Architecture And Design Essay, Research Paper

This paper will concentrate on one specific design of a landscape designer, designer, contriver, object shaper, interior interior decorator, and an environmental creative person. Martha Schwartz is a landscape designer and her design is the Federal Courthouse Plaza in Minneapolis. It shows a passage in the field towards artistic look, which has created much contention. The designer is Peter Eisenman and he has done the same in his work for the Wexner Center of ocular humanistic disciplines at Ohio State University, Columbus. Here he focuses on signifier and less about map and provinces: My best work is without purpose-who attentions about map ( Nuttgens, 297 ) . The contriver is Denise Scott Brown and her work is Washington Ave, Miami. Here she created a program and recommendations for the urban environment, by heightening it s alone features. The object shaper is an designer named Mario Botta and his work is called the Seconda Chair. It is an artistic look of signifier and map. The interior interior decorator is an designer named Arne Jacobsen. His work is the Hotel Royal in Copenhagen. Here he shows his absolute control of his design by making the architecture and every item inside which relates to artistic look, signifier, and map ; it is a complete bundle of every human experience. The environmental creative person is Patrick Dougherty and his design is called Paradise Gate at Smith College Northampton. His construction is a big art signifier made from natural works stuffs, which expresses the environing landscape and creates humanize graduated table that can be non merely touched but besides experienced spatially. All the designs in this paper will demo artistic look, some more so than others.

Martha Schwartz is recent landscape designer who has pushed the envelope of artistic look in her designs to the point that critics consider it to be personal look, which doesn T tantrum into the public intent ( Domus, 51 ) . It is a five hundred thousand square-foot place located in Minneapolis civic centre in forepart of a new Federal Courthouse while confronting metropolis hall across the street. The plan required a place designed for both civic and single activities, with it s ain imagination and sense of topographic point.

The design represents Minnesota s natural and cultural yesteryear. Earth hills and logs are the elements that represent this history. The hills symbolize the natural geological forces: they suggest a Minnesotan field of glacial drumlins, the stylized hill part, or a landscape that allows a double reading of scale-arrange of mountains or a low field of hills. The log benches symbolize the great lumber woods of the country. Culturally, the hills represent adult male s use of the landscape for his ain intent ( www.marthschwartz.com ) . The logs typify the cultural forestry economic system, which this country was known for in the yesteryear and even till this twenty-four hours ( figure 1 ) .

The hills are tear shaped and are set diagonally to the additive pavement form, which is perpendicular to the edifice. The series of extended hills subdivide the place and create multiple corridors, which guide the prosaic to the edifice. The logs are set parallel to the hills and are backlighted with light fixtures inlaid in the pavement. The hills vary in tallness, runing from three pess to nine pess. They are planted with doodly-squat pine, a native species common in Minnesota s boreal wood, and assorted perennials as land covers. Some hills are merely grass while others have assorted perennials like white narcissus or bluish squills. The bluish squills line up with the blue paving to reenforce its form. The pavement form guides the prosaic into the anteroom. In the winter, the heavy snow heightens the sculptural consequence of the drumlins. Granite bitts are used at the chief larger gaps in the place to forestall vehicular circulation. The granite bitts besides express the additive pavement form by being lined up on the bluish strips ( figure 2 ) .

Martha Schwartz s Federal Courthouse Plaza in Minneapolis like many of her designs has pushed the envelope of modern-day art used in landscape architecture. Here you can see how it is used as a tool of design combined with her usage to research the humanistic disciplines to do a successful design. It is a design, which has all the elements of landscape architecture to make a infinite for motion, meeting, interaction, and contemplation through the media of landform, flora, and architecture.

The designer Peter Eisenman has developed progressively complex preparations sing the architectural design procedure, particularly in the respects to the function of construction and modern-day society ( prelectur.stanford.edu ) . His work has invariably pushed the envelope with his theory of design. It has been defined as deconstructivist architecture by the celebrated designer Philip Johnson. The Wexner Center of the Humanistic disciplines at Ohio State University can fall in this class of architecture. Eisenman worked in concurrence with architect Richard Trott and landscape designer Laurie Olin to come up with a design for Wexner Center. The Wexner Center tries to take two different grid forms of the metropolis and the campus and run up them together. The design besides takes two bing edifices and incorporates them by suiting the new construction around them. It is really complex construction and is about impossible to explicate ( figure 3 ) .

The chief entryway to the edifice is on the south side and defined by a grided staging construction that truly stands out. The door International Relations and Security Network T at land degree so one must travel down a incline to entree it. The entryway is the beginning of an axial corridor, which splits the edifice, but the edifice was already disconnected. The long corridor is a ramping construction, which moves from the cellar degree to the 2nd floor. Along this corridor are a series of patio galleries, whish are separated from the way by waist high dividers. The galleries on the north-south circulation spinal column portion the same visible radiation filled volume from the overhead fanlight. Light from the E wall and the fanlight, striking the bordering members and mullions, generates an of all time changing, aglow environment ( Progressive Architecture, 81 ) . This corridor is organized on the metropoliss grid system ( figure 4 ) .

Another entryway is on the western side and is defined the same manner with the scaffolding like construction, which connects perpendicular to the other. Although this entryway is at land floor and has a tower like constructions that resembles an old Armory that used to be on the site. From this country you enter a anteroom, which is portion of this lone third-floor construction. Seating in the signifier of an ampetheatre, South of the anteroom and towers, terminates the long axis of the campus ellipse ( progressive architecture, 81 ) ( figure 5 ) .

In the offices above the anteroom Windowss are banded along the floor so when 1 is seated they have positions widening on to the campus alternatively of conventional raised Windowss. Courts are arranged throughout the outside for many utilizations like reexamining studio work. The landscape designer designed these out-of-door infinites.

The stuffs used were painted open steel, steel framed fanlights, translucent tinted glass drape walls, brick, limestone, sandstone, dry wall, granite, and hardwood flooring. The edifice is used for exhibitions, public presentation, production instructions, library, curatorial, and administrative infinites ; movie, art, all to be used by the university and the community.

The Wexner Center s design is wholly out of the ordinary and Eisenman has invariably criticized for many of his plants ( figure 6 ) . Critics have accused his infinites to miss functionality and purpose therefore doing the design non accepted. Eisenman will state the same thing about his plants: my best work is without intent, who cares about the map ( Nuttgens, 297 ) . It is more about the relationship of the site s geometry and art.

Denise Scott Brown is an designer known for her many planning designs. She works in concurrence with her hubby Robert Venturi. She is an advocator of the sociological facets of urban design and has studied the plants of Herbert Gans. One great be aftering design is the Washington Avenue revival program in Miami. It is a program for a short and long term physical and economic revival of a major commercial territory ( Progressive Architecture, 22 ) .

Washington Avenue is in Miami Beaches major shopping arteria, running the length of the island, and go throughing through an remarkably immature historic territory. The Deco District is made up of edifices in the Art Deco manner. The program recommended to:

Construct on it s strengths-human graduated table, assortment of shops, architecturally of import edifices and chances for improved landscaping-while relieving it s weaknesses-the economically fringy nature of the shops, and famine of the public comfortss ( Progressive Architecture, 22 ) ( figure 7 ) .

Sections, studies, and programs were the design tools used to depict the recommended image of Washington Ave. A typical subdivision from shopfront on one side of the street to the other side is used to demo the ideal graduated table for the street. It showed the recommendation of street breadths, pavement breadth, street visible radiations with streamers, street trees, benches, sunshades, and the average strip planted with thenars and grasses. The subdivision shows the graduated table in relation between prosaic and vehicular corridors ( figure 8 ) .

Many architectural characteristics were added to heighten the street. Banners were set above the beginning of Washington Ave at both terminals to stress the gateways. Recommendation for street

marks in shop window ornaments were sketched out to demo what they would look like. They were intended to reflect the bing character by utilizing similar text manners and colourss ( figure 9 ) . A plan of 40 different colourss was chosen in cooperation of local proprietors and merchandisers. They were in agreement of cool tone colourss ( Progressive, Architecture, 92 ) .

The designers recommended seting thenars and shadow trees along the pavements. The tree short pantss were to be high plenty to avoid barricading shop Windowss or befoging marks. The pavements were done in tinted pink concrete to reflect the traditional on the beach boardwalk. A minimal tallness was set for sunshades, but no other limitations were applied. They didn t want to homogenise Washington Avenues diverseness ( Architectural Design, 71 ) .

The program for Washington Ave has clearly shown its purposes. In Architectural Design Denise Scott Brown sums up the program the best:

The program recommends sensitive saving around Washington Avenue, aimed at heightening the kernel of Miami Beaches nostalgic image: whilst at the same clip bettering the metropolis s place as an international tourer resort with a stunning, natural geographical location and clime, a varied population and a scope of adjustments from luxury hotels to modest suites ( Architectural Design, 75 ) .

Mario Botta is an designer who besides designed furniture. One piece of furniture he designed is the Seconda Chair.

Planing a chair, like planing a house, means perusing a new image capable of stand foring the demands of the twenty-four hours, capable of reacting to modern-day sensitiveness, capable of proposing new hope ( Nicolin, 134 ) .

Furniture is an object used everyday and the designer is looking for a new manner to do them a piece of art and a portion of a living infinite. He is taking an ordinary object and transforming it into a new constellation with an designers cognition of infinite, art, and map.

The Seconda Chair construction is made from cannular steel painted with metallic or opaque black epoxy. The place is a pierced steel sheet painted the same colourss. In the backrest is a soft gum elastic black froth cylindrical form and divided into two. They are removable and can turn. The place is painted black and the cannular steel is metallic or vise versa ( figure 10 ) . This comparing in different colourss is intended to stress the structural make-up. When the pierced place is black it is more like a head covering, but when it is silver it is more brooding ( Progressive Architecture, 37 ) .

These cylindrical tablets create a playful traveling component against a fixed construction. The geometry of the chair is merely characteristic of construction, but in an absolute and strict manner. The pierced place is used to non to conceal the construction of the design but allow it stand out ( figure 11 ) . As Botta states it:

The chair is an object: the building, the transmutation of the status of its district. The one responds merely to the person, the other is anchored to its site ( Progressive Architecture, 37 ) .

The chair is an ordinary object, which is portion of a infinite it has become an single look of art but is still utile of its qualities.

Arne Jacobsen is an designer who is good known for his furniture and interior designs. He designed whole edifices all the manner down to its smallest elements. His most celebrated design is the SAS Terminal and Hotel Royal in Copenhagen. Here he was able to take absolute power over the full design and everything within its environment. At the Hotel Royal and Terminal all the furniture, rugs, walls, light fixtures, door grips, redstem storksbills, lamps, and even ashtrays were designed by Jacobsen. The hotel anteroom stands out as the dominant component in design with its coiling stairway. The floors are made with polished picket grey marble slabs broken up by rugs. The marble is used for circulation while the rugs create an border. The rugs besides create infinites for meeting and lodging furniture. His ill-famed egg chairs are set around a round tabular array with an ashtray and a flower vase on it.

The coiling stairway between the anteroom and the eating house floor is suspended from steel rods. The stairss consist of dyer’s rocket assembled steel home bases and have dark green rug. Along the side of the chairs and under the railings is smoke coloured Plexiglas used for safety protection. The ceiling is lined with little illuming fixtures set in a consecutive grid form ( Faber, 125 ) ( figure 12 ) .

Jacobsen designed even the suites in the hotel: non one item in design was left out. The full panelling and fixed furniture in the hotel suites is veneered with Wengewood. Box-like drawer units are mounted against the wall. The light fixtures above the drawer units can skid on a rail for convenience. Tabletops are made from bluish Formica. The egg chairs show up once more here. A drape can be pulled across the room to divide the bed country from the remainder of the room. The phone was the lone thing non designed by Jacobsen ( figure 13 ) .

In the Hotel Royal one can see Jacobsen s focal point on intricate item that is simple but still elegant and besides to the full functional in its environment. Effecting a meticulously detailing and refined integrity of design with absolute control ( www.serial-design.com ) .

Patrick Dougherty is an environmental creative person. His creative activities are all made from natural elements ; branchlets, saplings woven together like a wicker basket or chair. His latest work is Paradise Gate at Smith College, Northampton. His sculptures by and large take on human graduated table, making a degree of accessibility, a sense of familiarity with the environment ( Landscape Architecture, 88 ) . They are non merely an artistic look but are intended for a human interaction: to travel inside it, travel around it, and experience it.

Paradise Gate is inspired by garden follies which are types of illumination memorials that are cosmetic constructions designed for landscape or garden scenes ( Muehlig ) . Paradise Gate bases behind Nielson Library and in site of the botanic garden. It is flanked by two tall trees ; the largest Dawn Redwood in New England and a European Linden. They frame Dougherty & # 8217 ; s creative activity ( figure 14 ) . In most fortunes the site is influential of his designs similar to the pattern of landscape architecture ( Landscape Architecture, 88 ) .

The design consists of the cylindrical towers arranged around a centralized a round infinite. Two of the towers are really likewise. They have a series of entrywaies that can be entered from the exterior of the construction or from the interior of the cardinal infinite. These both have round Windowss above ; they vary merely in tallness and breadth. The 3rd steeple must be accessed from the chief cardinal infinite. This infinite is shorter and has oval Windowss for sing out onto the landscape. The larger round cardinal infinite unifies the three extremities and has three entrywaies non including the two from the similar steeples ( figure 15 ) .

The constructions is made from wholly native natural stuffs. The building procedure starts with the series of layering saplings for structural support, indiscriminately woven together with a series of three one-fourth inch two one inch sticks ( Landscape Architecture, 89 ) . Linear qualities of the saplings are a in writing component ( Muelig ) . The bundled saplings are done for 30 inches into the land and placed at intervals around the construction. The saplings used are largely sugar maples with some ruddy maple, firing shrub, ruddy branchlet cornel, cherry, black birch, and crab apple. This creates a scope of textures with their interlacing qualities.

Paradise-Gate, like many of his plants, is meant to associate to the environing landscape merely like in landscape architecture ( figure 16 ) . Besides, like in landscape architecture it creates human action with it ; to travel indoors and outside to see it. This was an art signifier that non merely could be touched but could be inhabited, that smelled of Earth and the forests, and offered a opportunity to play ( Muehlig ) .

In decision this paper has show the resent development of the design field of the ulterior twentieth century. It was a displacement towards more of an artistic look, but still keeping map and intent. These interior decorators have pushed the envelope of artistic look and created a higher degree of design and competition. Martha Schwartz s Courthouse Plaza used drumlin landforms to show an art signifier that besides related to the metaphysical. Peter Eisenman s Wexner Center showed the usage of intricate item to the signifier of a construction by making an uneven relation between two grid forms which come together in a alone manner and do the design work. Denise Scott Brown s program and recommendations for Washington Avenue has shown how a topographic point can be enhanced by concentrating on its alone local character and adding colour, flora, and diverseness. Mario Botta s Seconda Chair shows how he has taken an every twenty-four hours utile object and explored the usage of signifier to show a piece of art. Arne Jacobsen s Hotel Royal shows an designer s absolute control of an full design by making every characteristic within a infinite ; therefore making a sense of integrity within the infinites environing atmosphere. Finally, Patrick Dougherty s Paradise Gate has shown the relationship of art signifier to the landscape through the usage of construction, which can be touched and experienced indoors and out. All the plants in the paper have ranged the full spectrum of infinite ; from larger degrees to smaller degrees: from vicinity to edifice, from constructing to plaza, from constructing to interior, and from interior to object.