CONCLUSION

CONCLUSION

As a conclusion, we now know that because of the ability to draw in perspective in the renaissance, it has allowed for architecture to appear and develop in accordance with this optical perspective tool. Though the renaissance might have given vision a prominent power and rise over other senses, yet the dominance of vision had allowed for new ideas, capabilities, and understandings of space to be achieved. Such as the later discovery of motion and movement in space which in its turn too has paved the way for new capabilities and allowed for new ways of design. The dynamic placement in space started to become more appreciated and experienced because designers started to incorporate and embrace this notion through exemplified spatial designs.

While exploring the Post War period, we conclude that at times of dreadful mental defeat and destructive war events, the need of visionary architecture is inevitable for the people and affected citizens. However, architecture should be human-responsive and respond to people’s needs, not only in terms of practical necessities, but rather existential psychological and mental ones, not just as a political tool. It helps provide us with hope and a sense of faith by trusting in architecture.

Another significant way of dealing with destructions as we have seen is through adaptations of Post-war damages through embracing and celebrating remnants of bombings, which in its turn changed people’s perception on wars and defeat.

Humans also have cultural and social needs; architecture plays a role in people's wellbeing and acknowledge those needs. We need to be cautious of visionary based designs. How we see these approaches, is related to the idea of allowing people to consciously connect to space. There must be a response to where they live and sense of place.

In architecture, phenomenology was a very significant understanding as it states that our understanding and interpretation of the world is part of what it truly means. It allowed us to appreciate and acknowledge that our view, our understanding of space is valuable. Part of what gives meaning to our surrounding architecture is the different entities that we as humans are. Each human being carries within them different beliefs, culture, background and understanding of space. Therefore, one will perceive and view architecture distinctively and particularly in relation to themselves.

Overtime have shown a necessity of historical continuity in perceiving a building. There is a mental need for people to always connect with historical continuity. Not only to history, but as well as to Our bodies, as we identify ourselves in relation to a certain space, a certain place, or a certain moment.

Lastly, we are all seeking for meaning in our existence. When we connect to what is meaningful and significant to us through architecture, we live more abundantly; when we lose this connection, we feel despair. Modern life distracts and estranges us more and

more from our true nature, making it incredibly effortless for us to lead lives lacking in meaning. Vision might be deteriorating, but other times it is empowering. We do need to be cautious of visionary architecture, but consciously manipulating various architectural qualities to best serve our interests, and thoughtfully utilising its different aspects in relation to our needs.

GLOSSARY

dasein. according to Heidegger, means "being there" or "presence", "existence"

phenomenology. the science of phenomena as distinct from that of the nature of being.

visionary. related with new vision

dilemma. a situation in which a difficult choice must be made between two or more alternatives, especially equally undesirable ones

cartesian. of or relating to Rene Descartes, his mathematical methods, or his philosophy

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TABLE OF FIGURES

Figure 2: Zaha Hadid Architects Skyscraper in the Western Hemisphere .................................................... 6 Figure 2: Los Angeles' Walt Disney Concert Hall, designed by Frank Gehry. Photo Credits: Alamy ............. 6 Figure 3: Perspective Drawing..................................................................................................................... 8 Figure 4: Albrecht Durer using Perspectival Tool 1525 ................................................................................ 8 Figure 6: Sistine Chapel, by Perugino (1481–1482), features both linear perspective and 's architectural style.............................................................................................................................................................. 9 Figure 6.2: Diagram of Brunelleschi's experiment in perspective ................................................................ 9 Figure 9: Avant-garde art: Nude descending a Staircase by Marcel Duchamp.......................................... 11 Figure 8.1: Etienne Jules Marey. Motion experiments (1882). Records several Instants in one photo. ..... 11 Figure 7.2: Acropolis as portrayed by Le Corbusier.................................................................................... 11 Figure 10: a public rhetoric of reconstruction............................................................................................ 13 Figure 12: Lindy & Lewis perspective 1944 ................................................................................................ 13 Figure 12: Holford model (showing only Churches withing a Tabula Rasa) ............................................... 13 Figure 15: Country of London Plan Presentation 1943............................................................................... 14 Figure 15: Exhibition Plan: "Greater London ... Towards a masterplan".................................................... 14 Figure 15: "Planning for reconstruction" pamphlet................................................................................... 14 Figure 16: Congressional Headquarters -Brasilia, Brazil ............................................................................ 15 Figure 17: City of Brasilia, Brazil as seen from a bird's viewpoint.............................................................. 15 Figure 19: physical model of Le Corbusier’s Contemporary City for Three Million Inhabitants ................. 16 Figure 19: Sketch of Le Corbusier’s Contemporary City for Three Million Inhabitants............................... 16 Figure 20: the "egg" diagram for the Country of London Plan showing social and functional analysis .... 18 Figure 21: Royal Academy (1942) - London Replanned.............................................................................. 18 Figure 22: Figure 22: Aldo Van Eyck - Playgrounds.................................................................................... 19 Figure 23: Aldo Van Eyck drawings of Playgrounds ................................................................................... 19 Figure 26: Portland building....................................................................................................................... 21 Figure 25: AT& T building (1984) by Philip Johnson................................................................................... 21 Figure 24: Vanna venturi............................................................................................................................ 21 Figure 28 & 29: Säynätsalo Town Hall – Finland 1951............................................................................... 23 Figure 27: modern Scandinavian Interior................................................................................................... 23