POINT: Evolutions

The title of this unit could not be more suiting to the units theme as

a whole. This time period was about Evolution, not only in the design

world but in the world surrounding it as well. Most prominent was the

question of "What does it mean to be modern?"

That being said, a large part of the units girth was an explanation of

the various responses to this question and the evolutions of these

responses.  First there was the original Modernism, a rejection of all

things manmade. This first modernism was what evolved out of the Arts

& Crafts movement. This was a celebration of the machine and machine

age materials such as steel, iron, and glass. This period was about

simplification and the evolution of the ideals of what is considered

the right way to live. However, with this came much criticism, stating

that the styles being put forth were too cold and starck to be

considered liveable.

It was these criticisms that brought the design world into

Postmodernism and the rise of the Interior Decorator. These people

were evolution, the answer to design crisis. Homeowners viewed them as

friends, confidants, those with all the answers to the tasteful

interior. And thus, the quest for decorating knowledge evolved into an

obsession. Books, then magazines, television, the internet, all serve

as means for people to have access to good design. But as with

currencies, an influx in knowledge makes each individual piece of it a

little less valuable. With the rise of HGTV and shows like Design

Star, true design talent is depriciated a little more each day and no

once it is gone, it's very unlikely that it will ever come back.

I think that because this is the final point essay and while we're on the topic of evolutions, I think it would be suiting to look back on the semester and the evolutions that have occurred over the time we have covered. 

In Egypt, one of the first and most prominent civilizations in ancient history, evolution was about marking their place on the landscape. Evolving as a people, as a civilization. Evolving from nothing into something.

In Greece, it was an evolution of nature. In Rome, an evolution of government. It was about breaking precedents and becoming stronger and more powerful than any civilization before.

The Renaissance was an evolution of ideals, of new ways of thinking about the world and how to exist within it.

In the Gothic time period, an evolution of spirituality and finding oneself within the presence of the divine. About building taller and more narrow than ever before.

With Industrialism came the evolution of the machine and items built with them. An age of iron and glass blindsided man and a time where goods from around the world were available to all began.

In the Arts & Crafts movement came an evolution of reactions to Industrialism, a revert back to the beauty and elegance of hand craftsmanship.

Then came the evolution of the great debate. What does it mean to be modern? A question that rages on until today. One we will not know if we successfully answered until some day in the distant future, when a design student writes their very own point essay, examining our time, our choices, our accomplishments, our successes, and our failures.

HISTORY & THEORY 2: Reading Comprehension 7

For this reading comprehension, you will visit the GREENSBORO COLLECTS show at the Weatherspoon Art Museum. That show has been divided into seven themes by the curators; take the opportunity to review ALL the themes and the artwork in the show before settling in on the theme assigned to your discussion group.

Within the theme of the exhibit assigned to your group, select ONE work and draw a diagram of the work, using the principles and elements of design. Write a 250-word annotation for your diagram to the themes of the EXPLORATIONS unit and the readings assigned for this unit. In your annotation, analyze and include at least one other work of art in the theme you have been assigned, make 3-5 appropriate citations from the readings, and consider SCALE (artifact, space, building, and place) as you complete your work.

The work that I chose to diagram was the one that struck me as soon as I walked into the Intimate Moments section of the gallery. It is a photograph of a woman and her children, titled Migrant Mother, by Photogravure/Jon Goodman, Nipomo, California 1936.

Below is the photograph itself:

Migrant Mother- Photogravure, Jon Goodman

My abstract representation of photograph

The picture is harmonious in terms of principles and elements of design. It is balanced, with the mother being the focal point, flanked by her three children. The photo is made more powerful from the contrast in the black and white image. There is an emphasis on her expression and it is the first thing your eye is drawn to upon first viewing the image. The picture as a whole is very well composed, with the forms being clear to see and your eye moves around the picture in a logical manner.

I believe that this work is a wonderful portrayal of the feelings experienced during the time period we have discussed in the Explorations unit. The woman in the photograph is pictured with her hand on her face and a discerning expression. This is a look of uncertainty and questioning, much how designers and the rest of the world looked upon the looming question, What is it to be modern? This theme encompasses the Explorations unit as people try and unravel the answer to this inquiry and the different reactions that they had to it.  One of the reactions was the creation of a profession unheard of in previous decades, the interior decorator. Unsure and confused, much like the woman in the photo, people needed somewhere to turn for ideas and the pathway to what was considered as "good design." Massey states, "The rise of the interior decorator during the twentieth century was the result of changed social and economic circumstances" (Massey 123). The woman in the photograph appears to be searching into the distance for some sort of answer to the riddle of what she will do for herself and her family from that moment forward. People of this time were looking to these interior designers to answer some of the very basic questions of living. "The role of interior decorator has always been one of adviser and even confidante" (Massey 123). The woman in the photograph may also be showing signs of distress because, inferred from the title of "Migrant Mother", she has come upon a place and things that she is not familiar with. This unfamiliarity was expressed at this time in the world of design as well, with the emergence of new and unseen reactions to the question of modernism. "The earnest social utopianism of the original modernism was abandoned, replaced after 1945 by a bland, standardized aesthetic, sleek, machine-like, stripped of traditional ornament" (Roth 567). To this change, many designers turned, much as the children in the photograph are, away from it all, confused and disoriented by the sudden shift to such cold and rigid structures. 

This introduction of new ideas and ways of thinking reminded me of another work that was present in the Intimate Moments show, Danys y Lieths, a Color lithograph made in 2005. It depicts an African American woman embracing her small child. Upon reading the description of this work, it turns out that this was turn of the century art, one of the first to depict African American women. The never before explored content of this work parallels with the new ideas that modernism brought forth. It was about branching out from anything that had been seen before and exploring new ideas, Explorations, see? It was about designers, "adopting new approaches that address the complexity, revolutionary changes, plurality, and rampant consumerism of their time" (Hardwood 804).

HISTORY & THEORY 2: 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.

"Art Nouveau is a conscious attempt to create a new style that rejects historicism and adopts a new visual language" (Hardwood 482). This style period has two generational trends, one being stylized, curvilinear, and organic while the second is a more rectilinear, geometric, and abstract trend. The first of these existed in the countries of France, Belgium, Holland, Czechoslovakia, and the United States during the 1880s-1910s. The second, however, dominated the scene in Glasgow, Scotland; Scandinavia; Germany; and Austria during this same time period. This style was a result of the fact that, "much of the world has changed dramatically in response to the Industrial Revolution. Population explosions, longer life spans, and scientific and technological progress" (Hardwood 482). This caused people to look for a means of coping with the sudden and drastic change in the world around them. In France, two schools of Art Nouveau develop, funded by the French government in their quest to maintain France's dominance in art and culture. This school promoted decorative arts, "such as furniture, glass, and ceramics, more than architecture. Leading practitioners included Emile Galle, Eugene Vallin, and Louis Majorelle" (Hardwood 483). In Spain, Art Nouveau makes an appearance mostly in the city of Barcelona, the countries leading industrial center. "The Spanish government pushes a modernization program for the city to promote political, social, and cultural reform" (Hardwood 484). Art Nouveau designers had difficulty seeing the separation between the fine arts of painting and sculpture and architecture and the decorative arts, such as glass, ceramics, and furniture. "They strove for unity in design to create complete expressions, or what they called total works of art" (Hardwood 485). In France, the natural and organic motifs were very important in these designs. Forms that were very curvilinear in appearance, having whiplash curves, and stylized plants and flowers were common.  These motifs included things such as roses, violets, iris's, water lilies, and animals such as dragonflies, butterflies, snails, and peacocks. In France, entryways become very important. Three dimensional  curved moldings frame the doorway while elaborate iron curved figures adorn the gate itself. In Spain, this movement is headed by Antonio Gaudi, whose work contains a very unique organic component that is not seen across the boards during this style period. In terms of furniture, the Spanish furniture "usually is sculptural and plastic, eccentric, and idiosyncratic as shown in the work of Gaudi" (Hardwood 510).

Casa Batllo, Antonio Gaudi- Spain

[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.

In terms of the use of the machine in the design process, one word comes to mind, efficiency. Machines at this time in history, and now, provided people with an easier, faster, and more cost effective way to produce mass amounts of product in shorter amounts of time. With the introduction of machines, the pricey costs of handmade arts & crafts products were replaced with products that most were able to afford. Design became something more for the masses instead of for only "those who could afford it." Architects of this time wished to, "reinforce the earlier idea of an architectural style that expresses modern life and makes good design available to everyone" (Hardwood). With machines also came a loss of the detail and ornamentation that had been popular in previous design trends. Products became sleeker, more streamline, and cleaner in appearance.  "International style buildings display simplicity, clean lines not obscured by ornament, and purity of forms, which are often cubes, cylinders, or rectangles" (Hardwood). People enjoyed this, it made them feel as if they were existing in the future, in a time that most of the world had not caught onto yet. It brought modern design into the homes of the masses, without plunging people even greater into the depression. "Instead of reinventing the past or maintaining the status quo, modernist architects challenge traditional ways of designing and construction and look for ways to improve life through modern architecture" (Hardwood). 

The artifact, seen in the photo below, would be the Barcelona Chair. Although the components of this chair partially had to be assembled by man at the time these models were constructed, the majority of their assembly is constituted to the machine. The space itself is made possible by machine as well, considering the onyx wall, one of the main features of the room is made by use of machines. A slab this large, many dollar signs and craftsmen later, would cost more than the rest of the room put together without it's production being streamlined by industrialism. As for the building, its openness to nature is allowed through the installments of large windows that exist where the walls of a room would normally be. These windows nor the steel structures that support them could be man made, they are all thanks to the works of the machine.

Tugendhat House, Ludwig Mies van der Rohe- Czech Republic

 

[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.

COUNTERPOINT: Clock

For my Counterpoint project, I chose to portray the movement of people not only across time, but across design barriers, and the earth's surface itself. My form was word and my scale was place. I chose the Royal Pavillion, in England to portray this. This place sits in the middle of England and as you can tell by its exterior, is very different from any other English architecture. The materials are represented in the structure itself, a dome out of mosaic and stone. People are represented through the trade routes that are running across the map, their movement and exploration of new cultures, design styles, and ideas. Nature is represented by the unnatural location of this building in comparison to it's surroundings. And finally, symbol is represented by the structure, as a symbol of worldly knowledge. The royals of England built this Pavillion to show that they not only were aware of the world around them but embraced it as well. Infiltration, the word I chose, best describes this movement of ideas from all around the world into countries that had never seen Eastern ideas before.

ALTERNATIVES SUMMARY

For my summary and review of the Alternatives unit, I will use two of the classmates that I used for my review of the Reflections unit: Anna Behrendt and Raul Garcia.This time around I'm also throwing in Blakeni Walls because her blog is one of my favorites to keep up with on a regular basis.

I will begin with Blakeni because the quote she uses to open her essay, in my opinion, is wonderful. She states, "Design is like a cartwheel. Starting at one point, then turning, stretching, shifting, reshaping and fixing back into place after your whole view on the world has been turned upside down." She continues her essay with the theme of defining an "alternative is a choice between mutually exclusive possibilities." She specifically references the Gothic period, along with its cathedrals. She describes this as a time of being "stuck between two worlds, bringing the divided society back to one center and uplifting it towards divinity." Then she chronologically continues on to the Renaissance, where her main focus is the "importance in harmony + unity through the form of repetition using geometric shapes and lavish ornamentation." Her overall theme is that although architecture is built on foundations, it is built upward through alternatives. Through the exploration of boundaries and breaking of rules.

 

Anna chose to focus on a specific detail of the gothic time period, the cathedral. Her thoughts were that the buildings could be used to illustrate what was occurring within the time periods in which they were built. She touches on the intricacy and theatricality of these structures and how this reflected that the, "designs of the structures were branching off from what the normal architecture would have looked like. The religious people were attempting to make the church beautiful to draw people in." She also makes interesting discussion about the importance of basic shapes and how they can be simplistic or altered to create something very interesting.

 

Raul chose to focus more on the Renaissance in his essay. Explaining how this time period was a "rebirth not only for architecture, but for furniture, science, art, and many other fields of study." He relates these explorations to the design of the time, spending a great deal of words on the details of furniture of this time. He mainly focuses on the beds and chests of this time, explaining how rebirths and gained knowledge of this time related into the designs of the objects that inhabited this world. He also explained the changes in personal spaces, such as the Palazzo Medici and the separation of spaces within the residence. 

 

REFLECTIONS SUMMARY

Like myself, most of the individuals in the class referred to the theme of "revolution" when talking about the Reflections unit. Three essays that I found particularly compelling were those of Jasmine Collins, Anna Behrendt, and Raul Garcia. Each of these people relate back to the revolution of time and the continuous change in design cycle.

Beginning with the latter, Raul discussed specific examples of design styles being borrowed from other places in the world. He specifically references buildings such as a the U.S. Capitol Building, which "was inspired by ancient classical buildings." He also references the plan for the city as a whole as being borrowed from, "designs of several European cities and 18th century gardens such as France's Palace of Versailles" and describes the plan of Washington D.C. as "symbolic and innovative for the new nation."

Anna's essay I really enjoyed. Especially the Disney reference that she includes to help explain the concept of the cycle of design. She states,

“Mufasa: Everything you see exists together in a delicate balance. As king, you need to understand that balance and respect all the creatures, from the crawling ant to the leaping antelope.
Young Simba: But, Dad, don't we eat the antelope?
Mufasa: Yes, Simba, but let me explain. When we die, our bodies become the grass, and the antelope eat the grass. And so we are all connected in the great Circle of Life.”

 And so her essay goes on in explanation of her take on the "Circle of Design." She focuses on the idea that new cycles begin in reaction to previous and occurring styles. She believes that in coming up with new ideas we say to ourselves, "Huh, that was a great style, but let's make it different; let's make it better." She also chooses to be more specific and focus on revolution of materials, stating that "the industrial revolution was in reaction to new materials being made faster and easier, which can be related back to when concrete was invented." Basically, it is the same occurrences just at separate times in history.

Jasmine begins her essay with a beautiful thought

  "As we reflect back into the past we often wonder how quickly the past comes, and how much we long to get to the future.  When we reach that future, it has already become a thing of the past.  As trends come and go we tend to place them in box.  We set boundaries around them.  We do not overlook the details, but on the contrary we try to follow those details to the point in which we copy someone else’s design.  Until one day someone gets tired of being a mere copy of someone else, and starts a revolution, and the circle, the recurring sense of events ends, only to start a new one, a world changing one that will change the view of the world."

 She continues on to draw parallels between different styles overlapping into the cultures and designs of other countries. She walks us through the Greek revival in America and comparing, just as Raul did, the Capitol building to Roman and Grecian influences. She ends her essay with a personal thought, "there is not a first without a second, and we do not under estimate anyone because we might need them one day."

Reflections Unit: Point

The Reflections unit that we have just completed in class can be summed up by a single word, revolution. This was a time of many changes not only in the design world but in the world around us as well. In America; Vietnam, Civil Rights, political, and sexual revolutions were springing up amongst the citizens of this, still, fairly new country. People were learning how to feel and think for themselves, learning what they deserved, liked, and were finding their own voices. They began to create ideas of what they believed architecture and design should be like and how they wanted to be represented by the structures and interiors that surrounded them. But while they looked forwards, often times they were looking back as well.

Revolution, as defined by Patrick in class, "reconstructs the world as we know it, ends a cycle and begins a new one."

During this time, as a cycle of design began to die out in England; a number of revivals were springing up across the ocean in America. Examples of these revolutions can be seen dotting the American landscape. First, we look to our very own capital, Washington D.C at the Capitol building itself. This was based off of Roman architecture, again looking to antiquity for models and inspiration. The American government wished to exude a sense of balance, equality, and stability and did so through architectural forms, a concept that is not unfamiliar to the world of design.

With the turn of the 19^th century, new materials were introduced into the world of architecture and design, creating the beginnings of what would be one of the most significant revolutions to date. Glass and iron allowed buildings to be designed and built in ways that could not be achieved before. Iron was a more malleable material than any that had been used to date, able to bend and flex in ways stone, wood, and concrete could not.  Thus begins, as stated in class, “the quest for what it means to be modern.” A question that, to this date, still has no clear or defining answer.

Then, a very peculiar thing happened, suddenly there were trade routes dotting the landscape, linking the once foreign east to the western world. Explosions of new design revelations were brought into the western designers viewpoints. World Fairs began expose things from all across the globe under a single roof, allowing people to be able to touch and experience the world around them. Thus began yet another revolution of eastern inspired architecture and décor in Europe and America.

This influx in design left American homeowners overwhelmed, with the world at their fingertips. The rich and powerful; made these things through trade and manufacturing of newly available materials, looked back to the Renaissance when deciding styles for their own personal dwellings. These Renaissance exteriors were often contradicted with the compilation of style existing within the interiors. While Renaissance style country estates popped up to represent the rich, an exhausted middle class came up with a dwelling style of their own. These dwellings focused on simplicity, a place to escape the hustle and bustle of Industrialism. Thus the Arts and Crafts movement and age of the fluid interior began and a new revolution began to take root once again.

All in all, the design cycle can be looked at as a series of lifetimes. Some ideals die out, never to be heard from again, while others continue to be given new life again and again as the years wear on. While the answers to “what is modern?” or “what design style will be reborn next” are still unclear, one thing is certain, design is and always will be a series of revolutions. Revivals, deaths, and rebirths of new and ancient ideals alike, keeping us looking forwards but always with a watchful eye on the past as we go.

From top left to bottom right: (1) U.S Capitol, (2) St. Pancras Railway Station 

(3) London World Fair 1851, (4) Robie House 

HISTORY & THEORY 2: Reading Comprehension 5

Penn Station Column Roth pg. 507

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.

The artifact that I chose from the readings that accurately depicts a "revolution in design" are the columns from the waiting room of Penn Station. Roth states that the details of this building were, "modeled after the huge public spaces Roman baths, specifically the Baths of Caracalla" (Roth, 505). This artifact best represents a revolution in design because it was "molded to recall historical forms but built of twentieth-century materials" (Roth 506). These columns have gone full circle from the ancient world to existing among us in the modern world but managing not to lose their sense of grandeur and luxury that they have kept from all those years ago.

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.

ARTIFACT

 SPACE

BUILDING

 PLACE

The above images are examples of the eastern influence on western artifacts, spaces, buildings, and places. The first image, a fabric from the Calico Corner company, is an example of specifically Chinese influence on Western textiles. The floral pattern is borrowed from typical Chinese patterns, simplistic and naturalistic in orientation. The use of these patterns reflects as Hardwood defines, "European fanciful, naive, and/or Romantic notions about China" (Hardwood 966). The second image, the offices of the Bank of England, is inspired by the Italian Rotunda. Hardwood states that, "like architecture, Regency interiors are eclectic and borrow from the same sources-classical, medieval, Italian, French Empire, Chinese, and Indian" (Hardwood 76). Rooms such as these, public spaces, are ambitious and normally have details such as molding, the orders, or vaulting that is reminiscent of the time period that they are drawing influence from. The third image, the Royal Pavilion in Brighton, England, draws it's Eastern influence from India. This building is very unlike anything else seen in its surroundings, "combines Chinese, Islamic, medieval, and Indian details in motifs" (Hardwood 75). "Chinese lattice in a Gothic pattern fills Islamic horseshoe arches," and "French windows with curving tops allow access to the outside or the balconies. (Hardwood 75). The fourth image, the Fairmount Waterworks plant in Philadelphia, is a place that echoes Greek architecture on American soil. This place is an adaptation of the Grecian temple form. American builders believed that this echo from Greece, "serves as a symbol of order, repose, and stability" (Hardwood 96). These characteristics were exactly what America was looking for as it attempted to establish itself as a new nation. The fact that America's governmental system was revived from Classicism also had great influence on why builders looked back to antiquity for both political and architectural inspiration.

Image One: http://www.calicocorners.com/product/designer+fabrics+for+the+home/more+fabric+collections/eastern+influence/kaiya+shiki+cadet-dark+tan.do

Image Two:  http://www.google.com/imgres?imgurl=http://www.usc.edu/dept/architecture/slide/ghirardo/CD2/092-CD2.jpg&imgrefurl=http://londonist.com/2010/03/bank_of_england_museum_history_arch.php&usg=__EQxyR6VK-oJ-tNu8cnvRsH8uXCs=&h=585&w=453&sz=79&hl=en&start=0&zoom=1&tbnid=DuyFpXHAhT5-tM:&tbnh=121&tbnw=101&prev=/images%3Fq%3Dbank%2Bof%2BEngland%2BRotunda%26um%3D1%26hl%3Den%26sa%3DN%26biw%3D1440%26bih%3D677%26tbs%3Disch:1&um=1&itbs=1&iact=hc&vpx=128&vpy=323&dur=362&hovh=251&hovw=194&tx=114&ty=162&ei=o83QTKGgHIW8lQeTnYy-DA&oei=o83QTKGgHIW8lQeTnYy-DA&esq=1&page=1&ndsp=36&ved=1t:429,r:19,s:0

Image Three: http://www.google.com/imgres?imgurl=http://www.brightonsarchitecture.com/Resources/pavilion2.jpeg&imgrefurl=http://www.brightonsarchitecture.com/palace.html&usg=__PDuJ5IzUYVCUjoXN9yArLqH022g=&h=302&w=752&sz=48&hl=en&start=0&zoom=1&tbnid=GhAdns9vtrF_UM:&tbnh=66&tbnw=165&prev=/images%3Fq%3Droyal%2Bpavillion%2Bbrighton%26um%3D1%26hl%3Den%26sa%3DN%26biw%3D1440%26bih%3D677%26tbs%3Disch:10%2C62&um=1&itbs=1&iact=hc&vpx=73&vpy=313&dur=1089&hovh=142&hovw=355&tx=171&ty=76&ei=3s3QTMSuG9q5jAejwPCXDA&oei=ys3QTK6VJ4H7lwe-2cnEDA&esq=5&page=1&ndsp=30&ved=1t:429,r:14,s:0&biw=1440&bih=677

Image Four:  http://www.google.com/imgres?imgurl=http://www.thecitytraveler.com/wp-content/uploads/2009/08/PMAwaterworks3%4072.jpg&imgrefurl=http://www.thecitytraveler.com/mini-features/outdoors/philadelphia-on-bike-and-skate/&usg=__XPMRqVSg-kh8oheVfoNtbvz5ekU=&h=331&w=565&sz=76&hl=en&start=0&zoom=1&tbnid=g7MbzMiUmqXLTM:&tbnh=101&tbnw=173&prev=/images%3Fq%3Dfairmount%2Bwaterworks%26um%3D1%26hl%3Den%26sa%3DX%26biw%3D1440%26bih%3D677%26tbs%3Disch:10%2C89&um=1&itbs=1&iact=hc&vpx=108&vpy=414&dur=521&hovh=172&hovw=293&tx=139&ty=111&ei=5svQTKC3J4eglAfzjtW5DA&oei=5svQTKC3J4eglAfzjtW5DA&esq=1&page=1&ndsp=28&ved=1t:429,r:21,s:0&biw=1440&bih=677

COUNTERPOINT: PERSPECTIVE

For History and Theory II, we had the task of creating a perspective piece that portrayed the main ideas of the unit we had just completed discussing. I chose my scale to be space and my form to be 3D. My model is a perspective image of a Gothic cathedral, specifically Amiens Cathedral in France. Space is represented by the interior of the church, materials by the 3D buttresses, people by the nun in the center, nature by the sunlight beaming through the stained glass windows, and symbol is represented by the cathedral as a whole, being a symbol of this time period and the church's power.

Alternatives Unit: Point

The most logical place to begin discussing this unit is to first asses the title of the unit itself, "alternatives." The word "alternatives" is defined as, employing or following nontraditional or unconventional ideas, methods, etc.; existing outside the establishment. This statement is a portrayal of what the Renaissance and the Alternatives unit embody overall, establishing and breaking the rules. 

Hardwood describes the Renaissance as a, "period of heightened interest in classical antiquity," and continues to point out that this "renewed interest in antiquity coincided with with emergence of humanism and its emphasis on the individual" (Hardwood 162). This concept is another main idea of this time period, the emergence of man as the measure of all things. 

These two main ideals carry over and infiltrate everything that existed during the Renaissance, from architecture to literature. There was a general yearning for worldly knowledge and what resulted were buildings and artifacts that were made up of multiple design styles, to portray that the designer/owner had not only a knowledge of the world around them, but of the world that existed before them as well. It was a time of revival but also of testing new ideas. These tests were conducted under the influence of some ancient values such as geometry, harmony through repetition, and the implement of boundaries, edges, and borders. New faces to the design plan were the emphasis on vertical height rather than horizontal girth. The Renaissance architecture and arts were dominated by patrons, paying to have their structures serve not only as buildings but as symbols. Verticality paralleled with the concept of power, knowledge, and wealth. It was a time for showing off, when the stage of the theater spilled out into the streets and theatricality became the norm. 

This theatricality can best be seen in the Cathedrals that dominated the landscape during this time. Rising from the earth as solitary buildings or integrated into already bustling cities, the cathedrals were a symbol of the church's dominance and power during the Renaissance. Hardwood states that these "buildings were often large to impress, but relate to human scale, reflecting the humanism of designers and patrons"(Hardwood 164). These structures reverted back to classical orders in terms of the mathematical approach that was taken in their design. Architects of this time began to relate the parts of buildings using "simple whole-number proportions" and their "harmonious proportions and classical elements create[d] a stable, articulate, and rational language for Renaissance architecture" (Hardwood 165).  

Overall, the Renaissance and time period discussed in the Alternatives unit was a time of looking backwards and forwards simultaneously. It was about taking what worked during antiquity and putting a modern, theatrical spin on it. It was about melting many styles together to represent knowledge of the past, present, and future of the world. It was a time dominated by high paying patrons and the powerful church who littered the landscape with structures that were built narrower, taller, and more decorated than ever before. It was a time which took the idea of the measure of man and made it a factor in daily life, from the buildings they lived in, to the arts and literature they adored. The Renaissance was simply a rebirth and continuing of the life of design, a life that is still very much a reality in the world that surrounds us today.

Florence Cathedral

Hardwood, Buie. Architecture and Interior Design Through the 18th Century. 1. Upper Saddle River, NJ: Pearson Education, 2002. Print.

HISTORY & THEORY 2: Reading Comprehension 4

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).

[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.

[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]

[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.

 

Foundations Unit: Point

During the foundations unit we covered three major civilizations, Egypt, Greece and Rome. Throughout the unit we observed how each of these civilizations rose from the Earth and how their cultures influenced the creation, rise and fall of each of these societies.

 

The thing that strikes me most about each of the places we studied are the parallels in design and architecture that exist throughout each civilization. All take the same basic principles and apply them to buildings and other structures that are conducive with their own culture.

There is a paralleling idea of centrality amongst each of these civilizations. The Egyptians built their pyramids in such a fashion that the corners of them, if the lines were extended, would reach the four corners of the Earth. The Greeks believed that they were literally at the center of the world and the Romans capital and heartbeat, for some time, was the city of Rome, which existed at the center of the Roman Empire.

In Egypt and Mesopotamia we see the beginnings of one of the most prominent elements of foundation, the technique of stacking. These people chose this design technique for reasons suited to their own culture, just as those who followed would do as well. The Egyptians and Mesopotamians used stacking in their structures as a way to create layers and the higher the layers went, the closer to god or the gods one would be. They also used this stacking technique to show a hierarchy. The Pharaoh, high priest, or other important figure would exist only in the highest, most central point of a structure while everyone else tiered downward. Another method the Egyptians used to show hierarchy is the size of the structures themselves. The Pharaohs used size to show power, which explains the colossal size of Egyptian structures, like the pyramids.  

In Greece, we see stacking as well but with some variations to fit the Grecian lifestyle and values. All buildings in Greece return back to the megaron structure, a simple place of worship with three sides and columns down the center. The element of stacking in this scenario is more horizontal than vertical, with the hierarchy moving from the outside of a building to the center rather than from the ground up as it did in Egypt. The Grecians developed the porch, court, and hearth system of hierarchies to mirror the stacking hierarchy techniques of Egypt. The most important part of the building existed in the hearth. This would be a statue of one of the gods or where an important person resided. The idea of the porch, court, and hearth exists in one of Greece’s most important sites, the Acropolis. The Parthenon, which houses Athena, would be considered the hearth of this structure, the most important place. The court is where you stand and move about the space after you have entered through the porch of the Propylaea. Greece also draws lines back to Egypt as they use scale as a sign of importance. The Parthenon is the most important building at the Acropolis and therefore it is the largest of all the structures. 

With the rise of the Roman Empire came a rise in values that did not exist for most of the citizens of Egypt and Greece. Rome thrived on extravagant pleasure, building large baths for its citizens. It existed on the idea of “bread and circuses.” Which basically means they showered their citizens with entertainment in hopes they would turn a blind eye to the politics and problems of Rome. The lines of the basic idea of stacking drawn through Egypt and Greece also extend well into Rome. They however, put more emphasis on horizontal expression rather than vertical, using the arch to stack their structures on the Earth’s surface, covering as much area as possible to claim as Rome’s. It was understood that the larger the scale of the buildings and the more surface area they covered, the more powerful the Roman Empire was.

This class continues to open my eyes to the lines that run into our current society from civilizations past. It is amazing that even after all of this time and all the technological feats we have overcome that the spirit of antiquity and their methods still exist in our modern day architecture.

The ideas and values of ancient civilizations still exist amongst our modern world. The Louvre in Paris, France.

Foundations Unit: Compass Project

 

This project is meant to take a viewer visually through the finer points of the foundations unit of our class. For my scale, I chose building and for my form, paragraph. To illustrate the compass through the unit, I chose one of the most recognized ancient buildings in the world, the Roman Colosseum. I chose to depict a time line of the construction, rise and fall of the Colosseum, which mirrors that of the Roman Empire, one of the main civilizations we discussed in class. Each of the paragraphs represents a different aspect that coincides with the time line, reading clockwise: materials, nature, people, and finally, symbol. I think this project is a significant leap from my unit one project, leaving me optimistic that it can only go up from here!

Theories Unit: Map Project

This assignment I'm not particularly proud of. The demands of this class far exceeded what I had originally anticipated and I feel extremely under prepared, considering I lack many of the basic skills that my classmates have learned in their two years in this program as opposed to my half of a semester. It did teach me, however, that to survive in this major...that I should probably work on my time management capabilities and that I have to be ready to bring my best to the table every single time, no matter what.

HISTORY & THEORY 2: Reading Comprehension 3

Amiens Cathedral vs. Florence Cathedral:

In these particular two cathedrals, the methodology was worth contemplating for sheer fear of collapse of the two structures. Not only did these structures serve the purpose of housing individuals for worship and other practices, but also they served as symbols of the wealth power of the church and the place in which the cathedral was erected. If a cathedral were to collapse, it would not only injure individuals but the image of the church would also be damaged. The designers of these two buildings chose to showcase ability in two different manners, at Florence with the dome and Amiens with the sheer height of the cathedral and intricate flying buttress system. The complications these two spaces overcame in their stages of construction proved that feats no one thought possible were a reality. The Gothic cathedrals of this time made large strides in the scale of buildings, producing larger domes and taller walls than ever before. The structural failures of these buildings only help us learn what is and is not conducive to the building process of this genre. We can only study and perfect what lessons have already been learned in the production of these massive structures.

Amiens Cathedral vs. Cologne Cathedral:

Though there are easily discernable regional differences between one and two tower structures, these differences do not exist between the Amiens and Cologne cathedrals despite their locations. These cathedrals are extremely similar in both floor plan and outward appearance. Both use influences from France with their flying buttress system, allowing these structures to be built taller than ever before. These two cathedrals exist in regions that are extremely close to one another and many other similarities that strive towards the symbol of religious power are noticeable. The question of regional differences gets somewhat blurred between these two structures upon first glance, but the details are what sets each of these under their own regional categories. The two-tower entrance only increases the dwarfing feeling of man in Gods presence. Entry into a single tower makes the person entering feel more a part of the cathedral, whereas if they are entering between two massive structures, they understand their place in religious hierarchy.

Amiens Cathedral vs. Salisbury Cathedral:

These two cathedrals spawned from very different circumstances and it is apparent in their design features. The Salisbury Cathedral, which predates the city, which surrounds it, appears to be a sanctuary amongst the chaos of the surrounding town. The manicured lawn and courtyard facility greatly contrast with the close buildings and roadways that surround Amiens. It is apparent Salisbury had room to grow, not being limited by urban surroundings. Aside from the sites, the buildings themselves are apparent in their hindrances (or advantages) of the landscape around them. The Salisbury cathedral, with room to spread its wings, is a much more horizontally strong building, built into its landscape while Amiens, a vertically strong building, was built up, out of its landscape. The solution to the question, how does a building make room for itself in an urban setting, is apparent in the Amiens cathedral. Rather than building out, the building must be built up, consuming as little ground level square footage as possible. The challenges of building a cathedral sans city would be the fact that one isn’t sure how the future city will form around the existing structure or if the structures design will be cohesive in design and cultural influences as the city that springs up around it. A major opportunity in a building of this type would be the limitless area in which the building could potentially be constructed, leaving the limits only with the architects. A challenge of building a major cathedral in an already populated urban area would be the available space in which to put the cathedral. The cathedral must be able to mold with the city that already surrounds it, destroying as little existing structure as possible. An opportunity however, is that a builder and designer are able to study the culture and flow of the city around them and mold the cathedral to best support the area in which it will inhabit, to make it special and a real focal point for the city in which it is being placed.

A Medieval Home Companion:

The Medieval time period existed between late Rome and the Renaissance. This was a time of governmental and social instability, ridden with war and insecurity. It was not a wealthy time for the average citizen who lived in constant fear of invasion and starvation. Not only were governments at war; the church was filled with conflict as well, trying to secure their stronghold in the social and political hierarchy. Because these people lived in fear, mostly everything they owned was small and mobile, able to be taken with them at the first sign of any trouble. They had in their homes only the necessities and many times did without those because they simply could not afford them. These dwellings were small, normally no bigger than a single room. This was partially due to the concern of warmth in the freezing English countryside. It was simply easier to warm a single room than multiple. Furnishings and dwellings were made from local, cheap, and easy to obtain materials such as straw, wood, and mud clay materials.  In this case, this woman is doing the best that she can with what little is given to her. The singular door pictured to the right of the illustration is most likely the only entrance into the one room home. The windows, although they let in cold, are not glassed and are there for light and ventilation purposes. The carrot on the floor was most likely grown in the family garden and is one of the few that survived. Later she will most likely prepare it on the single wood burning stove or merely a fire, where she will serve it to her family at a single wooden table. Then, as the sun goes down, they will lie down to sleep on straw mattresses that also exist in the same room. 

A typical Medieval dwelling.

HISTORY & THEORY 2: Reading Comprehension 2

 1. I believe that there is a good deal of validity in the argument that Hersey creates in his essay on the grammar for Greek architectural elements being based on the idea of sacrifice. In previous studies, I have learned that Greek art normally depicts the everyday activities that took place in Grecian society or told the stories of the exploits of the gods. This being said, the visual evidence that Hersey gives in his essay makes his point valid. On page 17, he includes the photo of the Lenaia vase, in which two women are depicted offering and taking from what appear to be gifts from cauldrons. At the center of these cauldrons is a statue like figure, which may depict the form of a particular god. They are bringing him/her food and beverages as a sacrifice and sign of their devotion. In previous studies, I have also learned that the Greeks took the act of sacrificing for their gods very seriously. Hersey enforces this fact with the excerpt he included of Walter Burkert's description of a typical sacrifice to an Olympic god, which describes a lengthy process during which Greek people sacrifice an animal by slitting its throat as an offering to the gods. Another picture that Hersey chooses to include also validates his argument. The Tree aedicule of Artemis, depicts a temple whose "columns are bound with a garland or banderole and litui or sacred staves; the skull of a sacrificed ox, a bucranium, decorates its entablature; and a garland, probably used in sacrifice, hangs above the statue's head." If Greek art depicted daily rituals and Grecian activities, it is reasonable to speculate that sacrifice was extremely important through its frequent appearance in many examples of Grecian art.

2. The lesson that Macaulay intended to pass to readers is how easy it is to mis-interpret evidence, especially if your information has been retrieved from an unreliable source. A person who is trying to interpret any kind of artifact, structure, or remains can easily take information they have received and mold it to fit a particular thing, even if the information is incorrect just as the characters did in the Motel of Mysteries. The internet is one of the best places to access and attain incorrect information. Unlike books, which are edited and scoured over many times before publication, the internet is free domain and open to anyone with internet access. The information that people post on the internet does not necessarily have to be correct. Anyone can claim to be an expert on any subject with the simple access to a keyboard and internet connection. A person might avoid the blunder of mis-reading evidence when they use the internet by double checking their sources. Cross reference information found online with the information found in books and only use reputable internet sites to attain information.

3. As most Pharaohs, Queen Hatshepsut intended on making a place for herself to pass into the afterlife. Different in many ways from the Pharaohs before her, namely because she was a woman, it is likely that Hatshepsut did not want to follow in the footsteps of her male counterparts. The previous Pharaohs had erected large structures, most commonly recognized, the Pyramids, to house their remains after death. In class we discussed that she intended to leave her mark by creating a structure that was apparently and obviously different from structures like the Pyramids. She had architects create her tomb built into the side of a mountain, large in scale horizontally as opposed to vertically. Hatshepsut's tomb is also more inviting than those built by male Pharaohs. There are openings, made through the use of columns, along the front and a large ramp which serves as the obvious entrance into the tomb. Hatshepsut most likely wanted to make her mark in this life and the afterlife by being different from her male predecessors but without sparing any grandeur.

4. A building from Egyptian culture that has some similarities but also many differences from architecture in Greek civilization would be the Temple of Amon, or Hypostyle Hall. Built around 1300 B.C.E, this hall served as a passageway into an extremely holy place. This is not so different from the Parthenon of Greece, a temple dedicated to Athena, constructed in Athens around 5th century B.C.E. One of the main similarities between these two buildings are their uses of columns to create a religious and reverent experience. In the Temple of Amon, the lighting of the space is controlled by the dense clusters of columns. The lighting within the Parthenon came through the doorway at the front of the structure, bouncing off of the gold statue of Athena. Both sets of columns in each structure were of the doric order, very simple, wider at the base than the top. In the Temple of Amon, carvings around the columns told stories of the exploits of the Pharaoh. In the Parthenon, the carvings existed around the ceiling and on the structure itself. Both structures have axial progression, the Temple of Amon having the religious space as the focal point and the Parthenon having Athena as the focal point and each have direct and linear navigation of space. Both structures were constructed out of heavy stone material. The main difference in the structures are the positioning of the columns. The Parthenon had an inner and outer ring of columns surrounding the statue of Athena whereas the Temple of Amon used many rows of closely clustered columns to direct those who passed through towards the religious space. Although these two civilizations existed during different times in history, they are very similar in building forms and details but each have specific differences which make each time period distinct. 

Left: Parthenon, Greece. Right: Temple of Amon, Egypt

5. In my opinion, the Egyptians might have chosen to make their furniture of lightweight nature because they use the majority of their heavier materials in their architecture. It would also be extremely difficult to move large amounts of heavy stone furniture into tombs for the pharaoh or other royalty for them to take into the afterlife. They use their stone materials for architecture, therefore use another available resource for the production of furniture. According to Hardwood, "Acacia or sycamore were the local woods; cedar, cypress, and ebony are imported. Poor quality woods were often veneered or painted to imitate better woods." Hardwood also points out that the, "Egyptians developed a type of plywood composed of small wood pieces glued together." Hypothetically, they used what was available and what was easy to transport to and from tombs and other locations and this was the reasoning behind furniture of lightweight nature.

 

 

6. These two images are very similar in the design and gender roles that they are depicting. Urns in Grecian culture were often decorated with stories of the day to day life in Greek society. These two particular urns are similar in the scenes that they depict. Each urn consists of both male and female figures. The right urn has two females as opposed to just one. In each scene, the male figure is pictured seated while the female figures gesture to him in what appears to be a subservient manner. However, upon closer inspection, there could be another explanation of two of the female figures. The one in the left picture appears to have a halo like circle surrounding her lower body, this could be a shield. She also appears to be reaching for the sword the male figure has extended in his hand. This woman could potentially be Athena, the goddess of war, bearing a sword and shield before this important male figure. In the right hand picture, the female on the right is most likely a queen, determined from the headpiece and gown she wears, the female on the left however, appears to be nude except for a lion skin wrap. She wears the lions head on her own head, perhaps signifying that she is more powerful than the female to the right, potentially a goddess herself.
     Although reading urns and other artwork is one of the main ways we know about Grecian culture, it is not always the most reliable of manners. Through careful piecing together of clues, archaeologists and historians can fairly correctly speculate the meanings and stories that pieces such as these depict. However, there is no guarantee, unless found in written text, that the speculated meaning is the actual meaning that the artist intended.