g3 - spirit of architecture

7/27/2019 G3 - Spirit of Architecture

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PEOPLE ARE

REPRESENTED BY

ARCHTECTURE THATSURROUNDS


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SPIRIT OF ARCHITECTURE

Architecture is a meeting place between the

measurable and the immeasurable. The art of

design is not only rooted in the aesthetic form, but

in the soul of the work. In Phenomena and Idea,Stephen Holl once wrote, " The thinking-making

couple of architecture occurs in silence. Afterward,

these "thoughts" are communicated in the silence

of phenomenal experiences. We hear the "music"of architecture as we move through spaces while

arcs of sunlight beam white light and shadow.


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Somewhere between the messiness of the

building site and the puzzles of

architectural theory lies the profession,

discipline and art of architecture. It is

always under construction.

Architecture is built through the

development of ideas as much as throughthe erection of buildings.


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The history of modern architecture shows thepersonality of the architect who designed it.

This style began in the United States andEurope. It then spread from there to the rest ofthe world.

Modern architects reacted against thearchitecture of the 19th century; they thought itborrowed too many ideas from the past.

As the 20th century began they believed it was

necessary to invent an architecture thatexpressed the spirit of a new age and wouldsurpass the styles, materials, and technologiesof earlier architecture.


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It is well known that the building

environment influences our emotional

state. There are rooms where one

immediately feels comfortable and

perfectly at ease, while others are awe

inspiring or even intimidating.


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Yale University Art and Architecture Building: Paul Rudolph

Many more floors than at first suspected lie hidden behind a solid and, at the

same time, irritatingly fragmented street front.


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Architects work involves designing what

they hope will make the world a betterplace. That work ranges from small

conversions to helping to regenerate post-

industrial cities, even planning new ones.That means a unique concentration on

design work, informed by an up-to-date

understanding of the conditions is neededto design and construct architecture.


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A degree from the School of Architecture is

supposed to prepare the young architects with:

Design and conceptual skills.

Team working skills. Communication skills including verbal, written,

formal drawing, computer modeling and physical

modeling.

An understanding of society and its culture, andthe built and natural environments.


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LEADING AND INNOVATING

Choice and flexibility shall be the themes ofapproach for teaching architecture.

The environment shall be such that the faculty feelsfree to discuss the key issues with students and thestudents shall free to do the same amongst oneanother. This encourages diversity in students.

The institute shall be capable enough to trainarchitects to go on to become global leaders of

excellence in design, innovation and management. The institute shall have a blend of cultures where the

prestige of Indian architecture precisely as thebackdrop is examined with perspective.


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DESIGNING FOR DESIGNERS

-J. L Nasar, W. Preiser, and T. Fisher There is a need to mark a new understanding

towards looking at the learning environmentsthat house architecture and design programs asa building type that deserves special attention.

There is need for a fresh look at buildings ofschool of architecture as a new typology.

There is a need to incite a speculative form ofcuriosity that calls for a deeper insight into waysin which designers design environments toaccommodate themselves.


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We would have to firstly understand the

relationship between the schools of

architecture building forms and their users

exemplified by students and faculty.

A research needs to be done thathighlights the paramount value of

assessing the dialectic relationships

between architecture and design studentsand their environments.


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BAUHAUS

Gropius chief aim was to demarcate each of different elements quite distinctly

without isolating one from another, and at the same time to give an

architectural unity to the whole.


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Yet, in spite of the special significance of

this building type, the architecture of

schools of architecture has received little

critical discussion. Although some authors

have written systematic reviews ofarchitectural education, no book has

focused on the architecture buildings

themselves.


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Another critical statement is introduced to

highlight idiosyncrasies inherited inarchitectural academe Architectureschools have often sought new buildingsby signature architects as a way to build a

reputation. Although some of thesebuildings won design awards and praisefrom the critics, sometimes prior toconstruction and occupancy, the samebuildings did not work well for thedesigners.


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Utilizing multiple approaches for

discussing and debating the architectureof schools of architecture, buildings are

examined from different perspectives

including the evolutionary history ofarchitectural education, typological

analysis of architecture school buildings,

systematic post occupancy evaluations-

POEs, and comparative analysis of those

evaluations.


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It is generally argued that buildings for schools

of architecture should be the best structures inuniversity campuses.

The reason is simple, that is the designers are

working for clients and users who understandwhat their needs are, the design process and its

limitations, potentials, and pitfalls.

It encompasses two interventions, one about

assessing designs of schools of architecture,

and the other about lessons learned and the

future of schools of architecture.


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Designing for Designers is a conscious

endeavor towards systematically addressing therelationship between architecture students and

faculty and the physical environment that

accommodates their needs, wants, and activities

while at the same time reflecting or translatingtheir aspirations in a visually pleasing and user

responsive environment.

The value of this issue can not be realized until

the architecture of school buildings is designedin tandem with the thinking of the experiences

that take place inside them.


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It opens an avenue for future studies on linking

different teaching methods in classrooms,

lecture halls, and studios, and the qualities andcharacteristics of spaces and places that housethem while fostering architecture studentsperformance and faculty productivity.

Strikingly, these issues have been addressed

extensively over the past few years in pre-

university education by, but never at the level

of schools of architecture buildings. Has not thetime come to address this understanding withrespect to buildings of schools of architecture?


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The reason is that most criteria place emphasis on

the quality of programs, curriculum content,

knowledge delivery methods, quality of faculty

teaching and research, learning outcomes,

and standard spatial requirements in relation to

the number of students with little or no interest

in the spatial qualities of the building that

accommodates all of that.


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A proper working environment has to be created which facilitates faculty andstudents to teach, learn and interact anywhere.

The faculty rooms are placed too far from the studios. This hinders the

interaction of the teachers with the students. Similarly, an interconnection

between the library and the studios cannot be easily made out.

CEPT

Centre for Environmental Planning and Research


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Better designs tend to have:

1. A well-managed process.2. Compatible exteriors and warm interiors.

3. A gathering space (Atrium) with lots of naturallight.

4. Layouts and signs that make it easy for people tofind their way around.

5. Some focus on basics to ensure good acoustics.

Research shows that architects and the public differin their values or taste standards for the waybuildings should look.


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So, whose values take priority,

the designer or the public? Ultimately, this becomes a question of audiences; and

part of the problem in answering the question involvestreating architectural appearance as a question ofaesthetics. Doing so treats good architecture like a

photograph framed in a gallery or displayed in amagazine or book. It transforms the architect and jurorinto a kind of priest, who delivers cultural knowledge tothe uneducated masses. The intimidated public oftengoes along, lacking confidence in their aesthetic

judgment and feeling uneasy challenging the expert.

Treated as aesthetics, architecture need only appeal toan elite audience; it can function poorly, look ugly, orrequire the viewer to have a special knowledge to

appreciate.


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For places experienced by the public (building exteriors,and interiors used by many people), the values of the

public (the consumer) take priority. When a design involves public money, public

property, or becomes visible to the public (as

are most buildings from the street), it becomes

a societal concern. Unlike the high arts that need appeal to only a narrow

audience who choose to experience it (in a gallery ortheater), architecture surrounds people and does notafford them the choice of avoiding it.

For this audience, design appearance does not require aspecial priestly knowledge to interpret.

Design should appeal to the way the broaderpublic who experience it feels about it.


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The overall performance, includes the

buildings appearance, its evaluativequality, the meanings and evaluative

responses it conveys to the users.

Research has consistently shown thatvision dominates human experience, and

that appearances, aesthetics or the

invisible mental image places convey

takes first priority in humans experiencesof places.


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As for visual quality, we need better knowledge of theperformance-related outcomes associated with

appearance. Do places that look good make workers or visitors

feel better in them?

Does that, in turn, improve creative thinking, productivity,

or the bottom line. Do aesthetic appearances affect property values?

Successful designs must convey the desired meaning, ameaning that is supportive of the function, and both tousers and occupants. For example, a gambling casinoshould probably look exciting to work in, while a dentistsoffice should probably look calming..


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Guggenheim museum in Spain

g3 - spirit of architecture

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