US3: The rest is still unwritten....

A blank chapter gives the impression of progression from one cconcept of design to the temporary time period of design. The pages that not been written apon our waiting for our generation to become a past concept and its time period to take after the older generation. Mondernism....will it continue?

Let's See.....  

Earlier chapters inside this book will only give a couple examples of influential designers and their remarkable pieces for their time period. These influential designers were most likely rich and smart. So with the ideas of the earlier chapters only letting a few pages be formatted and edited for publishing we realize that these are the examples of design that pave the way for other desginers in the future. Without, the introduction of this book multiple chapters could not be created.  

The next chapters will fuse and combine the ideas from the design form the beginning of the book and revist them through new and unique pieces of architecture that the newer generation believe as art. And as the reader reads these pages of the next chapters following the beginning of the book they realize this concept by seeing similar construction in all the newer pieces of design. So the one reading are able to read and comprhend what others that were written about in the book could not live to see.

The most recent chapters in desgin realized that they would break the rules of just having a few elite and brillent designers rule the cause of design because in the 19th century the first fairs were being built. And everyone knows fairs are not run by extremely smart or rich individuals. More designers of all levels of social- economical statuses came together to create what I believe to be fair design. 

As I reflect back on the last design unit I realized that there was barely any mention of any king who built the structure in the presentation of how powerful he was, or a duke getting a famous designer to build him a palace out of stone. We loose the interpretation of status and educational status as the design world porgesses on this is why the final chapter leaves no room for designer discrimnation and opens the door for possiablities for anybody who dreams of design to go out and find a way to achieve thier desires. 

THE END  

RR13: Higher Technology- ohlala

Renzo Piano and Richard Rogers, Centre Georges Pompidou. This is the prime manifestations of this approach of High Tech architecture. It is expressed as an inside out, so to speak.

• High Tech maintains the art of exoskeletal buildings like pictured above. And he Pompidou is a maze of color coded air ducts, electrical conduits, and Plexiglas-enclosed escalators.  
• The High Tech aspect of design in architecture as a "machine like sometimes compared to pure art.
• Overall, this modern aspect of design interests me the most because it makes something so simple look futuristic and "high tech"

Santiago Calatrava, Lyon-Satolos TGV Terminal. The designers achieves forms suggesting organic forms in nature, like wings on a bird. The terminal actually looks like it could take flight as in the "high tech" aspect of this building is the fact that it could fly away.


I.M. Pei, The Grande Louvre, an exoskeleton of a pyramid of glass. This is majorly modern because it takes form of an ancient form but made completely more modern. This beautiful piece of architecture is placed in the center of old century France.


"High Tech" is a development of late Modernism which celebrates technical innovation and finesse. It's a continuation of that aspect of Modernism that used to be called "structural exhibitionism," which is the intent to astonish the viewer by unprecedented daring in sturctural form, or at least to elicit admiration for structure for its own sake. There was, you recall, also the intent of early Modern architecture to call attention to industrial components. The Bauhaus was "high tech" in this sense, with its repetitive, mass-produced glazing"
-Paul Malo