Peji rino rinoda kuverengwa nekushandurudzwa kubva kuChingezi.

Uvako hwe Umambo hwe Zimbabwe, Rusvingo

Uvaki (kureva architecture, Chiratini: architectura; Chigiriki Chekare: ἀρχιτέκτων (arkhitéktōn) 'muvaki'; kubva pana ἀρχι- (arkhi-) 'she', uye τέκτων (téktōn) 'musiki') kana Uwaki, unganzi zve Useza wokuvaka, inzira uye uwushumo wekuskecha, kupinimidza, kuronga, kutarura (kudhizaina), uye kujenganisa zvivakwa kana zvimwe zvitangara[1]. Mabasa eUvaki, pachiumbiko chepamutumbi wezvivakwa, anowanzo ketwa sechiratidzwo chetsika uye sebasa rouseza. Undyandyari echinhoroondo anowanzo zivivikwa nekurara kwe huitwa hwe uvaki hwavo.

Uvaki hwakatanga sechivakwa chekumaruwa, chemutauro wemutauro chakakura kubva pakuedza uye kukanganisa kusvika pakudzokorora kwakabudirira. Zvivakwa zvekare zvemumaguta zvaive zvakabatikana nekuvaka zvivakwa zvechitendero uye zvivakwa zvinomiririra simba rezvematongerwo enyika revatongi kusvika mavakirwo eVugiriki neRhoma achinja pfungwa kune hunhu hwevanhu. Zvivakwa zveIndiya ne Chayina zvakapesvedzerwa mafomu kwese kwe Ezhiya uye Mabhudha mavakirwo zvakanyanya akatora akasiyana emuno. Muchokwadi, Munguva yeEuropean Middle Ages, pan-European masitaera eRomanesque neGothic cathedrals uye abbeys zvakabuda apo Renaissance yaifarira maClassical mafomu anoitwa nevagadziri vanozivikanwa nemazita. Gare-gare, mabasa evagadziri nemainjiniya akaparadzaniswa. Zvivako zvemazuva ano zvakatanga mushure meHondo Yenyika Yekutanga sesangano reavant-garde raitsvaga kugadzira chimiro chitsva chakakodzera kurongeka kwehondo mushure mehondo yezvehupfumi yakanangana nekuzadzisa zvinodiwa zvepakati nepakati nekushanda makirasi. Simbiso yakaiswa paunyanzvi hwazvino uno, zvinhu, uye mafomu akareruka ejyometri, achigadzira nzira yezvivakwa zvepamusoro-soro. Vazhinji vagadziri vezvivakwa vakaodzwa mwoyo nemazuva ano izvo zvavakaona seahistorical uye anti-aesthetic, uye postmodern uye yemazuva ano zvivakwa zvakagadziridzwa.

Kwemakore, munda wezvivakwa zvekuvaka wakakura kuti ubatanidze zvese kubva pakugadzira ngarava kusvika pakushongedza kwemukati,


Mavambo uye Uvaki wechi-vernacularEdit


Building first evolved out of the dynamics between needs (shelter, security, worship, etc.) and means (available building materials and attendant skills). As human cultures developed and knowledge began to be formalized through oral traditions and practices, building became a craft, and "architecture" is the name given to the most highly formalized and respected versions of that craft. It is widely assumed that architectural success was the product of a process of trial and error, with progressively less trial and more replication as the results of the process proved increasingly satisfactory. What is termed vernacular architecture continues to be produced in many parts of the world.

Uvaki weNhoroondosure.Edit

Early human settlements were mostly rural. Hence, Expending economies resulted in the creation of urban areas which in some cases grew and evolved very rapidly, such as that of Çatal Höyük in Anatolia and Mohenjo Daro of the Indus Valley Civilization in modern-day Pakistan.

Neolithic settlements and "cities" include Göbekli Tepe and Çatalhöyük in Turkey, Jericho in the Levant, Mehrgarh in Pakistan, Knap of Howar and Skara Brae, Orkney Islands, Scotland, and the Cucuteni-Trypillian culture settlements in Romania, Moldova and Ukraine.

Uvaki wechiKare-kareEdit

In many ancient civilizations such as those of Egypt and Mesopotamia, architecture and urbanism reflected the constant engagement with the divine and the supernatural, and many ancient cultures resorted to monumentality in architecture to symbolically represent the political power of the ruler or the state itself.

The architecture and urbanism of the Classical civilizations such as the Greek and the Roman evolved from civic ideals rather than religious or empirical ones and new building types emerged. As the Architectural "style" developed in the form of the Classical orders. Roman architecture was influenced by Greek architecture as they incorporated many Greek elements into their building practices.[2]

Texts on architecture have been written since ancient times. These texts provided both general advice and specific formal prescriptions or canons. Some examples of canons are found in the writings of the 1st-century BCE Roman Architect Vitruvius. Some of the most important early examples of canonic architecture are religious.

Uvaki wechiEzhiyaEdit

The architecture of different parts of Asia developed differently than Europe; and each of Buddhist, Hindu and Sikh architecture had different characteristics. In fact, Unlike Indian and Chinese architecture which had great influence on the surrounding regions, Japanese architecture did not. Some Asian architecture showed great regional diversity such as Buddhist architecture, in particular. Moreover, other architectural achievements in Asia is the Hindu temple architecture, which developed from around the 5th century CE, is in theory governed by concepts laid down in the Shastras, and is concerned with expressing the macrocosm and the microcosm.

In many Asian countries, pantheistic religion led to architectural forms that were designed specifically to enhance the natural landscape. Also, the grandest houses were relatively lightweight structures mainly using wood until recent times, and there are few survivals of great age. Buddhism was associated with a move to stone and brick religious structures, probably beginning as rock-cut architecture, which has often survived very well.

Early Asian writings on architecture include the Kao Gong Ji of China from the 7th–5th centuries BCE; the Shilpa Shastras of ancient India; Manjusri Vasthu Vidya Sastra of Sri Lanka and Araniko of Nepal .

Uvaki wechiYisalamaEdit


Islamic architecture began in the 7th century CE, incorporating architectural forms from the ancient Middle East and Byzantium, but also developing features to suit the religious and social needs of the society. Examples can be found throughout the Middle East, Turkey, North Africa, the Indian Sub-continent and in parts of Europe, such as Spain, Albania, and the Balkan States, as the result of the expansion of the Ottoman Empire. [3][4]

Urope Mumazera EchipakatiEdit

In Europe during the Medieval period, guilds were formed by craftsmen to organize their trades and written contracts have survived, particularly in relation to ecclesiastical buildings. The role of architect was usually one with that of master mason, or Magister lathomorum as they are sometimes described in contemporary documents.

The major architectural undertakings were the buildings of abbeys and cathedrals. From about 900 CE onward, the movements of both clerics and tradesmen carried architectural knowledge across Europe, resulting in the pan-European styles Romanesque and Gothic.

Also, a significant part of the Middle Ages architectural heritage is numerous fortifications across the continent. From the Balkans to Spain, and from Malta to Estonia, these buildings represent an important part of European heritage.

Rhenaisanzi uye noMuvakiEdit


In Renaissance Europe, from about 1400 onwards, there was a revival of Classical learning accompanied by the development of Renaissance humanism, which placed greater emphasis on the role of the individual in society than had been the case during the Medieval period. Buildings were ascribed to specific architects – Brunelleschi, Alberti, Michelangelo, Palladio – and the cult of the individual had begun. There was still no dividing line between artist, architect and engineer, or any of the related vocations, and the appellation was often one of regional preference.

A revival of the Classical style in architecture was accompanied by a burgeoning of science and engineering, which affected the proportions and structure of buildings. At this stage, it was still possible for an artist to design a bridge as the level of structural calculations involved was within the scope of the generalist.

Kutanga kwe zvanhasi uye zvezera rehushangazhiEdit

The emerging knowledge in scientific fields and the rise of new materials and technology, architecture and engineering began to separate, and the architect began to concentrate on aesthetics and the humanist aspects, often at the expense of technical aspects of building design. There was also the rise of the "gentleman architect" who usually dealt with wealthy clients and concentrated predominantly on visual qualities derived usually from historical prototypes, typified by the many country houses of Great Britain that were created in the Neo Gothic or Scottish baronial styles. Formal architectural training in the 19th century, for example at École des Beaux-Arts in France, gave much emphasis to the production of beautiful drawings and little to context and feasibility.

Meanwhile, the Industrial Revolution laid open the door for mass production and consumption. Aesthetics became a criterion for the middle class as ornamented products, once within the province of expensive craftsmanship, became cheaper under machine production.

Vernacular architecture became increasingly ornamental. Housebuilders could use current architectural design in their work by combining features found in pattern books and architectural journals.



Around the beginning of the 20th century, general dissatisfaction with the emphasis on revivalist architecture and elaborate decoration gave rise to many new lines of thought that served as precursors to Modern architecture. Notable among these is the Deutscher Werkbund, formed in 1907 to produce better quality machine-made objects. The rise of the profession of industrial design is usually placed here. Following this lead, the Bauhaus school, founded in Weimar, Germany in 1919, redefined the architectural bounds prior set throughout history, viewing the creation of a building as the ultimate synthesis—the apex—of art, craft, and technology.

When modern architecture was first practiced, it was an avant-garde movement with moral, philosophical, and aesthetic underpinnings. Immediately after World War I, pioneering modernist architects sought to develop a completely new style appropriate for a new post-war social and economic order, focused on meeting the needs of the middle and working classes. They rejected the architectural practice of the academic refinement of historical styles which served the rapidly declining aristocratic order. The approach of the Modernist architects was to reduce buildings to pure forms, removing historical references and ornament in favor of functional details. Buildings displayed their functional and structural elements, exposing steel beams and concrete surfaces instead of hiding them behind decorative forms. Architects such as Frank Lloyd Wright developed organic architecture, in which the form was defined by its environment and purpose, with an aim to promote harmony between human habitation and the natural world with prime examples being Robie House and Fallingwater.

Architects such as Mies van der Rohe, Philip Johnson and Marcel Breuer worked to create beauty based on the inherent qualities of building materials and modern construction techniques, trading traditional historic forms for simplified geometric forms, celebrating the new means and methods made possible by the Industrial Revolution, including steel-frame construction, which gave birth to high-rise superstructures. Fazlur Rahman Khan's development of the tube structure was a technological break-through in building ever higher. By mid-century, Modernism had morphed into the International Style, an aesthetic epitomized in many ways by the Twin Towers of New York's World Trade Center designed by Minoru Yamasaki.


Mberikwechimanje kureva (postmodernism)Template:Main

Many architects resisted modernism, finding it devoid of the decorative richness of historical styles. As the first generation of modernists began to die after World War II, the second generation of architects including Paul Rudolph, Marcel Breuer, and Eero Saarinen tried to expand the aesthetics of modernism with Brutalism, buildings with expressive sculpture façades made of unfinished concrete. But an even younger postwar generation critiqued modernism and Brutalism for being too austere, standardized, monotone, and not taking into account the richness of human experience offered in historical buildings across time and in different places and cultures.

One such reaction to the cold aesthetic of modernism and Brutalism is the school of metaphoric architecture, which includes such things as bio morphism and zoomorphic architecture, both using nature as the primary source of inspiration and design. While it is considered by some to be merely an aspect of postmodernism, others consider it to be a school in its own right and a later development of expressionist architecture.[7]

Beginning in the late 1950s and 1960s, architectural phenomenology emerged as an important movement in the early reaction against modernism, with architects like Charles Moore in the United States, Christian Norberg-Schulz in Norway, and Ernesto Nathan Rogers and Vittorio Gregotti, Michele Valori, Bruno Zevi in Italy, who collectively popularized an interest in a new contemporary architecture aimed at expanding human experience using historical buildings as models and precedents.[8] Postmodernism produced a style that combined contemporary building technology and cheap materials, with the aesthetics of older pre-modern and non-modern styles, from high classical architecture to popular or vernacular regional building styles. Robert Venturi famously defined postmodern architecture as a "decorated shed" (an ordinary building which is functionally designed inside and embellished on the outside) and upheld it against modernist and brutalist "ducks" (buildings with unnecessarily expressive tectonic forms).[9]

Uvaki murizvinoEdit


Since the 1980s, as the complexity of buildings began to increase (in terms of structural systems, services, energy and technologies), the field of architecture became multi-disciplinary with specializations for each project type, technological expertise or project delivery methods. Moreover, there has been an increased separation of the 'design' architect [Notes 1] from the 'project' architect who ensures that the project meets the required standards and deals with matters of liability.[Notes 2] The preparatory processes for the design of any large building have become increasingly complicated, and require preliminary studies of such matters as durability, sustainability, quality, money, and compliance with local laws. A large structure can no longer be the design of one person but must be the work of many. Modernism and Postmodernism have been criticized by some members of the architectural profession who feel that successful architecture is not a personal, philosophical, or aesthetic pursuit by individualists; rather it has to consider everyday needs of people and use technology to create livable environments, with the design process being informed by studies of behavioral, environmental, and social sciences.

Environmental sustainability has become a mainstream issue, with a profound effect on the architectural profession. Many developers, those who support the financing of buildings, have become educated to encourage the facilitation of environmentally sustainable design, rather than solutions based primarily on immediate cost. Major examples of this can be found in passive solar building design, greener roof designs, biodegradable materials, and more attention to a structure's energy usage. This major shift in architecture has also changed architecture schools to focus more on the environment. There has been an acceleration in the number of buildings that seek to meet green building sustainable design principles. Sustainable practices that were at the core of vernacular architecture increasingly provide inspiration for environmentally and socially sustainable contemporary techniques.[10] The U.S. Green Building Council's LEED (Leadership in Energy and Environmental Design) rating system has been instrumental in this.[11]Template:Quantify

Concurrently, the recent movements of New Urbanism, Metaphoric architecture, Complementary architecture and New Classical architecture promote a sustainable approach towards construction that appreciates and develops smart growth, architectural tradition and classical design.[12][13] This in contrast to modernist and globally uniform architecture, as well as leaning against solitary housing estates and suburban sprawl.[14] Glass curtain walls, which were the hallmark of the ultra modern urban life in many countries surfaced even in developing countries like Nigeria where international styles had been represented since the mid 20th Century mostly because of the leanings of foreign-trained architects.[15]

Mamwe MashokoEdit

  • ushayandyandyara - uncivilised
    • hushayabundutso, ushayachichidzo

Tarisai futiEdit

Mabviro eruzivoEdit

  1. "Archive copy". Archived from the original on 2016-11-03. Retrieved 2022-09-06. 
  2. "Introduction to Greek architecture". Khan Academy (in English). Archived from the original on 2014-10-14.  Unknown parameter |access-date= ignored (help); Unknown parameter |url-status= ignored (help)
  3. Marika Sardar (October 2004). "Essay: The Later Ottomans and the Impact of Europe". (in English). The Met. Archived from the original on 13 February 2019.  Unknown parameter |access-date= ignored (help); Unknown parameter |url-status= ignored (help)
  4. Lory, Bernard (1 January 2015). The Ottoman Legacy in the Balkans. "Entangled Histories of the Balkans - Volume Three". Entangled Histories of the Balkans - Volume Three (in English). pp. 355–405. ISBN 9789004290365. doi:10.1163/9789004290365_006. Archived from the original|archiveurl= requires |url= (help) on 13 February 2019.  Unknown parameter |access-date= ignored (help); Unknown parameter |url-status= ignored (help); Unknown parameter |chapter-format= ignored (help)
  5. Woinaroski, Cristina (2013). Istorie urbană, Lotizarea și Parcul Ioanid din București în context european (in Romanian). SIMETRIA. ISBN 978-973-1872-30-8. 
  6. Marinache, Oana (2017). Paul Gottereau - Un Regal în Arhitectură (in Romanian). Editura Istoria Artei. p. 184. ISBN 978-606-8839-09-7. 
  7. Fez-Barringten, Barie (2012). Architecture: The Making of Metaphors. Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN 978-1-4438-3517-6. 
  8. Otero-Pailos, Jorge (2010). Architecture's Historical Turn: Phenomenology and the Rise of the Postmodern. Minneapolis: University of Minnesota Press. ISBN 9780816666041. Archived from the original on 19 March 2022.  Unknown parameter |url-status= ignored (help); Unknown parameter |access-date= ignored (help)
  9. Venturi, Robert (1966). Complexity and Contradiction in Architecture. New York: Museum of Modern Art. "complexity and contradiction in architecture."  Unknown parameter |url-access= ignored (help)
  10. (31 March 2004). "Vernacular Architecture in India". Archived from the original on 3 March 2021.  Unknown parameter |access-date= ignored (help); Unknown parameter |url-status= ignored (help)
  11. Other energy efficiency and green building rating systems include Energy Star, Green Globes, and CHPS (Collaborative for High Performance Schools).
  12. "The Charter of the New Urbanism". 2015-04-20. Archived from the original on 29 June 2015.  Unknown parameter |access-date= ignored (help); Unknown parameter |url-status= ignored (help)
  13. "Beauty, Humanism, Continuity between Past and Future". Traditional Architecture Group. Archived from the original on 5 March 2018.  Unknown parameter |access-date= ignored (help); Unknown parameter |url-status= ignored (help)
  14. Issue Brief: Smart-Growth: Building Livable Communities Template:Webarchive. American Institute of Architects. Retrieved on 23 March 2014.
  15. "Architecture". Litcaf (in en-US). 2016-02-10. Archived from the original on 19 November 2018.  Unknown parameter |access-date= ignored (help); Unknown parameter |url-status= ignored (help)

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