The Significance of Architectural Plan - Coursework Example

Modern Architecture In the field of architecture, an architectural plan is the planning and design for a building and may have architectural drawings calculations, design specifications, time scheduling and other documentation. An “Architectural plan” has several related meanings which may consist of: An architectural project plan Generally, plans are complete drawings of the intended structure that represent the projected when complete (Francis and ‎ Eckler 316). At times, it may be called floor plans or blue prints. In the event that the structure has been designed to serve as a residence building, it may be called home plan. Any architectural plan will normally include any changes in the elevation, together with a possible list of design notes and materials1. Establishing a good set of architectural plans is one of the initial steps in the design of any type of a building. A study or a site plan may be undertaken first so that adequate knowledge is availed regarding the site before the last plans are made. The moment the site has been inspected, drawing of the plan may take off depending on the space that is available. Occasionally, this can radically alter the plans from the prior design, but several changes as a result of site limitations will be relatively minor2. The outline of the building in the architectural plans found on the map is what the contractor will use to construct the structure. The layout must take care of any elevation changes, such as those needing slopes or steps, both within and outside the building. The plan is drawn at a scale that is uniform throughout the whole document, not unless any change is brought in place. The scale could be enlarged to feature more details in some instances, but this detail is normally set aside from the main plan3. Architectural plans will always be very specific as a result of the materials that are to be used. This is because the designer is normally after a certain look and appearance which requires strict adherence to the plan. Any deviation from the plan by the contractor is only supposed to be done after a consultation with the architect or the client that the building is being done for. In as much as there are several modern plans, some still consider the incorporation of both traditional and modern building techniques. Most modern architectural plans embrace both contemporary and traditional elements to form designs ranging from the conceptual to the more market oriented. Due to the speed and scale of urban development, however, modern architecture increasingly embodies technological innovation, most notably ‘green’ architecture and digital influences aimed at energy saving measures. Hence, modernist styles can be regarded as the mainstream, with office and residential buildings dominating most urban centers (Norma 319). Most planners have realized that most contemporary cities lack a sense of identity. As a fact, more and more of them seek to show their respect for tradition through incorporating elements of ancient architecture styles. Some planners use the concept of traditional architecture to contemporary designs; while on the other hand, others apply elements of contemporary architecture in highlighting the features of traditional culture. In as much as planners have differing views regarding this approach, the inheritance of traditional styles normally unites them and is always at the heart of their designs (Mark, Shamamian, and Giovannini, 207). Most architectural designs are experiencing a new kind of exhibition. This is explained as an approach that emphasizes not on the functional, but instead the experimental aspects of architecture. Buildings may possess both dramatic façades producing organic or sculptural feels in addition to having interior experiences that are also dynamic; this may be one of those approaches focuses on using modern techniques. Sloped floor and ceiling planes can present an incredible exaggerated effect, prolonging the perspective sense within a space. At the same time, walls can be erected to exaggerate the assumed height of a given space (Conway, Hazel, and Roenisch 543). This normally brings about an architectural illusion; individuals’ perception of such spaces changes through a keen use of form and material, it shows how modernism has transformed traditional architectural planning4. In most occasions, these types of buildings bring about unexpected encounters; the leaning walls and sloping floors, for instance, produce a gravity defying experience. In such a structure, everything should be re-looked at, from the lighting system and furniture, to the apertures for windows and walls. The relationship existing between the outside and the inside is specifically dynamic. New kinds of lightweight building materials have seen architecture of this nature become a real possibility. No matter how much or little one may think they are accustomed to architecture, the feeling and experience that one derives from being inside this building tends to be soothing and very inspiring. This mainly arises from the act the architect involvement in the design process and continually maintaining being part of the design process. In the design of the building, there is a great display of the manner in which a building will normally respond to the ground. By starting with the various generic abilities of Dom-ino system, this structure tends to put into consideration the Semperian concept of earthwork as well as frame to a state that may be considered dramatic. The design may be said to be well coordinated by the use of the language of architectonics of the design for city theatre by Hans Scharoun and Alvar Aalto’s Kulturhaus that are both located close to the structure. The semi triangular floor plan of the building helps in the provision of an empty space purposely for the exploration and examination of scientific tricks and physical laws (Mark, Shamamian, and Giovannini, 203). Phaeno Science center, Wolfsburg, Germany, Zaha Hadid, 2000-2005 Photo by author: The exterior view of the structure Designed by a London based designer, Zaha Hadid, Phaeno Science Center is a hypnotic architectural work; this is a kind of a building that utterly changes the society’s vision of the future. The building’s imposing nature celebrates the superhuman large scale metropolitan infrastructure of a prior era, enabling people to observe it with their own naked eyes. It is a building challenging formal convention, tamping construction history through merging modern and ancient skills as advanced computer analysis is met by handmade framework. Photo by author: The sketch by Hadid, indicating the heavy regular horizontal shape which is elaborated by the squiggly ‘fingers’ Cast from more than twenty-seven thousand cubic meters of self-compacting concrete, in as much as this structure is a technological triumph; it still retains an architectural feel which beats conventional designs. The building has embraced digital drawing which has made the structure challenge traditional ways of making architecture. The structure has explored the prospects of parametric design allowing for the construction and conception of architecture to be like a seamless flow of matter and energy. The building efficiently stands on concrete lifters enabling guests to the Autostadt to pass through minus interfering with the workings of the building. The building is keenly connected to the Autostadt through a metal bridge that is accessed by use of escalators and stair cases on both sides. Both the stilts and the undersides are illuminated. Both the external form and the exterior spaces of the building take the form of a spaceship that has landed in Wolfsburg. Through the placement of the ten pillions of the building as well as the cuts on the surface of the building that may be considered alien helps in the provision to one side of a public platform and to the other side, the body of the building tracks the railroad to the opposite side. Photo by author: The third triangular side of the plan is hanging over a ramp. This ramp serves both the purpose of a public path leading to the bridge that crosses the rail tracks as well as an emergency exit. A backdrop is provided for by the undulating wall that faces the city. This backdrop mainly helps accentuate the public landscape that lies in front of the structure, in collaboration with the Aalto’s undulating façade. On top of the buried volume, the ten hefty support piers which are cone-shaped hold up the concrete that forms the base of the walls of the building. These help in the connection of the two-way extending drivel slab structure both for the roof and the floor. The car park in the underground plays the role of acting as raft through effectively suspending the entire structure over the relatively smaller volume rather than the traditional subsoil that is considered adequate for both footing and padding. The conical piers are actually also viewed as part of the volume’s spatial organization5. Photo by author: The roofs stood as very great threats to the building as they had to slope towards the city hall, making construction a very great challenge. The pillars also given quite a relatively detailed appearance making them appear as though they were rising from the ground plane that is sculpted. Interestingly, the dynamic figuration of the pillars very distinctively differs from the Marseille’s apartment pilotis. Unlike the Marseille apartment block, the large volume of Phaeno is basically given support and structured by hollow cones. In the design by Le Corbusier, the pilotis are designed in such a manner that they look like arms that are supporting up a mass. The philosophies of the new brutalism are markedly brought out by the theatricality of the design of the structure. This encompasses the cuts of the concrete enclosed space and the pleats, which help present an alternative aesthetics that tends to oppose the relatively porous and dull tactile features exhibited by most of the early structures of the industrial era. However, opposed to the architectural characteristics of the early brutalism, every surface embellishment and cut is used in the exaggeration of the building’s body that is seemingly animated. For instance, to the southern face, a glazed opening in the diagonal is expressed by the technique of cut, which help in the acceleration of the movement of the poised form 6. The building may also be referred as a “social construction of technology”. The theatricality that is attributed to this structure permits the heavy feeling of the concrete mass to be perceived as very light. Through the metamorphosis, various dichotomies that are central to the process of transformation are brought about as well as the expression of the versatility of materials for building that are seen today. Through the design, the image that is naturally portrayed by concrete as being very heavy is generally evaporated into something that comes handy with the culture existent in the modernistic world. This attribute is basically meant to take into consideration contemporary architecture. This expresses the ancient buildings characterized with stonecutting, mathematical geometry, military engineering, as well as architectural composition. The building also served to differentiate between classicism and gothic. Of course the building was made in the present; hence, inasmuch as it tries so much to depict the ancient architecture, there are a series of modern architecture put into play. For instance, upon getting to the fourth floor, one will easily notice the series of openings that run the entire length of the exterior walls. These openings are purposely incorporated to embrace green architecture themes. Through the utilization of the natural light at the level that is possible, the energy consumption of the building is greatly put under check, hence, playing the expected outcomes of the green architecture7. Photo by author: The building also tries as much as possible to assume nature, with the cones having a series of roof trusses originating from the m just like tree branches. In case future historians were to look back into our time, surely they will be amazed and they will realize that the current architectural ear is what really expresses the various ways in which we live through the buildings. Very few contemporary architects have actually managed to achieve the adroitly as is portrayed by Zaha Hadid’s structure. The architect herself describes her work as something that encompasses very wide scope of the various approach has she had ever had to her previous designs (Edward 73). The building may seem quite ugly from the outside, however, once inside, a very different story emerges. Generally, in the coming up with the Phaeno Science Center, computational tools, artistic formulation, design philosophy as well as the construction methodology were all very significant. They helped in the pushing of the boundaries that defined how the processes of architecture had actually been conceived and even systemized in the past. It is, therefore, very important that we get to comes to terms with the ability of the computational platforms in informing even advanced creativity processes rather than staging as constraints. Besides, the other lesson that may be learnt is the fact that the various technological tools do not really act to the disadvantage of designers but help in the advancement of architecture even further. In conclusion, most architects have made emphasis and understand the significance of architectural plans on the outcome of structures (Conway, Hazel, and ‎rowan 432). Classical architects considered the plan to be the fundamental component of architectural work, which determined how the work could continue. Consideration of the essential factors during the planning phase of the development remains an important aspect which could result in the successful development. The plan is commonly developed based on considerations of aesthetics, and the intended purpose for the structure. Works Cited Bellamy, Edward. Looking Backward: 2000-1887. Boston: Broadview Press, 2003. Print. Ching, Francis D. K., and ‎James F. Eckler. Introduction to Architecture. New York: Wiley, 2012. Print. Conway, Hazel, and ‎rowan Roenisch. Understanding Architecture: An Introduction to Architecture and Architectural History. London: Routledge, 2006. Print. Evenson, Norma. Le Corbusier: the machine and the grand design. London: Studio Vista, 1969. Print. Ferguson, Mark, Oscar Shamamian, and Joseph Giovannini. New Traditional Architecture: Ferguson & Shamamian Architects : City and Country Residences. New York: Rizzoli, 2011. Print. Read More