Wednesday, February 29, 2012

RR7

RR7
Oh, to Have a Ryoanji Garden on My Desk

"Perhaps the white field is an ocean and the rocks islands."  (Ching p494)


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  • This innate rock garden is a part of the Ryoanji Temple.
  • This temple derives its name from the Japanese meaning, "The Temple of the Peaceful Dragon." 
  • It is found in northwest Kyoto, Japan.

To this day, it is considered one of the greatest examples of a Zen garden.

  • It currently belongs to Myoshin-ji school of Rinzai branch of Zen Buddhism.
  • This rectangular dry garden has a bed of white gravel that is carefully raked to form East/West running bands.
  • 15 natural stones are clustered in five groups, and the gravel around them is raked in a manner that looks as though it were ripples in a pond

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"The rocks could also stand for a tigress leading her cubs across a river - another common interpretation."  (Ching p494)

  • The exact time and designer of this garden are not known for certain.
  • The temple originally went through its major design stage in 1450 A.D., by Hosokawa Katsumoto who built the Ryoanji Temple.
  • It is believed that his son rebuilt the temple in 1488, after small clan wars, and in the process, created the garden in 1488.
 "Ultimately, the garden is not meant to convey a singular interpretation but to serve as an aid to meditation, with the empty space between the stones just as important as the stones themselves-or perhaps even more so."  (Ching p494)

I have always been fond of these rock gardens and have wondered about their meanings and reasons for their design, but I guess ultimately both questions can be answered in one word : Peace.   How this applies today is one of great importance, and perhaps specifically why I felt the need to study this particular design more intricately, and that is its balance and sustainability.   These rock gardens are eco-friendly, that is, most all of the resources that go into them is sweat equity.   This is very important and will increasingly be so as, water resources continue to dwindle.

*Ching, Frank, Mark Jarzombek, and Vikramaditya Prakash. A Global History of Architecture. 2nd ed. Hoboken, N.J.: Wiley, 2011. Print.
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Thursday, February 23, 2012

BP6

BP6

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Saturday, February 18, 2012

RR6

RR6                               These Churches are on the Downlow, sorry, Underground
Within the country of Ethiopia, there is a place called Lalibela, where they are know all over for their monolithic churches.

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This is an example of one of these astounding churches, beneath the ground, that was cut out of a single piece of rock.

  • This church is speculated to have been build in ca. 1187.
  • The Zagwe dynasty (founded ca 1137) reached it's peak under King Lalibela (ca 1185-1285).
  • He is accredited for building a set of eleven of these monolithic churches.
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Under a threat from the forces of Islam, the kingdom had retreated into these ridges, enabling them to still control the Red Sea ports that links central and southern African trade routes.  These ridges had several springs which gave both agricultural and symbolic value.

  • These churches are cut out of one single solid, volcanic rock. 
  • They were founded in the new capital city of Roha, now known as Lalibela. 
  • This city is located on a high ridge above the Takkaze River (340 km north of Addis Ababa).
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"The churches are highly unusual in their overall conception.  Not only do they constitute a holy land unto themselves, but they are a map of the holy city of Jerusalem, which King Lalibela had never seen, but imagined from descriptions in the Bible." (Ching p414)

  • These churches are divided by a rock-cut channel called Yodannos, or the Jordan River.
  • The largest of these churches, Bieta Giorgis, was carved into the shape of a cross. 
  • This building is approximately twelve meters in height, length and width, and sits atop a triple-stepped platform.

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"Though carved out of the living stone, it mimics a conventionally constructed building, replete with vaults and delicately chiseled acanthus leaves and gargoyles."  (Ching p414)

Ching, Frank, Mark Jarzombek, and Vikramaditya Prakash. A Global History of Architecture. 2nd ed. Hoboken, N.J.: Wiley, 2011. Print.
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Monday, February 13, 2012

US1

US1                                                           It's All Around Us


(This image found at : http://www.bing.com/images/search?q=Primitive+Hut&view=detail&id=05FC2672A6804380065548834496CA13A4635F1A&first=0&FORM
=IDFRIR)

         Why would we, the current rulers and roamers of the Earth's soil, find the need to study the shelters and structures of the past?   Are their buildings really pertinent to the situation known as life today?   Could they truly "unlock the secrets of the past" as we are so often prescribed to ponder?
          In my own travels, I think I have often answered this question with a 'sure, they're probably unlocking all sorts of secrets...for scientist or other people that might actually care, like a historian...but for me, they are just really cool to look at, and put my hands on.'  This was often times my rationale, and not to take away from the beauty that I myself felt when in the presence of such spectatular sites, but the meanings behind, or the viability of these ancient structures would and should be left up to the professionals, at least that was what I believed.   I was simply a tourist in the gallery of life.
          But through this class, and more especially, the first several weeks, I came to realize the fallacy of this ideology, or perhaps the stupidity behind the ignorance arguement.    These tangible structures we are visiting in class give us insights not just for the explanation and comprehension of the past (in fact quite the opposite, as our professor has allowed us to conjure up our own interpretations of the symobolism and make our own assessments and assumptions), but to help us explain, understand, and define our present and future.
          We have taken an unfettered look at sites such as Stonehenge, the Roman Aqueduct, the Acropolis, the Xiang yang Palace.   We have learned of their immense planning, the dedication to constructing structurally sound products, and the attention to detail that was harnessed during their design process.   But most importantly, we have focused on their design elements.
          The design elements : Circles, Groves, and Stacks became our first welcome into the world of understanding.   Once we were presented with these tools to view our landscape and the structures that we not only visited on campus but also the structures and places we read about in our text, we began to make sense of Stonehenge, the Acropolis, etc.   These tools gave us the reasoning behind why specific construction styles were choosen and this is what allowed us to contemplate their symbolism, their meaning for past civilizations.
          But as we are learning, these three elemental designs styles help us to understand our present and future surrounding, and more importantly, our choices for exactly that.   It is through learning about them, that we can make sense of today.
          The image I have choosen above, was actually out of luck.   I initially set out to display an image of a primitive hut that one might see as shelters in a third world country or that one might just build as an "off the grid" ecologically friendly structure, and explain its viability in present day (i.e. it is still meant to and capable of serving the most basic or elemental needs of man) through utilizing all three design styles : the circular parameter, for a centered approach to life and lifestyle, the groves of the walls, for the materials to be that of and mirror the landscape, and the stacked roof, to symbolize its reach heavenward.   But then I found this image apptly named the "Primitive Hut in the digital Age," and thought, what better example to explain my own personal feelings of a trans ition to jump out and off of the tourist role and into one of belonging and comprehension.   Thankyou.


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RR5





RR5                                               Man, Just Being Onboard this Church

"Like the Viking ships, the stave churches derive from a building tradition developed to defy the harsh elements."  (Ching p388)

(This image found at:  http://www.bing.com/images/search?q=Kaupanger+Stave+Church&view=detail&id=51C853F0B0AB5533B7AB6CCFD
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This Stave church is located in the town of its namesake, Kaupanger, Norway.
  • This church was founded in the 12th Century and is still in use today.
  • It is located on top of what are believed to be the ruins of two previous churches.
  • A low wall of flat stones raised this building above the ground level.


(This image was found at:  http://www.bing.com/images/search?q=Kaupanger+Stave+Church&view=detail&id=502B4F385B574824E73F6FFD9CE
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Stave churches were miedeval wooden churches, timber framed using a Post and Beam construction style.  
  • They consisted of load bearing post running horizontally and vertical planks were attached to form the walls. 
  • These structures are capable of expanding and contracting in damp and dry weather, making them very flexible.
  • As well, a continuous belt of cross-braces was added enabling the structure to be tightened if needed.
"Beyond that, columns, planks, and supports were [all] dovetailed, pegged, and wedged-never nailed."  (Ching p388)

                                                                               

"The word stave, from the Nors stavr, refers to the load-bearing post that make up the structure."  (Ching p388)

  • The church's interior is minimally lit, with only small strips of light coming through either the windows or from peepholes in the longitudinal walls.
  • Services and religious practices were illuminated by candlelight.
  • The interior much like the exterior was modeled after the Viking ships. 
It is easy to see how they styled their churches in the same forms as their Viking ships not only for the durability but also for aestetic appeal.  The Vikings were at home on the sea, so one could make the point that these churches were constructed to make them feel as at home during their religious practices on land.

Ching, Frank, Mark Jarzombek, and Vikramaditya Prakash. A Global History of Architecture. 2nd ed. Hoboken, N.J.: Wiley, 2011. Print.
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Wednesday, February 8, 2012

BP4

BP4                                                        A Field Trip for the Sexes
This previous Friday was another campus field trip, in which we awoken our eyes to the good, the bad, and the ugly that surrounds us everyday.   We took note of the exceptional design styles/modifications that have taken place throughout the University's history, as well as the poor choices that have been made, though some of these seem to be just out of sheer laziness.   As well, we took notice of the Phalic and Chalice symbols, and more specifically, their location.
  • Here we can see a representation of the Rotunda (or circle) that is at the main entrance of the EUC.
  • It is illuminated well, as the skylight persona pours in natural light during the day and artificial light at night.
  • It is also very well manufactured, in that its circular design provides heigth, stability, and great accoustics to the place.

  • Here we can see some of the more problematic aspects of the space.   Heating vents are poorly hidden or built into the aethetics of the design.
  • As well, the doors below the vent are not positioned well within the circular layout, causing confusion with the flow of human traffic.
  • We also took note of how poorly centered the actual rotunda/circle is within the parameters of the EUC.   (Once this was pointed out to me)  It became abundantly clear how much of a design flaw this is to the appeal of the building, not to mention the campus.  (Now, I cannot help but notice how off-balance this feels, everytime I pass by the EUC.)

Here is another example of a prominent design that was praised along our journey.   This was a decidely good choice, post-WWII, for the Federal stylings, that help to highlight the Library, and also represent its prominence as a Library.

  • The columns adorning the Library also help to reinforce this standard
  • They can be possibly seen as phallic or phallices holding up the standards imposed here at the Library.
  • What's more, they are very visible; that is, they are very much open to the public to be viewed and admired

  • This is, perhaps, an example of a Chalice, given its shape and look.                                                   
  • It is not meant to be an imposing structure or design; it is simply meant to be admired for its charm       and simplicity.                                                                                                                                  
  •  Because of its refinement and its natural beauty, it begs the question : "Why is it hidden away               here, way down the Axis, all the way down beside the Music building?"                                                                                                                                                                                                                                                                                                                                                                                                                                                        


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BP5



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RR4

RR4                                     A Steep Focus mixed with Astrological Greatness

The Mayan ruins in the Tikal National park are impressive to say the least, but the attention to Astronomy in their detailed stylings is impeccable.


  • These Mayan ruins' history begins in 292 C.E. but its peak was around 700 C.E. 
  • This area lent challenges such as swampy land that created the need for inovation in its design, such as causeways and stone-lined cisterns. 
  • It was through civic organization and hydraulic engineering that these Mayans prospered.
"The swampy land had to be sectored by raised causeways that provided access to the cultivatable land and also allowed for travel and transport.  For [their] dwellings, [they built] more permanent stone platforms."  (Ching p264)



"Though the central buildings of the Mayans are used for ceremonial and religious functions and also sometimes as markets, the city itself was spread out in the form of urban settlement.  Whereas the priestly class and ruling elite probably lived in the palaces associated with the shrines, the rest of the Mayans visited the centers sporatically for distinct purposes."  (Ching p264)
  • The shrines here at Tikal dominate their subcultures, which gives and extremely steep profile.
  • Because of this design style of stacking nearly straight up towards the heavens the visual focus of the entire composition is at the shrine's entrance. 
  • This particular architectural design style cannot be found anywhere else in Central America. 
I have personally been to these ruins and can not only acknowledge the particular steepness of this profile but also can claim a touch of vertigo when making my way down these relatively difficult set of steps.



These particular complexes, or temples, were "reskinned" many times.  "When a ruler of some significance died, he was burried in the acropolis, and a new stone layer was added to it." (Ching p264)  "Their engineers constructed Tikal's base by building up the higher zones into platforms with mud and stone.
  • Astronomy was the determining factor for the location of these main temples.  It was the visual sitelines that made for their placement.
  • The top of Temple I faces west towards Temple III which marks the setting of the sun at the equinoxes.  Facing towards Temple IV, marks the sunset on August 13, the day the world began according to the Mayan calender.
  • Also at the twin pyramid complexes, their collective steps add up to 365, which is one year on the Mayan calender.



Through creativity, innovation, and attention to design detail these structures of a people of the past still stand firm and erected today.  This area still hosts many gatherings for past, present, and future astrological occurances.  I've been to one of these parties and it's sweet!


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Wednesday, February 1, 2012

RR3

RR3
Forget the Roof, Let's View the Polis

The Epidauros theater in Greece was erected circa 350-300 B.C.E. by the famous architect Polykleitos the Younger.  It was capable of hosting up to 700 people which was nearly all of the voting populationl; later it was expanded to hold up to 14,000.  Because of its enormity, it was impossible to roof in the entire structure at this time.  "Around the top most seats were fourteen supports, reducing the span required of the wooden truss roof to roughly 47.5 feet (14.5m), a considerable span at that time."



  • There were three basic parts to this theater: the theatron, the orchestra, and the skene.
  • The theatron was the "seeing place" which was essentially the spectator's seats.
  • The orchestra or "dancing place" was the 70.5 ft in diameter circular floor where the acting, singing, etc. took place.  An alter to Dionysos was centered here. 
  • The skene was the backdrop to the orchestra.



"At Epidauros, there are fifty five semicircle rows of seats divided by an ambulatory about two thirds of the way up." (Roth, 229)
  • There are two major design elements here: circles and stacks.
  • The orchestra is center circle with all seating arranged in a circular pattern around it for a 200 degree view.
  • The circular seating pattern is built up as tiers, one tier after another on top of itselft through the methodology of stacking.



"Going to the theater was a celebration of community spirit; the plays contributed importantly to political education and were not merely facile entertainment as they because later in the Roman Empire." (Roth, 227)
  • The Greek climate was relatively mild which made open air arenas and theaters possible.
  • The seating allowed audience members to look out at the landscape, or their polis.
  • This theater going became an all important part of civic life.
*Roth, Leland M.. Understanding Architecture:  Its Elements, History and Meaning.  New York, NY: Icon Editions, 1993. Print.





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RR2

                                                     


RR2                                   You Can't Keep a Good Woman Down (in a Cliff side)

The Temple of Hatsheput is a gorgeous representation of an accentuated burial, built to house the remains of the Queen Hatsheput, Pharaoh of the Eighteenth Dynasty.   It is a remarkable structure to say the least.
                                                                        
 
(Image found at: http://www.sacred-destinations.com/egypt/images/luxor/hatshepsut/resized/view-c-beck.jpg)
  • This tomb was built circa 1500 B.C.E. during the height of Egyptian reign.
  • It is located at Deir el Bahari, Egypt, inside the cliff side surrounding the Valley of the Kings.
  • Queen Hatshepsut was Pharoah from 1503 until 1482 B.C.E. 

As we can see from the photo, this temple was erected directly into the cliff side.  "The entire mortuary temple complex is rooted in the axial and orthogonal traditions of Egyptian geometry and spatial organization.  But it's unique features consists of the way Senmut integrated the terraces into the horizontal layers of the cliff, with the vertical lines of the colonnades echoing the vertical weathered grooves of the cliff faces, making temple and cliff seem to be extension of each other."  (Roth, 202)
  • This new form of tomb burial was due mainly to thwart the commonplace looting taking place during this time period.
  • Before this style, the imposing visible tombs e.g. Egyptian temples were robbed constantly despite having guards posted. 
  • These new forms of tombs helped hide their potential treasures by blending into the mountain sides while still containing pleasing design techniques.  


  • Here we can see two elemental design styles: groups and stacks.
  • The stacks can be seen from the layers built on top of each other raising heavenward.  This is also seen in the multiple steps built onto the structure as well.
  • The mountains behind it also act as an extension of this stack design. 
  • This stack design can also be considered for possible fortification purposes. 
  • The other major design style here are the columns built into the stacks which give structural integrity with the presence of vertical integration.
This tomb built for Queen Hatshepsut was a unique design and predecessor for many to follow.  She was considered worthy of this for many reasons but the main one being her expedition to the Land of Punt, now modern day Somalia, though our authors Roth and Ching have conflicting purposes for this expedition.  Roth claims the trip was out of need for myrrh trees for their oil, while Ching contends the expedition was to serve the purpose of acquiring frankincense trees for their oil.  (Ching, 107/ Roth, 202)

*Roth, Leland M.. Understanding Architecture:  Its Elements, History and Meaning.  New York, NY: Icon Editions, 1993. Print.
Ching, Frank, Mark Jarzombek, and Vikramaditya Prakash. A Global History of Architecture. 2nd ed. Hoboken, N.J.: Wiley, 2011. Print.
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BP2                                                          Elemental Scalping
For our campus adventure, we scouted all sorts of buildings and structures in search of our three elements: Circles, Groups, and Stacks.   But it became immediately apparent that we didn't have to look far, because it seemed as though every constructed locale we visited contained at least one of these element.   Some even contained multiple elements in their design, so we began to realize that aspects of these elements could perpetually be seen in almost any structure created today.
                                         (Here is a picture of the Alumni House on Campus)         
  • This structure illustrates an example of the design element: Stacks.   The multi-leveled, multi-floored building, is built upwards.  Each layer towards the roof is stacked on top of each other.  
  • Also, we can see two more examples of this same design style in both the sets of stairs heading up towards the structure.   They, like the building, are stacks, built up towards heaven.                                                                
        (Here is a picture of the campus map station)         
  • This structure illustrates examples of two design elements: Stacks and Groups.  
  • The stacks, built upward, as previously mentioned, can be seen in the roofing design, but it is the columns that hold particular attention in this structure. 
  • These columns may not exhibit the dexterity of Grecian or Roman Columns, but they are nonetheless born of the same design.      

(Here is a picture of the UNCG clock tower)

  • This structure illustrates an example of three design elements: circles, stacks and groups.
  • We see the columns and stacks, as noted earlier, in their vertical building style and heavenward reaching, but we also see an example of circles in this structure.
  • Certainly the clock is a perfect example of this design element, but the arches not only hold the structure together but also give it the perfect elemental design.  
In these pictures, we can see how these forms, these designs are still very much in use today, so it would be quite accurate to say that they are timeless (most especially, the clock tower) and hold validity today.   They are important because these elemental designs hold structurally sound capabilities as well as aesthetic appeal.  

With the Alumni House structure, we could assume that its erection and location would be due to ritual, being that universities usually build these to shelter and convene returning Alumni.   Hence, these buildings on university campuses, and this one in particular, would be here due to a ritual, which then influences its environment.

With the Campus map structure, we could assume that its erection is due more out of a need for comprehension of one's surroundings, hence it is there due to environment.   It is in one of the most convient locations, inorder for one to understand the surrounding environment, so this one in turn influences the ritual of constructing the much needed map.

With the Clock Tower structure, it is hard to determine which of the driving forces is at work the most here.   It is ritualistic to place these on a university campus in order for students to know what time it is (and if they are going to be late for class), but it is also an environmental force in the placement of these, being that they need to be in some what of a centered location to be effective for students.   So this particular structure, I would pose the question right back: which is it, its ritual influencing the environment or the environment influencing the ritual?
                                                                                                                                                                                                                                                                                                                                                                                                                                                                               
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