Introspection of Retrospective Architectural Designs - Essay Example

The definition of architecture is fundamentally based on the fact that architectural works exists within a context dependent on the setup of cultural climatic and temporal settings; therefore, architectural designs are universally integrated within their various contexts. The basic architectural context constitutes of the external and internal circumstances that entail the setting for a statement, event or idea in the terms which it can be assessed and understood (Fritsch 11). From a utilitarian point of view, buildings are a product of the social political, religious and economic needs of a society and their attributes range from size, material and design are a reflection of the prevailing temporal and special environments. Throughout human history and contemporary times the architects have always responded to the climate and physical environment or cultural beliefs or intellectualism and popular ideologies. Therefore, modern designers are obligated to take careful consideration of the temporal context as they create new architectural designs because architects that disregard this concept ultimately risk making culturally irreverent and inferior designs. In this essay this position is primarily defended by and introspection of retrospective architectural designs that have cemented their place in culture and history of their retrospective as well as some of the cultural factors that should be considered when architect are trying to design cultural strong and consistently relevant structures. A generic example of this is the pyramids of Giza and Memphis; their intricate geometrical design can be attributed to the prevailing temporal developments in mathematics since the ancient Egyptians were among the first people to develop a several mathematical concepts. That the pyramids are some of the vastest works or architecture bespeaks the fact that they had a lot of space in which to build them. Outside the silt rich Nile valley, and there was very little arable land therefore unlike other cultures; the Egyptians could afford to build on huge tracts without compromising grazing of farm (Barta 178). The pyramids despite their sheer size and potential for occupancy were never meant for the living but only the dead kings and their servants (also dead). From a western point of view, and this may have been seen as an extremely wasteful and impractical; however, to the Egyptians it was the natural thing to do based on the their deep seated beliefs in the divinity of their rulers and life after death. These structures are also a reflection of the economic prowess of the Egyptian civilization and they have been used just as the romans were to later use the coliseum to symbolize their power. The particular use of the Egyptian pyramids is based on the act that they embody many of the contextual dimensions that this paper shall base its arguments on in supporting the thesis. In a study dedicated to the “Ethno archaeological Study of Vernacular Architecture in Tigray, Ethiopia”, Diane Lyon examines the various temporal and special dimensions and considerations that inspire and construed indigenous and modern architecture in Ethiopia over the course of the last two centuries. This particular article is inclined towards the temporal aspects of architecture as it seeks to investigate the cultural significance of architecture within the time in which it is restricted. By examining vernacular architecture described as an indigenous and none-elite domestic practice of construing domestic habitation, he intends to compare the social and political significance that came with specific architectural designs (Lyon 184). The Tigrayan rural houses were viewed both as political and local prerequisites which were instrumental and reflective of all social political and economic action throughout the spectrum. One of the themes in the Tigryan architecture than emerges prominently is the usage of wood specifically to decorate the interiors of houses more so the roofs of the traditional house made from mud and stone with a flat roof universally referred to as Hidmos. The rich and nobles could afford wood paneling and decoration for their roofs but the peasants had to contend with undecorated and rough houses. From this one can surmise that architecture can play a critical role in demonstrating and generating hierarchical power by including the political esthetics of a community and therefore reproducing state authority to the devolved areas of the country. Contemporary architecture also follows the pattern suggest by Lyon in regard to demonstrating the political powers and embodies the hierarchies today. For example, one of the most magnificent buildings in the United States is the Capitol Hill in Washington DC where the seat of political power rests. In almost every society, the authority of central governments is established and engendered in architectural structures designs to symbolize power and dominance. A feature of retrospective architecture that appears to have been relegated into obscurity by contemporary architectural theory is the concept of aligning architectural works to the physical human body, since post ex facto schools of thought in architecture had popularized this concept based on Vitruvian ideals. The system of architecture has often inscribed the human body but in an archetypical way by precluding or negating the female aspects of architecture rendering many work or architecture profoundly chauvinistic. Retrospective discrimination could be explained although not justified by the fact that society was highly patriarchal and the advent of feminism as it is known today had not come about. Therefore, today feminist’s critics and architects need to reexamine the basis on which the designs used especially those grounded in the renaissance period are created. The sexual engenderment in architecture went beyond just the physical sculptures but extended to the designs of entire cities in which there were required to be patterned symbolically after the male body (Agerst 28). Without an examination of the cultural contexts which are embedded in the societal dynamics, modern architecture risks carrying on with a trend that either suppresses or represses the female figure and replaces them with the male (Agerst 30). Therefore, feministic elements of the physical cultural architectural dimensions should be incorporated in 21st century architecture to avoid blindly inheriting myogenic patterns necessitated not by structural or utilitarian mindsets but born out or sexist and repressive culture that mock the achievements made in gender equality. Many of the most remarkable and enduring architectural designs from antiquity have one thing in common; each is grounded in a shared social cultural belief that flourished during the time when it was constructed. This contrast with the modern designs many which only serve a commercial purpose and have no other significance save from the aesthetic and in time they fade in relevance when other more sophisticated designs are developed. In contrast, many of the structures that serve as land marks both to the passage of time and their retrospectives landscapes were designed with very careful consideration to their significance in the culture setting. This is exemplified by Oleg Grabar’s article in which he discusses the role or architecture and art in various religions he cites the Great rock dome of Jerusalem and the great mosque of Damascus. This are two architectural pillars that emerged as a result significant social political and religious events giving them enduring religious significance and cultural relevance (Grabar 49). While not claiming that modern architecture should focus on the religious representation or force cultural, temporal or spatial connection in their work, it is critical that they should draw inspiration not just from within themselves or based on available technology. They need to bear in mind what the contextual setting demands and require of them and balance a cultural, utilitarian and aesthetic perceptive. Admittedly, there are numerous instances of modern architects making this critical connection, and one of the key themes in 21st century architecture is the development of “green” houses owing to the increasing consciousness in energy conservation. Consequently, many architectural designs have been developed to respond to this trend; for example, the Burj Khalifa in Dubai is not only renowned for being the tallest building in the world but also for the fact that its design was carried out in such a way that it be eco-friendly save a significant amount of energy. At the end of the day, architects in the present time have a great deal to learn from their precursors in regard to the development of culturally strong architectural designs and the most fundamental lesson is that Architecture should reflect not impose on the context in which it exists. Works Cited Agrest Diana. “Architecture from without: Body, Logic, and Sex”. Assemblage Journal, Vol. 7 (Oct., 1988), pp. 28-41 Barta, Miroslav. "Location of the Old Kingdom Pyramids in Egypt." Cambridge Archaeological Journal 15.2 (2005): 177-91. Fritsch, Enno. “Physical and Phycho-cultural; a design for the cultural hall in Sarajevo”. Massachusetts Institute of Technology, Department of Architecture. 2001.Print. Grabar, Oleg. “From the Icon to Aniconism: Islam and the Image” Museum International. Vol. 55, No. 2, (2003) p. 46–53, Lyons Diane. “Building Power in Rural Hinterlands: An Ethnoarchaeological Study of Vernacular Architecture in Tigray, Ethiopia”. Journal of Archaeological Method and Theory. 2007, Vol. 14, No. 2 (June, 2007), pp. 179-207 Read More