Reading Comprehension 1

[1] Select an object or a building from any time period that you believe meets Wotton’s definition (as cribbed from Vitruvius) of commodity, firmness, and delight. With an annotated image, take care to EXPLAIN the ways in which you see the definition realized through the object or building. Use design language and concepts discussed in class for dealing with precedents

According to Sir Henry Wotton, “In Architecture, as in all operative arts, the end must direct the operation. The end is to build well. Well building hath three conditions: commodity, firmness, and delight.” Vitruvius wrote, “Architecture, must provide utility, firmness, and beauty.” Utility or commodity means the functional arrangement of rooms and space and its function. Firmness suggests the foundation or stability focusing on materials and how they are used. Delight or beauty simply refers to the appearance of the work. This triad of three rules remains a suitable outline for good architecture. However, throughout time, culture constantly plays a role in all three rules. Culture, context, and materials are constantly changing which ultimately alters the meaning of good architecture. To truly decipher the meaning of good architecture, one must delve into the culture of that time, focusing in on the people, their views, the context, and the materials.

Commodity or function cannot be described in one word. There are various functions that cannot be limited to in a mechanical, utilitarian way. Louis I. Kahn states, “When you make a building, you make a life. It comes out of life, and you really make a life. It talks to you. When you have only the comprehension of the function of a building, it would not become an environment of a life. Buildings also have symbolic function that points to the use of the building. For example the Trans World Air line at Kennedy is shaped in a way where giant wings span out to imply flight. Good architecture must understand people and their needs so buildings are not limited to a mechanical, generic way of commodity.

Not only does commodity serve a purpose in architecture, but firmness serves an important role as well. Structure is what holds up a building. We naturally understand the pull of gravity and architecture must make sure that it does not fall. Different places can give people a certain feeling to whether or not the building is stable. Culture’s view affects the sense of firmness in a building. “The materials that are selected and the way they are assembled, suggesting either massiveness or dematerialization, are part of a culture’s view of itself and its relationship to history.” For example, Gothic Cathedrals suggest the high faith of heaven. What we build parallels the idea of how we build. The culture constantly influences the perception of stability of a building.

Lastly, delight or beauty is the “most complex and diverse of all the components of architecture, for it involves how architecture engages all our sense, how it shapes our perception and enjoyment of (or discomfort with) our built environment.” In all sensory information, the human mind is constantly searching for value or importance. The human mind has preferences in which it organized data: proximity, repetition, simplest and largest figures, continuity and closure, and figure-to-ground relationship. Not only does delight refer to the physical appearance, it also suggests the acoustics, shape, and sound of the space. Location, culture, and language influence what is pleasing. Architecture constantly involves all of our senses. Focusing on each element of design and the way the human mind organizes data area aspects of good architecture.

http://www.touregypt.net/featurestories/karnak3.htm

With all elements of good architecture in mind, I will explain the ways in which I see the definition realized through the Hypostyle Hall. In Ancient Egypt, much culture was evolved around religion. This culture influences the buildings function, firmness, and delight. The navigation of space is set up in a way to point to the function for the building, which is to hold a ceremony to crown a ruler. This is also signified on the columns throughout. The massiveness of the columns and the repetition of them throughout effects ones perception of its stability. This sense of stability is influenced by the powerful nation and its hope in their gods. There is a sense of delight in this structure by the magnificent columns and their height and the shadows it creates on the ground. The shadows create a mystical and spiritual experience, which is influenced by the language and context of the time. The columns also serve a symbolic function. The columns help support the structure, but also make one feel small. This is influenced b the culture and much of its focus is on power and religion.

[2] Working from Harwood et al’s concept of cultural precedents, select one of the contemporary textiles illustrated above and PINPOINT the influences you see from the eastern world on the production of fabric in the west. Concentrate on motifs and patterns provided in Harwood’s text.

According to Winston Churchill, “We shape our buildings, thereafter they shape us.” Culture is constantly changing. Harwood recognizes that “ each period is placed within a cultural, historical, social, and conceptual context, allowing the reader to make connections among all aspects of aesthetic development.” Interpretations from earlier design occur throughout culture, which outlines our architecture. Design changes based on the needs of the time. It is influenced by “social, economic, and/or political factors.” The middle fabric suggests motifs from China. Much symbolism occurs in Chinese fabrics and interior spaces including lions, dragons, the phoenix, fret, the lotus, clouds, fruits, chrysanthemums, the shou, and calligraphy. Many forms have developed in China because it is one of the world’s oldest civilizations. Many religions influence the culture and its architecture. Chinese art, and design has influenced much of the Western civilization. Unity and harmony are seen throughout Chinese art. In the middle fabric, the “duality of yin (negative, feminine, dark) and yang (positive, masculine, and light) guide universal life.” The negative space is depicted by the dark blue in the background, and the white lace is depicted in the foreground. Today, much society has progressed into “universal life.” Men and women have begun to share an equal position in society, which influences this modern textile. The reference to nature from the flower is also influenced by Chinese art. The idea of representing nature is emphasized in Taoist characteristics. There is an emphasis of symmetry in the textile from the white lace coming from the flower. However, there are an uneven number of flowers, which is usually seen in Chinese architecture where uneven numbers depict roofs and details. With ideas such as harmony, and universal life, the Western Civilization has used Chinese art and architecture as influence with the progression of our civilization.

[3] When considering perceptions of personal and social space, Hall and others suggest that different cultures have different space needs and attitudes. Most consider that citizens of the U.S. generally feel a need for more space. How does this play out in the classroom in which we gather for iar222?

When understanding personal and social space, one must understand the culture and the people’s needs. According to Hall, “An examination of how the senses are used by different peoples, as they interact with their living and non-living environment, provides concrete data on some of the differences between, for example, Arabs and Americans.” People interpret their senses differently which influences architecture. Today, there are so many objects that extend our senses that we lose sight of the simplicity of humanness. Hall also mention that “man and his environment participate molding each other.” Society interacts with space differently. One society may not be bothered over crowds and over population. In other societies, people like to maintain their personal space. Looking at our own culture, we can begin to see a change in the way we interact with space. Looking at the average house size during the 1930’s and the space people occupy now shows a dramatic increase. Today people are always looking for more space, a larger kitchen, larger closets, etc. This shows that society is changing. One obvious reason for this matter is that people are simply getting bigger. Our society is centered around food with little physical activity. It is a fast paced society which requires more driving and less walking. Societies are growing which calls for people to drive further. It is an expanding society that requires more space. Looking back 100 years, people only occupied the space that was necessary. For example, I live in an historic house which was built in 1908; the closet space in my bedroom is eleven inches deep. This shows that people had less stuff and did not occupy excessive space. Our society is focused on having more for themselves which entails bigger house, more expensive cars, and more materialistic items. People constantly want more including more space. In our culture, when sitting down next to a stranger, one usually keeps at least one seat between them. We feel uncomfortable if we sit right beside a stranger. However, in other societies who view personal space differently, they might not find it entirely strange to sit next to a stranger. Looking at the classroom we gather in for IAR222, the space seems too crowded with poor acoustics. Considering the building being built in the 1970’s, space must have been viewed differently. The designers may have only designed for the function and nothing excessive. They saw it as a lecture classroom and nothing more. It is crowded because people may have been smaller than or because it did not need to be anything more than the sole purpose. If it was “just” a classroom, acoustics may have not been given much thought. The function was accomplished by putting chairs with desks and a stage for optional lectures. Today, we view space differently and possible see other possibilities for the space than just the intentional purpose.

[4] SPECULATE about whether or not there can be an architecture of happiness, as de Botton writes in the work by the same title. Provide a juicy quote that helps give evidence to your views from the passage that you read. Include an annotated image of a happy object, space, building, or place and specify WHY and HOW your example exudes happiness

Deciding whether or not there can be an architecture of happiness can create different opinions. I think there are certain elements that that should be considered in design, but I do not think there is an architecture that makes everyone feel happy. There is always going to be a person that does not find joy in that certain piece of architecture. De Botton discusses we cannot become so focused on one piece of architecture because something will always change. We cannot put such high expectations because there will always be something we cannot control that will ruin happiness. De Botton mentions that “architecture is perplexing, too, in how inconsistent is its capacity to generate the happiness on which its claim to our attention is founded. While an attractive building may on occasion flatter an ascending mood, there will be times when the most congenial of locations will be unable to dislodge our sadness our misanthropy.”

http://ellm.com/bridgepic9.jpg

This image is of a bridge in the Bog Gardens in Greensboro. This place makes me feel happy because it is right off the busy streets of Greensboro and it is serene. Because the architecture does not overpower the beauty of nature, it makes me feel at peace and less hectic. This bridge continues with the nature where it almost blends in, but in a sculptural way, guides one to the next side. The simplicity and focus of nature creates a relaxing atmosphere where one can sit and enjoy not hearing cars driving by or people chattering. It is quite which the architecture plays off of. It is not extremely noticeable allowing people to feel as one with nature and not the busy, hectic lives we live.