Postmodern Architecture

Since the Dao is so widespread, the Dao is both everything and nothing, the “darkness within darkness” (CP. P.46). Dao is empty but is the source of all things, therefore; it responsible for the undoing and doing of all things as explained in segment four. This notion of emptiness if further described in segment eleven. Empty space is not negative, without emptiness we would not have vases or wheels. Emptiness is a significant thing to appreciate and is completely necessary for life.

However, cool and dark colors are utilized in drawing the plain, which implies a depressing mood in crossing the plain. Considering about form, linear and aerial perspectives are used in the drawing in showing the ways and direction of moving and expressing the depth and width of various views, like the layers of gross and the distance between plain and mountains, respectively. Moreover, the use of light and shadow effectively showing the distance of each objects as well as making the objects, for instance the costume and the characters in a three-dimensional proportion. For texture, the artist uses different line qualities to compose each objects. For example, the repetition of thin lines are used in creating the shapes of gross and curve lines are utilized in drawing the shadow of objects, which is reflected in water.

The author uses this objection as an example to prove that Descartes’s idea of the mind and body existing without each because he imagines It, is wrong. Visualizing is not a very dependable way of proving something

However, I have to believe that forms exist because they represent an idea of the

Right angles, straight lines, meeting vertices--geometric shapes traced on the sand of the Rhodian shore is a primitive grid that seeks to sever itself from the barbarism of Nature to declare itself modern. A grid, according to Krauss in Grids is the symbol of modernity, in it’s ability, regrading space, to shove out the third dimension by forcing them onto a two dimensional surface of rigidity and organization. Therefore the grid is a symbol of arts and imagination and can never be a direct translation of reality. It is perhaps this artificial aspect of the grid that undermines Koolhass’ argument for “theoretical Manhattan” where the “culture of congestion” would form a vibrant city of creativity and dreams. The “culture of congestion” is built too much upon an overextended

Next, Withinness is the idea that the natural object refuses us from seeing it. Withinness prevents me to see what is taking place inside of the flower. The only way I would be able to find out is either with experimentation or by killing it, which goes against the third meditation.

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.

This paper critically evaluates an argument against Wake, Spencer & Fowler’s (2007) spatiotemporal theory because the objection confuses the hole’s identity with the exact region of space it occupies. The objection claims that holes are only identified with the specific region of space they occupy regardless of the greater relationship with the surrounding matter (Wake, Spencer & Fowler, 2007). Since the spatiotemporal theory identifies holes as spatial regions that belong to a larger object however, holes should not be identified as the spatial regions themselves without referring to the entire assembly. We will show that the author’s misconception leads to an unsound argument against the spatiotemporal theory.

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

By observing the breath one becomes aware of the perpetual changes involved in breathing, and the arising and passing away of breath. One can also be aware of and gain insight into impermanence through the observation of bodily sensations and their nature of arising and passing

The prevailing model for urban housing had been the eighteenth century perimeter block. The perimeter block featured a communal courtyard enclosed by perimeter housing. However, with the new ideologies advocated by many of the ideals of Modernism, the new housing projects began to slowly break and reform the existing model. The gradual disappearance of the enclosed courtyard, the development of linear bars of housing featuring free façade’s marked a shift in housing typologies that now featured a distinctly Modern

The Bauhaus is an Art and Architecture school founded in Germany in 1919. It is considered as the most influential art school in design history and the leading ideology in modernism that was a philosophical movement arose as result of rapid urbanization and industrialization in the early 20th century (Lewis, 2000, p.38). The name Bauhaus derived from the German word ‘bauen’ – to build and ‘haus’ which means the house (Mack, 1963, p.1). As the industrialization has been a dominating factor to the society, understanding about Bahaus’ ideas are still encouraged comprehended. This essay will discuss the aesthetic approach that rejected decorative details in the Bauhaus in which, the manipulation of art form and the use of design principles are

Digital architecture involves the use of computer modelling, programming, simulation and imaging to create both virtual forms and physical structures. The ways in which architecture is formed, created, presented, and marketed is transforming – in relation to the transition to a digital society. Digital architecture allows complex calculations that delimit architects and allow a diverse range of complex forms to be created with great ease using computer algorithms. Architecture created digitally might not involve the use of actual materials (brick, stone, glass, steel, wood).

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.

In 1932, a new architectural style in the modern movement emerged to free the architectural form from any decorative element (Hitchcock and Johnson, 1966). It was influenced by the philosophy of Adolf Loos “Ornament and Crime”, where he describes ornaments and decorations as a crime since they are labour intensive (Encyclopedia of World Biography, 2004, para. 7), As well as “form follows function” by Frank Lloyd Wright (Runco, 1999, p. 82). Both philosophies advocated simplicity and functionality rather than creating decorations. Therefore, color has not been discussed enough although of its important role, since it was viewed as a choice for a decorative purpose. Moreover, books at that time documented only black and white photographs, which resulted a strong impact on how buildings are perceived.