Category: Architecture

John von Neumann was a great mathematician, known by his really significant contributions to the fields of economics, numerical analysis, and computer science. This person played a very important role in developing the study of computation and understanding of how effective and practical computers had to be and how the computers should be created.

Neumann Janos Lajos (a true name of John von Neumann) was born in December 28, 1903 in Budapest, got his education and obtained his first degree in 1925. However, it was not his only achievement in the sphere of education. In 1930, Neumanns family came to the United States, where the future popular mathematician decided to anglicize his name, but still keep his first name; from that time, he called himself John von Neumann.

John von Neumann had all the rights to be known as one of the pioneers in the development of computer science due to his role in developing logical design: the primary advance was the provision of a special type of machine instruction called conditional control transfer  which permitted the program sequence to be interrupted and reinitiated at any point (Hoyle, ch. 14). With the help of the offered techniques, programming became faster and more efficient. The von Neumann architecture and its five components are still considered to be one of the major backgrounds for computers: memory unit, logic unit, input unit, output unit, and control unit (Dale and Lewis, 123).

In general, it is necessary to admit that without John von Neumanns activities, computers do not play such an important role in modern society as they play right now. His theory of cellular automata made the use of computers both attractive and useful to users of any level.

The Father of Computing, Charles Babbage

Charles Babbage is also regarded as the father of computing due to his unbelievable plans for Calculating Engines, which turned out to be rather flexible, powerful, and detailed. This British mathematician and inventor presented the mechanical computing machine that moved the use of computers on one more level.

The peculiar feature of this contributor is his respect to such fields like philosophy and religion. He made a wonderful attempt to unite a man, nature, and inventions. He was born 26 December 1791; it was the end of the 18^th century, when religion had unbelievable impact on people and their comprehension of the world. This is why the idea to make some contribution to the field of computing and still keep in mind the religious ideas and restrictions.

At first, he decided to develop the Difference Engine, the machine that could calculate numerous astronomic and navigating tables and print the results. However, in 1833, he abandoned that idea and started developing the Analytical Engine that was a kind of prototype of our modern computers. This invention was characterized by numerous operations, like conditional control, which provided machines to have a specific but not numerical order (Hoyle, ch. 7).

Unfortunately, Charles Babbage did not get an opportunity to present a complete machine to use. He used one simple reason to that failure: Victorian mechanical engineering did not have the necessary services, and the government did not offer necessary financial support, and the mathematician had to spend the rest of his life as am embittered person, who did not get a chance to demonstrate his potential and his really bright ideas.

But still, his contribution to computer science, his various approaches to investigations, and his ideas for calculating open a new door to development of computer science.

Alan Turing, a War Hero

One more pioneer of computer science was born 23 June 1912 in London. His name was Alan Mathison Turning; during his not too long life (he dead at the age of 41 because of cyanide poisoning), he made numerous contributions to different fields, and computer science was one these fields. This person was famous by his first designs of stored-program computer (also known as ACE). The offered by Alan Turing model was able to keep data and some instructions inside. Of course, one of his greatest contributions to the development of computer science was the idea whether a machine can be conscious and can think (the Turing test).

In 1936, Alan Turing presented a work, On Computable Numbers, where he investigated the opportunities for computer machines and described one of his brightest inventions, a hypothetical device, also known as the Turing machine. This device could perform logical operations and could read, write, or erase symbols written on squares of an infinite paper tape (Hoyle, ch. 11).

In 1950, Computing Machinery and Intelligence was presented to the world by Alan Turing, where he offered one of the most unbelievable ideas that a machine could demonstrate intelligence. The idea of this test is as follows: a person has to judge a conversation that happens between a machine and a human, and both the machine and human have to appear human. If a judge cannot tell where a human is and where a machine is, the machine passes this test. The last achievement to discuss in this paper is Turnings ability to break codes. This very ability made him a real war hero. During the World War II, Alan Turing tried to break German ciphers and read naval signals. He was involved in breaking the Lorenz ciphers (Teuscher and Hofstadter 460) and developing Hut 8 at Bletchley Park. It is possible that his activities save many lives during that war period.

Vinton G. Cerf and the Era of the Internet

Vinton Gray Cerf is one more person, who has made a great contribution to the development of computer science and becomes famous as the father of the Internet. He admitted that the Internet is one of the most powerful agents of freedom. It exposes truth to those who wish to see and hear it (Weimann, 203). Now, this person is a vice president and chief Internet evangelist for Google, and one of his major aims is to develop new technologies in order to provide support of numerous Internet services.

Vinton G. Cerf was born on June 23, 1943. In 1970, he got his masters degree at UCLA and, in 1972, the PhD degree was at his hands as well. In the middle of the 1980s, he lead one of the most popular projects at MCI Digital Information Services that was connected to the development of one of the first commercial emails, which were able to work through the Internet.

The achievements of Vinton G. Cerf deserve much attention by people of different positions. For example, in 1997, President Clinton awarded the US National Medal of Technology to Mr. Cerf for his contribution to the Internet sphere and the Internet Protocols development. In 2005, he received the Presidential Medal of Freedom that is awarded to people, who make positive impact to society and support on the national interests, world peace, and other endeavors. In spite of the fact that Vinton G. Cerf himself admit that his innovations may cause numerous misunderstandings in the government, because everyone can find out the truth (Weimann, 203), that very government admitted his achievements and honored him.

In general, it is possible to say that without the work of Vinton G. Cerf, people could hardly enjoy the abilities to communicate, search and exchange information, meet new people online.

Grace Hopper: The First Woman in Computer Science

Certain attention to the name of Grace Hopper, as a pioneer of computer science, should be paid as well due to several reasons:

1. she was one of the first women in the world, who made a considerable contribution to the development of computer programming;
2. she was the woman, who created the first complier, influential for a computer programming language; and, finally,
3. in her honor, one of the US Navy destroyers was named (in fact, the list of US military vessels, which were named after women, is considered to be rather short).

Amazing Grace, the Grand Old Lady of Software, the First Lady of data processing, the Mother of Modern Naval Computing, and Grandma COBOL (Marx, 7)  all these are the names, which were given to Grace Hopper during and after her life.

It was a real mathematical genius among women and even among men. Her achievements in computer science were closely connected to the activities during the World War II. For her Mark computers series, she got the award from the US Navy (Mattern, 10); in 1986, the Defense Distinguished Service Medal was honored to her upon the retirement; and in 1991, she got the National Medal of Technology.

The Mark type computers were aimed at helping people use computers directly without some extra professional help; each of the models became faster than the previous one, this is why the demand for the computers, offered by Amazing Grace was really huge, and she always had one more purpose to achieve.

Even when this woman retired, society and the government in particular did not forget her contribution to the development of computer science, and awarded her from time to time in order to demonstrate their proud and gratitude.

Howard Aiken and His Lessons to People

Howard Aiken was also a significant figure in the development of computer science. His contributions and achievements as well as the achievements of Grace Hopper lain in the development of Mark computers and their spread to people during the period of the Second World War. His cooperation with Grace Hopper took a very important place as in the history of the United States as well as in the developing of computer science.

In fact, this man was a genius: his unbelievable power of will, his originality, and desire to participate in his nations development made him a significant figure in computer history. From his childhood, he had one dream  to create a huge machine, a huge calculator that will make it easier to count, analyze, and get the results quicker than it was earlier.

He learnt thoroughly the work by Charles Babbage Passages from the Life of a Philosopher and decided to surpass the already done work. The first calculator, developed by Howard Aiken in 1944, was the Mark I. The essence of this invention became crucially important for the United States Navy in the spheres of gunnery and ballistics.

One of his greatest contributions to the development of computing was his lessons: he wanted to help other people to create the same machines and even develop them on higher levels. Lots of people under Howard Aiken got a chance to enlarge their knowledge and provide them with the opportunities to get degrees and take leading positions in the chosen industry. This is why the ideas of Howard Aiken and his actions take a very important place in the development of computer science.

Konrad Zuse: German Influence on the World Computing

If we talk about the pioneers in computer science, we should also take into consideration such name as Konrad Zuse. This German engineer was famous due to his achievements in programming: he was the first, who offered the high-level programming language, now known as Plankalkül. He also developed the program-controlled computer that was considered to be the first automatic digital computer ever.

In fact, this very inventor and his activities deserve peoples attention due to one simple fact  he developed all his ideas and creations in his parents room. He did not want to use some help from the outside; he just used his ideas, his skills, and his desire to unite them and create something useful. In comparison to the works by Hopper and Aiken, the activities of Konrad Zuse were not that noticed. But still, in Germany, he was awarded for several times for his unbelievable achievements in the sphere of computing.

The responsibility of Mr. Zuse is really great, and it turns out to be very difficult to count all his achievements and his inventions. In addition to high-level programming language, Konrad Zuse was know due to the use of the binary number system that had a deal with numbers and circuits; the development of the mechanical binary cells, which took place in the memory; the design of Sonderwhert, the principle of which was the idea that all calculations, made by a computer were correct.

In general, when we talk about computer science development, we should not divide people into nations and race, and in spite of the fact that Konrad Zuse was a German computing genius, his ideas helped other nations to take a significant step in computer science.

John V. Atanasoff

The role of John V. Atanasoff in computer science is really great; he, as many other pioneers in this sphere, got the National Medal of Technology from President Bushs hands in 1990. This engineer was famous due to the development of ABC (the Atanasoff  Berry Computer); in spite of the fact that his computer was not programmable, the ideas to include binary math in addition to Boolean logic deserve recognition and attention.

John V. Atanasoffs participation in the development of computer science was inevitable: the son of an electrical engineer and a teacher. To connect his life with engineering or teaching was not that difficult, however, the son wanted something more: to use the abilities to learn everything very quickly and enlarge his awareness of engineering. He tried to make use of the mechanical Monroe calculator in order to present a perfect doctoral thesis; however, he was not satisfied with the results and wanted to find out faster methods to calculate and get correct results.

In 1936, John V. Atanasoff created an analog calculator in order to analyze surface geometry. This invention inspired the future chief scientist for Army Field Forces to enlarge his knowledge and develop something really worthwhile. John V. Atanasoff himself told that at night in a tavern after a drink of bourbon he began generating ideas of how to build this computing device (Dale and Lewis, 124).

It is necessary to admit that one suit was connected with the name of John V. Atanasoff. Mauchly and Eckert wanted to proclaim that they were the inventors of the automatic electronic digital computer. However, during long 135 working days, the judge found that only Dr. John V. Atanasoff had the right to be called the inventor of this computer, and no one else. So, this person proved even legally that his contribution to computer science was considerable and important.

Works Cited

Dale, Nell, B. and Lewis, John. Computer Science Illuminated. USA: Jones and Bartlett Publishers, Inc., 2006.

Hoyle, Michelle, A. The History of Computing Science. 2006. Web.

Marx, Christy. Grace Hopper: The First Woman to Program the First Computer in the United States. New York: The Rosen Publishing Group, Inc., 2003.

Mattern, Joanne. Grace Hopper: Computer Pioneer. New York: The Rosen Publishing Group, Inc., 2003.

Teuscher, Christopher and Hofstadter, Douglas. Alan Turing: Life and Legacy of a Great Thinker. New York: Springer, 2004.

Weimann, Gabriel. Terror on the Internet: The New Arena, the New Challenges. Washington: United States Institute of Peace, 2006.

I am viewing a two-story building located in Historic Ocala (Florida), in the historical center of the city where parks are a common feature. This is a communal dwelling as it is a hotel, and many people coming from different cities and countries stay in it, so the building has to be universal and be able to meet the needs of very different people.

The façade displays symmetry as the building in question consists of two almost identical wings that are united by the entrance that leads to the hall, which is hidden behind trees, and there is even a feeling that the two wings are separated by the garden. Geometric forms prevail in the building as the construction has a rectangular form with rectangular windows, while rounded forms over the windows and the entrance stand out and stress the idea of geometric forms.

It is possible to identify an important motif in the building: the entrance, as well as windows of the building, have the shape of the umbrella, which creates the idea of cooling shadows, and this idea is supported by abundance of trees, which is an important motif for a hotel where people are meant to have rest.

The architect employed simulated textures (smooth walls would stand out against the natural setting), which makes the building seem a part of the garden that surrounds it, and a feeling of naturalism and harmony with nature is created.

This building under consideration is located in a rural area where natural features (trees, significant areas of land) prevail, and it is an individual dwelling, which means that the house meets the needs of a limited number of people (a family). The building is a wood construction that is more than 100 years old and, hence, it bears features of the architecture that were typical at that period.

The house has a geometric shape as such forms as rectangles and triangles prevail, and this motif is emphasized by the use of the panel (which serves as a visual base of the construction) that consists of many small rhombs at the base of the house while the lines of walls and the roof also serve as a certain geometric element.

The building is characterized by natural texture as wood is utilized as the major building material, and it is not covered with anything, as even the color of the house is natural, which enables the house to fit into the rural area in the most natural way. The façade of the building displays asymmetry though there is a balance as windows are located in a specific order, and posts also create a feeling of certain balance while the roof, the base, and the posts create a symbolic frame for the house, which contributes to the idea of balance.

Wood posts that support the roof and create a small terrace also contribute to the major geometric form, as there are triangular shapes at the top of the posts while rounded elements (strings attached to the posts) stress the idea of geometric shapes and it is necessary to note that it does not make the house stand out against the natural rural setting with its trees and open spaces, but the house serves as a particular line that emphasizes the naturally curved lines..

Fort Matanzas is a national monument located at St. Augustine, Florida. Initially, the Spanish built the fort to protect this historic city (Fort Matanzas National Monument  St. Augustine, Florida). Since 1740, the fort has been a guard for this historic city. Although it was built for protection from the possible attacks from the South, in peaceful times the fort became a national park with rich history and outstanding scenery.

The untouched territory of the park covers that area of 300 acres and comprises the variety of scenery including beaches, wild forest, and even a coastal barrier island (Floridas Pristine Parks: Fort Matanzas National Monument). The island can be accessed by ferry which makes it attractive for tourists. Still, the central attraction of the park is the abovementioned Fort Matanzas National Monument. The building is an example of fortifying architecture of the middle of the 18th century and is made of shell stone by the Spanish. At present, the fort is a unique historic site for the United States.

The name of the fort also has historic roots. The word matanzas itself is a Spanish analogue for slaughter or killing. It gets us back to one of the bloodiest incidents in the history of colonial Florida. Almost two centuries prior to the creation of Fort Matanzas, there was a battle for domination over the Florida coast between the forces of the Spanish and French. The event is also known as the massacre of the French. It took place in 1565 near the area where the monument is located at present (History and Culture). This bloody incident gave names to the river, the inlet, and the Fort.

By 1569, a wooden watchtower was constructed at Matanzas Inlet. It was located at the southern end of the inland waterway and its primary goal was to protect St. Augustine from ships of enemies that could approach the location. However, the wooden tower needed constant repair works because wood was spoiled due to the warm and wet climate in the region. Only in 1740 a decision was made that there was a necessity to build a stronger and long-lasting fortification. As a result, the Fort was constructed within the period from 1740 to 174. Initially owned by the Spanish, it some years later it became the property of the British, returned to Spain for a short period of time, until became a possession of the United States as a result of a treaty of 1819. Nevertheless, the United States did not use it as a fortification which led to its decline and ruin. At the time of the Civil War, the Fort did not have any significance. However, the old fortification has been restored in the 1920s and became a major object of Fort Matanzas National Monument (Fort Matanzas National Monument).

Fort Matanzas is a square with each side measuring about 50 feet each (Fort Matanzas National Monument  St. Augustine, Florida). Its tower was considered high at that time and is 30 feet high. After it was completed in 1742, there were five cannona, four six-pounders and one 18-pounder. The fort has all the necessary equipment and locations that were needed by that time. Thus, there is a powder magazine built into the west wall. A peculiar feature of this room is that it can be only entered through the upstairs officers quarters (A Virtual Tour to the Fort). It was a necessary precaution measure because the powder magazine was used for storage of the dangerous black powder and it was important to protect it from flames that were needed to keep the Fort warm and give light. The food was stored in the same room but in front of the powder magazine.

Another interesting object of the Fort is the observation deck. It is located on the top of the tower and can be only accessed through a narrow ladder. A beautiful view of the inlet opens from the deck. The Fort also has rooms where an officer and soldiers were placed. The curious fact is that there was only place for one officer, a sergeant or lieutenant. His headquarters consisted of a private room with simple furniture where he could sit at the table or sleep. The headquarters are located next to the powder magazine and food storage (A Virtual Tour to the Fort). The soldiers quarters were located in the lower room. The room was used for many activities such as cooking, eating, and sleeping. The furniture was plain and included a wooden sleeping platform, long benches, and a table (A Virtual Tour to the Fort).

Some other objects are also of interest to visitors and researchers. Thus, firearm loopholes that were used for firing muskets, had shutters and thus could protect from rain or wind. To provide some autonomy for the Fort in case of attack and lack of access to the river for water, the fort was equipped with cistern. It is placed under the gundeck and the rain water that is gathered on the roof, is transported to the cistern through a wooden pipe. One of the Fort features that was ruined and then restored is the sentry box. It is a typical component of Spanish Caribbean forts (A Virtual Tour to the Fort). The Gun Deck is an integral part of the Fort. Although Fort Matanzas is small and not complicated, it was important due to the strategic location and presence of artillery. There were five cannons protecting three directions which were placed on the gun deck. At present, there are two original cannons left/ To restore the real picture, two more cannons were added on the gun deck, but they are the modern copies.

At present, the Fort is a tourist attraction. It is a unique fortification on the continental part of the United States and is a part of its history. Despite its tragic history and a bloody name, it is an embodiment of the past events and a monument that should be preserved for the coming generations.

Works Cited

A Virtual Tour to the Fort. National Park Service.

Floridas Pristine Parks: Fort Matanzas National Monument. National Geographic.

Fort Matanzas National Monument  St. Augustine, Florida. Explore Southern History, Web.

Fort Matanzas National Monument. Encyclopedia Britannica.

History and Culture. National Park Service.

Introduction

Since time in sundry, originality and tradition has always constituted the architectural paradigm that reflected the culture of the time. Basically, the architectural design is influenced by the innovation and convention forces that merge imagination and rationality in adopting a design paradigm in line with the events and activities of a specific era. The architectural designs of the previous ere convincingly balanced the realistic and futuristic thoughts to create a Roman restrictive perspective on religion characterized by different economic, social, religious, and traditional beliefs displayed in the unique design of monumental structures with cultural meanings. Thus, this analytical treatise attempts to explicitly review the underlying cultural influences in the Italian architectural paradigms and examine how these cultural aspects were communicated through innovative building designs in Rome and beyond.

Influence of Culture in the Rome Architectural Paradigms

In determining how art, religion, philosophy, and literature offer resources for celebration of life through architectural designs, a thorough analysis of the beliefs held by the society authenticates the type of building designs that were built during each era. In the Italian community, in the early and mid-sixteenth century, Christianitys devotion characterized humdrum affairs, refutation, and broad of economic quest among the predominantly Catholic nation (Khan Academy of Research par. 4). Specifically, this church age ethic was a motivation to its followers to adopt a culture of hard work, business growth and success, and reinvestment of surplus output back into business activities as opposed to frivolous spending. In the early 16^th century design, Italian architecture adopted the Baroque style in the architecture of most of the churches as influenced by the Catholicism culture which was dominant then (Bermudez par. 9).

Specifically, High-class people controlled most Rome, but middle-class people where have a lot of influence on their demand for theatres and churches. As a result of this demand, a movement began as an attempt to replace Mannerism to different style; this movement was called the baroque era. As a result, the Neo-Pallan art by Borromini and Bernini took over the building design architecture (Moore par. 9). The uniqueness of this style was characterized by the Catholicism symbolism through mixing sculpture paintings and trickery with religious meaning to reaffirm the Roman Catholic faith.

For instance, the St. Peters Basilica building, which was designed by Carlo Moderno, Donato Bramante, Michelangelo Buonarroti, and Bernini between 1606 and 1612, was a direct reflection of Catholicism symbolism characterized by golden bars, accurate masonry, a unique obelisk with huge spaces, series of columns placed in strategic parts of the building, and pictures of the pope and other saints (Dewey 67). Since the primary users of this design were Christians, the architectural design had to embrace the Catholicism culture characterized by sculptural paintings with religious meanings. The St. Peter Basilica is an old church but with a ton of historic events and architects who made this wonderful building with its great pieces as Berninis Baldacchino, and Michelangelos Pietà (Szasz par. 7).

Besides, the San Carlo Alle Quattro Fontane which was designed by Borromini and Antonio adopted the same theme as that of St. Peters Basilica since the buildings were designed and constructed within the same era. Specifically, this building is classical with a lot of curving and cartouche. Its unique from the exterior design and attracts most peoples attention as was influenced by the unique Greek culture than was slowly penetrating the Roman Catholicism culture in the 16^th century (Moore par. 7). Because of its unique shape, most churches are built so huge to be remembered, but this building is small compared to them. However, it has an unusual look and still holds secrets on the Roman Catholicism movement of the 16^th century.

Unlike the Italian architectural paradigm characterized by the 16^th century Catholicism movement culture, the Rome architectural paradigm of the early 20^th century was mainly influenced by the capitalist culture and the need to display power to the world. The modern architectural design took over from the traditional design as a technological paradigm made a design of unique structures possible. Since the political climate of this period was characterized by world war and radical break from the past and the concurrent designs, new ideas in psychology and philosophy kindled a search for new modes of expression, as rapid social change and advance in design science made it possible to create Neo-Classical and skyscrapers architectural styles. Basically, the Rome culture at this time was skewed towards radical reforms and experimentation in order to come up with designs that would survive another possible world war that impacts the structural design of buildings (Szasz par. 9).

For instance, the Pons Museum in Rome adopted the ancient design characterized by experimentation of brick and iron pillars in building design to confirm the aspect of power emergence. This unique design is spiraling upward and outward in a smoothly sculptured coil of massive concrete, wroth iron, and bricks to represent the Roman ancient culture of a radical departure from tradition after the Napoleon dispensation. From its outer look, you can tell that it is a piece of art with a lot of hidden treasures inside. From the exterior appearance, one can guess that it colorful inside (Khan Academy of Research par. 9). Its like a song where the engineering enjoyed every single minute they spent on this building. Basically, it can be argued that the Greek engineers had a radical plan in mind when designing the structure to create an actual feeling of calculated motivation, which dominates the need for balancing the aspects of space and dimension. Just as most of the structures within the Roman inner circle of civilization, the design of the Pons Museum conforms to the unique Rome culture characterized radical shift from heavy concrete structures to light red brick buildings with arches.

The same culture was displayed in the building design of the Hadrian Museum at the center of the then vibrant Roman culture. Being a fuse between ancient and middle age design, the material associated with the Rome culture such as brick, gravel, and marble were used. This architectural design is associated with a patterned brick façade topped by a soaring cylindrical turret and represents the state of a superpower as the first museum of its own kind in the world. As a matter of fact, one can feel the modernism in this building and how the engineers mixed the old style with the middle age design (Moore par. 11). Its such a good example to express the development culture in Rome, which is heavily influenced by the radical reforms from traditional to middle age design characterized by light, superior, and environmentally friendly architectural design.

Naturally, members of the 16^th-century Italian Architectural era had Christianity culture, which is an event that has a religious foundation and seems to suggest that supernatural power is the source of their strength. From the corridors of moralist belonging to the nominalistic school of thought, the Basilica di Santa Maria Maggiore

The church is inevitable and very necessary in the design and symbolic representation of the traditional and conservative Catholicism faith. The traditional beliefs cage describes an inherent increase in social life rationalization of an event beyond mans interpretation (Szasz par. 13). This belief system ensnares people unwillingly in teleological effectiveness coordination, power, and lucid calculation. As a result, social order bureaucratization is just but the holding exercise. The design spirals inwards and outwards with the support of several pillars that provide the support to the frame of the structure to represent the then common Americanization feeling in architectural conceptualization. The emergence of the independence in architectural design during the middle of the 16^th century could have influenced the Greek engineers radical approach of creating ambiance and unique design used as the structural map for constructing the Basilica di Santa Maria Maggiore Church (Szasz par. 8).

This religious rationalization facilitated the establishment of calculated motivation dominated designs that conformed to the Roman perceived faith. Therefore, the paradigm shift from old mobility forms was replaced by stringent symbolism displayed in the design of this building. Christianity dominated the structure of this society and was vital towards regulating complexities. Domination, therefore, defined compliance from rational calculation to simple habituation. Depending on its form, dominance is intrinsic of an interest. Same as in a typical culture, Catholicism dominance during this era is arranged in hierarchical order as indicated in the symbolic design of this building.

The main materials used in this building are marbles, gold, and iron molded into traditional columns and pilasters and have huge spaces between them (Moore par. 9). From observation, it is apparent that the structure was planned by the integration of conventional and traditional architectural designs to create the flowing and light-weight building. For instance, the pillars that make up the entire structure are arranged in smaller and larger perfect quadrangles within the same distance and dimension to each other. The tallest unit within the building is only two stories but its design has created an illusion of a high-rise structure anchored by simple pillars (Bermudez par. 12).

Another interesting architectural design is the San Carlo Alle Quattro Fontane. This church building remains instrumental in the understanding position of the society on issues and its own metamorphosis on the spheres of aesthetic and erotic conceptions during the mid 16^th century. Several issues surrounding the interaction between economic behavior and religious ideas as a measurement of economic system rationalization are apparent in the design of this building (Bermudez par. 8). This towering structure stands as the tallest and lightweight concrete structure during the 16^th-century era. The most unique part of this structure is its circular office forms and wide-open spaces.

In addition, the San Sebastiano Fuori le Mura by the ancient Greek engineers entailed the application of traditional technology in architecture design. Notably, this work is comprised of a combination of three major elements: artistic, social use (aesthetic) as well as technology. Arguably, this work comes to light as building technology changed from primitive brick technology to dimensional design technology. Due to the advancement of building technology, it was possible to develop some of the stylish aspects of the building. Throughout this building, the engineers consistently balanced the three and two-dimensional special arrangements in the design of this building. Besides its unique design, San Sebastiano Fuori le Muras design of the tall and high-density building in Rome has greatly influenced the philosophy of post-modern design in structures across the world such as the San Francisco Museum of modern art (Bermudez par. 15). Factually, this structure has remained a complementary and integrated design that is intrinsic to architectural structural design borrowed from the inventions of the Greek engineers in the 16^th century.

Conclusion

In summary, the themes such as identity, tradition, handling, and holdings are universal and well represented in the architectural designs of the San Sebastiano Fuori le mura, St. Peters Basilica, and San Carlo Alle Quattro Fontane buildings among others in Rome. Reflectively, cultural representations in buildings have differences as a result of the uniqueness of every society and era of events. The search for religious fulfillment and capitalism forms the foundation upon which the Greek architectural paradigm was built. On the contrary, some societies are quite flexible; they easily accommodate new ideas. These societies spread across generations since their influence is inherent.

As observed, some societies are deeply rooted in their culture as seen in the 16^th-century building designs in Rome as influenced by the Catholicism movement. On the other hand, the radical middle age culture of the Romans heavily influenced the design of its buildings which are inflexible to accommodate modernity. Therefore, it can be argued that the design of the Greek engineers in the middle of the 16^th century and thereafter is an ideal example of how building innovation was greatly influenced by the urge to transform the traditional building design to conform to the dominant Christianity culture during that era.

Works Cited

Bermudez, Julio. On Paradigms and Avant Garde: Peeking into the Architectural Mind. 2013. Web.

Dewey, John. Art as Experience, New York, NY: Wideview/Perigee Book, 2005. Print.

Khan Academy of Research. Roman Architecture. 2012.

Moore, Rosamie. Construction Techniques in Ancient Rome. 2014.

Szasz, Colin. The Influence of Roman Engineering and Architecture. 2001.

Introduction

Indo-Saracenic Architecture is a notable part of Indian, Malaysian, and British culture. The style has developed over the course of history with notable influences from both traditionally gothic architecture and classic Indian/South Asian/Arabic features. The buildings created in this style still present both historical and cultural interests. The present annotated bibliography concerns itself with the relationship between Indo-Saracenic Architecture and identities of nations where it is found, in addition to the significance it has in the current day.

Research Questions

1. How has Indo-Saracenic Architecture come into being? What inside and outside influences guided its conception?
2. How does Indo-Saracenic Architecture reflect the history of colonialism?
3. Does the Indo-Saracenic Architecture of today hold significance for societies where it is present?
4. Is Indo-Saracenic Architecture culturally, environmentally, or socially relevant in its existing form?

Vishnu, S, and N Amuthakumari. Socio-Economic and Environmental Impact of Architecture: A Study Based on Colonial Architecture. International Journal of Research and Analytical Reviews, 2019, pp. 801????804????.

The research article concerns itself with the history and colonial realities of architecture. Indo-Saracenic Architecture is partially mentioned as part of the consideration, being given as an example of a movement created through the process of colonization. As highlighted by the authors, the style could not have been formed without influences from major European nations coming into contact with Indian culture. Additionally, Vishnu and Amuthakumari refer to architecture as a tool for expressing ideology, which is a useful lens for viewing Indo-Saracenism. While the outside appearance of Indo-Saracenic buildings is styled according to Indian standards of construction, the inside part essentially copies classical gothic buildings. Similarly, the colonization of India sought to replicate the British style of governance outside of the borders of the United Kingdom, borrowing its structure while replacing aesthetics. The article is relevant both due to its publishing in a journal and relative freshness. The information presented in the piece can be understood to contextualize the historical roots of Indo-Saracenic Architecture.

Patel, Ruchi. Architecture and Identity: A Study of Colonial and Post-Colonial Architecture in India. Iowa State University , 2021, pp. 145.

The piece discusses and analyzes the many architectural styles of India, ranging from colonist, independent, and globalist India. The significance of each architectural movement is explained and put into context compared to others. The author proposes that architecture is a way to reflect the shared identities of the people, their values and ideas given solid form. Similar to the approach taken by Vishnu (2019), Patel gives significant attention to the ideas behind buildings, the way they interact with the larger cultural monolith and its people. The thesis is relevant to the theme, recent, and well-presented. The information outlined in the piece can be effectively utilized to argue about the present relevance of Indo-Saracenic architecture.

Choudhary, Shweta, et al. Revisiting Architectural Heritage towards a Sustainable Environment. Advanced Science, Engineering and Medicine, vol. 11, no. 1, 2019, pp. 4448.

Chouldhary et al. (2019), views the subject of Indo-Saracenic architecture through a combination of the realistic and cultural lens. While the authors understand and agree upon the cultural and historic significance of the style to the Indian identity, they are also critical of the way it may clash with the needs of the present day. With the concerns of environmental sustainability coming into central prominence, the need to promote green buildings becomes more relevant. The authors note that many buildings of the style are not simply objects of history  they are actively being used for public purposes. Therefore, a consideration of environmentally-conscious structure, location, and other considerations are brought up. Authors consider the topic of environmentalism an interesting subject for inquiry. For the purposes of the present overview, however, the arguments presented can be taken to discuss the transformation of architectural identity in the modern age. With a shift in populations, changing needs and advancement of technology, the ways in which people understand and interact with buildings change, and Indo-Saracenic buildings are no exception. Despite their unique position and relevance to the legacy of older India, they still need to be appropriate for modern-day use in order to truly stay relevant. Published in 2019, the article is a part of a credible journal and discusses a topic closely related to the central theme of inquiry. Information procured from this source is vital towards understanding the relationships between the people of today and historic architectural styles.

Conclusion

It can be said that a combination of considerations and concerns is relevant to Indo-Saracenic architecture. The style was formed from a relationship between wildly different cultures, during a time when one dominated the other. The appearance and structure of Indo-Saracenic buildings reflect ideologies of the time and the major goals of British colonialism, offering a look into the Indian culture of the past. Additionally, the presence and significance of Indo-Saracenic buildings can be seen as a reflection of Indian societies, and their people. In the present day, the relationship between society and this style of architecture changes according to the needs of the public.

Works Cited

Choudhary, Shweta, et al. Energy Efficiency Assessment of Indo-Saracenic Buildings in India. Malviya National Institute of Technology, 2018, pp. 199206.

Patel, Ruchi. Architecture and Identity: A Study of Colonial and Post-Colonial Architecture in India. Iowa State University , 2021, pp. 145.

Vishnu, S, and N Amuthakumari. Socio-Economic and Environmental Impact of Architecture: A Study Based on Colonial Architecture. International Journal of Research and Analytical Reviews, 2019, pp. 801????804????.

The Art of the Ancient Near East (Mesopotamia)

Example 1

• Title: Battle of the Gods
• Date: 2350-2150 BCE
• Place of origin: Surkh Dum, Iran
• Detailed Description: The piece depicts two groups of fighting gods in horned headdresses.
• Historical Value: The piece of art is an example of the clay impression technique. The image was pressed into clay using carved cylinders. At the time, the technique allowed for the creation of more complex artifacts.

How does this image prove or disprove the statement about the nature of art from this region, It has been suggested that the art from the ancient Near East often contains elements that can be seen as fearsome, militant, and/or political in nature?

The theme of the impression is clearly militant in nature. The attackers in the group to the left hold their victim by hands and by the headdress. This can be considered a basic depiction of military tactics. The gods encircle their enemy to gain an advantage. The fact that all gods reach for headdresses indicates a presence of a military ritual. Weapons are featured prominently in the scene. Horned headdresses are associated with aggression.

Example 2

• Title: Statue of Gudea
• Date: 2144  2124 BCE
• Place of origin: Girsu, southern Mesopotamia
• Detailed Description: The statue depicts Gudea (one of the rulers) in a tasseled dress sitting with his arms folded in front of him.
• Historical Value: The statue is made in extraordinary detail. The material was imported from distant regions. This suggests extraordinary dedication and importance.

How does this image prove or disprove the statement about the nature of art from this region, It has been suggested that the art from the ancient Near East often contains elements that can be seen as fearsome, militant, and/or political in nature?

The statute contains several elements reminiscent of political power. The garments are indicative of the ruling class. The posture and folded hands indicate readiness to listen. The facial expression suggests impartiality and wisdom expected from the ruling class.

Example 3

• Title: Golden Lyre of Ur
• Date: 2550  2450 BCE
• Place of origin: Royal Cemetery of Ur
• Detailed Description: A partially restored lyre richly decorated with precious metals and panels depicting animals acting like humans and a golden bulls head.
• Historical Value: The lyre itself is among the oldest stringed instruments found by archeologists (With Art Philadelphia, n.d.). It is decorated with gold and lapis lazuli. The lyre was likely used in important ceremonies.

How does this image prove or disprove the statement about the nature of art from this region, It has been suggested that the art from the ancient Near East often contains elements that can be seen as fearsome, militant, and/or political in nature?

The most recognized part of the lyre is the bulls head. Most likely, it represents Shamash, a powerful god. In addition, the bull is commonly considered an aggressive and powerful animal. Beard further enhances the impression. A man holding onto the bulls horns symbolizes the challenge of power.

The Art of the Ancient Aegean

Example 1

• Title: Queens Megaron
• Date: 1500 BCE
• Place of origin: Knossos
• Detailed Description: The royal apartments from the Palace of Knossos containing several prominent frescoes.
• Historical Value: The chamber contains several important elements. A clay bath and lavatory can be found in the Western part. A metal furnace is located in the South. These artifacts illustrate outstanding architectural prowess.

How does this image prove or disprove the statement about the nature of art from this region, It has been suggested that the art from the ancient Aegean often contains elements that can be seen as harmonious, exuberant, and non-threatening?

The frescoes in the chamber utilize harmonious motifs. The dolphins are traditionally viewed as peaceful creatures. The even distribution of objects creates an impression of motion. The color palette is calming and aesthetically appealing. The concentric circles and spirals further enhance the impression.

Example 2

• Title: Male Harp Player
• Date: 2800  2700 BCE
• Place of origin: Keros
• Detailed Description: A marble statue depicting a musician with a harp seated on a high chair.
• Historical Value: The piece is representative of an early Aegean period. The exact meaning of the artifact is unknown. It may have ritualistic meaning since similar statues were buried with deceased individuals (The Metropolitan Museum, n.d.).

How does this image prove or disprove the statement about the nature of art from this region, It has been suggested that the art from the ancient Aegean often contains elements that can be seen as harmonious, exuberant, and non-threatening?

The central theme of the piece is peaceful in nature. Playing a musical instrument is considered soothing and non-violent. The facial expression of the player is also calm and serene. All the lines are soft and rounded.

Example 3

• Title: Ship Procession Fresco
• Date: 2000  1500 BCE
• Place of origin: Thera
• Detailed Description: The fresco depicts a long procession of ships cruising between two cities.
• Historical Value: The fresco is one of the most recognizable examples of ancient Aegean art. It provides knowledge of the techniques used by the ancient Greek artists. The placement of frescoes also provides insights into the social structure (Cartwright, 2014).

How does this image prove or disprove the statement about the nature of art from this region, It has been suggested that the art from the ancient Aegean often contains elements that can be seen as harmonious, exuberant, and non-threatening?

The ships in the fresco are decorated, suggesting their peaceful purpose. The cities on both sides indicate prosperity and harmony. The entire composition is indicative of trading activity. This theme is also associated with development and proliferation rather than conflict.

References

Cartwright, M. (2014). Akrotiri frescoes. Web.

The Metropolitan Museum. (n.d.). Marble seated harp player. Web.

With Art Philadelphia. (n.d.). Lyre with bearded bulls head and inlaid panel. Web.

Introduction

Most people today recognize the term Renaissance as meaning a specific time period in Western European culture. If theyre fairly decent with dates, theyll remember it as a period that began around 1400 and ended in the 1600s, appearing earlier in the Italian city-states. The word actually means rebirth and refers to the tremendous artistic renewal of this period that happened as people rediscovered the skill and knowledge of the ancient worlds of Greece and Rome. These early empires represented to the 14th through the 16th-century citizens a golden age of shared culture, reason, and creativity. However, the artistic focus of the Renaissance took a different approach to expression from that of their predecessors.

Main body

The Classical Revolution of the fifth century BC in Greece represents the end of the Conceptual view of the world that had been seen in earlier cultures. These changes from the strongly Egyptian influenced archaic to the more natural influence of the classical can be traced through the various changes in vase decorations and in sculptures dating from this century. On an amphora depicting Hephaestus, created around 500-450 BC by the Dutuit Painter, the figures seem to be in that transition period from the still, stylistic forms of the earlier period toward the more humanistic, flowing forms of the Classical period. Body motion retains the stiff aspect of the flattened Egyptian forms, but garments are painted with more flowing grace and voluminous aspect, and faces are painted with more attention to what is actually seen from a given perspective (Lefkowitz, 2003, p. 75). A red-figure bell krater painted around 470 BC by the Pan Painter depicts even more lifelike movements in the depiction of Artemis as she points her bow at Actaeon as he is being attacked by hounds. The bodies betray a more natural curvature instance and expression and more fluidity is expressed in the motion of the clothing draping them even though the dogs retain a sense of the earlier stiffness.

Artists in Florence were able to quickly link the mathematical knowledge of the ancient Greeks and Romans to the proportional focus of their own world. Painters used their foundational knowledge in geometry to create familiar elements in their paintings that would convey their intentions to the greatest possible audience. By melding mathematics and artistic expression, artists discovered how to provide their figures with a new impression of weight and volume that had not been previously achieved. This new ability to provide realism in a painting led to even greater explorations into how the world around them manifested itself in visual awareness. This attention to the science of representation eventually led to a systematic development of ever more realistic methods of portraying an image such as the development of dimension, perspective rules, atmospheric interpretation, and textural impression.

In architecture, the classical ideals expressed through the ancient remnants of Greece and Rome were given a modern twist with the resurgence of interest in Renaissance Italy to the mathematical precision of the ancients. The houses built in this time are marked by a certain commonsense simplicity, but they are also marked with attention to beautiful details that serve to hide the bulk of the structure itself (Renaissance Art, 2004). The particular characteristics of Renaissance architecture include attention given to the regularity and clarity of the various parts, the inclusion of specific yet simple mathematical proportions, and a deliberate emphasis on renewal of old Roman architectural styles in the form of columns, hemispherical domes, geometrically flawless designs, and symmetry. As the Renaissance grew older, fascination with the old styles began to change, melding the various artistic theories and approaches together with other media to become a new movement entirely that would later be called Baroque.

Conclusion

Beginning with sculpture and architecture, the idea of a return to the classical ideals and mathematical knowledge regarding naturalism and mathematical inclusion in creating more realistic images and representations, Greece led the way for the ancient world to approach more realistic representations just as Italy led the way for the rest of the world during the Renaissance. The painters of the Italian states introduced naturalism, proportion, perspective, and ways of dealing with light that revolutionized the industry in a period of only a few hundred years as compared to the almost static developments occurring during the many centuries intervening between the classical Greeks and Romans and the Renaissance.

Works Cited

Lefkowitz, Mary. Greek Gods, Human Lives. New Haven & London: Yale University Press, 2003, p. 75.

Renaissance Art and Architecture. The Columbia Encyclopedia. Sixth Ed. New York: Columbia University Press, 2004.

It is pertinent to address the disparate and malleable ideology that our contemporary society is facing. Neoliberalism is widely employed today, and it allures states and households hidden in the name of “market”. Its governance now became powerful that contributed more to the current condition of inflation and income inequality. Architecture as an agency, a neutral ground. From the readings that will be discussed here, the topics are what is relevant in our profession. The partake of my understanding of these essays will behold my role as an architect.

Architecture against the Post-political

As politics plays a crucial role in the upbringing and development of a country, its mere presence became necessary to take specific needs of citizens and control society. It was discussed in Architecture against the post-political by Nadir Lahiji, where he mentioned that “Post-political bio-politics” is our present mode of politics. The “Post political” connotation is a government that seeks to put aside old political conflicts and rely solely on professional administration and management. On the other hand, the “Bio-politics” primary aim is to govern protection (under the element of fear) and the safety of human lives.

For government and legislation to be followed, citizens must be aggressively mobilized in the form of fear by public compliance. Fear perhaps is likely to be associated with a skeptical temper rather than optimism and ideal expectations, thus, avoiding what would deem necessary for some. In the Architecture discipline, pragmatism and utilitarian ideals controlled the project. It became the policing (for some) designers and I believed that we need to improve and reconfigure the policies that take place in controlling architecture.

Technology threatens old principles, focusing on modern approaches and reconciling the age of innovation with its greater liberty and versatility. The Architecture policies being the “Post- political Bio-politics” in our industry, must take a hard look at the global structure that shapes our lives today. Humanity is not short of great ideas, nor is it lacking powerful apparatuses. What is lacking is architecture to scale these up for the greater good.

Alternate Currents

The information that has been presented today, for most, is blurry between truth and ruse due to the ability that people can generate ingenuine information in this digital age. However, not many people are aware that the same trend is happening in the field of architecture discipline. As mentioned from the reading, Manfredo Tafuri predicted in architecture biennale in Venice has claimed to display the ‘architecture beyond building’ that it is evident to the participants and most of them are reduced to be just a pure form – which we call “star “architecture. A claim that risen due to some architects looking to be more prominent in the market economy rather than creating a credible figure in architecture.

Architecture has an indispensable correlation with the information presented, either decision made before construction or its effect on inhabitants after completion. This critical notion of producing architecture hand in hand with its social, political, feminist, participatory, and cooperative aspects has arisen strong professional debates. The Alternate Currents symposium created a vast opportunity to understand different critical standpoints of the speakers about the normative mode of practice and values in our future architectural practice.

One note that I came to be mindful, of is how I will position my practice (in the future) within a wider role in our today’s society. I perceived to take it as my first standpoint where I want to see myself working, am I clinging towards the social aspect of our community? Or the political side of it? Being feminist and creating a better-built environment focuses on the well-being of women. For now, it is a question that I need to contemplate and examine my aspirations.

Where are the Women Architects?

As part of the question transpired from my initial proposition for my professional practice, I am looking at focusing on understanding the role of Women in Architecture. It is critical to understand how it was started, and its history from the university education that was preserved for male folks and women in the university, it was until 19th-century campuses opened their doors to female students. The Title IX anti-discrimination law in the U.S has yielded improvement for women to pursue an education in architecture, yet the discrimination against women in practice still hasn’t changed. As mentioned in “Where are the Women Architects?” By Despina Stratigakos, Women Architects have fewer job opportunities, pay equity, mentoring and promotions are not open to the table. We find that the male architect profession commands more money than female architects. This disparity in wages is so vast, that it has led to a gender inequality revolution and workplace political awakening.

Women in male-dominated fields are less likely to flourish. They are rarely exposed to historical roles. One example is Lilly Reich, she was a German designer who collaboratively work with Ludwig Mies Van der Rohe. She was less known for her achievement as a woman pioneering in Architecture and design, hence Mies Van der Rohe was a male designer who obtained more achievement and was celebrated in the Architecture scene. This situation of women emphasizes the concept of gender inequality. Another example could be found during the pandemic when women are giving up their careers in lieu of their responsibility as a mother to focus on their child’s welfare. This threatening situation has widened again the gap of gender work equality amongst different fields.

It is a must for every one of us, not just women to partake in this workplace political awakening. We can do better than what is happening now by being optimistic and actively promoting gender parity, empowering female leadership, and making it all visible.

Who builds your Architecture? A Critical Field Guide

Stretching from the marginalized women architects, there is also vast hidden existence and ambiguity in the supply chain of industrial labor in the field of construction, related to the huge increase of subcontracting works that takes place. Migrant workers find better-paying employment and searching for more opportunities outside their own country is the main factor. Consequently, many private recruitment agencies are taking advantage of these labor trends. It is fairly and thoroughly investigated in a published reading from Who Builds Your Architecture? A Critical Field Guide. They have critiqued and questioned the critical issues from workers’ rights and the construction process that takes place globally from the purview and role of an Architect.

In a particular case, worker’s dormitories for migrant laborers in Singapore are poorly maintained and such provisions for the healthy living condition are substandard. The complaints of workers are not uncommon. It is worth mentioning that the land is scarce in Singapore and with millions of migrants working there, accommodation prices are steep for their employers to afford, hence, they will settle into a substandard dormitories. The government however stepped up to enforce stringent rules and regulations regarding this issue. They have passed a Foreign Employee Dormitories Act 2015 that requires dormitories hosting foreign workers to obtain a legal permit that caters to social, recreational, and commercial amenities.

The key point for me is Architects have an ethical responsibility that can make a great impact on fair worker treatment. Several ways were mentioned in the reading, and the utmost significance for me is using your architectural drawings and documents as a genuine vehicle to promote and lead an innovative design approach for decent worker’s housing. The readings have been discreetly assimilating the neoliberalism practice that we are having today.

The Architecture of Neoliberalism

From the idea of Architecture, it can be understood by non-specialist audiences to be limited to its market-based communication approach. It was mentioned in the reading that the factual process narrative is not effective to imply your intent for the project. Hence, it becomes relevant now to create a relationship between protocols and output. Management in Architecture discipline needs to focus on its effective framework, its social process, and its implications to work in a spontaneous order.

From the writer’s perception, Douglas Spencer argued that neoliberalism’s primary character is to enhance its free market in the form of engaging governmentality in the production and shaping of economies. The structure of its discipline allows us to shape the common-sense understanding of our everyday life. Hence, turning the world to be more competitive, business-minded, and hardworking. The main critiques have been into the corporate managerialism and complex societal order that was reflected in the controversial work of Zaha Hadid. Commercially oriented to urban development, Architecture is beginning to be a real estate and consumerist enclave.

Can Architecture be an Emancipatory Project?

Following through how the society being business minded oriented and consequently how technology is the main driver, its emancipation in architecture has already started. A new generation of architects is now bolder to take more risks. Social media being the tool of technology, new architects have now multiple options for their career; Joining large firms is still the norm, putting up a start-up company, or doing freelance. Those that joined large firms are now more aware of those that still use old practices and use social media as their tool to condone abusive, illegal, and undemocratic work which in turn force the organization to restructure and cater to more ‘collaborative’ projects. Those who put up small firms or get into freelancing utilize social media platforms to advertise their services to scope out for clients that conventional advertising once cannot reach.

This opens a whole new realm for architecture as an industry. As small start-up firms can act like large corporations and handle big projects. While large firms re-organize themselves to cater to new clients on competitive selections. This creates healthy competition in the industry and opportunities for young architects to showcase their talent. But this is not all pros. Technology can easily be the source of piracy or forgery, false information that could lead to malpractice. The students still need to be guided and equipped with proper knowledge, and guidance thus allowing them to be hungry and demanding. This would create a ripple of changes in the field.

Spatial Intelligence – New Futures for Architecture

The idea about spatial intelligence as a mere eidetic recall that aggravated through innovations, had evoked me to address, am I overly dependent on the Architecture of Pragmatism where we are told which are ideal, practical, and efficient? In the readings, Schaik referenced that during earlier times humans are significantly more mindful of their surroundings and they only rely on their reading ability to our environments to survive. As we progress, we started to be unselfconscious of the surroundings thus, our spatial intelligence is debilitated by the proliferation of our modernist world. Spatial mindfulness is evolving and that ‘sensing’ as a tool for Architects will help rethink our spaces, but with our new technologies how we can opt to do the sensing if we are excessively drawn in with the flat screens?

In the new ways of exploring this potential new spatial intelligence, the technology and software made it possible for us, architects, and stakeholders to create design interactivity in real-time. Furthermore, it is also enormously effective for students to embrace and explore the spatial and mental space approach to create good architectural practice. Besides, he exemplified in the reading that to design, one must awaken his spatial intelligence – as an ethical concern.

Architecture and the Death of Carbon Modernity

Technology advancement and industrialization have evolved simultaneously and caused rapid growth in our lifestyle. The urbanization cycle has created a big dent in our environment. Therefore, our natural resources, biomass, and fossil energy were quickly exhausted and became a major cause of the climate crisis. Today we live in a world that is highly polluted and unfit for living. Where it has been in conjunction with the availability of our carbon energy. The Architecture typologies of the cities have been reorganized based on their convenience to the workforce. The essay about Architecture and the Death of Carbon Modernity by Elisa Iturbe brought the subject of Carbon Form as the building block of a contemporary city.

Growing up in the city, I have known how the dominant energy system attracts the uncontrolled growth of settlement and unorganized connection of transits. As an example, the urban density in Manila, the capital of the Philippines, is known as one of the highest rates of motorization in the street capacity to handle the traffic. One of the major factors is the concentration of business districts and shopping malls that create urban density along the major highway called EDSA. The Megacity has experienced an extraordinary increase in carbon footprint brought by the joint process of globalization that anchors for more development.

Architecture should be the agency to formulate various schemes and establish a firm direction to transform and overcome decarbonization of the modern cities. Nevertheless, it is also our responsibility to help the reduction of carbon form and minimize the wastage of natural resources that increases unsustainable economic development. Such contributions will create an impact on our modern age.

Governance and The Climate Crisis

Those contributions that were created are such overwhelming and imminent, that their transformations shaped our environment. It became an integral part of this climate crisis as it was deliberately mentioned that architecture has the agency to advocate and understood its connections. In the readings, Kaminer cited how British architectural education failed to prepare the students with the necessary awareness of the realities and understanding of the impact of global warming. The call for the curriculum change from the group of architectural students addresses it fervently to commit academic institutions to integrate the highest standards for the positive ecological attribution to architecture. This recasting will demand a massive mobilization of the overall curriculum change for the institution, however, having a voice to partake in this notion will create a great impact on our pedagogy. It will also create an example for conducting environmental policy reviews and exploring new options in decarbonizing and ecological contribution. These have set my thinking on how practitioners could help to develop the state regulatory framework in shaping and spreading sustainable systems.

As argued by Newell and Paterson the growth of the economy is in parallel with its ideology and sustainable goals are the only viable solution, thus, political will and progressive legislation should be necessary. The immediate commitment to the goal will then go back to re-establishing tight planning and governance in the urban fabric. It says that decarbonization intervention should start with a small scale and localism wherein architects could find a route to the architectural agency through its space, form, process, and participation. One example would be how the LEED point system could be part of establishing incentives to create a more sustainable building. This could also lead to more experts being depoliticized and naturalized to make fundamental decisions in the overall logical process of Architecture.

Derivative Architecture

The urban fabric evolves over time, and the ever-changing market value of land properties has been the gauge for the social insecurity of most working class. As evident in almost all cities, anyone who lives in inner areas is considered rich, whilst the middle to lower working class is constantly pushed out to the outer boundaries by financial institutions, marking up the property prices and forcing the low-income workers to either acquire a property with extreme mortgages to stay in areas near their work or live on the borders. It created an invisible barrier between the affluent and the unprivileged people.

As cited in the reading, a neoliberal society with architecture as a core skill set must break down the principle of architectural practice and think as a free entrepreneur. We must prioritize and consider projects that explore and invent new models such as derivative architecture that promotes greater agency than the usual client service structure that we are following today. Being able to operate on risk and its capacity of time, space, and money – without being subjective with our professional relationships and limitations to produce improvement and dissuade neoliberalist ways.

So, whilst architecture is being identified as a mediator in all of the readings, the complexity of the issues that we realize in a deeper perspective allows us to claim how the architecture profession should work in an urgent manner, yet this urgency shall be looked at as a positive outlook, a challenge and a chance to perpetuate our architectural legacies.

References:

1. Lahiji, Nadir, ed. Architecture Against the Post-Political: Essays in Reclaiming the Critical Project, Routledge, Oxon, 2014
2. Schneider, Tatjana & Till, Jeremy ed. Alternate Currents, field, 2008
3. Stratigakos, Despina, Where are the Women Architects?, Princeton University Press, 2016
4. Spencer, Douglas. The Architecture of Neoliberalism: How contemporary architecture became an instrument of control and compliance, Bloomsbury Academic, New York, 2016.
5. Lahiji, Nadir, ed. Can Architecture be an Emancipatory Project?: Dialogues on Architecture and the Left, Zero Books, Alresford, 2016.
6. Van Schaik, Leon. Spatial Intelligence: New Futures for Architecture, John Wiley & Sons, Richmond, 2008.
7. Who Builds Your Architecture? A Critical Field Guide. 2017
8. Iturbe, Elisa, Log 47: Overcoming Carbon Form: Architecture and the Death of Carbon Modernity, Fall 2019
9. Kaminer, Tahl, Governance and climate crisis: Architecture, the local and the global. Log Overcoming Carbon Form, 2019
10. Jack Self, Real Estates: Life Without Debt, Derivative Architecture, 1987

Ancient Greece – The Classical Period

The history of ancient Greek society is a classic example in the world history of the collapse of family relations and of the development of particularly robust slave relations, which F. Engels characterizes as a necessary and important stage in the world-historical process. Sources provide enough information for the complexity and duration of this process, which started in the II millennium BC. In the first half of the 5th century BC on the other, a country that has undergone a constant struggle with the Persians and the reunification of the people’s forces. That’s how people got into feeling their high calling, the consciousness of their own, and the historical mission.

Fine art at the beginning of the 5th century BC has penetrated from the same spirit as the tragedies of Aeschylus. The form of the Dorian temple was indeed created in the 7th century, but the most perfect Dorian temples refer to the 5th century BC. In the Temple of Poseidon in Paestum and in the Temple of Aphaia on the Aigina Island. The original unassembled massiveness of the oldest peripheries gives a way to a more sophisticated power ratio, on a tenser dramatism. Here is strongly emphasized, the opposition carrying worn parts, the expression of raw strength and tranquility. By shifting the accents, traditional forms are filled with particular significance. The powerful, bulging columns that encircle like narrow hoop bodies, give the buildings the character of a centerpiece, what is the action of the surrounding choir in the tragedy. At the same time as the Greek tragedy, the beginning of the 5th century finds in self-restraining forces to be raised in a serious and perfect simplicity. This is clearly evident when we meet the Acropolis bark with the chariot of Delphi, one of the few original bronze statues of that time. The charioteer is a votive statue, part of the bigger, no saved group. He is right, standing in solemn immobility as if it does not notice the rule by his four horses. Unlike the analogous statues of the Ancient East, in the majesty of the Greek statue, there is nothing outrageous naturally; there is no suppressive force; in the slender silhouette of the figure expressed the power of the self-conscious person. With falling down diples of the garment and its smooth outline the figure is rising, similar to the characters of the Aeschylus tragedies, with the proud consciousness of own dignity. But this expression of force does not look like the naive gentleness of the smiley archaic resorts.

The face of the Charioteer of Delphi is not the focus of the overall design, but it shows the same significance and seriousness as the whole figure. In it, we find that combination of beauty and nobility, which the ancients called “kalokagathia’. Physical perfection yields thus its moral justification. The head of the Auriga is shaped in no more detail than in archaic statues, but all the facade of the person is perceived by sculpture more rationally. The head is more clearly defined as an oval, disturbed by the feeders only under the bandage curls. The border of the face and the face is clearly marked with the wide band playing the role of an entablature. The strongly protruding nose is a pivotal point in the construction of the whole face. On this most prominent part is opposed to the softer relief of the remaining parts. Full lips are pretty strong protruding, and the eyes and the heavy chin weaker, the hair is transmitted with incised lines. Such a nuanced figure is unfamiliar to the less-early sculpture. A remarkable work of classical Greek sculpture was discovered just a few decades ago a bronze statue of the god, probably on the thundering Poseidon lightning. By its basic purpose, that work goes a step further than the resorts. Here we see the volition of man, not the freedom fretted by anything, the life-giving physical force fully conforming to spiritual growth. But human is also an expression of the perfect. The power is justice, life is a law. Body and spirit, movement and balance are not put to one another. There is no trace in Poseidon’s head of the grim and oppressive expression of the deities of the Ancient East. One of the greatest sculptors of the 5th century is Phidias whose name is narrow related to the merging of two currents in the Greek classic, namely Myron and Polykleitos. The true merging of these currents was carried out in Attica during the short period when Athenians under the leadership of Pericles, dominated all over Greece. Mostly, the significant monument of this time is the Athenian Acropolis. In the history of the emergence and construction of the Athenian Acropolis, reflects the flowering of all Greek art from the 5th century BC the distant times of Mycenae culture, on its steep rocks, rose a royal palace. By affirming democracy, the Acropolis has become a place for society monuments and in the center of it was the Hekatompedon temple, decorated with colored statues.

During the Greco-Persian Wars, The acropolis suffered a lot, in a difficult time the Greeks abandoned the enemies who plundered his riches. Then the victory over the Persians, the Acropolis began mass construction, whose main success was determined by the sequence of a series of favorable circumstances. At that time, Greek art was has already reached full maturity, and has not encountered any difficulties in solving the tasks that were placed on him. That’s why we should not we are surprised that the builders of the Acropolis used the ancient artistic treasures half-destroyed by the Persians, including archaic statues, as a building material. They were confident that they will outperform their own precursors. Another essential condition for the successful construction of the Acropolis, or that, thanks to the sums paid by the Allies, the Athenian State Treasury had huge funds.

The construction of the Acropolis was done relatively briefly period: from 447 to 432 BC – the Parthenon; from 437 to 435.- the Propylaea and about 450 to 421 – the small temple of the wingless Nike; only the Erechtheion was built later time – 420 to 407. Built almost entirely new over the short period of blooming, the Acropolis reveals no distractions from no natural growth of Greek art in the second half of the 5th century. The Acropolis is characterized by a wide variety of its separate parts and, together with that, the inner unity of the free-floating whole. And today, the Acropolis buildings are still perceived as an exquisitely proportioned wreath on the mighty hill. The entrance of the Acropolis was on the west side. There was a road up there were crowds of Athenian citizens. First attracted the glances erected right next to the entrance of the Acropolis Propylaea, reminiscent of a temple facade. In the eyes of the Athenians towering powerful Dorian columns, flanked by both sides two wings of smaller and more exquisite Dorian columns. On the right, on the naturally exposed cliff rose the temple of Nike. It was placed under a slight diagonal and the silhouette, outlining clearly against the background of the sky, could be embraced by look. This first sight of the Acropolis acted unusually strong. Despite all its variety and freedom, the composition possesses unity.

The parts of the architectural ensemble are connecting with each other by increasing volumes to the center, but every part, especially the little temple of Nike, was completed as an independent organism. Just now, in this Acropolis differed radically from all the other older temple ensembles, especially from the Egyptian, in which the individual buildings completely merged into one, but also from the early Greek sanctuaries, whose separate buildings were scattered in complete disorder. The visitor of the Acropolis saw all his buildings turned face to face and could imagine each of them alone for myself. With his gaze, he established the size of the little one a temple of Nike, who, when crossed, turned to him all your sides. The procession passed through the Propylaea. They also had front and back rear Dorian columns, but because of the climbing up inside the Propylene stairs, these columns were put on different heights. To associate the two Doric columns, the building itself was using slender Ionic columns, theirs the foundations coinciding in height with the lower Dorian columns, and their capitals with the higher ones. So the bold was justified a combination of the Dorian and Ionian orders and achieved diversity without sacrificing unity. The composition of Propylaea was three-part: after the mighty maestoso, it followed a spectacular allegro, and the whole ends with the calm Andante. In his movement through the Acropolis, the spectator met with countless new impressions. When he entered the Propylaea and turned back, he could see the backdrop of the distant mountain chain through the mighty Dorian columns; the little toy temple of victory, all surrounded by air and light. Immediately after the Propylaea, however, the spectacular revealed panorama of the Acropolis sanctuaries. She stared through her eyes at the colossal statue of Athena Promachos, which, with the golden peak of his spear was a beacon for the ships approaching Piraeus and which almost covered the little Erechtheion.

The array was on the right on the main and most majestic building of the Acropolis – Parthenon. His bony position would not have been accidental; then, it should soon have helped the viewer to catch a glance at not only the facade but also the entire volume of the building. Because of the same, the entrance was placed from the east side, so that, to see Athena Parthenos, the mistress of the great temple, the procession had to circumnavigate the temple on its north side and to be enjoying the beauty of his flawless forms. But the Parthenon is remarkable not only as a unit in the common architectural impact of the Acropolis. It is one of its kind and a very unique masterpiece of Greek architecture. Here’s the type of Greek temple over which creation has worked generations, and has received its most sublime and wonderful interpretation. Thus, the Parthenon preserves the form of the traditional Dorian perimeter; a three-step foundation, columns with fluted, entablature with metopes, and a two-sided roof. But the Creators of the Parthenon have freely transformed these traditional forms. With its eight columns on its short and seventeen on the long sides, the temple is larger in size than most Dorian temples, and in particular the Paestum temple. Only this has already led to a greater lightening of architectural forms. Indeed, the Parthenon columns are considerably smaller, slender, and inter-columns wider than in Doric temples. They do not look so massive and they rise in intensity up, almost like Ionic columns. The cornice is not released like this much above them and its shade is much smaller. The walls of the whole were decorated with a frieze, and this gives the temple an even more exquisite appearance. All these deviations from the canon were insignificant, but the sight of Greeks noticed them.

The architectural thinking of the Greek builders is clearly revealed in the capitals of the Propylaea. The shape of the Ionian capital is which originated in the Asia Minor cities, apparently as a variant of the eastern plant motif. In the oldest capitals the volutes are disproportionately large compared to the thin body of the column and have planar character; in the capitals of the Propylaea, plastic. With their slightly hanging cribs, they emphasize the true purpose of the capital, and the power of the pressure of an entablature lying on it. These capitals do not are meant for a close heart; they reveal their whole beauty only in perspective shortening. The alternation of plates, rollers, grooves, and grooves give a special charm, exquisite to the Dorian capitals and more varied in shape. In compliance with the classical requirements, however, all these details are subordinate to the single composition. The theatre of Dionysus at the foot of the Acropolis dates back to later times. Greek theatres from the 5th century BC are almost unchanged. One of the finest Greek theatres is believed to be Epidaurus (4th century). About the difference from the theatre of modern times, the Greek was closely related to ritual. Usually, they were built near sanctuaries, dedicated to God Dionysus.

The places where the deity appeared were appropriately adapted for spectacular purposes. That explains the fact that in Greek theatres the connection with the Greek theatre is so clearly expressed in nature, even though the Greeks did save it everywhere and everywhere in their understanding of an art form. They were usually lifting up the heater on the slope of a rather steep hill from where it was discovered wide view of the surroundings; removing the ‘superfluous’ from the array, the builders built concentric circles for the locations of viewers. In the center there was a circular playground – orchestra, where an altar originally stood; the choir was later on. Behind the orchestra was a building, the so-called. Sketch, whose Front side served as background to dramatic action; later a temporary wooden wall was erected before the sketch. Curtain, separating viewers from the scene, decorations creating the illusion of another world, and artificial lighting, flooding the scene with a fairy tale light – everything we used to be today was unknown to the Greeks. At first, the choir and the actors stood on the same plane, and the viewers were straight to the ground. The action took place under the open sky. The circular orchestra, like a skyscraper, expresses the cosmic nature of what was happening there. Only the flat proscenium to which the viewers’ places were turned and where the actors acted, implied the opposite between the viewer and the theatre, between the real world and the art world … The art of the 5th century BC is the highlight of the art development of Greece. Great successes have been achieved before, but unlike the Egyptian masters who use one and forever an established canon, Greek art, strived for continuity progress, and perfection. Despite its full depth, their best work, they kept their extraordinary freshness and immediacy of perception. In art, the Greek masters, have seen an image of the light of the whole nation, and important public affairs; trying to make their wisdom in artistic images and were confident they could do that with the means of art. Greek artists drew the themes from everywhere – from the ancient tradition, the past, and the life of their time. Art responds to the different needs of man. The classical language of the classics is characterized by its simple common understanding that will always attract the sympathies of the offspring. Classics have always kept that sense of measure, which the Greeks opposed to the boundless piquancy of the surplus of Eastern art.

All this has enabled the Greeks to create values ​​with world significance. The enormous importance of Hellenic culture in the 5th century knew the contemporaries and their closest descendants. Not by accident, even in the period of decline Athens admired its temples, the works of art, and admitted that it is worthy to rule not only over the Hellenes but also over the world. However, the cultural and artistic achievements of Greece in the 5th century had their borders. The evolution of classics has not taken place within the city-states meaningfully. In the conditions of slavery, the Greeks did not manage to rise to the recognition of equality among all people. But to all their sociability, the ancient Greeks believed that the highest task of man is knowledge of oneself. It is for this purpose that Greek art has acquired and reached such completeness and perfection that they would not soon become once again accessible to people, and created such works that will always awaken admiration and wonder. But the development could not stop with what you have achieved here. It was enough to slip in doubts in man’s consciousness and wake up in him to stand up and look around, and to know the world around you in all its diversity. This desire intensified the receptivity it gave him the need to move and shouted for the life of new rhythms. All this has determined its further legitimacy in the natural evolution of art, the search for a new harmony in other conditions and in other forms.

References

1. Beard, Mary. The Parthenon. Harvard University Press, 2003.
2. Boardman, John. Greek Art. 4th ed., Thames & Hudson, 1996.
3. Boedeker, Deborah Dickmann, and Kurt A Raaflaub. Democracy, Empire, And The Arts In Fifth-Century Athens. Harvard University Press, 2003.
4. Connelly, Joan Breton. The Parthenon Enigma: A Journey Into Legend. Head Of Zeus, 2014.
5. Hurwit, Jeffrey M. The Athenian Acropolis: History, Mythology, And Archaeology From The Neolithic Era To The Present. Cambridge University Press, 2000.
6. Hurwit, Jeffrey M. The Acropolis In The Age Of Pericles. University Press, 2004.
7. Meier, Christian. Athens: A Portrait Of The City In Its Golden Age. Pimlico, 2000.
8. Posner, Ernst. Archives In The Ancient World. Harvard University Press, 1972.
9. Rostovtzeff, Michael Ivanovitch. The Social And Economic History Of The Hellenistic World. 1st ed., Oxford University Press, 1986.
10. Stewart, Andrew. Classical Greece And The Birth Of Western Art. 1st ed., Cambridge University Press, 2008.

Through olden times, architecture has been a representative of the social order, reflecting the success, morals, and ultimate downfall of civilizations over time. Architecture is more than just the built environment in which people live but also a part of our culture. While the aspect of shelter is a fairly simple thing, the building style was initially shaped by the values of the society building them, what materials were readily available as well as the climate of a particular location. It takes a material form for one to effectively understand the social aspects of space in the community. Therefore, society offers architectural behavior which is specific and unique to a certain community. The design strategies and any change in architecture are determined by society. Designing aims to create and build space that goes with the preferences and desires of human beings. Nevertheless, in urban spaces, they address monetary and land shortage concerns. Architecture affects society at a more individual level where it can have a profound impact on its tenants. The whole lot from material finishes to the layout of the space can contribute to the tenant’s productivity, mood, and health. For instance, individuals who work in well-designed spaces generally contribute more to their company, are more focused and take less sick leave. A high level of stress is caused by unimaginative buildings and concrete, sterile landscapes. Humans feel more engaged, happy, and relaxed through mindful connections to nature through awe-inspiring architecture.

Fort Lane was used as a cut-through to Fort street by dispatch riders and any person in a haste and as a trade accessway to various buildings. High-end operators such as Michael Hill and Gucci have been long tenants of the retail space on Queen Street. The commercial space behind was largely unoccupied and had evolved into a rabbit warren of spaces of varying levels with a central services shaft. Sweeping changes to the stately buildings among Fort Lane and Queen St have revealed the building’s history and transformed what was a dull service lane into one of Auckland’s most renowned design achievements. Nevertheless, despite having many bars and restaurants, people eat and drink with family and friends but do not meet and interact with new individuals. Also, the price of food in the city is high and always increasing. Thus, people tend to go home after they finish working. Besides, people rely more on the internet than spending time doing activities and learning new things around them. To build a community, architecture should bring various people to share their culture through food and music. Culture is influenced by food in numerous ways such as family, religion, and tradition makes us different from others and creates a completely new society since food can impact religious aspects and how people eat. In a restaurant world, one needs to understand their purpose because anyone can serve a similar menu but the purpose is what makes an eatery stand out in a Spartan mass. Bits of knowledge in the food world are becoming more tangled from the hums that boost your meal to the vicinity of the producer’s carefully chosen. Restaurant culture is placed around chefs and food but the involvement is becoming an ever more persuasive fragment of what jerks us in (gestalten, 2020). Also, the community can shape architecture, for instance, hip-hop music is often about a place that is cut off from the rest of the city, underfunded, and poorly designed through bad urban structure and planning racism (Sisson, 2017).

Architecture is the initial instrument that relates us to the time and space that we inhabit and understand. Various considerations are taken by an architect that is related to the function of the building and its use. Principally, an architect should put in mind when building a person’s house that the place is where the person’s memories will reside. Therefore, is it important to notice how architecture can cause emotions when a place is thought of or revisited? For instance, Plaza Mirador El Tossal Community Center is designed with the hillsides in color and shape, the culture in tone, and locals in mind as it is set within an area of pine trees, mountains, and countryside which adds a reflective and quiet atmosphere to its appeal and offers food for the mind’s eye. The construction in La Nucia, Alicante features a rare irregular strategy and round windows that do its frontage. An auditorium and offices are featured in the interior of the center of the building while a wooden gazebo that is partly shaded by an overhang and affords lovely views is featured in the exterior part. Upkeep costs for the community center are cut down since the locals manage it (Social Work Degree Center, 2020). Also, the Youth Center, Public architecture in Spain houses a variety of activities from street theatres over acrobatics to skateboarding. The factory’s program offers space on a project area of 3090 m2 for collective youth-centered activities such as a tightrope walking area, a street theatre, a concert area, and a skatepark. The building is structured into a series of volumes with oval floor plans for each activity making it a large publicly accessible canopy. The goal of the architect Selgas Cano was that ‘no one will have to be filtered and this makes the factory be well accepted (ArchDaily, 2020).

Social benefit is elaborated through the involvement of the end-user and community architecture in the planning process. Architecture can only make the meeting places attractive and useful, remove barriers, and plan the crossing points rather than forcing people to connect. Architecture holds the potential to set the stage for social interactions and chance encounters therefore influencing the fabric of our social culture and nurturing community building. Architecture can help build various design plans and social capital generating fertile ground for social interaction and numerous unintended activities. For some ins and outs of tackling mental health and loneliness, promoting social justice, and fostering social cohesion architecture encourages social interaction. The potential for architecture to bring people together lies more in the programming of the building than the spatial form. The driver for social interaction is the careful assemblage of activities and space is a container for whatever function suits the collective. Architecture creates a building that is set for various activities from music events, theatre performances, and movie screenings to yoga classes bringing people from different cultures together. An element of cohesion is created when almost two hundred people from all kinds of backgrounds dine together at a long dinner table. The many collections of events create a lively place completed by its informal scenery. For instance, in the Youth Center, Public architecture in Spain developed a building typology centered around movement. The building design and the spatial typology employed here stimulate connections between people that would not otherwise come together and creates a fertile ground for interaction. There is the emergence of an intergenerational housing project in Europe that involves individuals sharing their time and skills and people having different ages living together. The communally helpful prearrangement provides to the increased sense of loneliness and lack of affordable housing in the young generation. Intergenerational living bridges the gap between different social groups as it fosters learning. Jeanne Gang the founder of Studio Gant Architects in an interview with Vladimir Belogolovsky in her views concerning architecture as a relation builder explained that ‘I think of architecture as a system; how you set up various opportunities for people to relate to one another, and to be empowered. What are the opportunities for people to interact? How can buildings spark new relationships?’ (Cutieru, 2020)

Arguably, shapes form the most rudimentary structure of the commercial design. The shapes of windows, doors, floors, roofs, and walls work together to enhance and complement each other while contributing to a visually thrilling artifact. Vertical shapes are equally vital in creating structural components and interesting lines of a design shadow and design silhouettes by the shape of flowers or leaves, the shape of the materials used in vertical hardscaped elements, and the landscape lighting. The shape in Fort Lane will contribute to the attractive three-dimensional qualities in a landscape, for instance, the topography of the landscape, the flow between outdoor areas, and smaller elements such as hardscape, foliage, trees, and hedge structures. ‘There’s something about a 150-foot ceiling that makes a man a different kind of man,’ remarks architect Louis Kahn during his visitation at the Roman Baths of Caracalla (Adler-Gillies, 2017). He impulsively understood what neuroscience and cognitive psychology tell us today whereby the buildings around us play an important role in our very identities, our memories, and our experiences. Also, author Vitruvius and Reverend architect firmly contend that ‘architecture depends on order, arrangement, eurythmy, symmetry, propriety and economy’ (DOLA RC, 2016).

Long wooden blocks placed on the cooking part wall create useful as well as decorative and beautiful objects. Also, wood is a renewable material and uses fewer resources and energy to process compared to most building materials. It can also have a chiefly useful influence on the environment because it can store and remove carbon IV oxide from the atmosphere creating a conducive environment for Fort Lane individuals. Wood is the only carbon-neutral construction material. Wood does not rust, and this makes most people prefer to include them on kitchen surfaces. Therefore, placing wooden blocks on the cooking part wall creates a conducive environment for people since rust causes illness to people. Wood is a combustible material and does not weaken when heated, unlike inorganic materials and steel building materials which weaken when heated collapsing the structure. If you want to spend less money on heating, the coolness, and to keep the house warm, wood is an incredible substitute for stone, concrete, and brick.

The circle shape is among the most versatile geometric elements in graphics and can be utilized to make stunning artworks. When it comes to graphic design, circles can make the world go round. Therefore, a circle in the karaoke area creates a notion of wholeness, integration, and unity, and offers a sense of harmony, confidence, and completion. Also, a circle is a powerful element in design since it has no angle and no begging and end creating a mild, soft, and safe architectural design. Since the beginning of time, when it comes to symbolism, circles were always linked with cosmic objects such as the earth, the moon, and the sun which denote mystery, imagination, and magic (Popa, 2020). To capture people’s attention, karaoke is normally designed using bright colors to get a clean aesthetic that keeps the focus on what is important. People are mostly attracted by beautiful patterns, therefore, to create a sense of beauty multiple circles can be used in the karaoke area. The circles are mostly in form of lights having different colors.