Point: Alternatives

The Sistine Chapel- Renaissance

Amalienburg- Baroque

The definition of an alternative is something existing or functioning outside the cultural norm, and being different from the usual. This is the perfect explanation of what occurred during the Baroque and Renaissance eras. When designers decided to step out of the “comfort zone”, revolutions were created that changed all that was known. People were now able to express their personal style.
After the Gothic era, when the Renaissance emerged, all classical language was reborn. The aspects of direct proportion of the colonnades on the exterior with complete building height was revamped as well as symmetry, the arch and classical ornamentation. Roundels become more apparent in buildings. The triangle above entrance-ways also reappears.
Everything in the room was designed again for a purpose. Furniture, textiles, and other ornamentation streamed from one another. They seem to all be designed to fit together and coexist so that a balance of color and texture is achieved.
However many of the “standards” of architecture were challenged and broken too. The manipulation of perspective was created. It is apparent in paintings but more importantly it is important in the interiors of buildings. For instance, the ceiling in the Sistine Chapel is a flat roof, but Michelangelo modified the ceiling to appear as it was a vaulted ceiling.
Streaming from Michelangelo’s movement with perspective, in the Baroque era, walls and ceilings seem as if they melt together. The manipulation of the walls along with the use of light and mirrors created a design that was known to most as “over-the-top”.  An extreme use of high ornamentation and filagree created a chaotic atmosphere that was sometimes overwhelming. Contrarily though, the Baroque era had far less furniture in terms of mobile furniture, i.e chairs and tables.
Like all extreme things, the Baroque era eventually fizzled out, while the Renaissance kept moving and is still thought by many to exist today. Classic ornamentation never goes away. It is the standards that hold all together. Most eras are fads. The reason all eras besides the ones that derive solely from the Egyptians and Greeks fail is because they try to hard to break the rules. Just like anything, straying away from the norms of everyday is something most can't adapt to, not only in architecture but in anything. It may be fun for a while, but eventually everything always reverts back to the original principles.

Reading Comprehension 4 for IAR222

[1] Just as we learned with Gothic cathedrals, in the context of each PLACE, the other scales of analysis
(ARTIFACT, SPACE, and BUILDING) each demonstrate difference. For each scale on the readings rubric
above, EXPLAIN at least one common design language that links them all. Use the principles and
elements of design as defined for this class in your response. Explicitly tie the Roth reading to your
analysis, using at least one cited quote.

In talking about the scale of artifact in terms of a common design language that they each possess, one could state that each of the five listed are simple shaped objects with a high amount of decoration. While the decoration amount varies for each object, it is suitable for the context and size of the object. For example, the Windsor chair is small and doesn’t have near as much embellishment as the state bed at Osterly Park or the desk/bookcase with chinoiserie had.  Each possess classical dress and are made primarily of wood.

When comparing different interiors at the scale level in the matrix provided, each of the rooms were unique in their own way but all share a few commonalities. The first is that the rooms’ ceilings were made to appear different than when they were built. Some such as the Holkham Hall Saloon have ceilings in which they seem to be dissolving into the walls. Also they seem to be higher and are constructed with an oculus or clerestory windows. Even the ceiling in the Parlor of the Gardner-Pingree House, which is just a flat white, gives the guest a sense of clarity and brings about a certain airiness. The second is that the ornamentation present throughout the rooms has a direct relationship to the walls around it. It appears that each piece of furniture was customarily designed for each room. 
The two most important similarities that the rooms have in common are the repetition in patterns throughout the space as well as a contrasting color palette. Each color palette consists of multiple light colors with one dark, bold contrasting color. It is seen very clear in the bedroom of Marie Antoinette. Repetition of patterns is used multiple times in each space. For instance, in the Saloon of the Saltram House the use of squares and rectangles is repeated with the use of mirrors, also the ornament on the ceiling is repeated in a rhythmic way. Patterns are seen in a more subtle way on the walls of the Gunston Hall Stair Hall.

While studying the buildings listed in the matrix, a few things stand out as a strong relation with each other. Each building consists of vertical symmetry. Thus allowing for each building to naturally have balance and harmony. No building has strong, overpowering ornamentation each is very simplistic and classy. However the buildings are simple yet they all are constructed of three basic shapes: triangles, circles, and squares. The circle is either minute or bold in the buildings. For instance, at Monticello the circle is clearly seen in use with the dome, but at Drayton Hall it isn’t as confident.  Triangles are used in a very particular and classic way. Throughout history pediments (triangular shapes atop entrance ways, windows, or porticoes) have been used  as a sense of class and sophistication. Each building consists of pediments whether they are in their normal state as seen at the Chiswick House or in their manipulated, and broken state as depicted in the Nathaniel Russell House.

Roth says it wonderful when he says “..That the basic structural system is obscured and everything becomes an intricate pattern of light and shadow in which the eye is drawn endlessly part to part.”
(p.402)




[2] Linked to Europe, the ARTIFACTS, SPACES, BUILDINGS, and PLACES of the American colonies
echo closely their design forebears. Selecting evidence from all four scales for both the American
Georgian periods, TRACE the common design ancestry across the Atlantic Ocean in the Neo-Palladian
and Late Georgian periods of England and the Louis XVI/French Provincial period in France.
ARTICULATE the implications of copying from Europe for the American colonies. Use the principles and
elements of design as defined for this class in your response. Explicitly tie the Roth reading to your
analysis, using at least one cited quote.

In looking at the artifacts presented in the Colonial Design Matrix, pattering (mainly circles and other manipulated geometric forms) is sought out with the materialization of wood. In these artifacts lies a rhythm that is achieved through hierarchical elements mixed with proportion.
While wood is still the main material in terms of scale, it is also shown that large structural beams are present in the ceilings of buildings. Instead of being decorative, they are utilitarian like almost everything in the images shown.

In terms of building and place , a distinct repetition can be accounted for.  This repetition in turn leads to the achievement of harmony, balance, and simplicity. This is mainly as a result of the precise placement of windows and doors on a particular buildings and the strong use of materialization.

None of the categories in the scales provided are highly decorated. This is mostly likely as a result of America being a new country. For once people were able to move and start over fresh. Yes, they took the basic structural foundations of their ancestors but they strayed away from the heavy design eras that were happening around them such as the Baroque and the Renaissance. The people of this time also didn’t have the finances like the people of an established, and for the most part stable nation.

“Like all architecture, it has attempted to create a special environment for human life and to image the thoughts and actions of human beings as they have wished to believe themselves to be.”
Vincent Scully. (Roth p. 439)

[3] From the Hersey/Freedman reading, DESIGN and POST a labeled floor plan of a possible Palladian villa inspired by Girolamo Frescobaldi’s Balletto Terzo found online at this site:

http://www.metmuseum.org/toah/hd/renm/hd_renm.htm

select the link on the left side of the page with Frescobaldi’s name under multimedia  

[4] Using the resources at the weblink below, SPECULATE about whether you believe that the
architecture and design in the Baroque period stands as a form of social performance in the theatre of
the world. Support your response with examples from class and the assigned readings.

http://fathom.lib.uchicago.edu/2/10701023/

The architecture of the Baroque period does stand as a form of social performance in the theater of the world. Theater is all about breaking the rules and allowing people to feel an outer body experience that they wouldn't typically feel themselves without some type of persuasion.  It's all about creating an illusion and that is just what the Baroque period strived to achieve. A great example of it's illusion attempts is the ceiling manipulation, from it looking like it dissolved into the wall to the false impression that it was a down when in all actuality it was a lower straight ceiling.

All the world's a stage,
And all the men and women merely players.
They have their exits and their entrances;

- Shakespeare

Unit 2: Point:Foundations

    The image above is the Parthenon, located in Athens, Greece. This building forms the foundation of all architecture to be proceed it. Throughout history, the buildings most recognized are the ones constructed around religion. For instance, the Parthenon was created as a temple to the goddess Athena. It was constructed with a statue placed in the middle and surrounded by large columns. The building is also very tall and dimly lit. Also, only select few of this time period were allowed to enter. The people permitted to enter and to view the interior were priests and few royalty. However, anyone could view the exterior. Most in fact waited around near the steps for the chance to view the interior when the doors opened. Through the manipulation of height and light, a mystical religious experience was fabricated.
    In building off the idea of Grecian architecture, the Romans created the arch. The arch led to an abundance of things like the dome and vaulted ceilings. The arch allowed for building to reach greater heights while using less materials.

 

The roman Pantheon as depicted in the image above is a direct play off of the Parthenon with the addition of the arch. It also consists of an oculus which further manipulated light. Both buildings have a direct way of interring through a colonnade and progression is axial.
A better example of the evolution of Grecian architecture is the Villa Capra show below. The colonnade porticos, the axial floor plan, and the triangular shape that is atop the entrance ways are very similar to the Parthenon, not to mention it is a manipulation of the Pantheon plan.

All three buildings are built in direct proportion to the exterior columns. The designers of the buildings also took in consideration their surroundings as part as there concept and statement. They also are made up of very simple geometry (squares, circles, and triangles). But most importantly,  each has had a direct feed to the other. Most like in my design work, the more I know the more I build on my projects while maintaining my previous knowledge. I feel that is true for every designer and person. Wether it is the simple task of learning how to use a t-square to the development of a monumental floor plan, an certain and basic accumulation of knowledge must be present.
Another time era that may not seem as a relation to the Grecian era is the Gothic period. It doesn’t pull the exterior architecture as much as the previous eras but it does however focus primarily on the illusion of height and transportation to the heavens. The interior focuses on proportions and axis along the with roman arch that created the barrel vaulted ceiling. This certain ceiling granted an architect the chance to design narrower hallways and taller ceilings which emphasized the pathway to the heavens.
The manipulation of the Grecian foundations is what architecture and design is all about. Design had to start somewhere, which was technically Egypt but the Greeks toppled over there ideas.  
 

 

Grey Stairs

Exploration of the Human Body Part C Final!

Exploration of the Human Body Part B

Credits: Julie Russi

Map Project for IAR 221

Reading Comprehension 3 for IAR222

1.Florence.vs.Cologne.vs.Salsbury.vs.Amiens.

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The Duomo in Florence is a building constructed by Arnolfo di Cambio during the Gothic era in which history has played a huge influence on. Not only does is it apparent that stacking first used by the Egyptians is present but also a more intriguing detail of the triangle atop the entrance ways is clearly visible. The Mycenaeans were known for the triangle above the entrance way of the lions gate. (Image 2. above) Moreover, the Duomo possesses a inner courtyard much like the ones found inside Roman villas. It is clear in image 3 of the Duoma courtyard and in image 4 of the House of Vetti, that an influence was gathered along with the addition of the roman archways.

While ancient Greece and Egypt utilized height as a way to become closer to the gods, the Gothic era did the same with Christianity. The difference is in the interior. While in ancient times the inside was only visible to the high priests and royalty, the interiors of Gothic architecture were mostly open to all viewers. Designers and architects during the Gothic era also wanted to create an illusion as one entered. The influence of height and the spiritual effect may have rooted with the interior of the Hypostyle Hall however, it as much more intense in the Gothic times. The vaulted archway ceiling allows for the illusion of height and narrowness. Also, the hall ways were very dimly lit.

The palette used for the exterior of the building is much like the palettes of the buildings that surround it. Symbolically done though, as to be one with its neighbors imitating some of the ideals of Christianity. Nevertheless, the designers did place symbols on the building as shown in image 5. Much like ancient civilizations depicting gods and goddesses, the architecture of the Duomo depicted priests and disciples.

In comparison to the Cologne Cathedral (image 6) located in Germany, the Duomos, their exterior shapes are oddly related. The culture in both are different which in turn leads to separate architectural details. The Doumos is a series of domes where as the Cologne is a collection of steeples. The color palette is different as well. The Cologne is a very drab and eerie gray and the Doumus is a crisp off-white color with a rustic orange roof.  The color choice is most likely a reflection of the climates in which the architecture is located. The ornamental language of the Cologne is barely a reflection of the people in Germany. It tells nothing of the type of the purpose of the building first hand. It must first be examined before truly knowing its function, where as the Duomos is covered in statues of biblical elements.

Both however possess a series of arches that have been manipulated in some way. While the Duomos's arches have been multiplied into a dome it is also endowed with the same pointed arches as the Cologne. Moreover, the Cologne Cathedral is unlike the Duomos in the sense that it is more vertically inclined. It is illusioned by its narrowness to seem higher than it actually is. However that is not to say that it isn't a vastly tall building.

A cathedral that gives a great first impression is the Salisbury Cathedral. The initial reaction is the same as the fascination of a little child to a fairytale princess's castle.  The interior isn't as instantly flashy but it still maintains its awe-factor. It appears, that as the years progressed, the designers of this era, wanted to concentrate less on the wow-factor and more on the comfortable feeling that an interior should have. In relation to the Duomos Cathedral, it is quite clear that the same style is placed in each. Both have the arched colonnades that make up a hallway whether is be interior or exterioir (image 3 & 8).  The also both possess frescoes on certain ceilings. Inside the dome of the Duomos, there is a beautiful bright and vibrant fresco above. Where as inside the Salisbury the frescoes are more earth-toned and less static. It also seems that inside the Salisbury, the lines are not as strong and harsh. Everything seems to flow together is a peaceful way. Maybe it is because the warfare had began to wear off and people were getting along and living by the Christian religion taught.

When considering the effects of religion it is always a great idea to look at the architecture and how its evolves through time and through the social development and/or acceptance of a particular religion. For instance, the Amiens  Cathedral (image 8) in association with the Duomos Cathedral the advance is clear.  The floor plan shape is transferred into a more smooth edged cross allowing for a more profound statement on the land. Also, the exterior of the Duomos Cathedral becomes a much more smoother skin than that of the Amiens. This in turn symbolizes that the society is more at ease with each other. The invasions have come to a standstill. More so, more is known about Christianity and it has spread all throughout the lands, thus allowing for a celebration of the architecture in which it is worshiped. The building becomes a lighter, more airy building instead of being a defensive fortress.

2. A Medieval Home Companion

Interiors in the Middle ages were typically constructed and adorned with wood such as pine, oak, and walnut. The ceilings were most commonly vaulted in a more upscale house but typically the commoners' houses had ordinary beamed ceilings. Rooms were lit by torches or candles. The palette of the architecture consisted of earthy colors with a pop of rich violets. In order to maintain somewhat of a constant or general temperature, small square cased windows were usually found in the home. There were also tapestries hung on the walls throughout the house to promote value and worth. Other decorative elements found in and around the home were benches, thrones, chairs, trestle tables and chests.