[pair]ing down
meditation/celebration
light/shadow
transpose/juxtapose
literal/abstract
monologue/dialogue
Wednesday, April 29, 2009
Wednesday, April 22, 2009
Opus Entry
synthesis: this selection of the opus entry is meant to tell the story of the modernist tradition. Modernism is, at its roots-just like every other movement that we have studied this semester. It is different, in my eyes, because for the first time- the reaction (as in ACTION VERBS) -ary measures taken by the architects and designers clearly define how they events in history influenced design.
action verbs
“…for what I believe history will judge the most remarkable outpouring of artistic creativity since the early Renaissance. Modernism was closely linked to economic and social modernization, and it can hardly be held wholly accountable for the sins of property speculators and government bureaucracies…” (Weston 4).
compose
“…his interiors were marked by the Modernist integration of interior and exterior. At his own duplex in New York City the paving-slabs of the garden continue into the living area to provide continuity.” (Massey 150)
Bringing in the outdoors. Alvar Aalto sought to bring the outdoors in for the patients at the Paimo Sanatorium, as it was believed that the cure for tuberculosis included lots of time spent in the fresh air.
shape“The new architecture is anti-cubic, that is to say, it does not try to freeze the different functional space-cells in one closed cube. Rather it throws the functional space cells (as well as overhanging planes, balcony, volumes, etc.) centrifugally from the core.” (Massey 71).
Stretch
“He experimented with new materials such as spun aluminum, melamine, vinyl and metals in the design of functional objects, such as chair with a concealed writing-table and magazine-rack, and oven-to-table ware.” (Massey 150)
Energize
“The simple steel framework of the building is sheathed in plate glass and metal screening to create a feeling of openness and interaction with nature…” (Massey 145)
It is hard to Imagine being anything but energized while relaxing in one of Johnson's glass houses, reclining in the most sumptuous of leather recliners
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Paimo Sanitorium- Picture from flickr- http://www.flickr.com/photos/kap_cris/877698036/
Glass House- Photos by Erik Johnson. Article from Time magazine by Richard Lacayo. Posted on blog at http://lookingaround.blogs.time.com/2007/06/22/people_who_live_in_glass_house/
Friday, April 17, 2009
Unit Summary
The reflections unit is a bit harder to describe than the previous units. “Reflection” as a concept is opinionated by nature. Reflection can also be focused on any topic on which a person wishes to ruminate- whereas; “alternative” and “foundation” are more concrete, operationally definable concepts.
For the unit summary purpose, I think that it is useful to reflect on the different ways that design and architecture was affected in different sections of the world by events and movements in the 18th and 19th centuries. Were the reactions of the people of the 19th century to ancient concepts like invention and war different than the reactions of people that lived in previous centuries? From a hindsight point of view- I think that they aren’t. The architectural moves made in the 19th century are, at their roots, very similar to previous centuries design choices and conflicts. The reason that we tend to view the 19th century as different was because of the magnitude of the inventions and communications that were taking place.
This unit included many design “conflicts.” I would suggest that the 19th century is not the first time that “conflict” in design happened- it was however the first time that there were multiple opportunities to express ones opinion and grow a movement basis. The ancient- gothic-renaissance-and baroque periods were categorized by the power of Empire and monarchy- whereas the 18th and 19th centuries have the rise of the first “open” settings for opinion and creativity. Design contests are now public- the “losers” of these contests were still viewed by the public.
Design “conflicts” also started to take place in quicker succession than in previous centuries- due largely to the fact that everything else in the world was moving more quickly as well.Information was accessible to many more people, much more quickly than ever before. Previously, theorists would have had to wait a long time to find out what was happening in the design world. With the advent of the printing press, photography and the increased availability of land and water travel- design and buildings could not only be written about in books and magazines, but also visited in person. If one didn’t have the money to travel around the world- world’s fairs became hugely popular as a competitive field for displaying the best and brightest of any given country. For any opinionated person, this added even more pressure to argue with even more people about everything.
For as many commonalities that can be found in the 18th and 19th century, there are just as many new issues. Population growth in this period was completely unprecedented. The world saw its first pandemics. The days of conquest by brute force were over – countries now teamed up and fought wars over ideas.
Reflection is present in this unit as it was happening within the period. This period is all about the increased ability of people to reflect on history and form new opinions. My reflection for this unit is about the human changes (or lack thereof) that took place.
Image from the 2008 Worlds Fair in Zaragoza, Spain. From the webstie of worldsfair.com
For the unit summary purpose, I think that it is useful to reflect on the different ways that design and architecture was affected in different sections of the world by events and movements in the 18th and 19th centuries. Were the reactions of the people of the 19th century to ancient concepts like invention and war different than the reactions of people that lived in previous centuries? From a hindsight point of view- I think that they aren’t. The architectural moves made in the 19th century are, at their roots, very similar to previous centuries design choices and conflicts. The reason that we tend to view the 19th century as different was because of the magnitude of the inventions and communications that were taking place.
This unit included many design “conflicts.” I would suggest that the 19th century is not the first time that “conflict” in design happened- it was however the first time that there were multiple opportunities to express ones opinion and grow a movement basis. The ancient- gothic-renaissance-and baroque periods were categorized by the power of Empire and monarchy- whereas the 18th and 19th centuries have the rise of the first “open” settings for opinion and creativity. Design contests are now public- the “losers” of these contests were still viewed by the public.
Design “conflicts” also started to take place in quicker succession than in previous centuries- due largely to the fact that everything else in the world was moving more quickly as well.Information was accessible to many more people, much more quickly than ever before. Previously, theorists would have had to wait a long time to find out what was happening in the design world. With the advent of the printing press, photography and the increased availability of land and water travel- design and buildings could not only be written about in books and magazines, but also visited in person. If one didn’t have the money to travel around the world- world’s fairs became hugely popular as a competitive field for displaying the best and brightest of any given country. For any opinionated person, this added even more pressure to argue with even more people about everything.
For as many commonalities that can be found in the 18th and 19th century, there are just as many new issues. Population growth in this period was completely unprecedented. The world saw its first pandemics. The days of conquest by brute force were over – countries now teamed up and fought wars over ideas.
Reflection is present in this unit as it was happening within the period. This period is all about the increased ability of people to reflect on history and form new opinions. My reflection for this unit is about the human changes (or lack thereof) that took place.
Image from the 2008 Worlds Fair in Zaragoza, Spain. From the webstie of worldsfair.com
Wednesday, April 8, 2009
Between Silence and Light
between silence + light
I found the title “between silence and light” to be a bit puzzling for my interpretation of these word prompts. I can think of several points in the 19th century that personify the title, but those were not the examples that I linked with the word prompts for this week. I intentionally chose to not go the obvious route this week and talk about the arts and Crafts movement. If I were talking about the Craft movement the title “Between Silence and light” probably would have fit much better. In the end-I felt that the impressions I took from these prompt words better represented myself and my thinking than trying to feign interest in the arts and crafts movement- so this my Opus.
These words are linked together by the 19th century quest to find another kind of balance- the balance between form and function. Increasing awareness and availability of information to a group of highly intelligent and inquisitive architects made the hugely contrasting styles of the 19th century possible.
public/private
“In the United States, where laissez-faire capitalism controlled business and politics, no direction was given to urban growth. In Europe, however, where governmental and bureaucratic control was more customary, steps were taken to shape urban growth…” (Roth 491).
Roth spends a great deal of time giving statistics on the growth of cities in the nineteenth century. His numbers show that growth of cities was exponential in both Europe and America. I found it interesting that after the above quote-Roth immediately described the dreary state of Paris before the "steps were taken to shape growth," making his above argument seem, at least for a short period of time, contradictory.
1--
2 and of growth for cities, business and trade. The
ground floors of these residences on Water Street in
Philadelphia, Pa
If you didn't know that these two images came from two different countries- you might assume that the photo on the right came from Paris- It seems as though neither America nor Europe could adequately handle the population boom of the 19th century.
language
Language is the most basic unit of common understanding and communication. If two people understand a common language they should be able to understand each other on at least a word-for-word basis. Sir George Gilbert Scott, an architect and designer of High Victorian Gothic style building sought to send a message that didn’t require the use of words, but drew on the common understanding that experiences create for a people. John Ruskin, architectural critic described, “…external representation of internal function through varied building masses and in expressive use of various building materials in their natural colors…” as one of the primary goals of architecture (Roth 484).
3
The different ways that buildings can portray the function of their interior on the exterior is clear in this photograph. St. Pauls is very clearly a church- then just across the street- The Guaranty Building is a bit of a misnomer!
technique
“While the students at the Ecole des Beaux Arts were taught structural design and construction techniques, design instruction at the Ecole des Beaux Arts focused strongly on plan organization, with a view to the simplest possible circulation into and through the building, as well as on expression of the character of the function being housed.” (Roth 499)
4-
5
Ecole des Beaux Arts
Necessary for the development of any fine art is the availability of a good education. Variety of educational resources is as necessary, if not more, to the development of one's individual technique. Art is only heightened by the push and pull that are created by the ego.
craft
“Nearly all these late-nineteenth-century architects had extensive academic training and ready access to huge libraries of photograph, monographs, and illustrated portfolios covering the rich panoply of past architectures. They used an eclectic approach to design, but based on academic knowledge and restraint.” (Roth 506)
It is important for the refinement of a craft that professionals have a healthy interest in historical information and documentation of generations past. While creativity is worth its weight in gold, there is only so much that an artist can do without inspiration.
virtual
Princeton’s wordnet dictionary defines the word “virtual” as “(a): existing in essence or effect though not in actual fact.” Skyscrapers are the virtual Gods of the metropolitan city. Roth quotes Louis H. Sullivan, “to his definition of the modern commercial skyscraper: ‘It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line.” (Roth 509).
------------------------------------------------
1. Photo courtesy of Free Library of Philadelphia. http://www.census.gov/history/www/economic/010887.html
2. photo not cited- found via google through wikimedia.
3. Promotional Photograph for the City of Buffalo- http://www.visitbuffaloniagara.com/visitors/tours/driving.asp
4. Found on Flickr - http://www.flickr.com/photos/28905170@N00/3050137603/
5.Found on Flickr - http://www.flickr.com/photos/28905170@N00/3327787451/
I found the title “between silence and light” to be a bit puzzling for my interpretation of these word prompts. I can think of several points in the 19th century that personify the title, but those were not the examples that I linked with the word prompts for this week. I intentionally chose to not go the obvious route this week and talk about the arts and Crafts movement. If I were talking about the Craft movement the title “Between Silence and light” probably would have fit much better. In the end-I felt that the impressions I took from these prompt words better represented myself and my thinking than trying to feign interest in the arts and crafts movement- so this my Opus.
These words are linked together by the 19th century quest to find another kind of balance- the balance between form and function. Increasing awareness and availability of information to a group of highly intelligent and inquisitive architects made the hugely contrasting styles of the 19th century possible.
public/private
“In the United States, where laissez-faire capitalism controlled business and politics, no direction was given to urban growth. In Europe, however, where governmental and bureaucratic control was more customary, steps were taken to shape urban growth…” (Roth 491).
Roth spends a great deal of time giving statistics on the growth of cities in the nineteenth century. His numbers show that growth of cities was exponential in both Europe and America. I found it interesting that after the above quote-Roth immediately described the dreary state of Paris before the "steps were taken to shape growth," making his above argument seem, at least for a short period of time, contradictory.
1--
2The mid-nineteenth century was a time of transition
ground floors of these residences on Water Street in
Philadelphia, Pa
If you didn't know that these two images came from two different countries- you might assume that the photo on the right came from Paris- It seems as though neither America nor Europe could adequately handle the population boom of the 19th century.
language
Language is the most basic unit of common understanding and communication. If two people understand a common language they should be able to understand each other on at least a word-for-word basis. Sir George Gilbert Scott, an architect and designer of High Victorian Gothic style building sought to send a message that didn’t require the use of words, but drew on the common understanding that experiences create for a people. John Ruskin, architectural critic described, “…external representation of internal function through varied building masses and in expressive use of various building materials in their natural colors…” as one of the primary goals of architecture (Roth 484).
3The different ways that buildings can portray the function of their interior on the exterior is clear in this photograph. St. Pauls is very clearly a church- then just across the street- The Guaranty Building is a bit of a misnomer!
technique
“While the students at the Ecole des Beaux Arts were taught structural design and construction techniques, design instruction at the Ecole des Beaux Arts focused strongly on plan organization, with a view to the simplest possible circulation into and through the building, as well as on expression of the character of the function being housed.” (Roth 499)
4-
5Ecole des Beaux Arts
craft
“Nearly all these late-nineteenth-century architects had extensive academic training and ready access to huge libraries of photograph, monographs, and illustrated portfolios covering the rich panoply of past architectures. They used an eclectic approach to design, but based on academic knowledge and restraint.” (Roth 506)
It is important for the refinement of a craft that professionals have a healthy interest in historical information and documentation of generations past. While creativity is worth its weight in gold, there is only so much that an artist can do without inspiration.
virtual
Princeton’s wordnet dictionary defines the word “virtual” as “(a): existing in essence or effect though not in actual fact.” Skyscrapers are the virtual Gods of the metropolitan city. Roth quotes Louis H. Sullivan, “to his definition of the modern commercial skyscraper: ‘It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line.” (Roth 509).
------------------------------------------------
1. Photo courtesy of Free Library of Philadelphia. http://www.census.gov/history/www/economic/010887.html
2. photo not cited- found via google through wikimedia.
3. Promotional Photograph for the City of Buffalo- http://www.visitbuffaloniagara.com/visitors/tours/driving.asp
4. Found on Flickr - http://www.flickr.com/photos/28905170@N00/3050137603/
5.Found on Flickr - http://www.flickr.com/photos/28905170@N00/3327787451/
History and Theory of Design – Draft of Precedent Analysis Writing
• Introduction- The Ideal Stadium
o“Sports Stadia are essentially large theatres of entertainment which ought to be as pleasant to visit as a cinema, opera house or play theatre, whilst also being social and architectural landmarks in their towns and cities.” (Stadia John, Sheard, &Vickery 49)
o“Design excellence is achieved in stadia when structure, enclosure and finishes express at all scales…a single concept which functions well, is rich and expressive, and avoids jarring conflicts.” (49)
• Historical Setting
o The domed stadium is the building form in which the race to design horizontally and the race to design vertically are able to collide to create a venue that is large vertically-in order to recreate the feeling of open-air first idealized in Stadia and large horizontally-to maximize profit by expanding the market of people who use the stadium beyond sporting events and into convention space-musical event-hotel-suite- and office space.
•Vertical Vastness- The view of the top of the dome from the On-The Field Perspective
•Historic Horizontal- The view of the front of the dome from the Outside Perspective of the Stadium
• Sound- Effects and Comparison. All below tabs are to be supported with their own deliverables that clearly show the way each factor effects sound maintenance and production in the Lucas Oil stadium.
oDome Shape
•In designing domes soft curves and slopes of the enemy of sound. This means that irregular shapes create many fewer acoustic problems and rectangular or curved ones. Surfaces that are broken up by moldings reflect less sound that flat ones. (Stadia John, Sheard, & Vickery 224)
oDome Height
oAngle of ideal sound projection
oSeating shape
•Overhanging seating layouts have been avoided so avoid the buildup of sound intensity in the seats below the handing tier.
oCatchers within the Stadium
•Halls
•Press boxes
•Tunnels
•The Drum Corps Effect: Music in Motion and Their Stake in the Dome
oComparison of features in the Lucas Oil Dome Specific to Drum and Bugle Corps to other Domes that the Drum and Bugle Corps Competition circuit travel to.
•San Antonio, TX- The Alamodome
•Indianapolis, IN- The RCA Dome
•Atlanta, GA- The Georgia Dome
•What everyone else is talking about: The Retractable Roof Dome
oArchitectural theorists who study focus on the theory behind stadium design suggest three camps to the philosophy of how stadiums can be classified; dominant roof, dominant façade, and dominant structure (Stadia John, Sheard, &Vickery 51). The Lucas Oil Stadium could easily be classified either a dominant façade stadium or a dominant roof stadium.
oComparison to other Retractable Roof Domes (Construction)
•Skydome- Toronto, CA
•Skytent
•Dallas Cowboys Stadium- Dallas, Texas
•Lengthwise retraction
•Millennium Stadium- Cardiff, Wales
•(Stadia John, Sheard & Vickery 281)
•Kukuoka Dome
•Circular retraction
oLucas Oil
•First of its kind -- SuperFrame Structural System
•Unique 2 panel moving roof design -- roof supported on 5 rails
•Gabled roof with peak running north/south down center of field
•176,400 square feet opening area (300’ east/west x 588’ north/south)
•Long, narrow panels “stack” over building and do not overhang or overshadow the building facade
•Operating Mechanism -- cable drum drives mounted to (upper) transporters
•About 9 - 11 minutes opening or closing time
•Other Lucas Oil Stadium Feature Firsts
oThe Indoor Facility- Chambers surrounding the actual field. Financial stability of the stadium is dependant upon the stadiums ability to continually accrue earnings throughout the year. Even with the multiple sports seating configurations that are available in Lucas Oil Stadium, sporting events alone are not able to single handedly pay for the construction and operation of this mammoth venue. The Lucas Oil design team has smartly added many special features that do not directly relate to sporting events.
•Tradeshows can take advantage of an indoor 30,000 square foot loading dock with 11 bays, retractable seating and operable walls to utilize up to 183,000 contiguous square feet of space.
•Conventions may use the stadium for general sessions in a variety of configurations. The twelve backstage meeting rooms plus the 25,000 square foot Exhibition Hall 1 and 18,000 square foot Exhibition Hall 2 may be utilized for additional convention space.
137 luxury suites for lease, including 8 field suites that offer a unique opportunity to see the game up close and personal, as well as 12 super suites. All suites are equipped with leather armchairs, bar stools, elegant furnishings, and flat screen televisions complete with NFL Sunday Ticket and game statistics provided via video network. Inside you will also have the ability to select press, public address, radio, television and auxiliary audio feeds. Seating capacities within the various suites range from 8 -72 guests. Restrooms for suites are conveniently located on each level.
•Both the east and west club lounges lend themselves to host a multitude of events. East and West Club Lounges are each two-level with internal escalators, elevators, and stairs connecting the two levels. With nearly 30,000 square feet in each club lounge, full service bars, upscale concessions, dedicated restrooms, numerous HD flat screen TV’s and video wall, an integrated audio system, and easy access from the main parking lot, the Club Lounges offer a plethora of options!
•Lucas Oil Plaza is located on the north end of street level. It is best suited for banquet style dinners and receptions, finished with a décor to match the buildings namesake, Lucas Oil. It offers access to meeting rooms located on event level via elevator, escalator, and stairs. Lucas Oil Plaza comes outfitted with access to electricity and has a horseshoe shaped stage in the center, which can be used by entertainment or a speaker.
oThe Picture Window Wall
•Placed at the foot of the “picture window”, the Bud Light Zone is located on the north end of Terrace Level and has the best view in the house. It is 12,500 square feet of an incredible view of downtown on one side, and the field on the other.
oThe variety of seating designs for use at sporting events
•Floor plans will be attached for support of the vast changeability as part of the deliverables portion of this Precedent Analysis. Floor Plans for: End zone Mini-Dome Basketball- NCAA Full Facility Basketball- Concert- Tradeshow- Football- and of course Marching Band!
oThe Curtained Backdrop
--------------------------------------------------------------------------------
Works Cited
Baim, Dean V. The Sports Stadium as a Municipal Investment. Westport, CT : Greenwood Press, 1994.
Hardy, Hugh. Building Type Basics for Performing Arts Facilities. Hoboken, New Jersey: John Wiley & Sons, Inc., 2006.
Jewell, Don. Public Assembly Facilities Planning and Management. New York : Wiley-Interscience, 1978.
John, Geraint, Rod Sheard, and Ben Vickery. Stadia, a Design and Development Guide. Burlington, MA: Elsevier Limited, 2007.
Petersen, David C. Sports, Convention, and Entertainment Facilities. Washington, D.C.: ULI- the Urban Land Institute, 1996.
• Introduction- The Ideal Stadium
o“Sports Stadia are essentially large theatres of entertainment which ought to be as pleasant to visit as a cinema, opera house or play theatre, whilst also being social and architectural landmarks in their towns and cities.” (Stadia John, Sheard, &Vickery 49)
o“Design excellence is achieved in stadia when structure, enclosure and finishes express at all scales…a single concept which functions well, is rich and expressive, and avoids jarring conflicts.” (49)
• Historical Setting
o The domed stadium is the building form in which the race to design horizontally and the race to design vertically are able to collide to create a venue that is large vertically-in order to recreate the feeling of open-air first idealized in Stadia and large horizontally-to maximize profit by expanding the market of people who use the stadium beyond sporting events and into convention space-musical event-hotel-suite- and office space.
•Vertical Vastness- The view of the top of the dome from the On-The Field Perspective
•Historic Horizontal- The view of the front of the dome from the Outside Perspective of the Stadium
• Sound- Effects and Comparison. All below tabs are to be supported with their own deliverables that clearly show the way each factor effects sound maintenance and production in the Lucas Oil stadium.
oDome Shape
•In designing domes soft curves and slopes of the enemy of sound. This means that irregular shapes create many fewer acoustic problems and rectangular or curved ones. Surfaces that are broken up by moldings reflect less sound that flat ones. (Stadia John, Sheard, & Vickery 224)
oDome Height
oAngle of ideal sound projection
oSeating shape
•Overhanging seating layouts have been avoided so avoid the buildup of sound intensity in the seats below the handing tier.
oCatchers within the Stadium
•Halls
•Press boxes
•Tunnels
•The Drum Corps Effect: Music in Motion and Their Stake in the Dome
oComparison of features in the Lucas Oil Dome Specific to Drum and Bugle Corps to other Domes that the Drum and Bugle Corps Competition circuit travel to.
•San Antonio, TX- The Alamodome
•Indianapolis, IN- The RCA Dome
•Atlanta, GA- The Georgia Dome
•What everyone else is talking about: The Retractable Roof Dome
oArchitectural theorists who study focus on the theory behind stadium design suggest three camps to the philosophy of how stadiums can be classified; dominant roof, dominant façade, and dominant structure (Stadia John, Sheard, &Vickery 51). The Lucas Oil Stadium could easily be classified either a dominant façade stadium or a dominant roof stadium.
oComparison to other Retractable Roof Domes (Construction)
•Skydome- Toronto, CA
•Skytent
•Dallas Cowboys Stadium- Dallas, Texas
•Lengthwise retraction
•Millennium Stadium- Cardiff, Wales
•(Stadia John, Sheard & Vickery 281)
•Kukuoka Dome
•Circular retraction
oLucas Oil
•First of its kind -- SuperFrame Structural System
•Unique 2 panel moving roof design -- roof supported on 5 rails
•Gabled roof with peak running north/south down center of field
•176,400 square feet opening area (300’ east/west x 588’ north/south)
•Long, narrow panels “stack” over building and do not overhang or overshadow the building facade
•Operating Mechanism -- cable drum drives mounted to (upper) transporters
•About 9 - 11 minutes opening or closing time
•Other Lucas Oil Stadium Feature Firsts
oThe Indoor Facility- Chambers surrounding the actual field. Financial stability of the stadium is dependant upon the stadiums ability to continually accrue earnings throughout the year. Even with the multiple sports seating configurations that are available in Lucas Oil Stadium, sporting events alone are not able to single handedly pay for the construction and operation of this mammoth venue. The Lucas Oil design team has smartly added many special features that do not directly relate to sporting events.
•Tradeshows can take advantage of an indoor 30,000 square foot loading dock with 11 bays, retractable seating and operable walls to utilize up to 183,000 contiguous square feet of space.
•Conventions may use the stadium for general sessions in a variety of configurations. The twelve backstage meeting rooms plus the 25,000 square foot Exhibition Hall 1 and 18,000 square foot Exhibition Hall 2 may be utilized for additional convention space.
137 luxury suites for lease, including 8 field suites that offer a unique opportunity to see the game up close and personal, as well as 12 super suites. All suites are equipped with leather armchairs, bar stools, elegant furnishings, and flat screen televisions complete with NFL Sunday Ticket and game statistics provided via video network. Inside you will also have the ability to select press, public address, radio, television and auxiliary audio feeds. Seating capacities within the various suites range from 8 -72 guests. Restrooms for suites are conveniently located on each level.
•Both the east and west club lounges lend themselves to host a multitude of events. East and West Club Lounges are each two-level with internal escalators, elevators, and stairs connecting the two levels. With nearly 30,000 square feet in each club lounge, full service bars, upscale concessions, dedicated restrooms, numerous HD flat screen TV’s and video wall, an integrated audio system, and easy access from the main parking lot, the Club Lounges offer a plethora of options!
•Lucas Oil Plaza is located on the north end of street level. It is best suited for banquet style dinners and receptions, finished with a décor to match the buildings namesake, Lucas Oil. It offers access to meeting rooms located on event level via elevator, escalator, and stairs. Lucas Oil Plaza comes outfitted with access to electricity and has a horseshoe shaped stage in the center, which can be used by entertainment or a speaker.
oThe Picture Window Wall
•Placed at the foot of the “picture window”, the Bud Light Zone is located on the north end of Terrace Level and has the best view in the house. It is 12,500 square feet of an incredible view of downtown on one side, and the field on the other.
oThe variety of seating designs for use at sporting events
•Floor plans will be attached for support of the vast changeability as part of the deliverables portion of this Precedent Analysis. Floor Plans for: End zone Mini-Dome Basketball- NCAA Full Facility Basketball- Concert- Tradeshow- Football- and of course Marching Band!
oThe Curtained Backdrop
--------------------------------------------------------------------------------
Works Cited
Baim, Dean V. The Sports Stadium as a Municipal Investment. Westport, CT : Greenwood Press, 1994.
Hardy, Hugh. Building Type Basics for Performing Arts Facilities. Hoboken, New Jersey: John Wiley & Sons, Inc., 2006.
Jewell, Don. Public Assembly Facilities Planning and Management. New York : Wiley-Interscience, 1978.
John, Geraint, Rod Sheard, and Ben Vickery. Stadia, a Design and Development Guide. Burlington, MA: Elsevier Limited, 2007.
Petersen, David C. Sports, Convention, and Entertainment Facilities. Washington, D.C.: ULI- the Urban Land Institute, 1996.
Wednesday, April 1, 2009
(re)actions
The prefix (re) is a complicated prefix. Each of the terms that are used as prompts this week can be easily thought of in terms of a type of (re) action.
Sources are the causes of all reactions. By labeling any stimulus a source, we suggest that there is something that will be affected or informed. Sources, in the educational sense are important for basis of knowledge; they are citable facts and figures upon which solid opinions can be speculated. Movement in my investigation is a scientific term. In this context of reactions- I think of movement as the formation of a social group with similar ideas and ideals that may (or may not move between physical locations as a consequence of their shared background). The formation (or (re) formation) of these movements is a reactionary evolution to change. Rotation- when thought of as a geometrical term, refers to the movement of an object or picture in a particular fashion around a particular axis or symmetrical line. Once this has taken place- the object can be reinterpreted by its new symmetrical placement. Many movements are mere rotations of ideas. In class (today) Patrick mentioned that to be a reformation, some change must be present- some new idea must be represented for a “formed” group to be considered “reformed.” I think rotation is a good way to represent the goal that many groups have in mind when “reforming” themselves- they are not looking to completely eradicate the ideas of their predecessors, rather they want to refocus (or rotate around) their focal point.
Illumination and reflection are grouped together in my reflection of (re)actions because they are both (re) actions that people can actively take in the interpretation of sources to form new movements or reform old movements.
Illumination has been a powerful metaphor for many movements in history. On UNC Greensboro's campus, the ceremonial lighting of candles, known as "luminaries" is an inspirational winter tradition.
As a psychology major- (I am also a music major but this particular post happens to fit better with my science-y side) I am constantly investigating the link between cause and effect. We have entire classes based on research methods of cause and effect- I have had countless professors spend hours discussing at length how the world of cause and effect are inextricably linked. I would suggest that in this sense- sources are a cause and movements are an effect. This effect is often categorized by a person reflecting on a thought that has been illuminated through any given series of events. That said- On to the artsy stuff to actually apply all of these incredibly science-y concepts. My goal for this piece is to link all of these words together and show that any reaction to one term can be effectively linked to another term.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Source and Movement
Sources- as I explained above- are important as they give factual basis for any argument. In this case of architecture- I believe that the most important sources that we can study are the original design movements that eventually inspire revival. Without these sources- we could never have theorists like Morris and Ruskin who debate over whether or not reinterpretation is legitimate!
"At first as the nouveaux riches moved into communities and became part of the landed gentry they desired to be accepted by the established families. They did not have independent aesthetic standards;this meant that when the new country houses were constructed the new owners emulated their neighbors. ...Throughout the period...there were two conflicting strains of development: one of traditionalism, the other based on the felt need for reform and innovation..." (Blakemore 392-393).
Source and Rotation
Icoachmath.com says, “ Rotation is a transformation that turns a figure about a fixed point.” The above blurb mentions reinterpretation. Rotation and reinterpretation often go hand and hand in the philosophy of a movement.
1
Any high school aged math student will tell you that if you rotate an object enough, you will eventually end up with the exact same object you started with. While this concept works scientifically- I think the theorists have clearly shown that it doesn’t always line up in practice. I do not think that Morris-no matter how much he rotated and reacted against revivalist styles would ever end up supporting the idea he reacted to. Thus is the beauty of stubbornness.
"The Aesthetic Movement lack the moral concerns of the Arts and Crafts Movement. its object was to create less ponderous and healthier 'artistic' interiors for the Victorian middle classes, whose tastes had now mature." (Massey 26). This quote sums up the interaction between rotation and re-evolution of an idea. The progression of movements in the reactions period of this course begins with the lavish Gothic style of decoration- which is followed by the oppositionally stark Arts and Crafts Movement- which is followed by the reinstatement of luxury in the aesthetic and revivalist movements. While the movements do eventually rotate back upon themselves, we have yet to seen a particular theorist that is humble enough to identify this particular trait within his own theory.
The closest we come to a theorist contradicting oneself is the identification of the challenges of creating a movement. "The future of modern art rests with the middle class, but they need educating. they are worth educating too...but it behoves those who cater for this class to be very careful to only produce really good things, perfect in design and workmanship. If the public is taught how to distinguish true art from the many varieties of false, it will appreciate each at its proper value. True, it costs more to produce superior articles, but the expense is only an initial one, for in this, as in other things, in the long run good articles are cheaper- and moreover, they often come to have an intrinsic worth of their own." (Massey 62). In this quote, challenge is met with healthy respect and a solution is at least suggested-however unrealistic it may be.
Reflection and Illumination Effect Movements
Reflection and Illumination effect movements in that they are often the cause (or they are the reaction that is the cause) of formation and reformation of any given movement. As history continually plays out-events transpire and refocus the attention of thoughtful, involved people. It is only natural for these curious people to reflect about how they might alternatively interpret EVERYTHING given certain illuminations.
“A movement influencing not only the visual arts but also literature and music, Romanticism was responsible for the tendency to rely on naturalistic elements.” (Blakemore 390). Reflection and illumination of particular concepts in movements are essential. Movements must have core values that can be ruminated on if they are expected to take on any significance.
Given "certain illuminations" designers have chosen to make statements through their creation (or recreations as the case may be). The White House is a prime example of how a historical movement can make a statement by deliberately NOT changing the design of a building.
The Oldest known image of the White House. 2
The White House as it appeared after it was burned by the British in 1814. 3
The Shiny "White" White House as it stands today. 4
"It was against a background of such historicism that designers in Belgium and France created a style without historical precedent, that made new use of materials such as iron ,and was directed towards the middle classes and intelligentsia rather than the very wealthy...From 1893, Art Nouveau architect-designers concerned themselves with all the elements of a building, from the architectural shell down to the door handles. To create a fully integrated and contemporary environment was the pivotal aim of the movement." (Massey 32-33)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1. Vase by Matthias Frobose. Dieser Beitrag wurde vor am Saturday, 24. January 2009 um %R Uhr veröffentlicht und unter Formforschung gespeichert. http://froboese.info/2009/01/vase/
2.Department of the Interior, U.S. National Park Service Information Please® Database, © 2007 Pearson Education, Inc. All rights reserved. http://www.infoplease.com/ipa/A0194024.html
3. Picture from www.whitehousehistory.org. Cited as Library of Congress. http://www.whitehousehistory.org/04/subs/04_a02_c.html
4.Department of the Interior, U.S. National Park Service Information Please® Database, © 2007 Pearson Education, Inc. All rights reserved. http://www.infoplease.com/ipa/A0194024.html
Sources are the causes of all reactions. By labeling any stimulus a source, we suggest that there is something that will be affected or informed. Sources, in the educational sense are important for basis of knowledge; they are citable facts and figures upon which solid opinions can be speculated. Movement in my investigation is a scientific term. In this context of reactions- I think of movement as the formation of a social group with similar ideas and ideals that may (or may not move between physical locations as a consequence of their shared background). The formation (or (re) formation) of these movements is a reactionary evolution to change. Rotation- when thought of as a geometrical term, refers to the movement of an object or picture in a particular fashion around a particular axis or symmetrical line. Once this has taken place- the object can be reinterpreted by its new symmetrical placement. Many movements are mere rotations of ideas. In class (today) Patrick mentioned that to be a reformation, some change must be present- some new idea must be represented for a “formed” group to be considered “reformed.” I think rotation is a good way to represent the goal that many groups have in mind when “reforming” themselves- they are not looking to completely eradicate the ideas of their predecessors, rather they want to refocus (or rotate around) their focal point.
Illumination and reflection are grouped together in my reflection of (re)actions because they are both (re) actions that people can actively take in the interpretation of sources to form new movements or reform old movements.
Illumination has been a powerful metaphor for many movements in history. On UNC Greensboro's campus, the ceremonial lighting of candles, known as "luminaries" is an inspirational winter tradition.
As a psychology major- (I am also a music major but this particular post happens to fit better with my science-y side) I am constantly investigating the link between cause and effect. We have entire classes based on research methods of cause and effect- I have had countless professors spend hours discussing at length how the world of cause and effect are inextricably linked. I would suggest that in this sense- sources are a cause and movements are an effect. This effect is often categorized by a person reflecting on a thought that has been illuminated through any given series of events. That said- On to the artsy stuff to actually apply all of these incredibly science-y concepts. My goal for this piece is to link all of these words together and show that any reaction to one term can be effectively linked to another term.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Source and Movement
Sources- as I explained above- are important as they give factual basis for any argument. In this case of architecture- I believe that the most important sources that we can study are the original design movements that eventually inspire revival. Without these sources- we could never have theorists like Morris and Ruskin who debate over whether or not reinterpretation is legitimate!
"At first as the nouveaux riches moved into communities and became part of the landed gentry they desired to be accepted by the established families. They did not have independent aesthetic standards;this meant that when the new country houses were constructed the new owners emulated their neighbors. ...Throughout the period...there were two conflicting strains of development: one of traditionalism, the other based on the felt need for reform and innovation..." (Blakemore 392-393).
Source and Rotation
Icoachmath.com says, “ Rotation is a transformation that turns a figure about a fixed point.” The above blurb mentions reinterpretation. Rotation and reinterpretation often go hand and hand in the philosophy of a movement.
1Any high school aged math student will tell you that if you rotate an object enough, you will eventually end up with the exact same object you started with. While this concept works scientifically- I think the theorists have clearly shown that it doesn’t always line up in practice. I do not think that Morris-no matter how much he rotated and reacted against revivalist styles would ever end up supporting the idea he reacted to. Thus is the beauty of stubbornness.
"The Aesthetic Movement lack the moral concerns of the Arts and Crafts Movement. its object was to create less ponderous and healthier 'artistic' interiors for the Victorian middle classes, whose tastes had now mature." (Massey 26). This quote sums up the interaction between rotation and re-evolution of an idea. The progression of movements in the reactions period of this course begins with the lavish Gothic style of decoration- which is followed by the oppositionally stark Arts and Crafts Movement- which is followed by the reinstatement of luxury in the aesthetic and revivalist movements. While the movements do eventually rotate back upon themselves, we have yet to seen a particular theorist that is humble enough to identify this particular trait within his own theory.
The closest we come to a theorist contradicting oneself is the identification of the challenges of creating a movement. "The future of modern art rests with the middle class, but they need educating. they are worth educating too...but it behoves those who cater for this class to be very careful to only produce really good things, perfect in design and workmanship. If the public is taught how to distinguish true art from the many varieties of false, it will appreciate each at its proper value. True, it costs more to produce superior articles, but the expense is only an initial one, for in this, as in other things, in the long run good articles are cheaper- and moreover, they often come to have an intrinsic worth of their own." (Massey 62). In this quote, challenge is met with healthy respect and a solution is at least suggested-however unrealistic it may be.
Reflection and Illumination Effect Movements
Reflection and Illumination effect movements in that they are often the cause (or they are the reaction that is the cause) of formation and reformation of any given movement. As history continually plays out-events transpire and refocus the attention of thoughtful, involved people. It is only natural for these curious people to reflect about how they might alternatively interpret EVERYTHING given certain illuminations.
“A movement influencing not only the visual arts but also literature and music, Romanticism was responsible for the tendency to rely on naturalistic elements.” (Blakemore 390). Reflection and illumination of particular concepts in movements are essential. Movements must have core values that can be ruminated on if they are expected to take on any significance.
Given "certain illuminations" designers have chosen to make statements through their creation (or recreations as the case may be). The White House is a prime example of how a historical movement can make a statement by deliberately NOT changing the design of a building.
The Oldest known image of the White House. 2
The White House as it appeared after it was burned by the British in 1814. 3
The Shiny "White" White House as it stands today. 4
"It was against a background of such historicism that designers in Belgium and France created a style without historical precedent, that made new use of materials such as iron ,and was directed towards the middle classes and intelligentsia rather than the very wealthy...From 1893, Art Nouveau architect-designers concerned themselves with all the elements of a building, from the architectural shell down to the door handles. To create a fully integrated and contemporary environment was the pivotal aim of the movement." (Massey 32-33)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1. Vase by Matthias Frobose. Dieser Beitrag wurde vor am Saturday, 24. January 2009 um %R Uhr veröffentlicht und unter Formforschung gespeichert. http://froboese.info/2009/01/vase/
2.Department of the Interior, U.S. National Park Service Information Please® Database, © 2007 Pearson Education, Inc. All rights reserved. http://www.infoplease.com/ipa/A0194024.html
3. Picture from www.whitehousehistory.org. Cited as Library of Congress. http://www.whitehousehistory.org/04/subs/04_a02_c.html
4.Department of the Interior, U.S. National Park Service Information Please® Database, © 2007 Pearson Education, Inc. All rights reserved. http://www.infoplease.com/ipa/A0194024.html
Wednesday, March 25, 2009
Grammar-Syntax
revisions“A new approach to space planning typified the residences of the period from about 1720 to 1770. Versatility in planning to accommodate social events was the motivating force for this change. With the emphasis on social activities arose the need for sequences of communal rooms…contrasted with the late 17th century planning concept in which the hall and salone served as the introduction to state apartments with a hierarchical sequence of rooms beyond. “ (Blakemore 250)
“Two design styles are embodied in the series of political changes with occurred between 1789 and 1815…Three governments were operative during the Directiore stylistic period…each of which influenced the repertoire of decorative motifs…Fundamental to the effect on architecture and design and overlapping in their influence were financial stringency, political changes and administrative reforms by the Convention in 1793 that abolished the Academy of Architecture.” (Blakemore 333-334)
transitions in stylistic characteristics featured change with transitioning governments in throughout various time periods.On a more comical note-changes in a particular peice of furniture have often been studied in timeline lapses. 2
datum
The architectural corollary to this late-eighteenth-century industrialization, and its underlying economic and political theory was this: The building tasks that soon were the most pressing were those that provided the greatest use for the greatest number, the greatest public service to the community.” (Roth 463)
audience
“Taken together, these changes in population growth, industrial production and transportation produced a growing middle class, the likes of which had never existed before. This social class would become significant patrons of architecture in the next century.” (Roth 440)
character
“The other effect supported the developing concept of experientialism, or sensationalism… this essay proposed that all human understanding came from experience acquired though sensation rather than through received or inherited knowledge.” (Roth 458-459)
Revision is elemental to the progression of any skill. Particularly in the visual and graphic arts, revisions are necessary not only to improve any skill, but more importantly in the discussion of revolution and reflection, to react to the needs of changing patronage.
It is not uncommon for towns to pride themselves on their ability to make necessary revisions to existing buildings1
The school as it appeared in 1889, as it was first built and before any additions.
From "Radnor: A Pictorial History"
It is not uncommon for towns to pride themselves on their ability to make necessary revisions to existing buildings1
The school as it appeared in 1889, as it was first built and before any additions.
From "Radnor: A Pictorial History"
The school after its first addition in about 1895. The final addition included the expansion of the entire second floor to cover the same area as the first. The dome was removed and a gable roof was installed.
Radnor Historical Society Collection
The High School as it appeard from the back in the 1910's.
Radnor School District Archives
transitionRadnor School District Archives
“Two design styles are embodied in the series of political changes with occurred between 1789 and 1815…Three governments were operative during the Directiore stylistic period…each of which influenced the repertoire of decorative motifs…Fundamental to the effect on architecture and design and overlapping in their influence were financial stringency, political changes and administrative reforms by the Convention in 1793 that abolished the Academy of Architecture.” (Blakemore 333-334)
Transition is often a result of the mechanism of revisions of a particular system. As revisions occur changes reactionally take place. Transition suggests the transportation of a person mentally, physically, ideologically, spiritually- and pretty much any other "-ally" you can think of. Transitions in life are often marked by periods of severe break-down, but in the wake of turmoil and upheaval, improvement and reorganization is made possible.
transitions in stylistic characteristics featured change with transitioning governments in throughout various time periods.On a more comical note-changes in a particular peice of furniture have often been studied in timeline lapses. 2
datum
The architectural corollary to this late-eighteenth-century industrialization, and its underlying economic and political theory was this: The building tasks that soon were the most pressing were those that provided the greatest use for the greatest number, the greatest public service to the community.” (Roth 463)
The fine arts are often defined from the sciences by their "lack of regard" for representational data. Artists are often idealized for being the social outcasts who exists against all odds and resist the urge to change as a response to social or political change. I respect the interior architecture program for identifying the need to give buildings, both interior and exterior, a purpose that can be scientifically proven through the collection of datum. To ignore changes in society in order to protect an idealistic "high art" would deny that building serves any real purpose and be clearly seen (in numbers) as a detriment to the people of the world.
When history repeated itself and the city of Tokyo experience a flood of people looking for work in the metropolis, designers and architects swiftly responded by building housing that would at least some-what comfortably accommodate the influx. 3
audience
“Taken together, these changes in population growth, industrial production and transportation produced a growing middle class, the likes of which had never existed before. This social class would become significant patrons of architecture in the next century.” (Roth 440)
As a performer of any kind, audience is always a key factor in the purpose of any creation. Bach would never have composed his numerous court dances if there were not patrons demand and audiences to receive his works. It is natural and healthy for artists to have some intended reaction-either to further or to convince- audience perspective.
character
“The other effect supported the developing concept of experientialism, or sensationalism… this essay proposed that all human understanding came from experience acquired though sensation rather than through received or inherited knowledge.” (Roth 458-459)
Character refers, in my review of Grammar and Syntax to the reaction of designers to effectively represent their changing clientele. The experience of the living through the various revolutions of the 18th and 19th century changed the point-of-view of the people living in cities and town across Europe (and later, America). I believe that revolutionary pressures both unintentionally (through the building of factories and contributing pollution) and intentionally (though the devastating physical effects of war) destroyed the few unchanged "natural" settings in the English and French territories. The intrinsic reaction of the remaining people was to glorify and revitalize the landscape as it would have been found before humans' negative impact.
Synthesis
Grammar and Syntax both describe a system that exists within a vocabulary where any given word fits in a pre-determined place and serves a pre-determined purpose in the formation of the structure of a sentence. GRAMMAR within the REVISIONS of the system of architecture that existed in the Age of Enlightenment and late neoclassical periods changed the SYNTAX that was created through revolutions and re-populations that occurred across Europe. Governmental TRANSITIONS effected design style as set forth by publicly funded Academies of Architecture. Shift in the patronage serving as an AUDIENCE for architects furthered the push for a new architectural function that would support the growing number of people in various cities around the continent. Calculated numbers -DATUM- are documented in various public documents and censuses. The data interpreted, later city planners, set a precedent for how a society grows and changes in response to a population boom. CHARACTERISTIC behaviors emerged in each socioeconomic class that served to protect and preserve the ideals that they held to esteem in this time of unprecedented social growth and the re-disbursement of wealth that came with it.
------------------------------------------
1.Published on the website for Randor County, PA. http://www.waynepa.com/history/radnorschools/
2. "THE ILLUSTRATED HISTORY OF FOLDING CHAIRS"
has been compiled by birgit lohmann (a thesis publication, july 1988, revised in June 2003).Featured on designboom.com
3."The Furturistic Nakagin Capsul Tower." Posted by Randy. 24 December 2008. http://dailycontributor.com/200812242488/the-futuristic-nakagin-capsule-tower/------------------------------------------
1.Published on the website for Randor County, PA. http://www.waynepa.com/history/radnorschools/
2. "THE ILLUSTRATED HISTORY OF FOLDING CHAIRS"
has been compiled by birgit lohmann (a thesis publication, july 1988, revised in June 2003).Featured on designboom.com
Friday, March 20, 2009
The deliverables articulation...
Accounting of the views to analyze
From-the-field views
From-the-Roof Views
Cross Section of seating levels
Analysis of sound waves in the Stadium
Accounting of media to analyze
Video and sound recordings of Drum Corps International corps playing in San Antonio, Georgia, and RCA Domes
Video and sound recording of Bands of America Finalist bands performing and rehearsing in the Lucas Oil Stadium
Outline of analytical essay
Comparison of Lucas Oil Stadium to other stadiums
The Alamodome- San Antonio
Square dome
Georgia Dome
Oval Dome
The RCA Dome
Not standing anymore
The Outdoor Stadium
Analysis of Sound Factors in Dome
Dome shape
Angle of the instruments affecting sound against walls of stadium
Seating shape
Sound catchers
Halls
Press boxes
Tunnels
Lucas Oil Stadium Firsts
The indoor warm up facility
The trussed retractable roof
The open-able Window Walls
The changeable floor plan
The curtain backdrop
Questions and concerns
Resources
1. John, Geraint. Stadia : a design and development guide / Geraint John, Rod Sheard and Ben Vickery. 4th ed. Oxford ; Burlington, MA : Architectural Press, 2007.
Call Number- GV413 .J64 2007 c.1- Available- Jackson Library -- Stacks -- Tower 7
2. Trumpbour, Robert C. The new cathedrals : politics and media in the history of stadium construction / Robert C. Trumpbour. 1st ed. Syracuse, N.Y. : Syracuse University Press, 2007.
Call Number- GV413 .T78 2007 c.1- Available- Jack
From-the-field views
From-the-Roof Views
Cross Section of seating levels
Analysis of sound waves in the Stadium
Accounting of media to analyze
Video and sound recordings of Drum Corps International corps playing in San Antonio, Georgia, and RCA Domes
Video and sound recording of Bands of America Finalist bands performing and rehearsing in the Lucas Oil Stadium
Outline of analytical essay
Comparison of Lucas Oil Stadium to other stadiums
The Alamodome- San Antonio
Square dome
Georgia Dome
Oval Dome
The RCA Dome
Not standing anymore
The Outdoor Stadium
Analysis of Sound Factors in Dome
Dome shape
Angle of the instruments affecting sound against walls of stadium
Seating shape
Sound catchers
Halls
Press boxes
Tunnels
Lucas Oil Stadium Firsts
The indoor warm up facility
The trussed retractable roof
The open-able Window Walls
The changeable floor plan
The curtain backdrop
Questions and concerns
Resources
1. John, Geraint. Stadia : a design and development guide / Geraint John, Rod Sheard and Ben Vickery. 4th ed. Oxford ; Burlington, MA : Architectural Press, 2007.
Call Number- GV413 .J64 2007 c.1- Available- Jackson Library -- Stacks -- Tower 7
2. Trumpbour, Robert C. The new cathedrals : politics and media in the history of stadium construction / Robert C. Trumpbour. 1st ed. Syracuse, N.Y. : Syracuse University Press, 2007.
Call Number- GV413 .T78 2007 c.1- Available- Jack
Wednesday, March 18, 2009
Week 7: P Week
“On the basis of what they were now learning about antiquity, these avante garde architects now sought to create a rational modern architecture reformulated structurally from the ground up in the light of a new understanding on ancient architecture.” (Roth 435)
This quote from the conclusion of Roth’s chapter on the Baroque period of design stunningly concludes what we, as academics are meant to do in college. The college experience in meant to encourage the development of a portfolio that extends beyond our comfort levels and broaden our professional horizon. To be an artist of any kind and maintain that one is a professional, he or she should work to expand and learn about more than there immediate interests. As Roth stated, the professional’s of the Baroque period had a new understanding of architecture and with that understanding were able to push the limits and create something new and amazing.
Any skill requires the artist to constantly and viciously pursue the process of development and refinement of their craft. One of the greatest architects of all time, Michelangelo is famously known for saying, when asked on how he created his masterpieces,
Professional
Professional- the adjective- can mean many things to many people. For some, “professional” describes the manner in which an individual represents himself or herself in day-to-day life. For others, “professional” is a term that is gained as a representative of achievement. I believe the term “professional” should be reserved for a particular group of people who have worked to expand their knowledge and continually develop themselves (some might call it a process) in any way possible. To be truly “professional” requires a well-rounded world-view (or perspective) and a healthy curiosity towards life.
"In their restless quest of innovation, these High Renaissance architects were not content to stop their manipulation of form once the rules had been defined."(Roth 381)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The last of our two prompts for this week speak towards the experience of living life. The experience of living in the Renaissance was greatly varied based on the perspective of the viewer. The pace of life greatly varied on the literal place you lived. Life in the city was concentrated on work and business; while life in the villas of the periphery of large trade hubs was focused on enjoying the fruits of ones labor.
“At the beginning of the French renaissance residential structures were primarily of three types: manor houses, town houses and châteaux. Manor houses were distinguished from châteaux in their lack of fortification…Town houses on the other hand were designated according to the socioeconomic level of the inhabitants…Castles or châteaux were the country palaces of the aristocracy…”(Blakemore 114).
Even within one of these social stratification (the châteaux) of architects there were multiple hierarchical divisions in the space. “The primary rooms were located on the garden side of the residence…rooms were commonly grouped according to social priority.”(Blakemore 175). The most beautiful perspective of the lands and gardens was reserved for the most important residents.
3
Perspective can change how almost anything is seen. In this one point perspective poster of the "ideal city," that which so often seems stunning and incredibly detailed is rather plain and stunningly simple
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
This quote from the conclusion of Roth’s chapter on the Baroque period of design stunningly concludes what we, as academics are meant to do in college. The college experience in meant to encourage the development of a portfolio that extends beyond our comfort levels and broaden our professional horizon. To be an artist of any kind and maintain that one is a professional, he or she should work to expand and learn about more than there immediate interests. As Roth stated, the professional’s of the Baroque period had a new understanding of architecture and with that understanding were able to push the limits and create something new and amazing.
Any skill requires the artist to constantly and viciously pursue the process of development and refinement of their craft. One of the greatest architects of all time, Michelangelo is famously known for saying, when asked on how he created his masterpieces,
Photo of Michelangelo's Capella Sistine from Wikipedia .jpg public domain.
"If people only knew how hard I work to gain my mastery, it wouldn't seem so wonderful at all."1Portfolio
In the literal sense a portfolio is a gathering of sources that represent an individual or topic. Portfolios provide a sampling of one’s knowledge and achievements. Portfolios have survived history to create credentials that rank the “greats” of any field.
4
If you were ever looking for a cool poster that makes you appreciate how hard graphic artists work you should check this guy out! His portfolio of projects that he has worked on at the SUM Agency is incredible- and this award winning poster is available for sale on his Website
"NOTE: As a little bonus, there's a special "thank you message" hidden on the Poster with the name of everyone who participated on this flickr post until the day I sent the file to the printer."
Professional
I couldn't help but to put a picture of myself playing viola under the subheading of professional. It was just too much fun!
Process
Throughout this Opus Project I have referred back to the broad strokes of history. In any field, particularly those in the “fine arts” require careful study of articulation and re-articulation. This is a developmental process that ensures that new achievements are valued and influences of the past are acknowledged."In their restless quest of innovation, these High Renaissance architects were not content to stop their manipulation of form once the rules had been defined."(Roth 381)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The last of our two prompts for this week speak towards the experience of living life. The experience of living in the Renaissance was greatly varied based on the perspective of the viewer. The pace of life greatly varied on the literal place you lived. Life in the city was concentrated on work and business; while life in the villas of the periphery of large trade hubs was focused on enjoying the fruits of ones labor.
Periphery
"...symbolizing the heavens and divinity, had been reserved for churches. The house was, as Palladio wrote, not strictly a villa but a belvedere, an elevated pavilion designed to offer pleasing views over the surrounding countryside." (Roth 381).
"...symbolizing the heavens and divinity, had been reserved for churches. The house was, as Palladio wrote, not strictly a villa but a belvedere, an elevated pavilion designed to offer pleasing views over the surrounding countryside." (Roth 381).
BMW 326 Glaser at the Villa d'Este 2
The Villa d'Este and its fellows in the hills of Rome are still known for luxury. It would have been impossible to house the sprawling landscapes that characterize this fantastical lifestyle within the city. Even today luxury seekers view the Villa d'Este as the pinnacle of wealth.
Perspective
Perspective is a term that in relative to the beholder. In this discussion of perspective, I have focused on the differences in the world-view of the people that lived during the French renaissance and Baroque Periods.The Villa d'Este and its fellows in the hills of Rome are still known for luxury. It would have been impossible to house the sprawling landscapes that characterize this fantastical lifestyle within the city. Even today luxury seekers view the Villa d'Este as the pinnacle of wealth.
Perspective
“At the beginning of the French renaissance residential structures were primarily of three types: manor houses, town houses and châteaux. Manor houses were distinguished from châteaux in their lack of fortification…Town houses on the other hand were designated according to the socioeconomic level of the inhabitants…Castles or châteaux were the country palaces of the aristocracy…”(Blakemore 114).
Even within one of these social stratification (the châteaux) of architects there were multiple hierarchical divisions in the space. “The primary rooms were located on the garden side of the residence…rooms were commonly grouped according to social priority.”(Blakemore 175). The most beautiful perspective of the lands and gardens was reserved for the most important residents.
3Perspective can change how almost anything is seen. In this one point perspective poster of the "ideal city," that which so often seems stunning and incredibly detailed is rather plain and stunningly simple
- "Topic." Quotations. Quotations Book, 2005. Answers.com 18 Mar. 2009. http://www.answers.com/topic/quote-4
- Concept cars the Concorso d'Eleganza Villa d'Este 2008" Posted April 4, 2008. http://www.tuningnews.net/article/080404a/concorso-d-eleganza-villa-d-este-2008/
- Poster for purchase from the Walters Museum at www.thewalters.org
- From Juanma Teixidó's flickr.com website. http://www.flickr.com/photos/juanmateixido/ Posted march 18.
Wednesday, March 4, 2009
Week 6: Macro to Micro
Introduction
My commentary for this blog entry is split into an intro and then a final synthesis of concept. This week’s title is “Macro to Micro” as such, I thought it would be interesting to look at each of the terms and investigate how it was used on the macro scale and the micro scale.
In this study of macro and micro I often equate macro with structure and micro with a more internal meaning behind a structure. Quite a few reading assignments ago, Roth critiqued the Egyptians for their inability and unwillingness to do just this. He says, “The Egyptians never stepped back from the architectural object, never studied it reflectively as an abstract thing, because, as E.B. Smith recognized, ‘they saw not the stone but the symbol.” (Roth 210)
Diagram
“Brunelleschi did not reveal at the outset, so afraid was he of his ideas being stolen and the credit taken by others…Officials considered his verbal descriptions nonsense…” (Roth 357). This quote in Roth speaks volumes about the importance of diagrams. Brunelleschi was not afraid to describe his ideas or to explain his theories. He was, on the other hand, almost obsessed with protecting his architectural blueprints. Brunelleschi’s careful planning and diagramming of how his great dome would actually be built was the keystone of the success of the actual creation.
Composition
Buildings in the Italian Renaissance sought to bring heaven to earth. The renaissance designers worked to do this through geometrical equality among the macro and micro scales of their works. The large structural forms were all composed deliberately- but the detailed “interior design” (meant sarcastically for the people with preconceived notions about the fact that anyone with the word interior as an adjective in their title plays with watercolor and fabric all day) was just as carefully composed to add to the message that the designer was looking to convey.
Speaking of Composition- Did you know that the piece of music featured in the DeBeers diamond commercial is excerpted from a work called the Palladio Suite. The composer- Karl Jenkins claims that he was inspired by A. Palladio when writing this work. Personally- I don't see the connection. I get how you could hear this piece of music when looking into a stunning diamond.
$
But when looking at the facades of building designed by Palladio, I fail to hear this work of music in the background.
%
Unless you are connecting Palladio to the ever sarcastic mannerist movement, and looking to connect a spoof title to a work- I harbor bitter feeling for this artistic connection.
Impression
The Italian renaissance set out to make a statement through the intentional and precise design of their buildings. “In Italian renaissance interiors more attention was given to ceremony than to comfort. Forms were forceful and precise. Nothing was ambiguous; cubic forms predominated. Lines were clear and decisive.” (Blakemore 97) Both secular and religious buildings in the Italian renaissance period had clear purpose and left the observer with only the impressions that the designer intended to impose. While the renaissance is still thought of as a period of free thinking- not all thought was free. Free thought only applied to those with minds great enough to think them! If you think cynically enough, you might start to believe that the tradition of “bread and circuses” never disappeared.
In class today I was struck by PL Lucas's passion when speaking about Venice. I must admit- the Italian Renaissance is a topic that never inspired me. the musicians of this time period were not exactly prolific Patronage has historically been very beneficial to musicians but not in this period. That is a rant for another day. When looking at the Opsedale della Pieta and orphanages the like (the original conservatory) I tend to think "Vivaldi's Virgins" and similar sarcastic statements than to prise the buildings themselves.
^^
One statement that was particularly fitting for Italy stated to the effect that the Italians always re-build things the way they were originally built. I had to chuckle at the mental image of the tower of Piza- did you know that it is straight now!?
**1
Details
The Italians were the masters of detail in every field. They sought with vigor to not only recreate antiquate styles, but to surpass them. Working towards an identity of their own, they are many details of architecture (like he setting of light on dark stone exterior) that have become trademarks of the Italian Renaissance Period.
**2
In this quest, they demanded excellence from artisans as painters, sculptors, furniture designers, builders, writers, drafters and general innovative geniuses.
Macro Elements serve function and solidify social status:
“The perceived need for greater privacy influenced the arrangement of interior space. The response lay in the sequencing of rooms and greater attention to protocol… a linear arrangement met these demands: Rooms for greater privacy were set farther from the main entrance, as were rooms that could be accessed only by persons of high privilege.”(Blakemore 94)
Micro Details are everywhere:
“Some of the most extravagant detail was lavished on doors… it was not uncommon for different materials and colors to be employed in the design of a single door surround.”(Blakemore 103) Decorative techniques used in Italian interiors described by Blakemore as “phenomenon of the period.”(97)
Porch: Court: Hearth
The three part design of “porch: court: hearth” is in itself, a macro design strategy. However, the statement that this design makes about the inhabitants of that space is only seen when inspecting the micro-particles of their lives. Each section of the porch: court: hearth design symbolizes and important part of day-to-day life.
I take comfort in the continuity of the porch: court: hearth design as a representation of human nature. I spoke in my foundations unit summary about how humans create “creatively” once they have fulfilled their basic needs. This hearth and court can be found in the design of the first human home. The hearth provides more than a central focus for a room- more than even the elemental human need of warmth- it provides a meeting place that represents the social nature of the human being.
Final Synthesis
The architects of the Italian renaissance sought to make a strong statement through their designs. Compositions, Impressions, Details and Diagrams of the Macro and Micro design of buildings were intentional to stress the tenants of humanism and the power of the human mind.
----------------------------
$
DeBeers Forever Studs. 2.00 total c.w. Picture from DeBeers website. Accessed March 9,2009.
----------------------------
^^
Book Cover from Abandoned Children of the Italian Renaissance: Orphan Care in Florence and Bologna by Nicholas Tersptra.
Terpstra, Nicholas. Abandoned Children of the Italian Renaissance: Orphan Care in Florence and Bologna. Baltimore, Maryland: The Johns Hopkins University Press, 2005.
-----------------------------
%
"Francis Terry of Quinlan and Francis Terry Architects. His drawings are of Palladio's churches in Venice" From architectural criticism by Hugh Pearman. Accessed March 4,2009.
-----------------------------
**
1-The Straight Leaning Tower of Piza. From the website: Accessed via Google on March 4, 2009
2- Beautiful and unique photograph of the Cathedral Santa Maria del Fiore. From the website: http://virtual.yosemite.cc.ca.us/ghayes/Florence%20and%20Pisa.htmAccessed via Google on March 4, 2009
----------------------------
My commentary for this blog entry is split into an intro and then a final synthesis of concept. This week’s title is “Macro to Micro” as such, I thought it would be interesting to look at each of the terms and investigate how it was used on the macro scale and the micro scale.
In this study of macro and micro I often equate macro with structure and micro with a more internal meaning behind a structure. Quite a few reading assignments ago, Roth critiqued the Egyptians for their inability and unwillingness to do just this. He says, “The Egyptians never stepped back from the architectural object, never studied it reflectively as an abstract thing, because, as E.B. Smith recognized, ‘they saw not the stone but the symbol.” (Roth 210)
Diagram
“Brunelleschi did not reveal at the outset, so afraid was he of his ideas being stolen and the credit taken by others…Officials considered his verbal descriptions nonsense…” (Roth 357). This quote in Roth speaks volumes about the importance of diagrams. Brunelleschi was not afraid to describe his ideas or to explain his theories. He was, on the other hand, almost obsessed with protecting his architectural blueprints. Brunelleschi’s careful planning and diagramming of how his great dome would actually be built was the keystone of the success of the actual creation.
Composition
Buildings in the Italian Renaissance sought to bring heaven to earth. The renaissance designers worked to do this through geometrical equality among the macro and micro scales of their works. The large structural forms were all composed deliberately- but the detailed “interior design” (meant sarcastically for the people with preconceived notions about the fact that anyone with the word interior as an adjective in their title plays with watercolor and fabric all day) was just as carefully composed to add to the message that the designer was looking to convey.
Speaking of Composition- Did you know that the piece of music featured in the DeBeers diamond commercial is excerpted from a work called the Palladio Suite. The composer- Karl Jenkins claims that he was inspired by A. Palladio when writing this work. Personally- I don't see the connection. I get how you could hear this piece of music when looking into a stunning diamond.
$But when looking at the facades of building designed by Palladio, I fail to hear this work of music in the background.
%Unless you are connecting Palladio to the ever sarcastic mannerist movement, and looking to connect a spoof title to a work- I harbor bitter feeling for this artistic connection.
Impression
The Italian renaissance set out to make a statement through the intentional and precise design of their buildings. “In Italian renaissance interiors more attention was given to ceremony than to comfort. Forms were forceful and precise. Nothing was ambiguous; cubic forms predominated. Lines were clear and decisive.” (Blakemore 97) Both secular and religious buildings in the Italian renaissance period had clear purpose and left the observer with only the impressions that the designer intended to impose. While the renaissance is still thought of as a period of free thinking- not all thought was free. Free thought only applied to those with minds great enough to think them! If you think cynically enough, you might start to believe that the tradition of “bread and circuses” never disappeared.
In class today I was struck by PL Lucas's passion when speaking about Venice. I must admit- the Italian Renaissance is a topic that never inspired me. the musicians of this time period were not exactly prolific Patronage has historically been very beneficial to musicians but not in this period. That is a rant for another day. When looking at the Opsedale della Pieta and orphanages the like (the original conservatory) I tend to think "Vivaldi's Virgins" and similar sarcastic statements than to prise the buildings themselves.
^^One statement that was particularly fitting for Italy stated to the effect that the Italians always re-build things the way they were originally built. I had to chuckle at the mental image of the tower of Piza- did you know that it is straight now!?
**1Details
The Italians were the masters of detail in every field. They sought with vigor to not only recreate antiquate styles, but to surpass them. Working towards an identity of their own, they are many details of architecture (like he setting of light on dark stone exterior) that have become trademarks of the Italian Renaissance Period.
**2In this quest, they demanded excellence from artisans as painters, sculptors, furniture designers, builders, writers, drafters and general innovative geniuses.
Macro Elements serve function and solidify social status:
“The perceived need for greater privacy influenced the arrangement of interior space. The response lay in the sequencing of rooms and greater attention to protocol… a linear arrangement met these demands: Rooms for greater privacy were set farther from the main entrance, as were rooms that could be accessed only by persons of high privilege.”(Blakemore 94)
Micro Details are everywhere:
“Some of the most extravagant detail was lavished on doors… it was not uncommon for different materials and colors to be employed in the design of a single door surround.”(Blakemore 103) Decorative techniques used in Italian interiors described by Blakemore as “phenomenon of the period.”(97)
Porch: Court: Hearth
The three part design of “porch: court: hearth” is in itself, a macro design strategy. However, the statement that this design makes about the inhabitants of that space is only seen when inspecting the micro-particles of their lives. Each section of the porch: court: hearth design symbolizes and important part of day-to-day life.
I take comfort in the continuity of the porch: court: hearth design as a representation of human nature. I spoke in my foundations unit summary about how humans create “creatively” once they have fulfilled their basic needs. This hearth and court can be found in the design of the first human home. The hearth provides more than a central focus for a room- more than even the elemental human need of warmth- it provides a meeting place that represents the social nature of the human being.
Final Synthesis
The architects of the Italian renaissance sought to make a strong statement through their designs. Compositions, Impressions, Details and Diagrams of the Macro and Micro design of buildings were intentional to stress the tenants of humanism and the power of the human mind.
----------------------------
$
DeBeers Forever Studs. 2.00 total c.w. Picture from DeBeers website.
----------------------------
^^
Book Cover from
-----------------------------
%
"Francis Terry of Quinlan and Francis Terry Architects. His drawings are of Palladio's churches in Venice" From architectural criticism by Hugh Pearman.
-----------------------------
**
1-The Straight Leaning Tower of Piza. From the website:
2- Beautiful and unique photograph of the Cathedral Santa Maria del Fiore. From the website: http://virtual.yosemite.cc.ca.us/ghayes/Florence%20and%20Pisa.htm
----------------------------
Sunday, March 1, 2009
Foundation Unit Summary
The ancient Greeks sought to achieve in all areas of their lives the quality, “arête, that quality of excellence that results from refinement and testing…” (Roth 220). This quality has pushed humans to excel and invents since the dawn of time. In this foundations unit, we looked at the first humans to seek innovation to improve their quality of life. It is a clichéd view of “Greek” that originally led me to believe that the qualities of creativity and esteem are inextricably linked. After completing the foundations unity, I think that there might be more to that supposition than mere pre-conceived notion.
The first human architecture (which occurs before the Foundations Unit in this course) served mainly to improve or maintain human life. However, the architecture of the Egyptians, Greeks, Romans, and Byzantine Empires sought to accomplish something more than mere commodity. Early architects worked to glorify their makers (in the case of churches and temples) and/or their employers (in the case of castles and tombs). In either case, the commodity of the building design experiences a shift, in this period, from shelter to show.
In our discussions on Grecian building and city planning focused on the contrasting between real and ideal. We suggested that there was a gap between perception of reality and the ideals that the Greeks sought to achieve. This point was more than driven home in class, but I believe the terms can be useful in other situations as well. I believe that the pursuit of an ideal creation comes when humans have conquered their reality. That is to suggest that when humans have secured their environment to a point where it is safe and hospitable to live in, they find something new to focus their creative excess on.
This theory of excess creativity would explain the progressions of all of the Empires that we have study. The Egyptian pharaohs settled their people in the Nile river valley. Once they had settled where there was water for crops and livestock and basic shelter units for humans- creativity had a chance to develop. From this- architects designed churches that they devoted to their many gods and temples that would house and glorify their great pharaohs. The Roman Empire had its own environment to adapt and adjust to- the rocky terrain of the land made travel difficult- but the empire found ways to master the seas and expand to include multiple cities that would house their followers. Once a city was established and the inhabitants had basic housing, they would begin work on multiple new building forms including the bath, market and forum, basilica, coliseum, arch and temple. The fall of the Roman Empire certainly took its toll on the Byzantine Empire. In this case, the Empire used excess creativity as a unifier among its people. The Early Christians, who had been secretly meeting in the catacombs of Rome already had a firm grasp on how to handle the European climate and environment, what they lacked in the wake of the Roman Empire was unity. The churches, monasteries and cathedrals of the early Christians served, as that much needed unity.
The foundations of design have repeatedly reinforced the importance of “commodity, firmness and delight.” The foundations show that humans are not willing to sacrifice their well being for anyone of these concepts, but instead will conquer one and add on concepts as their lives allow.
The evolution of the device. Though this is not directly architectural- it speaks to how change in design comes with time and experience!
------------------------------
Hall, Kevin. The evolution of the ipod nano.
The first human architecture (which occurs before the Foundations Unit in this course) served mainly to improve or maintain human life. However, the architecture of the Egyptians, Greeks, Romans, and Byzantine Empires sought to accomplish something more than mere commodity. Early architects worked to glorify their makers (in the case of churches and temples) and/or their employers (in the case of castles and tombs). In either case, the commodity of the building design experiences a shift, in this period, from shelter to show.
In our discussions on Grecian building and city planning focused on the contrasting between real and ideal. We suggested that there was a gap between perception of reality and the ideals that the Greeks sought to achieve. This point was more than driven home in class, but I believe the terms can be useful in other situations as well. I believe that the pursuit of an ideal creation comes when humans have conquered their reality. That is to suggest that when humans have secured their environment to a point where it is safe and hospitable to live in, they find something new to focus their creative excess on.
This theory of excess creativity would explain the progressions of all of the Empires that we have study. The Egyptian pharaohs settled their people in the Nile river valley. Once they had settled where there was water for crops and livestock and basic shelter units for humans- creativity had a chance to develop. From this- architects designed churches that they devoted to their many gods and temples that would house and glorify their great pharaohs. The Roman Empire had its own environment to adapt and adjust to- the rocky terrain of the land made travel difficult- but the empire found ways to master the seas and expand to include multiple cities that would house their followers. Once a city was established and the inhabitants had basic housing, they would begin work on multiple new building forms including the bath, market and forum, basilica, coliseum, arch and temple. The fall of the Roman Empire certainly took its toll on the Byzantine Empire. In this case, the Empire used excess creativity as a unifier among its people. The Early Christians, who had been secretly meeting in the catacombs of Rome already had a firm grasp on how to handle the European climate and environment, what they lacked in the wake of the Roman Empire was unity. The churches, monasteries and cathedrals of the early Christians served, as that much needed unity.
The foundations of design have repeatedly reinforced the importance of “commodity, firmness and delight.” The foundations show that humans are not willing to sacrifice their well being for anyone of these concepts, but instead will conquer one and add on concepts as their lives allow.
The evolution of the device. Though this is not directly architectural- it speaks to how change in design comes with time and experience!
------------------------------
Hall, Kevin. The evolution of the ipod nano.
Wednesday, February 25, 2009
Week 5: Voices
Precedent
Giving credit where credit is due is a large theme in the arts. The voice of those who came before us is ever present in day-to-day life, but we rarely stop to ponder and respect the precedents that made innovation possible. It would be impossible for the architects of the Middle Ages to build their greatest masterpieces without the innovations that came before them. Below I have set some space to appreciate where structures came from.
The Column- The Arch-The Vault
“Distances of span were governed by materials and construction technique, … therefore, if the distance was too great it was essential that intermediate support be included.” (Blakemore 73)
The Transverse Vault- The Dome- The Tripartite Plan (Hearth Porch Court)- The Roman Bath
The Basilica
The Basilica of Saint Peter is steeped with architectural precedents. The Basilica features a narthex that includes the tripartite plan, Vaults at the intersection of the nave and transept, domes, and a series of hallways that are similar not only to the baths of Rome but the earlist building form- the megaron!(5)
(6) Interior of St. Peter's Rome features stunning mosaic interior work, (mosaics seen earlier in Roman Baths!) the pendentive form, the arch and vault, the occulus and the rib vault. This stunning interior (completed by Michelangelo) would not have been possible without the innovations of many previous artists.
The Basilica- The DomeThe Basilica
The Basilica of Saint Peter is steeped with architectural precedents. The Basilica features a narthex that includes the tripartite plan, Vaults at the intersection of the nave and transept, domes, and a series of hallways that are similar not only to the baths of Rome but the earlist building form- the megaron!(5)
(6) Interior of St. Peter's Rome features stunning mosaic interior work, (mosaics seen earlier in Roman Baths!) the pendentive form, the arch and vault, the occulus and the rib vault. This stunning interior (completed by Michelangelo) would not have been possible without the innovations of many previous artists.
The Carolingian Church, The Norman Building Style, The Gothic Cathedral
Duality
"Commodity Firmness and Delight" Are all important factors in architectural design- this much we know. Often, when a large shift in history happens- one of these factors takes more importance on than the others. In the case of the Early motte castle- Firmness and Commodity became the focus factors. "Atop the motte-- a natural hillock or heaped up earth-- a wooden tower structure was built, serving both as a place of refuge and a resident of the local lord..."(Roth 305)
(7)These early castles might not have been the prettiest place to live, but they certainly fulfilled their purpose. As cities died with the fall of the Roman Empire, the architects focus shifted to the countryside and how to best serve the needs of their patrons.
(7)These early castles might not have been the prettiest place to live, but they certainly fulfilled their purpose. As cities died with the fall of the Roman Empire, the architects focus shifted to the countryside and how to best serve the needs of their patrons.
Moments
There is no greater experience as a musician, than to perform well, in an acoustically sound room as a part of a large group. A close second to this experience is sitting in the audience, watching this experience happen. That said, if composition and performance do not work together, the above experience would never happen. Composers for monastery choirs in the Middle Ages composed music that would create moments for the congregants in their audiences.
.jpg)
Of course, my scanner pooped out when I went to scan in the copy of this excerpt from the Musica enchiriadis. But-the organization of the organum is still present. Because the interval between notes is constant and the scale has no diminished (crunchy) qualities, vibrations within the cathedral would resonate consistently and without dissonance. The Musica enchiriadis (Music handbook) was one of the foremost musicians handbooks used in the Middle Ages. This treatise stressed the importance of “singing together” to create polyphony in the performance. The music in this treatise also used scale systems of parallel fifths, creating open, resonant chords that carried well in the open space of the Gothic Cathedral(1) .
Presence
"In the new phase into which medieval architecture mow passed, the presence of light, the symbol of God's Divine Grace, became the preeminent symbol; the church building had to become transparent, and when it did so it as no longer Romanesque but Gothic." (Roth 323)In addition to the creation of the moment, a presence of higher power could be felt in the florid organum of the mass chants of the Middle Ages. One of the most moving works that I can think of was composed by a particular group of musicians in residence at the Cathedral of Notre Dame in Paris. Leonin’s Viderunt omnes was clearly written for the experience of the congregation at Notre Dame. The work is nearly three times as long as works for Christmas Day mass that came before it (2).
(4)This is one of my absolute favorite pictures of the Cathedral at Notre Dame. It is not picture of the interior (which I spoke about above) but I believe it is the best (or most cliche) picture I have seen to evoke the feeling of a greater presence in a cathedral.
It is with much sadness that I realize that I can not post an actual clip of the Viderunt omnes on this blog without getting in serious copyright trouble. SO- I recommend anyone who is interested to go on Naxos (as a UNCG student you have an account that gives you unlimited access) and look up the group Tonus Peregrinus. They have a stunning recording of this work on their cd “Leonin, Perotin- Sacred Music from the Notre-Dame Cathedral.”
Metric
“The Gothic Church…was a monument that seems to dwarf the man who inters it, for space, light, structure, and the plastic effects of masonry are organized to produce a visionary scale. There is no fixed set of proportions in the parts, … and no standard relationship between solid and void.” (3)The people of the High Middle Ages were pushed by a new found respect for earthly life. Roth calls this appreciation, "emphatically aspired to heaven." Language and art served as unifiers for the scattered nation-states (much like the meter does in Europe today). Nation-states develop their own unique styles for design, but that is not to say that they don't have one major thing in common: DESIGN. The fact that in this period- there was a forward push again (after the devestating fall of the Roman Empire) is very important for the re-growth of what was for generations- the Empire of all Empires.
Synthesis
Concepts for architecture and surface decorations seen in the early Christian church may have grown from the duality that can be observed in the Roman baths. The Roman Baths served many purposes and were chosen and laid out with a plan in mind. Roth explains that "Constantine and church officials looked to secular buildings...the basilica has originally been devised for public gatherings and its symbolic connotation, having to do with the equitable administration of earthly justice, was positive..."(Roth 80). This duality in function can be observed in the social classes serviced and the activities that take place in the Roman baths. The baths served as a bathhouse and meeting forum for upper middle and lower class citizens.Our discussions this week have reinforced the idea that the Middle Ages might not have been the completely dark era that they are made out to be. Working with the precedent set by the basilica form and the dome form the basic building block of the pendentive arose. This innovation gave architects the ability to build buildings with ever increasing size and splendor.
These churches and monasteries were set on a metric scale that sought to bring heaven to the earth. There is an imminent presence of something greater in these great cathedrals. Geometric study from the movie on the cathedral of Amiens suggests that the basic measurement of the cathedral was the human foot- yet the cathedral effectively transports its inhabitants to a world that could only be described as of another world.
The experience of mass in a Gothic Cathedral is one that can be shared as a member of any class. The architecture is a common element that brings together people to share in truly special moments. History is created when a historian is moved to remember a moment in time. Without the passion that comes from experience, our history would be and endless stretch of dispassionate wasteland.
1. Musica enchiriadis and Scolia enchiriadis, trans. With intro and notes by Raymond Erickson, ed. Claude V. Palisca (New Haven: Yale University Press, 1995)
2. Burkholder, Peter H and Claude V. Palisca. “Leonin: Viderunt omnes, organum duplum.” Northon Anthology of Western Music Volume One. New York, New York: Norton, 2006. 67-76.
3. Page 301: Robert Branner, Gothic Architecture, 1961. Quoted in Roth. Understanding Architecture
4.
5.
6. Interior of St. Peter's. Photograph by John Heseltine 1992. Accessed February 24, 2009
7. Artists Rendering of Ammanford Castle by Richard Jones 2002. Accessed February 24, 2009.
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