1. [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]
Artifact:
The first noticeable unifying characteristic among each of the listed artifacts is the sheer craftsmanship of each piece. From the simple composition of the Windsor Chair and Tall Clock to the intricacy of the desk/bookcase and State Bed, each of these pieces achieve balance through high levels of craftsmanship. Each of these pieces are symmetrical, though it is more evident in the simpler of these. The State Bed and desk/bookcase use very detailed and upon first looking at them, sporadic, ornamental language. It is almost as if the pieces are alive and moving. The Windsor Chair, Sheraton Chair, and Tall clock are all similar in the fact that they tell their story in a more simplistic manner, relying on balance and symmetry for viewing beauty rather than ornament.
Space:
The first design characteristic that stood out to me amongst this grouping of spaces is the use of pattern on the shell of the room, rather than the accents themselves. Not to say that there is not pattern on the textiles and furniture in these spaces because there certainly is, especially in Marie Antoinette's bedroom, but I think the pattern on the walls, ceiling, and flooring is more noteworthy than what exists in the rooms themselves. We begin with Holkham Hall, most similar in appearance to Fountainbleau and the Saltram Saloon, with its heavy patterning on not only the walls, but the ceiling and flooring as well, giving the room an enveloped and claustrophobic feeling. Taking a step back from this heavy, everywhere patterning exists Gunston Hall and the Gardner-Pingree House, using pattern on only one of the three blank canvases of a room. The patterning and ornament of these spaces is a direct reflection of the values of their owners. Marie Antoinette, for example, lived in the lap of luxury and therefore surrounded herself with heavy, lush, luxurious patterns and objects while the Gardner-Pingree House, is more about a refined and elegant luxury rather than a gaudy one.
Building:
The design characteristic that unites this grouping of buildings is the use of geometric forms on both the interior and exterior surfaces. The use of these geometric forms portrays a value of balance and proportion in each structure to the designers of these structures. All are of very simple form, consisting of hints of classical detail throughout. All of these buildings, in my personal opinion, are elegant because of their simplicity. If they were people, they would be wise but not intimidating, they would be warm and inviting, not cold and encroaching.
Place:
It is simple to see why these places share similar design characteristics. It is very difficult, once a successful idea has sprung about, to not see hints of this idea manipulated throughout various places. Roth describes this with a quote from Vincent Scully in his book, stating that architecture across time and the world, "has attempted to create a special environment for human life and to image the thoughts and actions of human beings as they have wished to believe themselves to be" (Roth, 439).
Place:
It is simple to see why these places share similar design characteristics. It is very difficult, once a successful idea has sprung about, to not see hints of this idea manipulated throughout various places. Roth describes this with a quote from Vincent Scully in his book, stating that architecture across time and the world, "has attempted to create a special environment for human life and to image the thoughts and actions of human beings as they have wished to believe themselves to be" (Roth, 439).
[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. [10 points possible]
As stated before, it is fairly simple to see why Americans borrowed their early design inspiration from Europe, once a good idea comes about, variations of it can be seen everywhere. American designers knew that the ideas used in Europe worked. America was also attempting to establish itself as a new place on the map, a place that although it was new, was educated and powerful. Around 1715, the appearance of Palladio's Four Books of Architecture, translated into English brought about a revival of Palladian architecture. What ensued was a "growing push for clear forms and proportional relationships of ancient architecture" (Roth, 441). One of the most famous early American architects, Robert Adams constructed many country houses, "exploiting the proportioned geometries of Palladio's designs" and this architecture, "embodied the ideals of the ruling Whig oligarchy" (Roth, 441). People began to frown upon what was once the Rococo style period, seeing it as a reminder of the reign of the corrupt Louis XV and Louis XVI. People wanted architecture that, "served not to pander, but to instruct and uplift" (Roth, 441). Designers and architects were back on the track of antiquity because to them it portrayed wisdom, worldly knowledge, and power. The Americas borrowed this trend, taking from England the sense of sophistication that references to antiquity provided. American architects mirrored their political situation in their designs putting a special emphasis on balance and order, which would be the traits to hopefully inherent the new country's government. This sudden brush back to classical architecture and design can be seen in each of the above artifacts, spaces, buildings, and places. For example, ancient echoes can be observed in the artifact of the armoires on page 302 of Hardwood, which borrowed their simplicity and geometry from antiquity and from examples in France, where a simple cornice, double doors, and a plain facade are common. Also, in the spaces category, hints can be seen in the Andrew Jackson House parlor which, "follows sophisticated English models" (Hardwood 311). Influences in the America's from France can be seen in the building, Houssaye House, a Louisiana Plantation Home which is an idea borrowed from French Carribean influences as a way to adapt to warm, moist climates. These homes feature a two story, exterior stair form.
As stated before, it is fairly simple to see why Americans borrowed their early design inspiration from Europe, once a good idea comes about, variations of it can be seen everywhere. American designers knew that the ideas used in Europe worked. America was also attempting to establish itself as a new place on the map, a place that although it was new, was educated and powerful. Around 1715, the appearance of Palladio's Four Books of Architecture, translated into English brought about a revival of Palladian architecture. What ensued was a "growing push for clear forms and proportional relationships of ancient architecture" (Roth, 441). One of the most famous early American architects, Robert Adams constructed many country houses, "exploiting the proportioned geometries of Palladio's designs" and this architecture, "embodied the ideals of the ruling Whig oligarchy" (Roth, 441). People began to frown upon what was once the Rococo style period, seeing it as a reminder of the reign of the corrupt Louis XV and Louis XVI. People wanted architecture that, "served not to pander, but to instruct and uplift" (Roth, 441). Designers and architects were back on the track of antiquity because to them it portrayed wisdom, worldly knowledge, and power. The Americas borrowed this trend, taking from England the sense of sophistication that references to antiquity provided. American architects mirrored their political situation in their designs putting a special emphasis on balance and order, which would be the traits to hopefully inherent the new country's government. This sudden brush back to classical architecture and design can be seen in each of the above artifacts, spaces, buildings, and places. For example, ancient echoes can be observed in the artifact of the armoires on page 302 of Hardwood, which borrowed their simplicity and geometry from antiquity and from examples in France, where a simple cornice, double doors, and a plain facade are common. Also, in the spaces category, hints can be seen in the Andrew Jackson House parlor which, "follows sophisticated English models" (Hardwood 311). Influences in the America's from France can be seen in the building, Houssaye House, a Louisiana Plantation Home which is an idea borrowed from French Carribean influences as a way to adapt to warm, moist climates. These homes feature a two story, exterior stair form.
[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 [5 points possible]
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 [5 points possible]
[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. [5 points possible] http://fathom.lib.uchicago.edu/2/10701023/
In my opinion, the idea that architecture and design in the Baroque period being a form of social performance is a completely plausible theory. I think this idea is best described through the quote from Roth that, "Architecture has become but one constituent part in what was a total work of art." (Roth, 404) The people of the Baroque employed their architecture and design to be part of a much larger production of a show of grandeur. The Baroque was a time, as described in class, of "over indulgence" where people spoiled themselves from their clothing to the interiors in which they lived, Larry F. Norman describes this time period in his article as a time of an, "embarrassment of riches." In terms of the architecture, he writes, "A wall is never simply a wall, nor a ceiling, a ceiling. Each architectural element is extended beyond its functional duty as a shield from the hostile elements. The aesthetic component of the object, its form, overtakes its function. A wall or a ceiling becomes a possible opening onto the reality which it occludes" (Larry F. Norman).
Hardwood, Buie. Architecture and Interior Design Through the 18th Century. 1. Upper Saddle River, NJ: Pearson Education, 2002. Print.
Norman, Larry F. "The Theatrical Baroque: European Plays, Painting and Poetry 1575-1725." Fathom Archive (2001): n. pag. Web. 18 Oct 2010. .
Roth, Leland. Understanding Architecture. 2nd. Westview Press, 2007. Print.
[1]nice work [2]good [3] nice plan [4]good job
ReplyDeleteoverall, great job on paying attention to all the details in a clear and concise manner