Hip-hop has never
lost its sense of street-level sensibility. Ever since it came to exist from
the beginning in the city of Bronx and now as a worldwide cultural drift and
social development. It all started when composing tunes, rappers and lyricists
exchanged the credibility of hip hop, always dropping the names of street corners,
city neighbourhoods’, and particular buildings and lodging ventures to connect
the people with the urban environment.

The first chapter
talks about the advancement of hip hop and how it
came to presence as a movement. It also mentions notices how
the concept of Hip Hop Architecture came to presence as a
representation of hip hop culture as a catalyst to present underrepresented
youth to architecture, urban planning and design. As for
the final portion provide us a look into the
four separate pillars that were persuasive to
the advancement of hip-hop in their own particular ways;
that is conducted to promote and advocate for a fifth column:
the built environment. 

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The second
chapter discusses the design influence of hip hop architecture and how the
style appears. It also discusses how do the basic elements of design (color,
line, shape, unity/harmony, form, balance) align with the five elements of hip
hop (Djing, MCing, Graffiti painting, b-boying, and knowledge) and terms such
as “beat box” are interpreted into the design of a building and act as an
influence in the design structure and color of a building.

The last chapter
aims to discuss about the existence of hip hop architecture today and who the
practitioners are. The practice of Hip Hop architecture is represented by Michael
Ford also known as The Hip Hop architect and as the designer of The Universal Hip
Hop Museum. He has committed into this field by generating cross disciplinary
discourse on both sociological and cultural implications of architecture and
urban planning on its inhabitants. The Hip Hop architect discovers how hip sop
stimulates the modern urban architecture and some areas where it failed to
reach its goal.

This chapter
concludes its focus on the link of the built environment and hip hop culture,
through three interdependent fields; academic, media and practice. It mentions
how the Architecture of Hip-Hop seeks to exploration and understanding of how the
urban geographic process shaped and influenced hip-hop into the global
phenomenon it is today.

 The Hip –Hop society
developed from a cultural and art development which existed in South Bronx, New
York City throughout the late 1970s.

Hip hop culture has
transmitted with both urban and suburban groups all around the United States
and eventually the globe. These transmissions were produced considerably, as an
illustration of art that spread to new continents and consolidated with local
styles in the 1990s and upcoming decades. Even as the movement continues to
develop globally, the exploration of art, styles, including hip hop
architecture act as a foundation of the elements that provide coherence and a
strong base for the culture of hip hop.

Hip hop is a fusion
of a new and old phenomenon; the vitality of tracks sampling, bass lines and
beats existed from old records of the culture implying significantly to the
society as an update or a new form of expression to entertain the modern society
of today. Sampling older culture and reusing it in a new context or a new
format and therefore creating a movement such as hip-hop architecture. 


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