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Table of Contents
“That Architecture has nothing to do with the styles”.
“That a great part of the present evil state of architecture is due to the client.”.
“That All Utopias Are Dystopias”.
According to (Le, 1931), In general terms, architecture is an art or discipline of designing and constructing buildings, communities, and other artificial constructions and environments solely keeping the aesthetic sense and purpose intact.
On the other hand, style can be defined as an individual's way of expressing himself through his gestures or arts. This varies from one person to another. Style is a vital element of skill. It brings variations and colors to it.
In Favor: From an engineering perspective, since the discipline belongs to the said clan, Architecture is a scientific engineered that incidentally got the touch of aesthetic value. Supporting it (Karras, Laine, and Aila, 2019)argued that Architecture solely focuses on scientific reasoning and backup for construction. Of course, it does not aim the aesthetic beauty or creating artwork. It is absurd to state that every architectural object aims at art first, not the scientific basis, because then it would have been an art discipline primarily. Maybe, it can be stated, by accident, aesthetics got connected with it and gave it an aesthetic design with its everlasting engineered view of creation.
However (Conrads, 1970) stated that historically it is evident that classic aestheticians agreed to add architectural objects in the clan of artforms. It can also be said, if we try to extend it further, then architectural items are all art works, or maybe safely state that it was intended to be a part of that, following up some bounds. Again, to explain the term 'vernacular architecture,' the author considers architectural objects as typically art objects. In that case, we can easily distinguish between the low-art style and the high-art one. Hence, maybe with some limits and bounds, architecture can quickly be taken as a subclass of artwork types. The intention of acquiring beauty through this engineered discipline was also very well proved from history.
According to (Ackerman 1974), The argument begins from the reports, stating how bad most of the buildings are constructed by licensed and reliable architects, not only in a specific country but also worldwide. Now, this remark can be explained as to how badly they waste our resources and nature, our environment, and ultimately imprison us from the world in a conserved space. The structures might exhibit the potential status, capital power, or might build an impression from the perspective of finance or politics, or reality. Ultimately, it seems ugly and destructive to the eyes, mind, and soul of art and aesthetics. The expression or even judgment might vary from one person to another, depending on his view point or concentrative zone. If he is prioritizing an engineered form of status, then the judgment will contest the artistic viewpoint of beauty and soulfulness.
According to (Miller, 2018), Now, the main reason to thrust upon the act of construction is the client and him only. It is he who takes the final call on any decision, no matter whether the architect reciprocates with it or not. If any form of construction looks particularly 'ugly' or the reason for the 'evil state' of architecture should be the client first. He wanted and made the architect think of the construction the way he wanted, for example, to express the power of finance or politics or realism and so on.
However, as stated by (Porter and Mikellides, 2019), Making a soulful or architecture requires heaps of money and time. Now, sometimes to concentrate on greater priority, this might be sacrificed. But, the architect also has some reasons to be blamed for it as well. It sometimes is the lack of knowledge or experience or just the sense of aesthetics of the so-called licensed architect, which drives this type of horror in a project, if considered from the perspective of artwork. Even the dishonesty of the architect or his team might cause this kind of bad presentation. The prioritization of 'stars' or the 'egocentric' nature of architectural study causes this. Ultimately, this statement is subjective, and indeed the ugliness or beauty varies from one person to another with the varying perceptive.
As stated by (Rowe, 1982), Autopia is believed to be an image of a perfect world. It was thought from the 14th century or earlier when many books on it were written. It has its roots in Greek, where utopia, on the one hand, means no place and one another, right place. On the contrary, dystopia refers to an imperfect world. This world is filled with impurities, diseases, and evil.
Now, in architecture, utopia is an imagination of a well-designed and reconstructed world. Utopian architecture believes in the ontological mode of incorporation, where individual inhabitants with the mutually exclusive way of behavior are positioned closer.
According to (Alison, 2007), Utopian believes are dangerous for society. Imagine placing two individuals with absolutely different opinions, how many altercations it can manage to produce. Thomas More coined its utopia, which means "no place," for a valid reason that it might not be possible to create a perfect place like that containing imperfect inhabitants like humans. The real, dark reflection of utopia is a dystopia where social experiments and situations, economic stability, and political power balance, everything fails.
As mentioned by (Ramirez, 2018), A utopian society still carries a dream of making the impure, imperfect, and corrupt world a better place. It is now needed to change the bad behavior and evil intentions of the humans and other social elements for the betterment of the future, which will automatically coincide with utopia. So, it's helping us improve the situation, taking a stand, raising a voice to a pure and perfect dream, which is a better path to follow than this imperfect one, which oppresses every purity within us, every moment.
Ackerman, James S. "Transactions in Architectural Design." Critical Inquiry 1, no.2 (1974): 229-43.
Alison, Jane et al (eds). Future city: experiment and utopia in architecture, New York: Thames &
Conrads, Ulrich. Programs and Manifestoes on 20th-century Architecture. 1st English Language
Ed.] ed. Cambridge, Mass.: MIT Press, 1970.
Karras, T., Laine, S. and Aila, T., 2019. A style-based generator architecture for generative adversarial networks. In Proceedings of the IEEE conference on computer vision and pattern recognition (pp. 4401-4410).
Le Corbusier, Towards a New Architecture. Translated from French by Frederick Etchells, London:J. Rodker, 1931.
Miller, M., 2018, September. Design without Empathy. In National Conference on the Beginning Design Student (Vol. 34, No. 1).
Porter, T. and Mikellides, B. eds., 2019. Colour for architecture today. Taylor & Francis.
Press, 1982, pp. 205-24.
Ramirez, L.A., 2018. An Unexpected Companion: Hope and its Role in Dystopian Literature (Doctoral dissertation, Texas A&M International University).
Rowe. ‘Architecture of Utopia’, in Rowe, Mathematics of the Ideal Villa and other essays, MIT
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