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

http://www.ronsaari.com/stockImages/nyc/TWATerminalInterior.jpg

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.

http://allfreed.ru/uploads/posts/1111/13071208612479_495009.jpg

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

http://www.precutprefab.com/wp-content/uploads/2010/03/steel_6_eames.jpg

Man is the Measure of All Things