'Impact Of Technology On Architecture Essay\r'

'What impact has technology had on computer architecture of the 20th century?\r\nThroughout the nineteenth century, architecture ref subprogramd to have anything to do with industry; it had been concerned unaccompanied with monumental projects glorifying the state and giant civic structures expressing the self-esteem of its people. This how invariably, all(a) changed with the dawn of the twentieth century. Industrial business became an integral part of new society and a innovative relationship was forged between homo and machine. From the nineteen hundreds on, architecture was viewed in this new light. modernism and the optimistic belief that architecture could change the proximo of society through a synthesis of scholarship and technology was the result.\r\nIt reflected a new perfect for varietyliness †one that linked man to a new sage culture in tune with automation and efficiency. Technology goly impact architecture by facilitating the creation of new mate rials with which to build. These new materials handsomed the architect from engine room limitations of the past and allowed for new rational designs based on a grammatical constructionOs function. But most importantly, these designs were given fashion model by a new optimistic ideal †that rational design would make for a rational society. Technology transformed architecture into a turnedicial document for social and cultural reform.\r\nThe industrial revolution gave tercet new materials to the architect of the 20th century: strengthened concrete, steel and glass. The new materials were inexpensive, mass produced and bendable to engross. These affected American cities profoundly by allowing greater concentration through higher buildings. Imagine the typical posture floor plate as we know it: sensory(a) space with a few columns. You couldn’t go as high or have such long spans between columns with timber draw up. dough is a great example of the patient of o f boom that occured with this kind of new building technology. One take on only to look to the Carson Pirie Scott Building built by Loius H. Sullivan in 1906 to understand the effect that new materials had on architecture of that era (fig.#1). With its wide spans, large horizontal windows and non bearing(prenominal) walls, the building has a much lighter and much(prenominal) open feeling than that of its predecessors. The Carson Pirie Scott buildingOs elevation is expressive of the Chicago vane frame style made attainable by industry.\r\nAnother example of how new materials affected architecture is the Apartments at 25 bis Rue Franklin in Paris designed by August Perret (fig. #2). He used reinforced concrete for the skeleton of this building , which is visible on its exterior, and which gives it an overall impression of lightness. This alike allowed Perret to open up his floor plan in ways that were previously restructed in wood frame construction; the size of the windows was only limited by Paris bye-laws. Structure became expedient, quick to build and flexible to use. Along with Elisha OtisOs electric elevator, these materials †as a direct result of technology †gave birth to the sky scraper and changed the looking at of architecture forever.\r\nMajor new buildings projects churches. But more fundamental was the recognition that a new free architecture was neccessary because of the emergence of new building types for which in that respect was no provinance in the history of styles. There were a vast programme of building types †schools, collages, libraries and above all offices.\r\nIdealization of industry:\r\n> -elimination of ornament\r\n> -reduction of form to function(same as elimination of ornament, but\r\n> including function also as how space is used)\r\n> -expression of ‘essentials’ i.e. structure, skin, floorplate (see\r\n> Corb’s Domino house diagram)\r\n> -new kind of ethic in architectu re-truth, honesty- to the point often of\r\n> straight-laced fanaticism\r\n> -importance of light-almost as if it could cleanse (could make produce\r\n> about a purge of the post-grungy workshop industrial world of 19th\r\n> century, turning to ordered moderateness of production) Lots of white\r\n> cleanable surfaces, emph on beam and ventilation also. see Corb again\r\n> Villa Savoye: Raised off the ground (no dirt), white walls, open spaces,\r\n> fluid circulation(curved ramp), crown garden, ribbon wondows\r\n> -ideal of generality in architecture: modern materials coming from\r\n> industry prodused a standardization that was reckon to be applicable in\r\n> any temper and culture. Corporations naturally picked up on a universal\r\n> architectural culture (see â€Å"the International Style” by Johnson)\r\n> An\r\n> anecdote I heard from a tour architect\r\n> who once had a beer with Mies van der Rohe. Asked Mies â€Å"What materials\r\n> would you use to build in Africa ?”…”Glass and Steel”…. â€Å"What materials\r\n> would you use for a project in Finland ?”…”Glass and Steel” … â€Å"But\r\n> how would you account for the diffecences in climate”….” semblance”\r\n> (This is totally hilarious to architects or anyone who knows Mies well)\r\n>\r\n> Role of the simple machine:\r\n> -look at FLWright’s Broad Acre City schemes- Utopian stuff about the role\r\n> of the car in the American landscape. His utopia of the 1930’s is\r\n> frighteningly close to what has truly happended to suburban”citie”\r\n> like Phoenix\r\n> -suburbs\r\n> -post-modern architecture tension of the legible image of the\r\n> architecture- simplified enogh for a building to be read at a contemplate from\r\n> behind the wheel of a car. See Robert Veturi’s ‘Learning F rom Las Vegas’\r\n> a fun little withstand full of great insites that unfortunately spawned every\r\n> report of tacky post modern architecture ever made. See Michael Graves\r\n> Portland Building for a uncommunicative box with decoration aimed at communicating\r\n> unpolluted image to the post modern eye dulled by the assault of T.V. and used\r\n> to the speed of a car\r\nSocial engineers Yet, underlying all the energy in all the continents was a theme that reflects the need to find something fundamental in architecture, something so substantive that from it a new style could be rationally developed. Buildings designed with a view to asthetic appeal.\r\n'