In the beginning of this week, we reflected on what we had learned so far as the foundations of architecture. We also discussed how, during the French Revolution, architects and designers reproduced on the classical and the renaissance in their designs. As Blakemore states, in France neoclassicism and the reliance of antiquity became important in the 18th century. (285) Thus, these designers reflected on the past designs and showed an interest in ‘rustic objects’ and ‘antiques’ which were simple, unlike the Rocco forms showing up elsewhere at this time.
The French Revolution caused, also, a shift or movement in the materials that were used when constructing buildings. Glass and iron became important materials, for many reasons. First and foremost, they were new (for the most part) and hadn’t been used to make whole buildings but in the past were just small elements. They also were an easy and fast way to build, while still being structurally sound. Plus, architects were able to blur the line between inside and outside. The Crystal Palace, by Joseph Paxton is a great example of this: it was very large, was completed in nine months, and even allowed for the existing plant life to remain standing.
The use of glass and iron began in France, but was quickly picked up in England. The French Revolution was the source of these new skills, and caused a competition between the two countries. Also, England was the source of the first designs in colonial North America. This resulted in most buildings at this time looking like those in England. That is, until the Revolution in the 19th century, when American architects took inspiration straight from the classical Greek architecture.
The rotation of power and influence – after the Revolution – caused not only a change in politics, but in design as well. The exteriors, first of all, stopped mimicking those in England, and began to look similar to those found in Greece, and minute details changes as well. However, things changed on a larger scale; people began moving out of rural areas and into cities, and the cities themselves resembled Roman city designs.
The revolutions that took place between the 17th and 19th centuries were able to enlighten many of the architects of the time. Illuminations took place, such as beginning the use of cast iron and glass. These materials were simple and quick to use, and they also appeared airy and clean. Architects used them as a contrast to the busy, highly detailed Baroque and Rocco designs that preceded it.
Tuesday, March 31, 2009
Saturday, March 28, 2009
Unit Summary: Alternatives Unit
The alternatives unit encompassed designs that may have been inspired somewhat by what preceded them, but was usually the designers and architects during this time brought completely new ideas to designing – this time being the Gothic, Renaissance, Baroque and Rocco periods. For example, they began creating buildings along the horizontal instead of the vertical – the buildings spanned as far as the eye could see, not as high as one could see. Also, the landscape slowly became an important feature to building designs during the alternatives unit.
To start, Gothic Cathedrals were one of the first alternatives we discussed – these cathedrals, as well as many of the other buildings, were highly ornamented and displayed many details. For example, in a cathedral there were highly ornamented carvings which depicted stories from the bible. These details from these stories that spanned the exterior walls and doors, as well as the interior columns and walls sided in teaching the illiterate commoners who came to worship. Details were also very important for other reasons. For example, when the architect didn’t follow the original plans while building the Notre-Dame of Amiens, he made the buttresses too thin, almost causing the building to collapse. (Roth 334)
After the Gothic period, architects and designers went through a revival – the Renaissance. What was created during this time were places that followed rules more strictly, with less decoration, but the same amount of detail; the attention to detail was just used in a much different way. For example, instead of small, story-telling details, designers based their work on symmetry as well as geometrical shapes. During this time of revival, the façade of a building was crucial – the front face of buildings, especially ones that were directed toward highly populated gathering areas (those on busy street corners and surrounding a popular court), were grandly decorated to express wealth. These buildings may not have had the same expressions of detail the Gothic buildings had, but they were, as I have said, very strong symmetrical details. Also, as was the case of the Palazzo de Medici, there were different materials used to represent different levels of the building, each level was a different size, which separated floors for business, socializing and family. All of this was apparent just from the details on the front façade. (Roth 376)
There was another transition made during the alternatives unit – and that was from the Renaissance period to the Baroque and Rocco periods. During this time designers decided to break the rules and design ‘out of the box.’ This means that usually the designers disregarded any of the written design rules from the Renaissance, and made their own designs, usually more highly ornamented then anything yet. The designs were, at first, highly disliked and made fun of. Many designs, for instance, were so highly decorated that the viewer was unable to take in everything at once. (Roth 414) It required them to think deeply, and become more emotionally connected to the art. Also, other geometric forms began appearing; as a replacement for of simple circles, squares and rectangles, there were ovals – as seen in the Piazza of St. Peters – as well as hexagons instead of circular domes.
To start, Gothic Cathedrals were one of the first alternatives we discussed – these cathedrals, as well as many of the other buildings, were highly ornamented and displayed many details. For example, in a cathedral there were highly ornamented carvings which depicted stories from the bible. These details from these stories that spanned the exterior walls and doors, as well as the interior columns and walls sided in teaching the illiterate commoners who came to worship. Details were also very important for other reasons. For example, when the architect didn’t follow the original plans while building the Notre-Dame of Amiens, he made the buttresses too thin, almost causing the building to collapse. (Roth 334)
After the Gothic period, architects and designers went through a revival – the Renaissance. What was created during this time were places that followed rules more strictly, with less decoration, but the same amount of detail; the attention to detail was just used in a much different way. For example, instead of small, story-telling details, designers based their work on symmetry as well as geometrical shapes. During this time of revival, the façade of a building was crucial – the front face of buildings, especially ones that were directed toward highly populated gathering areas (those on busy street corners and surrounding a popular court), were grandly decorated to express wealth. These buildings may not have had the same expressions of detail the Gothic buildings had, but they were, as I have said, very strong symmetrical details. Also, as was the case of the Palazzo de Medici, there were different materials used to represent different levels of the building, each level was a different size, which separated floors for business, socializing and family. All of this was apparent just from the details on the front façade. (Roth 376)
There was another transition made during the alternatives unit – and that was from the Renaissance period to the Baroque and Rocco periods. During this time designers decided to break the rules and design ‘out of the box.’ This means that usually the designers disregarded any of the written design rules from the Renaissance, and made their own designs, usually more highly ornamented then anything yet. The designs were, at first, highly disliked and made fun of. Many designs, for instance, were so highly decorated that the viewer was unable to take in everything at once. (Roth 414) It required them to think deeply, and become more emotionally connected to the art. Also, other geometric forms began appearing; as a replacement for of simple circles, squares and rectangles, there were ovals – as seen in the Piazza of St. Peters – as well as hexagons instead of circular domes.
Wednesday, March 25, 2009
OPUS 8
Baroque and Rocco designs and architecture were revisions of Renaissance architecture. During this time designers took what they knew from the renaissance period, yet broke the rules beginning to design things more "out of the box." With these new, modern forms they exercised their "newly won artistic prerogative to invent." (Roth 397) Some of the revisions included designing along the horizontal - not the vertical - as far as the eye could see. Another revision was how important stairs became architecturally. Designers built expansive, decorated rooms for stairs alone (Roth 424), and in German and Austrian Baroque designs, the staircase was actually the most developed feature. (Roth 426)
The transition from Renaissance to Baroque architecture was not widely accepted. Some thought it was too highly ornamented; to complex and elaborate when compared to the preceding form of architecture. (Roth 397) The Renaissance architecture was easy to perceive, and was very understandable, while the transition into Baroque was more about emotional understanding and connections, and even evoked a sense of mystery. (Roth 398) Roth even states that "Baroque buildings are so complex that they cannot be understood or comprehended in a single glance." (Roth 414)
Through the reading, and as I have already stated, it was expressed that the emotional impact and connections to the audience was very important. (Roth 398) The use of embellishments, as well as the multitude of materials and paint effects used, were all present to effect the audience. This did have an effect on the audience, in fact much of the architecture from this time was misunderstood and widely disliked. On a separate note, the audience even played a role in the construction of the Piazza of Saint Peter's. There was a wide semi-oval which directed people toward the church, acting as "motherly arms of the church" which welcomed the worshipers. (Roth 409)
There is quite a strong character to the Baroque architecture as well. At this time, designs were very elaborate and plastically designed, and this create a story and character in the architecture. (Roth 397) One of the most fascinating ways in which Baroque and Rocco architecture displayed character in a space was the act of using motion in paintings on walls, and in sculptures. As we discussed in class, the sculpture of David by Michelangelo is widely known and appreciated for expressing David, and following the rules while doing so. However, the statue of David by Bernini expresses David's character in that it is a depiction of David in motion, at the height of his battle.
The datum which was written down and recorded - by Palladio for instance - in during the period of Renaissance architecture was severely ignored during the Baroque and Rocco periods of architecture. To the point, in fact that architects began to break all of the rules and think, as we have discussed this week in class, 'outside the box.' Most architects and designers did this by playing tricks on the eye with the use of optical illusions such as perspective painting, for example. They also began to depict people in statues and paintings as being in motion, and they made some surfaces so complex that there were no dull areas on them.
The transitions made from the Renaissance to the Baroque and Rocco periods of architecture were not initially accepted. While the designers were ready to 'more outside the box,' their audience was not. In fact, many people disliked and discredited these designs at first, giving them derogatory terms. These new visions did become accepted, however. Still, the initial dislike of new visions in architecture is common even to this day. I have learned that many people dislike the twentieth century designs being built today, still preferring older, more classical themes.
The transition from Renaissance to Baroque architecture was not widely accepted. Some thought it was too highly ornamented; to complex and elaborate when compared to the preceding form of architecture. (Roth 397) The Renaissance architecture was easy to perceive, and was very understandable, while the transition into Baroque was more about emotional understanding and connections, and even evoked a sense of mystery. (Roth 398) Roth even states that "Baroque buildings are so complex that they cannot be understood or comprehended in a single glance." (Roth 414)
Through the reading, and as I have already stated, it was expressed that the emotional impact and connections to the audience was very important. (Roth 398) The use of embellishments, as well as the multitude of materials and paint effects used, were all present to effect the audience. This did have an effect on the audience, in fact much of the architecture from this time was misunderstood and widely disliked. On a separate note, the audience even played a role in the construction of the Piazza of Saint Peter's. There was a wide semi-oval which directed people toward the church, acting as "motherly arms of the church" which welcomed the worshipers. (Roth 409)
There is quite a strong character to the Baroque architecture as well. At this time, designs were very elaborate and plastically designed, and this create a story and character in the architecture. (Roth 397) One of the most fascinating ways in which Baroque and Rocco architecture displayed character in a space was the act of using motion in paintings on walls, and in sculptures. As we discussed in class, the sculpture of David by Michelangelo is widely known and appreciated for expressing David, and following the rules while doing so. However, the statue of David by Bernini expresses David's character in that it is a depiction of David in motion, at the height of his battle.
The datum which was written down and recorded - by Palladio for instance - in during the period of Renaissance architecture was severely ignored during the Baroque and Rocco periods of architecture. To the point, in fact that architects began to break all of the rules and think, as we have discussed this week in class, 'outside the box.' Most architects and designers did this by playing tricks on the eye with the use of optical illusions such as perspective painting, for example. They also began to depict people in statues and paintings as being in motion, and they made some surfaces so complex that there were no dull areas on them.
The transitions made from the Renaissance to the Baroque and Rocco periods of architecture were not initially accepted. While the designers were ready to 'more outside the box,' their audience was not. In fact, many people disliked and discredited these designs at first, giving them derogatory terms. These new visions did become accepted, however. Still, the initial dislike of new visions in architecture is common even to this day. I have learned that many people dislike the twentieth century designs being built today, still preferring older, more classical themes.
Thursday, March 19, 2009
Deliverables - Precedent Analysis
I. Humana Building
A. Michael Graves
B. 1982-1985
C. Louisville, Kentucky
II. Façade
A. Each side is slightly different
B. Connect to Roman Architecture
1. Roth, Lecture notes
C. Pyramid on top floors
III. Transition into similarities in ancient architecture
A. Pyramid
B. Columns
C. Shape
1. Use texts to connect a, b, c; why were these elements used?
D. Height
1. Connect to other buildings
2. Why was it important for this building?
E. How were these elements used to make the building better?
IV. Connections
A. Surrounding buildings
1. Similar/different in façade
2. Similar/different in height
3. Similar/different in material
B. Surrounding land
V. Commodity/ Function/ Delight
A. Structure/material/weather and other considerations the designer made
B. What was the purpose of the building? Fulfilling its purpose?
C. Is it appealing?
VI. Interior
VII. Conclusion
A. Personal thoughts on the building
B. Others opinions
________________________________________________________
1. Drawing of the front facade; pencil on paper
2. Floor plan of ground level; pen on paper
3. Drawing of the left exterior; colored pencil on paper
4. Drawing of the top portion (temple/open area); pencil on paper
5. Aerial View; colored pencil on paper
6. Rear view of building; pencil on paper
7. Interior view (if allowed); colored pencil on paper
8. Drawing of entrance way (columns, etc.); pencil on paper
9. Drawing of street face, with surrounding buildings, pen on paper
10. Interior view; colored pencil on paper
____________________________________________
1. Am I allowed to make an interior view one of my pictures?
2. I thought I found a floor plan, but I was wrong. What should I do if I can't find one?
3. I don't know much about different media to use other than pens, pencils and on paper.
Tuesday, March 17, 2009
Precedent Analysis
The building I chose was the Humana Building by Michael Graves. It was built from 1982 - 1985 in Louisville, Kentucky.
I chose this building because it is a postmodern building, and it intrigued me since each side is build slightly different. Also, I like many of Michael Graves buildings, but this one seems to be both popular and important to his designs.
OPUS 7 - P Week
An object or drawing with perspective – that is something that depicts volume while none is present – has the ability to connect the present with the past, as well as the indoors with the outdoors. Also, as Blakemore states, the use of perspective "seems to obliterate the solidity of the wall" (Blakemore 100) as achieved by Baldassare Peruzzi in his Hall of Perspective. The person most famous for designs featuring perspective at this time, however, was Palladio. He used these “illusionistic devices” or perspective drawings in a deliberate order or “compartmentalized arrangements” to illustrate the subject, usually on entire walls. (Blakemore 98)
During the Italian Renaissance, rooms were sparsely furnished, but this furniture was highly ornamented, and massive. (Blakemore 107) The processes of creating these highly decorated, dignified pieces included inlay, carving and veneer application. This process was highly important because it wasn’t how much furniture a person had, but how royal and highly decorated they appeared (even if only appearing on the façade).
In the case of the Villa Giullia, periphery played an important role – what surrounded the building was actually important and served a purpose. This was one of the first instances of a garden-scape and building-scape being locked together to create one flowing landscape. The Villa Barbaro did a similar thing; there was one horizontal room across the whole building which controlled the landscape, demonstrating how buildings and land work together.
During the Renaissance some families, such as Medici and his family, had homes with space on the ground floor for their business. (Roth 376) To maintain a sense of professionalism, and in order to separate home life from business (as well as literally the home from the business) though the buildings were connected, Michelozzo di Bartolommeo created exterior visual cues which he utilized in the Palazzo de Medici. The ground floor was the largest in scale, and had the roughest stone, the next level was smaller and had a smoother surface, followed by the top level which was smallest and the smoothest. The building was then topped with an oversized cornice, tying the separate layers together.
A portfolio is crucial to making or breaking an architect in their career. For example, Palladio was very accomplished – he not only had four books on architecture, but he also had many buildings and was responsible for well known perspective drawings. This made him better known and well respected, people liked his work and wanted houses or rooms designed similar to ones he had done. However, a portfolio is not just about quantity, but about quality. If someone has made many buildings, however they have not been functional, firm, or appealing, for example, they don’t have a very effective portfolio.
This week we learned the importance of the Italian Renaissance. Some crucial aspects were the façade, the surrounding land (or in some cases the surrounding water) and the idea of perspective drawings. Also, I learned that one of the most influential architects, Palladio, designed during this period, and utilized each of the things I have already mentioned – façade, land, and perspective.
During the Italian Renaissance, rooms were sparsely furnished, but this furniture was highly ornamented, and massive. (Blakemore 107) The processes of creating these highly decorated, dignified pieces included inlay, carving and veneer application. This process was highly important because it wasn’t how much furniture a person had, but how royal and highly decorated they appeared (even if only appearing on the façade).
In the case of the Villa Giullia, periphery played an important role – what surrounded the building was actually important and served a purpose. This was one of the first instances of a garden-scape and building-scape being locked together to create one flowing landscape. The Villa Barbaro did a similar thing; there was one horizontal room across the whole building which controlled the landscape, demonstrating how buildings and land work together.
During the Renaissance some families, such as Medici and his family, had homes with space on the ground floor for their business. (Roth 376) To maintain a sense of professionalism, and in order to separate home life from business (as well as literally the home from the business) though the buildings were connected, Michelozzo di Bartolommeo created exterior visual cues which he utilized in the Palazzo de Medici. The ground floor was the largest in scale, and had the roughest stone, the next level was smaller and had a smoother surface, followed by the top level which was smallest and the smoothest. The building was then topped with an oversized cornice, tying the separate layers together.
A portfolio is crucial to making or breaking an architect in their career. For example, Palladio was very accomplished – he not only had four books on architecture, but he also had many buildings and was responsible for well known perspective drawings. This made him better known and well respected, people liked his work and wanted houses or rooms designed similar to ones he had done. However, a portfolio is not just about quantity, but about quality. If someone has made many buildings, however they have not been functional, firm, or appealing, for example, they don’t have a very effective portfolio.
This week we learned the importance of the Italian Renaissance. Some crucial aspects were the façade, the surrounding land (or in some cases the surrounding water) and the idea of perspective drawings. Also, I learned that one of the most influential architects, Palladio, designed during this period, and utilized each of the things I have already mentioned – façade, land, and perspective.
Wednesday, March 4, 2009
OPUS 6
A composition, whether it is created in music, written works, architecture or otherwise, is a complete set of parts that, when put together, makes sense as a whole. The way a house or building is composed – which pieces go in it, and where – has a large influence into how functional it is, as well as how it makes a person feel. A cathedral whose walls are mainly composed of windows has the ability to create the feeling, to a person currently inside, that they are completely surrounded by heaven, or are connected to god. The placement of something seemingly small, such as a window in the last example, influenced how the full composition is interpreted and used.
On a larger scale, the way a city is composed of different buildings and houses effects what the main focal point of the city is. We discussed in class that Gothic Cathedrals, such as the Notre-Dame of Amiens which was built in a pre-existing city, buildings with strong vertical orientation, rising above all other buildings in the city. Due to the way this was composed, all focus is on the striking cathedral. This creates an overall impression that the Notre-Dame of Amiens is an important structure. Due to the massive scale of this building, when compared with the rest of the surrounding city, gives off an impression of might, power, and connectedness with heaven.
I have found that in any building, a person can recognize its porch, court and hearth. These are three sections of a building that help to identify the areas use, and the feeling one gets while there. A cathedral, such as the Salisbury Cathedral in Salisbury, England has large entrance, its porch, which evokes a feeling of awe at its grandeur, and changes the mood of the person entering. The court is the congregation area where worshipers sit, stand, or kneel to pray, and to listen to the Preacher. Where the preacher stands is the hearth, or the most important part. This is usually emphasized by being at the center and, in the case of the Salisbury Cathedral, is topped with a large Spire. The spires heavenward reach directs viewers’ eye up, creating a feeling of connectedness with heaven. Though there is a large spire, this cathedral is more focused on horizontal lines than vertical. (Roth 340).
We spent a substantial amount of time this week discussing four of the major Gothic Cathedrals, their similarities and differences. Some of the very minute details differing between any two of the buildings can evoke completely separate feelings. For example, I spent a particular amount of time with the Notre-Dame of Amiens, and found that it had fewer modifications than another, making it what many believe to be a true representation of the Gothic style (Roth 333). Another cathedral, such as the Abbey Church at Saint-Denis, had many Gothic features, but was not purely gothic in its form, and it was these details, along with many others such as height, length and light, that set the many cathedrals apart. I found that the little details are sometimes what matter the most. For example, when the architect didn’t follow the original plans while building the Notre-Dame of Amiens, he made the buttresses too thin, almost causing the building to collapse. (Roth 334)
Diagrams can be a helpful way to compare and contrast differences in floor plans. They also help in identifying when the building was constructed, dating it by various architectural elements used, and where, depending on how the different cultures in that time varied. In the diagram of Notre-Dame of Amiens one can get a notion of where the central focal point of the building is, and we can tell where the main focus is placed. Section diagrams can also display where the different architectural fearures are, such as arches.
This week we talked mainly about Gothic Architecture, and spent a substantial amount of time discussing Gothic Cathedrals. The one which stuck out the most to me was the Notre-Dame of Amiens – the composition of the building created such a striking, and to me awe-inspiring, impression on viewers. I found that the little details are sometimes what matter the most. For example, when the architect didn’t follow the original plans while building the Notre-Dame of Amiens, he made the buttresses too thin, almost causing the building to collapse. (Roth 334)
On a larger scale, the way a city is composed of different buildings and houses effects what the main focal point of the city is. We discussed in class that Gothic Cathedrals, such as the Notre-Dame of Amiens which was built in a pre-existing city, buildings with strong vertical orientation, rising above all other buildings in the city. Due to the way this was composed, all focus is on the striking cathedral. This creates an overall impression that the Notre-Dame of Amiens is an important structure. Due to the massive scale of this building, when compared with the rest of the surrounding city, gives off an impression of might, power, and connectedness with heaven.
I have found that in any building, a person can recognize its porch, court and hearth. These are three sections of a building that help to identify the areas use, and the feeling one gets while there. A cathedral, such as the Salisbury Cathedral in Salisbury, England has large entrance, its porch, which evokes a feeling of awe at its grandeur, and changes the mood of the person entering. The court is the congregation area where worshipers sit, stand, or kneel to pray, and to listen to the Preacher. Where the preacher stands is the hearth, or the most important part. This is usually emphasized by being at the center and, in the case of the Salisbury Cathedral, is topped with a large Spire. The spires heavenward reach directs viewers’ eye up, creating a feeling of connectedness with heaven. Though there is a large spire, this cathedral is more focused on horizontal lines than vertical. (Roth 340).
We spent a substantial amount of time this week discussing four of the major Gothic Cathedrals, their similarities and differences. Some of the very minute details differing between any two of the buildings can evoke completely separate feelings. For example, I spent a particular amount of time with the Notre-Dame of Amiens, and found that it had fewer modifications than another, making it what many believe to be a true representation of the Gothic style (Roth 333). Another cathedral, such as the Abbey Church at Saint-Denis, had many Gothic features, but was not purely gothic in its form, and it was these details, along with many others such as height, length and light, that set the many cathedrals apart. I found that the little details are sometimes what matter the most. For example, when the architect didn’t follow the original plans while building the Notre-Dame of Amiens, he made the buttresses too thin, almost causing the building to collapse. (Roth 334)
Diagrams can be a helpful way to compare and contrast differences in floor plans. They also help in identifying when the building was constructed, dating it by various architectural elements used, and where, depending on how the different cultures in that time varied. In the diagram of Notre-Dame of Amiens one can get a notion of where the central focal point of the building is, and we can tell where the main focus is placed. Section diagrams can also display where the different architectural fearures are, such as arches.
This week we talked mainly about Gothic Architecture, and spent a substantial amount of time discussing Gothic Cathedrals. The one which stuck out the most to me was the Notre-Dame of Amiens – the composition of the building created such a striking, and to me awe-inspiring, impression on viewers. I found that the little details are sometimes what matter the most. For example, when the architect didn’t follow the original plans while building the Notre-Dame of Amiens, he made the buttresses too thin, almost causing the building to collapse. (Roth 334)
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