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新西兰塔拉纳基西部理工学院论文代写:设计理念

作为一个与此相关的成功康复方面的旧观念显著的例子就是他爱的对称,是在现代建筑师墨守成规、缺乏想象力。Kahn是一个拉霍亚的索尔克研究所设计,加利福尼亚作为一个复杂的组成的建筑,在两侧相同的集中喷泉。这种对称性已经对美术的风格特点,但Kahn一直对这个特别明显,回归平静。
Kahn一直是一个以建筑相同的组合吸引观众的眼睛到这个特别的设计中心,并朝着大海前进。喷泉由这个学院根据太阳在春分和秋分[ voolen,E.,2006路中心运行,犹太文化和艺术。Prestel。138页。爱沙尼亚出生的建筑师卡恩(1901–1974),他随家人移民到费城1906 ]。因此,卡恩利用对称不是审美故障而与较高的意向性,提供一个有意义的相关的势头,焦点和平衡。
大多数的现代建筑师主要依靠玻璃,混凝土和钢,但Kahn寻求一些不同类别的感官材料。卡恩日期原型形式回到希腊的建筑,而他在上世纪50年代获得知识。Kahn认为,这种形式的建筑告诉他,哪里有光明,有空间,那里没有光,有柱[翰,P.,1974,路易斯。卡恩模具;建筑师,73,“纽约时报,1页。]。因此,根据他的哲学,Kahn认为,光也被视为集中的元素为他所认为的事实,轻元素有助于给其他所有元素的存在。大自然、溪流、空气、高山以及人类的每一种物质都是以光为代价的。

新西兰塔拉纳基西部理工学院论文代写:设计理念

As a significant example related to this successful rehabilitation with respect to old ideas was his affection towards symmetry, which is considered as conformist and unimaginative in the modern architects. Kahn was the one designing the Institute of Salk in La Jolla, California presented as a complex consisting building, identical over either side related to a centralized fountain[ Johnson, E. J., 2009, A Drawing of the Cathedral of Albi by Louis I. Kahn, Gesta, Vol. 25, No. 1, pp. 159–165.]. This type of symmetry had been characteristics with respect to the style of Beaux Arts, but Kahn had been unperturbed towards this specifically apparent regression.
Kahn had been the one using the identical combinations of building for drawing the eye of viewer to the center of this particular design, and moving towards the sea ahead. The fountain running by the center of this particular institute aligning with the way of the sun over both the vernal and autumnal equinox[ Voolen, E., 2006, Jewish art and culture. Prestel. p. 138. The Estonian-born architect Kahn (1901–1974), who immigrated with his family to Philadelphia in 1906]. Thus, Kahn utilized symmetry not being an aesthetic fault but rather with higher intentionality, for providing one having a sense related to momentum, focus and balance.
Majority of the modern architects have mainly relied upon glass, concrete and steel, but Kahn sought a number of different categories of sensory materials. The archetypical forms of Kahn date back to the architecture of Greece, for which he obtained knowledge in the 1950s. According to Kahn, this form of architecture taught him that where there is light, there is space, and where there is no light, there is column[ Goldberger, P., 1974, Louis I. Kahn Dies; Architect was 73,” The New York Times, p 1.]. Hence, according to his philosophy, Kahn believes that light also has to be considered as the centralized element as he considered the fact that the element of light helps in giving the presences of all of the other elements. Every single material of nature, the streams and the air, and the mountains, as well as the humans, are made at the cost of light.