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.

http://www.essential-architecture.com/LO/ENGLAND/004-royal_pavilion_brighton_3.jpg

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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