Sign Up Now
Get instant access to over 1 million+ study documents
OR
Already registered? click here to login
By creating your account, you agree to our terms of service, privacy policy and student honor code.
Nostalgia
According to Lowenthal, nostalgia is "the universal catchword for looking back," (4). Looking back happens to be a source of "modern malaise," too (4). Nostalgia is also a commercial proposition, and can be a crafty marketing tool. The past is a foreign country, and it therefore inspires tourism in the form of continually looking back to bygone days. This could come in the form of affection for antique furniture, or in an appreciation for old-style train cars. Lowenthal's ideas are integral to design sensibilities because they challenge designers to resurrect the past but in ways that suggest freshness and re-interpretation.
The important thing with nostalgia is the illusion of a memory. The designer is not entrusted with recreating old technology, but in designing new technology to make it look old so the consumer feels connected to the past. Fascination and fetish with the past drives consumer behavior. As...
It is sufficient to invoke the "vividness" of childhood, which is a memory idealized (8). When a person recalls the past wistfully as with nostalgia, that memory is encased in idealism and devoid of the realities of negative emotions or daily hardships.
Nostalgia is therefore a type of escapism, according to Lowenthal. The present is weighted down by the burden of daily toil, and the future filled with uncertainty. The past, however, is whatever we want it to be. As a type of escapism, nostalgia can easily be pathologized and it often is. As Lowenthal points out, nostalgia was once classified as a "malady," but is now accepted as normative or even desirable (11). The person who detaches too much from the past is viewed suspiciously, as if they have no heart or soul. Yet nostalgia dangerously disconnects people from the present. Nostalgia goes…
International style of architecture was a major style that emerged, and rose in popularity, in the 1920s and 1930s. The term "International Style" stems from the name of a book by Henry-Russell Hitchcock and Philip Johnson written to record an International Exhibition of Modern Architecture that was held at the Museum of Modern Art. This occurred in New York City in 1932. This International Exhibition not only identified, but
Architecture It is interesting to learn that Mid-Century modern is really an architectural, interior and creation purpose procedure that normally defines mid-20th century expansions in modern blueprint, architecture, and urban expansion from approximately 1933 to 1965. The period, occupied as a style descriptor even during the mid-1950s, was reiterated in 1983 by author Cara Greenberg in the name of her manuscript, Mid-Century Modern: Furniture of the 1950s, which celebrating the style
From approximately 1930 until the 1980s, rectangular and functional spaces were the chief form of architecture around the world in general. The latter part of the 20th century -- the 1980s onward -- saw change once again, however (2008). For the most part, 20th century architecture, however, "focused on machine aesthetics or functionality and failed to incorporate any ornamental accents in the structure" (2008). The designs were, for the
This indicates the open and natural lines of the American prairie fields. A very interesting element of the Robie House design is that it has neither a basement nor an attic; the latter was omitted to perpetuate the visual element of the horizontal represented by the house, while the former was omitted for the simple reason that Wright found it aesthetically unpleasant. Instead, the communication of the house with the
Indeed, the first use of the term 'architect' as against 'master mason' in France dates from 1511 and reflects the increasing influence of Italian ideas" ( P88). Heller goes on to state that "…humanist learning in architecture not only raised the status of the architect, it also helped to foster a new division of labor in construction…"( Heller 88). 1.4. Significance The innovative design that was exhibited in this construction was
The Palais des Soviets and the Palais des Nations, like the Party Buildings in Nuremberg, symbolized the hoped for triumph of a "new order." Communism, like Nazism, believed that society functioned according to certain, almost mathematical laws. The dialectic of class against class had brought the proletariat to power, and the communist Soviet state represented the natural and inevitable apex of human evolution and history. Le Corbusier shared in