There was a concentration at this time of 'less is more' as Mies Van Der Rohe put it. It was a meditaion on what the building was about and a celebration of the building itself. There was less of an impact of what was in the building and the focus was the building - that was the art. This 'less is more' attitude also allowed for concentration on the small, important details of a building, and not the overwhelming, distracting things that may be put into it.
This 'less is more' also created a juxtapositioning. Take Mies van der Rhoe's barcelona chair, for example. It transposed what one was expecting with the juxtapositioning of materials. It was as if the chair was floating due to its thin metal frame. This cold frame however was paired with a comfortable leather seat - this then marries the use of machine with comfort. It is a chair made for the human form, one which you can slide right into. It also has a hand-made curve in the metal, which contrasts the machine feel it has.
As we discussed last week, and hit on again this week, there was a bold flattening of space in which geometrics was key, and things were reduced to basics. This was both literal - the forms used to make the buildings were not at all hidden - and abstract in that the ideas were new and, still being worked on. Take Crown Hall at IIT, a college campus, by Mies van der Rhoe for example. It was abstract because he created 16 identical buildings which were difficult to tell apart and in abundance. These were literal though, because they were basic buildings which allowed you to focus on small details.
During this time of 'less is more' there was also a strong impact of light, and the shadow it created, on a space. Some homes that were built had large windows which allowed for light to enter in, and in turn created shadow. These small details were not overlooked, and were utilized by the designers.
There were many things we discussed this week concerning modern designs and what is to come next. Some challenges to Modernism were historic preservation, where designers prefered to look back to the past for information, technology, which allowed for things such as deconstructivism (not at all a minimalist design, it has many details) and locality, or the use of what materials and building designs were already there (or the opposite - international). All of these factors led to the post modern movement.
Wednesday, April 29, 2009
Sunday, April 19, 2009
OPUS 12
ACTION VERBS
Shape: This week we focused mainly on the early 20th century. We learned that what was happening in art began to shape what happened in architecture, and vise versa - they effected each other greatly. In art, the loss of perspectuve and flattening of space was widely used - fauvism and cubism were two techniques, and they also employed neutral colors and geometrical shapes. (friday massey reading) These elements were reflected in architecture - minimal colors were used, and there were cleanly shaped walls with little to no decoration.
Speculate: At this time, designers and architects alike speculated about the future of architecture. There were multiple interpretations which included fauvism, cubism, futurism, expressionim, and art noveau. The first two included a flattening of space, with geometrical patterns and neutral colors. The next two involved bright, colorful geometrical patterns, flattening space, and frozen movement. Destijl involved abstracting down to the basics. Of course, there were more explorations into art and architecture at this time, but these were examples to express the common factors - flattening space and geometry.
Compose: I have already mentioned that the artists and architects at this time composed their designs, usually, using geometrical shapes and flattened space. All of these designs, at the time, were modern. In the Modern Movement, however was the institute of design known as the Bauhaus, which was created because Gropius merged two schools - the School of Arts and Crafts at Weimar, and Weimar Academy of fine Arts. (Roth 522) Here, the designers were concerned with their products being "cheap, durable, and 'beautiful'" in order to be functional, according to Gropius. (Roth 524)
Stretch: The new ideas brought by members of the Bauhaus, as well as other modern designers at this time, were stretched to new heights. The Chrystler building, for example, as well as the Empire State Building, were modeled after what was popular at the time - the speed and form of the automobile. Also, buildings and objects weren't being created only for the rich - America was becoming a country revolved around consumerism. More and more things were being created to satisfy the need people felt at this time, stretching the function and quality of products.
Through this week we discussed The Modern Movement, and other modern buildings. We explored the flattening of space, use of geometrical patterns, use and lack of color, and the complete stripping of surface decoration as well as the exposed systems.
Shape: This week we focused mainly on the early 20th century. We learned that what was happening in art began to shape what happened in architecture, and vise versa - they effected each other greatly. In art, the loss of perspectuve and flattening of space was widely used - fauvism and cubism were two techniques, and they also employed neutral colors and geometrical shapes. (friday massey reading) These elements were reflected in architecture - minimal colors were used, and there were cleanly shaped walls with little to no decoration.
Speculate: At this time, designers and architects alike speculated about the future of architecture. There were multiple interpretations which included fauvism, cubism, futurism, expressionim, and art noveau. The first two included a flattening of space, with geometrical patterns and neutral colors. The next two involved bright, colorful geometrical patterns, flattening space, and frozen movement. Destijl involved abstracting down to the basics. Of course, there were more explorations into art and architecture at this time, but these were examples to express the common factors - flattening space and geometry.
Compose: I have already mentioned that the artists and architects at this time composed their designs, usually, using geometrical shapes and flattened space. All of these designs, at the time, were modern. In the Modern Movement, however was the institute of design known as the Bauhaus, which was created because Gropius merged two schools - the School of Arts and Crafts at Weimar, and Weimar Academy of fine Arts. (Roth 522) Here, the designers were concerned with their products being "cheap, durable, and 'beautiful'" in order to be functional, according to Gropius. (Roth 524)
Stretch: The new ideas brought by members of the Bauhaus, as well as other modern designers at this time, were stretched to new heights. The Chrystler building, for example, as well as the Empire State Building, were modeled after what was popular at the time - the speed and form of the automobile. Also, buildings and objects weren't being created only for the rich - America was becoming a country revolved around consumerism. More and more things were being created to satisfy the need people felt at this time, stretching the function and quality of products.
Through this week we discussed The Modern Movement, and other modern buildings. We explored the flattening of space, use of geometrical patterns, use and lack of color, and the complete stripping of surface decoration as well as the exposed systems.
Friday, April 17, 2009
Unit Summary: Reflections
The refections unit of this course took place duirng the 18th and 19th centuries. It dealt with rewriting the rules again - it relfected both classical and renaissance designs, while still incorperating present day. There was also more communiction at this time, by way of transportation and media, which cause news to travel faster, therefore it was easier for nations to eplore other nations' designs. Due to this, there was a linkage between west and east; it brought the exotic, ideas closer. There was also much mixing of cultires through decoration.
At this time east meets west also meant The United Stated copying England - during trade, the classical world came in conatact with the US; this was before the revolution. For example, houses in the US were being built in rural and suburban areas, with plain decorations, small windows, and were constructed almost always out of wood - this resembled English designs taking place at the same time.
After the revolution took place, North American design became more about classic revivals than copying england, and these ideas were used across the nation - Roman buildings were used for Washington, and Greek deaigns were used for other governmant buildings.
During the industrial revolution, design bacame all about the use of glass and iron. These elaments were seen in multiple countries, and they were often competing for the the largest or best use of them. These materials also allowed for fast, easy construction (iron) and a smooth, clean, airy appearance (glass) - together they spanned large distances, and were able to control the environment, connecting the exterior and interior.
The term Japonisme meant the Japanese simplicity of form - using only line to define features and nothing else - which was first visualized in comic book pages. Soon after, people in the US began to imitate Japanese forms, as well as other popular western forms - Egypt, and China mostly, as well as the continued imitation of European forms.
This was the start of experimentation - then people began to question it, some thought immitation of other places designs was inapproprite, and that designs should stick local. Regardless of this, designers began to feel that anything was possible due to the increase in technology. This increase brought forth a new question - should things be handcrafted, or done by machine? This began the arts and crafts movement which lasted a while. In the end, however, classicism was still the number one design chioce in America.
At this time east meets west also meant The United Stated copying England - during trade, the classical world came in conatact with the US; this was before the revolution. For example, houses in the US were being built in rural and suburban areas, with plain decorations, small windows, and were constructed almost always out of wood - this resembled English designs taking place at the same time.
After the revolution took place, North American design became more about classic revivals than copying england, and these ideas were used across the nation - Roman buildings were used for Washington, and Greek deaigns were used for other governmant buildings.
During the industrial revolution, design bacame all about the use of glass and iron. These elaments were seen in multiple countries, and they were often competing for the the largest or best use of them. These materials also allowed for fast, easy construction (iron) and a smooth, clean, airy appearance (glass) - together they spanned large distances, and were able to control the environment, connecting the exterior and interior.
The term Japonisme meant the Japanese simplicity of form - using only line to define features and nothing else - which was first visualized in comic book pages. Soon after, people in the US began to imitate Japanese forms, as well as other popular western forms - Egypt, and China mostly, as well as the continued imitation of European forms.
This was the start of experimentation - then people began to question it, some thought immitation of other places designs was inapproprite, and that designs should stick local. Regardless of this, designers began to feel that anything was possible due to the increase in technology. This increase brought forth a new question - should things be handcrafted, or done by machine? This began the arts and crafts movement which lasted a while. In the end, however, classicism was still the number one design chioce in America.
Wednesday, April 15, 2009
OPUS 11
Roots: Similar to source, roots can mean the foundation of a buildings design; not the literal foundation which keeps a building standing, but the other ideas and elements incorperated into its design. The roots of the Trinity Church in Boston, for example, harken back to Romanesque Buildings. The Romanesque style was actually very prevalant in the 19th century because designers were linking to the past. As we didcussed in class, the Romanesque style was Roman revival, and this time was Romanesque revival. Some of the United State's first real designs are linked to Wright and the Greene brothers, as well as many others, who helped to create a post-modern era where any classic elements used were then fiddled with and re-created to be their own.
Concepts: Due to the influx of designers with new, different ideas (those specifically located in or around Chicago, California and New York) different concepts were being used in the design and construction of buildings. For example, there was a race for height. There were also new elements being used; concrete, steel and glass changed the way arches were built, now with a lighter frame. Other concepts, such as the importance of specialized rooms in a house - specialized for comfort of privacy - became more apparent as well.
Materiality: Along with the new materials (steel, glass and concrete) being new concepts for design, they were very important to the revolution. The sense of materiality was imperative because designers were looking for "the new modern" and that is just what these materials gave them. The use of these materials also aided in connecting people with nature and the outside. Full glass walls were used to experience the outside inside, and certain iron work is used in sich a curving way that it mimics actual natural elements.
Congruents: When something is congruent, it is the connecting of two or more angles in a geometric way. We saw this in class with William Jerry's Home Insurance Building in Chicago - he used horizontal spandrels to connect the vertical window lines, making it appear continuously horizontal, though the windows went vertical. Congruants may also be, I suppose, a connection of two or more ideas, desings or even times; connected in a logical way, by materials, designer, or time. At this time in the 19th century, there had been much change which occured quickly, and many felt a need for meaning, which is why designers took time to study and emulate the "romantic past" which people longed for.
Compression and Release: After the classical revival, postmodernism began. I believe the classical revival was the compression - compression of ideas and designs (though new materials were being used, and some designs had new twists, it was still similar) - and postmodernism was the 'out-of-the-box' release that we all sensed was comming. With this wave of new designs, some elements remained the same, but there was a sense of more private space, and, as I have mentioned, new materials, and a connection to the outside. Buildings and rooms were holistically designed, and things were brought into a space to be complements, not complete matches. Texture also played an important role at this time, as well as rooms made for a specific purpose - not with multiple purposes.
This week we discussed more about the 19th century - how the classical, romanesque elements were revived, and how post-modernism changed many peoples outlook on design. There were new elements encorperated, and people were building vertical again, instead of horizontal. There were still roots back to classic designs, but with a modern twist.
Concepts: Due to the influx of designers with new, different ideas (those specifically located in or around Chicago, California and New York) different concepts were being used in the design and construction of buildings. For example, there was a race for height. There were also new elements being used; concrete, steel and glass changed the way arches were built, now with a lighter frame. Other concepts, such as the importance of specialized rooms in a house - specialized for comfort of privacy - became more apparent as well.
Materiality: Along with the new materials (steel, glass and concrete) being new concepts for design, they were very important to the revolution. The sense of materiality was imperative because designers were looking for "the new modern" and that is just what these materials gave them. The use of these materials also aided in connecting people with nature and the outside. Full glass walls were used to experience the outside inside, and certain iron work is used in sich a curving way that it mimics actual natural elements.
Congruents: When something is congruent, it is the connecting of two or more angles in a geometric way. We saw this in class with William Jerry's Home Insurance Building in Chicago - he used horizontal spandrels to connect the vertical window lines, making it appear continuously horizontal, though the windows went vertical. Congruants may also be, I suppose, a connection of two or more ideas, desings or even times; connected in a logical way, by materials, designer, or time. At this time in the 19th century, there had been much change which occured quickly, and many felt a need for meaning, which is why designers took time to study and emulate the "romantic past" which people longed for.
Compression and Release: After the classical revival, postmodernism began. I believe the classical revival was the compression - compression of ideas and designs (though new materials were being used, and some designs had new twists, it was still similar) - and postmodernism was the 'out-of-the-box' release that we all sensed was comming. With this wave of new designs, some elements remained the same, but there was a sense of more private space, and, as I have mentioned, new materials, and a connection to the outside. Buildings and rooms were holistically designed, and things were brought into a space to be complements, not complete matches. Texture also played an important role at this time, as well as rooms made for a specific purpose - not with multiple purposes.
This week we discussed more about the 19th century - how the classical, romanesque elements were revived, and how post-modernism changed many peoples outlook on design. There were new elements encorperated, and people were building vertical again, instead of horizontal. There were still roots back to classic designs, but with a modern twist.
Wednesday, April 8, 2009
Essay Draft: The Humana Building
The Humana Building in Louisville, Kentucky was designed and built by Michael Graves from 1982 – 1985 in what some say is a staple of the Postmodern movement. This building is one of Graves’ most well known, due to its twist on classic features. There is actually a combination of many classical forms used in the design.
The front façade was very important to the design; each of the four sides differs at least slightly in a combination of color and texture. The heavy appeal to the façade connects to Romanesque architecture, where the façade was also the most important. Also, at the top of the building in the front, it molds into a temple form harkening back, obviously, to Egyptian styles. Some say that the eight story base which extends from the front can be seen as similar to a ziggurat. * The mix of these classical elements emphasize two main things; the first is that the building is important and borrows from well known and well respected designs, the second is that Michael Graves, the architect, wanted to create his own modern spin on these classic designs, connecting the past to the present.
The building itself actually has a mixture of elements from the past. As I have mentioned it has a temple at the top, however the base has columns, reminiscent of Greek and early Roman design. The Humana building is basically a rectangular shape, with a vertical rectangular shape. Verticals were important in this time, as well as during the early Greek and roman periods. The building is a vertical shape, reaching up as far as the eye can see’ or at least when compared to the buildings surrounding it. With the exception of one sky scraper directly next to it, the Humana Building is the tallest building in the area. It does stick out next to the other building, however; the sky scraper is made of almost entirely windows, while the Humana building is constructed of an even mixture of flat pink granite** and windows.
When concerning commodity, function and delight, Michael Graves did a good job. The building has strong materials, while also incorporating elements that were appealing, such as the pink granite. This material is not widely used, and because of this it is very appealing to people walking by; it provides interest. There are other elements in the design which function the same was. For example, the columns at the base help to keep the structure standing, while also serving as a grand entrance way. There is also a large, open curved space near the top which serves as an observation deck. This deck allows for a grand view of the Ohio River as well as other surrounding buildings – this is an element that has a function (a calming place), and is very delightful to those who use it.
Personally I find the Humana Building by Michael Graves to be a very intriguing building. He combines many classic elements, as well as new modern one to create a place for people to enjoy. I believe he blends the elements together nicely, and I appreciate the way in which he designed all the sides differently. Last, I believe he designed the building well in comparison to its use – a calming yet complex place that deals with things that aren’t so simple such as healthcare and insurance.
*http://www.bluffton.edu/~sullivanm/kentucky/louisville/humana/humana.html
**http://eng.archinform.net/projekte/6402.htm
The front façade was very important to the design; each of the four sides differs at least slightly in a combination of color and texture. The heavy appeal to the façade connects to Romanesque architecture, where the façade was also the most important. Also, at the top of the building in the front, it molds into a temple form harkening back, obviously, to Egyptian styles. Some say that the eight story base which extends from the front can be seen as similar to a ziggurat. * The mix of these classical elements emphasize two main things; the first is that the building is important and borrows from well known and well respected designs, the second is that Michael Graves, the architect, wanted to create his own modern spin on these classic designs, connecting the past to the present.
The building itself actually has a mixture of elements from the past. As I have mentioned it has a temple at the top, however the base has columns, reminiscent of Greek and early Roman design. The Humana building is basically a rectangular shape, with a vertical rectangular shape. Verticals were important in this time, as well as during the early Greek and roman periods. The building is a vertical shape, reaching up as far as the eye can see’ or at least when compared to the buildings surrounding it. With the exception of one sky scraper directly next to it, the Humana Building is the tallest building in the area. It does stick out next to the other building, however; the sky scraper is made of almost entirely windows, while the Humana building is constructed of an even mixture of flat pink granite** and windows.
When concerning commodity, function and delight, Michael Graves did a good job. The building has strong materials, while also incorporating elements that were appealing, such as the pink granite. This material is not widely used, and because of this it is very appealing to people walking by; it provides interest. There are other elements in the design which function the same was. For example, the columns at the base help to keep the structure standing, while also serving as a grand entrance way. There is also a large, open curved space near the top which serves as an observation deck. This deck allows for a grand view of the Ohio River as well as other surrounding buildings – this is an element that has a function (a calming place), and is very delightful to those who use it.
Personally I find the Humana Building by Michael Graves to be a very intriguing building. He combines many classic elements, as well as new modern one to create a place for people to enjoy. I believe he blends the elements together nicely, and I appreciate the way in which he designed all the sides differently. Last, I believe he designed the building well in comparison to its use – a calming yet complex place that deals with things that aren’t so simple such as healthcare and insurance.
*http://www.bluffton.edu/~sullivanm/kentucky/louisville/humana/humana.html
**http://eng.archinform.net/projekte/6402.htm
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