美国 essay 代 写：建筑装饰

美国 essay 代 写：建筑装饰

辩论的目的和性质的建筑装饰好处从分析使用的条款。格雷格·林恩总结说，没有象征意义的装饰是不可能存在的，表面的清晰度是非具象的，可以简单地定义为纹理。材料的固有性质，如木纹或纹理，可以参考制造或建筑构件。它已经失去了它的代表性，它已经成为陈词滥调或无处不在。波浪形墙板是数控路由器雕刻的一个例子，但现在建筑环境的共同特征并不显著。这是表面装饰的一种新形式，但已成为陈词滥调。纹理的新定义不再具有具象的意义。它将包括Kubo和Mossavi所提到的装饰和应用于物理外观模式，并在建筑过程中产生(Pipkin & Gutman, 2008)。

美国 essay 代 写：建筑装饰
肌理现在指的是非表征性的表面表达形式，或者是为身体素质保留的名称。装饰物不是制造或建造的巧合，因为它是有意的设计行为超越了情感体验。这个装饰品是由设计师创作的，是为观众设计的。关于主体性和建筑的政治决定了三个装饰的目标:地位和声望，快乐和美丽，沟通和知识。当代建筑通过关注和关注情感体验的乐趣而实现了抱负。为项目提供足够的预算和材料。然而，知识和沟通在当代建筑学的雄心中没有问题，因为建筑开始通过对装饰的宏大的方法来收回其政治和文化机构。

美国 essay 代 写：建筑装饰

The debate is on the purpose and nature of the architectural ornament benefits from analyzing the terms in use. Greg Lynn concluded that the ornaments cannot exist without the symbolic meaning and the surface articulation is non-representational that can be simply defined as texture. The inherent qualities of the materials like wood patina or grain textures can be referred to the fabrication or construction artifact. It has lost its significance of representation and it has become cliché or ubiquitous. The undulating wall panel is an example carved by the CNC routers, but now the common features of the built environment are not remarkable. It was a new form of the surface decorations but has become cliché. The new definition of the texture as fabrication artifacts was no longer hold the representational significance. It will encompass what Kubo and Mossavi were referring to ornament and applying to the physical facades patterning and it results in the construction process (Pipkin & Gutman, 2008).

美国 essay 代 写：建筑装饰
The texture is now referring to the non-representational surface articulation forms or the nament reserved for the physical qualities. Ornaments are not the coincidence of fabrication or construction as it is the intentional design act to communicate beyond the affective experience. The ornament is authored by the designer and is intended for the audience. The politics regarding the subjectivity and architecture determines the three ornament ambitions: rank and prestige, pleasure and beauty and communication and knowledge. The contemporary architecture has engaged the ambitions through the focus and attention on the pleasure of the affective experience. Funding the project with adequate budgets for finishes and materials. However, knowledge and communication are absent problematically from the contemporary architecture ambitions where the architecture begins to recoup its political and cultural agency through the ambitious approach to the ornament.