Aesthetics and Architecture
Aesthetics and Architecture of 1929 - 1949 Design is not always about aesthetic values anymore, but rather the orchestra of how the buildings and environments fit into the city fabric, how they achieve goals in terms of city regulations and how the numbers work to fulfill the developments of the project. Architects and urban designers are in the side that should satisfy these whole aspects - so not only the buildings are beautiful in the drawing plans or in the computer screen, but also they are feasible to be built and developed. In designing a building or environment, some variables existed such as, a fixed number or conditions, city regulations, paring standard, footprint for typology of uses and urban design guidelines. Combining these values will give some directions of how the envelope or the massing of the buildings will be (Master of Architecture). By 1900 the influence of the Gothic Revival and critics such as Ruskin was declining, but the values of the Arts and Crafts movement still dominated criticism. An international tendency toward classical and Renaissance forms in larger buildings was accepted tacitly in architectural debate, and many architects reacted against earlier, highly personal criticism by John Horbury Hunt and his contemporaries by avoiding debate and speculation. This critical silence preserved Australia 's 1890s historiography in amber. Old Colonial architecture remained the focus of exploration. James Barnet, Frank Walker, and others proclaimed Greenway the leading Colonial architect, and George Sydney Jones linked early Colonial design to a visibly twentieth-century, flat-roofed, open-planned architecture. Hardy Wilson argued that Colonial Georgian was a touchstone of Australian architecture, and he struggled to revive its forms and link it to Asian architecture in an aesthetic and spiritual unity. By 1925 designs of Greenway, John Verge, Edmund Blackett, William Wardell, and Horbury Hunt were being
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