sought to commission a distinctive architectural statement for its headquarters in Prague. The Walt Disney Concert Hall is a testament to Gehry's mastery of form and materiality, characterized by its undulating stainless-steel façade, fluid contours, and dynamic spatial composition. The exterior of the building evokes the imagery of sails billowing in the wind, while the interior exudes an aura of sculptural elegance, with the main auditorium resembling the hull of a ship. Gehry's meticulous attention to acoustics, spatial flow, and visual aesthetics imbues the concert hall with a sense of harmony and immersion, forging a symbiotic relationship between architecture and music (Anadol and Kivrak 2023), (Toyota et al. 2020). Fig-1 Walt Disney Concert Hall The Nationale-Nederlanden Building, also known as the Dancing House, challenges conventional notions of architectural symmetry and stability. Comprising two distinct towers, one solid and the other transparent, the building embodies a playful interplay of masculine and feminine forms, reminiscent of a dancing couple. Gehry's design language, characterized by asymmetry, fluidity, and whimsicality, imbues the structure with a sense of dynamism and vitality, juxtaposing sharply against the historic backdrop of Prague's urban fabric. m Conclusion 60 50 83 61 BUNTE Fig-2 Dancing House (Prague, Czech Republic) While both the Walt Disney Concert Hall and the Nationale-Nederlanden Building showcase Gehry's signature style and experimental ethos, they diverge in their contextual responses, programmatic functions, and cultural resonances. The former epitomizes Gehry's pursuit of architectural excellence in the realm of cultural institutions, offering a transcendent space for musical performance and civic engagement. On the other hand, the latter represents a bold departure from traditional architectural paradigms, serving as a contemporary icon of Prague's architectural renaissance (Vojcak). The comparative analysis of these two iconic buildings underscores Gehry's transformative impact on contemporary architecture, pushing the boundaries of design innovation and cultural expression. Through their distinct forms, spatial narratives, and cultural contexts, the Walt Disney Concert Hall and the Nationale-Nederlanden Building stand as enduring testaments to Gehry's visionary legacy and architectural ingenuity. Bibliography Anadol, Refik, and Pelin Kivrak. "AI, Architecture, and Performance: Walt Disney Concert Hall Dreams." In Choreomata, pp. 379-389. Chapman and Hall/CRC, 2023. Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, Erik Bergal, Yasuhisa Toyota, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Walt Disney Concert Hall." Concert Halls by Nagata Acoustics: Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria (2020): 33-43. Vojcak, Danny. "Professor Kucera Art 161 Gehry's Nationale-Nederlanden Office Building (Dancing House/Fred & Ginger)."/n Final Paper Project Choose ONE of the following topics and write a 8-10 page paper (2000-2500 words, excluding footnotes and Works Cited page). All papers should exceed the minimum word count. The maximum word count may be exceeded without penalty. Topic 1 Write a paper focused on the theory and architecture of an architect of your choice. Architects we have discussed in class may be selected, but you may not work on a building or text that we discussed extensively in class. Your paper should explore how an architect's ideas intersect with and are manifested in his or her buildings. To fulfill the assignment, the student should do the following: ● Choose a critical/theoretical text by an architect that lays out principles and theories of design. The text should not simply be a description of one of the architect's building. Nor should it be one of the supplemental readings from class (It can be a different section of one of the longer works excerpted as a supplemental reading). In addition, the text should be a minimum of five pages long. It is highly recommended that you get the professor's approval of the text prior to proceeding. Your discussion of the text should not just summarize their argument but analyze it and critique it. Here are some questions you should ask yourself as you read the text. What does the text reveal about the architect's beliefs about the role of architecture in society? How architectural form should be generated? What aspects of architectural practice does the text ignore? Can you think of ways to enhance the architect's argument? Choose a building designed by your architect and analyze it according to the principles and theories laid out in your chosen text. As you do so, think critically about whether there is a gap between theory and practice, i.e. whether the building adequately reflects the principles described in the text or whether the text is unable to articulate fully what is happening in the design, whether the building reinforces or reveals flaws in the architect's theoretical position, etc. Topic 2 Choose two buildings by the same architect that show significant change in his or her approach. This change could relate to the materials and their expression, structure, space, ornament, style, etc. It could be a change over time, a change due to client demands, a change due to context, or a change for some other reason. Describe this change, as well as any continuities shown between the two buildings, and put forth a valid hypothesis explaining why it occurs based on primary and secondary research. You may choose an architect whom we have discussed in class, but you may not choose works by that architect that we have discussed extensively in class. At least one of the buildings you discuss must have been completed after 1900. Paper Criteria All papers should include: A strong introduction and conclusion, as well as a clearly articulated thesis statement. A thesis statement should be the summary of the argument you are going to make about the architect. If you are doing topic one, it should address the architect's theoretical argument and how that is revealed or contradicted in the architect's building. If you are doing topic two, it should explain the change you see in the architect's career and explain why you think that change occurred. A Works Cited page (not part of the total word count) that includes at least five books or journal articles by academics or professionals beyond the textbook. If you are analyzing a theoretical text by the architect, that text counts as one of your five sources. ● ● ● ● Important due dates: Due: Tues. Jan. 30, preliminary project proposal. The proposal should include: ● A preliminary thesis statement. The architect's name, name of building, location, and date of the building or buildings you are writing about. If you are doing option 1, you will also need to include the title of the theoretical text you are planning to analyze and its original date of publication. Preliminary outline of your paper. In addition, include a Works Cited page with at least three sources that are books or journal articles by academics or professionals (beyond the textbook). Primary sources are strongly encouraged. You do not have to have actually used the sources yet, but you should have collected them by the due date. All sources should be in English, unless prior approval has been granted for use of a source in a foreign language. An image of each building you are writing about. ● Footnotes that show that all of your sources were used for your research. Labeled images with references to them in the text. Do not integrate the images into the text but include them at the end of the paper after the Works Cited page. (The images and Works Cited pages do not count towards your final page count). Standard margins, 12-point font, double-spacing, footnotes and works cited page in Chicago Style format. An attachment of screenshots showing the sources of the information in your footnotes. ● Suggested sources for critical texts if writing topic 1: Conrad, Ulrich, ed. Programs and Manifestoes on 20th-Century Architecture. Cambridge: MIT Press, 1975. Ockman, Joan, ed. Architecture Culture 1943-1968: A Documentary Anthology. New York: Rizolli, 1993. Hays, K. Michael, ed. Architecture Theory since 1968. New York: Columbia Books of Architecture, 2000. Mallgrave, Harry Francis and Christina Contandriopoulos. Architectural Theory Volume II: An Anthology from 1871-2005. New York: Blackwell Publishing, 2008. Nesbitt, Kate, ed. Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995. New York: Princeton Architectural Press, 1996. NOTE: If you use these as sources to find a critical text, you must cite the specific text you have found, not just list the anthology. Also, note that some of the texts in the anthologies are not by architects. Others may be too short. Your text should be by an architect. Places to find additional resources: ● Use the bibliography found in the textbook. Search databases for scholarly articles and articles from architecture journals, particularly the Avery Index, JSTOR, ArtSource, and ProjectMuse. Wikipedia is not an adequate source for a college level paper, but many Wikipedia articles now have very extensive lists of sources.See Answer
Q11: Complexity and Contradiction in Architecture Robert Venturi with an introduction by Vincent Scully The Museum of Modern Art Papers on Architecture The Museum of Modern Art, New York in association with the Graham Foundation for Advanced Studies in the Fine Arts, Chicago Distributed by New York Graphic Society, Boston Contents Acknowledgments 6 Foreword 8 Introduction 9 Preface 13 1. Nonstraightforward Architecture: A Gentle Manifesto 16 2. Complexity and Contradiction vs. Simplification or Picturesqueness 16 3. Ambiguity 20 4. Contradictory Levels: The Phenomenon of "Both-And" in Architecture 23 5. Contradictory Levels Continued: The Double-Functioning Element 34 6. Accommodation and the Limitations of Order: The Conventional Element 41 7. Contradiction Adapted 45 8. Contradiction Juxtaposed 56 9. The Inside and the Outside 70 10. The Obligation Toward the Difficult Whole 88 11. Works 106 Notes 132 Photograph Credits 133 Preface This book is both an attempt at architectural criticism and an apologia-an explanation, indirectly, of my work. Because I am a practicing architect, my ideas on architec- ture are inevitably a by-product of the criticism which accompanies working, and which is, as T. S. Eliot has said, of "capital importance. in the work of creation itself. Probably, indeed, the larger part of the labour of sifting, combining, constructing, expunging, correcting, testing: this frightful toil is as much critical as creative. I maintain even that the criticism employed by a trained and skilled writer on his own work is the most vital, the highest kind of criticism . . ." ¹ I write, then, as an architect who em- ploys criticism rather than a critic who chooses architecture and this book represents a particular set of emphases, a way of seeing architecture, which I find valid. 1 In the same essay Eliot discusses analysis and compari- son as tools of literary criticism. These critical methods are valid for architecture too: architecture is open to analysis like any other aspect of experience, and is made more vivid by comparisons. Analysis includes the breaking up of archi- tecture into elements, a technique I frequently use even though it is the opposite of the integration which is the final goal of art. However paradoxical it appears, and de- spite the suspicions of many Modern architects, such disin- tegration is a process present in all creation, and it is essential to understanding. Self-consciousness is necessarily a part of creation and criticism. Architects today are too educated to be either primitive or totally spontaneous, and architecture is too complex to be approached with carefully maintained ignorance. As an architect I try to be guided not by habit but by a conscious sense of the past-by precedent, thoughtfully considered. The historical comparisons chosen are part of a continuous tradition relevant to my concerns. When Eliot writes about tradition, his comments are equally relevant to architecture, notwithstanding the more obvious changes in architectural methods due to technological innovations. "In English writing," Eliot says, "we seldom speak of tradi- tion. . . . Seldom, perhaps, does the word appear except in a phrase of censure. If otherwise, it is vaguely approbative, with the implication, as to a work approved, of some pleasing archeological reconstruction. . . . Yet if the only form of tradition, of handing down, consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes, 'tradition' should be positively discouraged. Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense, which we may call nearly indis- pensable to anyone who would continue to be a poet beyond his twenty-fifth year; and the historical sense in- volves perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe . has a simultaneous existence and composes a simultaneous or- der. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and temporal together, is what makes a writer traditional, and it is at the same time what makes a writer most acutely conscious of his place in time, of his own contemporaneity. ... No poet, no artist of any kind, has his complete meaning alone." 2 I agree with Eliot and reject the obsession of Modern architects who, to quote Aldo van Eyck, "have been harping continually on what is different in our time to such an extent that they have lost touch with what is not differ- ent, with what is essentially the same." ³ 4 The examples chosen reflect my partiality for certain eras: Mannerist, Baroque, and Rococo especially. As Henry-Russell Hitchcock says, "there always exists a real need to re-examine the work of the past. There is, presuma- bly, almost always a generic interest in architectural history among architects; but the aspects, or periods, of history that seem at any given time to merit the closest attention cer- tainly vary with changing sensibilities." * As an artist I frankly write about what I like in architecture: complexity and contradiction. From what we find we like-what we are easily attracted to-we can learn much of what we really are. Louis Kahn has referred to "what a thing wants to be,” but implicit in this statement is its opposite: what the architect wants the thing to be. In the tension and balance between these two lie many of the architect's decisions. The comparisons include some buildings which are nei- ther beautiful nor great, and they have been lifted abstractly from their historical context because I rely less on the idea of style than on the inherent characteristics of specific buildings. Writing as an architect rather than as a scholar, my historical view is that described by Hitchcock: "Once, of course, almost all investigation of the architecture of the past was in aid of its nominal reconstitution-an instru- ment of revivalism. That is no longer true, and there is little reason to fear that it will, in our time, become so again. Both the architects and the historian-critics of the early twentieth century, when they were not merely seeking in the past fresh ammunition for current polemical warfare, taught us to see all architecture, as it were, abstractly, false though such a limited vision probably is to the complex sensibilities that produced most of the great architecture of the past. When we re-examine or discover-this or that aspect of earlier building production today, it is with no idea of repeating its forms, but rather in the expectation of feeding more amply new sensibilities that are wholly the product of the present. To the pure historian this may seem regrettable, as introducing highly subjective elements into what he believes ought to be objective studies. Yet the pure historian, more often than not, will eventually find himself moving in directions that have been already determined by more sensitive weathervanes." 5 I make no special attempt to relate architecture to other things. I have not tried to "improve the connections be- tween science and technology on the one hand, and the humanities and the social sciences on the other . and make of architecture a more human social art." I try to talk about architecture rather than around it. Sir John Summerson has referred to the architects' obsession with "the importance, not of architecture, but of the relation of architecture to other things."" He has pointed out that in this century architects have substituted the "mischievous analogy" for the eclectic imitation of the nineteenth century, and have been staking a claim for architecture rather than producing architecture. The result has been diagrammatic planning. The architect's ever diminishing power and his growing ineffectualness in shaping the whole environment can perhaps be reversed, ironically, by narrowing his con- cerns and concentrating on his own job. Perhaps then relationships and power will take care of themselves. I accept what seem to me architecture's inherent limitations, and attempt to concentrate on the difficult particulars within it rather than the easier abstractions about it ". . . because the arts belong (as the ancients said) to the prac- tical and not the speculative intelligence, there is no sur- rogate for being on the job." 8 9 This book deals with the present, and with the past in relation to the present. It does not attempt to be visionary except insofar as the future is inherent in the reality of the 14 present. It is only indirectly polemical. Everything is said in the context of current architecture and consequently certain targets are attacked-in general, the limitations of orthodox Modern architecture and city planning, in particular, the platitudinous architects who invoke integrity, technology, or electronic programming as ends in architecture, the popularizers who paint "fairy stories over our chaotic reality" "10 and suppress those complexities and contradic- tions inherent in art and experience. Nevertheless, this book is an analysis of what seems to me true for architecture now, rather than a diatribe against what seems false. Note to the Second Edition I wrote this book in the early 1960's as a practicing architect responding to aspects of architectural theory and dogma of that time. The issues are different now, and I think the book might be read today for its general theories about architectural form but also as a particular document of its time, more historical than topical. For this reason the second part of the book, which covers the work of our firm up to 1966, is not expanded in this second edition. I now wish the title had been Complexity and Con- tradiction in Architectural Form, as suggested by Donald Drew Egbert. In the early '60's, however, form was king in architectural thought, and most architectural theory focused without question on aspects of form. Architects seldom thought of symbolism in architecture then, and social issues came to dominate only in the second half of that decade. But in hindsight this book on form in architecture comple- ments our focus on symbolism in architecture several years later in Learning from Las Vegas. To rectify an omission in the acknowledgments of the first edition, I want to express my gratitude to Richard Krautheimer, who shared his insights on Roman Baroque architecture with us Fellows at the American Academy in Rome. I am grateful also to my friend Vincent Scully for his continued and very kind support of this book and of our work. I am happy that The Museum of Modern Art is en- larging the format of this edition so that the illustrations are now more readable. Perhaps it is the fate of all theorists to view the ripples from their works with mixed feelings. I have some- times felt more comfortable with my critics than with those who have agreed with me. The latter have often misapplied or exaggerated the ideas and methods of this book to the point of parody. Some have said the ideas are fine but don't go far enough. But most of the thought here was intended to be suggestive rather than dogmatic, and the method of historical analogy can be taken only so far in architectural criticism. Should an artist go all the way with his or her philosophies? R.V. April, 1977/n 9:27 .5G 214 < To Do MH Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 Marianne Holbert 16 Apr 2024 at 4:25 PM Prompt #1: Metabolism proposed radical ideas for urban renewal and regeneration. "A key passage in the Metabolist declaration reads. 'We regard human society as a vital process, a continuous development from atom to nebula. The reason why we use the biological word metabolism is that we believe design and technology should denote human vitality. We do not believe that metabolism indicates only acceptance of a natural, historical process, but we are trying to encourage the active metabolic development of our society through our proposals.' This is an important element in our declaration for two reasons. First, it reflects our feelings that human society must be regarded as one part of a continuous natural entity that includes all animals and plants. Secondly, it expresses our belief that technology is an extension of humanity." (Kurokawa 1971, 27). Are humans an extension of technology or separate from it? Refer to and cite specific passages as you engage the discussion. - What demonstrates the Metabolists' belief that technology is an extension of humanity? - How did Metabolism address the need for change and transformation within urban environments? - Analyze passages Metabolism in Architecture and View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:27 < To Do Assignment Details . 5G 214 ARCH 3214-001: Hist & Thry of Architecture 2 process, a continuous development from atom to nebula. The reason why we use the biological word metabolism is that we believe design and technology should denote human vitality. We do not believe that metabolism indicates only acceptance of a natural, historical process, but we are trying to encourage the active metabolic development of our society through our proposals.' This is an important element in our declaration for two reasons. First, it reflects our feelings that human society must be regarded as one part of a continuous natural entity that includes all animals and plants. Secondly, it expresses our belief that technology is an extension of humanity." (Kurokawa 1971, 27). Are humans an extension of technology or separate from it? Refer to and cite specific passages as you engage the discussion. - What demonstrates the Metabolists' belief that technology is an extension of humanity? - How did Metabolism address the need for change and transformation within urban environments? - Analyze passages Metabolism in Architecture and highlight design proposals that highlight the movement's vision for reshaping cities to accommodate evolving social, economic, and cultural needs. - Kurokawa speaks of the Characteristics of Japanese culture that are the most influential in the design thinking beneath the Metabolist movement. View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:28 < To Do Assignment Details . 5G 214 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #2: Metabolism ideology suggested a cyclical process of construction, destruction, and reconstruction. Kurowaka wrote: "This philosophy of continuity, characteristic of wood-based culture, is lacking in stone-based culture. Instead of using the material in such a way as to make full use of its natural characteristics, stone-based culture processes the material, and physically alters it... Furthermore, unlike wood-based culture, stone based culture opposes nature, its architecture uses walls to protect the interior from the exterior. According to this approach, architecture and nature are discontinuous. Human beings do not live with architecture for architecture is only a container for human beings. This aspect of the traditional stone-based culture is directly connected to modern rationalism and to functionalist architecture" (Kurokawa 1971, 34). Probe the ideas of change in architecture. Refer to and cite specific passages as you engage the discussion. - Explore passages from Metabolism in Architecture that examine the role of destruction, construction, and reconstruction in the evolutionary process of architecture. - Consider how this perspective challenges conventional notions of permanence, durability, or conservation. -Should architecture more naturally embody cyclical View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:28 . 5G 214 < To Do Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 wood-based culture, is lacking in stone-based culture. Instead of using the material in such a way as to make full use of its natural characteristics, stone-based culture processes the material, and physically alters it... Furthermore, unlike wood-based culture, stone based culture opposes nature, its architecture uses walls to protect the interior from the exterior. According to this approach, architecture and nature are discontinuous. Human beings do not live with architecture for architecture is only a container for human beings. This aspect of the traditional stone-based culture is directly connected to modern rationalism and to functionalist architecture" (Kurokawa 1971, 34). Probe the ideas of change in architecture. Refer to and cite specific passages as you engage the discussion. - Explore passages from Metabolism in Architecture that examine the role of destruction, construction, and reconstruction in the evolutionary process of architecture. - Consider how this perspective challenges conventional notions of permanence, durability, or conservation. Should architecture more naturally embody cyclical processes of impermanence? - Do you agree with Kurokawa's differentiation between wood-based and stone-based architecture cultures? View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:28 < To Do Assignment Details .5G 214 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #3: Metabolism emerged during a period of rapid technological advancement. Kurokawa wrote "At the same time that the rapid economic development of Japan began, in 1960, the Metabolist group advocated the creation of a new relationship between humanity and technology. Thinking that the time would come when technology would develop autonomously to the point where it ruled human life, the group aimed at producing a system whereby man would maintain control over technology" (Kurokawa 1971, 31). Examine the words and ideas connected to the Metabolists attitudes and approach to technology. Refer to and cite specific passages as you engage the discussion. - Examine examples from Metabolism in Architecture that demonstrate how technology was harnessed to create flexible, adaptable structures capable of responding to changing societal needs and technological developments. - Discuss examples from Metabolism in Architecture that illustrate the movement's approach to designing buildings that could adapt and evolve over time, challenging traditional notions of permanence. -Should buildings be easily reconfigured, expanded, or altered as needed to more truly reflect the realities of natural systems? View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications InboxSee Answer
Q12: Prompt #1: Loos argues that "the evolution of ornament is synonymous with the removal of ornament from utilitarian objects" (Loos 1908, 20). Can society evolve by the discarding of ornamentation? If so, how? If not, why not? Can you identify contradictions in Loos' writing or built work that invalidate these statements? Provide your working definition of ornament for clarity. Prompt #2: Consider the role of symbolism and cultural identity through the words of Loos. Are there any ideas that are incorrectly valued? Refer to the specific passages in both "Ornament and Crime" and "Criminal Skins Tattoos and Modern Architecture in the Work of Adolf Loos." What cultural perspectives do you see embedded in these writings? What could be the implications for cultural identity, if ornamentation is removed? Prompt #3: According to Loos, is ornamentation a disease, a crime or both? Do you agree or disagree with Loos' assessment? Explain your reasoning. Find particular passages that support your assessment. What is the role of ornament in architecture today? Are there certain types of structures/buildings that benefit/deserve/need it more than others? 8:53 Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 < To Do Prompt #4: ا 100 Compare and contrast Loos' position on ornament through the work of Canales and Herscher "Criminal Skins Tattoos and Modern Architecture in the Work of Adolf Loos" and "Ornament and Crime." When asked to design a building for the Mexican parliament what does he do and why? How does modern ornament differ from that embedded cultural ornament? Discussion Framework: Part 1 (your initial post): Your initial post must meet the following: 1. Respond to one of the prompt options for the week. (That is not a free-write or write whatever you want). 2. Title the post to correspond to the chosen prompt. 3. Compose a response that consists of at least 200 words, of your own writing, which critically examine the reading(s) and engage the prompt. (Please omit any unnecessary fluff to reach a particular word count.) 4. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion. For Part 2 (your engagement post): 1. You then reply to at least one person with a substantive post, which is around at least 150 words. (No fluff). 2. Your reply must do the following: 1. The engagement response utilizes one technique of Bailey's guide to participating. 2. Your reply begins by identifying which technique that you are doing (e.g. #5 Offer an Objection) 3. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 4. Your response is respectful, charitable, kind, and displays a concerted effort to avoid defensive or aggressive reactions. 5. Your reply adheres to all the expectations of the classroom behavior outlined in the syllabus.See Answer
Q13: Prompt #1: Loos argues that "the evolution of ornament is synonymous with the removal of ornament from utilitarian objects" (Loos 1908, 20). Can society evolve by the discarding of ornamentation? If so, how? If not, why not? Can you identify contradictions in Loos' writing or built work that invalidate these statements? Provide your working definition of ornament for clarity. Prompt #2: Consider the role of symbolism and cultural identity through the words of Loos. Are there any ideas that are incorrectly valued? Refer to the specific passages in both "Ornament and Crime" and "Criminal Skins Tattoos and Modern Architecture in the Work of Adolf Loos." What cultural perspectives do you see embedded in these writings? What could be the implications for cultural identity, if ornamentation is removed? Prompt #3: According to Loos, is ornamentation a disease, a crime or both? Do you agree or disagree with Loos' assessment? Explain your reasoning. Find particular passages that support your assessment. What is the role of ornament in architecture today? Are there certain types of structures/buildings that benefit/deserve/need it more than others? 8:53 Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 < To Do Prompt #4: ا 100 Compare and contrast Loos' position on ornament through the work of Canales and Herscher "Criminal Skins Tattoos and Modern Architecture in the Work of Adolf Loos" and "Ornament and Crime." When asked to design a building for the Mexican parliament what does he do and why? How does modern ornament differ from that embedded cultural ornament? Discussion Framework: Part 1 (your initial post): Your initial post must meet the following: 1. Respond to one of the prompt options for the week. (That is not a free-write or write whatever you want). 2. Title the post to correspond to the chosen prompt. 3. Compose a response that consists of at least 200 words, of your own writing, which critically examine the reading(s) and engage the prompt. (Please omit any unnecessary fluff to reach a particular word count.) 4. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion. For Part 2 (your engagement post): 1. You then reply to at least one person with a substantive post, which is around at least 150 words. (No fluff). 2. Your reply must do the following: 1. The engagement response utilizes one technique of Bailey's guide to participating. 2. Your reply begins by identifying which technique that you are doing (e.g. #5 Offer an Objection) 3. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 4. Your response is respectful, charitable, kind, and displays a concerted effort to avoid defensive or aggressive reactions. 5. Your reply adheres to all the expectations of the classroom behavior outlined in the syllabus.See Answer
Q14: Prompt #1: When given the opportunity to showcase the most beautiful building in the world and capture the spirit of the machine age, in the Chicago Tribune Tower competition, the Design Jury opted for the Neo-Gothic proposal. Sullivan challenged the Tribune selection saying: "These men made a solemn promise to the world. Why did they renege? Individually and jointly, they made a triple promise... A design setting forth the most beautiful conception of a lofty office building that has been evolved by the fertile mind of man, was presented squarely to them at the last moment. Were they frightened? Why did they welch? Did they come upon a ghost, an apparition? ... For no choice exists without motive" (Sullivan 1923, 157). Why does Louis Sullivan believe that they fell short on the promise that they made? What do you see as the motive(s) for selecting the Neo-Gothic structure? Analyze Sullivan's critique of the Chicago Tribune Tower and challenge his assessment. Be specific in examining his use of words in your analysis. What perspective was Sullivan missing? What could have been further examined (urban context, interior spaces, functional needs, cultural context etc.) in the critique? Prompt #2 1922 was a landmark year in American architecture with the initiation of the Chicago Tribune competition. For many architects internationally, it was a unique opportunity to retire the eclecticist approach relying on historical precedents and to offer a new vision for American architecture. Sullivan argued that: “The first prize is demoted to the level of those works evolved of dying ideas, even as it sends forth a frantic cry to escape from the common bondage of those governed by ideas" (Sullivan 1923, 153). If you were on the Design Jury, would you have selected Howells and Hood's proposal as the winning scheme? If so, why and if not, why not? Would historical reference inform your selection? Compare and contrast the characteristics of at least two of the design proposals and make a case for why they should have risen to the top. Reference passages from Sullivan's article and examine closely the distinguishing characteristics between the proposals? Prompt #3: There is a dynamic interplay between urban infrastructure, zoning regulations, economics, cultural, and environmental forces that are instrumental ultimately in building design. Examine the article, "Zoning and "Zeitgeist": The Skyscraper City in the 1920s" by Carol Willis who examines the relationship zoning policies and the development of a new era for American architecture and urbanism. She writes: "Yet, in the many prophecies of a rationalized skyscraper city that were advanced in the 1920s, we can preview the birth of what many architects and critics of the period excitedly pronounced a new era in American architecture and urbanism" (Willis 1986, 47). - While architects were seeking a new authentic American style, were the zoning laws ultimately shaping it? Examine supportive and contradictory positions - In The American Architecture of Today Edgell celebrated zoning as "the first great instrument of control, working for the good of humanity, of science and of art” (Willis 1985, 49). If zoning is an instrument of control, how is architecture instrumental? - What role did setbacks have in the transformation of the urban landscape? - Did Sullivan overlook the zoning ordinance and the - Did Sullivan overlook the zoning ordinance and the infrastructural relationships that preliminarily dominated the architectural forms of the Chicago Tribune competition? Prompt #4: When a new form is invented, whether it be in art, literature, or architecture, some of the worst and most misguided criticisms are written during the infancy of a new form. These reactions can also be some of the most original, keen, and cutting. - Examine the Chicago Tribune Tower proposals and Sullivan's article, do you find points of wisdom for architects or detrimental perspectives articulated? - Share these perspectives, analyze, and critique. Offer citations from the selected passages. - With some historical distance from the Chicago Tribune competition, how do you see the Tribune tower differently? Discussion Framework: Discussion Framework: Part 1 (your initial post): Your initial post must meet the following: 1. Respond to one of the prompt options for the week. (That is not a free-write or write whatever you want). 2. Title the post to correspond to the chosen prompt. 3. Compose a response that consists of at least 200 words, of your own writing, which critically examine the reading(s) and engage the prompt. (Please omit any unnecessary fluff to reach a particular word count.) 4. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion.See Answer
Q15: 2:30 < To Do Assignment Details 5G 48 ARCH 3214-001: Hist & Thry of Architecture 2 Discussion Questions Organic Architecture Prompt #1: "In the Cause of Architecture, Second Paper," published in Architectural Record 1914, Frank Lloyd Wright writes: "The sins of an Architect are permanent sins. To promote good work it is necessary to characterize bad work as bad. Half-baked, imitative designs, fictitious semblances, pretentiously put forward in the name of a movement or a cause... endanger the cause, weaken the efficiency of genuine work... lower the standard of artistic integrity permanently until utter social evil results" (Wright 1914, 407). Identify and cite passages from "In the Cause of Architecture II" that depict what he considers to be the qualities of "good" work? What does he depict as 'bad' work? What are the social evils that he is warning against? What are the ethical ramifications of architecture according to Wright? - What do you see as the ethical ramifications of architecture? Provide an example that you believe exemplifies and explain your reasoning. Prompt #2: View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications Inbox 2:31 < To Do Assignment Details 5G 48 ARCH 3214-001: Hist & Thry of Architecture 2 - Does the use of the machine, extreme cantilevers, or structural innovation counter the advice to use natural materials or the inherent 'nature of nature'? Prompt #3: "In the Cause of Architecture, Second Paper," Wright conveys his aspiration to create a new framework for architecture that relies on tenants of Organic Architecture without requiring rules while also creating ideals that may never be achieved. Wright argues: "And I still believe that the ideal of an organic architecture forms the origin and source, the strength and, fundamentally, the significance of everything ever worthy the name of architecture... And I know that the sense of an organic architecture, once grasped, carries with it in its very nature the discipline of an ideal at whatever cost to self-interest or an established order. It is itself a standard and an ideal" (Wright 1914, 406). - Examine Organic Architecture's tenuous position between an idea and standard through the writing and built work of Wright. Refer to and cite specific passages as you build your discussion. Feel free to upload or sketch images to further analyze and communicate. - How would you differentiate a standard from an ideal? Should Organic architecture be a standard or an ideal? View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications Inbox 2:30 < To Do Assignment Details 5G 48 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #2: In 1908 Architectural Record, Wright authored the first of a two-part essay series called "In the Cause of Architecture I" in which he offers a definition of organic architecture and recommendations for how designers can employ it. He writes: "Colors require the same conventionalizing process to make them fit to live with that natural forms do; so go to the woods and fields for color schemes. Use the soft, warm, optimistic tones of earths and autumn leaves in preference to the pessimistic blues, purples, or cold greens and grays of the ribbon counter; they are more wholesome and better adapted in most cases to good decoration" (Wright 1908). He further expounds upon the importance of individuality within homes and how there needs to be differentiation for the range of inhabitants. - Examine closely this writing and the recommendations set forth in this document. Refer to and cite specific passages as you build your discussion. -Are there contradictions in the guidance offered? For example, can individuality or cultural differentiation exist within his framework of a nature inspired aesthetic? Can paintings on the wall also compliment organic architecture? - Does the use of the machine, extreme cantilevers, or structural innovation counter the advice to use natural View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications Inbox 2:31 < To Do Assignment Details 5G 47 ARCH 3214-001: Hist & Thry of Architecture 2 away from natural organic processes? Wright claims that "Nothing is more difficult to achieve than the integral simplicity of organic nature, amid the tangled confusions of the innumerable relics of form that encumber life for us. To achieve it in any degree means a serious devotion to the "underneath" in an attempt to grasp the nature of building a beautiful building beautifully, as organically true of itself, to itself as to its purpose, as a tree or flower" (Wright 1914, 413). One might ask, if it is so difficult, should we try? Refer to and cite specific passages as you engage in a discussion with Wright and other proponents of Organic architecture with your eyes of 2024. What could be added to the framework to be more sustaining or nourishing for the planet? - Could Organic Architecture be perceived as another way for humans to feel good about inherent ecological harm? Should we try to make concrete, steel, stone, wood, or glass buildings that look like they grasp an organic essence? -Should the goals of Organic Architecture be more than trying to grasp the essence of nature through architecture? View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications Inbox 2:31 < To Do Assignment Details 5G 47 ARCH 3214-001: Hist & Thry of Architecture 2 - How would you differentiate a standard from an ideal? Should Organic architecture be a standard or an ideal? Can it be an ideal and a standard simultaneously? - How does Organic Architecture differ from other Sustainability metric systems such as LEED? Do you think Wright would be in favor or reject such frameworks? Prompt #4: If humans are working with extreme effort to try to achieve the integral simplicity of organic nature, might this be a warning sign that society has stepped too far away from natural organic processes? Wright claims that "Nothing is more difficult to achieve than the integral simplicity of organic nature, amid the tangled confusions of the innumerable relics of form that encumber life for us. To achieve it in any degree means a serious devotion to the "underneath" in an attempt to grasp the nature of building a beautiful building beautifully, as organically true of itself, to itself as to its purpose, as a tree or flower" (Wright 1914, 413). One might ask, if it is so difficult, should we try? Refer to and cite specific passages as you engage in a discussion with Wright and other proponents of Organic architecture with your eyes of 2024. What could be added to the framework to be more sustaining or View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications InboxSee Answer
Q16: Biorealism and Survival Through Design Prompt #1: Through biorealism, Neutra pioneered a new approach that addressed the primary role of physiology and psychology in architecture. In Survival Through Design 1954, he wrote: "It is strange that human beings have hardly ever been studied with regard to their vital needs and care, the way rooted plants are studied in order to aid the agronomist in his work. Little information of this kind has been collected in practical handbooks printed for the architect and the designer. The sort of investigation spoken of here is not at all revolutionary in itself. Only its application to design has so far been rather fragmentary. The most specifically human endowment to be studied is a nervous system fused to an upper brain of extraordinary volume and complexity" (Neutra 1954, 2). Today, the use of scientific knowledge in service of design is often referred to as evidence-based design. Evidence- based design involves the process of constructing a building or physical environment based on scientific research to achieve the best possible outcomes. - Refer to and cite specific passages as you engage in a discussion about: 1) the level of knowledge that designers need about human physiology and psychology and 2) the type of evidence that would most benefit the practice of design. -Should there be more biological, scientific and/or psychological research that informs design decisions? - Refer to and cite specific passages as you engage in a discussion about: 1) the level of knowledge that designers need about human physiology and psychology and 2) the type of evidence that would most benefit the practice of design. -Should there be more biological, scientific and/or psychological research that informs design decisions? - Provide examples, from your lived experience, of spaces that were inadequately designed for a balanced human nervous system and one that caused an imbalance. If there were wearable devices that provided real-time feedback on spaces that measured human responses to spaces in connection to health markers (stress, heart race, toxins etc.), would you wear one? If so, why? If not, why not? Prompt #2: Within the framework of biorealism, the proximity to nature is critical for optimal health and considered an element of good design. Paradoxically, Survival Through Design offers a critique of how society has damaged and polluted. "Nature has too long been outraged by the design of nose rings, corsets, and foul-aired subways. Perhaps our mass-fabricators of today have shown themselves particularly out of touch with nature.” (Neutra 1954, 110). In many parts of the world today, the Prompt #2: Within the framework of biorealism, the proximity to nature is critical for optimal health and considered an element of good design. Paradoxically, Survival Through Design offers a critique of how society has damaged and polluted. "Nature has too long been outraged by the design of nose rings, corsets, and foul-aired subways. Perhaps our mass-fabricators of today have shown themselves particularly out of touch with nature..." (Neutra 1954, 110). In many parts of the world today, the nature that exists is not in its most purified state, so 'nature near' does not always mean health promoting. - Share reflections on the merits and weaknesses in Neutra's theory of biorealism. Highlight at least two weaknesses and two strengths. Cite specific passages and analyze your rationale. - From your contemporary lens, could 'nature near' be health compromising or health promoting? -Should architects be like medical practitioners responsible for healing the ailments of clients or inhabitants? - Consider the number of structures, buildings, spaces, and digital devices that an individual uses over their lifetime, how could one determine which specific design aspects cause harm? Prompt #3: Neutra's work seeks to protect the human race through healthful design and evidence-based practices. He writes: "Design, never a harmless play with forms and colors, changes outer life as well as our inner balances” (Neutra 1954, 2). Elements such as acoustical balances, pitch, air quality, toxins in the water, and sensory overload all impact the internal balances of the human condition. Design with an acute sensitivity to the whole human, he argues, has potential to enhance the health of humans.For example, the Lovell Health House by Neutra contains a pool, gym, filtered water, optimal site positioning, state-of-the art kitchen, sun-bathing terraces and other features for the family to live in optimal health. However, is not possible nor sustainable for the planet for each home to contain these elements. - Examine the ideas of biorealism through the lens of equity or environmental justice. As you engage in a discussion, refer to and cite specific passages from Survival Through Design. - If novel and healthful design practices are available only to a wealthy elite, where does an approach to good design cross into environmental injustice for those that cannot afford to tap such resources? - Could the tenets of biorealism be applied to all people? Is it necessary to pay an architect to reap the benefits of the theories? Prompt #4: Multiple times in Survival Through Design, Neutra argues that design can either aid in the survival of the human race or lead to its destruction. He writes: "Design is the cardinal means by which human beings have long tried to modify their natural environment, piecemeal and wholesale. The physical surroundings had to be made more habitable and more in keeping with rising aspirations. Each design becomes an ancestor to a great number of other designs and engenders a new crop of aspirations... Through the mental work of design, which is supposed to improve our lives, the race appears generally to stray farther and farther from the natural scene" (Neutra 1954, 111). The role of design is critical in the making of the planet habitable or uninhabitable. But what are the most effective measures to make it better? - As you engage in a discussion, refer to and cite specific passages from Survival Through Design that demonstrate Neutra's ideas to counter potential harms (such as the index of liveability) and to, ideally, enhance design practices for humanity. -Like product manufacturers, who are responsible for the effectiveness of their products, what degree of responsibility do architects/designers have when designing buildings for clients? - What are the advantages and disadvantages of systematic observation and legislation that governs design to monitor the impacts on human health?See Answer
Q17: Copyright © 1973. University of Chicago Press. All rights reserved. 2 Chorale Man, Society, and Technology Architectural Character Every people that has produced architecture has evolved its own favorite forms, as peculiar to that people as its language, its dress, or its folklore. Until the collapse of cultural frontiers in the last cen- tury, there were all over the world distinctive local shapes and details in architecture, and the buildings of any locality were the beautiful children of a happy marriage between the imagination of the people and the demands of their countryside. I do not propose to speculate upon the real springs of national idiosyncrasy, nor could I with any authority. I like to suppose simply that certain shapes take a people's fancy, and that they make use of them in a great variety of contexts, perhaps rejecting the unsuitable applications, but evolving a colorful and emphatic visual language of their own that suits perfectly their character and their homeland. No one could mistake the curve of a Persian dome and arch for the curve of a Syrian one, or a Moorish one, or an Egyptian one. No one can fail to recognize the same curve, the same signature, in dome and jar and turban from the same dis- trict. It follows, too, that no one can look with complacency upon buildings transplanted to an alien environment. Yet in modern Egypt there is no indigenous style. The signature is missing; the houses of rich and poor alike are without character, without an Egyptian accent. The tradition is lost, and we have been cut off from our past ever since Mohammed Ali cut the throat of the last Mameluke. This gap in the continuity of Egyptian tradition has been felt by many people, and all sorts of remedies have been pro- posed. There was, in fact, a kind of jealousy between those who re- garded the Copts as the true lineal descendants of the Ancient Egyp- tians, and those who believed that the Arab style should provide the pattern for a new Egyptian architecture. Indeed, there was one statesmanlike attempt to reconcile these two factions, when Osman Moharam Pasha, the Minister of Public Works, suggested that Egypt be divided into two, rather as Solomon suggested dividing the baby, and that Upper Egypt be delivered to the Copts, where a traditional Pharaonic style could be developed, while Lower Egypt should go to the Moslems, who would make its architecture truly Arab! Fathy, Hassan. 19730 Architecture for the Poor : An Experiment in Rural Egypt. Chicago: University of Chicago Press. Accessed March 15, 2024. ProQuest Ebook Central. Created from ucb on 2024-03-15 22:48:04. Copyright © 1973. University of Chicago Press. All rights reserved. 20 Chorale: Man, Society, and Technology This story goes to show two things. One is the encouraging fact that people do recognize and wish to remedy the cultural confusion in our architecture. The other—not so encouraging—is that this confusion is seen as a problem of style, and style is looked upon as some sort of surface finish that can be applied to any building and even scraped off and changed if necessary. The modern Egyptian architect believes that Ancient Egyptian architecture is represented by the temple with its pylons and cavetto cornice, and Arab by clustered stalactites, whereas Ancient Egyptian domestic architec- ture was quite unlike temple architecture, and Arab domestic archi- tecture quite different from mosque architecture. Ancient Egyptian secular buildings like houses were light constructions, simple, with the clean lines of the best modern houses. But in the architectural schools they make no study of the history of domestic buildings, and learn architectural periods by the accidents of style, the obvious features like the pylon and the stalactite. Thus the graduate architect believes this to be all there is in "style," and imagines a building can change its style as a man changes clothes. It was thinking like this that led some architect to ruin the entrance to the classrooms at Gourna school by transforming the original archway into an Ancient Egyptian-style temple doorway complete with cavetto cornice. It is not yet understood that real architecture cannot exist except in a liv- ing tradition, and that architectural tradition is all but dead in Egypt today. As a direct result of this lack of tradition our cities and villages are becoming more and more ugly. Every single new building man- ages to increase this ugliness, and every attempt to remedy the situa-- tion only underlines the ugliness more heavily. Particularly on the outskirts of provincial towns where the most recent building has been taking place the ugly design of the houses is emphasized by the shoddy execution of the work, and cramped square boxes of assorted sizes, in a style copied from the poorer quarters in the metropolis, half finished yet already decaying, set at all angles to one another, are stuck up all over a shabby wilderness of unmade roads, wire and lines of washing hanging dustily over chicken runs. In these nightmarish neighborhoods a craving for show and modernity causes the house owner to lavish his money on the tawdry fittings and decorations of urban houses, while being miserly with living space and denying himself absolutely the bene- fits of real craftsmanship. This attitude makes the houses compact and outward-facing, so that the family has to air bedding over the public street, and air itself exposed to the neighborhood upon its barren balconies; whereas if the owners were less cheap-minded they could take advantage of the only house type that can make life tolerable in these places, the courtyard house, and enjoy both space Fathy, Hassan. 1973. Architecture for the Poor: An Experiment in Rural Egypt. Chicago: University of Chicago Press. Accessed March 15, 2024. ProQuest Ebook Central. Created from ucb on 2024-03-15 22:48:04. Copyright 1973. University of Chicago Press. All rights reserved. 21 The Process of Decision Making and privacy. Unfortunately this suburban architecture is the type that is taken by the peasants as a model of modernity and is gaining ground in our villages; on the outskirts of Cairo or Benha we can read the approaching fate of Gharb Aswan. To flatter his clients and persuade them that they are sophisticated and urban, the village mason starts to experiment with styles that he has seen only at second or third hand, and with materials that he cannot really handle with understanding. He abandons the safe guide of tradition, and without the science and experience of an architect tries to produce “architects' architecture.” The result is a building with all the defects and none of the advantages of the archi- tect's work. Thus the work of an architect who designs, say, an apartment house in the poor quarters of Cairo for some stingy speculator, in which he incorporates various features of modern design copied from fashionable European work, will filter down, over a period of years, through the cheap suburbs and into the village, where it will slowly poison the genuine tradition. So serious is this situation that a thorough and scientific investiga- tion of it becomes quite imperative if ever we are to reverse the trend toward bad, ugly, vulgar, and inefficient housing in our villages. Sometimes I have despaired at the size of the problem, and given it up as insoluble, the malign and irreversible operation of fate. I have succumbed to a feeling of helplessness, sadness, and pain for what was becoming of my people and my land. But when I found myself having to deal with the actual case of Gourna, I pulled myself together and began to think more practically about the problem. The Process of Decision Making Culture springs from the roots And seeping through to all the shoots To leaf and flower and bud From cell to cell, like green blood, Is released by rain showers As fragrance from the wet flowers To fill the air. But culture that is poured on men From up above, congeals then Like damp sugar, so they become Like sugar-dolls, and when some Life-giving shower wets them through They disappear and melt into A sticky mess. Fathy, Hassan. 1973. Architecture for the Poor: An Experiment in Rural Egypt. Chicago: University of Chicago Press. Accessed March 15, 2024. ProQuest Ebook Central. Created from ucb on 2024-03-15 22:48:04./n 8:59 Back Discussion Details 5G 15 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #1: In his book Architecture for the Poor: An Experiment in Rural Egypt, Hassan Fathy conveys an attentiveness to cultural identity in architecture and laments the loss of an indigenous style in modern Egypt. Fathy writes: "Every people that has produced architecture has evolved its own favorite forms, as peculiar to that people as its language, its dress, or its folklore. Until the collapse of cultural frontiers in the last century, there were all over the world distinctive local shapes and details in architecture, and the buildings of any locality were the beautiful children of a happy marriage between the imagination of the people and the demands of their countryside" (Fathy 1973, 19). Through he work, he seeks to remedy the cultural confusion present in architecture for both the rich and poor. - How does Fathy aim to remedy the loss of identity of Egyptian architecture? Refer to and cite specific passages as you engage in a discussion. - What role does Fathy believe that 1) style and 2) tradition play in the pursuit of authentic identity? -Should architects and clients have a rightful capacity to "incorporate various features of modern design copied from fashionable European work... though cheap suburbs and into a village, where it will slowly poison genuine tradition" (Fathy 1973, 21)? 2 4 000 000 Dashboard Calendar To Do Notifications Inbox 8:59 Back Discussion Details 5G 15 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #2: Fathy sought to create a contemporary vernacular architecture for post-colonial Egypt. In his pursuit to integrate a range of vernacular techniques that belonged to cultures with multiple different languages and traditions, he created his own vernacular style. Through the process, he found that his interpretation of vernacular techniques did not align with the people who were meant to live in New Gourna. Hassan Fathy's work raises questions about what an authentic vernacular architecture is. What does Fathy do at New Gourna that supports the notion of vernacular architecture? What does he do that could possibly compromise or support it? Refer to and cite specific passages from Architecture for the Poor: An Experiment in Rural Egypt as you engage in a discussion. - Does vernacular architecture belong to a particular culture? If there are benefits to the planet or a community using sustainable methods that originate from a vernacular architecture, are there errors in utilizing such methods? - Is it possible to create an authentic, environmentally sensitive vernacular architecture today? Prompt #3: 2 4 000 000 Dashboard Calendar To Do Notifications Inbox 8:59 < Back Discussion Details 5G 15 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #3: Fathy's vision included the use vernacular construction methods such as Nubian mud vaulting in the Village of New Gourna. Fathy recounts: "The next day our party went to see the Fatimid Cemetery at Aswan. This is a group of elaborate shrines, dating from the tenth century, built entirely in mud brick, where vaults and domes are employed with splendid assurance and style. Here too mud brick domes and vaults are employed, but the simplicity and humility of the monastic ideal is revealed in the architecture, which thus proves able to accommodate equally well the contrasting inspirations of the Moslem and Christian religion" (Fathy 1973, 7). He was enthusiastic about bring back old traditions and cooperative building methods. However, for many of the potential inhabitants, the inclusion of domes in the house designs meant for mosques and tombs, not homes. -The Village of New Gourna in Egypt raises questions about cultural appropriation. Refer to and cite specific passages as you engage in a discussion. - Can culture be misappropriated in architecture? If so, how? If not, why not? Use specific examples and depth of analysis to clearly demonstrate your perspective. -Make an argument in support of or challenging Fathy's use of culture in the Village of New Gourna. Is it appropriately utilized, misappropriated, or neither. Use references from the readings and possible the village to support your position. 2 4 000 Dashboard Calendar To Do Notifications Inbox 8:59 Back Discussion Details ARCH 3214-001: Hist & Thry of Architecture 2 5G 15 Discussion Framework: Part 1 (your initial post): Your initial post must meet the following: 1. Respond to one of the prompt options for the week. (That is not a free-write or write whatever you want). 2. Title the post to correspond to the chosen prompt. 3. Compose a response that consists of at least 200 words, of your own writing, which critically examine the reading(s) and engage the prompt. (Please omit any unnecessary fluff to reach a particular word count.) 4. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion. For Part 2 (your engagement post): 1. You then reply to at least one person with a substantive post, which is around at least 150 words. (No fluff). 2. Your reply must do the following: 1. The engagement response utilizes one technique of Bailey's guide to participating.. 2. Your reply begins by identifying which technique that you are doing (e.g. #5 Offer an Objection) 3. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. 2 4 000 Dashboard Calendar To Do Notifications Inbox 8:59 Back Discussion Details 5G 15 ARCH 3214-001: Hist & Thry of Architecture 2 (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion. For Part 2 (your engagement post): 1. You then reply to at least one person with a substantive post, which is around at least 150 words. (No fluff). 2. Your reply must do the following: 1. The engagement response utilizes one technique of Bailey's guide to participating.. 2. Your reply begins by identifying which technique that you are doing (e.g. #5 Offer an Objection) 3. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 4. Your response is respectful, charitable, kind, and displays a concerted effort to avoid defensive or aggressive reactions. 5. Your reply adheres to all the expectations of the classroom behavior outlined in the syllabus. Reply 2 4 000 000 Dashboard Calendar To Do Notifications InboxSee Answer
Q18: ARCH 225: HISTORY OF WORLD ARCHITECTURE I Paper Assignment: Historic Architecture and its Context OVERVIEW For this paper, you will research and analyze a specific building that falls within the chronological period covered in class--up to 1500 CE (see list below). The paper is a careful visual analysis of your building relating it to a specific, well-articulated social or cultural context. For the purpose of this paper, a context is any specific historical condition or circumstance immediately affecting the construction of a particular building (see list below). A context is not an architectural feature of the building, but rather a political, social, economic, cultural, or technological factor affecting the building from outside it. (N. B. An architectural style, such as Islamic or Gothic, is NOT a context.) It is important to choose a context that helps explain as many visual and physical aspects of your building as possible. For example, a paper on the Byzantine church of H. Sophia in Constantinople (Istanbul), might choose as a context the patronage of Emperor Justinian, along with his propaganda of reviving the ancient Roman Empire. As part of your research, you must learn the approximate dates of construction of the building in its original build. Use the library resources we discuss in class to guide you to sources on dates, patronage, political regimes, etc. You will compose your paper piece by piece over the course of this semester. First, you will complete eight separate draft components. Then, based on feedback from your instructor, you will revise your draft components and compile them into your final paper. 1 PAPER DRAFT COMPONENTS 1. Topic and Start-up Bibliography (2 pts; DUE THURS. 2/15 IN CLASS). a) Choose a building from the following list: - Amarna, Egypt. Great Temple of Aten (New Kingdom Egypt). - Susa, Iran. Apadana of Darius (Achaemenid Persia). - Delphi, Greece. Tholos sanctuary of Athena Pronoaia (Classical Greece). Rome, Italy. Domus Aurea, octagonal reception hall (Imperial Rome). - Teotihuacán, Mexico. Pyramid of the Feathered Serpent (Ancient Mexico). - Ravenna, Italy. Neonian Baptistery (Early Christian). - Chang'an, China. Great Wild Goose Pagoda (Tang China). - Conques, France. S. Foy (Romanesque Europe). - Reims, France. Reims Cathedral (Gothic Europe). - Djenné, Mali. Great Mosque of Djenné (Islamic sub-Saharan Africa; N. B. please discuss original build, not the 20th-century restoration). On the first page of your document, give the name of your building in the following way: (City), (Country). (Conventional name of building). (Approximate date range). b) On a new page, write a bibliography of at least three peer-reviewed journal articles, books, or entries from a scholarly encyclopedia such as Oxford Art Online (access through UMD online catalogue). You should search the database JSTOR (available through the UMD catalogue) for journal articles. N. B. Many books are available electronically during the COVID-19 through HathiTrust and other open-access resources--make sure to access the book through the UMD online catalogue, and then, when you get rerouted to HathiTrust log in again using your UMD credentials. Your bibliography should rigorously follow correct Turabian-style bibliography format.¹ ¹ https://www.chicagomanualofstyle.org/turabian/turabian-notes-and-bibliography-citation- quick-guide.html 2 2. Glossary and Images (4 pts; DUE THURS. 2/22 IN CLASS). a) On the first page of a new document, write a glossary of fifteen specialized architectural terms necessary for the description of your building, accompanied by definitions in your own words. These terms should not be universal vocabulary such as "massing" or "poché," but terms specific to the style of your building, such as "flying buttress," "apadana," or "talud-tablero". b) Starting a new page on the same document, include three images, each with a caption that reads "Figure [#]. [Name of building]. [Type of image (eg. Plan, Section, Elevation, Axonometric Drawing, Isometric Drawing, Photograph of Exterior, Photograph of Interior, Detail]]." 3. Thesis Paragraph (4 pts; DUE THURS. 3/7 IN CLASS). Starting a new document, write a thesis paragraph, 4 - 7 sentences in length. The purpose of this paragraph is to launch your research argument, which states a hypothesis that relates the architectural form of your building to a specific historical context. A context is a historical condition pertinent to the moment of the building's construction and directly affecting the form of a particular building (see list below). Think deeply about the first sentence and how it will hook the reader directly into the premise of this paper. Please pick one of the following as a context: - function of use. - site (the dimensions, topographical, environmental, or urban character of the specific location). - patron (the individual who paid for or ordered the construction of the building, whether a ruler, a priest, or a wealthy elite). - political regime. -building technology. 3 - specific religious symbolism (only choose this if your sources know the specific symbolism; do not write a paper about how a Gothic Cathedral is vaguely religious). N. B. The style/building culture (Roman, Gothic, etc.) of your building is NOT a suitable context, as it refers to the general character of architecture during the time period rather than a condition affecting your particular building. Please do not write a paper explaining that a building has Gothic features because it is in the Gothic style. 4. Annotated Bibliography (4 pts; DUE THURS. 3/14 IN CLASS). The purpose of this assignment is to take research notes based on your reading and consolidate them in one document. Duplicate your Bibliography document as a new file and rename it "Annotated Bibliography." Under each bibliographic entry, take research notes based on your reading of that source, using correct Turabian style footnotes. DO NOT COPY sentences directly from your sources. Write them as short, simple notes in your own words, citing the source from which the information for each note comes. Later, you will copy-and-paste these notes (along with their footnotes) into your paper and mold them into a cohesive argument. 5. Context Paragraph (4 pts; DUE THURS. 3/28 IN CLASS). In a new document, write a paragraph detailing the context you have chosen for your paper and how it relates to the construction of the building. This paragraph should synthesize your research notes to tell the specific story that is your context. Give any relevant events and trends directly relevant to the context, as well as contemporaneous building events of your building (founding, dedication, building campaigns, etc.). This paragraph may make passing reference to more recent restorations of your building but should not dwell on this for any more than two sentences. This paragraph is about the original construction of your building and how your context directly affected it. 4 6. Typological Comparison Paragraph (4 pts; DUE THURS. 4/4 IN CLASS). In a new document, write a paragraph comparing your building to other examples from the same building culture (eg. Gothic) that belong to the same formal typology (eg. Early Christian octagonal Baptistery). Name and define the typology using architectural vocabulary, and describe the features that define your building as part of the typology and those that expand on or depart from the typology. What do these similarities and differences from other examples of the typology do to help your building address the context you have chosen to write about? 7. Thick Description (4 pts; DUE THURS. 4/18 IN CLASS). In a new document, write a 3-to-4-paragraph thick description focusing on the particular ways that the architecture of your building responds to the context you have chosen to write about. As opposed to a thin description, a thick description explains the deeper rationale behind architectural choices. Start your description at the general level (plan, massing, elevations, or the total form of the voids), and zero in on details that hammer home your point. 8. Conclusion Paragraph (4 pts; DUE THURS. 4/25 IN CLASS). In a new document, write a paragraph that synthesizes the main points of your thick description and reinforces their relationship to the context. Just as your introduction opened with a hook, the last sentence of your conclusion should be short and punchy, and ring with a sense of finality. 5See Answer

TutorBin Testimonials

I found TutorBin History Of Architecture homework help when I was struggling with complex concepts. Experts provided step-wise explanations and examples to help me understand concepts clearly.

Rick Jordon

TutorBin experts resolve your doubts without making you wait for long. Their experts are responsive & available 24/7 whenever you need History Of Architecture subject guidance.

Andrea Jacobs

I trust TutorBin for assisting me in completing History Of Architecture assignments with quality and 100% accuracy. Experts are polite, listen to my problems, and have extensive experience in their domain.

Lilian King

I got my History Of Architecture homework done on time. My assignment is proofread and edited by professionals. Got zero plagiarism as experts developed my assignment from scratch. Feel relieved and super excited.

Joey Dip

Popular Subjects for history of architecture

You can get the best rated step-by-step problem explanations from 65000+ expert tutors by ordering TutorBin history of architecture homework help.

TutorBin helping students around the globe

TutorBin believes that distance should never be a barrier to learning. Over 500000+ orders and 100000+ happy customers explain TutorBin has become the name that keeps learning fun in the UK, USA, Canada, Australia, Singapore, and UAE.