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,

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."1

Portfolio

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.

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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

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.

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)

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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).

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.
“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.

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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

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1. "Topic." Quotations. Quotations Book, 2005. Answers.com 18 Mar. 2009. http://www.answers.com/topic/quote-4
2. 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/
3. Poster for purchase from the Walters Museum at www.thewalters.org
4. From Juanma Teixidó's flickr.com website. http://www.flickr.com/photos/juanmateixido/ Posted march 18.
   

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.
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But when looking at the facades of building designed by Palladio, I fail to hear this work of music in the background.
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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.
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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!?
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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.
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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.
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DeBeers Forever Studs. 2.00 total c.w. Picture from DeBeers website. Accessed March 9,2009.
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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.

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"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.
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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
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