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Influences on Architecture

I. Geographical
Maps of ethnographic distribution, economic data, and social
displacements abound in contemporary works of architectural analysis. Explorations of
economic free trade areas,
new border zones, settlements, slums, and emerging urban
conurbations rely on cartographic techniques, data, and
fieldwork to articulate both new forms of architecture and
new positions for architecture. This work advances a more
research-based role for architectural theory often labeled
datascaping and, more recently, research architecture
that is materialized within a set of seemingly realist and
post-theoretical approaches and methods.1
But displaced in
discussions of this and similar recent work are the actual
transdisciplinary alignments taking place in our field as
architects increasingly chart emerging territories and analyze and crunch economic,
social, and ethnic data

II. Geological
A discussion of the relationship between architecture and geology may seem to all
of us incongruity at first thought. We might well ask what an area of pure science has to
do with what is normally considered a form of applied art. It is not the entire field of
geology with which architect is concerned; rather it is in narrow band of geology loosely
referred to as topography.

III. Climate
Architecture is a habitable art. It is therefore dependent, for its success, on factors that
define human comfort climate being amongst the foremost.

In the past, architectural forms have been influenced by the climate of the region, so
that as geography changes, new architectural devices appear on the scene.
Architectures subjugation to nature not only provided for diversity and identity, but also
improved human experience by keeping man in close relationship with the elements.

The industrial revolution, however, allowed man to adopt an alternative approach by
suggesting the possibility of a controlled environment. Air conditioning forces us to turn
our backs on nature or rather, overcome it by creating an alternative environment
within the natural one. An environment that is entirely in our control.

The result is, of course, that architectural forms gain a kind of rigidity an unflinching
pose that reflects the stagnant, man-made environment inside it. Nature has to be kept
out by creating a curtain wall, and yet has to be called in by ensuring that the curtain is
sheet glass. Modern architectures defining form is hence the glass box.

Regional architects, overcome by the grandeur of the Modern skyscraper, and taking for
real the title of international style bestowed upon the glass-adorned ferroconcrete
frame structure have applied the glass box formula locally, resulting in mal-adjusted
buildings that not only consume loads of energy, but also deprive us of the layered
experience of climatically responsive architecture.

Now that the image of Modern architecture has been fully assimilated in our minds, the
enthusiasm that has always surrounded the issue of climatic suitability continues
unabated (in fact the enthusiasm is itself a phenomenon of Modernism), but the
responses generated by this interest have become peripheral. Indeed, the very rigor
with which architects today advocate the philosophy of climatic propriety in design is
suggestive of the fact that the issue has actually been pushed out of the circle of design
proper, so that it is now a separate entity about which one can think consciously.

While buildings today are designed as air-conditioned boxes, the responses to the
climate begin to emerge once one exits through the main door into the un-conditioned
air. Pergolas, screens, and pools of water appear as appendices to a pre-conceived
architecture that can survive even in the absence of these additive elements. No
integration can take place when the controlled weather reduces the outside environment
to the status of a spectator having no bearing on the functionality of the building. Since
design is primarily driven by function, climate-consciousness remains an after-thought.

IV. Religion
Their histories stretch back thousands of years. Their doctrines, myths, and ways of
worship are varied, yet they promulgate universal doctrines of ethical conduct toward
others. Their founders were exceptional people who attained a degree of self-
knowledge that inclined them to repel evil and seek the highest ideals of good.

Religions form the foundation of cultural identity and have decisively shaped world
civilizations based on differing, but not exclusive, views of ultimate value: mercy and
benevolence in Buddhism, morality and ethics in Confucianism, respect in Shintoism,
devotion and mystical unity of divine Self in Hinduism, obedience and perseverance in
Judaism, love for the Creator and one's fellowman in Christianity, and submission to the
will of Allah in Islam.

V. Social and Political
Where there is an explicit intention to influence behaviour, the intended behaviours
could relate (for example) to directing people for strategic reasons, or providing a
particular experience, or for health and safety reasons, but they are often focused on
influencing social interaction. Hillier et al (1987, p.233) find that spatial layout in itself
generates a field of probabilistic encounter, with structural properties that vary with the
syntax of the layout. Ittelson et al (1974, p.358) suggest that All buildings imply at least
some form of social activity stemming from both their intended function and the random
encounters they may generate. The arrangement of partitions, rooms, doors, windows,
and hallways serves to encourage or hinder communication and, to this extent, affects
social interaction. This can occur at any number of levels and the designer is clearly in
control to the degree that he plans the contact points and lanes of access where people
come together. He might also, although with perhaps less assurance, decide on the
desirability of such contact.

VI. Historical
The very first examples of architecture were for the sole purpose of shelter. It was
not seen as an art until humans started to develop their cultures and religions. The first
buildings that were intended for something other than shelter were places of worship.
Individual homes were not made to look artistic until later.

Some of the most obvious examples of this type of architecture are ziggurats built by
the Mesopotamians. Then came the Pyramids built by Egyptians. Notice that these
architectural structures are made of basic geometric shapes.

Just like with any piece of historical art, the lack of complexity is apparent. That is, of
course, not to say that these are not amazing pieces of art, because they are. But if you
look at ancient cave paintings and pre-renaissance canvas paintings, you will certainly
notice a stark difference.

As you look at the timeline of architecture and construction, you will notice that (with the
exception of the pyramids and ziggurats, because those were quite large) buildings start
to grow larger, and they become more complex--it is quite clear that measuring tools
have been used.

A very popular architectural style is that of ancient Greece. When people think of
architecture as an art, they usually think of ancient Greece. With the amazing symmetry,
marble all over, columns, and the use of curves as well as straight lines, it really is quite
beautiful. The Greeks were the first to really treat construction as an art. Roman
architecture is quite similar, although they made frequent use of arches.

As the timeline continues, you will see more and more curved structures. Renaissance
cathedrals are some of the most complex and beautiful architectural accomplishments
you will ever see. These generally took over twenty years to build and plenty of rulers,
saws, and other tools and supplies. Renaissance architects made use of stained glass,
gargoyles, and spires.

There are also several examples of domed ceilings. Indian architecture utilized curves
quite often. Marble was also a common material. The most well known example of
Indian architecture is probably the Taj Mahal, with its beautifully domed roofs and
arches; everything perfectly measured and proportioned.

American architecture has never been quite so artistic. Because all of United States
history has been either rural or industrial, there wasn't ever very much time to take
architectural creativity into account. Most of the buildings are only noticeable only for the
fact that they are so tall. Other than that, they are simply rectangular; they are more for
practical business use rather than any aesthetic pleasure.

Of course, there are some works of art. The White House, for example, is more visually
pleasing than what you would find in, say, New York City. There are, however, many
beautiful residential homes in the United States. Lovely estates in the country, large
homes on the beach, things like that.

There are many areas that chose to replicate the Victorian style, others that have a
more modern look to them, with large windows and a curved look.Modern architecture
tends to be more abstract. There is no definite geometric shape, and they look rather
strange.

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