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論文代寫行情:詹姆斯斯特林建築的體系結構

一條玻璃帶環繞著南側和東側,這增加了建築的獨特性。墻壁和屋頂似乎融合在一起,這使得它類似於愛因斯坦塔。作者將其與現有建築進行比較,其背後的原因似乎表明,除了一些元素外,這座塔本身是獨一無二的。這種獨特的氛圍使建築兼具現代感和藝術感。獨特的光環是機械復制時代的必然。

這棟建築有一個類似格柵的背景。陽光透過格柵照射進來。因此,這裏可以看到一種漫射的陽光,不像巴洛克式的教堂,那裏的特征被更加清晰地突出,這裏的特征並不是特別針對燈光。當我們考慮表征的時候,考慮一下柏拉圖關於洞穴的寓言,在那裏,擴散的使用可能導致對陰影的解釋,實際上是一個人頭腦的圖像,而不是現實。這裏的照明是專門用於不產生這種陰影影響的方式。勒柯布西耶的建築,如Menin和Samuel所展示的,被認為具有更開放的特征。開放性作為一種建築特征,意味著建築應該是空間和光線都安排得很好,並與建築很好地流動。對斯特林的回顧表明,同樣的情況也出現在教堂裏。

除了獨特性,還有一些元素,詹姆斯斯特林認為類似於南岸節日。他說,石像滴水嘴、琺瑯壁畫、彩色玻璃鑲嵌,甚至文字的線性嵌入方式,似乎都表明了這種節日和多余的風格。斯特林說,參觀的方式是以一種相反的方式展示的,遊客在進入教堂前要繞一個半圈。屋頂是下垂的,帶有法式風格的運動施舍盒和旋轉門。在唱詩班走廊樓梯旁邊的墻上,可以看到一種禮拜用的紫色。在聖母像所在的區域可以看到綠色和黃色,在一些區域,紅色被用來顯示教堂內傾瀉的光線。這裏創建了光度或日光效果。事實上,陽光可以通過三種不同的方式被捕捉到,因為祭壇能發出光芒和明亮。這兩種形式都包含了藝術和功能的元素。可以看到,顏色和更多的使用方式使教堂看起來是空靈的,然而使用燈光是為了增加功能主義形式。體系結構需要功能形式才能有目的。

藝術、宗教和哲學是黑格爾金字塔的三個角落。在這個體系結構中,這三個方面都到位了。這個地方的音響效果與大教堂的空間相似,宗教建築的效果也體現在這裏。雖然作為一個現代主義建築,功能主義的元素也被很好地捕捉到,為訪問這個地方的宗教人士服務。

斯特靈指出,馬賽人和朗尚人都為這座建築感到驕傲,當地居民對這座建築非常認可。當地居民認為建築是對詩歌的想象。它是現代的,但同時也捕捉了當地的情感。當地遊客更能接受這種建築。缺乏公共知識分子的參與實際上被認為會導致更好的接受。因此,這裏更支持群眾的思想。評論家說,它不是一個具體的固體結構,並被視為在其開口的建設方式中斷了很多。在使用空間的方式中,我們註意到了紀律的一個元素,但這些中斷也為湧現的元素鋪平了道路。在新的世界中,更容易偏離更合適和更完美的表達方式,而架構顯示了這一點。較新的技術,如當地和民間建築的表達是使用在這裏。事實上,在這裏可以看到土著元素。甚至連毗連的房屋,如牧師的房屋,也被認為在性質上更具有裝飾性。這再次顯示了思想和建築哲學的變化,與過去歐洲建築的適當元素。

論文代寫行情:詹姆斯斯特林建築的體系結構

A glazed strip is seen to run around the south and the east ends and this adds to the distinctive nature of the building. The walls and the roof appear fused and this makes it similar to the Einstein tower. The reasoning behind the author as he compares it against an existing building seems to indicate that except for some few elements, the tower in by itself is unique. This aura of uniqueness is what makes the architecture both modernistic and art oriented in nature. The aura of uniqueness is a necessity in the age of mechanical reproduction.
The building has a grille like setting. The daylight seeps in through the grilles. A form of diffusive sunlight is hence seen here and unlike the Baroque churches where the features are highlighted more clearly, here the features are not specifically targeted by the lighting. When considering representation consider the case of Plato’s Allegory of the Cave, where the use of diffusion could lead to interpretation of shadows in ways that are actually images of one’s mind and not reality. Here the lighting is specifically used in ways not to create such shadow impacts. Le Corbusier’s architecture as presented by Menin and Samuel is seen to have features that showed more openness. Openness as an architectural trait means that the construction should be such that space and light are well arranged for and should flow well with the architecture. The review of Sterling indicates that the same is seen in the Chapel.
Apart from the uniqueness there are some elements that James Stirling considers as being similar to that of the South Bank festivalia. He states the gargoyles, the enameled murals, the colored glass insets and even the linear way in which the wording is inset seems to indicate this festive and superfluous style. Stirling states the way the tour is displayed is in the form of a reverse manner where sightseers walk a one and half circle around before entering the chapel. The roof has sag to it, and sports alms-boxes and swivel-doors in French style. A liturgical purple color is seen to be splayed on the walls that are just adjacent to the choir gallery stairs. There are green and yellow colors seen in the areas where the statue of Madonna is and in some areas the color red has been used in order to show the pouring of the light inside the chapel. Luminosity or a dayglow effect has been created here. The sunlight is in fact captured in three different ways because of the altars giving the glow and lightness. There are elements of both forms where both art and function are incorporated. It is seen that the colors and more are used in ways where the chapel is made to look ethereal, however the use of lighting is seen to add to the functionalist form. The functional form is required for architecture to have a purpose.
Art, religion and philosophy are three corners in the Hegels pyramid. In the case of this architecture, all three come into place. The acoustics of the place are seen to be similar to that of a cathedral space and the religious building effect is present here. Although being a modernist architecture the element of functionalism is also well captured in serving well for the people of religion who visit this place.
The building is more than accepted by the local population as Stirling notes people from Marseilles and Ronchamp are both proud of the architecture. The local population considers the architecture as an envisioning of poetry. It is modern but at the same time captures the local emotions also. Local visitors accept the architecture better. A lack of public intellectual participation actually is seen to lead to a better acceptance. The ideology of the masses is hence supported more here. The reviewer states that it is not a concrete solid structure and is seen to be much interrupted in the way its openings are constructed. An element of discipline is noted in the way spaces are used, yet the interruptions paves way for the elements of emergence also. In the new world it becomes much easier to deviate from more proper and perfect expressions and the architecture shows that. Newer techniques such as that of local and folk architectural expressions are made use of in here. In fact, indigenous elements are seen to be present here. Even the adjoining houses such as that of the priests are seen to be more decoratively applied in nature. This again shows the change in ideology and philosophy of architecture compared to what used to be the proper elements in European architecture.