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
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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.

(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.
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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)

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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

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)

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"

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

transition
“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.
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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/

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

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.

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

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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.
$

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.
^^

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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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!
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Hall, Kevin. The evolution of the ipod nano.