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.

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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.