Follies

In 1740, the gentleman architect Sanderson Miller began building sham ruins--new structures built to look as if they were already deteriorating--on the estates of his wealthy patrons. Over the next thirty years, he constructed approximately thirty faux ruins, or follies, in the style of thirteenth and fourteenth-century castles and towers. Various scholars have argued that Miller and his clients wanted to conjure associations with medieval chivalry or political independence. While some contend that Miller's castles stood as mostalgic evocations of politically decentralized feudalism, others assert that his "gothick" ruins represented opposition to Catholicism and the papal power of the past.

In truth, it seems that Miller's follies embody layers of contradictions--old and new, medieval and enlightened, nostalgic and critical. Each structure must be examined as a separate entity, replete with its own style, intentions and associations. Using anthropologist Peter Mason's notion of the exotic as a temporally composite being which is incapable of easy categorization, this essay problematizes the prevailing reading of Miller's follies as merely picturesque and political to insist upon their itinerant exoticism. In so doing, this paper rereads the follies through an interdisciplinary lens, as subjects of both anthropology and visual culture.

This paper tries to investigate the different aspects of Deconstructivist philosophy of architecture in museum architecture. In this paper, knowledge is extracted through analyzing three case studies of Dec construction buildings. Museums are decoration based buildings hence less performing on structure or functionality. The paper concludes by drawing inferences which can be used to make future recommendations about the expression of deconstructivism in Museum architecture. The research will be conducted in various steps: A thorough literature review will be done by which some points will be extracted through which case studies are evaluated. Deconstructivism is a form of modernism which opposes modernism. The form of Deconstruction Museums varies according to the Design process adopted by Architect. Only asymmetry must not be a parameter to analyze a Deconstructivist building. Natural elements present in the surrounding plays a major role for enhancement of the entire project.

This paper tries to investigate the different aspects of Deconstructivist philosophy of architecture in museum architecture. In this paper, knowledge is extracted through analyzing three case studies of Dec construction buildings. Museums are decoration based buildings hence less performing on structure or functionality. The paper concludes by drawing inferences which can be used to make future recommendations about the expression of deconstructivism in Museum architecture. The research will be conducted in various steps: A thorough literature review will be done by which some points will be extracted through which case studies are evaluated. Deconstructivism is a form of modernism which opposes modernism. The form of Deconstruction Museums varies according to the Design process adopted by Architect. Only asymmetry must not be a parameter to analyze a Deconstructivist building. Natural elements present in the surrounding plays a major role for enhancement of the entire project.

Architectural education has its own unique character in-between rational and creative thinking. Within this wide perspective, learning by doing becomes important so as to cover different aspects of this education. At MEF University Faculty of Arts Design and Architecture (FADA), we've created a unique program called Design-Build Studio (DBS) in order
to push creating and doing beyond the boundaries of architectural design studios at universities. In this essay, I would like to focus on follies that we have been designing since 2015 in our DBS program as a pedagogical approach in architectural design education. Follies are pregnant points that can give birth to various forms and functions. Their open structure allows a collective design process with the participation of tutors, students, users, locals, municipalities, and NGOs. Through DBS project our students get a real design experience in a real place with real people, discover the difficulties of this process, improve their communication skills and comprehend the power of design to be used as a tool to improve the lives of everyone. As a result, we believe that designing and creating follie-like structures is critical in architectural design education.

The Temple of the Winds in Mount Stewart, County Down, stands above the shores of Strangford Lough, Co. Down. Octagonal building built 1782-85 by James 'Athenian' Stuart (1713-1788) for Robert Stewart, the future 1st Marquis of Londonderry.  Based on the Horologium of Andronikos Cyrrhestes in Athens as published in 'Antiquities of Athens' (1762) by Stuart and Nicholas Revett.  Building is noted for the exceptional quality of its craftsmanship, including marquetry floor which may have been added by George Dance in 1803-04.

This paper describes a series of mock monuments, of dry and mortared stone construction,  on a small landed estate near Kinvara in south Galway. These include tiered cairns, ringfort-like enclosures, a holy well and a turret. All of them appear to have been created by the Mahon family of Northampton House in the 19th century as part of land reclamation and boundary rationalisation.

In de achttiende en negentiende eeuw werden er in het gebied rond de Middenweg (Amsterdam) tientallen folly's gebouwd door eigenaren van buitenplaatsen. Deze bizarre bouwseltjes waren bedoeld om bezoekers te verwonderen en de tuinaanleg te verfraaien. In de loop der tijd verdwenen ze één voor één, tot alleen de 'ruïne' bij Huize Frankendael nog over was.

Master thesis about how English follies functioned within their original setting and how we look upon their existence today. Can these follies be called heritage? Why were they built? And what happens when you apply the concepts memory, identity, nostalgia and authenticity to these excentric structures.