Architecture Manifesto Example

The sloping orientation of the landscape maximises public space whilst having a relatively small footprint. Some roofing areas of the building

The Olympic 1931 is identical to the original building where the distinction between the workplace and showroom is still visible. The building is full of nooks and beautiful period details to discover. We've taken the opportunity to translate historical features into a contemporary upgrade with extra street entrances, new constructive elements, vertical light wells, way finding floor patterns, a top-lit winter garden, and an underground parking garage. Another striking feature is the roof landscape, which is built on the former parking deck, culminating in a viewing platform over the Olympic Stadium and

The structure of the building is actually inherently modern, built using a conventional steel framing system inset behind the façade. Structurally, the building employs tube frames in its framework, with the tubular columns tied with trusses at the top and bottom. As with all architecture in the postmodern tradition of the “decorated shed, the superficiality of this signage not only fails to detract form its effectiveness but reflects a deliberate prioritization of architecture’s affective capacity.

The goal fo architectural and engineered construction drawings is to organize, clarify, and effectively convey an enormous amount of detailed information in order to describe how a complicated building, such as a medical clinic or net-zero house must be built. Andrew's construction drawings have a quality of sophistication that demonstrates his genuine understanding of the complex codes and project criteria. It is important to note, on all of the projects Andrew has been involved in, I have never had a change order; this is undoubetly due to the consistant high quality of his work. I have no doubt that his concetrated attention to detail will be a critical asset in his future career.

The growth of opera in the 17th century molded theatre buildings in the basic forms that was emerging everywhere, the proscenium framed scenic stage facing a galleried auditorium (Reid, Theatre Space,2006, P.211). The development of the proscenium arch occurred throughout the 18th, 19th and 20th centuries and the design initiative is still prominent until today especially in opera houses. The performance space has a basic

Interestingly enough, the majority of the communal aspects do not occur within the building; rather they are placed on the roof. The roof becomes a garden terrace that has a running track, a club, a kindergarten, a gym, and a shallow pool. Beside the roof, there are shops, medical facilities, and

I have been always fascinated by how a public environment with artistic architecture can play a major role in a societies’ attitude.The way it could alternate individual’s mood and give them

Architects/Designers/Planners for Social responsibility defines architectural social sustainability as “Architecture [that] enhances social sustainability by providing built opportunities for balance and connectivity. Socially sustainable architecture fosters balance between the individual and the collective and between the present and the future; and connections between individuals within the building and between occupants and the surrounding community”.

Olympiapark is a Postmodern collection of buildings located in Munich, Germany and was constructed for the 1972 Summer Olympics. Olympiapark consists of 4 main areas: Olympic area, village, media city, and park. The main focus of my paper is on Olympic Stadium which is pictured above. The design for Olympiapark was chosen through a national competition that was won by the German architect Günter Behnisch’s design company Behnisch und Partner. The 1 square mile area where Olympiapark was built at that time was known as Oberwiesenfeld (‘upper meadow-field’). Oberwiesenfeld before that was a dumping area for World War II debris and a landing strip. The area was designed to ‘be green’ and to make use of

The idea of being able to walk on top of the building is somethings that does not happen a lot. Connecting the public to the building should be more than just creating a fascinating and interesting facade. My idea is to describe how a building is able to connect to people, by allowing them to not just walk inside or around but on top of the building creating a public space. The reason why i chose this topic is because i wanted to describe my building, and how i came to the idea for it, I also wanted to compared it to the Oslo Opera House and how it helped me arrived to my final design and idea. My building and the Oslo Opera House have a different scale, but i think they share some some of the same concepts. The idea of togetherness, easy and open access to the public, and most important connection to the landscape.

Therefore, whilst varying facades and building technology may “disguise usage norms”, the form of the Colosseum (and modern stadiums) emerges from function (Maguire 2014, 127).

The Acropolis and Chartres Cathedral are two building with immense historical and cultural value that are admired to this day. In Arts and Ideas, Marien Warner and William Fleming discuss about the physical features and purposes of these iconic structures and the ingenuity implemented in them. They were not only build as religious or cultural centers, but also to prove that they are capable of producing works that are different and revolutionary with regards of their esthetics and architecture.

he idea of being able to walk on top of the building is something that does not happen a lot. Connecting the public to the building should be more than just creating a fascinating and interesting facade. My idea is to describe how a building is able to connect to people, by allowing them to not just walk inside or around but on top of the building creating a public space. The reason why I chose this topic is that I wanted to make a connection to my studio project, and how I developed the idea for it. In addition, I wanted to compare it to the Oslo Opera House and how this assisted me in arriving at my final design. My studio project and the Oslo Opera House have a different scale however, I think they share some similar concepts. The idea of togetherness, open space, and easy movement access to the public, and most significantly its connection to the landscape.

‘Do buildings and cities, in the way they are currently built, contribute to green economy and growth?’ (Aboulnaga, 2014) The book illustrates how sustainability enhances architecture in the long term, but also seeks for solutions such as renewable energy, and promoting energy-efficient buildings. There are features to classifying a sustainable building, such as site and surroundings, energy efficiency, renewable energy use, water consumption, materials etc.

We always seek to make our designs as beautiful as they can be. I am eager to discover what the cities of Milan and Siena are trying to communicate through their design—to the unfamiliar visitor, to the long-time resident, or to the curious explorer.