Point: Exploration

Beginning the explorations unit we enter the world of “modernism” leaving behind the world of glitz and glamour associated with the art deco and art nevoeau movement.  Leading the conversation in modernism was the Bauhaus school of Germany. Founded by Walter Gropius this school of thought challenged what it meant to be modern. Bauhaus meaning international style sought out a form of architecture that could speak a similar language no matter where on the earths surface the structure sat.  With a reduction of surface decoration Bauhaus architects allowed the form to serve as both structure as well as ornamentation, occasionally using primary colors such as red blue and yellow to create a balance or harmony in a space.  From the Bauhaus school arose the architect and product designer Ludwig Mies Van Der Rohe.  His famous words “less is more” captures the spirit of “modern” architecture at the time. These words came to fruition in his design of the Farnsworth house of Plano Illinois.  The house embodies a since of a clean aesthetic and dematerialization echo Van Der Rohe’s statement of “less is more”

            Practicing architecture along side of Gropius and Van Der Rohe was the French architect Le Corbusier. Designing structures such as the Villa Savoye Corbusier took a similar approach to architecture as many of the Bauhaus scholars stating “the house is a machine for living.”  As in the Bauhaus designs Corbusier designs represented purity in form and aesthetics.

            The reactions to this style of architecture were many and varied. The biggest criticism to the “modern” movement was the structures were cold and unlivable.  This response led to two things. Softer modernism or post modernism and the rise of interior design as a profession.  Leading the conversation in softer modernism were the Scandinavian designers Alvar Alto, Eero Sarinien, as well as Charles and Ray Eames.

            Following these periods modernism can be split into three categories.  First being technological or deconstructionalism. These buildings include structures such as Disney music hall or  Zaha Hadids Guggenheim. The structures seem almost futuristic in nature and are possibly due to the technological advances made in computers. The second movement following modernism was classical revival. Although it was short lived we can see examples of this movement on our own campus in the Alumni house found on College Avenue.  The third movement is the Locality or Regionalism.  Placing an emphasis on the use of local materials as well as sustainability many this style rejected the notion of Bauhaus and international style.

            With ending the exploration unit as well as the semester we are still left with asking the question what does it mean to be modern and how does this philosophy translate onto the earths surface as architecture. 

machine

Clock

reading comp 7

“It must be understood that all architecture is bound up with its on time” (roth 519) A quote by Ludwig Mies Van der Rohe which in a stroke summarizes a large portion of the debate held throughout the explorations unit.  Through out the unit we see designers and architects struggling to create what is modern.  And although the designers and ever looking forward creating new methods and a new design language it appears that no matter how hard they try an observer can still make links back to the classical world.  In no structure is this more obvious that the farnsworth house.  The architect has created a space unlike any seen prior using new materials and methods of designing. Also lack ornamentation allows the materials themselves to become decoration. However an essence of symmetrically, proportion, unification and a liner axis can be easily seen. Through a gesture of reduction and stylization the farnsworth house still embodies the spirit of classical Greece and Rome.  This manifestation of modernism can also be related to art. In Roy Lichtenstein’s piece titled rain forest a single stylized tree is depicted. Although it speaks a very different language than actual rainforest seen in a natural landscape there are still similar elements that connect the two both aesthetically and 

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Reading Comprehension 6

1.  The arts and crafts movement in architecture embodies the spirit of craftsmanship. In rejection to the machine aesthetic buildings that took rise during the industrial revolution, arts and crafts architects valued wood more than any other material. In Europe the arts and crafts appeared to be a Hodge podge of styles echoed in one building. Despite this range in styles seen in these European structures gothic elements and ornamentation were most frequently seen. At the Red House by William Morris we see repetition of steep gabled roofs, placing emphasis on verticality just as gothic architecture did in the cathedrals during the sixteenth century.  Although wood was heavily used in the English arts and crafts movement, masonry most often adorned the exteriors of the buildings.  When moving across the Atlantic and looking at American arts and crafts although the structures have many similar features there are slight local adaptations to this building from that make it unique from its European counterpart.  In America the brick and mason exteriors are replaced by wood siding.  The gamble house by Greene and Greene encompass what this movement was all about it America. Constructed almost entirely of wood great attention was given to even the smallest detail.   It was the American arts and crafts movement later gave rise to the bungalow home which became “The” style for suburban residential architecture for decades.  

Red House

Gamble house:stair way

http://www.gamblehouse.org/_img/photos/int/porter-stairwell.jpg

2.             Supply and demand regulate architectural form” a quote from Adolf Loos an Austrian designer who in the early 20^th century began the rejection of ornamentation, which can be speculated, ignited the modern movement.  When understanding how this quote relates to modernism we have to ask what building materials were in great supply and demand at the rise of this movement.  With the development of the assembly line steel and concrete were more readily available than any period prior in history.  Combined with the use of these materials and Loos’s thought of rejecting ornamentation the modern style arose.  Structures began to take on the image of the very thing producing the materials in which they were built by, the house had become a “machine for living.” When thinking about the “machine” immediately the word efficient comes to mind. This leads me to speculate that these “modern” structures must have been just as efficient.  However through readings and class discussions I have come to the conclusion the house imitating characteristics of the machine are not.   These houses have been criticized for their crude and unlivable nature. The efficiency of this style home had become so out of control at the Farnsworth house, designed by Mies Van der Rohe that the client actually sued the architect or how unlivable the structure was.  It appears that now as we move to a more environment conscious society a great emphasis on sustainability in architecture has emerged. Although we still see structures similar in form to those of the early 20^th century being built it appears that a shift in construction methods as well as material use has been made. 

http://www.e-architect.co.uk/images/jpgs/chicago/farnsworth_house_gmad06_3.jpg

3. Although Frank Loyd wright practiced as the same time the Bauhaus movement was going on his interiors mantained a level or warmth, clutter, and livability. The following rendering is a study of bauhaus principles of color theory and materiality, and reduction of excess ornamentation and clutter applied to Wrights Falling Water.

 

Alternatives+Reflections: More Conversations

After review my peers interpretations of the alternatives and reflections unit I have been able to gain a more universal understanding of what these two units meant as they were happening as well as the implications they have upon us today. After reviewing Kayla, Corry, and Leslie's alternatives essay a common thought that was this unit was all about breaking rules. The first evidence of this deliberate rule breaking in architecture was seen in the gothic cathedrals. As a completely new design language these structures have forever changed the way we see worship and spirituality. The second main theme of this unit was the rise of the renaissance. Althought this movement stood for the re birth of classical ideals, these ideals were applied in ways never seen before, for example the use of a temple structure like the pantheon as a residential structure seen at the villa capra.    

  

   

Frozen pizza can humorously summarize the alternatives unit for it is an alternative of the true italian dish its self.  Although the creators of Digiorno are drawing inspiration from the classical pizza they are rexpressing the idea of what it means to be a pizza through a modern, consumer friendly lens. (Photo credit: Kayla Mcdonogh)

Next was the reflections unit. Having reviewed Daniel, Blakeny, and Abigail's blog several main themes of this unit link all three's opinions on this unit. The first being the notion of reflection. I feel as though this idea of reflection is referring to the concept that our lifestyle, principles and culture are "reflected" into the structures that we design.  The second underlying theme of this unit is revolution. This period in design was a time of great social and political revolution which played major roles in our design process. None of these revolutions is more obvious than the industrial revolution, which brought new building materials and methods to the practice of architecture. 

Point: Reflections

           The reflections unit embodies several major design movements through out the late 18^th and 19^th century. The nineteenth century was a time of revolution.  The revolutions took form politically, socially and economically. All of these changes led to a change in design as well. During the nineteenth century we see a variety of competing design languages as architects struggle to understand what it is to be “modern”

            Beginning the reflections unit we began to explore the American colonies.  The nineteenth century in the colonies was a time for establishment of a young nation. Designers sought out to create a style that was classical in nature displaying Grecian like structures and facades while at the same time rejecting lavish decoration and ornamentation of the baroque period in order to make a statement of separation from the king. These style structures are most often seen in government buildings such as the state capitals of Virginia, North Carolina, and several others

            Moving back to England we see a more varied style of designs. The rise of the industrial revolution let to many new materials such as cast iron as well as engineering strategies. No single structure from the nineteenth century better personifies the industrial revolution as the crystal palace. This structure applies gothic architecture concepts such as verticality and a great emphasis on repetition of like elements to a place of commerce, romanticizing the idea of business and commerce. In the crystal palace we see a break from a holistic design style as seen in the baroque period and begin to see structures in which the shell and the objects contained with in the shell speak two very different languages.

            Another competing design concept in England and France during the nineteenth century was the fusion of eastern and western design styles. Chinese, Japanese, and India design styles were all applied to European design concepts. These foreign styles brought a level of excitement and exoticness to traditional artifacts such as bowls, vases, furniture and wallpaper, as well as spaces and buildings.  No building of the nineteenth century displays these eastern influences, as thoroughly as the pavilion at Brighton hall. With an exterior of Indian origin and an interior highly decorated in Chinese motifs the pavilion displays culture and worldliness through the lenses of English design.

            The final design movement covered in the reflections unit was the rise of English arts and crafts.  Headed by the concepts of William Morris two quotes can summarize the ideals behind the arts and crafts movement.  The first is “ We wish not to reject the machine, only to master it” and the second “ the right question to ask in respect to ornament is simply this, was it done with enjoyment?” Arts and crafts designers sought to create a style incorporating past design philosophies with a high level of wooden craftsman ship.

 

This image of an Olympic diver can accurately summarize the reflections unit.  Although his impact with the water is the same each time the journey from the diving platform to the water is never identical to the one before. Just as no nineteenth century design style spoke the same language they each have impacted our design languages today as we “reflect” upon them

reading response 5

1.     1. The garden chair seen in the image below represents a revolution is design on two planes. The first revolution seen in this chair is the design language. Built in the mid 19^th century we see a language of the long forgotten gothic cathedrals condescend and embodied by a chair. Another revolution this chair implies is a cultural one. Made from cast iron this chair marks the rise of the industrial revolution that led to a new way of life for many.

 

2.     

                 2.  When thinking of nineteenth century design two words come to mind, revolution and reflections. Although nineteenth century designers were influenced by the idea of revolution they were still deeply interested in the practice of reflecting upon past designs and cultures in an attempt to make the “modern.”  Although traditionally we see Greek and roman influence in these reflections designers were careful to not forget about eastern influences such as Egyptian and Chinese designs.  When analyzing all aspects of design, artifact, space, building and place we can an eastern way of thought applied to each in the 19^th century.  

 

 

In this Egyptian revival chair we see the traditional x shape design that was traditionally reserved for the highest ranking officials of Egyptian culture applied to a residential chair.  Although in the Egyptian design the chair would be highly ornamented with hieroglyphics to tell a story this 19^th century chair tells us its story through stylized floral decoration and a portrait.

Increasing the scale to place the entrance to the Red house from the arts and crafts genre of design features aspects of Japanese structuring .The repetition of wooden mullions from this to thin is a technique applied to traditional Japanese residences. 

 

Building: when examining buildings from the nineteenth century that is heavily imbedded in eastern influence the royal pavilion of London stands out about the rest.  Remnants of Muslim mosque are pronounced through pointed domes as well as towers raised up above the roof of the building. 

http://4.bp.blogsot.com/_w4ifTToAw5Q/TD8sllbmuolAAAAAAAACgs/xA9TSJedfIQ/s640/sidehall.jpg

 

http://www.sutterantiques.com/oneview.php?id=170271&view=6

 

http://www.freefoto.com/images/1015/12/1015_12_2---The-Royal-Pavilion--Brighton--Sussex_web.jpg?&k=The+Royal+Pavilion%2C+Brighton%2C+Sussex

Alternatives : Perspective

Form: 2D

Scale: Space

The Marble Hill house is a Palladian villa built in the mid 1700s. Framed by foliage, the faced speaks a language of harmonious unity and rhythm through the repetition of like elements

Point: Alternatives

In the Alternatives unit three dominant styles of architecture spearheaded the conversations held in class and in our readings.  These styles include Gothic, Renaissance, and baroque. Although each of these styles had there foundations in the classical world they embodied a spirit of innovation and a desire for change forever influencing the way Architects and designers think and create for years to come.

            The first style visited in this unit was Gothic architecture. Although most of the ideologies of these structures were carried out through the form of cathedrals, evidence of gothic architecture can be seen in residential spaces as well.  The gothic style embodied a religious experience through several design strategies.  None of which were as dramatic and impressive as the emphasis place on verticality.  Also repetition of identical forms such as ribbed vaults and pointed arches created a sense of rhythm and harmony. With these two design strategies combined gothic architecture induces a floating, trance like state emphasized by upward lifting sequences extended to infinity.

            Moving forward through the alternatives unit we reach the Renaissance. Not only was the Renaissance a style of architecture but a cultural revolution embodying almost every aspect of civic life.  Sparked in Florence by Artist and Architects such as Brunelleschi and Ghiberti the Renaissance was a rebirth of a classical language in architecture blended with a modern way of thought.  Throughout the renaissance architecture was regarded as a mathematical science of abstracted geometry applying heavily the Pythagorean concept that “all is number” (Roth 353) Unlike the gothic style that valued verticality and seemed to extend forever, Renaissance architects were very invested in idea of boundaries.  Through geometric patterns and forms lines were created that Cleary defined a space or a landscape.  We also see an emphasis on a single faced.  With repetition of like elements the faced is harmony, unity, and proportions embodied in a permanent structure. 

Following the Renaissance is the Baroque Period. In this period although a strong reverence for classic architecture can still been seen architects and designers push these concepts and bend the rules further than ever seen before.  In the baroque style unity is achieved through subordination of individual elements in order to invigorate the whole.  Theatricality and fluidity applied to a classical order embodies the baroque period. Lavish ornamentation and implication of curvilinear lines dramatize the structure and emphasized this notion of a theatrical“performance” and fluidity.    

  

      Bernini's david:

       The biblical figure David as interpreted by artist Bernini embodies the ideology of Baroque thought.  Breaking the mold of the typical contraposto pose seen in similar statues Bernini creates a dramatic, theatrical and fluid statue through Davids body position, facial expressions and implication of movement seen in his garments and sling. 

  

Reading Comprehension 4

1.     Although uniquely their own, when comparing the neo-Palladian period all the way through the American federal style of architecture many commonalties can be noted.  These similarities can then be applied to all scales, artifact, space, building and place that encompass each style. When narrowing the comparison down the artifact one of the most striking similarities that can be noted is the level of symmetry found in each detail of each artifact.  Also repetition is heavily applied to both ornamentation as well has shaped wooden elements. When zooming out and comparing spaces found within these style periods’ differences and variety become far vaster, however we still do see nuances that tie each of these spaces together. Possibly the easiest similarity to notice is the use of patterning. Although mostly seen on the walls these parents often make their way into other aspects of the space in the forms or drapery, carpeting and other textiles.  When increasing the scale to the entire building the similarities become a bit more clear.  The most dramatic similarity in each of these structures is the emphasis placed upon the façade. This is most often achieved by implementing a portico upon the faced. However at the Nathaniel Russell house we see a more simple faced framed only by an entablature and arched windows.  Also Symmetry is strictly used and can be found in each of these structures.

 

2.     As Europeans traveled across the Atlantic to the Americas along with them came their culture as well as their ideology of architecture. Because of the many different cultures traveling to the new world a wide variety of architecture can be noted. Most of these styles found in America are interpretations and recreations from structures previously found in Europe. These similarities can be applied to all three scales of artifact, space, and building. In artifacts found in the neo classical period of America we see a shared theme of rhythm through contrasting proportions in elements of a specific artifact.  Looking at a the variety of spaces found in the readings a common element that tied these together were the sense of materiality found in each of these spaces. Timber is heavily used because of its wide availability. However unlike the timber elements found in Europe timber in America is often sparsely embellished.  When looking at these structures as a whole it is easy to see their influence from Palladian classical architecture. The harmony created by the symmetry and repetition of elements closely echo’s the language of that of its European ancestors. The strongest difference that can be see between European neo-classicism and early American neo-classicism is the level grandeur. England , France, and Spain, being well established nations boasted far more elaborate architecture than that of the young colonies of America, which speaks a more humble design language.

             

3. As all art was influenced by the renaissance movement music was no different.  This new style of music that arose during the renaissance can be describe as polyphony style Meaning several different although relating melodies are played simultaneously. Also an element of repetition based upon every third and sixth note was heavily explored.  When applying this notion to the design of a Palladian style villa I first started with a central dome. From there I added two perpendicular axes that are six times as long as the diameter of the dome. Next three rectangular elements 2/3 the length of the original axes were added.  Finally a hall way running along the north/south axis a third of the width of the dome further divided the space while serving as a function way of moving throughout the villa. 

4. All great diversions are dangerous for a Christian life, but among all those the world has invented none is to be so feared as that given by theater” A quote by French philosopher Pascal embodies the cultural influence theater had in the 17^th century. Because of this overwhelming sense of Influence Theater played in 17^th century life its affects are seen through out all other forms of art created at that time, including the unavoidable art, architecture.  Baroque architecture applies the rules of geometry; order and proportion followed in both the classical world as well as the early renaissance and then elaborate upon those fundamental rules.  These elaborations were achieved through a level of highly detailed ornamentation, which put emphasis on manipulating materials to achieve a level or representation.  This added a level of visual complexity that romanticized the past expressions of classicism. When comparing this style of architecture to the art of theater the similarities are unavoidable.  Just as theater takes stories and gives them life through drama and elaboration, Baroque architecture gives classism a new meaning.  

Point: Foundations

Because man exists, therefore architecture must exist.  Architecture is not only humanities way of providing shelter; it is a method of conveying a story.  We start this investigation of foundations in architecture in Egypt and sequentially move through time to Greece. We next move to the Roman Empire who capitalized on the notion of classicisms. Although each of these cultures has a unique design style we are able to see several instances of commonality among all three. These commonalties can be phrased in three terms, Lines, circles, and stacking.

            In Egypt we see one of the most common forms found in architecture, stacking.  Bricks of a grand scale made from line stone are stacked uniformly to create the grand pyramids. These large-scale pyramids reflected the power of the pharaoh as he was hailed as god on earth.  Also with these structures severing as a burial ground they pronounce the longevity of both the afterlife and Egyptian culture.  In other Egyptian temples lines were incorporated in and axial progression of space in order to strictly direct the way in which one would use the space.

            Moving east to Greece we see these same elements of lines and stacking echoed.  In addition to lines and stacking Greek architecture placed great emphasis upon order and proportion.  Upon the acropolis the Parthenon embodies the ideas of lines, stacking, order and proportion. Each element of the building has a direct and purposeful relationship the whole structure. Another design strategy that arises from Greek architecture is the idea of porch, court, and hearth.  This broke a structure down into three “layers” the outer most layer, a middle layer, and then finally a center layer. When applying this to the Parthenon we can clearly see this design strategy implemented. The outermost elements the stereobate, and styleobate serve as the porch, the space past that semi-enclosed by columns can be considered the porch and finally the hearth is the grand statue of Athena located in the rear of the structure.

             Following Greek culture was the Roman Empire. As in Egypt and Greece lines and stacking were intensively used. However due to Rome’s great advancements made in engineering the circle began to be utilized, most frequently in the form of domes and arches. Roman architecture was not only functional space but also a shout of power to the rest of the world from the emperors throne. Roman architecture followed in Greece’s footsteps when it came to order and proportion, however it was taken much further. Roman order and proportion as practiced on a much grander scale. Also in contrast to Greek architecture sitting comfortable in the countryside landscape Roman architects mounted their structures in urban settings.  Also in Rome we see a much broader variation of structures such as aqueducts, villas and domed temples.

http://www.philosophy.umd.edu/Faculty/jhbrown/beautyII/332-52a.jpg

 

Reading comprehension 3

1.  Time: Salisbury and Amiens Cathedral

            When comparing Salisbury and Amiens Cathedral the ratio of similarities to differences are striking. Although they are each designed as a space of worship with an emphasis upon verticality the designers took two unique approaches in completing the design.  These differences are likely due to the construction process of each cathedral.  With the Salisbury cathedral being built in 38 years it encompassed one generation’s ideology on how a place of worship should be designed.  This shows through the very uniformed style of the Salisbury Cathedral. In contrast to Salisbury, Amiens Cathedral went through a much longer construction process, lasting 190 years. Because of this long process the design of the building changed slowly over time as the ideas of the designers changed.  Although the cathedral is symmetrical and proportional it dose not offer that same sense of a uniform design seen at Salisbury.

 

Patron: Salisbury and Florence Cathedral

            Although both the Salisbury and Florence cathedral successfully accomplish order symmetry and a cohesive design the differences in the two structures are clear.  Salisbury cathedral was commissioned by church leaders allowing for an organized uniformed structure. Although the Florence cathedral appears to have an organized design strategy it is clear through different styles in important elements such as the entry doors and the dome that more than one hand played a role in both the design as well as the financing of the structure.

           

Inside/Outside: Although the Salisbury and Cologne Cathedral are interestingly similar on the interior their exteriors speak two very different languages.  On the interior we see a large emphasis on verticality and natural light. Also the use of the ribbed vault, which screams gothic, is heavily utilized in each structure. However when looking at the outside the differences are quite noticeable. The Salisbury cathedral has a even stance upon a rural landscape. And Cologne we see a structure that appears to be practically leaping off the ground. Because of this high degree of vertically much larger flying buttresses are implemented compared to those seen at Salisbury. The reason for this style of design at Cologne can likely be accredited to the urban location and limited space, and also the idea of reaching towards the heavens that we see in most Gothic places of worship

 

 

2.  The middle ages were brought on due to the decay of the Roman Empire. There was no longer a central government. Large cities dispersed and a more rural, agricultural life style was adopted. Small kingdoms began to arise and invasions and warfare became a way of life. Due to all of this change, naturally architecture changed as well.  Due to a new style of government, the feudal system the building of castles became a necessity through out the Middle Ages.  In the image found on blackboard we see a woman working in a medieval interior. This new style of domestic architecture is often characterized as cold and uninviting, which speaks to both the political and social ideology at the time.  Materials used were often local and inexpensive Such as Pinewood found in forest near by. Lavish materials and decoration had become a thing of the classical past. Often these domestic interiors consisted of only one room that was used for both sleeping quarters as well as a dinning hall. A hearth in the center provided heat, but due to poor ventilation left the room smog.

Example of a medieval interior

http://www.englishheritageimages.com/image/solar-room-stokesay-castle-n080470_1382710.jpg

Compass

Reading comprehension 2

Reading Comprehension 2

 

1.     1.  In Hersey’s writings great emphasis is given to the idea that the temples built in ancient Greece were structures that embodied the ideals of one sacrifice, and two nature.  I find the argument that the temple was the built embodiment not convincing.  Although I can see a clear connection between the body of the victim being sacrificed and the basic design of a column as Hersey describes, column as a foot, shaft as a body, and capital as a head. I feel that this is not enough evidence to make me believe that the soul design of the temple were to be based on the idea of sacrifice.  However the idea of nature being a powerful inspiration of design seems a bit more validated.  According to the text long before temples worship was held in groves of trees bound by rope and that in the pagan religion trees were so important that each god was symbolized on earth by there on tree.  When looking at the Greek temple style I am able to see this idea of a grove of trees emulated to perfection in rows and rows of organized columns.

 

2.     2  From Macaulay’s writings of the archeological study of a common day motel horribly misinterpreted I was challenged to ask myself, have I been guilty of this as well when studying past cultures art and architecture.  Although the field of archeology has made vast strides in the last 100 years there it is still highly difficult if not impossible to be able to know exactly what the thoughts and ideas that at the time drove culture. Often as students in this post-modern era it is easy for us as students to what we may find on the Internet to be just as accurate as information found in validated publishing’s or even knowledge that we may acquire ourselves.  I think that this reading, although humorous, offered serious room to leave us asking what we should believe and what should be disregarded.

 

 

3.  33.  As a pharaoh of ancient Egypt one if not the main concerns through out there rule was the construction of there funerary complex.  Although there are a few variations, Pyramids as those seen at Giza dominate the style of tomb design of ancient Egypt.  This style of architecture was grand in scale standing triumphantly upon the desert floor boasting the power of the king who lay rest there.  It is not until the reign of Queen Hatshepsut, or the fourth dynasty that we see a shift in tomb design.  The queen’s tomb speaks a more modest language. Fit snug into the side of the cliff it embraces the surrounding landscape rather than concurring it like the traditional pyramids.  Another clear distinction between the to structure styles is the inviting entrance of Hatshepsut’s complex verses the brut exteriors of the pyramids. Although there are likely many different reasons for these contrasts in design style, two stand above the rest.  The first, simply the gender of the designers. As a woman the need to separate her self from the former men rulers makes a powerful statement.  The second is the way of life at the time. In years previous when the pyramids were built life was somewhat unstable in the Egyptian Empire, separation of peoples and warfare were common.  However Queen Hatshepsut was known for unifying the upper and lower kingdoms of Egypt. Reflecting this in a design of a tomb complex that set itself apart from the past.

 

4.    4.  Egyptian and Greek architecture is often looked upon as two totally different phenomenon’s, and for good reason.  From what we know the differences between design ideology Greeks and Egyptians are vast.  However we do see some similarities in temple design between these two cultures. One of the most noticeable similarities is the use large of columns surrounding the perimeter of the temples.  Although with the Egyptian column boasting a stylized papyrus capital and the Greek column adhering to a strict Doric order it is easy to decide which one belongs to which. Another aspect of these two temples is they are each designed with a single axis of progression. Despite quiet different cultures and values It is no accident that each of these building take on the similar form.  Both the Egyptians and the Greeks fundamentalized the way the west built its places of worship for generations well past there own.  

http://www.sacred-destinations.com/egypt/images/philae/resized/hypostyle-hall2-cc-romsrini.jpg

http://www.planetware.com/i/photo/valley-of-the-temples-agrigento-aggrtm.jpg

 

5.     5. When comparing the style of Egyptian furniture to that of Egyptian architecture, especially that of the Pyramids of Giza it is easy to see how very different they are. When considering why it is they are so different, you must first ask what are they used for? The pyramids at Giza are tombs. No one is living and using the structure on a daily basis. At the same time they are much more than that. They are an expression of power laid upon the landscape to boast the glory of the king for eternity.  Yes, Egyptian furniture shows power and wealth through expensive materials and luxurious design, however they are created to be used.  This is likely the difference between any type of design. How and by whom is this building, or chair, or anything for that matter going to be used.

 

6.        In the study of Grecian culture ceramic vases are one of the most important and due to the longevity of material abundant artifacts that we have.  The two vases below depict a king or high Greek official sitting upon a throne. In each vase one or multiple women are closely attending him to.  These depictions reinforce the belief that men held much more power over women in Greek society. Vases were often used in Greek society to keep historical records of important rituals or events thus validating the study of these vases to grow a better understanding of just how this ancient society was ran. 

People, Space, Relationships

Chairs, chairs, chairs.

Point: Theories

Point: Theories

 

            Architecture is the art form that we inhabit. It effectively communicates a dialogue from the past to the present as a conscious reflection of our ideology as humans. It is important for us to understand our past successes and failures in architecture in order to move forward. Throughout time we have seen the lineage in architecture of our foundations, a search for alternatives to those foundations, reflection back upon those foundations, and then exploration of new ideas all together.

            “ Design deserves attention not only as a practice, but as a subject of philosophic investigation.” A quote from the book Discovering design: Explorations in Design Studies speaks to the level of architectures ability to affect us on the deepest levels.  Buildings are not just structures that meet our basic need of shelter. They are tools used to manipulate our thoughts, ideas, emotions, and mood.  Through good design methods we as designers are able to bridge the gap between the material world and the world of the perceiver through sensory engagement.  At the same time if a space is dulling to senses and its function does not meet the needs of the user through a mass of bad design principals, architecture can wreck the soul.

Roth brings up the notion that architecture stands upon a tripod of the three ideals of commodity, firmness and delight. This means that the building must be functional, safe, and pleasing to be in and around.  If a building is missing one of the three it will be sure to fall into the pits of mediocrity and the mundane. However if an architect is to give close attention to these three things, their work will be praised for lifetimes to come.

Although commodity, firmness, and delight do aid to the success of a design it does not mean we may stop there as designers.  Architecture is a language. How can a building communicate to the whole world the glory of its ideals if we do not all speak this same language? The answer is it cannot.  Every building ever imagined is subject to the lenses of culture. In Japan, a designer will confidently place a dining room table, which stands at a height of 17”, in a space.  How ever if a European designer were to do this, the question of there acceptance would be asked. The difference in these two designers is culture, what is accepted and what is not.  Therefore as designers we must be sensitive of  how and what we design, according to who we are designing it for.

Reading response 1

1. According to Wotton in order for a piece of architecture to be successful it must achieve the concepts of commodity, firmness, and delight. When recalling past buildings studied the TWA terminal quickly comes to mind as a structure that happily meets these three requirements.
Commodity asks the question, “does the building serve its purpose and serve it well?” In the TWA Terminal the architects implemented a series of staircases and bridges, which helps the flow of a large volume of traffic. The traveler is able to successfully navigate from point a to point b in order to arrive at their destination efficiently. This shows a sense of empathy on the behalf of the architect, allowing for a design thats form is cohesive with its function.
Firmness is the idea that the building must be able to stand safely and effectively, protecting those who occupy it. The TWA terminal uses a shell style structure. As reinforced cantilevers and curved steel beams support the mass of concrete that makes up the shell. (Roth 42)
The final piece of the puzzle is delight. The building must be pleasing to The senses of those who inhabit it. According to Nikolas Pevsner it is up to us as architects to shape the space that we must live in. (Roth 55) At the TWA terminal the mind is able to enjoy a space with virtually no 90 degree angles. With long vaults and endless curves the space is symbolic of the technology and freedom that flight encompasses

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2. Throughout time man has constantly been looking back to past people for inspiration in architecture. Time and time again we see classical buildings echoing the glory of the now fallen Greek city-states. This idea of searching our past applies not just to architecture but all forms of arts.. In Chinese society unity harmony and balance govern the arts. (hardwood 17) Also religious influence makes the use of yin and yang a tradition. In the textile seen below we are able to see a marriage of ancient Chinese design and a more modern thought about design. The flowers can been seen as a symbol of purity as they often were in Chinese design. The white spirals contrast with the turquoise background providing a sense or yin and yang, or balance while also using lines of a more modern art nouveau style.

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3. According to hall the way one man perceives his surroundings can differ greatly to that of another’s based solely on the language he speaks or the culture he comes from. When evaluating the space that our classroom is held in I am forced to as the question, “who did this?” It is clear to me that if what Hall is saying is true the one who designed this space and I must not speak the same language. The seats sit so low and close together that a fifty-minute lecture is trumped by frustrating thoughts of discomfort. I understand that as an American we enjoy more personal space than most of the eastern world and I am sensitive to this fact. However this space has been designed for American students.

4. De Bottons writings ask the question, “can architecture provide happiness?” As a young and consequently naive designer I am quick to say yes. Architecture is such a part of our day-to-day lives it is impossible for us not to be affected by it. De Botton writes, “Earlier today, the house rang with the sound of children’s cries and adult voices, but since the last occupant took off a few hours ago, it has been left to sample the morning by itself.” In this personification of architecture it is almost as if the house is just as much a part of the family as those who inhabit it. It is not architectures job alone to secure our personal happiness. Many other aspects of our life make significant contributions as to weather we are happy or not. Through good design principles a space is able to slip into our subconscious and bring us to a state of ease and tranquility. Yet in the same stroke a bad design will create negative emotions without us even realizing it. With a flood of natural light and an organic blend of natural and man made materials composed spatially in a logical fashion the Eames house screams happens from floor to ceiling. Through this design positive feelings and emotions are able to be reinforced in the occupants hearts and minds

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Man is the Measure of All Things

Clue Two: A study Of Color

Gatewood. Studio. Living.

After a good bit of hard work I feel as though it has finally paid off.  I really feels as though through out the course of this project I have really developed as a designer and look forward to where the upcoming years will take me and my design process. The following are an array of technical, prospective, material and 3d modeling drawings from My final project in First Year.