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Architecture in our Life
There are a lot of things in the world is important and we
can not live without, but there some important than others. It is
depending how the human live and what he needs. Architecture
is important in our life. And it is changes a lot of things and the
way we live. Also, it mads some changes on the earth.
First, Adolf Loos focused how is the earth is amazing, and he
described the lake when it is green, and you can see the sky is
blue from it. Also, how are mountains and trees being mad from
god and the human cannot do something even close like that. By
his words you feel of the beauty of the earth like you imagine
you are in the place and you see what he is describing. He is
looking at the place in architect’s way and how is created. And
he is describing how does the place show the peace and beauty
no more. Everything created by God not from the peasant nor
the engineer. The joiner takes the measurements for doors and

windows and all the other things they needed, then the go to
their workshops and started the work. His goal was to build a
beautiful house for himself and his family and he succeeded.
Inside of the house have many of different materials like
velvet and silk and columns and moldings. After they said “how
ugly and joyless our lives are! And they gathered together
everything from the old cultures, established them in museums
and said, look, that is true beauty. You have been living among
wretched ugliness.” (Adolf Loos, 41). Everything is change with
the time. Like in the past people covers everything in their body
with tattoos from the face and body down. And it is a way to
design and make the body beautiful, but today the way using
and people thinking is different. Tattoos is a sign of
degeneration and the criminals who using it. The architects can
make ideas and styles of the buildings that in the past, but it
will lose all the contact with the time. “The master of today can
works well as any master of any age. But the contemporary of
Goethe could no longer make ornaments. So those who had the
new warped ideas were sought out and placed before the masters
as guardians.” (Adolf Loos, 42). So, the architects took
everything from the books, and the ideas from the past and to
the present day.
The arts have many connections and every art leads to the
other like the arts begin with the graphic art and that shades off
into painting. And from that the arts goes to the plastic art and
from plastic art we have now architecture. The way that arts
leads to each other and starts from gothic to the architecture,
but it is now having a different end of the lines. Many arts
worked out on the drawing boards as well as the architecture.
And for the detailing of the building it can be seen in architect
which of the pencil they going to use pencil number 1 or pencil
number 5. “The marks of the drawing pen have produced an
epidemic of squares. No window frame or marble slab remains
unmarked in the scale of 1:100, and bricklayers and stone-
masons must hack out this graphic nonsense in the sweat of
their brows.” (Adolf Loos, 43). Also, the color of the pen is

matter and makes a different.
The period of the time from the past it was a change
without precedent in our cultural history. Also, the style of the
houses is changing, and it is different styles with different
times. For example, it is different between the house of the
fifteenth and the house of the seventeenth century. “That is, not
a great deal. The one was of blue clothe and had gold buttons.
The black tailcoat is in the style of our time. No one can deny
that. The new movement, in its arrogance, omitted to reform our
clothing.” (Adolf Loos, 44). The clothes stayed in the same
style, but with a little different of changing on it.
There are different between the house and the art. The
house is part of the owner and it should be comfortable for him.
The house is private thing, but the art is not. Also, there are
more and more differences like a house needs a supply and the
work of art is answerable to no one. “The work of art is
revolutionary, the house conservative. The work of art points
man in the direction of new paths and thinks to the future. The
house thinks of the present. Man loves everything that serves
his comfort. He hates everything that wants to tear him away
from his secure and safe position and is burdensome.” And
that’s showed us the man loves the house and hates the art.
The buildings are part of the world not of the painting or
carving. Building is the main of the art. And all other arts come
after the building. “That which is built, however, stands in the
sun, in the wind, and in the rain. Its environment is not its
enemy, but its playmate. And only the art of building can play
with the great existing wonders around us.” (Adolf Loos, 45).
Everything in the building is matter angular or curvilinear,
smooth or ornamented, blunt or sharp edged, light or dark. The
elements and the architecture are the only thing that directly
deals together.
The glass architecture is a big deal but the European not
quite ready for it. The idea of the glass architecture is simple,
and it is understandable if it is presents like Scheerbart in the
light gayest optimism. It is not a crazy way to do a glass

architecture it is just a new of culture. “No material overcomes
matter to such an extent as glass. Glass is a completely virgin
material; to produce it, matter has been melted down and
transformed. It has the most elementary effect of all we possess.
The glass reflecting the sky and the sun as the water reflecting
them. And it comes with a lot of colors, and shapes that can
control to make the building beautiful. And it has different
quality. All the other materials when it is comparison with the
glass it is seeming to be derivative or trifling merely man mad.
The glass has an extra super human quality. European is fears
that the glass architecture might become uncomfortable. “Glass
architecture rules out the dull vegetative state of jellyfish like
comfort in which all value become blunted and worn, and it
substitutes a state of bright alertness, a daring activity, and the
creation of ever fresher, even more beautiful values.” (Adolf
Behne, 76). Glass architecture will eliminate all harshness from
Europeans and replace it with tenderness and beauty.
Our culture is a product that related to our architecture.
“Glass architecture that lets the sunlight and the light of the
moon and stars into our rooms not merely number of walls that
are made entirely of glass.” (Adolf Behne, 32). The earth
surface would change if the brick architecture were everywhere
changed with glass architecture. It is like the earth wearing a
jewellery. That is absolutely is unimaginable beautiful and we
should have on the earth more things than the garden of the
Arabian Nights. We should have on the earth paradise and
would not need to gaze longingly at the paradise in the sky.
Iron construction makes it possible to give the walls any
form that may be desired. Walls does not need to be vertical
anymore. The dome effects up above to displace the sides, so
when you look at the sideways of it and upwards in order to
observe the dome effect. Also, the curved surfaces are also
affect in the lower part of the walls and that easy to achieve in
smaller rooms. The smaller rooms are completely and totally no
need to be vertical. The ground plane in architecture is
important as well as other parts of the building. And the design

of the outline of the building is important. “No doubt a terrace
formation is necessary in taller glass building and with several
storeys, since otherwise the glass surface could not reach the
free light-conducting air, to wich they aspire, since in darkness
they can fulfil their purpose only at night not during the day.”
(Adolf Behne, 33). These information of the storeys will
quickly replace the dreary frontal architecture of brick houses.
Eighty years a go the steam railway came along and
transformed the whole surface of the earth. The earth is going to
be transfer to a glass architecture. When it is come it will
transfer the earth surface naturally. The glass architecture will
come only when the world done with a metropolis. “We shall
nevertheless be justified in supposing that to begin with we may
attain that which is accessible to us-to wit, that part of the
spectrum which we are able to perceive with our eyes, those
miracles of colour which we are capable of taking in.” (Adolf
Behne, 33). The thing that will transform our life is the glass
architecture and that will transfer the surface of the earth.
Finally, the German want to change the culture and they
focused on the future instead of Italian they focused on the
present. Architecture is play a big part of the earth and it makes
a lot of change on it. All the arts are related to each other, but
the architecture is the important one.
Works Cited
Adolf Loos, 41, History & Theory of Architecture III: 20th
Century & Contemporary Architecture, “Architecture, 1910”
Fall 2018, Print.

Fall 2018, Print.
Fall 2018, Print.
Fall 2018, Print.
Fall 2018, Print.
Adolf Behne, 76, History & Theory of Architecture III:
20th Century & Contemporary Architecture, “Architecture,
1910” Fall 2018, Print.
Adolf Behne, 32, History & Theory of Architecture III: 20th
Fall 2018, Print.
Adolf Behne, 33, History & Theory of Architecture III: 20th
Fall 2018, Print.
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Assignment 3
Traditional architecture unlike contemporary or modern-day
architecture focused greatly on issues of large value, and
aesthetics as compared to other issues presented by modern day
architecture for example strength of materials and limitation of
costs during the undertaking of a project in architecture. The
architecture described in the Le Corbusier articles for example
clearly indicates that architecture has shifted its focus to
engineering. The engineer has more responsibilities and one of
these includes bringing forth the beauty in an architectural
structure by use of mathematics or calculations and application
of economy. Traditionally, this was the work of the architect.
They would use their imagination and creativity to inspire
emotions in people viewing their works. This creativity would
translate to aesthetic values seen in most old structures in Rome
and Italy where great artists constructed museums and
exhibitions.
Use of brick and stone was the norm during old architectural
times. Currently, use of reinforced concrete (iron, steel and
concrete) is the trend. The focus seems to have shifted to these
methods with emphasis on strength of the structure and
economics going into the construction. It is indeed true that
architecture has really evolved, from the simple forms where
beauty lied in simplicity to emphasis on complexity, strength of
structures and the cost of undertaking an architectural project.
Once upon a time, beauty and aesthetic value in architecture
laid in simplicity, the guiding principles in a lot of designs and
forms of architecture was how light-struck objects and the
perceptions this created, things have however greatly changed.
Le Corbusier describes this as a past form of architecture. The
beauty of architectural designs and forms now lies in something
else in the styles of construction, in complexity of a structure
and so on. The evolution experienced in this field has shifted to
iron and cement in place of structure and decor as in Le
Corbusier’s own words.

Contemporary architecture is afraid of the constituents of
geometry. Architecture is about planning and ensuring the
implementation of this plan. It is about the application of
concepts of geometry which will indeed solve modern day
challenges in the field of architecture. According to the lessons
from Rome, the article puts emphasis on what the traditional
architecture was about regarding the passion and emotions
generated by architectural forms. The surface and exhibited
forms of architecture were because of the inner and underlying
forms and material utilized in coming up with the architectural
forms.
Our perception of architecture has since been corrupted by
things we see rather than what we feel when experiencing and
viewing a form of architecture. We are driven closer by that
which we see whereas architecture is about evoking our inner
emotions on the state of an architectural form. It is about being
in synchronization with the creators of the structure. The
modern day architectural forms do not answer to our pure
desires and needs. They do not feed to the beauty and
imagination of people but rather satisfy only physical needs of
shelter for example.
A different perspective on modern day architecture is supported
by people in Italy for example who deny that concrete can attain
the desired artistic beauty. However, it is argued that concrete
can indeed attain the aestheticism desired aside from what
commonly people view it for as a rigid and ugly form of
architecture. Concrete has brought a new taste to the
construction industry and this is absent in the minds and
perceptions of many people who view it as a tool to corner
architecture into just economy and strength of structures.
Modern day architecture has adopted the use. For example,
concrete to fix flaws in construction and cater for the need to
have stronger structures perhaps because of the experience of
wars and disruptions all over. The simplicity in architecture has
been replaced by need for stronger structures, longer lasting
structures and value for money, a lot of constructions nowadays

base their designs on the lifespan of the structure, its resistance
to forces of nature and its ability to satisfy physical needs
rather than inner needs. This is considered as beauty in
contemporary architecture.
In conclusion, concrete provides solutions to what older
architecture could not achieve and that is strength. However, it
would be a catastrophe not to agree to the fact that architecture
is an art and beauty in art lies in simplicity. It is true that
contemporary art has moved its focus to concrete which is
complex and hard to sculpture. For example, A lot could be said
on issues of the underlying beauty in iron and cement for
example that it brings new taste to the industry and is used to
hide flaws and connect parts in construction that traditional
architecture could not achieve. However, it is paramount to note
that when talking about architecture; adoption and consideration
of strength, geometry and calculations over simplicity, emotions
and perceptions, the effects of light as it strikes objects and
exhibition of art so that the surface brings forth inner emotions
is a fallacy, it is a lie.
References
Corbusier, L. (2008). de livre: Vers une architecture. Editions
Flammarion.
Lau, L. K. (2011). The International. The International.
Shryock, A., Smail, D. L., Earle, T., & Poinar, H. (2011). Deep
history: The architecture of past and present. Univ of California
Press.
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final his/5/Assignment5.docx
Modern Architecture
World war aftermath opened the door for the different type of
architecture and ideology leading to a new sense of
development and historical restoration of different volume.
There was a choice of rebuilding or repairing what was availed
and thus a window into the actual struggle of the common
people into understanding wealth, economy and business. It is
that it became easier to understand the idea of freedom in
expression. There was string want to shift from the aristocratic
rule and an almost a new urge to rebel against anything that
symbolized. This led to the evolution of architecture with more
focus on the interest aspect that the beauty of the structure. In
this way, modern architecture became more symbolic and
functional spec as it shifted to go higher and higher to capacity
every economic situation of the people. As result, there is a
sudden change from the more concentration of artist in design,
art pieces and curves in building to a sound structure and
strength that was evident from the change. The strength of
change was to fast that growth has been fast over the years and
shifted more and more in the utilization of small spaces in
design elements and a lack of luster in terms of the visual
presentation.
Sometimes the level of design is an element that should be
considered relative as it implies what preference are the more
best elements that the other. In this way, there cannot be a
comparison of old and new architecture. Therefore, everything
remains in its place and at its time that best in quality
depending on the moment of its existences. As result, there
cannot be any piece that is looked down upon nor considered to

be of more importance than the rest and in this way, the concern
will be in cherishing of the development in value and in
consideration of elemental needs (Venturi, 1966). Hence a more
competitive at the present age to outdo the other within its
capacity leading to more superior consideration of the time that
may leave a legacy for the continuation within the next decade
or timeline.
Therefore, defining the culture of architecture will not be based
on the human growth and evolution element rather than the type
of function of structure and the advancement in terms of the
application of elements that define the building. It will speak
more of the science and art of architecture rather than
representation of a group of people existing at the time.
However, it is hard to consider this, but slow globalization of
the economy and the community at large is making it possible
with the fact that there is a need for purpose rather than
flourish. This need will, therefore, lead to focus on spate pieces
that become more of the outspoken prowess of time keeping
architecture a science and art that does not conform to the norm
hence scarcity will provide into rarity of pieces and hence a
cherishing of the luxury and efforts towards its construction and
advancements.
Robert Venturi’s position in Complexity and Contradiction in
Architecture(1966), points to modern architecture as being
mature in a position to validate the self-actualization of people
who live in it. This idea limits the fact that there is a
considerable outlook in term of what is being prioritized over
the other. The fact that the author suggests an understanding of
the complexity in simple terms with modern architecture shows
a rather lack of understanding of the idea of structure and art.
The venture has only looked form the perspective of functional
space and the value that is put in space as a commodity failing
to understand the implication of design in the most basic way.
There is no growth without understanding that a gap must be
there to be filled. Agreeing that modern architecture is the
epitome of design would mean that there is no growth, or the

expected result would be deterioration of standard. In optimal
use of space, there is the technological component and the
material of building that is taken it on the account. However,
there is more responsibility that is laid to the people living
within it and a booming interior design living part of the
responsibility to the user if space (Johnson, 1955).
In a way this only shifts the definitive aspect of architecture to
people who have no expertise or a coordination to understand
the value of that spec in architectural components. This means
that within one building, there is versatility of taste that makes
it easier to grasp the whole concept. It paves the way to a
complexity of the nature of the design and an almost confused
sense of what it really means. While I agree simplicity has made
it much easier to use space, there has been a few aspects that
have been lost in terms of the power of the architect-designer
giving rise onto a market that aims to fulfill it. This slowly
takes away the beauty of the study and separates it into
components which while they grow, it is no longer with the
same structure as the foundation of architecture (Johnson,
1955).
Therefore, calling this aspect as maturity shows a lack of
understanding of the dimension in looking at art from another
perspective. In modern architecture, the functional aspect has
been made a focal point of prioritization that it has become
almost clinical. This can be seen with institutions in which
there is strict rule sin lace to ensure that there’s efficiency. One
consideration is building in school in which the beauty is no
longer a factor and what is concentrated on is the idea of
movement from one place to another. The idea of the vicinity of
utilities such that the kitchen cannot be far from the dining
room, the toilets cannot be far from the classroom space and
definitively the security would not be hidden but rather easy to
access.
Value is placed in the use of less time without considering that
sometimes, it loses the aesthetics of development prompting the
teachers to fill these need with numerous pictures and art pieces

in the halls, hallway and in offices. This takes away the
structural flow of the architectural design to concentrate more
on the individual taste. It, therefore, looks like architecture has
only shacked it responsibilities by delegating the duty as the
building looks incompletes when done (Venturi, 1966). This
goes to show that instead of becoming more competent and
adding onto the growth, architecture is taken apart to comprise
another aspect and a displacement of the value in priority,
quality and value that diminishes with a minimalistic society
that fails to recognize the additional expense that is placed to
compensate for lack of expression.
Consumerism has certainly boosted this aspect as more people
move towards cities requiring more space hence a need for even
more minimization of the design aspect. Somebody said that
people are now living in boxes which do not define who they
are and what they represent hence a loss in recognition of the
artistic view in architecture meaning that there is the soul that it
lost. It appears to be very true as the more identify that is given
is consideration of the economic value of the space lives hence
the idea of status based on a more self-pronunciation culture. It
is because architecture is tied directly to the cultural
development that there seems to be a deterioration of purpose.
This goes to support the idea discussed earlier on that there
needs to be a differentiation of culture and design as an aspect
of science to allow room for expression and growth in
architecture.
Considering all these elements, there is indeed a systematic
definition of modern architecture based on the seven crutches of
architecture that seem to hinder development. The crutch if
history, pretty drawing, utility, saving the cent, cheapness,
comfort, and structure. There is no foundation of what was there
and what had been rather a more personal interest that considers
history almost redundant to the point that there isn’t futuristic
planning and longevity further that the purpose of the building.
In the aspect, therefore, there are so many common and similar
building that is mostly because the idea of common become

what the trend develops and what the consumers of space
requirements. Therefore, uniqueness disappears instead to be
replaced with an overwhelming uniformity of structure. It
brings in the aspect of trend and tested which is clinical in that
the people are more concerned with what worked in the first
consideration leading to a lack of creativity and room for
growth (Johnson, 1955). This has been enabling with the focus
of economy hence a need for reassurance in return of investment
hence focus on the aspect of the now and quickness to put up.
There is a complete disregard for the investment of time into
designing making it a strictly business as firm and construction
companies are delegated with the duty to oversee everything.
In addition, a concentration on comfortability of space and in
personal initiative including the aspect of environmental
concern has reduced the focus on the aesthetic value. Which
leads the development of aspects that only are necessary, which
has limited architecture is limited to only it is usefulness. In
this way, a more appealing outlook is not a consideration as
beauty is defined in the way space is moveable rather than how
it moves. In this way, modern architecture has shifted to the
basic of angled design rather than curvature that would tend to
make it more uncomfortable for placement of utilities. This
makes it easier to understand why that architecture has shifted
to budgetary constraint. In eco-friendly economy, it is much
expensive to consider the long-term involvement and viability
which makes economic returns a much nor concern (Johnson,
1955). Therefore, the focus has been on whether the building
would be able to bring in income and thus consideration of
inclusion of value in term of the entrepreneurship aspect of the
building rather than its architecture value. This explains the
consideration of the use of cheap material and less investment
in time for income generation.
However, the blame cannot be put on the economic development
alone as there is evidence in place of the institutionalization of
architecture that has made it a commodity. Architecture is an art
and understanding that art is almost intrinsic. Therefore,

teaching about architecture a science is taking away the freedom
to express how to would flow. There is certain element yes that
is teachable, but theoretical understanding, which the focus in
modern teaching it makes it a hard concept to grasp (Venturi,
1966). Therefore, commercialization becomes the only way
since it will provide an avenue for learning by experience. This
creates a shortage in the capacity with time and therefore, a run
with time. In addition, employment with corporations has made
it a business venture taking away the artistic power from the
designer and thus an introduction of clinical implementation.
The control is in the management rather than eth owner of the
building and the artist in place. In this way, there is ‘rushness’
added to the fact that as a commodity, both the art and the
person a veto be in line with certain regulation d rules.
The idea of the strict measure has, therefore, made it hard for
the flexibility created in letting idea flow and allowing change
as time goes on. There is a sense of exactness that has been
placed as the responsibility of the architect making it almost
impossible to voice any other changes. Therefore, a limitation
in the power of the person intended to be creative starting at the
level of the institution to the practical experience makes it hard
to see a change and observe evolution. It would explain why the
experimental design often must be self-funded or funded for a
purpose of expressivity (Venturi, 1966). In this way, when
power is taken away in any form in term of artistic value, there
is an element of unappreciation which acts as demotivation
making the artist limit their growth to only what is expected.
Conclusion
Through understanding the variable that defines the more recent
modern architecture, complexity is evident in its idea of
simplistic implementation. It appears that the tearing apart of
the component of architecture has made it impersonal and
contradictory in the sense that oversimplification has made it
more formal a subject contributing to the disconnectedness in
the experience of the art and science if architecture space. There
is no progress that has been made and as result, a complete shift

from the tradition with a wrong trajectory. There is no sense of
ownership in the design as more and more economization of the
field has made time to be of essence more than the drawing and
bringing to life the plans in place. This makes the implication
that architecture has reached its maturation a joke.
Work Cited
Johnson, P. (1955). The Seven Crutches of Modern
Architecture. 190-192.
Venturi, R. (1966). Complexity and Contradiction in
Architecture.22-27.
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