Monday, September 20, 2010

Egypt, Greece, and Rome Summary...


Egypt- Stacking, ornament, hieroglyphics, story telling, preparation for the afterlife,  grand mass. It gave inspiration for the next empires to be built upon.
http://thetorchonline.com/2009/08/09/out-of-egypts-kara-cooney-how-magic-is-real-and-why-we-find-egypt-so-damn-fascinating/

Greece- stacking, circles, straight lines across the earth, ornament, story telling, grandeur, building monuments to the Gods. Attention to detail, and thought out spatial plans. More emphasis on hierarchy of the Gods in their polytheistic religion.
 http://www.iho-ohi.org/index.php/category/greece/

http://www.iho-ohi.org/index.php/category/greece/

Rome- built as a market place, as a place to worship, and to collect ideas. It was the epicenter of the world during its time as the largest empire. Buildings, and design far surpassed the ones that preceded them. Concepts revolved around circles, stacking, and straight lines across the earth still, but were perfected.
http://www.destination360.com/europe/italy/rome/colosseum

Wednesday, September 15, 2010

Reading Comprehension: Two

[1] Hersey describes a grammar for Greek architectural elements based on the idea of sacrifice. SPECULATE about the validity of his argument based on what you know about Greek design and the evidence (both visual and written) he provides. (5 points)

“Earlier ritual offerings to the gods had been made in sacred groves, with the trees decorated with the sacrificial offerings. It is believed that the temple, with its surrounding colonnade, was an attempt to recreate the sacred grove. The columns became those decorated trees, and the many parts of the Doric, Ionic, and later Corinthian orders were named for the actions performed in these rituals” (Roth, p. 230).

“The God Ostris, slain and dismembered by his jealous brother, Seth, was restored to life by his wife, Isis, who carefully gathered the parts of his body. Hence, Osiris came to symbolize the land and its cyclical death and rebirth after the flood…” (Roth, p. 192).

Considering we have accounts that the Grecian culture revolved around their polytheistic religion, it is not a far stretch to draw correlation between their architecture and their belief system.  If we can attribute their lifestyle, and their practices to those trying to please and pay tribute/homage to the Gods, then again it is fair to say that their architecture would reflect that. We know already that their decoration, and adornment reflected their religious practices. We know that the mass, and the placement were taken into careful consideration when building these structures. For these reasons I do not have a difficult time believing the findings of Hersey.




[2] Meant in jest, Macaulay shapes a world of the future in which the main character claims meanings for archeological evidence uncovered at the Motel of the Mysteries. EXTRACT what you believe to be the lesson of mis-interpreting evidence and link that lesson to the real world phenomenon of the internet. In other words, EXPLAIN how you might avoid such a blunder as mis-reading evidence when you use the web as your major information source. (5 points)

In relating the misunderstanding and misinterpreting of the internet to the Motel of the Mysteries the character did not evaluate his findings as many do not evaluate their findings on the internet. He jumped to conclusions, and did not base his findings off of past precedents. He did not cross-reference his findings with others from the time period of his discovery. He also did not ask for other opinions. These are all common practices on the internet as well.

It is easy to misinterpret information found on the internet, or rather for the information in the first place to be false, and still be believed by the public. The internet is not under as much scrutiny as for example a text book might be. It has grown to such enormity that there is no true way to control, edit, and keep track of what is released. Certain websites that are linked to the government however have higher standards they must live up to, and have a higher authority they must answer to. When looking for resources, and analyzing the content we must pay special attention to who has written it, who is editing it, who they have to answer to (a credible source), and if they have a bias. One can avoid misreading evidence on the internet by using reputable sources, and not allowing one’s self to jump to conclusions based on insubstantial evidence. It also important to check sources against one another, and see if more than one source agrees with the findings. It is best not to take the findings out of context as well. You should evaluate if the author has a bias, and if they are telling the story from all angles.


[3] The funerary temple design of Queen Hatshepsut speaks a very different design language than the pyramidal forms for other pharaohs. From your readings and the ideas addressed in class, RECOUNT possible reasons why Queen Hatshepsut used this building form. (5 points)

Queen Hatshepsut was the first female Pharaoh, for that reason alone she needed to set herself apart from the rest of the burial formations (the pyramids). Queen Hatshepsut’s was more delicate, ornate, intricate, and set apart from the rest. Also in seeing that the pyramids were being robbed once the pharaoh was buried, the design needed to change in order to make it more complicated to disturb the tomb/temple. Her temple/tomb was set among with cliffs, and the design included several chambers to cause confusion.

Different from the pyramids of the male pharaohs, Hatshepsut designed her tomb/temple in homage to Hathor (goddess of love) and Anubis (god of mummification). The male pharaohs built their tombs in homage to themselves. They wanted to link themselves with the Gods, and be on their level of authority, importance, and significance. I think she may have been concerned with keeping this God’s appeased and therefore securing her place among them.

[4] Although some evidence suggests links between the Egyptian and Greek civilizations, and some building forms and details provide support for that linkage, the two societies produced design responses in great contrast to one another. Select a building type (house, tomb, or temple) from each culture and ELUCIDATE similarities and differences in the two forms over time. Provide an annotated illustration for each selected type. (5 points)

I would like to compare and contrast the temple and its variations between the Grecian and Egyptian cultures. While both in one form or another were a tribute to the Gods, their daily use was quite different. The temple for Egypt was a final resting place, a tomb. In Greek culture the temple had a public function and served as a symbol of the polis.

“There was no generally accepted notion of an afterlife, as had become common among the Egyptians; perhaps everyday Greek life was too arduous for them to wish it to continue forever. Instead, Greeks sought immortality through the achievement of arĂȘte, excellence in deeds, so that one’s accomplishment would be recorded, spoken of, and remembered forever” (Roth, p.221).




http://people.vanderbilt.edu/~amanda.n.krauss/parthenon.html


This image shows the way the Greeks honored the Gods in their architecture.



  
This image shows the openness, yet how it was closed off at the same time to the people. It shows mass, and importance.






This image shows the sheer volume, materiality, and ingenuity of the Egyptian architecture of their tombs/temples. It shows how they are closed off to the public.



Their structures, materiality, design, and mass differed immensely. Again, this is because of the function they each served. The Parthenon in Greece for example was open to the public (in the sense of the priests and selected individuals), once the pharaoh was buried the temple (pyramid of khufu) in Egypt was never intended to be entered again.

Now, each temple is a tourist attraction, and structures to be studied.





[5] Harwood shows examples of Egyptian furniture on pp. 60-61. HYPOTHESIZE about the lightweight nature of Egyptian furniture when compared to tomb architecture, as at the Pyramids of Giza, which many characterize as massive and heavy. (5 points)

With both there is special attention to detail, and precision. Yes, there is a contrast in weight, and sheer volume and mass, but both implored a level of intricacy incomparable to anything before it. The materiality was exceptionally different however, the furniture was comprised of their version of plywood mostly; a material that is not strong in nature verses the sandstone that was compacted and set to harden. In both cases, the furniture and the pyramids, they were both coated with a veneer of some kind (the furniture with gold, and the pyramids with limestone). These veneers probably prolonged the life of each, but also made each more special and ornate. Both showed status, and both were built with the intent of comfort in the afterlife.

“The Egyptians valued bigness, mass, and solidity as the expression of durability, a guarantee of unlimited security and indestructibility” (Roth, p. 210).

[6] Based on a careful reading of the visual evidence in these two images, DRAW OUT an explanation of design and gender roles as you see both depicted. As this language of urns represents essentially one of the main ways we know about Grecian culture, COMMENT on the validity of such a practice of reading evidence. (5 points)


















http://knowledgebox.files.wordpress.com/2009/09/greekurn.jpg
http://www.treehugger.com/cornucopia-greek-urn-photo.jpg


The first urn appears to be Athena and Poseidon. The male figure who I assume to be Poseidon is holding a trident, and the female who I assume to be Athena is holding a shield. It appears to be a power struggle depicted on the urn delving into the Greek mythology where Athena conquers Poseidon. Poseidon is sitting down in a submissive position, handing over the sword to Athena who is in a standing more powerful position.

The second urn depicts women as being submissive to men, and having a lesser value/status in the Greek society. The women appear to be doting on the male figure, which we can assume to be a God.

The urns in both cases seem to depict a ritual, or myth deeply routed in the Greek culture.


Tuesday, September 7, 2010

Point One: Theories


Alyssa Hankus
09/08/10
IAR222
Point One: Theories

Architecture can be defined in a number of ways, most individuals defining it differently.  In iar222 we discussed that architecture could be considered an art form that we inhabit, and a form of dialogue with the past and future.
Is architecture the unavoidable art? When discussing this we quickly came to the conclusion that it was. Wherever we go we run into it, both physically and visually. We continuously engage with it, and hopefully delight in it.
            “In architecture, as in all operative arts, the end must direct the operation. The end is to build well. Well building hath three conditions: commodity, firmness, and delight” (Sir Henry Wotton, class notes 8/27/10). With elaboration commodity is what we consider to be function, and it purpose. Firmness is its stability. Delight refers to the experience, culture, and location, and if the structure is enjoyable.
            Design has a cycle like anything else. It starts at a young age, matures into middle age, and decreases with old age.  I find it appealing that it has a similar cycle to the ones that created it, humans.  As humans, and as designers we put our hearts and soul into these structures. It’s only fitting that they live a similar life to ours. Not only does it share our life cycle, but also our culture. As detailed in The Hidden Dimension by Edward T. Hall our culture, our language, and even relation to each other through space (comfortable distance) affects our architecture.  
            We discussed what was vernacular verses high style, and compared images. I understood vernacular to be of lesser importance than high style, or rather the architecture was not based on the same value system. High style to me would be something along the lines of the Daily Express Building (displayed below). The Daily Express Building is a tribute to the time. It is built around commerce, power, speed, and wealth. It was built with glass, concrete, mirrors, and metals with shine, and sheen showing prestige and grandeur. It has an elevated status verses a structure that would be considered vernacular such a house.  While the vernacular structures still reflect the time period, and the materials used, it is still considered to be of lesser importance in the grand scheme of things based the amount of people that it effects.
            This image in particular enables me to have a clearer understanding of the theories unit thus far in iar222. It depicts artifact, space, building, place, nature, people, material, and symbol. We have spent a lot of time covering this material, and breaking down which each term means.  The Daily Express shows artifact because it corresponds with the mindset of the producer or architect/culture of time. It also shows the magnitude of the space, and the building, and the size and grandeur. It incorporates people in the metallic sculpture built into wall, and also uses symbolism through the nature of the work the people depicted are performing.  It also clearly displays its materials of concrete, glass, metal, and mirrors.


http://www.vam.ac.uk/vastatic/microsites/1157_art_deco/img/about/p_dailyexpress.jpg

Tuesday, August 31, 2010

Reading Comprehension: One

[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. 

http://www.google.com/imgres?imgurl=http://www.laurabielecki.com/blog/wp-content/uploads/2009/03/framemagcom-marcel-wanders-villa-moda-10885.jpg&imgrefurl=http://www.laurabielecki.com/blog/tag/villa-moda/&usg=__JQpY4e9i2uE9oDt4qAZrdq7dVA4=&h=310&w=541&sz=137&hl=en&start=0&zoom=1&tbnid=vj-MADCuZWhm-M:&tbnh=104&tbnw=181&prev=/images%3Fq%3Dvilla%2Bmoda%26um%3D1%26hl%3Den%26client%3Dsafari%26sa%3DX%26rls%3Den%26biw%3D1384%26bih%3D729%26tbs%3Disch:1&um=1&itbs=1&iact=hc&vpx=110&vpy=239&dur=912&hovh=170&hovw=297&tx=228&ty=97&ei=Y2R-TLC3B4SclgfXr4HvAw&oei=Y2R-TLC3B4SclgfXr4HvAw&esq=1&page=1&ndsp=28&ved=1t:429,r:7,s:0