Designer Bio: Draft 2

During the course of this semester I would like to improve upon the skills I already posses, develop new skills as a designer, improve my ability to communicate my ideas clearly, and to improve upon my understanding of how the principles and elements of design fit within the design process.

As a designer, I believe one of my greatest strengths is my handwork. Art has always been a big part of my life. I began my career as an artist at a very early age. I have been drawing in two dimensions since I was in kindergarten. In addition to drawing, I find that writing is also one of my strengths. Often times I understand my own ideas better if I write them out. I am also a very visually oriented person. This gives me the ability to clearly envision a space before it ever exists, and to see the big picture in terms of space, color, texture, etc.

Although I am skilled in translating my ideas onto paper, I have often had trouble moving these ideas into the digital realm. Computers have always been a challenge to me. Therefore, to over come this difficulty would mean a great deal to me. It also doesn’t help that I am a bit of a perfectionist (which I consider to be both a strength and a flaw). Another thing that I have struggled with in the past is seeing how the principles and elements of design become a conscious part of design. I understand how they work and why, but I wonder how to design with them at a conscious level. My personal use of them has always been subconscious and intuitive, rather than strategic.

Through the exercises we did in class I learned a good deal more about who I am as a designer. I learned that my work is consistently cohesive, I have a good flow of ideas, and I am able to translate concepts and ideas into my designs well. It also made me happy to hear that I have good time management skills. This something I work hard to achieve. Although, what made me most proud was when I discovered I was a Pragmatist on the Change Scale. I’m proud that I help establish balance in the design world. Pragmatists are those who are generally able to see both sides of the issue, and work as mediators between the two opposite sides. It also pleased me to hear that pragmatists usually don’t make the same mistake twice (also something I make a conscious effort to achieve).

Whole> the sum of its parts: space 1

As an extension of my concept word of “pendulate,” I chose to design my first space using the idea of mood swings and the progression of these positive, and/or negative feelings from one extreme to the other over an extended period of time. In order to best embody this idea I chose to make use of swinging or “pedulating” walls that allow the owner to transform the space in order to best suit their particular mood. They can close off one half of the space with the longest wall if the seek solitude, or they can swing the shortest wall all the way against one side of the space in order to achieve the maximum amount of open floor. Not excluding any number of the other numerous possibilities for space arrangement that can be achieved using these two walls.

Whole> the sum of its parts: space 2

I chose to design my second space as a means of exploring the geometry of the arch. This relates to pendulation in that a pendulum, as it swings, creates an implied curve. I wanted to embody this idea in one of my designs as I further explored this seemingly invisible form. I used a variety of curvilinear forms throughout the space to portray my idea. These curvilinear forms can be found in the curvilinear wall that divides the space into five main sections, and the curvilinear details that can be found in the furnishings. In addition, I used the two columns from the kit of parts to create a barrier. This forces the inhabitant to make an arched change of direction to get to the other end of the house.

Whole> the sum of its parts: space 3

In my third space, my concept revolves around the passage of time. Like my second space, this one also makes reference to the implied arch of a swinging pendulum, but the main focus of the project is on the unchanging rhythm as time slowly passes away. In this, both ends of human history are represented in this space. Using the kit of parts that includes the two “solids,” I designed two curvilinear forms that embody these ideas. The first is an arched wall that leads into an embedded curve in the floor, with the wall continuing out the other side. This will be done in a modern, industrial material to represent our current modern age. The second is another curved wall that is enclosed on one end. This form makes reference to our original primordial dwellings, which are part of our rich past as residents of this planet.

A Narrative of Space: No. 1

For the longest and the narrowest of the three of my spaces I tried to move away from the idea of the literal swinging of a pendulum and/or the passage of time by representing yet another immaterial notion, the continuous ebbing and flowing of emotions associated with the human condition. Some examples of the gradual changes may include: fluctuating between feelings of depression to those of joy, and between those of being enraged and having a sense of calm. For the purposes of this space I made use of an emotional gradient that flows between being joyful, calm, or enraged. In addition to emphasizing the continual changing of our emotions, this space is also designed to accommodate the emotions and feelings of the occupant. This is done through the use of a set of two modular walls which pendulate on a hinge. I also intentionally made one of the walls short enough so that it may fold completely flat against the back wall if the occupant so desires.

A Narrative of Space: No. 3

The third of my three spaces that I designed is based on evolution and the representation of the immaterial concept of the passage of time by the physical swinging of the pendulum. In this space I utilized the kit of parts that includes two “solids”. These take the form of a singular curved wall, and a second curved form that is enclosed at one end. The singular curved wall leads into an intention in the floor at its middle, which represents the evolution of the implied arch that occurs with the swinging of a pendulum. The shape of this wall also creates an interactive element in the space as one steps up and down the shelves that are housed in this curvilinear wall. The inhabitant of this space would also have to sway from side to side as the moved around this imposing structure. These small openings lead out into the vast open format of the rest of the space, which is to resemble our current modern age, joining both the past and the present. As for the second solid that is enclosed at one end, this place is to house more private hygiene activities. This second solid also relates to our original primordial cave dwellings in that its height is only seven feet, and that it and the curved wall are made out of a rough cut stone. I also chose this material to represent the solidity, and the unchanging cycle of the passage of time

A Narrative of Space: No. 2

The second of my three spaces utilizes the kit of parts which includes a single wall and two columns. My concept for this space takes into account the geometry of the implied arch a swinging pendulum makes. This can be seen in both the shape of the wall, and the traffic patterns which it takes to move around it. The two columns are placed at the third point of the wall in order to create a barrier that forces the visitor to make the journey back to the central point that is the entry hall.

Arrival, waiting, and departure would occur in the first initial nook on the right as you enter. The main living area is the space immediately ahead. The main dining area is the center-most space, with the main bedroom located in the uppermost left hand corner. the design of this space does not allow for side trips; keeping the owner on track and organized.

Designer Bio

During the course of this semester I would like to improve upon the skills I already posses, develop new skills as a designer, improve my ability to communicate my ideas, and to improve upon my understanding of how the principles and elements of design fit within the design process.

As a designer, I believe one of my greatest strengths is my handwork. Art has always been a big part of my life. I began my career as an artist at a very early age, and have been drawing in two dimensions since I was in kindergarten. In addition to drawing, I find that writing is also one of my strengths. Often times I understand my own ideas better if I write them out. I am also a very visually oriented person. This gives me the ability to see the big picture in terms of space, color, texture, etc.

Although I am skilled in translating my ideas onto paper, I have often had trouble moving these ideas into the digital realm. Computers have always been a challenge to me, so to over come this difficulty would mean a great deal to me. It also doesn’t help that I am a bit of a perfectionist (which I consider to be both a strength and a flaw). Another thing that I have struggled with in the past is seeing how the principles and elements of design become a conscious part of design. I understand how they work and why, but I wonder how to design with them at the forefront of my mind. My personal use of them has always been based on intuition, rather than strategic use.

Through the exercises we did in class I learned a good deal more about who I am as a designer. I learned that my work is consistently cohesive, I have a good flow of ideas, and I am able to translate concepts and ideas into my designs well. It also made me happy to hear that I have good time management skills. Although, what made me most proud was when I discovered I was a Pragmatist on the Change Scale. I’m proud that I help establish balance in the design world.

CounterPoint: Clock

For this square I chose to use place as my scale, and 3D as my form. We were studying Washington D.C. during this particular unit in class and I thought it appropriate to use it as the subject of my clock. My particular clock records time by using the dates on which the capitol building and the others that surround it were built. In order to emphasize the particular buildings I chose to record, I raised each of them by layering them on top of chipboard.

Point: Explorations

I would like to begin first, by recalling a conversation I had with one of my classmates. Daniel Salgado and I were discussing the McIver and the Julius Foust buildings, and their appropriateness within the bounds of the lessons we learned in the explorations unit. As a matter of personal taste, Daniel favored the McIver building, while I favored the Julius Foust building. Which is more appropriate in today’s world? A view that reflects upon the past (mine), or a view that looks forward to the future (Daniel)? The answer is both. When designing a space, place, building, or object, you must do it in a way that suites its modern purpose while giving it deep meaning, and value by reflecting the stories of the past.

It was from our two different points of view that we began having a discussion on how it is not always appropriate to view these historic buildings through modern eyes, because more often than not it’s original purpose was different from the one we assign to it today. Daniel didn’t enjoy the Foust building for this exact reason. He felt that its current purpose didn’t match up to the exterior form the past had assigned to it. I then reminded him of its original purpose as a library, and explored the idea of its castle-like appearance as a means of illustrating a fortress, a place of protection and safety. Daniel responds by saying, “Why the heck do we need a fortress though?” Both the Foust and the McIver building have their challenges in this present day when it comes to being good design for all, at all times. It was from this that we also discussed the appropriateness of renovations in general, and how some are more successful than others in reassigning a modern purpose to a historic site. Therefore it can be argued that certain historic buildings are simply to unique to be used in any other way and be functional. So it is best to simply preserve them in their original state.

In regards to the McIver building, all I could do is ask “why?” Although it is clearly an example of modern architecture at mid century, the McIver building is just one of those you look at and wonder what the architect was thinking when he drew it. The front entry doesn’t appear to match the rest of the façade. Even though the blocked pattern is visually interesting, you have to wonder why it is there. It is in this building that the challenges to modernism are made clear. The front entry is a perfect example of form without function, and its relationship to human scale is unclear. The McIver building is one of the first buildings on campus to gravitate toward what I call “puddle architecture.” There is a lot of stuff on the surface, but there is really no story to give it any sort of depth, and personal meaning to the building.

It is all of these lessons that I have learned through my semester in History and Theory of Design II. It is because of this class that I have learned to better observe and understand history as it relates to both the context of its particular time period, and how it is reiterated and reused in today’s modern world. As it relates to substance v. surface, I have also learned there is a lot more to design than a pretty face, I mean façade. It is important to have a surface, but it is much more important to have a deeper story to tell in order to give meaning, and great value to your project. It is because of this lesson in particular, that I have become a much better designer today and will continue to be into tomorrow.

Thank you Patrick! You have been a wonderful inspiration, and you are a wonderful professor. :)

Counterpoint: Machine

For the last of my 4 8.5" x 8.5" squares for my history and Theory of design class I chose to use the smallest scale: artifact, and to represent this artifact in the the form of a paragraph. I chose to right a bout the stair case in Villa Savoye in France. my paragraph on the subject is as follows:

Le Corbusier, as an architect of the International Modernist style, saw the home as "a machine for living." It was within this frame of thought that he utilized the airplane, steamship, and automobile as a way of expressing the form discovered in response to modern function. It was for this reason, I think, that the Villa Savoye resembles a strange cross between a private residence and a parking garage. Deriving his inspiration from the automobile, Le Corbusier wanted the inhabitants to "drive" through the space, winding back and forth always looking to discover what is around the bend. Because of the open plan, this winding experience and sense of discovery is mainly provided by the helical curved staircase and the ramp that doubles back through the center of the house. This smooth, spiraling transition and the idea of switchbacks between floors is what reminds me the most of driving through a parking deck, on the hunt for that elusive, perfect space.

Roth, pages 528-535

http://www. bluffton.edu/homepages/facstaff/sullivanm/france/poissy/savoye/corbu4.html

Reading comprehension 7

The work I chose from the work and commerce section of the “Greensboro Collects” exhibit was “Les Constructeurs” (the builders) by Fernard Leger, 1955. When I read 1955 as the year I immediately thought of music, especially jazz, blues, and swing alike. As both an artist and a musician I am often able to recall a song that a piece of art brings to mind, kind of like a theme song in a movie. For this particular work I could almost match a rhythm to the repeating lines, or a jazz riff to the free form lines in the background. This brought me to the renewals and riffs portion of the explorations unit. Perhaps this work is looking back at Egyptian wall carvings, while also looking forward in its resemblance to the work of Picasso. Thus creating a riff portraying ideas anew at mid century. Both the Egyptians and Picasso had a way of flattening their subjects. The Egyptians did it by orienting each part in the view from which it could be best understood. Picasso on the other hand, along with other cubist artists, flattened simply as a form of abstraction; portraying their subject as if a heavy object had squished it. This painting does a good job of combining these two ideas while keeping the subject clear. The work looks backward for its method of portrayal, but is of a modern subject. This idea of a modern painting being a riff on the past is interesting because Harwood clearly states that Modernism strove to eliminate such influences. “For the most part Modernism strives to design for the present and eliminate most traditions, forms and elements of the past, rejecting historicism, the academic tradition, and the idea of style (Harwood p.613).” Harwood also speaks of the methods these artists/designers used to accomplish this goal. “Striving to avoid style, designers emphasize asymmetry, straight lines and rectangles, and flat plains. Parts are arranged in a series of geometric shapes and forms usually with linear elements (Harwood p.592).” All of which can be seen in both my diagram and the original work by Leger.

“Les Constructeurs” portrays two construction workers building a skyscraper. The subject reflects Modernism at mid century because the improvement upon iron, glass, and steel, during this time allowed allowed buildings to move upward in addition to horizontally. This theme of construction can also be seen in Abraham Walkowitz’s “Man with a Shovel/Worker”, 1904.

Similarities can also be drawn between these two works in the way their figures are portrayed. There is a clear emphasis on the hands, arms, and legs. The heads of the figures are also small proportionally to the rest of the body. The type of rendering also has a relative roundness to it. Perhaps this emphasis is the artist’s way of protesting or praising the work of the builders. Art, I have found, is never purely for arts sake. Matthew Nowicki also called for a similar change in his essays “Composition in Modern Architecture,”” In the overwhelming majority of modern design form follows form, and not function.” Art is a portrayal of an individual’s understanding of the world around them. Ergo, opinion, emotion, and feeling are also part of the mix. There for, these pieces were done in reaction to the change in times. Reverberations of both a similar style of rendering, and opinions upon the subject are present as well.

Reading comprehension 6 question 3

Exploding the notion that modern interiors and objects were all black and white through a rendering of the Johnson Wax Building by Frank Lloyd Wright.

reading comprehension 6 question 2

In order to speculate about the implications of “machines for living” and the phrase “less is more” on design today, I chose to use can openers as the object of my analysis. The fist set of openers is a set from E.P. Hand Tools Can Openers. These tools are machines for living in that they are also machines for survival. These tool were used to open cans of preserved food stored for long periods of time. Perhaps they were used during the great depression to open the last cans of food to feed a starving family.

This set of can openers relate to the phrase “less is more” in that they are made through simple iron construction. Although architects of the modern movement would call the head detailing on these can openers superfluous, it is actually necessary in order to prevent cross contamination between food types.

The second set of can openers I chose are from the Home Shopping Network. This can opener and jar opener set first relate to the machine in that they are battery operated, and have exposed cogs to show how it works. These tools are designed using a sleek, streamline design, along with chromed surface metals, and white washed surfaces typical of the modern movement. The ribs on the jar opener also remind me of Art Deco, and its emphasis on speed, and aerodynamics. These objects can be considered machines for living in that they relate to human scale. They are sized at 7”x3.25”x1.5”, and the molded curvature of the handle is designed to the human hand, thus facilitating its own usefulness. These items also display the values of today’s society: comfort, convenience, and aesthetic pleasure.

In regards to “less is more” these tools are the best representations, they are totally absent of ornament, they have no color, and there is nothing there without purpose. Although the E.P. set speaks best about “less is more in regards to function. You don’t need a handle that fits your hand, you don’t need it to be battery operated, and you don’t need a chromed metal finish.

Reading comprehension 6 question 1

Art Nouveau, as it relates to the countries of Belgium, France, and Germany, had a special emphasis on the repetition of curvilinear lines that create a whip lashing motion. This energy is often portrayed through line and form in both architecture and fine arts. “To an even greater degree than others before them, Art Nouveau sees no separation between the fine arts of painting, sculpture, architecture, and the decorative arts, such as glass ceramics, and furniture,” (Harwood v.2 pg.85).

This lack of separation can be seen in graphic mural like ornament seen in Victor Horta’s Hotel Tassel, and the floral print on the wall and in “Desert Harmony in Red” by Matisse. Both of these display a naturalistic vine-like pattern as a means of decoration on the walls. Although both use this pattern in a graphic way, Horta makes use of this motif in a more holistic and unified way. He uses these shapes as forms for capitols of columns, banister railings, and wall/floor decorations.

Hector Guimard’s entrance hall to the Castle Beranger Apartments in France picks up on the influences from both Matisse and Giacomo Balla’s “Dog on a Lead”. The vine-like tendrils on the upper part of the gate reflect the same wall pattern from Matisse’s work, while the evenly spaced bars on the middle portion give reference to a rhythm and a sense of time, which is a key component of Balla’s work.

The work of August Endell is also of chief resemblance to the work of Balla and Duchamp. In his staircase and hall, of Atelier Elvira in Germany, Endell has a lamp that shows radiating lines for each branch on which a single bulb is placed. This reminded me of the way the legs and tail of Balla’s dog is drawn to show movement. In this same way Duchamp also shows movement through the repetition of geometric lines in his “Nude Descending .a Staircase.” This can be clearly seen in the repetition of geometric lines, as seen in the legs and knees of the model as she descends the stairs.

Massey pg.46

Harwood pg. 85

Reflections Summary

From the reflections unit I chose to read the work of Nathen Howel, Blakeni Walls, and Dajana Nedic. These people in particular I have always admired for their work, and their ability to bring something new to the table each time we have an assignment, both in and out of studio.

Nathen Howel is a Beautiful writer. Every time I read his work I sit there in awe because I feel like I am reading a textbook. On the other hand, each sentence is worded so eloquently I feel as if it must be of a more creative genre as well. Nathen is also a wonderful digital artist. He does portraits that you would swear on your life were real photographs. So thank you Nathen for doing what you do. You are my Photoshop/IAR 222 hero!

Dajana, who is one of my classmates in studio, is also my hero in a similar way. Dajana is a wonderful artist. Everything she does is amazing, especially her handwork. It is beautiful. Dajana also has this ability to bring something uniquely abstract to the table. For instance, in her essay she talks about the “wheels of revolution”, and to illustrate it she uses this wonderful optical illusion.

Blakeni, all the while, in my mind is the Queen of unique, everything she does from the way she writes (with her left hand), to the way she dresses is unique. So it would make sense that her understanding of the material is also unique. She explains the material in terms of a clock. “In the 19^th century I have observed that design is formed through the hands of time and operates like the gears that move inside a clock… working and fighting against each other in order for it to tell the right story in and of that specific time (Blakeni).” After I read this I could help but think… Bingo! Yatzee! You got it.

Alternatives Summary

From what I have read of my classmate’s (Kara Kooy, Kayla McDonagh, Abigail Buchanan) essays on alternatives, they all seem to have a thorough understanding of what this unit is all about. What I found most interesting about reading the work of others is how we all have our own individual understanding of the same basic information. For instance Kayla understood this unit in terms of a pizza, and how it can be customized and changed to suit the tastes/needs of people in other parts of the world. In this same way architecture is also changed and manipulated. “When taking from the past there is a need to make things your own, (Kayla).”

In this same way Abigail also focused on this idea of customization and alterations. When I think of alterations I usually of tailoring a dress or refitting your clothing in some way, but Abigail brought it to my attention that these apply to architecture too. If you stop and think about it, it is through alterations made to the models of the past that we get alternative solutions. “Those that do not study what was in the past are susceptible to repeating past mistakes, or recreating something that was better accomplished previously (Abigail).” This idea also reminded me of my own work on the subject. Salvador Dali was a key example of mine, and this reminded me of something he said, “Those who do not want to imitate anything produce nothing.”

Kara on the other hand took a more appreciate stance on the subject. Recalling her love for gothic architecture, and describing it in a way that let me see it through her eyes. In this she also showed a thorough understanding of the material by brining in quotes from the text and other outside material such as the bible. “There really is nothing new under the sun. Whenever and wherever there have been rules, there have been rule breakers (King Solomon).”

Point: Reflections

When we first began our study of reflections I immediately thought of water and its ability to return light from its surface and project a rippled representation of the world around it. This is similar to the way in which architecture has the tendency to reflect the culture of the society that built it. In this same way water in its liquid form has the candid ability to change, shift, and move in response to the environment in which it exists. This is why we often use architecture as a means of studying revolutions within society and the world. Like water, architecture also changes and shifts as taste and technology change within a social group. In addition to examining architecture within the terms of social revolutions, we have also examined it in terms of thinking outside the box v. a holistic view of architecture, revivals from around the world, and Japanisme as examples of these revolutions within the architecture of society.

As a continuation of our allusion to water and its reflective qualities, reflections can be defined in several ways: the act of reflecting or the state of being reflected, an image, a representation, a counterpart, a thought occurring in consideration or meditation, the return of light, sound, etc. after striking a surface.

Speaking of reflections in terms of an image, or a representation, the impressionist artist Claude Monet comes to mind. Monet’s water lilies are some of my favorite paintings, and I was thrilled that Monet related to our study of Japanisme. As I examined the work I realized that it not only literally shows a reflection of the subject, but also symbolically reflects our entire unit. The reflections in the water reminded me of the hall of mirrors in Versailles. This space is a prime example of a holistic view on architecture. There is design at every scale. Everything from the gilded molding to the color of the floors was carefully chosen to emulate and capture the glowing light of the sun, and the power of the sun king Louis XIV. We were also able to draw connections to this from music. The floating melodies, and the structured rhythm of the Autumn movement from Vivaldi’s Four Seasons Suite reflects the fluidity of parts to the whole within the formality of the axial layout of the space. This seamless flow of space make the hall appear to go on forever. Monet’s painting also demonstrates this feeling of floating boundless space. The shore of pond is not shown on the canvas, but its trees are reflected on the water so it is as if the land continues below the surface.

Impressionist painting as a whole was a revolutionary movement within the art world. Rejected by most, impressionist art stepped outside the box o f an ideal representation of a classical subject and instead aimed to paint the essence of the subject. In many ways this is similar to the revolution that occurred in England and France when the new trade routes to China, Japan, and India opened in the 16^th-19^th centuries.

In general, a revolution is the ending of one cycle and the beginning of another. In England, a period emphasizing purity of architecture came to an end in favor of the Victorian “anything goes” approach. This brought about the existence of Classical revival, Gothic revival, Moorish revival, Indian revival, Japanisme, etc. all existing in architecture at the same time. Making the home a fantasyland, an escape in which you could travel the world and never actually leave your home. Needless to say there were many ideas about what style was appropriate for the period. Perhaps these architects could have used a walk along the thought paths found in Japanese gardens. Western take on these were very popular in England and France. Monet’s water lilies resemble the ponds often found in these meditative gardens. The painting style is also based on a Japanese technique. The short strokes give the subject a light, rounded feel. Which gives it the appearance of existing in another world.

dictionary.com, reflections

Reading comprehension 5 question 1

Harwood pg. 28

I believe this cast iron chair shows a revolution across style periods. Specifically the movement from the Middle ages and Gothic architecture to the Renaissance and the rejection of Gothic architecture because of its primitive nature (classical architecture had been temporarily lost). Now during the industrial revolution, and the Victorian style period, Gothic architecture is one of the many styles revived during this time. That is, in a more romanticized version than that of the past.

Reading comprehension 5 question 2

Artifact: Scarf

This scarf responds to design influences from the east in its use of a dense, naturalistic, stylized pattern. This scarf also makes use of the colors green, gold, and blue, which have associated symbolism within the Asian culture. Wearing this scarf in the 19^th century would show good taste, because it was during this period that Asian influences appeared in fashion as well.

Space: John Maciejowski interior

This room, according to the 19^th century way of thinking, would be interpreted as showing good taste, wealth and worldliness. This room displays the owner’s wealth through the dark, exotic wood furniture. Worldliness is shown through the collection of eastern goods such as: the Middle Eastern rug, the sofa whose shape incorporates lines often found in Asian architecture and design. He furniture is also carved with Asian figures in a landscape, amongst other patterns associated with that culture.

Building: Brighton Pavilion

Brighton Pavilion was renovated to its current state as a private escape for King William IV of England. The new design for the Pavilion features Indian Mosque architecture to the extent that it looks like western take on the Taj Mahal. This can be seen in the onion domes, the minarets, and pointed arches. This building seems a little misplaced being in England. It feels as though it should be in India, but that is exactly the point. It was meant be a wonderland, an escape from the city. This relates to the Victorian idea of the home as a place to escape from the bustle of the city.

Place: Kew Gardens

Kew gardens in London England is a perfect example of a western take off of Japanese gardens and the gravel though paths that intertwine within them. Kew Gardens is also dotted with Japanese structures such as Pagodas, and man made Koi ponds. And because it is a garden, it also features exotic plants that feel as if they are from the orient. For the people of the 19^th century the Orient was a new and exciting place. Gardens like these helped to bring a piece of the exotic home to the people who couldn’t go to experience it themselves, thus creating a romanticized image of what it would be like.

Counter Point:Perspective

For this assignment I chose to use a building as the inspiration for my word. I chose to use Baldachino by Bernini as the source for my letters. the word is Aedicule as a representation of the aedicule within this building, and as a symbol of the original architecture, according to Greek legend. This can also be seen in the background of this piece. Additionally, both the word and the background are drawn in one point perspective.

Point: Alternatives

From my first day as an interior architecture student I have been taught that if you’re going to break the rules, break them with purpose. Breaking the rules and testing boundaries is an essential part of innovation. Stretching materials and structural systems to their absolute limits in order to reach the maximum desired effect.

Alternatives can be described as employing or following nontraditional methods are how we break the rules, and test the boundaries in architecture. For example, Amiens Cathedral in France is one of the clearest examples of testing boundaries, and breaking the rules with a purpose. Amiens Cathedral has the largest windows of most gothic cathedrals. In order to fit windows of this size into a stone structure some changes had to be made. In order to keep the walls up, the buttresses had to be pulled away from the wall while staying connected through stone “flyers”, thus creating the “flying buttress”.

Most often successful innovation comes from trial and error. Despite it’s negative connotation, failure isn’t always a bad thing, it is how we learn from our past experiences. A subject of humor, and an example of this is the front façade of the Ospedale Innoconti by Brunelleschi. The facade has a series of springing arches, each placed evenly down the row until you reach the one awkward column at the corner. The reason it’s there is for structural support but nonetheless it disrupts the rhythm across the façade. This is similar to an error I made while folding one of my models in studio. I was folding my ridges, and I realized I had this one big awkward ridge in the center with a tiny one next to it. But its through errors like these that we learn to be successful.

As architecture changes through out history we are able to observe how new methods change and improve the architecture of before. Observations of cultural/intellectual opinion can also be made by looking at the architecture of the day. Millennial observations can be drawn from the changes between Gothic, Renaissance, and Baroque architecture.

Before the Renaissance, Europe had been in s period of feudal conflict marked by pillaging of neighboring tribes. Because of this protection was key, and castles were also the neighborhood fortresses in times of turmoil. This is why the afterlife and religion were essential to the people of this period. Heaven was a paradise away from the war, famine, and disease of the middle ages. Gothic cathedrals sought to emulate this paradise reaching heavenward through vast vertical spaces, an embodiment of light (a symbol of divinity) through glass and stone, and pictorial carvings to tell stories of the bible (loss of education caused illiteracy).

The renaissance, how ever, was a rebirth of what had been lost in the Middle Ages. Values were placed on education (especially in the classics), replication and improvement upon classicism, and measuring the world according to the individual. Religion was still a key aspect of society, but was practiced on a more individual basis, rather than in large groups. The Pazzi Chapel is one example. It is a small chapel built to house one individual family.

The Pazzi chapel also shows the emphasis placed on the use of classical forms in architecture. Like what the Romans did to Greek symbolism in architecture, the Renaissance architects took religious geometry from Roman ruins and stripped it of its meaning by using it for decoration. What was special has yet again become ordinary.

Baroque architecture made use of symbolism to convey a message in the same way that gothic architecture used light to symbolize divinity. Water was often a symbol for knowledge, and a flowing of ideas through society. As a symbol of knowledge it would make sense that a water motif would be used in a library. The Laurentian Library Vestibule by Michelangelo is a chief example of this embodiment of water in stone. The wave motif on the staircase symbolically represents knowledge pouring out from the library.

Even in today’s modern world classical subjects such as the Madonna and child are being reinvented in unconventional ways. “The Madonna of Port Lligat” by Salvador Dali is a perfect example of this classical subject reinvented. The figures are painted with rectangular holes in their torsos to represent their transcendent nature. Thus creating the art of alternatives.

Reading comprehension 4 question 3

when I heard the piece of music we were to base the design of our Palladian villa on, I immediately thought of a dance. This is the reason for the large central area, and the reason all the central rooms have doors opening to this area. This way humanity may pour into the space to gather, and socialize. In addition to using ratios derived from different musical harmonies for room sizes and placement of architectural details, I tried to imagine how people would move within the space, and dance around each other through the hustle and bustle of everyday life.

Reading Comp. No. 4, question 4

THEATRUM MUNDI “The world is a stage,” was the motto of the age during the Baroque period. Baroque architecture and styling was all about using drama and theatricality to inspire awe. The Catholic Reformation began during this period, previously the church had been opposed to the theater, that is until they discovered its power as a tool for religious propaganda. The Catholic Church employed the use of religious plays and theater in its architecture in order to capture the imaginations of existing members (preventing protestant conversions), and to bring in new ones. This reformation of the Catholic Church also called for a reformation of social behavior. There was to be a revival of chivalry and courtly love. “The… most important contributing factor in the triumph of baroque drama. The elaboration of a civilization of manners… exemplified by guide books of courtly refinement and culture… theater became a metaphor for social role-playing as well as a school where spectators learned to improve their own performance at Town or Court.”

http://fathom.lib.uchicago.edu/2/10701023/

Reading Comp. No. 4, question 2

In general, I have found in tracing common design ancestries across the Atlantic Ocean that in all cases there is a simplification in design. Wood is used for construction because of an abundance of trees in the new world. Buildings are smaller in scale, less formal; less refined, and have more of a horizontal emphasis. Architects a re building for common wealth and middle class families as opposed to royalty. Other influences besides European begin to show up in designs. A structural emphasis also produces designs that are more practical.

In Boston, furniture retains some curvilinear shapes in detail but is rid of decorative inlay, and exorbitant expense in regards to materials. In architecture English roots can still be traced in the way the 2^nd story of the Parson Capen house has a slight over hang above the street to protect you from the waste being cast to the street. English roots can also be seen in the use of rugs. Ornate rugs are still present in America, but used with more modesty as seen in Hart house. There is a single rug on the floor and the furniture is solid wood, no upholstery.

In St. Augustine, furniture retains Moorish influences on decorative patterns, although less dense and much more simplified. Architecture retains the contrast created by the white washed walls and dark wood used in interiors. Emphasis is still placed on doorways through tile surrounds and ironwork gates. Geometric patterns and ironwork are Spanish trademarks that are still present in America. We can also se an integration of local cultures as Native American influences begin to blend with Floridian architecture.

In New Orleans, furniture retains a rectilinear form, is made of solid wood, storage pieces are compartmentalized and often have double doors, and a cornice. Interiors are still mad up of compartmentalized spaces, but don’t emphasize placement of these series of rooms along a linear axis. In architecture repetition of horizontal divisions is present, along with French steeply pitched roofs.

In New York, a great emphasis placed on horizontal banding and verticality , typical of German architecture, are present, along with steeply pitched roofs, and symmetry across facades. These German elements of design can be seen in the Single Brothers house, and in German/Dutch inspired furniture such as the shrank.

Because there were no classical ruins laying around for people to learn good design from, it was important for the new country to imitate the architecture of Europe. In order “To reinforce the nature of republication government,” (Roth, pg.459).

Harwood pgs.251-321

Reading Comp. No. 4, question 1

While examining 18^th century artifacts, I found that they all spoke a language of repetition. This can be found in the Chinoiserie on the Palladian/Georgian desk and bookcase, the intricate carvings on the tall clock, the repetition of the circular shapes on the canopy of the state bed at Osterly Park, and even in the steady rhythm created by the evenly spaced posts in the Windsor chairs. Although there is great contrast in the styles of these repeated elements, most of them being very intricate and naturalistic while others are very simple, they all help to establish a rhythm within the object they are a part of.

While examining the interiors as a whole there appeared to be an emphasis on surface decoration. Whether it is on the walls, the ceilings, the floors, fabrics, or all the above these interiors seek an embellishment of surface. Some are more modest in their use of such decoration (parlor of Gardner-Pingree house, stair hall at Gunston Hall), while others take the opportunity to cover absolutely every surface (bedroom of Marie Antoinette). Perhaps this explosion of pattern was to help dematerialize the form of the space, but nonetheless it can’t help but draw your attention.

Through my observation of the exteriors of the 18^th century buildings we have studied, I have found that a harmony of the parts is achieved through their use of classical precedence. “The purest architecture, that most suited to fundamental human needs and basic human society was what had appeared at the dawn of civilization,” (Roth pg.443). Proportion is on of the key mechanisms used in this pure architecture to achieve a harmonious composition in which all the parts relate. This can be seen in the size and placement of the windows on the front façade of the Nathaniel Russell House. Especially at the top level you can see that the windows are spaced about a windows width apart, the cornice at the top has ribs placed above each window, and even the keystones if the arches above the 2^nd story windows match up with the middle of the 3^rd story windows. This matching up and stacking of architectural elements can also be seen at Drayton Hall. Because all of the elements are perfectly proportioned in accordance to the façade you see that the windows and columns line up vertically and horizontally creating a symmetrical design.

In observing the architectures of England, America, and France as a whole, I can establish that they are all derived from classical Roman and Greek architecture. Although for different reasons and in different ways, all of these places are using classical architecture in order to convey social ideas. Other that the general display of power, and establishing a cultural identity, here are the agendas: England is using it because it is a symbol of education, and that there are nationalistic ties to this architecture; America is using classical architecture as a way of legitimizing its emancipation; France has a classicism derived from nature because they are tired of Rococo but just can’t seem to let go of realistic natural detail completely. Kind of like a back to the basics moment, a revised, but none the less a return to the dawn of civilization

Harwood pgs. 404-526

CounterPoint: Compass

CounterPoint: Map

For this assignment we were to represent four buildings using 2D, 3D,word, and paragraph forms to illustrate our four buildings. We also had to make use of four different scales: space, place, building, and artifact. For my project I used the idea of a journey. I started with a 2D aerial view of the Guggenheim Bilbao for place, then to the Robie house for building and word (Geometry), then into the interior of Gardner Pingre house for space and paragraph, and for artifact I used the ceiling paintings in the Banqueting House at Whitehall. My 3D element is that my project is an open faced cube

Point: Foundations

Harwood pg. 86

In this past unit of study we have been observing the foundations on which the architecture we know today is based. We have traced back our roots from our first attempts as humans to put architecture and design in a landscape in Western Europe, to China and Japan, to Egypt, to Greece and Rome, even places like Teotihuacán. Throughout this study the concept that really sticks out in m mind is the idea of archetype, prototype, and hybrid. The idea that past settlements and structures are the basis on which new ones are founded.

In the spirit of foundations, let us first observe the fundamental meanings of these terms. An archetype is the original pattern or model from which all of the same kind are copied or on which they are based. For instance, an archetype for Greek and Roman architecture would be Egypt. We can draw similarities in construction methods in the Egyptian temple, which makes use of post and lintel construction. We can also draw similarities from forms, details, and techniques used in these architectures. The use of the column is a great example of a structural form that serves a symbolic purpose. The Egyptians use columns as a way to filter out light in religious spaces because darkness symbolized the mystery of the afterlife. These columns were carved in relief to tell stories of kings past. Different capitols such as the Lotus or Bud were used to designate importance to different buildings. In the same way the Greek orders were used to designate importance. Greek columns also symbolically tell a story of the sacred groves used in sacrifices to the gods before the existence of permanent temple structures.

In our studies we have also observed Greece as a prototype. A prototype is defined as being a model or first form. As Egypt was a prototype for Greece, we have observed Greece as a prototype for Rome. Rome makes use of Greek orders and building types as a template for their own. For example the Greek agora and the Roman forum were both open and colonnaded places for thought, and discussion. Temples were also similar in that both Greek and Roman made use of axial progression. Although Greek temples sought to correct optical illusions, and give the appearance of a perfectly symmetrical, and therefore ideal, building, the Romans sought to produce the “ideal” building in a different way.

While the idealism of Greece was related to symmetry, perfect proportion, and order, the Roman ideal building incorporated all these things, but with an emphasis upon lavish detail, richness in material, huge scale, and vast interior space. The Pantheon for example, makes use of the Greek temple front, and orders within the interiors as decoration, but robs the orders of their original meaning. The interior of the Pantheon is spherical in shape, representing the sphere of heaven. This is totally different from the rectilinear form of the Greek temple. These innovations demonstrate the creation of a hybrid architecture. Hybrid meaning being composed of elements originally drawn from different languages. Greek orders and elements adapted and mixed with Roman innovations to create a new and distinctly Roman architectural language.

This idea if archetype, prototype, and hybrid apply to the process we go through to create an architectural artifact in studio, which must be created by folding. I don’t know much about origami so I started with what I knew, a fortuneteller. This would be my archetype, and my base for exploration. I manipulated the folds to abstract the form to create a couple prototypes, then after doing research on Ron Resch a hybrid was formed.

This is the same way Egypt, Greece, and Rome build off of each other. By starting with what you know, and adapting as needs and improvements arise. This is the story of architecture, a constant building upon the foundations of the prototype of the past, to create the architectural hybrid of the future.

http://dictionary.reference.com/browse/archetype?&qsrc=

http://dictionary.reference.com/browse/hybrid

Harwood, pgs. 162-250

Roth, pgs. 353-395

Reading Comp 3, No. 2

From the original image of the woman working, we can see that she is cooking. We can tell this from the vegetables at the bottom of the image, and the large spoon in her hands and the small pot at her feet. Kitchens during the middle ages were often separate from the main building so she is probably located in something similar to the wooden shacks inside the bailey, as seen with the original wooden castles. This would also explain the woman’s simple clothing. Most villages were small and served a local Lord or Vassal, which lived in a castle that sheltered its citizens in times of peril. Meals and entertaining were often conducted in the great hall of the castle, so she is probably cooking food to be taken there.