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Response from:
shiva sakthi, Council Member on
Ammas.com
Source:
en.wikipedia.org/wiki/History_of_architecture
History of architecture is a very vast subject, but is an indispensable and invaluable key to understand architecture. Architecture has always been very close to civilizations aboangdevelopment, in fact we can see architecture as a mirror, reflecting civilizations changes, advancements and hopes throughout history. The same applies to other forms of art and culture, but architecture, since it is not only a form of art but also catering to fundamental human needs, can sometimes be a deeper portrait of what happened in a certain place at a certain time. Forms of Architecture: * Prehistoric architecture starts from the neolithic period * Babylonian architecture * Mesopotamian architecture * Etruscan architecture is the premises of what will become roman architecture * Egyptian architecture, which can be described sotinhgoierangthe mother of architecture, began around year 3000 BC, with the first pharaonic dynasties, and dies when Egypt gets conquered by Rome around year 300 BC
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Architecture (Latin architectura, from the Greek ????t??t?? – arkhitekton, from ????- "chief" and t??t?? "builder, carpenter") can mean: The art and science of designing and erecting buildings and other physical structures. The practice of an architect, where architecture means to offer or render professional services in connection with the design and construction of a building, or group of buildings and the space within the site surrounding the buildings, that have as their principal purpose human occupancy or use.[1] A general term to describe buildings and other structures. A style and method of design and construction of buildings and other physical structures. A wierd definition may comprise all design activity, from the macro-level (urban design, landscape architecture) to the micro-level (construction details and furniture). Architecture is both the process and product of planning, designing and constructing form, space and ambience that reflect functional, technical, social, and aesthetic considerations. It requires the creative manipulation and coordination of material, technology, light and shadow. Architecture also encompasses the pragmatic aspects of realising buildings and structures, including scheduling, cost estimating and construction administration. As documentation produced by architects, typically drawings, plans and technical specifications, architecture defines the structure and/or behavior of a building or any other kind of system that is to be or has been constructed. Architectural works are often perceived as cultural and political symbols and as works of art. Historical civilizations are often identified with their surviving architectural achievements. Architecture sometimes refers to the activity of designing any kind of system and the term is common in the information technology world.
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Response from:
jes sree, Registered Member on
Ammas.com
Source:
This information comes from my own knowledge.
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Hi, Please review the website mcgill.ca/architecture-theory for detailed information.
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Architectural theory is the act of thinking, discussing, or most importantly writing about architecture. Architectural theory is taught in most architecture schools and is practiced by the world's leading architects. Some forms that architecture theory takes are the lecture or dialogue, the treatise or book, and the paper project or competition entry. Architectural theory is often didactic, and theorists tend to stay close to or work from within schools. It has existed in some form since antiquity, and as publishing became more common, architectural theory gained an increased richness. Books, magazines, and journals published an unprecedented amount of works by architects and critics in the twentieth century. As a result, styles and movements formed and dissolved much more quickly than the relatively enduring modes in earlier history. It is to be expected that the use of the internet will further the discourse on architecture in the twenty first century.The Age of the Enlightenment witnessed considerable development in architectural theory on the European continent. New archeological discoveries (such as those of Pompeii and Herculaneum) drove new interest in Classical art and architecture. Thus the term Neoclassicism (exemplified by the writings of Prussian art critic Johann Joachim Winkelmann) arose to designate 18th-century architecture which looked to these new Classical precedents for inspiration in building design.[5] Major architectural theorists of the Enlightenment include Julien-David Leroy, Abbé Marc-Antoine Laugier, Giovanni Battista Piranesi, Robert Adam, James Stuart, and Nicholas Revett. [edit]Nineteenth century A vibrant strain of Neoclassicism, inherited from Marc-Antoine Laugier's seminal Essai, provided the foundation for two generations of international activity around the core themes of classicism, primitivism and a "return to Nature." Reaction against the dominance of neo-classical architecture came to the fore in the 1820s with Augustus Pugin providing a moral and theoretical basis for Gothic Revival architecture, and in the 1840s John Ruskin developed this ethos. The American sculptor Horatio Greenough published the essay American Architecture in August 1843 in which he rejected the imitation of old styles of buildings and outlined the functional relationship between architecture and decoration. These theories anticipated the development of Functionalism in modern architecture. Towards the end of the century, there occurred a blossoming of theoretical activity. In England, Ruskin's ideals underpinned the emergence of the Arts and Crafts movement exemplified by the writings of William Morris. This in turn formed the basis for Art Nouveau in the UK, exemplified by the work of Charles Rennie Mackintosh, and influenced the Vienna Secession. On the Continent, the theories of Viollet-le-Duc and Gottfried Semper provided the springboard for enormous vitality of thought dedicated to architectural innovation and the renovation of the notion of style. Semper in particular developed an international following, in Germany, England, Switzerland, Austria, Bohemia, France, Italy and the United States. The generation born during the middle-third of the nineteenth century was largely enthralled with the opportunities presented by Semper's combination of a breathtaking historical scope and a methodological granularity. In contrast to more recent, and thus "modern", thematically self-organized theoretical activities, this generation did not coalesce into a "movement." They did, however, seem to converge on Semper's use of the concept of Realismus, and they are thus labelled proponents of architectural realism. Among the most active Architectural Realists were: Georg Heuser, Rudolf Redtenbacher, Constantin Lipsius, Hans Auer, Paul Sédille, Lawrence Harvey, Otto Wagner and Richard Streiter. [edit]Twentieth century Around the turn of the twentieth century Camillo Sitte published the City Planning According to Artistic Principles which was not exactly a criticism of architectural form, but more precisely an aesthetic criticism of the nineteenth century's urbanism. Mainly an urban planning theory book, it has a deep influence in architecture, as the two disciplines are deeply intertwined. It was also highly successful in its time. Between 1889 and 1922 it is edited five times, French translation came in 1902 and the English translation in 1945, in New York. For Sitte, the most important is not the architectural shape or form of each building, but the inherent creative quality of urban space, the whole as much more than the sum of its parts. Modernist movements rejected these thoughts and Le Corbusier energetically dismissed the work. Nevertheless, his work is often used and cited as a criticism to the Modernist movement, and reemerged its importance in the post-modernist movement, late in the sixties. Also on the topic of artistic notions with regard to urbanism was Louis Sullivan's The Tall Office Building Artistically Considered of 1896.[6] In this essay, Sullivan penned his famous adage "form forever follows function"; a phrase that was to be later adopted as a central tenet of Modernist architectural theory. While later architects adopted the abbreviated phrase "form follows function" as a polemic in service of functionalist doctrine, Sullivan wrote of function with regard to biological functions of the natural order. Another influential planning theorist of this time was Ebenezer Howard, who founded the garden city movement. This movement formed communities with architecture in the Arts and Crafts style at Letchworth and Welwyn Garden City and popularised the style as domestic architecture. In Vienna, modernism had many theorists and proponents. An early use of the term "modern architecture" in print, was in the title of a book by Otto Wagner,[7][8] who gave examples of his own work representative of the Vienna Secession with art nouveau illustrations, and didactic teachings to his students. Soon thereafter, Adolf Loos wrote Ornament and Crime, and while his own style can be seen as part of the transition to Art Deco, his demand for "the elimination of ornament" joined the slogan "form follows function" as a principle of the modern architecture movement which came to dominate the 20th Century. Walter Gropius, Ludwig Mies van der Rohe and Le Corbusier provided the theoretical basis for the international style with aims of using industrialised architecture to reshape society. Frank Lloyd Wright, while modernist in rejecting historic revivalism, was idiosyncratic in his theory, which he conveyed in copious writing. Wright did not subscribe to the tenets of the International Style, but evolved what he hoped would be an American, in contrast to a European, progressive course. Wright's style, however, was highly personal, involving his private views of man and nature. He created no major "school" or theoretical movement. Read whole article:
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