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.

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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

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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

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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

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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.