Introduction
Architecture has always emerged through the subjective imaginations, cultural up bringing's, native countries (Location) and even political stance of certain individuals this has influenced architects all over the world to build the way they do. There is no strict discipline to modern architecture like the classical designs and rule of the past and no boundary to what and architect can conjure up. In this essay I will discuss how man-made structures and nature can work together in the modernization of Brazil and take on board the thoughts of other Architects toward Oscar Niemayar primarily his Personal House "Das Canoas House" Das Canoas "Niemeyer House" was designed 1951 as his family home bringing a start to modernism to
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Fig 1 Outside Area and Pool of Casa das Canoas, Rio de Janeiro
The large boulder fuses together the outside and the inside without looking out of place
I. Features
An interesting feature of his building is the combination of minimalist architect and organic architecture merges effortlessly with its surroundings.
Ciro Pirondi say "Its integration with the trees and with the mountain makes it look like that construction has always been there". ( Oscar Niemeyer / Classic and Unseen pg148)
As Das Canoas does not support the idea of geometric regularity, it does however show a clear tribute to Farnworth House, although its formal purity was not altered. The evolution of reinforced concrete into modern building can be seen clearly from Mies designs to Niemeyer's, architects began to make full use off it manipulating it as they pleased into structures many years after its resistance to bending was established. Niemeyer's residence was designed because of his intention to be free from any restrictions and limitations, smoothly shape the environment and adjust to any irregularities in the area. He saw it as the only way to achieve the feeling wherein the vegetation had fully penetrated his
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Niemeyer had a particular interest in Surrealist Sculptures of Yves Tanguy and Jean Carzou which may have had an impact in the objects in his architecture such as the boulder serving as a surreal stumbling block the is positioned between the pool and house . 'Oscar Niemeyer and Brazil Free-form Modernism. Canoas is also proof of Le Corbusier's observation that "passion can create drama out of inert stone" (D.Underwood pg62). The presence of the rock gives a dominating impression at first glance, Niemeyer's view and design has given it a harmonious effect, leading a person back to the nature, without making itself as an inconvenience in the
They designed their buildings in a certain way for a reason. When you start to look at those purposes, the layouts and designs of these incredible buildings start to fall into place and makes
It took several hours for Brazilianite to reform, he had been hurt and heartbroken and didn 't really want to come back into reality, he didn 't want to realize Azurite wasn 't there. As Brazilianite glowed and floating above the ground he flicked through two forms, one being his default setting and the other being his present, more preferable form. Except there are slight changes, what used to be a Diamond on his clothing has now been replaced with large A 's. Floating back down to the ground he realizes his situation, he 's in a small locked up room, there 's no lights and there 's nothing else in the room. As he freaked out at the nothingness he begins running into the walls since he can 't find the door, due to his loud banging and
The most significant architectural features of the building are: • It’s battered walls-thinner at the top than at the bottom to give an impression of solidarity and height. •The diamond panned windows incorporated without a style break. •the columns of reeds bunched together with palm leaf
He encourages the reader to free oneself from official or commercial architecture which are influenced by the prejudice towards the late phases in architecture which are only concerned with a few selected cultures and turn a blind eye to underdeveloped countries and their alien architecture. He praises primitive architecture for its timelessness and its ability to serve its purpose to perfection with no room for improvement and regrets that the origin of these indigenous building forms and construction methods is lost in the past. Rudofsky then introduces Communal Architecture, ‘ art not produced by a few intellectuals or specialists but by the spontaneous and continuing activity of a whole people with a common heritage, acting under a community experience.’ The beauty of primitive architecture is often dismissed as accidental, but today we should recognize it as an art that developed from human intellect that was applied to handling practical issues and our problems are rooted in our tendency to accredit specialists who may have exceptional insight but are largely concerned with business and prestige. He challenges his readers on a fundamental level and exposes alternate and endangered forms of urban development, lifestyle, social spaces and practicality which we have not learnt from.
In form, this piece does not fully identify with a set recognized style. There are many aspects of conceptual naturalism that can be found throughout the piece, and that starts with the woodworking. Puryear, a master woodworker, is able to stress the importance of human touch and the woodwork tradition of West Africa. The use of forced perspective importantly relates to the form of the work, as it evokes a powerful emotion when perceived as a ladder receding endlessly into
Brazil, by both land mass and population, is the fifth largest country across the globe. The country is divided into five regions becoming one of the most geographically and culturally diverse nations on the earth earning the nickname "land of contrasts. " The different areas of the country all have many different cultures within often expressed through artifacts as well as traditions and ceremonies. Nationally, the culture can be expressed through many various forms such as language, literature, art, music, and religion. The blended and diverse culture of Brazil helped amplify many celebrations around the world.
In Rasmussen’s Experiencing Architecture, the author differentiates architecture from sculpture through utility. Therefore, the eye-catching curvilinear shapes of the hall’s exterior are more than bizarre geometric shapes. Surrounded by an urban setting, the concert hall’s undulating contours invigorates the cultural atmosphere of downtown Los Angeles. Spectators feel free to creatively interpret its ambiguous and novel shapes; whether the curves represent the crashes and clashes of orchestra or the frenzied hand gestures of the conductor, the concert hall ultimately reshapes the cultural landscape of LA as a unique architectural statement. Additionally, the materials used to construct the hall are stainless steel panels that hover above an asymmetrical band of glazing at the building’s base.
New designs have been adopted since the onset of architecture, and thus, with the concentration of a history of architecture, new phenomenon and innovations are realized that would help in further explanation and address of other necessities in the same sector. A concentration in the History of architecture and landscape architecture as a course incorporates more than one element of
Though this may seem as a simple objective, two main limitations stand in the way of achieving it. The first is the limited understanding of the human attachment/inclination towards nature. In spite of the growing body of research (Appleton, 1975; Kellert, 2005a; Heerwagen, 2005; Biederman & Vessel, 2006), still it is not clear why certain natural forms and settings arouse positive feelings in human beings. The second limitation is the difficulty of translating this limited -but growing- knowledge in architectural terms; form, form making principles, form language, structural systems…etc. (Alexander, 2001-2005; Salingaros & Bruce, 1999; Kellert,
Roberto Burle Marx was a man who designed on every level. He was a painter, a botanist, and used his own cultural background to design a nation. He was able to create landscapes that embody both art and science. Burle Marx’s own life and his creations have taught me that a designer can put his whole heart and soul into his work to express himself fully. His creation of the Brazilian landscape has influenced me to create designs that are completely unique and out of the ordinary.
of architecture which including history, identity, culture, prosperity or spirit of a city . Accordingly, to reach this process of the dialectics of nature, tradition, and modern avant-garde architecture, Frampton constituted a theoretical background representing critical regionalism. In addition to that critical regionalism adopts the principle of the tectonic reality and place in architecture. In other words, the architect should create the tectonic reality by using the physical dimensions of the site consisting of topography, climate; the sensual features consisting of light, heat, weather movements as well as the visual features and even the materials that are taken by the foreign resources as well as the local resources.
Walking up to the magnificent La Pedrera building the first thing I had to see was the pillar known as the elephant's foot. This pillar is notorious and was mentioned in the reading due it occupying too much space on the sidewalk of Passeig de Gracia. During construction Gaudi was informed of this by the government and told to make modifications, but Gaudi wouldn't budge. He wrote a letter back to the government and stated that if he were to modify the pillar, he would include a mocking inscription that would be-little the government. Fortunately the government rethought their demands and the pillar wasn't changed but this small aspect of the construction process I find awesome.
In 1812 Costa e Silva is called to go Brazil, leaving behind the works of Ajuda and Runa which never got to be completed. We will not linger on the work of Costa e Silva in Brazil, which will deserve detailed attention in due time. However, we would like to point out that an obelisk planned for a square in Rio among other commissioned works were there inexplicably halted which undoubtedly frustrated the architect. In Rio he forcibly teamed up with locally appointed Public and Royal architects such as Silva Moniz, engineer Santana and lieutenant-engineer J. M. da Silva, none of whom had his standing or expertise. Costa and Silva was called on to meet the demands of many works in progress and emergencies (e.g. Salvador landslides in 1813) until
The implicit message would allow for varying personal interpretation, the acquisition of meaning or symbolism over time, as well as the possibility of that meaning changing with time. Tectonic expression is therefore concerned with the relation between the idea of construction and the construction itself. This goes to show that architectonics is the basis for careful consideration of materials and as such, inevitably leads to a design outcome with more significance. Since the exploration of materiality is part of such an important process, it comes as no surprise as to why certain architects use tectonics for the materialisation of their design strategies. Japanese architecture
In the architectural realm these nonvisual experiences become important in how our space is perceived, how it makes people feel and even perform. The scale of architecture in relation to the person, the sensation a hand feels while touching a handrail, or the sound a person makes on the building as they walk: all of these