Monday, April 9, 2012

US2

US2

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Throughout our exploration into this most recent section of design and architecture's history, we were presented with many of the ideas people faced during their time.  Most of these ideologies centered around reviving the past, creating rules, breaking these rules, and revolution.  Strange how uttering these words essentially paints the picture that is history.  But that is what is so valuable about this class, it gives one an appreciation into how architecture/design mirrors and sculpts not just the times, but life itself and the world around it.   

Life during this time frame was about understanding.   Without understanding, revival cannot take place, much less be conceptualized.   Without understanding, rules cannot be created, because there is no definition and foundation for them to be propped upon, and without rules, there are none to break.   Obviously, revolution cannot take shape without an understanding of what is being revolted against or for.  

So the World, and its inhabitants, was finally gaining a deeper understanding of itself.  Previously, we learned how people were learning, creating, trying new things, to interpret their world, but as we learned recently in class, this time period was about shaping and reshaping continuosly as knowledge and styles were understood, shared, and modified.       

Here are some the rules the western world produced during the early section of this time : revive the past using classical language, strive for harmony and order in all things, layer groves and stacks when possible, emphasize surface through materiality, follow the rules, place man at the center, strive for position through patronage, move forward the secular, 1 point perspective, expand the physical world.   And here are some that influenced and came out of the eastern world : maintain continuity of the past, strive for harmony and order in all things, continue to layer groves and stacks, celebrate surface and materiality, follow the rules, place community needs before your own, strive for position through patronage, emphasize the spiritual, sustain systems of representation, expand your inner world.   There are certainly more similarities than differences here between the two, but I contend that at the heart of both and throughout the rest of the world, it was simply this ordering, structuring, shaping, that kicked off their connection to a deeper understanding, that was the Rennaissance.  

But as is always the case to follow when rules and order are set up, people come along and break these apart, reshaping and retooling the syles of the time.   That, was of course, exactly what the Baroque period provided.   Reordering, restructuring continuously...until eventully a revolution takes place, which is exactly what happened all over the world.  The Revolutionary period provided social and political revolutions, but the style popping up all over the world did more than the reiterate these times, it helped solidify and illicit the changes to come.   

I chose this image of the Liberty Bell not only for its more palpable and tangible illustrations of rules, breaking them, and revolutions, though it can certainly be considered synonymous with them (especially since it was created during this time frame, and is, of course, broken), but rather to discuss its significance to understanding.   Though it is often heralded as a major symbol for and during the U.S. Revolutionary War, it was possibly not even used to warn of invasion, and it was hidden away during the war, for fear that it might be used to swelt down into a cannon.   In actuality, what is know known and referred to as the Liberty Bell was donned this term during the abolitionist period of 1830, as it was to stand for all man's liberty.   It was later used as a symbol for women's suffrage in the early 1900's.   So as this class continues to help us learn and understand our past, we get a deeper sense of what structures and things meant for people during their times.   In the case of the Liberty Bell, it was to sybolize different things to different groups of people, nevertheless, it was an understanding of Liberty.                

Tuesday, March 27, 2012

BP9

BP9

                            Illuminating the Revolution

Street lights and street lamps provide that wonderful air of mystery and the unknown when in tandem with fog and nostalgia.    But do they also carry messages of revolution?   Absolutely!


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For many of us, streetlights conjure up images of revolution almost immediately as we in America have been bombarded by pictures, movies, etc. of our early revolutionary citizens helping to light the way of Paul Revere (or perhaps Paul Revere awaking revolutionaries, as he rode with a light, illuminating his own way.)  This is certainly one of the ways we perceive a special time in our country's history, and it is revolutionary, but most of what we have been taught was perpetuated through crafty writership, (especially since Israel Bissel did the bulk of the riding to spread the word that the British were coming).   But this is beside the point, street lights, (as in electrified light), illuminating a street came much much later.

So, in that case, what do street lights have to do with revolution?   The revolution of Nikola Tesla.  


RR10

RR10

Gaudi's Curved Curb Appeal

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"As they studied Greek, Roman, and Gothic architecture, they came to understand by the end of the nineteenth century that these ways of building had begun first as vernacular expressions, which had then been clarified and stylized, becoming cultural expressions rich in meaning."  (Roth p 511)

It has been pointed out (through our teacher) that great nations stand on their architecture.
  • During the turn of the century, design styles were growing from the conception of older norms.
  • One architect that stood out greatly during this time was Antoni Gaudi who lived from 1852 to 1956.
  • He developed an architectural style in Barcelona through the use of molded forms on curved structural walls and thin masonry vaults. 

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"Gaudi created an architecture rooted in Catalonia's Moorish and medieval past --as architecture ablaze with colored tile, exploiting the thin, curved, tile vault constructeion for which Catalonia has long been famous."   (Roth p 513)
  • This particular style of fitting forms on the facade borrowed heavily from that of the Moorish tradition with ceramic tiles.
  • But Gaudi did not simply borrow from this source, he also borrowed heavily from nature.
  • he observed the natural world around him and used these close observations to implement natural styles in his design.



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"Gaudi's fusion of organic naturalism and the structural logic of curved vaults is demonstrated in the large apartment block, the Casa Mila, he designed for Dona Rosario Mila on the Paseo de Gracia, Barcelona, 1905-1910."   (Roth p 513)
  • Gaudi planned the structure with the idea of a plan stem and cliffside as his inspiration.
  • The curvature of the exterior walls are meant to mimic the weathered sea cliffs outside of Barcelona, with details like wrought iron balustrades imitating tangled kelp seaweed.
  • Around the interior courtyards, he designed walls that liken a plant's vascular network.
"It is a unique vision of a functional, structurally utilitarian, organic architecture that could have been created on in Barcelona."   (Roth p 514)

This may have been the case back then, but all over the world, designers and architects have been and are designing more organic and natural looking structures.   The idea being to blend into the surroundings better, and this should be gaining more and more exposure in the coming years as well, as we continue to make transitions into not only environmentally sound structures, but more environmentally aesthetic structures.

*Roth, Leland M.. Understanding Architecture:  Its Elements, History and Meaning.  New York, NY: Icon Editions, 1993. Print.

BP8

BP8
                                          A Three Dimensional Language

As simplistic as we might consider the globe map to be today, I believe it still speaks volumes as to the unifying language that is the world.

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To conceptualize the immense changes that came from the creation of the Globe map, is to have lived in a world without the computer.   I don't think it is possible for our brains to grasp even a tenth of the importance, significance, and connotations that came with and as a result of this tool, this three dimmensional object, given the rammifications and capabilities of the modern computer.   But, taking a stark look at it (the globe) today, right now, it can still provide glimmers of the wonder and fascination it must have caused back through the ages.   Moreover, it did not simply provide the knowledge of other languages out there, it itself is language.

The Globe channels us to listen to its wisdom, to hear its story, and it does this through its shape, its layers, its detail, and especially through its movement.  

When we look at a globe, immediately we receognize that it is interactive, it desires participation, and we recognize this from its shape.   It is a circle, certainly, which makes it continuous, balanced, repetitive, but because it is three dimensional, it not only cubes these values, our brains interpret it as a touchable experience.  A globe screams "play with me."

Its layers provide history.   The forms on a globe are not geometrically arranged, but because of this, they beg the user to investigate the arrangements that are displayed.   What do the arrangements say?   What do they mean?  They are tectonic, but they are a rhythm that weaves through the whole unit, and these forms are words of interpretations.

The details on the globe provide color, symbols.   The land forms rise up out of the long vast sections of blue, like words between the spaces of white on a page.   The cause interest and inspection.

And finally, the globe's language is better understood through is functional movement.   A globe turns, it rotates, and we know this.   But is spinning a globe really any different than turning to the next page of a book?  Its repetitive nature keeps these "words" in constant circulation, and its language continues today (and because it is so interactive) and will even tomorrow. 

RR9

RR9

THE BEAUTIES BEHIND THE WIND SCREEN

The Hawa Mahal is still considered to be one of the Jaipur's signature monuments.

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"The Mughal Empire was at its largest under Aurangzeb (r.1658-1707) who annexed all the Deccan sultanates."  (Ching p 626)
  • South Asia was growing in trade and strength because of newly established European trade ports.
  • Sawai Jai Singh III seized the opportunity of this potential growth for his kingdom of Amer.
  • He grew his kingdom from 1699 until 1743, continuing growth and construction. 
"If moderninity can be understood as the forward thrust of transformation and as the production and exploration of the possibilities of the new in negotiation with the values of the status quo, then this was indeed a period of moderninity."  (Ching p 626)


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"The Hawa Mahal (literally, 'Wind Palace') gets its name because the building was considered insubstantial - or made of wind."  (Ching p 627)
  • The grandson of Sawai Jai Singh constructed this structure in 1799, in what is now Jaipur, India.
  • This building is a five story high screen wall which helped earn it the name "The Wind Palace."
  • It was placed at the edge of the palace complex facing down on the main street.
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  • The concept here is that of a grand urban structure.
  • It was designed by Lal Chand Ustad.
  • The elements found in this structure are that of Mughal palaces or other mosques that were built to be screened sections for women.
"[I]t was built to enable the women of the royal household to watch the festival processions on the street while remaining unobserved themselves."  (Ching p 627)

This obviously has meaning in today's world as a lot of these religious traditions and value structures have still carried over today, and this could be "practically" used in several parts of the world even today.  Regardless of beliefs or values, it is a beautiful structure.

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

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.