Review of Related Literature This chapter mainly consists of articles, journals and books used by the researchers throughout the study to further supplement its findings and add to the researchers’ current pool of knowledge. These references mainly deal with similar studies of Philippine architecture and others in relation to this topic. 2.1 Pre -Colonial Architecture in the Philippines Pre – colonial architecture started with the influences of the Malays. Designs during this period varies by region but common features are present such as steep roof over a one-or-two room living area raised on posts or stilts one to two meters above the ground or over shallow water (Noche). However, the earliest shelters of the Filipinos were probably not built by them. Either they found these shelters or found themselves in them. It was nature which fashioned hollows on cliffs and mountainsides that offered protection from heat, rain, and wind. The houses that they built are constructed on trees, anywhere from 2 to 20 meters above the ground to protect themselves from floods, wild animals, and enemies but with the development of wet-rice culture, farmers became rooted to the land and although braces of the kaingin lifestyle continued in the makeshift character of various dwellings, houses were built to last (Perez). The bahay kubo, an example of traditional architecture, is raised on posts to avoid the damp earth and floods, and to prevent insects and animals from entering
As a Puerto Rican citizen, I do not fit in to that part of our history very much. In the late 1800’s, Puerto Rico was not a U.S. territory; instead, it formed part of the Spanish empire. It wasn’t until the end of the Spanish-American war that Puerto Rico became a U.S. property. Even then (after being conquered by the U.S. in the year 1900), the common American belief was that Puerto Ricans weren’t inherently equal any more than they thought that blacks were racially equal to whites. Rather, because the American public wouldn’t consent to treating Puerto Ricans as equals or granting them citizenship, the U.S. had trouble keeping the island as an imperial possession.
Throughout this book Cabeza de Vaca are nomads for a long period of time trying to find a place to stay ,food and supplies. In this journey he needs to be able to understand different languages and be adapted to their culture, and let 's not forget that he doesn 't know anything thing tribes and how trust is going to be taking a big part in this journey of his. While in South America we start to see the different kinds of house that people are living in. Each tribe had their own way of building a house and some held more people than others. One tribe actually builds the houses so that during the summer the house would get some shade while during the winter they would have some of the rays of the sun come in towards the windows of the
A chinampa was an artificial island built in throughout the lakes. They were constructed on shallow water by installing wooden stakes, weaving a web of sticks, adding reeds, and piling on mud. The chinampa allowed for more crops to be grown, as they could sometimes accommodate
The four tree houses are made from local wood and are open to the air. Their simple square shape allows students to focus on learning, while the fresh allows them to connect with nature and be outside, even when they are in the classroom. The building on the island is even more minimalistic. It looks more like a cabana than classroom, and is completely open to the air. The open sides allow students to see the ocean as they learn about different aspects of it, and allows them to easily transition from the classroom to the ocean.
The Aztecs way of life was based on their religion. The Aztecs lived from the 1300-1500s. The Aztecs religion was Mesoamerican. Mesoamerican is where the Aztecs held ceremonies according to the patterns in the Aztec calendar, leading them to believe in a connection to the gods by human sacrifice. They believed so much in the gods that the Aztecs feared the gods were capable of ending the world.
Chaco canyon is an urban center because of its architecture and its high mountain deserts. Chaco canyon built enormous landscape and many storied buildings, they also made road with stairways. Cahokia is a Neolithic village and it was named after its tribe. Many settlers did not grow many mounds which are squares of platforms which they used for homes. These Cahokia’s grew lots of crops and they lived in round villages and
Pueblos were representatives of southwest Indian culture. Originally migrating from the Mesa Verde region, they can mostly be found in northwestern Arizona and northwestern New Mexico. While living in compact settlements known as P variations of Kachinas. Modern Puebloans use rooms called kivas for religious rituals. Kivas are square walled and often underground.
To experience an aspect of local Hispanic culture, I visited Panadería Pahuatlán, a Hispanic bakery in Durham. Even from the outside, it was immediately clear that Panadería Pahuatlán was a Hispanic bakery, as the bright, eye-catching signs were all written in Spanish. Once inside, it was just as vibrant as the outside. Piñatas hung from the ceiling, display cases of desserts lined the walls, bread cooled on shelves, and racks of various other products stood around the store. Panadería Pahuatlán was immediately very different from any American bakery I had every gone to.
The pueblo architecture, developed by the Anasazi is an improvement on the architecture that is known to be around at the time. Such buildings, most notably carved into cliff faces, were designed to be simple homes with the use of adobe to make bricks upon which the architectural feat of the buildings relied on for their structure. The use of adobe in the pueblos themselves was also an improvement in the previous version of the Anasazi style homes that included a simple kiva, an underground room
Aside from being depicted in Mesoamerican artwork, the concept of death in Mexico also tells the story of the imposition of Catholicism on Mesoamerican civilizations during colonial Mexico. Artwork during this time period illustrates images of death, such as a deceased nun, a masked death, devil and devil dancers, and ancient decorated skulls (Carmichael and Slayer 1992, 36). According to Stanley Brandes, scholars often have a difficult time minimizing the role of the Zapotec natives while simultaneously emphasizing on the European origins of the Day of the Dead holiday. Much of the pre-Columbian antecedents steams from the iconography of ancient civilizations living throughout Mesoamerica. This includes its huge amounts of skulls and skeletons during the modern Day of the Dead rituals as well as the variations of the meaning of the skeletal depictions as it differs from region to region.
In July 19, 1936 Richmond Times-Dispatch’s Sunday magazine and book review section published the picture above depicting what’s the history of the Egyptian building medical college of Virginia: Egyptian building, Medical college of Virginia . The Egyptian Buildings lies on 1223 E. Marshall Street, built in 1844. The building was originally built for the Medical Department of Hampden-Sydney College which in 1854 became an independent entity; the Medical College of Virginia (MCV).It was famously designed by Philadelphia architect Thomas S. Stewart (1806-1889) which still is considered one of the finest extant samples of the rare “Egyptian Revival” style, marking itself as a landmark in Richmond. In 1938-39, the Richmond architectural firm of
In his book, 1491: New Revelations of the Americas before Columbus, Charles Mann introduces a controversial topic regarding the Americas prior its colonization. Contrary to what is taught in American history, Mann reconstructs our understanding of life in the Americas before Columbus as he exposes that there were large civilizations living at the time. The indigenous were not wild and untamed; rather they were highly civilized and complex. The author successfully shows that by the time that the Europeans arrived to the Americas they did not witness it in its primal form, as it had already been altered by the indigenous people that were living there. Among the highly civilized cultures that existed at the time were the Mayans and the Aztecs.
Architecture has the ability to remark and reflect any region, give a feeling and a sense of a place, and present thoughts and creativity. Across the world, especially in the United States, there are many cities that are distinguished by its architecture and unique styles: The skyline of New York City is defined by it’s skyscrapers; San Francisco’s mixture of Victorian and modern colored houses; New Orleans’ iconic Creole townhouses; and Miami’s modernist architecture. Los Angeles, San Diego and some of the cities in the same region are no different from the previous appreciable cities all around America. These cities are located in the state of California which is on the West Coast. They share some significant architectural characteristics
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
Tectonics is defined as the science or art of construction, both in relation to use and artistic design. It refers not just to the activity of making the materially requisite construction that answers certain needs but rather to the activity that raises this construction as an art form. It is concerned with the modeling of material to bring the material into presence - from the physical into the meta-physical world (Maulden, 1986). Since tectonics is primarily concerned with the making of architecture in a modern world, its value is seen as being a partial strategy for an architecture rooted in time and place therefore beginning to bring poetry in construction. Tectonics, however, has the capacity to create depth-ness of context resulting in the implicit story being told by the tectonic expression.