Constructed Images By Pritam Lenka [Pic1 – Taj Mahal, Agra, India] Hola! Gracias!! Taught by a Columbian friend on a social networking site, these words are the first ones that come out of my mouth when I land at Barcelona. Sipping from my first cup of Café Con Leche, I proceed towards my hostel, ignorant of the fact that during my course of stay in this architecturally rich city, I would eventually start questioning myself over years of accepted philosophies. While taking long walks through l’Eixample, Raval, and the Las Rambla, I realize myself going through a surge of contrasting spatialities and varied notions. And I rethink for a moment my previous subconscious connection with Barcelona. The splendor of Sagrada Familia and Porta Fira Towers …show more content…
So what images are associated with India? Is it the alluring beauty and grandiose of the Taj Mahal? Or a tiny, seemingly insignificant Om symbol, which when carved into any rock gives it the status of a shrine? Similar to the padlock that a lovely lady ties to a bridge or fence to symbolize her love! [Pic2 – Padlock at the Bridge] I feel myself being captivated by the power of those architectural images that depict underlying meaning than those that portray mere Opticality . And from here begins my intellectual journey of finding answers to one question—can self-constructed images defy accepted notions and represent the real power of Architecture? I recall the numerous Odishan temples where my parents used to take me when I was a kid. The decreasing light, the increasing enclosure, and the intensifying solitude en-route to the dark sanctums would overpower me. And cut-off from the world outside, I would engage, undisturbed, in a personal one to one dialogue. Architecture creates images (narratives) just like a movie. This particular image, where form loses its importance with darkness, redefines the power that Architecture
In “Se Habla Espanol,” Tanya Barrientos elaborates on her personal experience growing up in the United States. In the first couple decades of her life, Barrientos distanced herself from her cultural roots fearing that she would be judge and belittle. It was essential for Barrientos to fit in with the American society. Barrientos formats the short story where she is speaking from firsthand experience.
The “bell-shaped stupas” in Borobudur show how Buddhism was elaborated as it spread across Asian countries (Doc 2). The stupas create the shape of the Buddha as it is made for meditation and are distinctively found in Southeast Asia. Furthermore, this shows how art portrayed new developments of Buddha’s image, such as in the “Seated Buddha of Gandhara” in Pakistan (Doc 4). The statue represents the Eastern and Western culture as Greeks made the statues resemble Greek gods to portray the Buddha wearing a toga. This combines the culture of Hellenism and transforms Buddhism into a different image.
William Johnson takes this photograph to visually reflect the different status and life styles of Indians in the mid 1800s. He uses the contradictory paring of a minimal background and elaborate foreground to represent the Smarth Brahmins’ culture. The fact that he photographs these two men behind what seems to be a white wall and sitting on a thing covering shows the simple, religious aspect of Smarth tradition. These Brahmins choose one of the five deities to be the central focus and the other four surround that deity. This simplicity in how they practice their religion coincides with the simplicity of the background.
The need to memorialize events or people is complex; in some cases, monuments honor moments of great achievement, while in other cases, monuments pay homage to deep sacrifice. A monument 's size, location, and materials are all considerations in planning and creating a memorial to the past. In any case, the need to honor or pay homage to a specific person or event is prevalent within society. A monument has to mean something to the society it is place in. The location of a monument is perhaps the most important aspect of creating a successful monument to honor and show respect to a person or event.
The great pyramid of giza is a great artifact because it was built with many stone bricks. It was used for a couple bariuls of kings and phorohs. You used to be able to go in it but now you can’t. Keep reading to find out more interesting facts about The Great Pyramid of Giza.
She was afraid that the way she spoke about this city would not be the same anymore, but she said,"we will find out." However, when she was in the car to get to the hotel boutique, she said, “this is my place, it is here where I left behind many childhood memories, it still remains in paradise”. On the other hand, I felt I was in Europe because of the architecture. I was fascinated with the way the city looked because there were pink, blue, and yellow colored houses. One thing I found surprising about
The truth is what you see with your own eyes. In George Saunders’ “The New Mecca”, he narrates his travelling experience in Dubai, and Saunders changes his attitude towards Dubai completely from considering it may be “an idyllic mountain kingdom ruled by gentle goatherds” to acknowledging it as “may well be the greatest city on earth”. In this essay, I will argue that “In all things, we are the victims of The Misconception From Afar. There is the idea of a city, and the city itself, too great to be held in the mind. And it is in this gap (between the conceptual and the real) that aggression begins” is central to Saunders’ essay, because this quote points out the common situation that people often misjudge things and form stereotypes even before they actually learn about them, and this is the message that Saunders’ article conveys.
Epoka University Faculty of Architecture and Engineering Department of Architecture ARCH IV ARCH418 PhD. Ernest Shtepani Shasivar Rada ID:02021120 Delirious New York Retroactive Manifesto for Manhattan Rem Koolhaas Our role is not to retreat back to the catacombs, but to became more human in skyscraper Manhattan is the theatre for the terminal stage of western civilization... A mountain range of evidence without manifesto.
Inside, rather than providing the order and simplicity that the modernists worshipped, Venturi’s design chose to surprise people with its contradictions. The interior design played with concepts of scale, with an oversized fireplace, and an undersized stairway which leads to nowhere. While the Vanna Venturi house is widely considered to be the first postmodern building, Robert Venturi insists he wasn’t trying to create a new movement. Maybe it was just ‘art’ and that “sometimes, rules are meant to be broken.” (Robert Venturi, wttw.com).
Author Rasmussen’s book Experiencing Architecture further elaborates on this architectural experience by emphasizing “You must observe how it was designed for a special
Mankind has always faced many natural obstacles, one of them being the harsh elements of the weather. In order to protect themselves, humans began to build shelters to keep warm and survive. This acted as the roots that gave rise to the industry of architecture. As time has passed and societies have come and gone, the advancements in architecture have continued to grow, but never again has there been a time more influential and lasting on architecture than the era of the Greeks and Romans. Their architectural achievements revolutionized modern architecture in a way that is still being used to this day.
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,
A civilization’s architecture not only shows the artistic skills of its designers and builders but also the functionality of its engineers, the power of its government, and the inventiveness of its people. Architecture was a crucial element to the success of two major cites in Europe, Rome and Athens. Each city had structures consisting of formal architecture like temples and basilicas showing the influence that its leaders had over each city, while utilitarian buildings like bridges and aqueducts helped build communication between distant cities throughout each empire. Though architecture as a whole was an important role in unifying the cities, the architecture design within each illustrates the similarities and differences between two.
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.
These sensory signals have a large impact on our relationship and experience of an environment because they are able to physically and emotionally engage and connect us to the architecture. Although these types of sensorial qualities may not make or break the successfulness of architecture, they must remain of high importance because of their ability to reinforce an individual’s personal connection to a place. Juhani Pallasmaa, claims that our design culture has forgotten the importance of the senses in engaging our whole being- physical and emotional- in an architectural experience. This theory speaks to an experience that goes beyond a visual relationship between a person and architecture.