Point 5: Exploration - Never Ending Cycles

According to dictionary.com, exploration is defined as an act of exploring or investigating. I would normally lean more towards exploring than investigating. However, based on what we have covered in class, investigating seems more accurate. It appears cycles of style have always been present throughout time but they come in revolutions. Revolutions repeat themselves over time, specifically the idea of completely going against the previous style – usually to make a point – such is the case in the Arts and Crafts Movement.


The Industrial Revolution started in the 18th century and Arts and Crafts followed through a movement that considered the Industrial Revolution as having dehumanized society. In other words, the Industrial Revolution took away the human qualities in design and replaced them with machine which was thought to have led to immorality. The reaction against the Industrial Revolution and the ‘immoral society’ it created, which became known as Arts and Crafts, was to bring back morality through craftsmanship. Just like the Industrial Revolution and Arts & Crafts, there have been many ¬¬¬¬cycles of revolution. There are many other examples throughout time. Some of been in the past, such as Gothic against Classical style, the Renaissance against Gothic, Neoclassic against Rococo, and so forth. A couple of examples of more recent ones have been Art Deco against Beaux Arts, Bauhaus against Art Deco, and Post-modernism against Modernism.

Exploring is based on having something to go either against or further expand on. In the case of design, it is never ending. We will always look back at design that will always be our starting point. The next step is to explore it through doing the complete opposite or continuing to develop it and turn it into something else. Below is a graph that I believe best represents how styles continue on through time.





Ideal cycle of design styles



Reading Comprehension 7 - Greensboro Collection @ the Witherspoon Museum

The Witherspoon Museum

Reading comprehension 6

1.
The Arts & Crafts movement started in England around the 1860s with William Morris. According to John Ruskin, he knew what it was “to live in a cottage with a deal floor and roof, and a hearth of mica; and [he knew] it to be in many respects healthier and happier than living between a Turkey carpet and gilded ceiling, beside a steel grate and polished fender” (Massey 10). In other words, the idea behind Arts & Crafts was to move away from the Victorian style period, with its abundance in objects and decoration, and the Industrial Revolution, with its dependence and continual use of the machine. Arts & Crafts was all about simple hand-making of wood and other natural materials to incorporate into the interiors. Although, Arts & Crafts started in England it soon spread throughout Europe – such as Belgium, Austria, and, especially, Germany – and, eventually, the United States.

The Industrial Revolution was considered to have dehumanized society and Arts & Crafts’ was thought to be the way to bring back morality. According to Leland M. Roth, these “ideals of English Arts and Crafts architecture, particularly the insistences on excellence in design and extreme care in craftsmanship, were carried to Germany and Austria by writers such as Hermann Muthesius” (Understanding Architecture 494). To bring morality and appreciation back into society through craftsmanship became popular not only in England but spread throughout Europe, especially in Germany, through interaction with the founders of this movement. The Arts & Crafts movement not only spread through Europe but its influence spread to the United States. However, the spread of Arts & Crafts was a little different from the original Arts & Crafts in England. The American Arts and Crafts Movement followed the ‘principles and tenets’ of English Arts & Crafts but “interprets them in a more individualistic way and integrates more diverse influences” by promoting “similar ideals and social transformation to a wealthy elite as well as an expanding middle class” (Harwood 449). Although, the American Arts & Crafts movement followed suit from the English Arts & Crafts regarding their main ideals, but did not have set rules to follow from. This led to individual interpretations of those ideals.

Harleshausen Villa by Hermann Muthesius

Grove Park Inn, Asheville, NC (Harwood 455)

2.
The Bauhaus style movement originated in Germany and, although the ideals of modernism had already started to arise, Bauhaus became a catapult for modernism.  Bauhaus, also known as the International Style, was similar to Arts & Crafts in they both believed in simplicity in architecture.  However, that is where their similarities end.  Unlike Arts & Crafts, Bauhaus did not turn its back on machines but embraced them and tried to blend fine arts with the machine and industry.  The result, according to Harwood, was “emphasis upon function, mass production, geometric form, an absence of applied ornament, and the use of new materials and methods of construction” (590).  This focus on function, the use of the machine, geometric forms, simplicity, and the explorations of new materials created products that epitomized the dictum “less is more”.  Le Corbusier’s Villa Savoye is the perfect example of this dictum.  Le Corbusier simplifies this house by building only the necessary with an artist’s eye.  He uses big windows to take advantage of natural light.  He has open spaces to appreciate the freedom in the space, as well as creates the opportunity to bring as much as the outside in without feeling exposed.  His decorations come in the forms of geometric shapes, such as the winding staircase and rectilinear furniture.  Le Corbusier creates a walkway throughout the house so that the walker can truly experience the entire house in its full beauty.



Villa Savoye by Le Corbusier (Harwood 631)

3.


Alternatives Summary

Charles Carr:



Bernini's David

The Renaissance with its design ideas and Baroque going against static Renaissance design with movement and embellishments is his main idea.  Unfortunately, his ideas are not organized well.  It is structured well enough that you can follow what is being said but without a flow.  This leads to a definite separateness in his composition.  Charles first begins with the Renaissance and a brief describes what it was about in terms of design and its rules, along with two wonderful examples of that time.  However, he goes into further detail with Michelangeleo than with Palladio.  Then he leads into Baroque and briefly describes what it was about in terms of design.  His conclusion is not bad but I believe it would be a stronger ending if he was particular about his idea – he could have mentioned how the Renaissance was more static and confined while Baroque was trying to break free from that.  Then he could have included how in Palladio’s case, the rules were broken by making a building design that was public into a private home.  As well as Bernini and his work, especially in David, which broke the rule and went "outside the box".  This would have helped support his conclusion and tie in the alternatives theme.

Ebony Goode:

Valerio Cioli's The Bacchino in the Boboli Gardens

Ebony does a wonderful job in organizing her thoughts and in her composition.  She starts off chronologically with the Middle Ages and then moves to the Renaissance and Baroque.  Ebony does a good job tying in all style periods together.  She made a wonderful choice with Giovanni Pico’s quote but should not have ended her essay with a quote.  It would have been great to have her interpretation of that quote.  There is also the issue with not including why she chose her image as a representation of alternatives.

Caitlyn Lyle:

Cenotaph for Isaac Newton

Although, Caitlyn did repeat a rule on her list (separation of spaces), she did a good job in organizing her ideas and the structure of her composition.  She tied the Renaissance and Baroque together by using artists/architects/designers.  She used Michelangelo and Bernini as her examples in design.  Caitlyn mentions Rococo in her conclusion but it seems unnecessary since she did not mention this style previously.  She could have also said a little more about the Cenotaph to strengthen her essay.

Reflections Summary

Dajana Nedic:

Daniel Salgado:

Blakeni Walls:

Point 4: Reflections

The beginning of design/architecture started in the ancient world in Egypt, Greece and then later in Rome. After the fall of the Roman Empire, the Middle Ages arose. During the Middle Ages, design previous to that was referred to as Classical and society during that time wanted to move away from those ideals. After the Middle Ages, the Renaissance arose. During the Renaissance, design in the Middle Ages was referred to as Romanesque and Gothic. Not long into the Renaissance, the city of Pompeii was discovered. This discovery led to a new trend in design. It was no longer trying to change and be different from the past. Instead it was about looking back into the past and bringing it to the present. This idea of bringing a past style back into the present is also known as a revival.

During the Renaissance, the current classicism derived from a current interpretation of the past and not a direct representation, which is why it was not considered a true revival but a new style of design/architecture. Classical design was used in new ways and it continued on into an embellished Baroque and Rococo. After these design periods came Neoclassicism, which also looked into the past for inspiration but with more accuracy – the beginnings of revivals. The rise of Neoclassicism was not only about looking into ancient world of classicism and its ideals but it also included other styles previous to Rococo. The biggest influence of Neoclassicism was Andrea Palladio and his villas and its most devoted disciple was Indigo Jones. An example of Jones’ work is The Queens House in England which has a strong Palladian floor plan. Although, Indigo Jones followed Palladio very closely and brought classicism back into the current trend, he was not the only one. Samuel McIntire and Christopher Wren also brought back classicism. John Vanbrough’s Castle Howard, in England, brought back with Gothic and Baroque styles. The idea behind these revivals was to go against the embellishments of Rococo and go back to a simpler more intellectual time with no excess.

The Supreme Court Building in Washington is a wonderful example of Neoclassicism and the revival of classic architecture. Its inspiration is more Roman than Greek which is more suitable based on the purpose of the building – government.  Its entrance has a statue on each side of the stairs leading up to the portico.  The portico has two rows of Corinthian columns holding an entablature with swags and a pediment with statues within it.  Upon arriving at the main door there are a set of Corinthian pilasters that fall in line with the columns.  Except for the title sign on the entablature, which states ‘Equal Justice Under Law, all the exterior details of the Supreme Court Building are from Roman architecture – including the purpose of the building.



Reading Comp. 5

1.  The drawing below is of an Austrian armchair made circa 1825 on page 62 in Architecture and Interior Design from the 19^th Century by Buie Harwood.  I believe this artifact represents revolution in design because during the time Germany, including Austria and Prussia had recently come out of a war against France.  The revival they chose to follow was Greek revival, which in their case was called Biedermeier because they believed their spirit embodied Greek architecture.  Biedermeier attempted to construct seating that looked comfortable and inviting with curves and overstuffed seats.  The curves under the arms of the chair are similar to wave motifs from Greece and thick legs are similar to the thick Doric columns.

2. 

ARTIFACT


During the 19th century, people needed storage space for the many things they owned. This large chest was built in the 19th century and its decorations are Indian influenced. It is seen through the bold colors and lotus flower motif. It was also directly inspired by double ikat (a type of weaving) textile pattern from India.

http://www.thejakartapost.com/files/images/up%20p22-a_0.jpg

SPACE

The Long Gallery at the Royal Pavilion is an example of an interior space in Britain influenced by China. The soft palette on the wall and reed motifs, along with the gilding and Asian inspired objects and furniture demonstrate how China and other eastern countries became so popular that it influenced European design.

http://www.asianartnewspaper.com/article/chinese-whispers:-chinoiserie-in-britain-1650%E2%80%931930

BUILDING

Fredrick the Great had this garden pavilion, the Chinese House, built by Johnn Gottfried Büring to beautify his flower and vegetable garden. The Chinese House has an exterior Roccoco and Chinoiserie style. Most of the motifs that demonstrate oriental influence through Chinese figures surrounding the pavilion.

http://upload.wikimedia.org/wikipedia/commons/b/b1/Chinesisches_Haus_Sanssouci.jpg

Point 3: Alternatives

When we think about alternatives we think about choices and possibilities. That is exactly what the architecture of the Middle Ages and the Renaissance were about. The Middle Ages, specifically in Gothic architecture, was about choosing new possibilities instead of following tradition by taking details from Classicism, revamping them and creating new forms. After the Roman Empire collapsed and split into two empires, east and west. The eastern empire was fairing better than the west. Many invasions occurred and traveling became unsafe. Since traveling was so unsafe, the towns and cities became self-reliant. Based on these unstable times, society began to emerge itself into religion and the rise of many religious orders. This new attitude led to the style of Gothic architecture, which consisted mainly on the construction of cathedrals and castles. Gothic architecture was followed by the Renaissance, which was about choosing tradition and creating new forms with them. After the discovery of Pompeii, the focus changed – it was no longer on religion but on the Ancient World. Classical language had emerged.

During the Middle Ages, there were two main architectural styles that emerged, Romanesque and Gothic. Romanesque style still had strong Roman influences because it was after the fall of the empire and was a precursor to Gothic architecture. Some details of Romanesque architecture are rounded arches directly came from Roman architecture, the thick walls were adapted as support for the structure, and barreled vaults came from thick walls that could support the vaults. Romanesque was followed by Gothic architecture, where its main influence was religion. During this time of the Middle Ages, there were many outside invasions. These invasions led to dangers in traveling which caused towns and cities to become self-dependent. Unstable times and self-dependency pushed people to seek answers in religion. Religion became very important to the point that many orders of religion, especially Christianity, arose and Gothic architecture demonstrates this influence. Cathedrals and castles were made during this time, although most of the focus was on cathedrals. Cathedrals demonstrate how important religion became to society. These ideals were illustrated through architectural characteristics and details. Some examples of the architectural characteristics used were cruciform plans, height, vertical emphasis, and light. Some of the details which helped the architectural characteristics are pointed ribbed vaults, flying buttresses, pointed arches, and clerestory windows. Cruciform plans in cathedrals were created through a long nave and transepts which symbolizes the cross of Jesus’ crucifixion. Height, in the cathedrals, was used to support the cathedrals vertical emphasis through towers and spires. Vertical emphasis, or verticality, was used to emphasize spirituality by guiding the viewer’s eye up and was illustrated through pointed vaults with help from pointed arches and flying buttresses. Light was also a way to support the emphasis of spirituality and was expressed through clerestory windows that were made possible because of pointed vaults.

Reading comprehension 4

1. Egypt, Rome and Greece are considered the foundation of architecture. They were the beginning and set the standard for everything else that followed. Gothic architecture sets the stage for how during the same time period there can be many differences with minor shared qualities. However, once Renaissance architecture came to along that changed. Although, there were still differences among one another, due to location and the time it took for this wave of new ideas to arrive. During the Renaissance, there was a combination of differences and commonalities based on the revival of the classics – Egypt, Rome and Greece, especially Rome – because of the discovery of Pompeii. Baroque architecture followed the Renaissance, which was then followed by Rococo and Neoclassicism. These design periods – Baroque, Rococo and Neoclassicism – were inspired by the Renaissance, which were inspired by Greece and Rome. Although, they are different time periods, they have common design languages. These common design languages can be seen through different scales, from an artifact to a place, focusing on Rococo and Early Neoclassicism.
   
   Starting off with the smallest scale are artifacts. Examples of these artifacts are the Neo-Palladian/Georgian desk/bookcase with chinoiserie decoration; American Georgian Windsor chair; French Provincial tall clock by Martin Carlin; late English Georgian state bed in Osterely Park; and American Federal Sheraton side chair; they all share wood as a material and classical decorative details. Throughout these artifacts repetition is the strongest design principle seen through its use of wood and its decorative detailing, like swags and gilding as well as egg and dart. The next scale up would be space, seen through Holkham Hall saloon, Gunston Hall stair hall, Marie Antoinette's bedroom in Fountainbleau, Saltram House saloon, Gardner-Pingree House parlor. The common design, within these spaces, is high vaulted ceilings and balance. Balance is seen through floor plan/placement of other essential items and bordering.

Point 2: The Fathers of Architecture

There are many meanings and definitions to the word foundation. However let us focus on two definitions found on dictionary.com, “the basis or groundwork of anything” and “the act of founding, setting up, establishing, etc.” In the case of foundations, the time periods covered were Ancient Egypt, Greece, and Rome. The reason this section covers these eras are because of its significance as founders, or ancestors, to the rest of architecture. It starts off in Egypt, then on to Greece who inherits certain styles and details from them, and lastly to Rome who does the same with Greece. Throughout these times, certain themes surface and design movements occur.


Although Mesopotamia and Sumeria were the first settlements, their main influence to architecture deals with stacking which the Egyptians took for themselves. Life in Egypt of continual certainty was vastly different from Mesopotamia and Sumeria’s continual uncertainty, who were constantly at war with invaders. The Egyptians had a more peaceful life because of their location which did not allow easy accessibility to outside intrusion. The Nile River had an endless cycle which allowed for continuous farming; and this continuous farming led the Egyptians to belief in an afterlife. Egyptians were influenced by Mesopotamia’s and Sumeria’s architectural stacking and created mastabas, which were burial sites for priests made out of mud-brick or stone. The building of mastabas led to the building of pyramids, which were tombs for pharaohs and the royal family. The most commonly known pyramids are the Pyramids of Giza. However, pyramids were not only inspired by mastabas but they became structures with their own implications. Its biggest implication dealt with competition in a masculine way by out doing each other in grandeur. Most pharaohs were men but there were occasionally women who ruled Egyptian, sparingly. Out of the few female pharaohs, Queen Hatschepsut was an example of a pharaoh who did not compete with the other male pharaohs by building a pyramid. Instead, she built a temple that closely emulated mastabas. Her temple was only two stories high, closer to the ground than a pyramid, and had many openings that allowed her people to feel welcomed when they came to worship – that might have been partially due to her peaceful nature and joining of Upper and Lower Egypt during her reign. Another place for worship similar in significance as a precedent for Ancient Greece is the Hypostyle Hall at the Temple of Karnak. The Hypostyle Hall was part of the Karnak temple that contains columns and hieroglyphics, which influenced Greek architecture greatly.

Similar to Mesopotamia and Sumeria and unlike Ancient Egypt, Greece was not as secluded from the rest of the ancient world. Since Greece was mostly surrounded by water and full of mountainous terrain, it was more susceptible to invaders. That vulnerability influenced some of its architecture which included walled cities especially those along the coast. Greece had easy access to the water, which allowed them to sail frequently around the Mediterranean Sea. While visiting new places, such as Egypt, these discoveries influenced the development of Greek culture. The developments encouraged individuality which led a more philosophical and logic state of mind. As previously mentioned, the most influential details the Greeks incorporated into their architecture from the Egyptians were columns and hieroglyphics. In the Egyptian’s case, their columns were inspired by plant materials – for example the lotus bud, stem, flower, and papyrus blossom – and had hieroglyphics carved into them. The Greeks took the idea of columns and put their own touch to them which later introduced three of the ‘Five Orders’ – Tuscan, Doric, and Ionic. Egyptian hieroglyphics became friezes and carved statues in the Greek world inspired by plants and patterns. The encouragement of individual development led to concepts of idealism and perfection which were attempted in its architecture but never truly achieved. The best example of this endeavor is the Parthenon at the Acropolis in Athens. It was meant to be the most ideal building; however it has imperfections, like different sized columns to give an optical illusion of proportion. These architectural details continue to pass along into a new era, Ancient Rome.

The next most influential era that came after Greece was Rome. Greece influenced Rome’s architecture greatly by becoming its revival, as well as a melting pot for different cultures. Unlike Greek civilization with its city-states, Roman culture spread much farther, becoming a collective and leading into an empire. Based on this Greek influence, Rome assimilated its architecture and then adapted to their ideas and concepts. In Ancient Greece, columns were fundamental parts of a building – they had a structural function – but in Rome they became a decorative element to a building, which introduced the Corinthian Order. The friezes and statues from Greece remained during Roman times but frescoes and trompe l’oeil decorations were also added to its decorative element. However, Rome’s architectural forms where not constant throughout the entire empire because of its extensive borders. Instead the farther away from the center of Rome – Athens – you were, the more the original forms were altered to accommodate the smaller cultures on the outskirts of the empire. These alterations influenced other parts of the world and the cycle continued.

Ancient Egypt, Greece, and Rome are considered foundations for elements in architecture. Ancient Egypt can be considered the prototype, the beginning model that the Greeks used for their own building. While the Greeks can be seen as the archetypes, an improved model which the Romans continued to improve upon. And Rome, as the hybrid of both with Corinthian columns that are closely related to Egyptian columns in appearance with lotus capitals; and frescoes inspired from Greek friezes. The Colosseum, in Rome, is a great example of Roman architecture as a hybrid. It has Doric columns on the lower floor, followed by Ionic and Corinthian columns, and ending with Corinthian pilasters – as shown in the image below.



Colosseum
http://www.citypictures.net/r-europe-148-italy-222-rome-220-the-colosseum-rome-italy-2569.htm



Reading Comprehension 3

My drawing of the Salisbury Cathedral

Salisbury Cathedral was built in England during the Middle Ages (1220 and 1258). The building of cathedrals was very popular during that time. Part of that was due to the time. Unlike Greek and Roman times where it was more of a big community, the Middle Ages were of smaller communities – there was no empire. Because of the fact that the community during the Middle Ages was much smaller, there were different influences throughout the land. Although, all the cathedrals have similarities because of its function, there were also differences. Some of the examples that are different from Salisbury are Cologne Cathedral, Notre-Dame de Amiens Cathedral, and Florence Duomo Cathedral.

When looking at the interiors between both cathedrals, it can be difficult to distinguish Cologne from Salisbury. Both have a strong sense of verticality and gothic arches. The differences are noticeable but not very apparent. Both interiors are lightly colored the impression of a long nave. However, Salisbury’s nave is narrower than Cologne’s nave. I believe that the reason both interiors are so similar, even though they were built in different areas and different times is because of its Catholic influence. On the contrary, their exteriors are vastly different. Cologne has a harsher appearance on the outside, mirroring the tight urban setting of Germany that it is placed in. Salisbury has a lighter outward appearance that reflects the Romanesque time period of the light and airy architecture of England. Another apparent difference between these two cathedrals would be that Cologne has two spires at the entrance, whereas Salisbury only has one. This further emphasizes the upward and uptight urban setting and the emphasis of verticality that Cologne has.

In the case of Amiens and Salisbury, their biggest difference is based on the time frame in which it was built. Both cathedrals began construction at the same time, in 1220. However, Amiens took longer in building – Salisbury was completed in 1258, while Amiens was completed in 1410. Salisbury has a Romanesque influence with a flatter façade and repetitive ornamentation throughout its levels, while Amiens has the beginnings of Renaissance in being more decorative which can be seen in its clerestory and stained glass – because of this different in completion, there are visible differences. Based on these differences, Amiens seems to have a longer story due to the different generations who built it. However, it doesn’t necessarily mean it is a coherent story.

Lastly, Duomo is different from Salisbury based on its patronage. In the case of Duomo, the patrons donated money for the construction of the cathedral, unlike Salisbury which was completely governed by the clergy – monetary-wise. Although, it does not necessarily seem to matter who is paying the bill as long as the building remains in tact as a whole, design-wise, some issues may arise. One big issue is on whoever pays will affect the way the structure is arranged, as far as size of space. Unfortunately, the question can arises on whether it is appropriate for a patron to undermine the cost of a building campaign at the expense of using that money for more socially conscious purposes. My belief is that it does not because during that time cathedrals were considered social works for the community. I also believe that the patronage helps to understand the underpinnings of the design profession as one of collaboration and working together because of the monetary help they give. It is important to the churches because collaboration and working together was important to the churches of the Middle Ages because community and religious beliefs were very strong during this time.

Reading comprehension 2

2. In Macauly’s excerpt, the main character finds meaning in archeological evidence uncovered at the Motel of the Mysteries.  However, his interpretations of the archeological evidence are inaccurate.  Part of his assessment could be based on his current culture, which is not given.  The other part of his assessment could be based on other previous information found or given.  One example of this is labeling the television as the “Great Altar”.  The reason for this deduction could be that in his culture television does not exist, at least not the box itself, and they could be strongly religious.  The information found through other sources might have implied that the 21^st century was ‘glued to this box’.  For the main character that could imply that it was a religious artifact and, ultimately, an altar.  Unfortunately, misinterpretations happen all the time, especially nowadays.  A personal example would be looking for chairs online and, based on the findings, draw the wrong chair instead of looking up the chairs in a book that has more reliability because not just anyone can input invalid information.

3. Queen Hatshepsut was the first female to rule as pharaoh.  Of her many accomplishments, two noteworthy ones were her unification of Egypt under her rule and her tomb in Thebes.  Although, there were previous pharaohs who built pyramids as their tombs, Hatshepsut was not one of them.  Instead, she used Mentuhotep’s tomb as her precedent.  Possible reasons for her to use this building form might have come from a mutual ruling with Mentuhotep, being different from other male pharaohs or a symbolic approach to her ruling.  Hatshepsut might have felt a bond with Mentuhotep because he was the first pharaoh to unite Egypt under one rule.  Although, she wanted to be called pharaoh and his majesty, she created a story of her divine birth to possibly merit her rule as a woman compared to the males that had rule before.  She might have used her temple as a symbolic approach to her ruling – she might have wanted to be see as a good ruler who cared and therefore built an approachable temple where the people were welcomed in to worship, unlike the pyramids which denied many entrance.

4. Although, Egyptian and Greek civilizations have some similar building forms and details, they also had differences, all of which were influences by their separate cultures.  While the Parthenon, in Athens, and the Hypostyle Hall, in Karnak, have similarities, there are also differences among these structures.  Some similarities between these two buildings are its grand size compared to the average person, being completely surrounded with columns, its rectilinear shape, its function as a place of worship, and its use of post and lintel.  Even with their similarities Egypt and Greece had different live styles.  In Egypt, there was little to no fear of outside invasion and because of the continuous cycle of the Nile River believed in the afterlife.  While in Greece, there were always threats of invasion which led to wars and because of the instability their beliefs were more focused on the here and now with a hope of a future. Based on these different cultures, some of the differences between them are its admittance – only priests and the pharaoh were allowed in the Hypostyle Hall, while anyone could enter the Parthenon; the shape and design of its columns – the Hypostyle Hall had floral capitals and the Parthenon had Doric columns; its decorative storytelling – Hypostyle Hall had its stories on the columns while the Parthenon told its story along its frieze on the outside and also along the walls on the inside.

Parthenon
http://hermes.ait.gr/dimea2008/?gallery,33



Hypostyle Hall
http://skyline-tours.com/mon.html













5. Many characterize the architecture of the Pyramid of Giza as massive and heavy while Egyptian furniture is lightweight.  A possibility for this could be the based on the fact the Pyramids of Giza were supposed to be grand and last forever.  Unlike its furniture which, most, were supposed to be adaptable enough for travel.  However, there is also the detailing which the was dependant on the owner of the furniture but usually included some detail of certain animals like the lion or duck, this could have been because the Egyptians would worship their gods in animal form.


Point 1: Design is a Story

To begin to understand design, we must first start with its theories. There are many theories in design and it seems they will continue to grow. However, there are a couple that can be mentioned based on their significance. Those would be Sir Henry Wotten’s theory of three elements to good design and architecture, Roth’s additional triad of elements, and Alain de Button’s theory of architecture causing happiness. All of which would be examples that design is a story.

According to Marcus Virtruvius, the three elements to architecture are stability, utility, and grace. Later on, Sir Henry Wotten rephrased the same concept into commodity, firmness, and delight (Understand Architecture 11). Virtruvius and Sir Wotten both believed that anything well designed needed to have all three qualities. As long as these three qualities were present then good design is possible. For good design to be possible, it must all (as a whole and in parts) have a function and purpose – commodity, it needs to be stable and stand on its own – firmness, and be aesthetically pleasing – delight A balanced amount of these three qualities would be ideal but that is not normally the case.

In Roth’s case, that there is another part to Virtruvius’ and Sir Wotten’s theory of three elements. He believes there are three other elements to consider. Roth states,

             “First, there is the person or group who calls the building into being, the client who provides the  
              commission. Second is the architect or designer who gives the client’s wishes physical form […].
              Third is the group of individuals who carry out the construction” (Understanding Architecture 11).

Roth is trying to say that, although the three main elements are important, we must also keep in mind the people involved in design process – from beginning to end. Design cannot happen without people to create it and appreciate it.

Alain de Button has a different take to design. According to his book, “The Architecture of Happiness”, de Button feels that happiness cause by design is based on people seeing their ideal selves within it. He believes that, “the significances of architecture is premised on the notion that we are, for the better or for worse, different people in different places – and on the conviction that it is architecture’s task to render vivid to us who we might ideally be” (Architecture of Happiness 13). By this de Button means, architecture and design are inspirations from ourselves and we should display them.

These theories, along with others, point to how design is influenced. It is a cycle of a design influenced by a designer/artist and others, including designers and artists, are influenced by the design. The one thing they have in common is the fact that they are part of a story. Design, although Harwood refers to art, “is more than decoration, it expresses belief system[s], social order, and science” (Architecture and Interior Design 3). In other words, art, architecture and design in general is an expression of many things within out lives. Design is always built upon something before, whether it is looking into the past or away from and into the future. Design has a history, therefore it has a story.


de Button, Alain. The Architecture of Happiness. New York:Knopf Doubleday Publishing Group, 2008. Print


Harwood, Buie. Architecture and Interior Design through the 18th Century. New Jersey: Prentice Hall, 2002. Print


Roth, Leland M. Understanding Architecture: Its Elements, History, and Meaning. 2nd ed. Maryland: Westview, 2007. Print

Karnak Temple (http://www.delange.org/Karnak/EP14.htm)

Reading comprehension 1

My choice for a building based on Wotton's definition of commodity, firmness, and delight in architecture is the Al Dhana Tower (RasGas Tower) in Doha, Qatar.  I believe this tower realizes all the above definitions.  Commodity is fulfilled by its height of approximately 30 floors for an office building, which also includes a parking garage.  Along with its height is the sphere that hangs in the 20th floor and anchored by two points.  Firmness is fulfilled by its construction, it is built with a curtain wall facade system which keeps it stable and allows the appearance of glass exterior walls.  Lastly, delight is fulfilled because of the difference in appearance based on the time of day, as depicted below.  The one on the left is what it looks like during the day and the one on the right at night.

According to Hall and other people, different cultures have different spatial needs and attitudes. A lot of people consider that citizens of the U.S. generally feel a need for more space. Although, I do agree with the previous statement, the classroom in which we gather for IAR222 might not be seen as an example of this, but it is. I believe part of this is based on the time period that the building was built in. Even though, co-education occurred in the ‘60s and the building was built in the ‘70s, some change and adaptation was still occurring. The classroom was not built with any adaptable features. There were no considerations for students carrying more than a few books. Nowadays it is apparent that citizen of the U.S. feel a need for more space based on how they sit in the classroom on the first day in this classroom.

Alain de Botton believes that there can be an architecture of happiness and based on his work by the same title, I would have to agree with him. In his work, de Botton says, “[b]elief in the significances of architecture is premised on the notion that we are, for the better or for worse, different people in different places – and on the conviction that it is architecture’s task to render vivid to us who we might ideally be.” Happiness can occur when we envision our ideal selves because we only take all the positive and good qualities to make our ideal selves. An example of an object that, personally, exudes happiness is the jewelry set seen below. I believe this set exudes happiness in a few ways through color, material and craft. This set includes two major colors: bluish gray (the pearls) and white/silver (metal piece). However, I believe the materials and craft that really cause happiness. It is made of white gold, black pearls which are rare side, and diamonds. The craft done on this was very intricate and can be appreciated by all because of the work put into it.