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.