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The Aesthetic Values of Architecture

If you look at a city, it’s easy to think all the buildings look the same. You see rows of

towering confluxes constructed out of concrete, glass, and steel. All with the same general shape

and atmosphere. Yet, when looking at certain cities, differences become easy to spot.

Architecture defines itself as the art or science of building and constructing. It is one of the only

artforms that holds a steady place in our everyday lives. Architecture dictates where we go, what

we see, and our emotion. When you look at a certain building, you can think it looks ugly, or

innovative, or happy. But what exactly makes us feel that way about something so inanimate?

Over my summer, I was able visit Stuttgart and Munich as part of a German cultural exchange

program. One of the first things I noticed was the difference in the architecture present. Before, I

had only ever been exposed to the simple house designs of the California suburbs, and the tall

skylines of the various Bay Area cities​.​ But, Germany gave me examples of architecture I had

never experienced before. Castles and palaces with fairy tale facades like the Königsplatz in

Stuttgart and the Marienplatz in Munich intermingled with ultra modern and sleek construction

of the Mercedes Benz Museum and the Olympiastadion. Upon my arrival home, I couldn’t help

but wonder why architecture around the world has so much variation.

It’s safe to say every city has a certain way it wants to look, and this is where the idea of

aesthetic comes in. Aesthetic is the philosophy of beauty that exists in art. Elements like balance

and color exist as a means to define beauty, and see use as a means to explain why something is

beautiful the way it is. Every structure has its own unique feeling brought out by it’s aesthetic.

But why can places look so different from each other? And what does that say about the ideas of

beauty that exist in one place compared to another? My interest in architecture, and my

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opportunity to view it from a global perspective with it have lead me to the question: ​how does

architecture reflect the aesthetic values of a community?

To understand how aesthetic fits in architecture, it is important to recognize that

architecture exists as an art-form. As a result, architecture follows many of the same rules

traditional art would, including aesthetic valuing. This relationship between aesthetic and

architecture has lasted for centuries, and can be seen in the products of numerous ancient

civilizations. In the past, architecture generally had two main functions influencing it's design.

First, structures were meant as a means to consolidate power and wealth. The temples and

palaces of the ancient world existed as a scale to identify who controlled the region. Second, they

featured religious themes in the form of paintings, carvings, and statues depicting religious

legends, characters, or scripture. This acted as a way to please whatever gods the people believed

in. Because they were often designed to display works of art, this allowed the collaboration of

both architects and artists to share knowledge and ideas (History of Architecture (3,000 BCE -

Present) Evolution of Building Design). One example of this relationship comes to light in the

context of Ancient Greece. Here, architecture and art flourished together as a way to connect

humans with the gods. “Through their temples, sculpture, and pottery, the Greeks incorporated a

fundamental principle of their culture: ​arete.​ To the Greeks, arete meant excellence and reaching

one's full potential… Much artwork was government sponsored and intended for public display.

Thus, art and architecture were a tremendous source of pride for citizens and could be found in

various parts of the city” (Art and Architecture). As time moves on, art evolves and so with it

does architecture. Kenneth Frampton, author of ​Modern Architecture: A Critical History,

explains that changes in architecture derives itself from changes in societal attitudes. He

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specifically describes how Neoclassicism, an 18th century style derived from Greek principles,

became popular because it represented a push toward egalitarian culture, with power moving

away from the aristocracy of the 17th century (Frampton 12). As society changed, what people

viewed as beautiful changed as well. Centuries have given us more and more architecture styles

but many come with elements that inspiration from the past.

In parallel, there is a fundamental philosophy that dictates a majority of modern

architecture today. That is “Form Follows Function”. In essence, form follows function refers to

the visual design of a structure, and how that relates to its purpose as a structure. In the early

20th century, modernist philosophies began to take form within the architecture of European

cities. As the industrial revolution lead to new innovations in technology and cities grew to

accommodate the massive influx of laborers who filled the production lines of expanding

factories, modernism developed as a reflection of the change in pace the world was encountering.

"It was a response to accommodate the changes in society" (Modernist Architecture). Modernist

architecture focused on a simple aesthetic that prioritized the purpose of the structure, with the

stylings taking influence from the function. The phrase “Form follows Function” was first

termed by architect Louis Sullivan (1856-1924) in 1896 in a study of skyscrapers (Koeper).

Sullivan wrote “Whether it be the sweeping eagle in his flight, or the open apple-blossom, the

toiling work-horse, the blithe swan, the branching oak, the winding stream at its base, the drifting

clouds, over all the coursing sun, ​form ever follows function​, and this is the law. Where function

does not change, form does not change…” In essence, this dictates that the style and shape a

building takes corresponds to the function it serves.

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To gain more insight into way architecture evolves, I met with my mentor, general

contractor Jim Long, for an interview. Long has worked as a contractor for almost two decades

and founded his own company, S&J Properties in 2002. He provided information about the ways

tastes can go forward and backwards in time based on changes in aesthetic values. Using the Bay

Area as a reference, he talked about how popular contemporary architecture characteristics,

usually have their roots in the past.“The Walnut Creek and Danville area has a lot of ranch style

homes and homeowners are getting more influence from ultramodern styles, even though it’s not

modern. We’re starting to see a lot of the 50s and 60s come back with subway type tiles, and

shaker style cabinets. It’s timeless but I would consider it transitional. People think it’s modern

but it’s not, it’s more traditional as some elements are 70 to 150 years old. I do (consider it

normal for tastes to go back in time). Were starting to see polished brass. And people used to

hate them but they’re becoming popular again. We’re starting to see some of the colors from the

70s and 80s come back. Architecture and design is a revolving door.” In terms of design, Ranch

styles houses are a product of the 1930s but emerged in the mainstream market in the 1950s

during the economic boom following WWII (Bricker). New economic rise opened up the

opportunity for people to buy homes and move away from the cities. Builders needed to create

simple homes that could appeal to a large market (Salant). These houses are a response to

economic growth with necessity in mind, utilizing simple designs including long, low pitched

roofs, large glass windows, open floor plans, and a one-story layout. Jim states that they’ve now

grown popular once again because they bring a unique American heritage, which is what the

homeowners want to convey through the unique and unpretentious nature of the construction.

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Like traditional art, architecture is able to bring out a emotional effect on the viewer. In a

study by Dr. Harald Deinsberger-Deinsweger, from the Austrian Institute for Residential and

Architectural Psychology, he investigated how architecture can affect psychological intuition and

how structures can be designed with the most positive emotions in mind (Margarete). His

findings included that inferior architecture, lacking in natural light and proper temperature

control, has the ability to induce feelings of stress due to a claustrophobic effect.

Deinsberger-Deinsweger stated “Our senses influence our thinking, feelings and actions and

therefore our entire body. If our senses are positively stimulated, this can have an invigorating or

calming effect. As a result, spaces can influence our thinking, action patterns and, thus for

example, promote motivation, our readiness to act, and strengthen our performance or

concentration. If we feel uncomfortable in spaces, this can lead to restlessness or discomfort,

hypersensitivity, lethargy or even anxiety”. (Margarete) This approach to design has been

increasingly common in cities. In Tokyo specifically, the layout of the city mixes greenery,

landscapes, and traditional structures (Waterman 108). This is done in order to elevate the mood

of citizens and reduce the claustrophobic nature of the urban environment. Humans, like all

animals, are naturally attracted to peaceful and natural surroundings. If the atmosphere of a city

generates peaceful feelings, the inhabitants of that city are much better off emotionally. This

leads to a happier and more productive populace.

In order to gain a better understanding of the connection between architecture and

psychology, I interviewed Justin Miller, another contractor for S&J Properties. His occupation

has given him first hand experience with the mental effects of architecture. In my interview, he

recalled previous experiences with contracting projects, and they how they capture feelings and

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emotions in their construction. Describing the positive designs, Miller recalls; “We built a church

and a school … (I would say) they’re sanctuaries. Even if you’re not religious they’re still

sanctuaries. They’re meant to feel calming and inviting." On the other hand, he illustrated how

designs can be associated with negative emotional response. “In the Bay Area I know of two

colleges that were built during the Vietnam War. Hayward State is one of them, and it feels

sterile, you don’t want to stay there. It’s all concrete, there’s no windows. You can’t see the sky

as you walk between buildings, you just want to get in, go to class, an leave." Explaining the

purpose of the design, he added. “It makes you feel uncomfortable. It was designed to make you

feel uncomfortable so people didn’t congregate and protest the war.” When I asked if that was a

defining trait of buildings at the time, Mr. Miller answered yes. “They didn’t want people to

hang out there. Now they design schools they want everybody to hang. They have open spaces

like quads but the schools designed in the late 50s and 60s, they built concrete boxes where you

just wanted to leave.”

The information I learned from Mr. Miller piqued my curiosity about the various

examples of architecture I see on a daily basis. Specifically, his statement about uncomfortable

buildings designed to prevent protests gave me a hypothesis about the design of our very own

Northgate High School which was built in 1974, one year before the end of the Vietnam War.

Before I came to Northgate, I had only ever attended schools that featured an open air layout

such as Walnut Acres or Foothill. In these plans, the classrooms are not connected and the

hallways are unsheltered from the elements. The design of Northgate, is instead brutalist as

characterized by the heavy and aggressive shapes created out industrial materials, a staple of the

style (Styles of Modern Architecture). In most of the classrooms, the walls are entirely out of

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concrete and completely lack windows. Apart from the natural light and open space in the

hallways and the forum, most of the school looks like it was made to feel uninviting. It was now

clear to me why it was constructed to be so uninviting. Northgate was designed during a time

when public architecture was created to go against the mainstream culture, and with this came

the aesthetic value of power and control over beauty.

Every piece of artwork has a message in mind with it's creation. The same goes for

structures and buildings. Communities use architecture to define the qualities or values they

hold. Every culture around the world has developed a distinct architecture style as a way to

reflect or celebrate a unique facet of their society (Architecture Sociology). In his essay,

"Cultural Influences on Architecture, architect Stephen Kenney explains that: “Architecture is a

manifestation and expression of culture. As such it must acknowledge and respond to the cultural

needs and values of the society with which it interacts” (Kenney). Let's take Germany as an

example of the ways architecture can differ based on cultural aspects. Following WWII, most of

Germany was reduced to rubble. City planners had to come up with ideas to rebuild the

destroyed infrastructure, and they were faced with two choices: restore or innovate; rebuild the

cities to look as they did before, or create new cities to reflect the advancing time period

(Mathias). In the case of Munich, city planners went the route of restoration. The city features

numerous traditional designs at its forefront, including the rule that no building exceed the height

of the famous Frauenkirche. As a result, the church is the tallest visible structure in the city. On

the other hand, the city of Frankfurt took the opportunity following the war to innovate. As a

result, the city is arguably one of the most advanced and modern in the country. The city serves

as the economic center of Germany, and one of the largest economic centers of Europe.

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Subsequently, it displays an atmosphere of innovation and prosperity in the sleek look of the tall

skyscrapers.

In my final analysis of architecture and aesthetics, I want to reiterate that as every painter

has a certain message they want to convey through their art, so does every community have a

certain message in mind when they plan a structure in a certain way. Structures can be built to

give off a clean or cluttered look, they can be built out of wood, concrete, glass, or stone, and

they can have a focus on form or on function. However they all say something about what the

community holds to their principles of beauty. In my opinion, I think the real beauty of

architecture as an artform is the way so many different styles can blend together while

maintaining a level of individuality and uniqueness that reflects the personality of a group or

idea. “​There’s a lot of variance throughout the Bay Area. You can walk San Francisco, or

Oakland… You see the ultra-modern, you see the craftsman style, you’re gonna see gothic

architecture styles. It’s because they’re port cities and you have a lot of different generations

with a lot of different ethnicities and design.” says Justin Miller about the way architecture

generates distinction. ​Overall, architecture is a powerful tool that can be used to show how a

community thinks and feels through what it finds beautiful, which is what makes it so important

when understanding society as a whole.

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Works Cited

“Art and Architecture.” ​Ushistory.org,​ Independence Hall Association,

www.ushistory.org/civ/5e.asp​.

Bricker, David. “Ranch Houses Are Not All the Same.” ​NPS.gov​, National Park Service Cultural

Resources., www.nps.gov/nr/publications/bulletins/suburbs/Bricker.pdf.

Frampton, Kenneth. ​Modern Architecture: a Critical History.​ Thames & Hudson, 2016.

“History of Architecture (3,000 BCE - Present) Evolution of Building Design.” ​American

Gothic, Grant Wood: Analysis​,

www.visual-arts-cork.com/architecture-history.htm#franklloydwright​.

Kenney, Stephen F. “Cultural Influences on Architecture.” ​TTU DSpace Home​, Chicago, III, 1

Dec. 1994, ttu-ir.tdl.org/handle/2346/20271.

Koeper, H.F. “Louis Sullivan.” ​Encyclopædia Britannica,​ Encyclopædia Britannica, Inc., 15 Jan.

2019, ​www.britannica.com/biography/Louis-Sullivan​.

Long, Jim. Personal Interview. March 2, 2019

Matthias Schreiber, Hans-Ulrich Stoldt. “Out of the Ashes: A New Look at Germany's Postwar

Reconstruction - SPIEGEL ONLINE - International.” ​SPIEGEL ONLINE,​ SPIEGEL

ONLINE, 10 Aug. 2010,

www.spiegel.de/international/germany/out-of-the-ashes-a-new-look-at-germany-s-postwa

r-reconstruction-a-702856.html.

Margarete. “1# ARCHITECTURAL PSYCHOLOGY: The Influence of Architecture on Our

Psyche.” ​Medium.com​, Medium, 1 June 2018,

medium.com/archilyse/1-the-influence-of-architecture-on-our-psyche-f183a6732708.

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Miller, Justin. Personal Interview. March 6, 2019

“Modernism.” ​RIBA,​ ​www.architecture.com/explore-architecture/modernism​.

“Modernist Architecture.” ​Preparation and Brief Project Stage - Designing Buildings Wiki,​

www.designingbuildings.co.uk/wiki/Modernist_architecture​.

Salant, Katherine. “The Ranch, an Architectural Archetype Forged on the Frontier.” ​The

Washington Post​, WP Company, 30 Dec. 2006,

www.washingtonpost.com/wp-dyn/content/article/2006/12/29/AR2006122900624.html​.

“The Tall Office Building Artistically Considered : Sullivan, Louis H., 1856-1924 : Free

Download, Borrow, and Streaming.” ​Full Text of "Passing"​, London : F. Warne ; New

York : Scribner, Welford, and Armstrong, 1 Jan. 1896,

archive.org/details/tallofficebuildi00sull/page/n4.

Waterman, Tim. ​The Fundamentals of Landscape Architecture​. Bloomsbury, 2015.

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