Dec 13, 2017 in Research Category

The Burj Al Arab is a 321M tall postmodern hotel building located in United Arab Emirates capital Dubai. At the number four tallest hotel building in the world, Burj Al Arab inspires a complex mixture of ingenuity, architectural guineas, and aesthetic awe. Burj Al Arab meets and, perhaps, surpasses the characteristics of a postmodern architecture in the following ways. Firstly, the building is designed to mimic an ocean going vessel, a medieval ship with the sail representing the body of the ship. This design is a philosophical as well as iconic representation of Dubai, as a sea set business society. In addition, the building is set in water, with a flexible yet firm foundation of 230 concrete blocks each 40 meters long, and flexible formations to absorb ocean currents without taking the raw shock. The building features rotating doors which allow entry and exit without letting the warmer low pressure external air gain entry into the temperature moderated interior. The quality of service is ranked very highly, with current pricing for accommodation being among the top five in any hotels in the world. The building is an engineering masterpiece, standing against a rare environment prone to forces of the ocean tides, the shifting sands and the extreme temperature in the environment. While building height is not necessarily a basis for classification of a post modern building, most have the height property too that makes them stand out against other buildings to become landmarks.

A general point of view regards as post modern many buildings put up in the late 1960s going forward which had remarkable advancement in terms of height, architectural prowess, and cultural diversity in design. In the current era, postmodernism in architecture is manifest in such properties as pointed aesthetics, reflection of philosophical ideologies such as pluralism, paradox, irony and contextualism (“Cockrams Surveying”, 2012).Color scheming of postmodern architecture deviates from conventional arrangement in a creative way. In addition, postmodern architectural forms feature enhanced comfort and style.

The Berliner Philharmonie, a concert hall in Berlin, is a building which is much admired and greatly celebrated for its novel architecture as well as the resultant magnificent acoustics experience. It is entirely of an organic approach to architecture that lends itself to an expressionist design of the postwar modernism.  The form of the concert hall itself has astutely been made subject to the needs of its structure and interior functions.  Organic Architecture is a philosophy of architecture that emphasizes both aesthetics and the environment.  The design of the Berlin Philharmonie concert hall is a momentous expression of Organic architecture.  Not only does the concert hall exhibit an aggressive expression of parts, the parts are brought together just as distinct personalities in an egalitarianism that underwrite the whole and yet preserve their personal individuality.

The Berliner Philharmonie again illustrates fundamental themes depicted by the architect in bringing to life his creativeness, the essence and impressions underneath the style, and the overall goal of the design.  Postmodernism has all along been regarded as somewhat radical. There seemed to have been a lull in the postmodernism camp but this was simply the calm before the storm.  This particular concern has had an underhanded itinerary of confounding many an architect. Indeed just as anything which has the next half of the camp considering somberly   bolstering up their pretense, the school of thought which holds that postmodernism is dead and buried are but the same ones who look no further than the present to see it.1  Brutalism is

 arguably more preferable because of its lack of appeal, and unless one prefers to be a narcissist, one would not fail to notice the wide chasm that separates brutalism from post modernism.   the trend in American of course is one that does not bear much regards for post-modernism  with  its perceived lack of  lustre.2  It is not a hidden  fact in architectural circuits that  Postmodernism is a no go zone.

There are apparently many factors that lead to this state of affairs least among them being that postmodernism has lost its flavor and it reeks of exploitation. However, the beginnings of postmodernism are definitely tied to ultra-modernism. On the other hand, organic architecture does not only purport to wear the prestigious green label but makes a stand for a  certain  manner of thought concerning a scheme that seeks to supersede the ordinary structures that we have evolved with up to now.3 Rather than dwell on fashion, organic architecture  emphasizes an approach method  to overcoming design challenges. In Architecture, a style or fashion of design would infer a sequence of regular aspects while an effectively organic architecture innovates novel solutions to problems with regard to the specific scenario.4   It is not farfetched to say that in a way, organic architecture is right on the heels of the design process of nature and as such through adjusting to every locale, environment or available resources, it can realize a highly optimized schemes5  

The style of the concert hall neither emphasizes on symmetry nor rectangular composition. It is an archetypal rendering of the unremittingly disjointed space in the postmordern period. This architectural work has increasingly developed fraction with it strict adherence to function. It is difficult to understand the asymmetry in the architecture of the Philharmonie, which is widely regarded as Hans Scharoun's greatest accomplished design.  With the ragged perimeter as a specific case in point, how does it address architectural context or function in a realistic disposition.  Perhaps the best alternative would be to look to Scharoun’s  own explanation that    the style itself was lent to  meeting the needs of audition.

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