Point Essay: Explorations

“The right question to ask, respecting all ornament, is simply this: was it done with enjoyment?”
~John Ruskin
As this unit began, people still explore what it means to be modern. There was a notion of the exotic previously and a desire to be in a place of elsewhere. Not the notion was borrowing on the natural world. According to William Morris this was a medieval revival which was true architecture. In the Red House, William Morris allows the space to rely on the warmth of wood, and the exterior is asymmetrical to resemble the outdoors. This leads to the arts and crafts and the aesthetic movement. Art becomes much apart of space where objects depict value. Interior spaces should be completely decorated which implies an ideal life. An environment which has been altered are the spaces people desire. This raises a question of what’s surfaced and what’s substance.

As the 19th century comes about, many changes occur. There are changes in society where population increases. A scientific development occurs. The industrial revolution allows for new materials- concrete, iron, and steel. These changes alter the interior and the sense of privacy. New ideas occur such as the elevator and the bay window. With new technology, the focus no longer is about ornament but the machine.

Though the industrial revolution pushes design further, the question of whether or not to look forward or backward still arises. Art Nouveau is the first movement to look forward. It embraces new material and does not look back to classic or medieval precedents. Hector Guimard mentions that “it is not the flower to take as a decorative element, but it is the stem.” This idea looks forward rather than backward to typical past design movements. The idea that it is no longer the typical flower which is seen beautiful rather the stem is a surrealistic idea that changes the way one looks at design. The machine becomes a part of decoration in interior spaces. It portrays the moving line and a new fluid style.

The Art Nouveau movement was not popular in the United States, except in decorative. Art Deco started in Paris and soon became popular in elsewhere. It consisted of humorous and the theatre, layers and tiers, and a notion for speed and movement. The movies played a huge role in the influence of design. The movies inspired buildings to look like a set one would see in a movie. The set on the screen was a place of elsewhere, a glamorous place which everyone longed for. It becomes a time of explosion of color and a sense of worldliness. The machine also plays an important role. It transforms the meaning of architecture, purifying forms back to geometry. Design was sleek-so sleek that the past slides right off.

However, what happens when a legacy is handed to the next generation? This matter of fact alters design again. The 20th century becomes a crisis of what good design is about. People look backward to the Crystal Palace and the Eiffel Tower for inspiration. Design tries to move beyond modernism and instead play with forms and textures. However, sometimes too much focus on form and texture leads a design that is not functional.

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It seems as though the crisis is not in modernism, instead the 20th century is an era in which many design languages are occurring that no specific one is apparent. Even today, people are always looking back to what they think good architecture is. People never seem to see the good in what is happening in the moment. In such a short period of time, many life changing events occur altering design tremendously. In our last meeting as a class, it was mentioned that people have this innate feeling to want to go back to the “good ole days.” People strive to move forward in design, yet want everything to be how it used to be. Today, we are in the suburban era where people design for themselves and want everything to be fast and fit their needs. Maybe this era does answer John Ruskin’s quote that design now is done with enjoyment. However, it seems this era has lost a sense about design in itself. Maybe people will recognize this missing link. Who knows what the next design movement will be. I am sure it will continue to look back to the past. Who can say what the “good ole days” consisted of. Design will continue moving forward and looking backward. It is not a crisis but an uncertainty of what is happening in the now.

Reading Comprehension 7

After visiting the Greensboro Collects show at the Weatherspoon Art Museum, I found much art spoke to people and the experience one may have in life. For my group, I was supposed to focus on the “In the Studio” exhibit. This exhibition mentions how the studio is the site for any art production. The studio creates experiences that may look at popular culture or stereotypes. The studio truly emphasizes the emotions of the space or person and their identity. Many of the art selections concentrate on the human form and the simplicity of the lines that make up the human body. The delicacy, and contour lines of the human body capture the emotion of certain aspects and emotion. I chose to focus on “Red Kimono” by George Segal. The art portrays a women in a red kimono with many different colors in her apparel. It does not feature her face but emphasizes more on her hands and the piece she is making. Though faces are main features in many pieces of art. Segal chooses for the hands to be the main emphasis. Hands play an important role in the human body. It allows us to touch and experience our surroundings. In this particular piece, the hands do not touch and create a unified point. The red kimono leads the eye towards the hands but there is no conclusion because the hands are left open. This is a working woman and the sense of continuing work is portrayed in the studio piece. Segal portrays a strong working woman who in the end remains in the experience because her hands will be constantly at work. In "Understanding Architecture," Roth mentions that "it was up to architects at the end of the 19th century to express the character of their time, but precisely what that character was proved difficult to define." Because of the many design languages finding the right path for design becomes unclear. The machine also becomes an important role in the design for the 20th century. Many new ideas come from the machine. Roth states that "the dawning century was to be the era of the machine, of greater speed, and of unprecedented mobility, and the architecture of the new epoch would surely proclaim this mechanization." Though technology becomes more applicable, design becomes distant with various ideas occurring at the same time.

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Though the 29th century is mentioned as an era of the machine, design does not match this description. A machine is to run smoothy with al parts matching accordingly. However, the 20th century becomes a time where design has many variations. Anne Massey mentions in "Interior Design since 1900" that "the early Modern designers hoped to change society for the better with the creation of a healthier and more democratic type of design for all." This calls for exploration in this new design language which in turn reveals many new ideas. This exploration unit is a time of discovery and search in what the right design is.

I think this speaks to many themes in the explorations unit. I chose to diagram this piece of art by having many circles which represent the different colors in the kimono above a vault which does not come to a point symbolizing her hands. This speaks to many of the principles and elements of design in this unit. The colors portray the many design languages continuing in 20th century. These various designs lead into a discussion of what is modernism. However, this question will remain unanswered because it will never come to a final point.

Reading Comprehension 6

[1] A common theme of the early twentieth century found in Roth, Harwood, and Massey set the tone for an understanding of styles in architecture and design influenced by fine art. Selecting either Arts + Crafts or Art Nouveau, TRACE the influences of the selected style in more than two nations. In your answer, you should include evidence from the readings and at least two annotated images as support for your analysis of influences. [15 POINTS POSSIBLE]

The Arts and Crafts movement starts in Britain and slowly moves to the United States. Glass and iron are important materials that influence the architecture and design. This becomes a time in searching for modern. In “Understanding Architecture,” a theme occurs in which “Gothic architecture was good because it was handmade by workmen who took joy in their work” (Roth 493). William Morris, an English designer, recognizes that the clutter in the interior does not match the exterior. He borrows on the natural world and revives the medieval where true architecture existed. There are bad interpretations of the classics into mechanical imitations. Morris sees this and designs the Red House where the interior relies on the warmth of wood, clean lines, and limited clutter. The exterior is asymmetrical and consists of exposed red brick.

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Some of Frank Lloyd Wright’s early work relates to the English Arts and Crafts movement. Roth mentions, “he was loath to admit to any outside influences, he did acknowledge Morris’s design philosophy” (495). However, Wright embraces the introduction of the machine into his design. This raise the question of how to combine the use of handwork and the machine and which is better to use. In the Robie House, there is a strong sense of horizontal, which speaks to the landscape. There is an integrated approach in his design where his lights are in the ceiling or in the dining room table. The chimney becomes an important feature; it is freestanding and the only thing separating the living room and dining room. He uses roman brick on the exterior to elongate the horizontal intent and hides he front door for a sense of exploration. This speaks to the arts and crafts movement because of the craft and the interior speaking to the exterior. There I a unified approach in which dematerialization speaks to the true architecture.

[2] Originating at the Bauhaus and in the work of LeCorbusier, the so-called Modern movement deeply influenced design and architecture of the twentieth century. The great debate raised by this new approach to design involved the presence of the machine in the design process and final products. SPECULATE about the implications of “machines for living” and the famous dictum “less is more” on design today. Use at least one ARTIFACT, SPACE, or BUILDING in your answer, providing a salient image (cited) and annotation to help bolster your argument. [10 POINTS POSSIBLE]

The presence of the machine influences design and architecture. The machine creates a moving line and fluid style. Everything moves in the twentieth century, even the automobile. There is a notion for speed and movement. Le Corbusier mentions that “a house is a machine for living—it should be as practical as a typewriter, a telephone, an automobile—no clutter.” These objects that are invented are practical and get the job done faster. According to Le Corbusier, a house is meant to be practical. Here should not be clutter, which distracts from getting everyday housework done. Practicality means easy living and this is celebrated in the twentieth century through many artifacts, interiors, and surrounding buildings.

The Postal Savings Bank celebrates the machine as decoration. The interior looks industrial or a factory and does not have the feel of a typical bank. Appliances are exposed and decoration is minimal. Materials of glass and steel dominate the space to embrace the idea of the machine.

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The Villa Savoye by Corbusier focuses on form and geometric relations. Its inspiration comes from a machine. His design speaks to modern function and its beauty. The notion of pilotis or stilts allows the form to be lifted up. The automobile itself helps determine the form of the building. Figuring out the turning radius of an automobile determines the curved wall on the ground floor. The ribbon of windows provides much light in the interior spaces. The free plan is achieved using concrete, allowing curved walls to create special places.

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Both of these examples portray buildings in which the machine is celebrated. However, this raises the concern of if we are meant to live in a world where machines are for living. In today’s design, I think people continue to search the answer to this question. I think there is a stronger desire to relate to nature and our surroundings. This battle remains constant today trying to understand a world in which the machine merges with nature.

[3] From the assigned pages in Roth, Harwood, and Massey, SELECT an image that you believe explodes the notion that Modern interiors and objects were black and white. Fully RENDER your own design exploration of that image through color, material, and light and appropriately annotate and cite the image to prove this point.

I think that the image from the Massey reading, "Our Dancing Daughter's"set design explodes the notion that Modern interiors and objects were black and white. People went to see these movies regularly during the depression and these bright interiors made people feel something different during this time. People wanted their homes to look as glamorous as the sets were in the movies. However, they were not these black and hite objects. Rather, it was an explosion of color.

Reflections Summary

The reflections discusses how things revolve in time. Nikki does an excellent job of portraying how this unit is a cycle. She states that "cycles begin with a revolution, or a drastic change." Throughout her essay she goes back to this theme of a revolution and how ideas are borrowed from the past. She gives great example of colonial america to clarify her idea of this unit. She ends her essay by saying, "in every era there is something new to be discovered." I think this statement summarizes the reflections unit well and prepares one for the next journey into explorations.

Cassie also discusses how the reflections unit revives and revolutionizes. Cassie discusses examples from the end of the renaissance to the 20th century. She provides many examples that show that this unit is a combination of looking forward and backward. She speaks of the new industry and how it shapes design. However, differing from Nikki, Cassie concludes saying that the reflections unit has many options and it becomes confusing for society. I think this is an interesting point and her examples allude to this.

Anna does a great job of explaining how the reflections unit is a cycle or the "circle of design." I think her example from the Lion King helps summarize the reflections unit. She also discusses how this cycle loops continuously. She discusses how the industrial revolution changes design and "various designs could now be made that before were just dreams." Anna really seems to embrace this unit and explain to everyone else the examples that help her make sense of this unit. I think her image does a great job of explaining what this unit meant to her. I like that she says things are reflected, but the reflection is not the exact same. I think this is true of the reflections unit that styles are borrowed on from the past, but might be different.

Alternatives Summary

The alternatives unit presented an interesting take on what the rules actually are in design. I have chosen to focus on Katherine, Ebony, and essay.

Katherine's main theme in her essay is that "you have to know the rules before you break the rules." She mentions that rules are apart of us and are ingrained in us at an early age. She starts off stating how Egypt and other structure focus on geometry and "man as the measurer of all things." However, in this unit she discusses how new ideas are test the rules and previous design styles are mixed into present ones. She states that change should be celebrated and rules should be broken. I love this image that Katherine incorporates in her essay. It shows how the rules are broken, yet celebrated at the same time.

Ebony also focuses on the idea of boundaries being tested and rules being broken. She speaks of dramatic angels and theatricality. She discusses how style shifts from a "grandeur practice" to one that tells a dramatic story. Ebony reveals a similar theme that style does shift and this unit focuses on how those rules are broken.

I think Dajana does a great job of describing the alternatives unit. She begins by saying that it was a rebellious one. She focuses of design elements in the Gothic period such as verticality and commodity. Clearly states, she says that reviving the classics and writing down the rules in the renaissance leads to breaking those rules and reinventing them." I think this clearly projects what the alternatives unit is about.

Point Essay: Reflections

What does it mean to seek modern? This is a question that continuously arises in the reflections unit. Starting with the Baroque period, rules move beyond the Renaissance. However, how far do rules go until they become written down again? Rules of the Renaissance consisted of geometry, single surfaces, and classicism. The Baroque time period moves outside of boundaries that is organic, fluid with naturalistic motifs and a strong influence of the Gothic world. Questions of various design languages occur during the Revolution. A desire of organizing world in a scientific way becomes significant during this time. Structures such as the Pantheon of France and the Greenwich conservatory shift in design where boundary breaking happens. This becomes a times of figuring out the rules and how they work which seeks a modern mindset, where moving beyond the Renaissance becomes the basis for design.

In colonial North America, the Revolution becomes important part of this age. It becomes an implication for design. During this revolution of declaring independence, the revival of learning and culture becomes a far-reaching change in ways of thinking and behaving. This is a world-changing event, which reconstructs the world and views toward it. This revolution becomes a cycle in design where observation of rules occurs, rules move outside the box and is turned upside down. Finally, rules are put back together again. Pieces of furniture and buildings are revolutionary in the sense that certain features of the previous model are taken and used in the next model. This continuously happens until so many design styles evolve and occur at the same time.

Soon, iron and glass becomes the dominant idea. These ideas match those of Gothic Cathedral in which verticality and dematerialization make the structure seem larger than actually is. This new material creates contrast in space where the outside speaks a different example than the interior. For example, in the Crystal Palace, many of the goods being sold spoke a language of classism as opposed to a new language of steel and glass. This raises different questions of looking forward and backward. This creates a lack of clarity in the 19^th century and a quest for what actually is modern. Industry and a concentration of factories in the United States become prevalent. The Gothic revival seems to hold on. New cathedrals arise, not of spirituality but of commerce. Questions arise of how to define America and what people wanted the Nation to say. Mid 19^th century, a variety of goods come to America from the east. Style begins to revolve around the eastern tradition and exoticism where thinking of a different place other than your own becomes common. The world becomes available and modern shifts to an interior speaking of some place else.

I think the Royal Pavilion describes the reflections unit the best. This building shows of worldliness with an eastern influence. It portrays the search in what exactly is modern and how that may include a variety of styles. Many styles are revived and pasted into different interiors where are rules are broken. This shifts in design reflects the old and the new. Not one direct style dominates. In this interiors space, a sense of another word is created. The bold details and textures speak exotic elements, which becomes fascinating. The chandelier becomes hierarchy to establish the gathering space of the dining room table. This would be a space to show off, and having many people over to enjoy the space was ideal.

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This unit has covered many styles throughout the Baroque period continuing into the colonial North America and the 19^th century. It reflects voices of the past but still seeks what modern is. Rules move outside the box, and many interpretations of past styles are revived. The word modern is still sought after today. I am not sure if there will ever be one style that fits the word modern or if it will be continuous journey until people begin to explore the many options in design.

Reading Comprehension 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]

The Chippendale Chair from the mid 1700’s is one of the most common pieces of furniture that was widely copied in the American Georgian and Colonial Revival periods. Similar features include intricate carving and a rectangular back. Later interpretations feature similar characteristics but alter other areas of the chair such as the arms or legs. Some later interpretations take the legs of the chair and pair it with a new back. Other interpretations may include the same back but different legs. Some chairs may eliminate the arms of the chair completely. This artifact represents revolution in design because through different interpretations, uniform variations occur. As the chair continues to evolve people take certain parts of the chair that will make it better for the current time. The revolution of the Chippendale chair coincides with the American Revolution. The transition from the colonies to the United States parallels the revolution of the chair. Early designs include human qualities appearing as though the chair could actually walk. The shoulders of the chair seem to have ears while the intricate carvings on the legs look like they are bent. Later interpretations seem lighter as though it floats off the floor. The legs are straighter without as much of a distinct frame. This suggests that styles begin to mix and there is a less cohesive style as the revolution continues. Questions arise of what the right answer is because so many various styles occur. The Chippendale chair is one of many examples that is a revolutionary artifact. A new nation is forming as well as the correct style. People continue to try and figure this out and what works best for the time. Different interpretations of past designs define the style and the reconstruction of the word and the views people have towards it.

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]**

With trade from the eastern world becoming more accessible to the western world, many later interpretations incorporate eastern influence motifs and forms.

The Anglo-Japanese sideboard from 1867 by Edward M. Godwin reflects Japanese furnishings. This piece of furniture responds to design influences from Japan because of its simplicity and strong sense of geometric shapes. The straight legs relate to many Japanese furnishings hat are low to the ground. The dark ebonized wood also shows similarity to the oak and chestnut wood popular in Japanese furnishings.

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The Royal Pavilion interior at Brighton shows much of an eastern influence. This interior space is filled with color ad textiles. As trade from China becomes more prevalent in the western world, surface decoration and textiles from the eastern world becomes more common. Silk is introduced, with the idea of brightening the space in such a gloom area. This idea of the eastern world is a fantasy. People enjoy the idea of creating an artificial world in a different place. Entertainment and dinners were prominent to show off these spaces. The world becomes available and interiors showcase this.

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The Tea house at Marble House in Newport, Rhode, Island is a later interpretation of Chinese architecture. This building embraces some Chinese motifs such as latticework, and upward curving roofs. This interpretation seems to copy Chinese gateways to create an exotic element and a fantasy world as one walks into the space. Symmetry and geometric ordering occur throughout the building. The bright color symbolizes happiness. The animal motifs on the roof derive from Chinese culture in which the animals would protect from evil spirits.

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Another area of focus that derives from Chinese influence is Chinatown in San Francisco. This is one of the oldest Chinatowns in North America. Buildings usually face the street with surrounding gardens. Bright colors symbolize happiness. Upward curving roofs push away evil spirits. Many structures present an authentic look and feel that one would get from Asia. Entrances usually have inscriptions to ensure happiness and protection. Many architectural feature multilevels and geometric stacking. Buildings usually stand on foundations emphasizing the idea of protection and hierarchy. Wood and stone remain prevalent materials in Chinatown. This was a place of high influence for Chinese immigrants.

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Counterpoint: Perspective

For this project, the focus was perspective in the alternatives unit. I chose to focus on the Salisbury Cathedral. I chose to enhance the perspective by making multiple layers. In the paragraph, I mentioned that this structure was a much different feeling than the outside rural setting. It creates a heavenly experience when you enter, symbolizing the divine. Many of the gothic cathedrals strive to reach heavenward, where an axial progression occurs in the interior. The Salisbury Cathedral is a magnificent structure that presents an alternative to worship.

Point Essay: Alternatives

Looking at the Alternatives unit, we begin discovering how the Renaissance becomes an alternate to the ancient world. The Renaissance becomes a revival of classic orders. They reinvent a new tradition where simple shapes such as squares and circles become a reason for resonance.

Though the Renaissance focuses on the Ancient world’s models. This becomes a vernacular tradition that is slightly changing overtimes. Religious forms turn into secular. Relaxation, elegance, entertainment, and beauty are aspects, which make the home the sanctuary and not other public forms. The Renaissance shifts from public sphere to private and turning the home into the hearth rather than a significant public building such as the Pantheon. Circles become the new center whereas verticality suggested spirituality. It becomes a rebirth of antiquity and the individual as the “man is measurer of all things.” This suggests contemplation of the universe and heaven where the center reaches beyond to the institution and verticality connects to the individual. The Renaissance sees borders and boundaries as key aspects of design that will refrain design reverting back to Gothic style. Straying away from the classics was not ideal in the Renaissance. This becomes a time of understanding the world after the Dark Ages and classifying it with simple shapes, centrality, and classicism. An idea of real versus ideal becomes significant in the Renaissance. A question of whether or not something is ideal when copied. Symmetry, geometric patterning, repetition, and borders create the ideal world in the Renaissance.

The Alternatives unit continues into the Baroque period where breaking rules and the boundaries becomes the alternate to design. Baroque suggests more fluidity, spilling over the edges, challenging authorities, and testing limits. The Laurentian Library Vestibule provides a good example of the alternatives unit. Though the Renaissance conveys examples that take an alternate look at classicism, the Baroque period really begins to challenge these rules.

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The Laurentian Library Vestibule by Michelangelo presents a library that starts changing the rules on very common architectural details. The stairs provide a series of three to choose from and then merge into one. This signifies that even stair making is spilling further outside the boundaries. It also presents an idea of waves and how there is not a boundary for water. The middle section of the stair seems to cascade down from the library into the gallery, much like the knowledge cascade down from the library. Water’s strength can be challenging to stand against and this idea may be resembled in the stairs that it takes hard work to reach a level of intellect. Knowledge is power but the stairs provide alternate routes to get there, but it takes work to get to the top. Though classic elements such as columns are seen, the columns become embedded into the wall and the wall is carved away from the column. This library also changes the rules on how to decorate. This building takes the unavoidable art and pushes the boundaries on interior detail, stairs, and columns, providing alternate ways to view a library.

In “Understanding Architecture,” Roth mentions that Baroque created architecture that was “concerned predominantly with the shaping of space and almost not all with expression of the fundamental underlying structure of the architecture” (435). Baroque was a time of exploring how far to move beyond the boundaries. The Renaissance shows how the classics were reinterpreted in a modern sense. This unit provides many examples of how the Renaissance and the Baroque provide alternates to what we know and our surroundings. It becomes a time of exploration and making things different from previous things.

Reading Comprehension 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]

When looking at different places such as London, England, Williamsburg, Virginia, Paris, France, Scotland, and Washington DC, the artifacts, space, and buildings of these places demonstrate much difference. Focusing on these different scales, one begins to recognize a certain design language linking them all together.

Focusing on the artifacts provided in the list, similarities are apparent. The desk/bookcase with chinoiserie from the English Neo-Palladian and Georgian period has many intricate detailing. The desk is mounted on legs appearing as claws. The ornamentation is very detailed with continuity throughout the entire piece. Repetition occurs along with contrast in balance. Looking at the windsor chair from the American Georgian period, there are many differences when comparing it with the desk/bookcase. There is no surface decoration with less detail. It is entirely made of wood with thinner elements. The joinery of the elements come together to create a continuous harmonious feel with the back of the chair relating to the other parts. In the Louis XVI and French provincial, the tall clock shows emphasis on straight lines and geometric curves with more simplicity. There is surface decoration including moldings. This piece has a heavier feel when compared to the windsor chair. The state bed (osterly park) from the Late English Georgian period is a richly draped four-poster bed. This piece is more slender than the tall clock and is carved with classical ornamentation. A circular shape appears at the top of the bed with much surface decoration. Continuity occurs as the circle leads the eye down to the drapery and then to the bed itself. These furnishings include intricate detailing to emphasize the piece is not only functional but beautiful. Special attention to every line, carving, and ornamentation reveals itself during all these time periods. Though all furnishings demonstrate much difference, a design language of harmony, emphasis, and continuity links them all together.

Many design elements in the English Neo-Palladian and Georgian period focus on Vitruvius, Palladio, or Inigo Jones. Base in Palladio, In "Understanding Architecture," Roth states that "Renaissance Architecture as the clear and intellectual expression of form through simple mathematical proportions was being modified into a more subtle and intellectually complicated idiom" (378). Looking at the Holkham Hall Saloon, elements are classical and symmetrical. Details focus on geometric shapes and patterns. This interior space pays special attention to furnishings and the details surrounding it. An emphasis on repetition creates a harmonious feel on the ceiling while furnishings are extremely intricate. In the American Georgian period, the Gunston Hall Stair Hall shows a continuous series of swags and columns. This repetition creates an emphasis and continuity of the classical language. Colonists use English precedents to be recognized as a learned society with high regards to architecture and classicism. In the Louis XVI and French provincial period, Marie Antoinette’s bedroom, Fontainebleau shows much emphasis to ornamentation. Gildings, chandeliers, and repetitive textiles emphasize the classics. In the Saltram house saloon from the Late English Georgian period, geometric patterns fill the ceiling and floor. Again, the interior is detail and ornamentation oriented. The room has a heavier feel with the large chandeliers and darker furniture. Mirrors reflect light while classical motifs contrast with the curvilinear shapes. The Gardner-Pingree House parlor from the American Federal period has an elegant and formal feel with Corinthian columns and swags with classical proportions.

The Chiswick House from the Neo-Palladian and Georgian period reveals a center axis, octagonal dome and pediment. Buildings from this time are relatively simple with classical proportions and symmetry. The Drayton Hall from the American Georgian period has a symmetrical design and a two-story portico. Both the portico and stairs lead one to the center of the home. The pantheon (St. Genevieve) from the Louis XVI and French provincial period has a central crossing dome. The dome reflects classical design as well as symmetrical balance. In the Late English Georgian period, the Nathaniel Russell house reveals simple geometric shapes with classical elements such as the arches above he windows. Monticello from the American Federal period does not necessarily follow a classical model. The building has a continuous design. A dome brings the hearth to the home. The pediment and columns create a progression leading one into the home. May of these buildings follow the classical design. These buildings have similar design language consisting of symmetry, balance, and harmony.

In London, England of the English Neo-Palladian and Georgian period, the Whig Party appoints themselves judges of taste for the nation. Rational ideas should define English culture and architecture, they encourage Neo-Palladian as the style. In Williamsburg, Virginia, during the American Georgian period, people maintain strong connections with their English heritage. English precedents become the style for buildings, interiors, and furnishings. They base their society on classicism. In Paris, France of the Louis XVL and French provincial, people reject the Rococo style reverting back to classicism and antiquity. New Town Edinburgh, Scotland, during the Late English Georgian period adopts Neo-Classicism. Slenderer proportions appear with more ornamentation. In Washington, DC of the American Federal period architecture reflect classical details but smaller in scale. Throughout all of these time periods, style reflects classical details. Classicism becomes the most rational and honest design for many buildings, interiors, and furnishings.

[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.

Looking at artifacts, spaces, buildings, and places of the American colonies, design is closely linked to Europe. Much like successful techniques were passed down through word of mouth for the Gothic Cathedrals, a similar approach occurs in the American Colonies. Harwood mentions that people share similar standards, values, and ideas related to democracy and independence (430). People still have strong connections to the English heritage and tradition. With this in mind, English precedents are copied to portray a society that is cultured, refined and tasteful. Using classicism as their model, the American colonies move forward showing the rest of the world they too are rational and civilized. Along the Atlantic in the Neo-Palladian and Late Georgian periods of England and the Louis XVI and French provincial period in France, a common design ancestry occurs. Many of these periods look to classicism and antiquity as their model for buildings, interiors, and furnishings. Ideas of harmony, balance, proportion, and unity signify a refined society, one of intellect. In "Understanding Architecture," Roth mentions people "sought to reconcile the Classical view of human potential with Christain belief" (356). These elements of design are carried on throughout American Colonies. Earlier designs such as the Parson Capen House resemble England Vernacular examples. This house is simple and plain, based off what they knew from England. The Governor’s palace in Spain reveals local building traditions based on southwestern United States and Florida. This palace has a simpler dwelling to secure the person living inside. The Houssaye House from France resembles vernacular styles of earlier colonies. Looking at artifacts from these different periods, it is evident that design is closely linked to Europe and spread throughout other regions. Gateleg table from England appears at the end of the century to accommodate dinners for numbers of people. Colonial furniture closely follows English model. The Hart House Hall and Chamber also follows England’s model for fireplaces and furnishings. Interiors are simple and focus on keeping warm and gathering with other people. Looking at Spain, furnishings such as fraileros have simple carvings, a rectangular shape, and a decorative front. These furnishings accompany settlers to Florida, Texas, and New Mexico. Many examples throughout these time periods are closely linked to their forebears. Design carries down through word of mouth and models are copied because it was a successful technique before. This design alters but remains rooted in the prior society where the people come from.

[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 found online at this site:http://www.metmuseum.org/toah/hd/renm/hd_renm.htm select the link on the left side of the page with Frescobaldi’s name under multimedias

Basing my floor plan off of Palladian villa's, I designed a floor plan that centralized around an oval shaped dome. I created a symmetrical and balanced floor plan that plays with simple shapes.

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

Baroque stands out as a time of great contrast in Europe. There is much difference to the amount of wealth of the monarchs compared to the lower classes. Great music, theatre, and opera arise where the wealthy enjoy excessive entertainment. With new changes occurring in society the Renaissance slowly fades. The energy of the time is more about social performance and enjoyment, which is reflected in the style of the time. In “Architecture and Interior Design”, Harwood mentions that “the style also reflects an ever-understanding of the universe and mind of man through various times-space devices, such as buildings that extend into surrounding spaces and require the viewer to mover around and through them” (323). Light becomes a dramatic element enhancing certain elements. Material, color, and texture become important elements to create a style of splendor. Experience in a space becomes key in the Baroque period. Buildings no longer sit in refined areas but move beyond borders to create a whole mystical experience, one the viewer must explore. Much of these elements are apparent in the theatre world such as exploration of the character and how he/she changes throughout the performance, color and texture to dramatize a scene, and lighting to enhance important parts. These elements, which are apparent in Baroque architecture, stand as forms of social performance. To inspire, overwhelm, and dramatize becomes much more significant then classicism.

Point Essay: Foundations

“When the history of the West began to be written in the fifteenth century, Renaissance scholars wrote of the dark ages that intervened between the glory of Greece and Rome and what they perceived as their own enlightened age. But in actuality, the ten centuries following Constantine’s death were not quite the cultural wasteland that Renaissance writers imagined” (Roth 302).

Was the dark ages really a dismal and gloomy period of time that many people think it is? Or was this a time of intellect and awareness of architecture and it surroundings. During this time, there was a need for a space that could occupy a large amount of people, represent the universe and hear a single leader speak to the people. What would the form of the building look like to accommodate these different requirements? The building would have to be narrower than long to carry the sound and represent initiation to death. A long space would dictate exactly where the leader would stand and hold many people. The long axis would also represent working forward in life from initiation to death. This new building form would require much different experimentation; many that would fall in the end. Many of these buildings were made of stone and glass to tell stories and what the universe truly entails.

The Dark Ages was a disintegration of political power. Though many writers assume this was an ancient world where nothing exciting happens, much great architecture occurs. People in the Renaissance coin the term “Dark Ages” to make this time period seem unpleasant and present their time as impressive. As generations continue to build cathedrals to accommodate for worship, ideas are translated. The forms of these cathedrals are tall and grand, forms that are not unproblematic to build. Through word of mouth, successful techniques are carried throughout time, presenting similar cathedrals in various locations. Similar elements among these Gothic cathedrals include buttresses, vaulted ceilings, pointed arches, clerestory windows, a nave, cruciform, interior columns, sculptures, verticality, and axial progression. All these elements tell a story of theses small ordered kingdoms in which forms are created through experimenting.

http://upload.wikimedia.org/wikipedia/commons/archive/f/fe/20071113134817!Cologne_Cathedral.jpg

Many cathedrals represent this unit well. Their complex structures and verticality continue to amaze people; however, the Cologne Cathedral stands out the most to me because of its strong sense of verticality and cluster of elements. The columns are not only complex in itself but truly support the entire building. The complexity and firmness of this structure is what makes this building the tallest building for four years until the Washington Monument. This cathedral seems to reach heavenward and tell a story through pictorial depictions, stain glass, and sculptures. Every architectural detail seems to shape the way one perceives heaven and the universe. The illumination constantly changes throughout the day, presenting different areas of brightness and shadows to resemble the divine.

As one begins to examine the “Dark Ages,” you realize this was not a dire time where nothing exciting occurred. This was a time where the focus shifts to moving forward in life and examining how to explain a whole universe in a building. An understanding of people and where we belong strikes questions of firmness, concept, and delight. The Dark Ages really was not as “dark” as people may assume. It was indeed an insightful network of experimentation. Great order occurred where people came together at the fall of the Roman Empire.

Compass Project

The design intent for this project was to create an interactive composition that would represent a compass by pointing you in the direction of the evolution of a column. The first page depicts the Temple Of Hera I. The columns are wider with a connection to nature. The next page shows Temple of Hera II. The columns are slimmer and taller. The third page are images from Temple of Athena. The columns are drastically narrower with women holding the building up. The women represent the society of this time and the differences between male and female. As the columns evolve, the society and culture continues to evolve as well. As the pages are lifted, another page of history is flipped.

Reading Comprehension 3

[1] Compare and contrast the cathedrals according to the matrix. To illustrate your post, hand draw a view of your “main” cathedral, scan it and place it at the top of your response. Your written thoughts should fully illuminate the questions asked with each cathedral pairing on the website. Strive for 250- 300 words total for this response. Include additional images, as applicable, if you wish. Also check out the west vs. east page and digest what is written there

Structure, light, and cross sections are all key elements to cathedrals. Focusing on the Salisbury Cathedral, Amiens Cathedral, Florence Cathedral in comparison with the Cologne Cathedral, many similarities and differences are apparent that evokes a rich story and understanding of the culture. As time evolves, so do buildings. Traditions carry on as others fade, while generations perceive the past differently.

The Cologne Cathedral beginning construction began in 1248. Its tall, uprightness plays an important role in its story. IT acts as a symbol of the community and is influenced by the people. The vastness of scale and verticality draws more attention to the church and its power. The tall towers point toward the heaven, drawing your eye to the building itself. If one were standing in the city, the cathedral would stand out among all other buildings, gaining the desired attention. The cross section of the building pulls one toward the center while the two towers points a direct entrance. Every design detail is focused on bringing the people in toward the center where all the light meets. Light is considered the design element that amalgamates all Gothic Cathedrals. Stained glass. Clerestory windows, and ribbed vaulting are interior details that alter the way light is seen, dramatizing the effect. This lighting becomes theatrical, highlighting significant moments of space such as the center and the ceiling.

Salisbury Cathedral has a similar plan as the Cologne Cathedral with the exception of a double cross plan and additional building to the side. Light becomes a major element during the dark ages and religious struggle. With opposing views between the religions, churches wanted to recreate pure Christianity, avoiding the “dark” ways of life. The use of light in these two buildings brings focus toward the heavens creating a theatrical effect that may lure people in. The vastness also draws more attention towards the church.

Structure is a key element when comparing the Amiens Cathedral with the Cologne Cathedral. Flying buttresses were an important aspect in the build of the Amiens Cathedral. They were first seen in Notre Dame in Paris. These flying buttresses allowed the building to be taller with a more complex structure. The ceiling of the crossing provides similarity between the tow cathedrals. The negative space draws your eye upwards. Similarity is bound to occur between these two buildings with such relative distance, word travels upward towards Germany. Though many buildings were built during the “dark ages”, a certain demographic must have been present to form these innovative, complex structures. The wealthy patrons of the church were necessary to build the Cathedral. This informs one that wealth has hierarchy among other classes of wealth. This is still true today; people with money have more say-so to what is built and how it is built. Though the church is to enlighten people, it still is based on money to build the tallest, most complex structure.

A crossing still occurs, yet the oculus in the Florence Cathedral truly brings the heavens down to earth, much like the Pantheon. Many differences occur in the Florence Cathedral compared to the gothic Cologne Cathedral. The dome symbolizes a need for change, an approach that discerns tradition. The dome specifically addresses light allowing the light to shine through at this one intersection. The Florence Cathedral is no longer bound by tradition but uses previous elements of design such as the dome to breakaway. A tower still occurs, but it is the dome that signifies a change in attitude toward the church and what is should symbolize.

Looking at cathedrals, one can recognize such a story of the culture and the hierarchy involved to build such complex structures. Does tradition initially mean how a building should be built, or does it mean something much deeper as to what will provide the money for it to be built. Are traditions mainly based on hierarchy or does it symbolize the city and its power. Many design elements in cathedrals signifies what was important and what remains important today.

[2] This illustration from A Medieval Home Companion depicts woman at work in a medieval interior. Unfortunately, the image is closely cropped so we don’t see much of the rest of the dwelling in which she works. Using Harwood and Roth, complete the rest of the scene using words and images to demonstrate your understanding of the domestic medieval interior

After the fall of the Roman Empire, any changes occur in Europe and religion. Christianity spreads along with culture, education and the Catholic Church provides stability. Many people become wealthy and nobles must provide protection for his family. The hall in the household becomes a central area where people sleep, entertain, and hold meetings. The domestic medieval interior was a communal living where fireplaces, screens, and fabric hangings would provide warmth and protection. Many interiors were a cluster of spaces. In “Understanding Architecture,” Roth mentions that the kitchen would be located towards the back (345). In this picture, a woman is cooking with a doorway leading to the back of the house. The great hall occupies the space towards he front of the house. Noble houses are large where furnishings are portable. Moldings and sculpture emphasizes design features. The great hall would consist of paneling, many textiles, and a window seat to provide some sort of privacy in this communal living space.

Haddon Hall

http://www.conncoll.edu/ccacad/eng309/medieval/136.gif

Reading Comprehension 2

1] Hersey describes a grammar for Greek architectural elements based on the idea of sacrifice. SPECULATE about the validity of his argument based on what you know about Greek design and the evidence (both visual and written) he provides.

In Greek design, elements of lines, space, and form are key. The harmony of how everything comes together, the balance of the building with its environment, the proportion of every relationship to one another, and the unity of the overall statement validates the argument that Greek design and its architectural elements is based on the idea of sacrifice and nature in “Architecture and Sacrifice.” George Hersey begins his argument that Greeks worshipped their gods in fields and among the trees. This in itself has a strong relation of worship to nature. These trees provide the basis for their architecture leading ones eye vertically towards the heavens. The trees possibly signify to the Greeks of a greater power above them and it’s the verticality of the trees that emphasizes this hierarchy that lies above them in the skies. The trees, rocks, and mountains become objects of religious sacrifice. The trees greatness, simplicity, strong verticality points the way towards the heavens and sky. Trees are also the first forms of primitive columns with horizontal shadows, thick with souls. Their form of sacrifice was a way to become closer to god, to have the holiness poured into their soul. This form of deconstruction-reconstruction sacrifice explores the human body to find the humans soul and worth in this place. This exploration of humans purpose and worth relates to the important element of “hearth” in architecture. There is a center of a structure that represents the unity and harmony of every element. Rather than sacrifice being a feasting, it is a form of communion. The deconstruction of the body allows god to piece everything together and fill it with godliness. The communion of this body allows it to be shared among the community. This significance of the most important parts for sacrifice influences Greek architectural elements. The head was thought to contain spiritual essence, which relates to the head of a capitol and the many details that occur. Vitruvius suggests that the head, fingers, palms, and feet are all important parts during sacrifice. The relation of nature and the human body are all things revealing significance. Theses ideas influence design elements in Greek architecture and other structures. People want to fin meaning and worth and feel a connection with our surrounding element. The trees lead the way into the heavens and our souls within.

2] Meant in jest, Macaulay shapes a world of the future in which the main character claims meanings for archeological evidence uncovered at the Motel of the Mysteries. EXTRACT what you believe to be the lesson of mis-interpreting evidence and link that lesson to the real world phenomenon of the internet. In other words, EXPLAIN how you might avoid such a blunder as mis-reading evidence when you use the web as your major information source.

Many times we find the internet to be the number one reliable source. After all, it is easily accessible and it is free. However, many times, misinformation is posted on the internet. Anyone can post something on the internet without being proofread through reliable sources. Mis-interpreting evidence shows carelessness of history. There are many opinions; however there are ways to avoid mis-reading evidence. One is to actually conduct research at the library. These sources tend to be more reliable because it has filtered through other sources. Mis-reading evidence can give one the wrong impression of what was occurring during this society and the many rituals that people were apart of. Past history should not be represented in this way and avoiding misreading can avoid this.

3] The funerary temple design of Queen Hatshepsut speaks a very different design language than the pyramidal forms for other pharaohs. From your readings and the ideas addressed in class, RECOUNT possible reasons why Queen Hatshepsut used this building form.

When looking at the temple design of Queen Hatshepsut, the design language speaks very differently than the pyramids built for the pharaohs. Delving into the Egyptian culture, Leland Roth mentions in “Understanding Architecture” that the “absolute theocratic power of the pharaohs during the Fourth dynasty was never equaled, and as a consequence, the Giza pyramids were never surpassed” (201). This idea of larger pyramids being built for the next pharaoh suggests the idea of male superiority to female. The Egyptian culture is a polytheistic religion where the male gods are more important than the female gods. This is seen in the form of the pyramids with the stacking. The higher up you are, the more importance one has. The horizontal axis suggests the path of human life whereas the verticality and stacking relates to the heavens, universe, and power. The pyramids of Giza were once covered in limestone and hieroglyphics with a gold, reflective point at the top. This white, reflective, additive structure stands out from the sandy, landscape to remind people of the pharaoh’s power. The sun would reflect from the gold point and hit all side of the pyramid equally. This brilliance would continue from each of the four corners into the universe. The sun holds power, and the pyramids signified a world of power within itself. In contrast, the Hatshepsut temple is a subtractive structure that takes advantage of the natural landscape. With a mountain towering over the temple, this structure does not compete with its height. The Hatshepsut temple does involve some stacking but not as much as the pyramids. The low to the ground building symbolizes the rank in society in which male had more importance. Whereas the pharaoh would spend his entire lifetime building and designing his pyramid, the queen’s temple was built after her death. This suggests she may not have had as much power to speak of her temple during her lifetime. Continuing with the comparison of male and female and how it is illustrated within the two forms, the Hatshepsut Temple is more open with a direct staircase leading the way. The female may be more inviting which is seen in the negative space. The staircase is appealing and engaging, drawing one into the temple. The pyramids of Giza entrance is more confusing it appears as the same on each side. The confusion and massiveness of this form is intimidating reminding people of who the structure belongs to and the pharaoh’s everlasting power. With males having higher hierarchy in society, this suggests possible reasons to why Queen Hatshepsut used a low to the ground structure. It also explains why her structure does not appear as showy and stand out from its environment. The equality of difference in male and female suggests reasons to why the pyramids of Giza and the Hatshepsut temple take on the forms they do.

4] Although some evidence suggests links between the Egyptian and Greek civilizations, and some building forms and details provide support for that linkage, the two societies produced design responses in great contrast to one another. Select a building type (house, tomb, or temple) from each culture and ELUCIDATE similarities and differences in the two forms over time. Provide an annotated illustration for each selected type.

Although there are links between the Egyptian and Greek civilizations, there are design responses in great contrast to one another. In both civilizations, buildings take advantage of telling stories. In the Greek culture, more attention is focused on worship with more equal gods. Different spaces are created to accommodate for their gods and not themselves. In contrast, the Egyptian society generates buildings for their rulers that would remind people of their power and their surrounding universe. Comparing the Pyramids of Giza to the Parthenon, the pyramids focus entirely on the pharaoh. With the white limestone and reflective gold material, this building’s purpose is to stand out from its environment and remind people of the pharaoh’s power. The building was design for one individual, inscribing an entire world inside itself. The Parthenon focuses more on worship and creating a perfect space for their gods. In “Architecture and Interior Design through the 18^th Century, Buie Harwood states that “Greek architecture and art searches for the ideal, the perfect in proportion and distribution of forms and parts, as well as those attributes or qualities that contribute to and enhance the ideal image” (65). The organization of the building revolves around the statue of Athena. Both the pyramids and temple focus on symmetry and balance. The four sides of the pyramid allows the sun to reflect equally while the temple may appear perfect, the imperfection of no line being parallel creates a perfect illusion. Harwood also mentions “the overall architectural design illustrates a formal, refined image and emphasizes human proportions. The golden section, monumental scale, symmetrical balance, and ordered spatial arrangements.” Both structures focus on verticality, relating to the heavens and universe. Though there are similar aspects in both societies, the differences depict buildings for different functions and representations. Societies constantly grow off one another yet many differences occur which inspires great buildings.

http://www.places-to-visit.us/files/images/The_Pyramids,_Giza,_Egypt_.png

http://static.howstuffworks.com/gif/parthenon-and-the-acropolis-landmark-1.jpg

5] Harwood shows examples of Egyptian furniture on pp. 60-61. HYPOTHESIZE about the lightweight nature of Egyptian furniture when compared to tomb architecture, as at the Pyramids of Giza, which many characterize as massive and heavy.

When comparing tomb architecture to the lightweight nature of Egyptian furniture, much culture is revealed. The Pyramids of Giza are massive with a sense of heaviness. This suggests the importance of the structure lasting forever for the pharaoh’s afterlife. In “Architecture and Interior Design through the 18^th century,” Harwood suggests that tombs are “visual metaphors for his absolute and divine power” (54). The pyramid acts as a vessel to hold the many important items the pharaoh would need in his continuing afterlife. It is this vessel that must remain solid and suggest the pharaoh’s continuing and everlasting power. The lightweight furniture also draws more attention to the person sitting in it or possessing it, which is the pharaoh. Harwood mentions that Egyptian furniture is typically rectangular, relating to the base of the pyramid with some curves. Curves soften the appearance of the furniture and covered with shiny material such as gold and silver with stones and glass. Colors relate to the earth to bring elements of the land with the pharaoh in his afterlife. “Architectural compositions portray ability, simple forms, geometric volumes, rectangular shapes, and straight lines…in temples, grand scale, axial procession, and massive gateways symbolize society’s strong religious emphasis and social hierarchy" (53).

6] Based on a careful reading of the visual evidence in these two images, DRAW OUT an explanation of design and gender roles as you see both depicted. As this language of urns represents essentially one of the main ways we know about Grecian culture, COMMENT on the validity of such a practice of reading evidence.

Looking at the two urns, both depict the gender roles of the culture. Much like the women statues in the Erechtheion who are enslaved forever to hold the building, the women on the urns are enslaved forever to stand on their feet while the male will sit forever with his feet never touching the ground to become sore or dirty. Women lead a life of servitude, accompanying the male and meet their needs. There is relation to nature with the woman holding the lion head and skin around her. The relation to nature signifies the importance of their natural surroundings. This language presented on the urns shows the differences in role of male and female. In both images, the male holds a spear representing he is the warrior while the women reach a hand out toward him. These practices are shown in structures and society.