Function Of The Mango House
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The Mango house is the physical manifestation of a quest to connect with the natural environment. The house is a reflection of the architect 's creative sensibilities; its essence being simplicity in thought and expression - taking shape through the form, its spaces and building materials.
The site has been defined by the coordinates of several existing majestic mango trees. Hence, the ‘function’ is the conservation of these 100-odd-year-old inhabitants; while the ‘form’ of the structure is governed by their location. Their integral presence warranted the design approach to accommodate the roots of the trees, thus embodying the basic values of being organic. Having established this, the aim was to be able to view the surrounding landscape from any point in the house - along both North-South and East-West axes. Entrance on all four sides helped meet this aim and present an uninterrupted view of the verdant environ.
There are two design aspects here: one is its universal target and the second is its very orientation towards the exteriors and the green, the whole metamorphosis. Therefore, the very aspect of having to find your balance between the existing feature, the landscape and your house became the tone of the design. This can be seen in the way the spaces responded, the way those spaces were placed initially; for instance the small and humble entrance porch on the north façade, nestled in between the branches of the huge tree,
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The House on Mango Street by Sandra Cisneros is a semi-autobiography shown through the eyes of the story’s narrator, Esperanza Cordero, an adolescent Mexican-American girl who is about thirteen and growing up in an impoverished, mostly Latino neighborhood in Chicago. The novel is a coming of age story, told over the course of about a year in a series of standalone vignettes, written in a non chronological order, that use poetic and figurative language, such as metaphors and similes, to convey its themes.
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In The House on Mango Street, written by Sandra Cisneros, the main character, Esperanza, begins a silent fight against gender roles. As a woman, she is expected to be quiet and polite. Esperanza, a passionate young girl, desires to be stronger than that. Esperanza is young, but she already sees what she is meant to be in life.
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Esperanza’s house on Mango Street is not the house she dreamed on when she lived on Loomis Street, not the kind of house her parent’s talked about, not the house she wanted. Her house on Mango Street is a small, red house with even smaller stairs leading to the door. The brick are falling out of place and to get inside, one must shove the door, swollen like Esperanza’s feet in later vignettes, open. Once inside, where you are never very far from someone else, there are small hallway stairs that lead to the only one shared bedroom and bathroom. This house is just, “For the time being,”[5] Esperanza claims, for this is nothing like the house she longs for.
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Everyone is affected by life’s circumstances. The responses to those experiences can have a positive or negative outcome in one’s future. In Sandra Cisneros's The House on Mango Street, the protagonist, Esperanza, gives us her views on life, how she views herself, and she views her future. Not only does she give her perspective throughout the story, she tells us of the numerous experiences that she grows through. These experiences have an impact on her, creating new emotions and new adult like perspectives she has never faced before.
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The House on Mango Street is set in a poor, primarily Hispanic neighborhood. Author Sandra Cisneros creates an atypical, yet easily digestible world for the reader to experience while learning about Esperanza’s childhood. The culture of her environment influences Esperanza’s development as she becomes a young woman, and contributes to the book’s driving theme of self-empowerment. Mango Street is the source of Esperanza’s growth through her childhood, and it hides sadness and longing underneath stereotypes of Hispanic people. The characters that live in the broken-down neighborhood all seem to represent pigeonholed views of Latino individuals.
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Sexuality in adolescence Sexuality is the most notorious and common sign of development in adolescence. “The House on Mango street”, by Sandra Cisneros is a coming of age novel, where Esperanza transitions from a girl into a young teen. In her journey, Esperanza comes across many challenges, she is forced to grow up by life’s adversities. In the short story “Girl” by Jamaica Kincaid, a mother advises her daughter and scolds her into becoming a decent woman. In her guidance, the mother is worried about her daughter’s sexual activity and warns her about the consequences of improper behavior.
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The House on Mango Street follows Esperanza Cordero 's transitioning through a progression of pieces about her family, neighborhood, and mystery dreams. In spite of the fact that the novel does not take after a customary sequential example, a story develops by Esperanza’s fortifying toward oneself and will overcomebarriers of poverty, sex, and race. The novel starts when the Cordero family moves into another house, the first they have ever claimed, on Mango Street in the Latino segment of Chicago. The red, unstable house frustrates Esperanza. It is not in the least the fantasy house her guardians had constantly discussed, nor is it the house high on a slope that Esperanza promises to one day own.
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Throughout The House on Mango Street, characters struggle to actualize their dreams of a meaningful life. Author Sandra Cisneros illustrates this theme through her inclusion of windows as a symbol for a longing of another life. In the novel The House on Mango Street, windows represent the book and it’s theme of struggling for satisfaction in life by acting both as a border to another life and a translucent gateway to the character’s hopes. Windows act as a border to the life the characters long for but are incapable of achieving. Esperanza tells her great-grandmother’s story in which she is whisked away from her previously eventful life only to “[look] out the window her whole life, the way so many women sit their sadness on an elbow” because “she couldn’t be all the things she wanted to be” (Cisneros 11).
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Symbolism is the representation of an abstract concept through the use of a concrete object, and it is a way of bringing subtext to an otherwise one-dimensional story. Several symbols can be found in "The House on Mango Street" by Sandra Cisneros, some of the most central being shoes, women looking out windows, and trees. It is through the use of these symbols that Cisneros creates a coming-of-age story, showing the different aspects of growing up as a young Latina girl. To begin with, shoes are a recurring symbol in “Mango Street”.
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The House on Mango Street is a touching and timeless tale told in short vignettes. It tells the story of a young Latina girl growing up in Chicago. Her life, and the lives of the people around her, are laid bare to the readers in this touching novella. In the beginning, Esperanza is not accepting of herself. Her family’s poor financial situation, the sadness of the people around her, and the problems she faces in her daily life make her very cynical.
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“No, this isn’t my house I say and shake my head as if shaking could undo the year I’ve lived here (Cisneros 106).” This quote shows Esperanza’s unwillingness of accepting her poor neighbourhood because of the violence and inequality that has happened in it. In the House on Mango Street, the author, Sandra Cisneros, shows that there is a direct link between inequality, violence and poverty. The House on Mango Street shows women are held back by the inequalities that they face. Cisneros shows that racism prevents individuals from receiving job opportunities which leads to poverty and violence.
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Though this may seem as a simple objective, two main limitations stand in the way of achieving it. The first is the limited understanding of the human attachment/inclination towards nature. In spite of the growing body of research (Appleton, 1975; Kellert, 2005a; Heerwagen, 2005; Biederman & Vessel, 2006), still it is not clear why certain natural forms and settings arouse positive feelings in human beings. The second limitation is the difficulty of translating this limited -but growing- knowledge in architectural terms; form, form making principles, form language, structural systems…etc. (Alexander, 2001-2005; Salingaros & Bruce, 1999; Kellert,
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