Architectural Identity Beyond Cultures, Essay Example

Architecture, the art of structural creation, has long been recognized as a sense of functional expression that is used to identify with the culture and tradition that surrounds the structures established under the said operation. Noticeably, architects around the globe have been accustomed to taking different options of distinct development especially when it comes to creating an identifiable factor or characteristic that would set their style apart from other architects coming from another cultural background. Aiming to establish a recognizable reputation, architects coming from specific countries are easily noted to incite a sense of tradition and living culture into their creations simply through following a common ground of artistry and style they share among their peers.

In this discussion, a cultural-grade analysis in relation to architectural creations shall be given attention to. A cultural museum located at Don Mills, Toronto; that houses a collection of Muslim art is given particular focus in the presentation prepared for this discussion. The said structure is commissioned by a Swiss-Born client but is designed by several architects from all around the globe. One is from India, another is from Japan and the architect assigned to provide the landscaping platform in the surrounding area around the museum is an architected from Lebanon. Each having an infused influence to the overall design of the museum, these architects’ contribution to the cultural value of the structure increases the worth of the building in representing the overall message that the structure is supposed to share to the public for recognizable distinction in the community.

Taking into account the meaning of cultural identity, it is distinctively observed that architects coming from particular backgrounds are able to make a definite insistence on how the architects themselves view the structure’s function and how it should convey a particular meaning or message to the public. For this structure, the Islamic belief is the focal point of the presentation of the overall function of the building. Since it is a museum, it is supposed to give a feel of proper information that would allow the public to see through the creation and even beyond the artistry used to make them identify the full meaning of the building that is to be recognized by the public.

Culture and religion are the main elements that should bring a better sense of worth for the overall essence of the structure. Architects from Japan and India, who were assigned to look through the internal and external representations used for the building, basically made it sure that this meaning would be conveyed to the public even before they enter the establishment. Noticeably, since the museum is in an area where the Islamic religion is not fully familiar to the population, the architects had to make sure that they are able to convey the right message that would get the interest of the people in the community to look through what the establishment offers them.

Through the external design, it could already be seen what the establishment tries to represent. The dome-like figure serving as the roof of the museum points out what the facility is about; however, the fact that it does not fully copy the full dome provides a distinct message that assures that this establishment is not a place for religious worship as would a mosque serve. The Japanese infusion to the external design of the structure could be seen though the solid, yet naturally defined outer walls of the museum. Japanese architecture is noted for its oneness with nature; in this structure, such factor could be seen from the manner by which the entrance has been designed. The soft opening suggested through the full swinging panel for the entrance in the museum creates a feel of stylistic design that allows onlookers to find interest in gaining a closer identification of what the museum has to offer them with.

The walls, solid, yet broken in sections with glass infusions into the surrounding platform does not only give the onlookers a chance to see what’s inside the structure, but also to make it easier for light to pass through the panes. This functional style define the capacity of the architectural definition to improve energy use in the area; and find a better way to mandate a sense of worth that increases the sustainability value of the establishment in an overall context. Japanese designs are practically noted for this particular characteristic. Noticeably, it could be understood that when it comes to defining the environmental value of any structure, Japanese architecture is one stylistic approach that basically gives a distinct effecthow purpose of structure is further defined and given particular attention to.

The Islamic religion is noted for its strict dependence on what good assumption of environmental value is in relation to how the people recognize their religious responsibilities as the worth of their personal being. Plain and solid; this is what makes such presentation possible for identity on the part of the public as they envision what the structure is for and what it is all about. Looking through the plain and solid external design makes it certain that the structure is supposed to present a solid message that points out how serious the message of the building is as it functions as a representation of the information needed by the public to know especially in defining the real meaning of Islamic religion as it is infused within the culture of the people living in Canada; a community that does not fully embrace the meaning of what the Muslim communities are recognizing as part of their culture and their living.

When it comes to the external landscape, the Lebanese architect made it a point that he uses a design that would portray one of the most significant facts that the Islamic religion recognizes as an important aspect of their belief. Eternal life; infinity of existence, this is one pillar that establishes the overall value of Islamic belief. In the external landscaping designed by the Lebanese architect, such aspect of infinity could be recognized through the infinity-defining pool water feature that leads from the outside gate towards the inward entrance to the museum. The surrounding plants and trees at least a three meters away from the pool does not only represent beauty nor do they define the style as it is; but these infusions relate to the paradise that Islamic religion is basically bound with.

The Lebanese and Indian cultures have properly been noted for being knowledgeable of what Islamic religion is all about. Relatively, putting their heads together in making a resounding message that point out what Islamic religion is all about; this makes it easier for the overall design of both the internal and external structural conditioning of the building to be in full support of the information that is shared through the museum for public knowledge. Cultural infusions from the Japanese architectural styles basically make a definite impact on how the value of functionality is identified for the sake of improving the way the establishment is maintained accordingly.

From this particular example of structural representation, it is evident how modern architecture effectively infuses the different features of cultural and traditional styles into the creations they establish. Specifically mandating a better sense of what is understood as functional development, it could be observed through the structure examined herein that when it comes to establishing a structure that has a distinct meaning, cultural infusions could help not only in defining the worth of the structure, but to make a specific functional design that would serve the overall desire to maintain the building fully, while sending out a relatively important meaning for the public to recognize. For seriously identified areas like a religious museum, it is important to consider not only the prestige of the building, but also that of the foundation of worth to which the building is particularly founded upon.