Point: Explorations

The Explorations unit summarized the design revolutions that masked the twentieth century with periods heavily oriented towards expressionism and the breaking away from classical ideals. With traditional characteristics becoming commonplace and dull, designers desperately clung to any style that was entirely original and without familiarity. Because Art Nouveau and Art Deco provided a way of bringing about new eccentric, artistic designs veiled in theatrics, buildings like Maison & Atelier, Grand Palais, and the Casa Batllo were conceived. Not only did these styles provide a new approach towards design, they sought to incorporate art into everyday life. These styles celebrated any irrational avenue of design that turned away from the classics, using reflective metallic surfaces, asymmetrical proportions, and the unconventional use of curvilinear forms to achieve this purpose. However, the movement lost its momentum with the arrival of the modernist styles.

As people became disenchanted with the irrationality of the Art Nouveau and Art Deco movements, the International style quickly became its successor. Seeking to find harmony through functionality and minimalistic design, the style sought to satisfy the needs of everyone. Unfortunately, the style dismissed its human attributes and made no attempt to comfort those whom it catered to. As such, modernism began to adopt more expressive styles to become less passionless. With buildings like the JFK Terminal and the Sydney Opera House, design took to styles that turned architecture into living bodies of art, having inhabitants recognize beauty through movement and guidance. However, the style disregarded the functional aspect of its designs, producing works of art unsuitable for the reasons for which they were originally created.

With the arrival of Postmodernism, the functional and formalized aspects of the modernist movement were replaced by divers aesthetics, with colliding styles, spontaneous form, and new narratives concerning interior spaces and styles. Also, architecture stemming from the postmodern movement made attempts of tributing design to traditional roots, with references and ornament returning to the facade, replacing the minimalistic trait of the modern styles. Instead of producing "one size fit all" type designs, buildings were specifically created with surrounding environments kept in mind. By focusing on regional materials and styles, designs were capable of adopting identities that characterized its inhabitants. Whereas modernism made true use of material as well as the absence of ornament, postmodernism embraced the the complete opposite, rejecting the strict rules set by its predecessor. By seeking meaning and expression through form and stylistic reference, postmodernism sought to give architecture souls (LeCorbusier's "machines for living").

Although short-lived, these modern styles served to reflect periods of instability and desperation. Looking to find new creative outlets that broke from traditional roots, these periods quickly came and went as popular belief evolved. With communication becoming faster and more readily available, the lifespan of design periods are quickly collapsing. Ripples in design are now quickly felt by the entire world with responses spanning the industry within the blink of an eye. Although beneficial in some ways, design has lost much of its luster, quickly disregarding qualitative aspects for the ability to increase output and responsiveness.

Like the image above, truly successful design periods take time and effort to develop. However, with modern times becoming more capable of producing design periods at whim, the quality of said design styles has quickly diminished.

Counterpoint: Machine

Hopefully I'll be able to upload a better quality picture soon. I decided to go with the Sydney Opera House for my machine counterpoint. The material is represented by the steel girders held by the cranes, the people are included near the building (albeit extremely small), the symbol is embedded in the curtains and the building itself (which has become a symbol for the city), and nature is included through the use of the water. The theme of machine is present through the cranes.

Reading Comp #7

"Four Male Dancers" by Paul Cadmus (diagram)

The rise of the Postmodernism movement established with it stylistic changes that moved to break all notions of objective truth and narrative to emphasize motivation and subjective truth, "the accent placed on process rather than form" (Massey, pg 216). As such, Postmodernism rejected the ideas of its predecessor, Modernism, criticizing the period's definition of appropriate design as being contradictory to it's self-proclaimed theme of subjectivity. Instead, the movement sought to enrich expressionism while achieving ideal perfection throughout design, seeking to discover harmony through form and function. In the work called "Four Male Dancers" by Paul Cadmus, the drawing illustrates this perceived notion of expressive, yet definitive, form. Not only does Cadmus orient the dancers in organic positions with fluid movement in between them, he emphasizes the expressive aspect of the piece through the use of lines. Instead of using realism to define his subjects, Cadmus uses multiple lines running in unison to effectively bring about the presence of the dancers in subtle form. Respecting the theme of Postmodernism, Cadmus pulls away from the minimalistic ideals of the Modernistic style, manipulating his illustration to compliment negative space to create a highly integrated/complex composition.

The evolution of this period ultimately begins to shatter the unity of Modernism, prompting designers to "challenge, reassess, and reinvent its principles and practices [to] address the complexity, diversity, and plurality of their time" (Harwood, pg 806). From this we begin to see customization, identity, and design stemming from the individual. As seen in Kathe Kollwitz's "Selbstbildnis Von Vorn" (self portrait from the front), emphasis on the individual becomes a common characteristic of Postmodernism. Like the work of Cadmus, Kollwitz manipulates the the patterning of lines to create an image, her individualistic identity permeating throughout the entire piece. The importance of discovering this subjective truth "means burrowing deep, to find out what unconscious premise a text is based on and what the blind in the author's eye cannot see" (Roth, pg 600).

With Postmodernism taking foothold throughout the world in the latter part of the twentieth century, everything from the design of furniture to the design of a metropolitan city-layout meant finding harmony between form and function while nurturing their expressive characteristics beholden to the new-found importance of the individual.

"Selbstbildnis Von Vorn" by Kathe Kollwitz

Reading Comp # 6

[1] A common theme of the early twentieth century found in Roth, Harwood, and Massey set the tone for an understanding of styles in architecture and design influenced by fine art. Selecting either Arts + Crafts or Art Nouveau, TRACE the influences of the selected style in more than two nations. In your answer, you should include evidence from the readings and at least two annotated images as support for your analysis of influences. [15 POINTS POSSIBLE]

An international movement comprised of various styles found throughout the world, Art Nouveau and its rejection of traditional design adopts a new visual form that amplifies dynamic and individualistic qualities. In France, Spain, and the United States, where an organic, curvilinear form of Art Nouveau is adopted, naturalistic forms are reduced to basic elements in an attempt to help convey force, energy, and organic growth. According to Harwood, the underlying concept behind the manipulation of line and form is "the desire to create a new style divorced from those of the past, that expresses a modern urbanized, commercial society."

In France and the United States, natural and organic motifs riddled with whiplash curves and plant-like movements are commonplace. Concerning France, influences from Art Nouveau can be seen in the work of Hector Guimard. Challenging traditional notions of design, Guimard created furniture pieces that conveyed vigor and free-flowing characteristics through asymmetrical form and organic curves. Clearly present in his 1899 cabinet piece, the use of natural motifs in conjunction with reinforced, curvilinear panels and drawers creates a fluid composition that emphasizes the relationship between space and form. However, in the United States, influences stemming from Art Nouveau can be seen through the work of Louis Comfort Tiffany. An American glass designer, Tiffany used opalescent glass to create glass lamp shades illustrating natural elements.

In Spain, where Arte Moderno is recognized, sculptural, eccentric, and idiosyncratic elements characterize the work of Antonio Gauidi Cornet. Widely recognized for his creative originality, his designs have permeated throughout Barcelona and Catalonia in the form of furniture, tiles, buildings, and ironwork. Often manipulating materials to create natural "renditions of flowers, trees, vegetables, and waves to create a surreal sense of place" (Harwood), Gaudi firmly joins individually designed pieces into a cohesive whole. As seen in the curving facade of Gaudi's Casa Mila in Barcelona, Spain, harmony found throughout vertical and horizontal expressions ultimately form a dynamic, fluid expression that makes use of curvilinear shapes to emphasize the separation of stories and their subsequent reflections of the sky and ground.

Cabinet, c. 1899; France; Hector Guimard

Casa Mila (La Pedrera), 1905-1910; Barcelona, Spain; Antonio Gaudi i Cornet

[2] Originating at the Bauhaus and in the work of LeCorbusier, the so-called Modern movement deeply influenced design and architecture of the twentieth century. The great debate raised by this new approach to design involved the presence of the machine in the design process and final products. SPECULATE about the implications of “machines for living” and the famous dictum “less is more” on design today. Use at least one ARTIFACT, SPACE, or BUILDING in your answer, providing a salient image (cited) and annotation to help bolster your argument. [10 POINTS POSSIBLE]

With the arrival of the Modern movement, design came to amplify and suggest the importance of utilitarian aspects and the native aesthetic appeal that stemmed from simple, purposed design. The implications of Le Corbusier's "machines for living" fronts an ideology that supports the manipulation of space , light, and order to create designs inherently machine-like. To Corbusier, expanding the utilitarian purposes of architecture to levels of aesthetic appeal allowed the expression of various features within a building to come together as inhabitants explored its interiors. Extremely related to the "less is more" dictum today, by limiting superficial design implementations, emphasis on a building's purpose and form evolves into an identity- a logical, functional design that breaks from traditional architecture and pushes for the removal of excess decoration.

The Bailey House, Case Study House #21

[3] From the assigned pages in Roth, Harwood, and Massey, SELECT an image that you believe explodes the notion that Modern interiors and objects were black and white. Fully RENDER your own design exploration of that image through color, material, and light and appropriately annotate and cite the image to prove this point. [5 POINTS POSSIBLE]

Richard Neutra: Staircase, Lovell House (Massey page 83)

Reflections Summary

For the reflections unit, I decided to review the posts belonging to Caitlyn Lyle, Cassie Bradfield, and Blakeni Delyn. Acknowledging the significance of change throughout design, each post made a conscience effort to define appropriate conditions necessary for transitional periods and revolution.

Concerning Caitlyn's post, heavy emphasis was placed on revivalism and it's influence on American architecture. According to Caityln, with the arrival of new materials and building techniques and their subsequent design changes, the revolutions occurring throughout Europe made their way across the Atlantic, finding solace within American cities. Aside from questioning periods of stifled creativity, she attempts to define the nature of revolution: that sufficient means for change originate from the gradual, yet persistent, changes that occur within the culture of a society. Well written and thought out, her post, unlike many others, helps explain the unit's historical impact on American architecture.

Cassie's post, which factors in Eastern trade and its effect on Western design, explores the idea of manipulated assimilation throughout various cultures. What deviated from the cultural norms of European society quickly become the forefront of revolution and change, taking with it the celebrations and past acceptances of traditional design. She touches upon the influences of the Industrial Revolution and its impact on modern architecture. Thoroughly expanding examples to further perpetuate her commentary, she reinforces and solidifies her knowledge of the unit.

Blakeni's post argues that transitional periods of design are inherently in conflict with time; that it attempts to find justification within the past and the present. Although she structures her post to explore the effects of various design periods, she ultimately questions the artistic validity of using machines in conjunction with design. Her post, which supplements historical references with modern examples, translates into a well written post; her focus on time calling attention to the impressionable nature of design.

Cassie's post

Alternatives Summary

Concerning the alternatives unit, I enjoyed reading the blogs belonging to Kelly Harris, Abigail Buchanan, and Daniel Salgado. All three commentaries, which uniquely describe the alternatives unit as a whole, cohesively blend the origins of historical examples with subsequent trends and design styles.

Throughout Kelly's point, personal examples were often used to stress the importance of the material reviewed in the unit. Mentioning the significance of trial and error relative to transitional periods of design, she spearheaded her argument with a series of historical examples (front façade of the Ospedale Innoconti by Brunelleschi) and personal experiences (folding paper) that helped reinforce her understanding of the unit. Because her passion for design is subtly integrated throughout her blog, I found it easy to understand and absorb, taking with me a new perspective on how modern architecture serves to reflect and embody the past.

Abigail approached the alternatives unit directly, defining points of interest that served to represent the unit as a whole. Segueing from the Gothic era to the Renaissance, Abigail provided solid examples of each design period that visually expressed the main focus of their respective time periods (Chateau Chambord, Villa Capra , etc.). Easy to understand, her personal input throughout the commentary helped reinforce the meaning of each topic without diluting the factual aspect of her post.

Daniel's post was unique in that it stressed the details of each design period with the underlying tenet that they represented architectural "bending of the rules". Defining the characteristics of each period with thorough examples and explanations, I discovered new things about the various design periods covered. The presence of "classical language" in the Gothic era and Renaissance were related in the traditional purposes that they served to mold and interpret. However, with the Baroque period, artistic endeavors found new freedom within the theatricality of the period and lack of set boundaries. As such, the insight found throughout Daniel's post was easy to pick up and absorb.

Daniel's post

Abigail's post

Clock

For clock, I decided to go with paragraph and place. Using Washington, D.C. as my place, I manipulated the paragraph portion to become a visual element while maintaining its literary purpose.

Point: Reflections

With increasing exposure to foreign cultures, the design period between the Renaissance and the modern era flourished, encapsulating the idea of rapid change marred with the signs of assimilation. This rapid succession of design revolutions, however, distorted established forms of local design and brought about an identity crises that jeopardized the face of many cultures. Burdened with the task of maintaining tradition and pursuing new, innovative ideas, drawing design aspects from foreign influences became an attractive option. Concerning Europe, Eastern influences found solace within the form of chinoiserie, permeating throughout universal styles as mimicry. With the rise of industry and its various applications, design continued to evolve, pushing the boundaries that once limited the styles of past. In contrast to the past limitation of the availability of certain staple resources and the structural integrity of materials, new-found resources, techniques, and tools helped mold the iconic face of the modern era.

With the stagnation of design taking silent foothold throughout Europe, merging with Eastern design styles became an excitingly popular idea. The decorative excesses of Eastern cultures were universally appreciated and seen to represent wealth, status, and worldly knowledge. The Royal Pavilion at Brighton, England was designed with this template in mind, having internal and external faces feature Western impressions of Eastern styles. Utilizing Oriental, Islamic, and Indian design, elaborate, colorful interiors and a mosque-like exterior came to represent the building as a whole. Rivaling the Eastern movement, the Victorian era came to emphasize similar design elements that focused on excessive aesthetics, featuring surfaces riddled with ornamentation and art. This era spawned various styles spanning from the Jacobethan style of the early 19th century to the British Arts and Crafts movement of the early 20th century.

Unlike the design assimilation that occurred throughout Europe, the American colonies focused on developing its own design style that deviated from its European roots. Concerning the English colonies after the Revolutionary War, design was altered intentionally to create an independent, localized style. Articles of furniture, like chairs and tables, were subtly manipulated to break from the traditional norm of English designs, producing simplified versions of ancestral pieces. Gradually with time, however, America would come to revive these traditional styles, defining them as symbols of prosperity and wealth.

With the arrival of the Industrial Revolution, the assimilation of design across the faces of many cultures came to fruition. With machines replacing craftsman, many critics, like William Morris, compiled arguments that questioned the capabilities of machines to preserve inherent qualities found in hand-made objects. Not only were machines beneficial to the development of goods and growth of cities, they helped spur the use of new materials that forever changed design. The mass production of iron and glass allowed large, open structures to exist. The Crystal Palace, which drew influences from English greenhouses, came to spearhead iron and glass framing, capturing traditional design elements in the form of spacious, transparent interiors. This new avenue of design ultimately expanded the possibilities and options of designers, withdrawing from it the beginnings of Modernism.

Source

Reading Comp #5

[1] From the Roth, Harwood, and Massey readings, select an ARTIFACT you believe to represent revolution in design. SPECULATE about the type of revolution this artifact symbolizes. Supplement your answer with a beautifully hand rendered image of the artifact you selected, citing source and page on your image. [10 POINTS POSSIBLE]

Page 22 and 23 of Harwood's Architecture and Interior Design from the 19th Century

The Astral lamp, a descendent of the Argand lamp, was designed so that no shadow was cast upon the table or surrounding surfaces by the flattened ring-shaped reservoir in which the oil was contained. These early oil lamps, which were a large improvement to their ancestral hand held lamps, could illuminate large spaces for long periods of time. Where as in the past buildings had to make use of natural light through the use of external openings in order to illuminate their interiors, the introduction of the lamp (the precursor to modern lighting) allowed for closed interior spaces to prosper. Not only would this impact time constraints and daily schedules, the lamp forced some architects to develop interior designs with the lamp's accompanying cornball atmosphere in mind. Light, which found solace during the Gothic period in the form of open spaces and large glass windows, was revived and rejuvenated with the development of the oil lamp.

[2] Using the internet, LOCATE and ANALYZE an image for an ARTIFACT, a SPACE, a BUILDING, and a PLACE, drawing the idea of eastern influences as understood by nineteenth-century minds (China, Japan, India, Middle Eastern) on western design and architecture. Each answer must include an appropriately annotated and cited image in addition to a well-crafted essay to defend your choice of each image and the ways (more than one) that the material item responds to design influences from the east. [20 POINTS POSSIBLE]

As Western ties with the East strengthened in the mid 17th century, the increasing exposure to Eastern designs prompted the development of heightened interests in Chinoiserie. During a period when the East appeared incredibly exotic to Europeans, imported designs and products consisting of lacquer-like materials and decorations permeated through the masses as an alternative beauty, quickly commanding an era of influence.

English chinoiserie desk

Source

Made in the second half of the 19th century, this English chinoiserie desk draws from oriental depictions of nature in congruence with the influences of Man. This desk, which fronts illustrations of buildings and plants on each of the drawers, mimics the harmony of Eastern designs that concentrate attention into developing accurate representations of uniformal existence with nature. The simplicity of the desk also amplifies the Eastern influences found throughout the piece. With modest decoration found throughout the front, the desk becomes easily accessible to the ideas of comfort and natural purity.

Sanssouci Palace

Source

Ceilings throughout the Sanssouci Palace tell ornate stories through the use of chinoiserie themes, using characteristics of oriental art including oriental scenery, human figures, intricate lattices, and exotic flowers. In combination with each other, the embodiment of nature in a whimsical existence is successfully achieved. Further Eastern influences are found throughout the design's asymmetrical composition. Many oriental designs distort space within their compositions with the intention of accurately portraying both the serenity and vitality of life, an ideology present in the depiction found on the ceiling.

Cross (Krestovy) Bridge

Source

This bridge, found in the Chinese Village in Alexander Park of Tsarskoe Selo, Russia, heavily draws influence from Chinoiserie. Eastern influences are embedded in the polygonal shape of the roof, using defined, lifted corners similar to those found in China. Chinese architecture, which places emphasis on breadth and less on height, typically design heavy platforms with large, floating roofs over its base- taking emphasis off its vertical walls. Deviating from the linear shapes of bridges, the Cross Bridge also makes use of steep Eastern arches to support and emphasize the floating shrine at it's center.

Japanese garden at Kew Garden, London

Source

The tranquility and simplicity of the Japanese garden at Kew reflects Japanese design in its trimmed shrubs and manipulation of pebble paths to represent running water. In Japanese culture, the manipulation of nature signifies respect and control, taking something wild and taming it in the form of art. The centerpiece, the Chokushi-Mon, was built for the Japan-British Exhibition in 1910, but was subsequently moved to the garden. Japanese influences are found in the gate's large roof. Like the Chinese, the Japanese place emphasis on horizontal planes, typically preferring top-heavy designs that draw emphasis away from its vertical walls.

Perspective

For the perspective project, I decided to with space and the word "Illumination". I blended the symbolism in the top left corner with the clasped hands and Pieta representing the major focuses of Catholicism . While nature is present in the form of incoming light, the pile of rocks/columns represent material. The perspective of the image is stretched inwards, with the space being distorted to one

Point: Alternatives

Beckoning forth various design revolutions, a perceptual break from traditional architecture served to spearhead the periods of transition following the creative stagnation of the Dark Ages. With the downfall of the Roman Empire and it's subsequent ideologies, Europe was thrown into a period of instability, with the remnants of traditional architecture serving to maintain the near-severed link to the past. However, with rampant uncertainty and lack of direction taking foothold throughout Europe, the fruition of the Gothic style as a design standard met little resistance; it's presence veiling the principles of Europe and prompting the rise of the Catholic Church and its far-reaching influences. As such, a new era of architecture serving to manipulate and reinterpret the classical styles of the past emerged.

Unlike the secular concerns of the Roman Empire, a spiritual focus came to govern design throughout the Gothic Age. Heavenly oriented architecture that categorized the existence of Man in respect to God became the standard, sparking the construction of Cathedrals throughout Europe. These buildings, which employed the use of light to illuminate it's interiors (ie. Amiens, Cologne Cathedral), helped perpetuate the atmosphere of divinity, bringing closure to the many who struggled to find spiritual enlightenment. Although historically short lived, the period provided the necessary tools to break from the traditional plane of thought.

The revival and reinterpretation of the classical aspects of design belonging to the Greeks and Romans came to light with the passing of the Renaissance. Returning to a human oriented focus, architecture served to celebrate the intellectual and creative facets of Man. Within the confines of the classical balancing of elements, buildings were constructed with clearly present boundaries, maintaining a harmonious unity equivalent to the rationalizations of the respective design period. The façade of Santa Maria Novella clearly demonstrates this transitional period of reinterpretation; although without function, the borrowing of columns and elements of design from the classics gives the facade a visually stimulating appearance, pinpointing it's details on the front. Also, because the Renaissance paralleled a period of prosperity and wealth, various classes were capable of constructing their own images of classical representation, bringing about various designs that expanded the movement as a whole.

Although it's appropriate to accept the limitations of finite surfaces concerning the portrayal of infinite measures, the realm of movement through the manipulation of design was evidently articulated by the following Baroque period, creating within it a medium for which the embodiment of social performance became possible. As such, because the period placed emphasis on the effect of movement rather than the effect of symmetry and balance, as demonstrated with the passing of the Renaissance, a representational depiction that suggested the existence of the unseen came to find solace within the distortions and deliberate bending of space. Mirroring nature, baroque thinkers expressed ordered worlds consistently threatened by unknown forces, environments existing in essential but fragile harmony. Like the curving staircases throughout the period that deviated from the linear form, the symbolic representation of movement broke from the traditional notion of function over style, with the illusion of motion being both figurative and dramatic.

Link

Reading Comp #4

[1] Just as we learned with Gothic cathedrals, in the context of each PLACE, the other scales of analysis (ARTIFACT, SPACE, and BUILDING) each demonstrate difference. For each scale on the readings rubric above, EXPLAIN at least one common design language that links them all. Use the principles and elements of design as defined for this class in your response. Explicitly tie the Roth reading to your analysis, using at least one cited quote. [10 points possible]

Concerning the list of artifacts (desk/bookcase with chinoiserie, windsor chair, tall clock, state bed, and sheraton side chair), similar elements of line, proportion, and unity are found throughout the various pieces. Although the styles of design vary from having “gilded flowers, trees, and/or people against a black background” (Roth 451) to “[having] architectural details such as columns or broken pediments for displaying sculpture or porcelain” (Roth 428), the presence of straight lines and curved counterparts, and how they complement each other, is a characteristic all five pieces have in common.

Repetition is heavily present throughout the list of given spaces (Holkham Hall saloon, Gunston hall stair hall, Marie Antoinette's bedroom, Saltram House saloon, and Gardner-Pingree House parlor). While “symmetry continues to define wall paneling” (Roth 464), typical patterns found throughout the given spaces include surfaces that resemble textiles, framed paintings, and/or naturalistic designs. While the repetition of geometric shapes and compartments are clearly present throughout the spaces, the patterns are often separated by color or contrast provided by the varying depths of light.

The use of vertical lines and emphasis tie the list of buildings together (Chiswick House, Drayton Hall, Pantheon, Nathaniel Russel House, and Monticello). Columns are found throughout the various designs, each placing emphasis on the symmetrical facade of their respective building. All five of the buildings balance the use of horizontal and vertical lines (found in the symmetrical distancing of windows, levels, etc.) to create a harmonious architectural entity.

Each of the places listed (London Williamsburg, Paris, New Town, Scotland, and Washington) reinterpreted and revived various aspects of classicism throughout their architecture and city-planning, the styles becoming visual metaphors for culture and progress. The similar elements of form and line are embodied by the cities' intersecting lines and focal points (i.e. roads, communal centers, etc.).

[2] Linked to Europe, the ARTIFACTS, SPACES, BUILDINGS, and PLACES of the American colonies echo closely their design forebears. Selecting evidence from all four scales for both the American Georgian periods, TRACE the common design ancestry across the Atlantic Ocean in the Neo-Palladian and Late Georgian periods of England and the Louis XVI/French Provincial period in France. ARTICULATE the implications of copying from Europe for the American colonies. Use the principles and elements of design as defined for this class in your response. Explicitly tie the Roth reading to your analysis, using at least one cited quote. [10 points possible]

Common design ancestry across the Atlantic Ocean concerning England during the Neo-Palladian and Late Georgian periods is evidenced by the inherent design similarities found throughout furniture, interior, building, and planning designs in the New World. “Colonial furniture closely follows English models [with the] earliest examples [following] Elizabethan and Jacobean forms and details” (Roth 264). With respect to exterior and interior architecture, the overhanging upper stories of many colonial houses were influenced by the New England jetty. Similarities found throughout interiors largely stemmed from the inherent drive to follow vernacular medieval traditions and importation of English furniture, with “colonists [traveling] to England [to] bring back fashionable items” (Roth 258). Because homes were largely influenced by their English counterparts, the positioning of buildings in respect to each other were similar. Colonial cities often focused around town centers and churches, with roads intersecting and dividing cities into individual sections that would come together to form a harmonious unit.

Concerning France and it's design influences, “architecture, interiors, and furnishings in New France closely resembles those in France and derive from the settlers' classes and regions of origin, some being more vernacular and others being more high-style” (Roth 289). Because collective French heritages appeared in different areas, forms and construction techniques were slightly altered to accommodate for the difference in local climate and needs, causing distinctive regional characteristics. While vernacular buildings were preferred along the Mississippi River and in Louisiana, New Orleans displayed a sophisticated model of French architecture. However, commonly reflected throughout these domestic architectural designs were verticality, evidence of structure, and function over style. As such, steep roofs, half-timber construction, and square shapes were common throughout French colonial architecture. Regarding furniture, simpler forms of the Louis XIII, Louis XIV, and Louis XV styles were popular in most French settlements.

[3] From the Hersey/Freedman reading, DESIGN and POST a labeled floor plan of a possible Palladian villa inspired by Girolamo Frescobaldi’s Balletto Terzo

[4] Using the resources at the weblink below, SPECULATE about whether you believe that the architecture and design in the Baroque period stands as a form of social performance in the theatre of the world. Support your response with examples from class and the assigned readings. [5 points possible]

Although it's appropriate to accept the limitations of finite surfaces concerning the portrayal of infinite measures, the realm of movement through the manipulation of design was evidently articulated by the Baroque period, creating within it a medium for which the embodiment of social performance became possible. As such, because the period placed emphasis on the effect of movement rather than the effect of symmetry and balance, a representational depiction that suggested the existence of the unseen came to find solace within the distortions and deliberate bending of space. Stemming from Shakespeare's philosophy of art mirroring nature, baroque thinkers expressed ordered worlds consistently threatened by unknown forces, environments existing in essential but fragile harmony.

In class, we detailed the flowing characteristics of Baroque architecture, spearheading staircases as one of the clearest examples of the style. Curving rather than linear, the symbolic representation of movement breaks from the traditional notion of function over style, deviating from what became a widely acknowledged form of stagnation. Practicality aside, to which there was no tangible improvement, this distortion of shape reinforced the theatricality of the period, that the illusion of motion was both figurative and dramatic.

Source

Point: Foundations

As architecture begins to envelop a society as a whole, the characteristics of neighboring structures begin to take shape, following either an intentional or unintentional concept of order. This subconscience method of planning has been engrained within the various cultures found throughout the history of organized civilization. Why do these plans emerge? Simply, what is perceived as appropriate architecture is often translated and applied to its surrounding environment.

Expanding on this concept of order and its subjective form of appropriateness, we'll examine the two cultures discussed heavily in class. Concerning architectural layouts, the Greeks associated harmony with asymmetric forms- beauty derived from imperfection was considered plausible. For example, the buildings located throughout the Athenian Acropolis (the Parthenon, Erechtheum, Propylaea, Temple of Athena Nike, Eleusinion, etc.) were asymmetrically oriented in context to each other, partially because the Greeks preferred to build with the landscape. However, there was a practical reasoning to this style of planning: the Parthenon, being the focus site, had to be shown in a 3/4ths perspective relative to the entrance of Acropolis to garner the proper emotions from its visitors. This idea of asymmetrical beauty was further explored in the overall design of the Parthenon. Because of the building's 3/4ths perspective, the columns, which commanded visual attention to its form, were spaced out unevenly in the far corners to surpress the illusion of compression stemmed from an evenly spaced out design.

The Romans, unlike their Greek predecessors, preferred a symmetrical style of planning that focused on horizontal expansion and dominance over nature. Starting with a series of perpendicular roads, or cross roads, as a foundation, Romans set out to build cities in an organized manner. Instead of building with the intent of complementing nature, Romans shaped their surrounding landscape to accomodate their architectural endeavors. This is reflected in the similarities found throughout the many Roman cities located in the former empire. Reinforcing upon the notion of order, unlike the Greeks, who designed open temples, Romans constructed temples with a defined entrance, ensuring that people entered these buildings in a predictable, planned manner.

Another topic that was touched upon concerned the Roman use of arches. The concept of the arch, which hadn't been introduced before, was a technological achievement that altered the way buildings were designed and made. Capable of spreading out heavy loads and relieving the stress felt by topping elements, arches allowed for highly expanded, open buildings. Structures ranging from bathhouses to aqueducts became an inherent possibility, their presence widely felt throughout the Roman Empire. The arch, which later became the foundation for ribbed vaults, overlapping arches, and domes, was a technological discovery that had profound effects on the architectural styles and preferences of the Roman people.

Reaching into the Gothic era of architecture, we covered various cathedrals and explored the meanings and origins behind their designs. Many cathedrals, like the Cologne cathedral in Germany, were designed with flying buttresses and ribbed vaults, an element found lacking in earlier buildings. Because of their applied use, cathedrals were capable of constructing tall buildings that rarely relied on the presence of thick, stone walls for support. Instead, thin, skeletal-like walls were used, reserving an ample amount of space for large, tinted windows. This allowed light to play a heavily influencing factor in the designs of cathedrals, ultimately affecting the way people recognized religion and their respective faiths.

The information found throughout the unit is elusively applied in modern times. Although some aspects of the unit are universal and inherent in all societies (i.e., concept of order), the technological advancements discussed are still widely used throughout the world. It is without reason to assume the complete independency of modern architecture- without these historical cultures, many methods of architecture would be nonexistent. As with all interacting cultures, the persistence of time will inevitably draw aspects from various cultures to create out of them a foundation for the future.

Reading Comp 3

1. Cologne-Salisbury
When the idea of combining ribbed vaults and flying buttresses to counter internal, outward thrust came to fruition, the Gothic style of architecture was essentially born. With these internal forces neutralized effectively without the need of heavy walls, thin, skeletal walls were introduced and, subsequently, widely used thereafter. The use of light weight walls, which were capable of housing gaps in between buttresses, transformed the way cathedrals were built- opening up a considerable amount of space for large windows. These windows, which were often comprised of stained glass, tinted incoming light, manipulating the internal narratives and atmosphere of cathedrals. Thus, light became an important feature of the Gothic era.

Within the human psyche exists a fundamental distinction between the planes of truth and slander. Light, which humans have historically accepted as a representation of divinity, plays an important role in the Gothic era. By illuminating cathedrals, various aspects of decorative narration were emphasized- maintaining order and a sense of connection throughout the building. Probably more significant was the new found ability to illuminate large interior spaces, helping to stress and reinforce the notion of religious supremacy and infallibility. In both the Cologne and Salisbury cathedrals, where a sense of verticality is highly emphasized, the use and play of light subjugates it's visitors to a battery of illuminated symbolism- specifically the highlighted ceilings that climb and point up towards heaven through its ribbed vaults. However, where Cologne emphasizes tall open spaces unobstructed by inward arches, Salisbury focuses on tiered arches that direct incoming light.

Salisbury

Cologne

Cologne-Amiens
The "dark ages" have been used to reference the cultural identity crisis that followed the downfall of the Roman Empire. What was seen as a stagnate period of development by some, like Francesco Petrarca, ultimately became the era of religious influence. Complex cathedrals like the Amiens of France and Cologne of Germany were designed during the period of religious revival when the concept of light vs. darkness became synonymous with good vs. evil. As such, because these cathedrals were extremely innovative for their use of flying buttresses, ribbed vaults, and large windows, not only were well educated designers required in bringing these buildings to life, but so were artisans and craftsman- many of whom were poorly compensated for their services because jobs at the time were scarce; the division of wealth reflecting upon the stratification of those societies. Structurally, the Amiens and Cologne cathedrals are very similar- both employ the use of flying buttresses, tall, vertical interiors, and ribbed vaults throughout their designs. However, externally, where the Amiens cathedral focuses on cleaner, line driven flying buttresses, the flying buttresses at the Cologne cathedral are dominated by decorative stone carvings.

Amiens

Cologne-Florence
Unlike Cologne, which had light collide at the main intersection of it's two Gothic vaults to create a large body of light, Florence forced light through it's dome, successfully controlling it into a single space. The architectural choice to use a dome and reject traditional Gothic buttresses marked the beginning of the Italian Renaissance. Reinforcing the change in design, Italian architects did not recognize the aesthetic appeal of Gothic flying buttresses, and often associated them with their northern enemies. However, the dome came to symbolize the existence of the individual. Unlike other buildings that were riddled with architectural symbols of inequality, the dome came to represent the opposite- it reciprocated the ideas of those who believed in the capabilities of Man. Although maintaining the skyward focus towards the heavens, the Florence dome helped forge a perceptual bond between its worshippers and God- to be in the center of the dome was to be in the presence of a divine being.

Florence

2. Many domestic medieval interiors consisted of a large chamber/hall. Being the most prominent feature of domestic architecture at the time, medieval halls were richly decorated with wainscot, tapestries, and paintings. Based on the illustration, the woman is probably in the kitchen. Frequently a detached building, the kitchen was often found on the ground floor void of decorations as a security measure against fire. In the illustration, the woman, who's probably churning butter, is surrounded by naked walls with windows leading to the outside. According to Roth, kitchens were also located towards the back of the house, where interior decoration was less focused on- had the woman been working in some other part of the house, decoration would have been noted. Also, unlike kitchens which were sometimes on level with the ground or slightly below it (which is depicted in the illustration), other medieval interiors were slightly raised off the ground.

Compass and Map

For my compass project, I decided to go with the 2D format using a column as my artifact. The curved word influence symbolizes the rise and shift of power towards Rome. The composite column represented the height of their power (collected forms of previous styles of column). The shattered stones to the left of the column represent the material while the person beneath them represents man. The leaves coming off the column represent the origin of the column and nature.

For my Map project, I was given the following sites: Basilica Ulpia, Grand Central Terminal, Eames House, and Gunston Hall- in which I translated into the 3D, paragraph, word, and 2D form, respectfully.

I'll try to get a better picture of the map project once I find my camera.

Reading Comp 2

1. Hersey describes a grammar for Greek architectural elements based on the idea of sacrifice. SPECULATE about the validity of his argument based on what you know about Greek design and the evidence (both visual and written) he provides.

Hersey's claim that there's a correlation between Greek architecture and their early practices of sacrifice compliments the harmonious principles often practiced by the Greeks. Sacrifice, which represented the deconstruction and reconstruction of a victim's body as to secure a vessel for a God, was an intimate ceremony. Led by a girl carrying a basket of grain over her head, a bound, sacrificial animal would be brought before an alter as the music of flutes played. After laying down the animal, the tossing of grain would reveal the sacrificial knife, which would then be used to kill the animal. Once the animal was carefully cut apart, it would be rearranged on the alter to represent 'rebirth', or the return to life. By reconstructing the animal, complete destruction is avoided, allowing a symbolic regeneration to occur- eventually becoming the precondition for Greek architecture. Likewise, the similarities between the Greek column and the sacrificial ceremony is profound. The base of the column, which in Greek means 'foot' or 'footwork', correlates to the pre-ceremonial dancing and bound feet of the sacrificial animal- seen through the cavetto molding common in bases. The shaft of the column, which is littered with flute carvings and vertical fillets, represent the folds in a chiton and the body. The capital, which symbolizes the head, also represents various symbols depending on the style: Doric, Ionic, and Corinthian capitals resemble head garlands, hair, and horns, respectively.
Whereas ancient sacrificial alters served to pass the history of each ritual performed, with time, Greek columns embodied and immortalized that practice within its design. Following the idea that reconstruction symbolized regeneration, the history of Greek's ancient sacrificial practice was never completely lost, but was instead revived and preserved through Greek architecture.

2. Meant in jest, Macaulay shapes a world of the future in which the main character claims meanings for archeological evidence uncovered at the Motel of the Mysteries. EXTRACT what you believe to be the lesson of mis-interpreting evidence and link that lesson to the real world phenomenon of the internet. In other words, EXPLAIN how you might avoid such a blunder as mis-reading evidence when you use the web as your major information source.

Because information has become so readily accessible over the internet, the pursuit to validate said information has come to an abrupt halt. Modern cultures often dictate situations where speed and results are favored over accuracy, indirectly affecting the way people reference source material. More often than not, the moment a page is downloaded, the face value of its contents are accepted as truth. This ill, preconceived notion that bias and error is excluded from internet source material reflects the reliant/lazy nature of popular culture. However, avoiding mis-reading evidence is a task not fit for the impatient- cross referencing multiple sources plays an essential role in purifying content of its mistakes and bias. Although imperfect, with completely valid results essentially impossible, the most accurate interpretations of information are within the realm of possibility.

3. The funerary temple design of Queen Hatshepsut speaks a very different design language than the pyramidal forms for other pharaohs. From your readings and the ideas addressed in class, RECOUNT possible reasons why Queen Hatshepsut used this building form.



Unlike the pyramids, which immortalized the pharaohs in pyramidal tombs of thick, stacked stone, Hatshepsut's Temple, Djeser-djeseru, echoes the lines of the surrounding cliffs in its design- seamlessly blending into the rock face of Deir el-Bahri. Where as the pyramids focused on projecting an image of divinity by directing it's vertical prowess into a focalized tip, Hatshepsut's temple approached a different form of design. Reasons for this abrupt change in design probably stems from the relationship between Hatshepsut and the temple's designer, Senmut, and how the building was intended to be used. Originally planned to be her tomb, Hatshepsut chose the cliff-littered location because of it's tendency to move the eye vertically, creating the illusion of size and grandeur. It's open, flat design promoted the creation of a garden for the Gods with the building itself acting as the epicenter for worship- the four walls leading to other chapels representing various Gods. The columns, which are unlike the stacking, enclosed style of the pyramids, perforates the building to increase the feeling of space and welcoming- the levels, however, acting as reminders of place and status. The upper terrace of the temple was decorated with Osiride statues of the female king, each giving way to a columned court that housed the royal and solar cult chapels. The lower levels directed ramps towards the entrances of the upper terraces, providing a clear entrance unlike the one's found amongst the pyramids. This probably helped perpetuate an aire that reassured devout followers (and most likely the masses) that the Gods were within reach.

4. Although some evidence suggests links between the Egyptian and Greek civilizations, and some building forms and details provide support for that linkage, the two societies produced design responses in great contrast to one another. Select a building type (house, tomb, or temple) from each culture and ELUCIDATE similarities and differences in the two forms over time. Provide an annotated illustration for each selected type.

http://www.lost-civilizations.net/images/atlantis/fig1f.jpg

http://media-cdn.tripadvisor.com/media/photo-s/00/15/c3/7f/greek-temple-selinunte.jpg

Because architecture serves to incorporate the ideologies and thoughts of its architect and respective culture, the temple designs of the Egyptians and Greeks widely differed concerning function, structure, and symbolism. The designs differed from each other largely because of location and access to building material. Whereas the Egyptians were capable of building large, enclosed temples due to the local abundance of limestone and rock, the Greeks had to make use of less readily available material, designing many column-oriented buildings. Because of Egypt's relatively flat, open location, buildings were capable of taking up plenty of space- the Greeks, however, were forced to build on terrain riddled with mountains and cliff sides.
Although both cultures were polytheistic and built various temples to worship their respective Gods, the design approach differed. Unlike the Egyptians, Greeks used architects to design temples instead of priests, helping distinguish Greek temples later on because the designs placed equal importance between aesthetic appeal and function.
While the Greeks built column-oriented temples open to the public, the Egyptians commonly built temples with closed, segregated chambers- one had to be worthy enough to proceed towards the innermost chamber. This was probably intended to create an abstract, yet tangible, form of privacy that helped accentuate the feeling of awe and mystery. However, like the Greeks, Egyptians decorated the walls of their temples with hieroglyphics and illustrated carvings that detailed stories and history.
Also, although both Greeks and Egyptians built temples to focalize the center of a city (and location of worship), temples in Egypt served as tombs for the higher classes. This helped reinforce the closed design of Egyptian temples- they were made to protect the resting dead from the outside elements.
Several similarities that appear between the two forms of architecture rests throughout the use of stacking and lines. Both cultures focused on the construction of 4-sided buildings that made use of floor tiers and columns- the two representing levels of divinity (the higher one was capable of climbing, the closer one was to God). Both also emphasized the use of decorated illustrations to relay stories of history and culture. An important similarity, however, is the popular use of external and internal columns. Like the Greeks, who had rows of columns within and outside their temples, Egyptians had columns lining the inside and outside of their temple walls.

5. Harwood shows examples of Egyptian furniture on pp. 60-61. HYPOTHESIZE about the lightweight nature of Egyptian furniture when compared to tomb architecture, as at the Pyramids of Giza, which many characterize as massive and heavy.

Unlike tomb architecture, which Egyptians built to last for an eternity, furniture was intended to serve a functional purpose, eventually capitulating to the test of time once deemed unnecessary. While tombs marked the ritualistic passage into death, Egyptian furniture merely existed to cradle life. As such, it's light weighted nature is deemed irrelevant, because it was never intended to reach within the realm of the afterlife. So, like it's owners, it was intended to be finite- simply existing as a vehicle to comfort and aid people through life. The heavy, massive nature of Egyptian tombs, however, served to reinforce the notion of everlasting birth within death, the carrying over of souls. To this effect, tombs had to radiate an everlasting appearance of strength and majesty if the illusion were to resonate throughout Egypt.

6. Based on a careful reading of the visual evidence in these two images, DRAW OUT an explanation of design and gender roles as you see both depicted. As this language of urns represents essentially one of the main ways we know about Grecian culture, COMMENT on the validity of such a practice of reading evidence.

Based on the visual evidence in these two images, the first urn appears to depict a scene of combative defeat with the male handing over his sword to a shield-bearing woman. Interestingly, however, the male refrains from submitting his other weapon, possibly insinuating Poseidon's defeat to Athena. Yet, on the other urn, a cornucopia carrying male surrounded by submissive women is depicted. Because the laurel wreath symbolizes both high status and the god Apollo while the cornucopia represents wealth and prosperity, the urn is probably depicting a scene of women attending to a high ranking official or God. As to the validity of whether modern interpretations should define the meanings behind these urns, without relative, tangible evidence to reinforce said readings, all interpretations are purely hypothetical and conceptive.