Monument and context - Revision history

Designing Buildings at 16:03, 3 October 2022

2022-10-03T16:03:12Z

← Older revision		Revision as of 16:03, 3 October 2022
Line 94:		Line 94:
	This article was created by --[[User:Shmg\|Shmg]] 20:39, 12 December 2012 (UTC)		This article was created by --[[User:Shmg\|Shmg]] 20:39, 12 December 2012 (UTC)

−	~~= Find out more =~~	+	= Related articles on Designing Buildings =
−		+
−	=== Related articles on Designing Buildings ~~Wiki ==~~=	+

	* Aesthetics and architecture.		* Aesthetics and architecture.
Line 117:		Line 115:
	* Zeitgeist.		* Zeitgeist.

−	=== External references ===	+	= External references =

	* Caruso ,Adam, 1999. “The Feeling of Things”, A+T ediciones (Vitoria-Gasteiz, Spain: 1999) Issue 13, pp.48–51		* Caruso ,Adam, 1999. “The Feeling of Things”, A+T ediciones (Vitoria-Gasteiz, Spain: 1999) Issue 13, pp.48–51

Designing Buildings at 08:17, 2 November 2020

2020-11-02T08:17:43Z

← Older revision		Revision as of 08:17, 2 November 2020
Line 135:		Line 135:
	* Zardini, Mirko (ed) 2005. Sense of the City: An alternative approach to urbanism, Lars Muller Publishers.		* Zardini, Mirko (ed) 2005. Sense of the City: An alternative approach to urbanism, Lars Muller Publishers.

−	[[Category:History]] [[Category:Theory]]	+	[[Category:DCN_Commentary]] [[Category:DCN_Definition]] [[Category:DCN_Guidance]] [[Category:History]] [[Category:Theory]]

Editor at 10:47, 7 September 2018

2018-09-07T10:47:44Z

← Older revision		Revision as of 10:47, 7 September 2018
Line 100:		Line 100:
	* Aesthetics and architecture.		* Aesthetics and architecture.
	* Architectural styles.		* Architectural styles.
−	* Consultation process.	+	* [[Consultation_process\|Consultation process.]]
	* Context.		* Context.
	* Contextualism.		* Contextualism.

Editor at 10:47, 7 September 2018

2018-09-07T10:47:15Z

← Older revision		Revision as of 10:47, 7 September 2018
Line 13:		Line 13:
	With the notion of context come connotations of the existing fabric; the locality, tradition and the vernacular condition. By embedding the intentions of a design within the essence of place, a connection linking new and old can be made, transcending the built environment and creating a metaphysical connection with a place. As Adam Caruso writes:		With the notion of context come connotations of the existing fabric; the locality, tradition and the vernacular condition. By embedding the intentions of a design within the essence of place, a connection linking new and old can be made, transcending the built environment and creating a metaphysical connection with a place. As Adam Caruso writes:

−	Although architects cannot make vernacular structures one can attempt to recreate the processes through which the vernacular emerges in each project. In the place of invention, rhetoric and signification one can embrace convention, awkwardness and repetition. In this way, buildings can achieve an auratic presence that comes through associative memory and direct experience. (~~Caruso1999~~:51)	+	Although architects cannot make vernacular structures one can attempt to recreate the processes through which the vernacular emerges in each project. In the place of invention, rhetoric and signification one can embrace convention, awkwardness and repetition. In this way, buildings can achieve an auratic presence that comes through associative memory and direct experience. (Caruso 1999:51)

	Context can also be considered within the profession of architecture. Working as an elite body of thinkers, whose role it is to shape the built environment, their ethics of practice will have an equal influence, if not greater, than the existing condition. Brent C. Brolin comments rather pessimistically about this obligation:		Context can also be considered within the profession of architecture. Working as an elite body of thinkers, whose role it is to shape the built environment, their ethics of practice will have an equal influence, if not greater, than the existing condition. Brent C. Brolin comments rather pessimistically about this obligation:
Line 101:		Line 101:
	* Architectural styles.		* Architectural styles.
	* Consultation process.		* Consultation process.
		+	* Context.
	* Contextualism.		* Contextualism.
	* Form follows function.		* Form follows function.

Editor at 11:25, 26 March 2018

2018-03-26T11:25:06Z

← Older revision		Revision as of 11:25, 26 March 2018
Line 9:		Line 9:
	= Introduction =		= Introduction =

−	Context is defined as ~~“the~~ circumstances relevant to an event or ~~fact”~~ (Collins, 2006:170) Monument is “something such as a statue or building, erected in commemoration of a person or event. (Collins, 2006:523) To work ~~“in context”~~, on a given site, is one parameter of architects, to work within the context of the profession of architecture is another.	+	Context is defined as 'the circumstances relevant to an event or fact' (Collins, 2006:170) Monument is “something such as a statue or building, erected in commemoration of a person or event. (Collins, 2006:523) To work 'in context', on a given site, is one parameter of architects, to work within the context of the profession of architecture is another.

	With the notion of context come connotations of the existing fabric; the locality, tradition and the vernacular condition. By embedding the intentions of a design within the essence of place, a connection linking new and old can be made, transcending the built environment and creating a metaphysical connection with a place. As Adam Caruso writes:		With the notion of context come connotations of the existing fabric; the locality, tradition and the vernacular condition. By embedding the intentions of a design within the essence of place, a connection linking new and old can be made, transcending the built environment and creating a metaphysical connection with a place. As Adam Caruso writes:

−	Although architects cannot make vernacular structures one can attempt to recreate the processes through which the vernacular emerges in each project. In the place of invention, rhetoric and signification one can embrace convention, awkwardness and repetition. In this way buildings can achieve an auratic presence that comes through associative memory and direct experience. (Caruso1999:51)	+	Although architects cannot make vernacular structures one can attempt to recreate the processes through which the vernacular emerges in each project. In the place of invention, rhetoric and signification one can embrace convention, awkwardness and repetition. In this way, buildings can achieve an auratic presence that comes through associative memory and direct experience. (Caruso1999:51)

	Context can also be considered within the profession of architecture. Working as an elite body of thinkers, whose role it is to shape the built environment, their ethics of practice will have an equal influence, if not greater, than the existing condition. Brent C. Brolin comments rather pessimistically about this obligation:		Context can also be considered within the profession of architecture. Working as an elite body of thinkers, whose role it is to shape the built environment, their ethics of practice will have an equal influence, if not greater, than the existing condition. Brent C. Brolin comments rather pessimistically about this obligation:
Line 27:		Line 27:
	The impact of monument, their imposition into an urban fabric is obvious for all to see. What is less obvious is the impact the work of monumental architects on the profession, and how it influences a culture of celebrity. This has its own impact on the built environment. Jeremy Till (2009:7-8) in Architecture Depends claims that the “autonomy of teaching and black box practice” of architects tends to cause an inversion in the concerns of an architect. Looking to peers and contemporaries instead of observing the places in which they work, the context of architectural practice quickly becomes detached from the places it intends to reflect, and the people it serves.		The impact of monument, their imposition into an urban fabric is obvious for all to see. What is less obvious is the impact the work of monumental architects on the profession, and how it influences a culture of celebrity. This has its own impact on the built environment. Jeremy Till (2009:7-8) in Architecture Depends claims that the “autonomy of teaching and black box practice” of architects tends to cause an inversion in the concerns of an architect. Looking to peers and contemporaries instead of observing the places in which they work, the context of architectural practice quickly becomes detached from the places it intends to reflect, and the people it serves.

−	= Historical ~~Context~~ =	+	= Historical context =

−	The Renaissance saw the beginnings of modern science and the liberation of man from fears of religion and the passing of the Black Death that had plagued Gothic and Medieval eras beforehand. With this came the need for a new approach to urbanism. On the basis of classical principles there were to be wide streets with vistas, the reinstatement of a grid to give order to urban space, and the use of squares to emphasise monument, but also for market places and domestic functions. (Schoenauer 1981:139) The end of the eighteenth century too brought great medical advances, and the industrial revolution brought new processes, functions and requirements. However, the well-being of the people did not advance in quite the same way. Peter Hall (1997:17) discusses the quality of living conditions in London at this time in the city of eternal night, a chapter of his book on modernist urban thinking.	+	The Renaissance saw the beginnings of modern science and the liberation of man from fears of religion and the passing of the Black Death that had plagued Gothic and Medieval eras beforehand. With this came the need for a new approach to urbanism. On the basis of classical principles there were to be wide streets with vistas, the reinstatement of a grid to give order to urban space, and the use of squares to emphasise monument, but also for market places and domestic functions. (Schoenauer 1981:139)
		+
		+	The end of the eighteenth century too brought great medical advances, and the industrial revolution brought new processes, functions and requirements. However, the well-being of the people did not advance in quite the same way. Peter Hall (1997:17) discusses the quality of living conditions in London at this time in the city of eternal night, a chapter of his book on modernist urban thinking.

	“... Every room in these rotten and reeking tenements houses a family, often two...Elsewhere is a poor widow, her three children, and a child who has been dead thirteen days.” (Hall 1997 :17)		“... Every room in these rotten and reeking tenements houses a family, often two...Elsewhere is a poor widow, her three children, and a child who has been dead thirteen days.” (Hall 1997 :17)
Line 35:		Line 37:
	These problems of overpopulation, poor living conditions and social upheaval were not limited to London. Grand cities such as Paris and Washington had also succumbed to the eternal night. In crowded American cities inhabitants had taken to violent demonstrations as a result of the economic depressions at the turn of the 1900’s along with the gross overcrowding of their urban centres.		These problems of overpopulation, poor living conditions and social upheaval were not limited to London. Grand cities such as Paris and Washington had also succumbed to the eternal night. In crowded American cities inhabitants had taken to violent demonstrations as a result of the economic depressions at the turn of the 1900’s along with the gross overcrowding of their urban centres.

−	Thus at the turn of the Fifteenth and Nineteenth Centuries there was a requirement for grand vision to restore urban centres to their former glory. At this time it is possible to see how the notions of a body of thinkers are transferred onto the landscape irrespective of the social or physical contexts in which they are placed. The notion of, and creation of these urban spaces was the first sign of truly monumental planning. This was to create spaces that inspired order and control, monuments both of their city, and a testimony to those who designed them, restoring order through notions of art and civic pride.	+	Thus, at the turn of the Fifteenth and Nineteenth Centuries there was a requirement for grand vision to restore urban centres to their former glory. At this time it is possible to see how the notions of a body of thinkers are transferred onto the landscape irrespective of the social or physical contexts in which they are placed. The notion of, and creation of these urban spaces was the first sign of truly monumental planning. This was to create spaces that inspired order and control, monuments both of their city, and a testimony to those who designed them, restoring order through notions of art and civic pride.

	“Where a ruler had near absolute power, it was possible to apply these principles of renaissance planning. Medieval streets, which had been narrow and crooked, were now subjected to geometric clarifications...wide avenues... were cut through the intricate and intimate maze of medieval urban fabric.” (Schoenauer		“Where a ruler had near absolute power, it was possible to apply these principles of renaissance planning. Medieval streets, which had been narrow and crooked, were now subjected to geometric clarifications...wide avenues... were cut through the intricate and intimate maze of medieval urban fabric.” (Schoenauer
Line 96:		Line 98:
	=== Related articles on Designing Buildings Wiki ===		=== Related articles on Designing Buildings Wiki ===

		+	* Aesthetics and architecture.
	* Architectural styles.		* Architectural styles.
	* Consultation process.		* Consultation process.

Editor at 19:47, 13 November 2016

2016-11-13T19:47:45Z

← Older revision		Revision as of 19:47, 13 November 2016
Line 98:		Line 98:
	* Architectural styles.		* Architectural styles.
	* Consultation process.		* Consultation process.
		+	* Contextualism.
	* Form follows function.		* Form follows function.
	* Genius loci.		* Genius loci.

Editor at 20:17, 5 November 2016

2016-11-05T20:17:47Z

← Older revision		Revision as of 20:17, 5 November 2016
Line 98:		Line 98:
	* Architectural styles.		* Architectural styles.
	* Consultation process.		* Consultation process.
		+	* Form follows function.
	* Genius loci.		* Genius loci.
	* Landscape urbanism.		* Landscape urbanism.

Editor at 13:59, 19 October 2016

2016-10-19T13:59:44Z

← Older revision		Revision as of 13:59, 19 October 2016
Line 109:		Line 109:
	* The history of fabric structures.		* The history of fabric structures.
	* The history of the architect as a profession.		* The history of the architect as a profession.
		+	* Zeitgeist.

	=== External references ===		=== External references ===

Editor at 13:59, 18 October 2016

2016-10-18T13:59:20Z

← Older revision		Revision as of 13:59, 18 October 2016
Line 98:		Line 98:
	* Architectural styles.		* Architectural styles.
	* Consultation process.		* Consultation process.
		+	* Genius loci.
	* Landscape urbanism.		* Landscape urbanism.
	* Localism act.		* Localism act.

Editor at 10:09, 11 October 2016

2016-10-11T10:09:39Z

← Older revision		Revision as of 10:09, 11 October 2016
Line 105:		Line 105:
	* Neighbourhood planning.		* Neighbourhood planning.
	* Skyscraper.		* Skyscraper.
		+	* Spomeniks.
	* The history of fabric structures.		* The history of fabric structures.
	* The history of the architect as a profession.		* The history of the architect as a profession.