House Architecture | Architecture and Language

In modernity there are no more steady rules of connections. Connections are elliptical and changing. Syntax and grammar are relational; however, they are not whatever. Modernity is about the freedom of connections which are not reducible to pure logic or rationalism. Modernity is dreaming new languages which are beyond representation. Language is tied to dreaming freedom. Whoever destroys language destroys himself or herself.

Language is a second body. Delaunays' paintings, their "window to the city", the surrealist novel, the nouveau roman all explore language as a second body. It is the materialized soul. With Novalis the body becomes the stream, the night, the day, the cosmos. His "liquid girls" are the secret of language. To know that "milk is black" is also one of the many secrets of language linking us directly to the cosmos. Language is a secret naming.

Language is that which closes itself over the void. Mallarmé and Duchamp show us, that if the universe is language,-its face is empty. Their works are trajectories in search of meaning. Doing Architecture is a love for language. It is like going to the desert and absorbing the lessons of the stream. It is being alone: the horizon and earth meeting, vastness, emptiness, movement, change and space. It is the courage to be able to face the "empty face" of the universe that allows for new possibilities of languages and forms of life.

Language is always somewhat ahead of our thoughts, just like writing or drawing. Surrealist writing, the drawing or sketch in Architecture, are the flow of language, it is a form of swimming, diving into something which is already there, like the city with all its superimpositions. As with the superimpositions found in Cezanne or Schindler's work, the superimposition and layering of space, volumes and colors. Language is ahead of our thoughts. It is more than just a matter of the brain. The heart, the soul, emotions and the body make for the corporeality of language. Language has an intimate connection to experience. It is a part of an intricate weave, like the air we breathe.

This is why language, writing and drawing have a deep and secret power to promote being. The imagination hungers for images. Drawing is not a depiction but a way of thought of expression; it is a figurative language like a form of writing. Scarpa says: " I draw because I want to see." It is a seeing and knowing in the mind. Scarpa's work doesn't so much take place in an arena of visual perception as in the vicinity of a linguistic competence. He never fell into historical styles because his interests were of a relational nature: " A Transparency of relations". According to Octavio Paz "Light is time thinking of itself." Scarpa works the light critically; it is a criticism in the romantic sense, not one of exclusion, but of inclusion of the object and work of art. The work of art becomes aware of itself.
Language is a place; there is a desire in language to orient and to have a standpoint. The language of Architecture is like the eye of language, it is about another kind of seeing. Language is like a plan or a section, it is generative, and it is a relational instrument. Architecture like language is polysemous, polyphonic and polysemantic. Architecture is about giving time and space for the articulation of different visions, voices and their multiple interconnectedness. Architecture and language are, like paintings, in the words of Clemenceau: "A way of looking deep into the eyes of the world."

Questioning and doubt are internal to language and architecture. In Chinese "but" is the radical root of the ideogramme "mouth" and "who" is the radical root of the ideogramme "language". Questioning lies at the heart of language. Words, like walls, planes, light and space, desire to enwrap and to show themselves; to traverse their own space. The issue perhaps is less to just let "words run loose", as to keep them within reach of their possibilities and within reach of their suggestive powers. The desire for words to show themselves also speaks of the strong relationship between language and joy. Words, like materials, space and light are the heaviness of emptiness. Language is that which closes itself over the void.

Language and Architecture are a kind of writing into the void, into the black, the dark and the shadow. It is in this black or shadow where words and architectural elements meet. The darkness of language is like a protection from too much self-reflection.

Language is more than just communication or understanding. It is about being alone and about taking risks. When I enter a building, it is like entering language with all its nuances, shades and inflections; and just like poetry, it likes to have a voice, it likes to be read, to be experienced and it likes to be a challenge.

To hear one word as if it were thousands of words is about the superimposition inherent in language. Language and Architecture exist as superimpositions. There is a presence and absence of language. The passivity of language is a kind of center which allows language to exist, and we should allow a word, like a house, the possibility to open itself unto all possible worlds or experiences which live in it. Writing is a kind of forgetfulness; it is the subconscious of language. Matisse's figures in blue are a kind of writing with the scissors into color. Similarly Yves Klein's body paintings, it is always the whole body which is involved in language and in architecture.

Language is another way of seeing and imagining. It is language which thinks and suffers, just as it is also the imagination which thinks and suffers. There is a subversive power in language, a magic beyond communication. Brancusi's Endless Column has a magical rhythm with which we can catch a glimpse of infinity. The Endless Column is like a revelation. Naming, the innermost nature of language is about naming the unnamable it is about doing the impossible. Herein lays the heart of architecture.
Language is a place and like writing it is about a return to the Zero Point. It is like writing on a blank page. It is about changing the world. Architecture has a memory of this desire for wanting to transform the world. The banal memory is like a dam against creative memory. Banal memory secures against loss, when, on the contrary, loss is a necessary part of memory. Memory is possible because of repetition. It is repetition of metaphors, symbols, words, myth and figures that give to language, to architecture and to the city the space and time to remember.

Language is a promise.

This text has been inspired by Paola Iacucci's
Three Houses and other Buildings by Gangemi
Publishers

Gabrielle is an architect, artist and writer. She completed her studies at Columbia and Princeton Universities in the USA. She currently lives in Switzerland where she has her own architectural practice. Her websites are: http://www.gabriellevonbernstorff.com and http://www.gabriellevonbernstorff.ch.

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House Architecture | Facts About China Architecture and Chinese Buildings Art

China's distinctive architecture makes up an important part of China's splendid civilization. Together with Western and Muslim architecture, the three styles comprise the world's major architectural systems.

In the Paleolithic Age, Chinese ancestors lived on fishery and hunting, and were sheltered in trees and caves. In the Neolithic Age, Chinese ancestors engaged in raising animals and farming, and settled down by digging caves and by building simple houses with twigs and lumber, thus commencing their architectural activities.During the 3,000 years of the feudalist society, Chinese ancient architecture formulated gradually its unique system, coupled with a considerable progress in urban planning, garden designing, and house construction technique. In 221 B.C., the First Emperor of the Qin Empire mobilized the resources of the country to do construction works on a massive scale, including A' Fang Palace, the Emperor's Mausoleum, the Great Wall and the Dujiangyan Water-Conservancy Project. In the Later dynasties, many more massive construction works of lasting fame were carried out.

China's wood frameworks are unique in the world. They reflect the values, aesthetic and ethical standard of the Chinese people. Chinese architecture is rooted in cultural tradition and features several characteristics. It highlights absolute imperial power and strict social status. The best examples of this can be found in the palaces and forbidden cities. Chinese architecture also stresses overall beauty and its axial layout pattern is widely used in buildings. The Chinese style also incorporates elements of nature and emphasizes a graceful, reserved and easy-going beauty. Apart from the Han ethnic group, architecture in the ethnic minorities is also diversified and distinct.

Chinese architecture can be categorized into imperial palaces, religious temples, ancient gardens, tombs group and ordinary ethnic residences.

The online website of the China travel agency - China Fact Tours has fruitful information regarding facts about China and China Architecture [http://www.chinafacttours.com/facts/a], as well as a great deal of practical China travel information and travel resources be of help before you plan a trip to China!

Article Source: http://EzineArticles.com/?expert=C_Lee

House Architecture | Architectural Characteristics of Style Houses

Spanish style homes are a sub-style of the Mediterranean design philosophy. In this article, we'll present an overview of Spanish style houses for UK buyers who are seeking to purchase an authentic example of this rich and complex architecture.

What Is The Mediterranean Style?

First, let's look at some background about the Mediterranean region. Because of its location linking Europe, Asia and Africa, the Mediterranean region is home to an amazing diversity of peoples and cultures. Add to that the Moorish occupation of Spain for hundreds of years and the result is an eclectic architectural style that dominates Spanish style homes. The robust trade, migration patterns and even warfare and conquest have all contributed to the rich and varied history and culture of the Mediterranean region. The design of houses in Spain reflects the country's "melting pot" heritage.

Typical Features of Mediterranean Homes

What has come to be termed "Mediterranean architecture" has its roots in a melange of lifestyle, culture, historical building styles, climate and topography (surface features) of the region. The Spanish style house always seeks to exploit location and views, especially sea views. You'll see Spanish houses tucked away on rocky hillsides that tower above the sea or are proudly situated on glorious white sand beaches. Roof terraces are common, again to take advantage of the view.

More Mediterranean Architecture Features

Since sites for Spanish style homes are often hilly, rocky and uneven, the architecture tends toward low-slung and boxy designs with flat roofs. Windows are situated to take maximum advantage of both the view and the whole house seems to just blend into its surroundings. A typical Spanish style house has thick walls faced with white or light colored stucco to help keep the interior cool. Classical Roman features like columns and porticos firmly anchor the Spanish style home in a vibrant historical context. Red clay tile roofs are typical and there are usually no overhanging eaves. Arches are integral design features and often appear above windows, doors, entryways and porches.

Mediterranean Architecture Brings the Outdoors Inside

Spanish house styles tend to be asymmetrical in shape with multiple wings. Hip roofs are common. Details like carved doors and carved stonework, spiral columns and tiled walls and floors are also highly characteristic of Mediterranean architecture. Courtyards are prevalent and often function as outdoor rooms, making for easy transitions between outdoor and indoor spaces. Fountains and water features grace the courtyards, providing a refreshing counterpoint to the arid climate. Wrought iron ornamentation is typical. Spanish style houses give an overall impression of oneness with their surroundings.

Spanish style homes continue to be popular with residents of the UK who own holiday homes there. These homes are authentic buildings that reflect the best of Mediterranean architecture, culture and character.

Morris Simpson is an independent real estate property advisor and writer in Spain. His interest in real estate is a passion and his technical expertise stems from both his education and experience. He is a real estate professional with Spanish property shop online - a specialized website for buying and selling villas, apartments, homes and houses in Spain. Spanish property shop online also offers you the finest opportunity in finding the most luxurious and affordable Spanish style houses

Spanish Property Shop Online provides you with the most comprehensive selection of Spanish Property available, which is designed to make the job of finding your property in Spain a much easier and less stressful event. Spanish Property Online Shop also specializes in bringing you the best deals available in Spain. You will find a delightful collection of apartments, villas, country cottages (in fact all types of property) in coastal and rural settings. Feel free to get in touch with us at http://www.spanishpropertyshoponline.com/houses-in-spain

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House Architecture | Arts and Crafts Style Decorating

The terms Arts and Crafts and Mission Style are often used synonymously today. They refer to a style of home design and furnishings emphasizing natural materials, especially wood, and showcasing a pronounced geometry in the design. Their tremendous revival in popularity stems largely from their association with hand-crafted elements (though many knock offs are manufactured by machine), a rarity in this technologically advanced age. The pieces offer an heirloom quality and a patina that deepens with age. Arts and Crafts furnishings and interiors are also typically very durable and classic with a timeless appeal. They suit today's desire to simplify and get back to basics. Arts and Crafts interiors are an ideal marriage of function and aesthetic, spaces are designed to work for those living there. To create your own Arts and Crafts interior, there are several elements to consider, both in materials and design.

The materials of an Arts and Crafts interior, while not limited to nature, emphasize wood, stone, glass (made from sand), ceramic tiles (made from minerals/earth), and textiles (using wool, cotton, or linen fibers, and, of course, leather) Much of the visual pattern comes from the grain of the wood selected. Traditionally oak was used, but currently natural cherry is frequently enjoyed. The oak tends to have golden brown gleam, while the cherry is redder. Both darken naturally with age, this is to be expected.

Flooring, all architectural trim/molding, doors, stair rails and stiles, and exposed structural supports are all typically wood, oak most prevalent. Waxed or oil finishes prevail. Joints are pegged or hand-crafted metal hardware is used. Door knobs, cabinet pulls and the like are again hand-crafted wrought iron or bronze in black, umber, or verdigris. Many are square or rectangular shaped and are hand hammered. For a lighter look, some homeowners today are opting for a soft brushed pewter or nickel finish. Once you have the guidelines, you can bend them to suit. If an alternative to a wood floor is desired, tile or slate would be appropriate substitutes. The tile should be large and laid in a linear pattern, not on the diagonal.

To balance and complement the visual depth of the wood, walls are often treated with a textured paint, or plastered (the old bungalows have original plaster.) A good bet is the river rock finish that Ralph Lauren paint provides. Paint schemes bear an influence from nature with goldenrod yellows, burnt sienna browns, cimarron and Indian reds, sage and moss greens, and a neutral palette of earthy tans, toasts, and beiges. The overall feeling has a harmony, a continuity of all elements working together, none upstaging the other. It is about creating an organic home, one that works within its environment and makes the most of its surroundings both outside and inside.

Fireplaces have wood or stone mantels, with stone, ceramic, or occasionally brick surrounds. The wood is oak with a golden stain, usually waxed or rubbed, not polyurethane. Satin or matte finishes rule. Stone is field stone, stacked dry or with mortar, it presents a terrific textural visual. River rock may be used instead and the round smooth stones provide a counterpoint to the rectilinear geometry otherwise present. Ceramic tiles will typically have a motif from nature, perhaps a leaf or acorn, or have an iridescent finish. Today glass tiles are also used to great advantage. Brick, when employed, is smooth faced and laid in clean horizontal bands. Again, one of the clear features of an Arts and Crafts interior is the linear quality. The feeling that the house is part of a bigger view, part of the horizon, is all an effort to be from and of the earth.

Historically, many of the Arts and Crafts and Mission homes sported art glass windows, or at least many panes. This enabled windows to be left uncovered and still appear decorative. Today, art glass windows can be cost prohibitive except in select areas, so if treatment is desired for either privacy, light, or heat control, simpler is better. This translates to options such as a plain Roman shade, silhouettes, wood blinds, or panels on either tabs or rings, on a decorative rod (wood or wrought iron), with finials. If tiebacks are desired consider sisal tassels, simple and bold, or a band of the same fabric as the drapery. No trim or other decorative element is required. Fabric patterns may herald nature, such as a leaf print, or be based in geometry. There is a wide range on the market today including historical prints by William Morris and designs by Frank Lloyd Wright. The same may also be found in wall coverings, though use them sparingly, as they are often busy and distracting. Arts and Crafts and Mission styles today both represent a desire for a wholesome, hearty lifestyle, a return to yesterday's values.

Furnishings in the Arts and Crafts home are wood, occasionally with a wrought iron or ceramic tile accent. Glass is rarely used. Tables being functional as well as good looking, often have at least a drawer and a shelf for storage. Shapes are squares, rectangles and octagons, though today more rounds are available. Again the geometry created by edges is most apparent. Sofas and chairs are often wood backed with exposed wood arms and cushions that can be readily cleaned or changed out depending on the season. Flexibility and adaptability are prime features. Mission style goes a step further and often offers sofas or chairs with a deep wood shelf surround, acting as the arm and a table (Frank Lloyd Wright design), which gives the illusion of a built-in piece. Leather is frequently used or fabrics in natural fibers such as cotton, linen, or wool. Rich colors and geometric or patterns drawn from nature abound. The most significant interest comes from the combination of elements, again, no one piece dominating. Busy patterns are used sparingly, increasing longevity and flexibility of the furnishings. Resources for furnishings include Stickley, American Impressions by Ethan Allen, and Cotswald Furnishings, a superior resource for hand-crafted furnishings and more in Atlanta.

Lighting in an Arts and Crafts or Mission home is critical, especially with all the dark woods and depth of color schemes popular. While ceiling lights, including recessed can give a good general light, it is far more effective and pleasing to adopt a wealth of luminaries. Torchieres (floor lamps that give uplight, and are best placed in corners) can provide valuable general lighting, while table lamps and floor lamps provide invitation and welcome. Accent lighting can be done with mantel lamps, sconces, and dresser lamps. The two most common types of lamps are the mica and metal designs, the body of the lamp being hammered bronze or copper, the shade a sheet of mica; and the art glass lamps with wood or art glass bases and shades of glass in geometric patterns and a squared coolie shape. Other lighting options include a wealth of reproduction lighting through several lighting sources such as Arroyo Craftsmen, and Yamagiwa (available through designers; they also have an outstanding line of Frank Lloyd Wright designs.)

Accents, accessories, and artwork should be kept to a minimum to allow for a fuller appreciation of the architecture of the home and materials of nature showcased. This is a good chance to provide balance to the predominance of wood with elements in glass, ceramics, and metal. Both bowls and vessels are readily available in all materials mentioned here. Iridescent ware in both ceramics and glass provides an airy complement to the weight and depth of the wood.

© 2005 Melissa Galt

Melissa Galt, Lifestyle Designer, Speaker, & Author, is the owner of Melissa Galt, Inc., a full service interior design firm based in Atlanta. She has been decorating clients’ homes all over the Southeast for more than a decade, making their interior visions come true. She speaks to audiences nationally , on how to use design as the catalyst for “creating the life you’ve always dreamed of”. Melissa is the creator of Design Destinations, a free monthly guide to designing your signature life. To sign up for her FREE monthly newsletter, visit http://www.melissagalt.com/.

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House Architecture | Arts and Crafts Style Furniture

As is true with any popular architectural and decorating style, cheap, poorly made products are everywhere and quickly available. It's very easy to get lulled into a false sense of security when purchasing pieces for your Craftsman Style Home. In our fast paced society we are all about instant gratification and a getting good deal, but are we really getting what we pay for? With Craftsman Style Homes, it's quite an issue. The whole philosophy of the Arts and Crafts Movement was a backlash against the mass manufactured excessiveness of the Victorian Era, and promoted a return to true craftsmanship. Pioneered by William Morris, this international movement encouraged originality and fine craftsmanship in home furnishings. Set apart by it's simple elegance and superior quality, the original craftsman style home was a precursor of today's continuing trend towards simple, uncluttered interiors.

It seems like we may have come full circle. "Craftsman Style" , "Bungalow Style" and "Mission Furniture" in endless low quality incarnations can be found everywhere - from huge chain stores to catalogs. Where does that leave the Craftsman homeowner? Do you really know how and where that product for your home was created? Is it of good quality? Will it last?

Not everyone can afford a pricey antique Stickley sideboard, Morris chair, or Limbert side table. Even if you could, excellent examples are rare and there is not enough inventory to go around. So what are you to do? There are some fine furniture makers today that reproduce Mission forms that are readily available, but it pays to do your homework. Some of the more popular makers that started out small, have gotten successful to the point of becoming large manufacturers themselves, often at the expense of the very quality they set out to produce in the first place. Don't be fooled. Some of your best sources are the smaller artisan run studios that make pieces in very small quantities, often made to order and in limited editions. These hand crafted furnishings are competitive in price and superior in quality to many of the "name" manufacturers today. Yes, it may take several weeks to receive your item, but how long were you planning on enjoying it? A handful of years, or for generations to come? It's far better to have a few carefully selected, outstanding examples of artisan built furniture, than a houseful of cheap knock offs. Your hard earned dollar should go towards the best quality you can afford.

What does your Arts and Crafts Style Furniture reveal about you? Remember - It's all about quality.

Jan Davidson is an artist and designer currently focusing her talents on creating products for the Arts and Crafts Lifestyle.

Her design and building projects have been featured in several publications including the book Along Bungalow Lines , Creating an Arts and Crafts Home by Paul Duchscherer and Arts and Crafts Homes and the Revival http://www.CraftsmanTouch.com is a wonderful resource dedicated to providing quality Craftsman Style Furnishings and Accessories with beautiful photographs from Davidson's projects for ideas and inspiration. See more about Artisan Built Furniture

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303 East 33rd Street by Perkins Eastman

303 East 33rd Street, the first green development in the Murray Hill neighborhood of Manhattan, is designed by top ranked green architecture and design firm Perkins Eastman. The LEED Certified development is a 12-story, 165,00 sf building defined as a series of single attached buildings facing the street alternating in height.







BUILDING PROGRAM:

The interior of the building comprises 128 studio, one-, two-, and three-bedroom homes in a variety of layouts as well as a three-bedroom, four-bathroom triplex penthouse.



Additional amenities include a fully-equipped fitness center, media lounge with pool table, a children’s playroom, and full-service concierge.





A landscaped roof-top, with a total of 1,700 sf of outdoor space, takes advantage of distinctive urban views.



DESIGN CONCEPT:



"A highly energy efficient envelope -exceeding the thermal requirements of New York City code-comprising brick piers, terraces, balconies, and large expanses of glass fracture the architectural repetition, heightening the concept of an ensemble of buildings rather than a single development."



"Using rapidly renewable materials and low-VOC finishes, a contemporary interior space is created that engages the residents to participate in a more sustainable lifestyle. Each unit is equipped with electrical sub-meters allowing the tenants to monitor their electrical use and manage their personal consumption. To discourage automobile use, the development purposely omitted a parking garage from the design and instead chose to offer parking discounts in an adjacent venue for hybrid vehicles."

"The roof-top design limits the use of potable water for landscaping, employing a variety of indigenous, drought tolerant plants to create an outdoor oasis for the residents."

Source: ArchDaily

Casa 100K by MarioCucinella Architects

A cool green pre-fab building project in development in Italy, costing only a little over $100k U.S. Mario Cucinella Architects has conceived Casa 100k, which is a prototype home for Є100,000 that prioritizes three main elements: style, sustainability, and affordability.



DESIGN CONCEPT:

"This research project explores the design of a 100m2 home that is low cost, high quality with zero CO2 emissions and a low environmental impact. A building that brings back the pleasure of living and repays the investment cost with the energy produced. The architectural design integrates photovoltaic panels, solar capture during the winter months, circulation of air in the summer months and other passive environmental strategies that render the residence a bioclimatic machine."

"The building cost is kept to a minimum by using light and flexible pre-fabricated building systems: structural elements, integrated services, and mobile elements such as sliding-removable-supple wall panels for internal divisions in the apartments. External walls are made from modular panels. The material changes – glazed or opaque- creating an elevation that is dynamic materially and spatially integrating balconies, terraces and loggias. The structural framework allows a variety of apartment sizes adapting to the different spatial needs of the occupants."

Typical of European homes, each unit is small — a mere 100 square meters. However, the building’s design includes multiple outdoor bridges and terraces that cross near each other. This design decision certainly offers the opportunity for neighborly interaction and a heightened sense of community that will make residents feel like their living quarters extend beyond the four panels of their home.

With solar thermal and a geothermal heat pump, as well as the other already mentioned strategies, the design for Casa 100k contemplates creating more energy than is used -- a feature that could prove financially beneficial to homeowners. It's an interesting vision for living -- one that could just be a reality with already existing technology and prefab construction methods.









More at Inhabitat, Jetson Green, and G Living

Architects: MarioCucinella Architects