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These approaches to understand the design of architectural space according to the vision of those who have left evidence of architecture, through the history of mankind. This, according to two approaches: the traditional and the modern.
architecture Once understood, it should go back in history to explore and identify its origins in his footsteps. Again, we see that the traditional approach to understanding the history is different from the modern.
For the modern approach, the actual historical period dates back to 6th century BCE. Well beyond this "historic barrier" to the dawn of humanity, Ibn Khaldun offers nomadism and sedentary . For him, physical inactivity is the cause of urbanization.
monuments and architectural sites and urban planning are not always to the glory of mankind, they are often the work of kings systems and "deified" tyrannies sacred generally opposed to the prophets and thinkers of the time.
is a historical phenomenon found in most periods from prehistory to the Renaissance
The architecture is a reflection of civilization, which leads us to determine the notion of civilization .
I - UNDERSTANDING ARCHITECTURE
It is obvious to say that there is no single definition of architecture. However, the traditional approach has a collective and communal. While the modern approach presents a multitude proposed by architects.
1 - Some definitions of architecture
There is no objective view of things in art in which each artist captures the shape and color according to his temperament. For architecture, this finding illustrates the side subjective work. The architect, by his conduct affects various fields.
design "modern" allows multiple definitions, but specific to each architect.
Bruno Taut, upon exposure to unknown architects in Berlin in 1919 says: "Architecture means to us: the invention of pleasing shapes useful for construction ..."
For Le Corbusier: "Architecture is, with raw materials, establish emotional relationships ... The Passion is a drama of inanimate things."
Ricardo PORRO: "Architecture is the creation of a poetic action man."
GROPIUS wrote in 1919: "What is architecture? It is the expression of crystal noblest thoughts of man, his intimate aspirations, his humanity, his faith , religion ... "
Hölderlin says "poetry is to transmute the world in words." In architecture, it is to transmute the world we live in architectural space.
To Regarding the Muslim world, Islamic architecture - Al Bouniane - is designing a framework that respects the strict doctrinal guidance for the action of man and his community. Only it is necessary to address the notion of Al Omran which determines the overall framework for the design of Al Bouniane which is one of its main components.
Al Bouniane can be defined as: "action to produce a space that is likely to facilitate and enable social practice according to legal guidelines and worship. This is a case where the meaning is consistent with the aspirations of men and their space needs as part of a doctrinal vision.
2 - space in architecture, form and content
The interpreter basic architecture is the space. The space changes when its components change. The form of architecture is space.
The form and content are inseparable. The form is part of the The work of art and sensitive content, is that the design expresses the shape. It is in the form that carries the content. They form a totality.
3 - Five aspects of the content
a. The immediate content
The contents are now in a building where its program, its functionality expressed in the form, it is "immediate" because it is closest to the content, the easiest to capture.
b. Tradition
Some deviations of language reflect a kind of degeneration of corresponding ideas. The name "tradition" does not correspond to what is purely human. To truly revitalize
Tradition is the soul of civilization. This is the leitmotif par excellence for universal knowledge like the principles themselves.
When we talk of tradition in architecture, we are not talking about folklore: he is one of the largest of its contents. The tradition goes away when the local culture weakens and ceases to refer to them.
It does not necessarily remain static: it provides, as it has always done, saving elements that should become the seeds of the future world. That authenticity dynamic looming on the horizon of our immediate future.
c. Persuasion
The "persuasion" is when the architecture tries to convince the spectator-witness of any action.
Another form of persuasion exists when attempting architecture, using all the expressive means to convince the witness to any idea.
d. The superimposed image
architecture can play with abstract or concrete representations. There are two possible forms of superimposed images of architecture: the symbol and the figurative image.
symbol
symbol in art is the effort of the artist to find a representation of something that is abstract. For example, the number 4 attached to the square and cube, suggests the idea of universality.
For it is true, the symbol must be an absolute logic. A symbol can mean many things at once and perform several reading levels: by their very structure, the symbols are polyvalent. Is its range of meanings that shape the message of the symbol.
Having great importance in all ancient civilizations, the point-center is at the root of all Islamic art and Bouniane al.
The figurative image
The figuration recalls directly in form something concrete. The figurative image for a goal of enhancing media content.
e. Media content
media content would be in architectural work, expression of the historic moment when it happens. None of the three aspects of the content in the architecture is a condition for its existence, the only ones who would be a sine qua non is the tradition and media content.
A work architecture seeks to become a powerful image of a collective experience, a significant expression of this idea. It becomes a true work of art a witness to the "extreme situation" of those who conceived: contemporaneity.
The dynamism, the expression of technology and vitalism , as themes of this, have continuity.
Since the industrial revolution a general line appears: the disappearance of any principled purpose and the amount of development resources.
Dynamism
is the triumph of a sedentary lifestyle where time, transformed into matter, is quantified and is at the service industry. It is an accentuated design and exclusive inactivity.
Two aspects of dynamism expressed since the 19th century in the West: the exact framework for the movement of witness / spectator and the expression of movement, but freed from the viewer. This framework is used where time is the adaptation of man to machine and its adherence to industry.
expression technology
Since the expression of machine or technology, this theme is changing too, may be involved in dynamic or 3rd theme below.
Vitalism
This theme is the human tendency to assert itself as a living being.
artistic movements develop in reaction against the machine, along with current "scientific" which looks at the life and efforts in psychology: can we materialize the immaterial (soul) by psychoanalysis ?
Lines expressive media content often intermingle and it is sometimes difficult to define the limits of each .
(To be continued)
Since 1750, the revolution i ndustrial is present in England and in mind in France where the thought of the Enlightenment rationalist paves the way for the advent of the machine.
It is customary to call the split between the Middle Ages and modern times Renaissance and Reformation .
The Western world has inherited from previous civilizations. Precursor of the present world situation, it will provide humanity of its factors of modern civilization and reflection resulting in architectural and urban space.
Some reasons rooted in the West have led modern man to perceive science as being opposed to religion. J. Hexclay in his book "Man in the contemporary world" expresses this competition and enmity.
This kind of civilization has separated two natural tendencies rooted, complementary and providing mutual assistance to one another: the tendency of devotion and of knowledge . The man finds himself torn between these two natural and innate tendencies and needs upon them, thereby depriving him of one he aspires to another.
I - THE RENAISSANCE
1 - The break with the tradition of the Middle Ages
The real starting point of modernism is the beginning of the disintegration of the "Christianity" and feudalism. This is the beginning of the formation of nationalities and colonialism.
characteristics of philosophy and science are new :
aspects of the contribution to the development of other civilizations Science and culture in general show the need to change a deeply distorted historical perspective and has made the Middle Ages a parenthesis between the Greco-Roman culture and that of the Renaissance
The influence of Muslim civilization exerted on the West through translations into Latin Muslim works, held in Toledo and Sicily, to send to universities in the West .
3 - The popularization of knowledge
teaching the faith and unity of nature is no longer the basis of knowledge. European universities are all created with two or three centuries of shifting.
The basic inspiration of traditional science is a concept of knowledge which is not the science of archeology "modern".
4 - Humanism
The HUMANISM of
Descartes's work remains the nature of his own life. Animals are for Descartes than machines. For his heir
In view of "modernity " Western ways have become an end. "Science" that is to say an organization means, separated from a meditation on the ends, it becomes even a purpose.
II - THE ARCHITECTURE OF THE RENAISSANCE
The opposition that exists today between the ancient crafts and modern industry is an application of two points of qualitative and quantitative respectively dominant in some and in the other.
1 - Mutation trades
The trades included in the Middle Ages in Western art and nature were truly qualitative. The modern in their concept of art, qualify, and stripped of all practical, activity luxury.
In any civilization traditional sciences, arts and crafts are a ritual character. Since the Renaissance
During the preindustrial situation met the architect alone all the skills, but must now take account of the division of tasks and specializations established techniques in the modern world.
2 - Role of the Architect
is the birth of the profession, the architect of the Renaissance
The architect of the Renaissance
3 - theorists and architects architectural space
For men of the early Renaissance, the space exists as an objective reality outside of human activity.
The construction of the geometric space with architecture was developed in three phases:
4 - architecture of the 17th and 18th century
In individual nations in training, the role of the architect depended on the different religious authorities, or feudal princely / royal and relations. Traditional models are being transformed into national models. The architecture of the 17th and 18th century Europe, the Baroque architecture.
Baroque architecture, is a plural phenomenon whose boundaries are on one side
5 - The Baroque in Italy
In Italy, the Baroque space can be understood only in reference to the ongoing consolidation of the theorists of the Renaissance
Being born in Italy, the Baroque space has its origin in the works of masters of the Renaissance
There were processing the command at a command strictly religious or politico-religious policy. Architects take the urban space itself as a raw material of work.
Baroque architects have gradually removed all existing architectural elements of the code.
Used for themselves, the forms became isolated and used to formally thank you after the novelty of the architect. This is the beginning of formalism in architecture, the notion of aesthetic dates from this period. The Baroque architects have destroyed the spatial structure in general.
In the Rococo period, the space is more amorphous than background on which we expose a jumble of objects. The emphasis on the form of pictorial or sculptural objects. Neo-classicism is not far.
6 -
The spatial coherence and geometric
The space that has really changed under the influence of political power.
The new king's power is reflected at the city by the appearance of a new type:
CONCLUSION
Since what we call the Renaissance
Three concepts emerge: