Modern Architecture - Essay Example

Modern Architecture In the category of architecture, an architectural plan is the planning and design for a building and may have architectural drawings calculations, design specifications, time scheduling and other documentation. “Architectural plan” may have several related meanings which may consist of: • An architectural project plan • Documentation of graphic and written descriptions of the architectural components of a building activity that include details, sketches and drawings. The effort may also include both the design of new structures and other buildings together with the planning for reconstruction of prior historic structures. • Floor plan • Structure scale drawing. Generally, plans are complete drawings of the intended structure that represent the projected when complete (Pandya, 342). At times, it may be called floor plans or blueprints. In the event that the structure has been designed to serve as a residence building, it may be called home plan. Any architectural plan will normally include any changes in the elevation, together with a possible list of design notes and materials. Establishing a good set of architectural plans is one of the initial steps in the design of any type of a building. A study or a site plan may be undertaken first so that adequate knowledge is availed regarding the site before the last plans are made. The moment the site has been inspected, drawing of the plan may take off depending on the space that is available. Occasionally, this can radically alter the plans from the prior design, but several changes as a result of site limitations will be relatively minor. The outline of the building in the architectural plans found on the map is what the contractor will use to construct the structure. The layout must take care of any elevation changes, such as those needing slopes or steps, both within and outside the building. The plan is drawn at a scale that is uniform throughout the whole document, not unless any change is brought in place. The scale could be enlarged to feature more details in some instances, but this detail is normally set aside from the main plan. Architectural plans will always be very specific as a result of the materials that are in to be use. This is because the designer is normally after a certain look and appearance which requires strict adherence to the plan (Pandya, 342). Any deviation from the plan by the contractor is only supposed to be done after a consultation with the architect or the client that the building is being done for. In as much as there are several modern plans, some still consider the incorporation of both traditional and modern building techniques. Most modern architectural plans embrace both contemporary and traditional elements to form designs ranging from the conceptual to the more market oriented (Pandya, 342). Due to the speed and scale of urban development, however, modern architecture increasingly embodies technological innovation, most notably ‘green’ architecture and digital influences aimed at energy saving measures. Hence, modernist styles can be regarded as the mainstream, with office and residential buildings dominating most urban centers. Most planners have realized that most contemporary cities lack a sense of identity. As a fact, more and more of them seek to show their respect for tradition through incorporating elements of ancient architecture styles. Some planners use the concept of traditional architecture to contemporary designs; while on the other hand, others apply elements of contemporary architecture in highlighting the features of traditional culture. In as much as planners have differing views regarding this approach, the inheritance of traditional styles normally unites them and is always at the heart of their designs. Most architectural designs are experiencing a new kind of exhibition. This is explained as an approach that emphasizes not on the functional, but instead the experimental aspects of architecture. Buildings may possess both dramatic façades producing organic or sculptural feels in addition to having interior experiences that are also dynamic; this may be one of those approaches focuses on using modern techniques. Walls, ceilings, and floors may challenge normal conventional designs and slope outward or inward to achieve a great theoretical effect. Sloped floor and ceiling planes can present an incredible exaggerated effect, prolonging the perspective sense within a space. At the same time, walls can be erected to exaggerate the assumed height of a given space (Conway, Hazel, and Roenisch, 543). This normally brings about an architectural illusion; individuals’ perception of such spaces changes through a keen use of form and material, it shows how modernism has transformed traditional architectural planning. In most occasions, these types of buildings bring about unexpected encounters; the leaning walls and sloping floors, for instance, produce a gravity defying experience. In such a structure, everything should be re-looked at, from the lighting system and furniture, to the apertures for windows and walls. The relationship existing between the outside and the inside is specifically dynamic. New kinds of lightweight building materials have seen architecture of this nature become a real possibility. Some of the renowned architectures which challenge conventional thoughts are as follows: 1. Phaeno Science center, Wolfsburg, Germany, Zaha Hadid, 2000-2005 This structure challenges conventional and traditional forms and shapes and is typical of Zaha Hadid’s ideologies which are both dynamic and experiential. The Phaeno Science Center is a new architectural paradigm; there is formation of dynamic shapes as the structure acts like a landscape, with varying levels of the exhibition space positioned strategically at different heights within it. The spaces challenge several preconceived notions about a building; it is nearly impossible to establish the exact place where the walls stop and the floor or even where the ceiling starts from. The following are some of the building that have used both modern and traditional concept in their construction 1. Phaeno Science center, Wolfsburg, Germany, Zaha Hadid, 2000-2005 Designed by a London based designer, Zaha Hadid, Phaeno Science Center is a hypnotic architectural work; this is a kind of a building that utterly changes the society’s vision of the future. The building’s imposing nature celebrates the superhuman large scale metropolitan infrastructure of a prior era, enabling people to observe it with their own naked eyes. It is a building challenging formal convention, tamping construction history through merging modern and ancient skills as advanced computer analysis is met by handmade framework. Cast from more than twenty-seven thousand cubic meters of self-compacting concrete, in as much as this structure is a technological triumph; it still retains an architectural feel which beats conventional designs. The building has embraced digital drawing which has made the structure challenge traditional ways of making architecture. The structure has explored the prospects of parametric design allowing for the construction and conception of architecture to be like a seamless flow of matter and energy. The building efficiently stands on concrete lifters enabling guests to the Autostadt to pass through minus interfering with the workings of the building. The building is keenly connected to the Autostadt through a metal bridge that is accessed by use of escalators and stair cases on both sides. Both the stilts and the undersides are illuminated. 2. Munich Airport Centre (MAC), Munich, Germany, Murphy Jahn Architects 1989-1999 The Munich Airport center defines the airport in a globalization era. In itself, it is a destination integrating transport, technology, landscape and commerce. The architecture tries to fulfill the relationship between entertainment, work, travel and shopping that enables the airport to become a complete architectural experience. The building has challenged the notion of combining all these together as one. The Munich Airport Center was among the first airports in the entire world to avail this mixture of functionalities in a current structural image and expression. The structure was challenged in Germany. The MAC creates a livable and visible identity and represents the city, the urban Munich, and the region as part of a technological and modern city. Not only has the huge gesture of the hall, the roof, and portals, but the interior space in particular contributed to the special character of the structure. Since the airport gives visitors the first impression of the city on landing, it establishes an individual’s first often deciding relationship with the place. The architecture has embraced modern technology and used it in its appropriate context. Traditionally, airports have been thought to only handle passengers and cargos. However, with current designs, a lot of services are incorporated so that passengers can get most services under one roof. The roof of MAC has crossing box girders supported by some rods from tall masts with infill of a Teflon-coated glass and fiberglass membrane. The entire plan embraces the notion of integrating the landscape into the airport. MAC is also erected in the middle of urban structures which are contrary to architectural designs requirement. 3. Museum of Contemporary Art Barcelona, Barcelona Spain, Richard Meier, 1994 -1996 The building is in Spain and in particular, Barcelona. The cool, white light qualities and divergent areas of shadow in the spaces leaves an individual interested in its design. Contextually responsive in its scale and orientation, the structure plays a vital role in restructuring its environs. Entry to the gallery opening is through a cylindrical top lit foyer or gallery leading to a glassy, triple height ramp hall facing the new Placa dels Angels in the southward direction. Located in a region that was initially a monastic enclave, the museum establishes a laborious dialogue between the region’s historic urban stuff and the contemporary art within it; this is not that much usual with museums and architectural engineering (Ferguson, Mark, Oscar, and Joseph 409). This hall has a one of a kind passageway concreted in glass block which enable the visitors to access six sequential lofts like openings on successive levels. There is a semidetached wing found at the eastern end of the block which accommodates additional gallery space and the suite of curatorial office spaces. The main galleries are partly lit from above, especially at the top of the structure where the loft opening is covered louvered skylights. The structure provides different types of exhibition and gallery space for the whole museum, instead of a repetitive organization of spaces, because the art work to be shown might have dissimilar scales at different times; at times, small, at times large, at times needing light and sometimes needing no light at all. Therefore, the building has a series of spaces that can accommodate all kinds of activities and exhibitions; this is not common especially when it comes to designing architectural designs for museums. The structure challenges this by encompassing various technological aspects not stipulated for museums but customized for the purpose of having the building. 4. The Bauhaus, Walter Gropius Actually, ‘the Bauhaus’ is the name of the design institution that taught the technique. The Bauhaus structure does not only influence the architectural design, it covers everything from chairs to tables and even bikes. The building was aimed at creating products that were simple in design and could be produced easily in mass format. Now what actually makes Bauhaus so important with regard to modernism and present-day structures? The answer is very simple. In every modern building, there exist two distinctive options that an architect may choose when designing a scheme for their client. The parts of Bauhaus are constantly separated in regard to their functions and designed in different ways. Different wings are arranged asymmetrically in relation to what is currently the Bauhaus design. For the purposes of appreciating the overall design of the building, an observer has to move around the whole building. There is no existing central viewpoint; this has challenged the principle of architectural designs. A standard building is supposed to have a dedicated view point; this is according to architectural guidelines and recommendations. The building was challenged in Germany some years ago. So many socialists advocated for the building to be brought down after the world war two which saw a bomb hit some part of the department. The Bauhaus possessed a major effect on art and the architecture the United States, Western Europe, Israel and Canada for a long time. As a result of its destruction, most of the artists involved fled fearing the then Nazi regime. In as much as the Bauhaus neglected much of the ethos of the old academic traditions of fine art education, the structure maintained an emphasis on theoretical and intellectual pursuits, and connected these to an emphasis on lively skills, techniques and crafts that was much reminiscent of the feudal guild organization. Fine art and craft were jointly brought with an aim of problem solving for current industrial society. The structure effectively steamrolled the ancient hierarchy of arts, leaving crafts at par with fine arts like sculpture and painting, and creating the way for many of the concepts that have inspired most artists in the late twentieth century. In conclusion, most architects have made emphasis and understand the significance of architectural plans on the outcome of structures (Conway, Hazel, and ‎rowan 432). Classical architects considered the plan to be the fundamental component of architectural work, which determined how the work could continue. Consideration of the essential factors during the planning phase of the development remains an important aspect which could result in the successful development. The plan is commonly developed based on considerations of aesthetics, and the intended purpose for the structure. Works Cited Conway, Hazel, and ‎rowan Roenisch. Understanding Architecture: An Introduction to Architecture and Architectural History. London: Routledge, 2006. Print. Pandya, Yatin. Concepts of Space in Traditional Indian Architecture. Ahmedabad: Mapin Publ, 2005. Print. Ferguson, Mark, Oscar Shamamian, and Joseph Giovannini. New Traditional Architecture: Ferguson & Shamamian Architects : City and Country Residences. New York: Rizzoli, 2011. Print. Read More