[1] Select an object or a building from any time period that you believe meets Wotton’s definition (as cribbed from Vitruvius) of commodity, firmness, and delight. With an annotated image, take care to EXPLAIN the ways in which you see the definition realized through the object or building. Use design language and concepts discussed in class for dealing with precedents (5 points).
I believe the Pantheon in classical Rome meets Wotton’s definition of commodity, firmness, and delight. First with commodity, translating to function and purpose. The Pantheon served the purpose as a place of worship and honor to the God’s of Rome, and now serves the purpose as a historical landmark for the world to admire. Second, it exemplifies firmness in its stability of the structure. The Romans perfected the use of concrete by this time, and this was well portrayed. The coffered concrete dome was the first of its kind, and was beautifully, and structurally formed. It continues to stand to this day. Third is delight; the experience, location, culture, and its ability to be enjoyed. The Pantheon has a mystical experience, a humbling experience, because of the enormity of its size, and the oculus overhead acting as its only light source. The light shines in from above, and shifts during the hours of the day based on the position of the sun highlighting its magnificence, and great attention to detail. Its location is Rome, Italy the central, most commanding point of the empire. Its location holds great importance, and at the time would have been considered the center of world during the time it was constructed. Its mass, detail, materials, and design has been enjoyed by the world for centuries, and hopefully for several more to come.
http://thecompleteromanholiday.com/Gallery/APT/content/The_Pantheon_interior_large.html
[2] Working from Harwood et al’s concept of cultural precedents, select one of the contemporary textiles illustrated above and PINPOINT the influences you see from the eastern world on the production of fabric in the west. Concentrate on motifs and patterns provided in Harwood’s text (5 points).
Due to Chinese and Japanese culture and precedents I have chosen the second contemporary textile exhibited in the reading comprehension. I have selected this one to most characterize and embody the Oriental culture for several reasons. Based on the reading in Harwood it detailed the Orient’s careful orientation, order, symmetry, asymmetry, and hierarchy (p.16, Harwood). It is shown and explained that in their designs, and every day life that they have a special affinity for asymmetrical compositions, bright colors, and symbolism. They choose from colors that are strong and bright. The palette includes red (for fire, symbolizing happiness on doors or buildings), yellow (earth), gold, green (prosperity), and blue (heaven) (p. 24, Harwood). They choose to use symbols from nature. Harwood explained the way the Japanese did this in their textiles: “Those derived from nature include flowers such as cherry blossom, the iris, the chrysanthemum, and wisteria along with bamboo leaves, birds, waves, and whirlpool designs. Geometric designs feature strips, grids, swirls, latticework, and frets” (p. 33, Harwood). This image in particular shares these traits. It incorporates the reds, blues, gold’s, greens, and whites (also important because of the porcelain look they aspire to achieve in the pigment of their skin through the use of makeup). The image depicts nature through the floral motif. It has a whirlpool design with the water sprays, and also incorporates an asymmetrical configuration.
http://allfreed.ru/uploads/posts/1111/13071208612479_495009.jpg
[3] When considering perceptions of personal and social space, Hall and others suggest that different cultures have different space needs and attitudes. Most consider that citizens of the U.S. generally feel a need for more space. How does this play out in the classroom in which we gather for iar222? (5 points)
Hall details the perception of space and how it differs among cultures in The Hidden Dimension. He explains that “experience as it is perceived through one set of culturally patterned sensory is quite different from experience perceived through another. The architectural and urban environments that people create are expressions of this filtering-screening process” (p.2, Hall). It changes from culture-to-culture, as well as person-to-person. Typically in the American culture in today’s society we prefer a more spacious atmosphere. This could perhaps be because we are less social, and interactive in a face-to-face format. We are more reliant on technological interaction. We also hold greater emphasis on superficial materiality, the bigger the better, so to speak. Things on a grander scale preach higher status. We have grown accustom to this. In the case of the room we gather in for iar222 it is a cramped space, leaving little room for the individual. In the time that the structure was built (early 1970’s) this was fitting with the standards of the time. People did not feel that their space was being too infringed upon. Standards however have changed leaving for an uncomfortable atmosphere.
[4] SPECULATE about whether or not there can be an architecture of happiness, as de Botton writes in the work by the same title. Provide a juicy quote that helps give evidence to your views from the passage that you read. Include an annotated image of a happy object, space, building, or place and specify WHY and HOW your example exudes happiness (5 points)
Alain de Botton explains that without life experience, without hardships, there can be no appreciation for art and architecture. I disagree with his statements. Growing up I have always had an affection for architecture and art prior to serious life experience, damage, or worldly influence. While perhaps a greater appreciation may grow with experience of a negative capacity, making you see the difference between positive and negative, I do not believe it is required to simply admire a work of art or a structure.
“The flagstones on the ground floor speak of serenity and aged grace, while the regulatory of the kitchen cabinets offers a model of unintimidating order and discipline. The dining table, with its waxy tablecloth printed with large buttercups, suggests a burst of playfulness which is thrown into relief by a sterner concrete wall nearby. Along the stars, small still-lives of eggs and lemons draw attention to the intricacy and beauty of everyday things” (p.11, de Botton).
This quote provides a personality to the space, and brings about a sense of peace, joy, and warmth. It has character. It could be argued that the space has character because of what it has been through, the people that have inhabited the space. However, I do not believe that for the people passing through and seeing the space as it was detailed that they must have suffered a plight in life to enjoy its simplicity.
An example of a structure that I believe can be enjoyed and create a sense of happiness without going through hardships is Marcel Wanders Villa Moda. It has a sense of whimsy, and fantasy. It automatically sparks interest and intrigue.
An example of a structure that I believe can be enjoyed and create a sense of happiness without going through hardships is Marcel Wanders Villa Moda. It has a sense of whimsy, and fantasy. It automatically sparks interest and intrigue.
