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.

Point: Theories

Throughout the proliferation of mankind, architecture has served as a testament to its respective time, culture, and technological stature. Changes concerning the methods and symbolism behind architectural design has always compensated for the change in culture. In short, architecture has served to reflect periods of history much like the rings of a tree.
In class, we were presented with a question that challenged the artistic definition of architecture. Why was architecture a significant and unique style of art in respect to all other forms? Unlike other artistic pieces that serve as mementos for expression and individual recognition, architecture fulfills both a utilitarian and aesthetic purpose. Not that it undermines the significance of the other forms of art, but it definitely satisfies a niche other forms are incapable of filling. Because architecture must be both functional and aesthetically pleasing, the two are often meshed. Whether the culture at the time places emphasis on power, beauty, status, or size, the popular belief and preference will ultimately have an impact on its architecture, breeding design movements as those beliefs evolve.
It has been generally assumed that the success of architecture is completely dependent on three interrelated terms- Vitruvius's firmitas, utilitas, and venustas ( Firmness, commodity, and delight). Because they are the conceptual foundation of appropriate architecture, neglecting anyone of these would ultimately yield a flawed design. Also, the fact that the terms come packed as a complimenting trio reinforces the notion of the power of three, its significance widely emphasized in lecture. There's something about the symmetrical number that satisfies something within our psyche, it's presence found throughout literature (three wishes; three little pigs; three muses; etc.) and existing basic structures (protein, fat, carbohydrates; electron, proton, neutron; past, present, future; etc.). Whatever the reason, it's influence and impact on architecture has been, and still is, profound.
As culture and technology evolved, so did the definitions and expectations of the three terms. Stemming from the first small shrines and houses, or aediculas, design movements warped people's perspectives concerning the appropriate nature of each term. What exactly was considered firm, commodious, and delightful? Well, we can start by applying the term trio to prehistoric times before these concepts were conscientiously understood. Stonehenge, an ancient monument located in the English county of Wiltshire, is one of the most widely recognized sites in the world. Although the original intention of construction is still somewhat unknown (though widely presumed to be a site of worship), according to popular belief, its firmness and delight were successfully achieved. Because the monument was built out of stone and not wood, it was capable of lasting thousands of years. Concerning its delight, tourists often describe a paralytic, overwhelming feeling when they stand before the artifact, a feeling that probably resonated with its original founders.
At the height of Beaux-Arts movement in the early 20th century, technology and styles of design had changed from colonial times. With the industrial revolution and its mass production of iron and glass coming to fruition, an era of large, ornate buildings came into existence. Complimenting size, many designs reverted to a neoclassical style of beauty, a radical shift from what was considered appropriate in 19th century United States. The flexibility of the terms, however, were clearly articulated with these changes.

http://www.metropolismag.com/cda/