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Friday, November 12, 2010
Narrative Experience Drawings
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Tuesday, November 2, 2010
Atmospheres Reading
1) How does Peter Zumthor talk about the "Magic of the Real" and explain how this compares, in terms of the subtleties, to Michael Benedikt's "Architecture for Reality"?
Benedikt and Zumthor both speak of the experience of architecture and the emotions that different atmospheres present to us. Zumthor speaks more of how to generate these atmospheres explaining how certain aspects are attainable through architecture. Benedikt looks more at atmospheres and certain degrees of reality that have already been produced and explains how architecture is presented to us.
2) Material Compatibility, Temperature of a Space and Levels of Intimacy are some conditions that both Peter Zumthor, in “Atmospheres”, and Richard Serra, in “Weight and Measure”, make a point of articulating when consider space. Where in their explanation of these overlapping conditions are they similar and where do they differ?
Material Compatibility- Zumthor speaks of material compatibility as the interaction between materials and the composure of these materials giving a rise to radiance. He also explains materials to be endless because of all the ways that they can be spaced, manipulated and applied. Serra can relate to this in the way that he did not want any part of his structure to be symbolic. This was accomplished by non object based work and his choice of material. He wanted his work to be viewed without restriction or distraction in order to give an extra degree of purity to his sculpture. He also considered spacing and repetition that Zumthor explains to be another endless quality.
Temperature of a Space- Zumthor defines temperature of space as being material based and the sense of warmth that some materials are able to give off. He speaks of the physiological relationship through the absorption of body heat and the literal relationship that wood is warmer than steel. Serra defines the temperature of space as a more object based relationship between the body, room, and sculpture. He did not want his sculpture to be a sculpture of the space condition that the octagonal volume formed. He also dealt with the vertical and horizontal axis that represented the space around the sculpture.
Levels of Intimacy- Zumthor speaks of this intimacy as the relationship between the scale of the body and the spaces that it interacts with. He concentrates on thresholds and passageways. Serra notices this scale as well when he deals with a 1 to 1 relationship in his sculpture. Because of this the mind is not concentrating on understanding scale, and is free to concentrate on the work itself. He also considers this in the dimensions of the rectangular room, making sure that the space does not distract viewers from his work.
3) Zumthor looks towards experiential conditions when creating architecture, what are other methods architects use when generating architecture and what is the corresponding building?
Some that we spoke of in seminar was proportionality of classical architecture and measurement, unit based approach, algorithmic investigation, programmatic approach, and the formal investigation. I think that the algorithmic approach is a very important aspect to generating architecture. This was touched on some by Stan Allen in Field Conditions. When speaking of the Cordoba Mosque he explains how it started with one set condition. This was the field condition of column spacing. Replicating this condition the mosque was formed to provide vast spaces to hold bodies. Without starting with this condition the mosque wouldn’t have been able to provide enough space for its guests. It also wouldn’t have the sense of unity and spirituality that it does today.
4) For Zumthor at the end of the day, after figuring use, sound, place, light and the other listed conditions, if the coherence isn’t beautiful the process is started again. Beauty is simultaneously subjective for the individual, as held “in the eye of the beholder”, and universally recognizable. Define your subjective understanding of what beautiful architecture is.
I believe that beautiful architecture is architecture that relates to the site on which it is placed and that is sound with the environment that surrounds it. I think this is accomplished by what Zumthor would describe as material compatibility, levels of intimacy and surroundings. I believe that a building should look natural on its site, and that it should be unique to it in the way that it would not fit on any other site. Almost as if the site was created by nature only for one building. A building with a strong sense of belonging.
Benedikt and Zumthor both speak of the experience of architecture and the emotions that different atmospheres present to us. Zumthor speaks more of how to generate these atmospheres explaining how certain aspects are attainable through architecture. Benedikt looks more at atmospheres and certain degrees of reality that have already been produced and explains how architecture is presented to us.
2) Material Compatibility, Temperature of a Space and Levels of Intimacy are some conditions that both Peter Zumthor, in “Atmospheres”, and Richard Serra, in “Weight and Measure”, make a point of articulating when consider space. Where in their explanation of these overlapping conditions are they similar and where do they differ?
Material Compatibility- Zumthor speaks of material compatibility as the interaction between materials and the composure of these materials giving a rise to radiance. He also explains materials to be endless because of all the ways that they can be spaced, manipulated and applied. Serra can relate to this in the way that he did not want any part of his structure to be symbolic. This was accomplished by non object based work and his choice of material. He wanted his work to be viewed without restriction or distraction in order to give an extra degree of purity to his sculpture. He also considered spacing and repetition that Zumthor explains to be another endless quality.
Temperature of a Space- Zumthor defines temperature of space as being material based and the sense of warmth that some materials are able to give off. He speaks of the physiological relationship through the absorption of body heat and the literal relationship that wood is warmer than steel. Serra defines the temperature of space as a more object based relationship between the body, room, and sculpture. He did not want his sculpture to be a sculpture of the space condition that the octagonal volume formed. He also dealt with the vertical and horizontal axis that represented the space around the sculpture.
Levels of Intimacy- Zumthor speaks of this intimacy as the relationship between the scale of the body and the spaces that it interacts with. He concentrates on thresholds and passageways. Serra notices this scale as well when he deals with a 1 to 1 relationship in his sculpture. Because of this the mind is not concentrating on understanding scale, and is free to concentrate on the work itself. He also considers this in the dimensions of the rectangular room, making sure that the space does not distract viewers from his work.
3) Zumthor looks towards experiential conditions when creating architecture, what are other methods architects use when generating architecture and what is the corresponding building?
Some that we spoke of in seminar was proportionality of classical architecture and measurement, unit based approach, algorithmic investigation, programmatic approach, and the formal investigation. I think that the algorithmic approach is a very important aspect to generating architecture. This was touched on some by Stan Allen in Field Conditions. When speaking of the Cordoba Mosque he explains how it started with one set condition. This was the field condition of column spacing. Replicating this condition the mosque was formed to provide vast spaces to hold bodies. Without starting with this condition the mosque wouldn’t have been able to provide enough space for its guests. It also wouldn’t have the sense of unity and spirituality that it does today.
4) For Zumthor at the end of the day, after figuring use, sound, place, light and the other listed conditions, if the coherence isn’t beautiful the process is started again. Beauty is simultaneously subjective for the individual, as held “in the eye of the beholder”, and universally recognizable. Define your subjective understanding of what beautiful architecture is.
I believe that beautiful architecture is architecture that relates to the site on which it is placed and that is sound with the environment that surrounds it. I think this is accomplished by what Zumthor would describe as material compatibility, levels of intimacy and surroundings. I believe that a building should look natural on its site, and that it should be unique to it in the way that it would not fit on any other site. Almost as if the site was created by nature only for one building. A building with a strong sense of belonging.
Wednesday, October 13, 2010
Tuesday, October 12, 2010
Weight and Measure Reading by Richard Serra
1) What were Richard Serra's goals for the installation?
He wanted his sculpture to be read and critiqued without the volume of the space around it to alter anyone views, thoughts, or opinions. He wanted people to view his work without any restrictions or distractions. He was especially careful in the way that nothing about the room would be object based or trigger any symbolic relationship.
2) Define the field Serra is referring to when he states that his sculptural elements need to create "enough tension within the field to hold the experience of presence in the place". How do you define "experience of presence"?
The field that Serra is referring to is the space around the sculpture and how the sculpture relates to this space. He does not want a vast amount of volume to dwarf his sculpture nor does he want an amount of space that will constrict it. He wants to create a tension that is right for the structure inside to room. The experience of presence is the experience a viewer would have in a certain situation dealing with the space and objects around he or she.
3) How do the columns, pedestal condition, octagonal space and vertical axis challenge Serra?
The columns challenged Serra because they were a form of repetition. Serra did not want to show any repetition in his sculpture which forced him to stick to the number of two objects. The octagonal space was another challenge for Serra because he did not want his sculpture to be a sculpture of the space condition that the octagonal volume formed. The vertical axis was just as strong as the horizontal axis in representing the space around the sculpture. This had to be dealt with in order to provide a pure space.
4) What is effective in terms of the shape, scale and number of the two square elements in the Duveen Galleries?
Serra did not want to amount to an external condition of space but rather produce a pure space. A curve or a circle would not accomplish this because it would produce a localized space condition and would become to referential. This would begin to become a hierarchy of space. The idea of a rectangle solved Serra’s problems for many reasons. Fist off it was natural that a rectangular room would be inside another rectangular room. The horizontal axis also cancelled out the vertical axis and gave a visitor a sense of direction. When playing with scale Serra did not want to trigger any symbolic relationships of the guests that were visiting. He wanted this to be a new and clean space from which to view the art. When dealing with the number two Serra viewed anything more to be a series of duplicated objects with repetition. This would make the idea more about the elements rather than the element being represented by space.
5) Describe the differences and similarities between Barnett Newman's and Richard Serra's work.
Serra’s work was very different than Newman’s in the way that Newman's was very object based. But Serra also wanted to accomplish what Newman accomplished in his paintings through his work with the Duveen Galleries. Serra wanted to show the relationship of change in time or place and location through body and space of the room. He accomplishes this as well as a bilateral relationship between horizontal and vertical planes.
He wanted his sculpture to be read and critiqued without the volume of the space around it to alter anyone views, thoughts, or opinions. He wanted people to view his work without any restrictions or distractions. He was especially careful in the way that nothing about the room would be object based or trigger any symbolic relationship.
2) Define the field Serra is referring to when he states that his sculptural elements need to create "enough tension within the field to hold the experience of presence in the place". How do you define "experience of presence"?
The field that Serra is referring to is the space around the sculpture and how the sculpture relates to this space. He does not want a vast amount of volume to dwarf his sculpture nor does he want an amount of space that will constrict it. He wants to create a tension that is right for the structure inside to room. The experience of presence is the experience a viewer would have in a certain situation dealing with the space and objects around he or she.
3) How do the columns, pedestal condition, octagonal space and vertical axis challenge Serra?
The columns challenged Serra because they were a form of repetition. Serra did not want to show any repetition in his sculpture which forced him to stick to the number of two objects. The octagonal space was another challenge for Serra because he did not want his sculpture to be a sculpture of the space condition that the octagonal volume formed. The vertical axis was just as strong as the horizontal axis in representing the space around the sculpture. This had to be dealt with in order to provide a pure space.
4) What is effective in terms of the shape, scale and number of the two square elements in the Duveen Galleries?
Serra did not want to amount to an external condition of space but rather produce a pure space. A curve or a circle would not accomplish this because it would produce a localized space condition and would become to referential. This would begin to become a hierarchy of space. The idea of a rectangle solved Serra’s problems for many reasons. Fist off it was natural that a rectangular room would be inside another rectangular room. The horizontal axis also cancelled out the vertical axis and gave a visitor a sense of direction. When playing with scale Serra did not want to trigger any symbolic relationships of the guests that were visiting. He wanted this to be a new and clean space from which to view the art. When dealing with the number two Serra viewed anything more to be a series of duplicated objects with repetition. This would make the idea more about the elements rather than the element being represented by space.
5) Describe the differences and similarities between Barnett Newman's and Richard Serra's work.
Serra’s work was very different than Newman’s in the way that Newman's was very object based. But Serra also wanted to accomplish what Newman accomplished in his paintings through his work with the Duveen Galleries. Serra wanted to show the relationship of change in time or place and location through body and space of the room. He accomplishes this as well as a bilateral relationship between horizontal and vertical planes.
Friday, October 8, 2010
Book Sections
Theme: Borders that Control/ Walls that Layer/ Pockets that Offer Choice and Change
Compositions: Rooms that Define/ Space that Leaks up into the Light
Compositions: Rooms that Define/ Space that Leaks up into the Light
Friday, October 1, 2010
Sunday, September 26, 2010
Wednesday, September 22, 2010
Tuesday, September 21, 2010
Wednesday, September 15, 2010
Monday, September 13, 2010
Wednesday, September 8, 2010
Reading Two: For an Architecture of Reality
Reading Two
9.8.2010
For an Architecture of Reality
Michael Benedikt
1) What is the reality Michael Benedikt writes about?
The reality that Michael Benedikt writes about is the reality of architecture. He explains many different types of this reality and enlightens us of how each type of reality is linked to architecture.
2) Benedikt describes degrees of reality in architecture as: Architecture of Dreams, Architecture of Games, Architecture of Illusions, Architecture of Enactments and Architecture of Jokes. What are some example buildings that fall under these categories?
Architecture of Jokes- This type of architecture is a play on architecture as we know it. Windows are out of proportion and order, and Columns are holding the building off of the ground. These buildings have a childish feel to them in the sense that no measurement was made while building. Like objects were placed randomly. There is an artificial condition to these buildings.
Architecture of Games- This kind of architecture seems to have rules like a board game. There is a specific right and wrong was to complete the puzzle. It also has a step by step process of how to produce the final product.
Architecture of Dreams- This type of architecture has a false sense of reality. Like something we would see in our dreams subconsciously.
Architecture of Illusions- This type of architecture puts off false acquisition of what the object really consists of. This can be achieved by things such as paint, materials, false balconies, or rooms that cannot be entered. This is very strong in buildings that put off a false sense of material and structure.
3) Benedikt describes “direct esthetic experience of the real” as being moments without symbolism. Where in our environment does symbolism occur and where in our environment is symbolism absent? What is an example of this situation?
Symbolism occurs in almost everything and varies from person to person. Churches, battlefields, shopping malls, and universities are just a few places that represent something bigger than themselves. The closest we can get to non-symbolic places are utilities such as parking lots, manholes, electrical lines, and rooftops. These all are purely used for functionality and have no history.
4) Although Benedikt’s position pulls examples from the 70‘s and 80‘s to illustrate that an architecture of reality is polar to the post-modern architecture movement, this condition continues to exist today. Where in the city would be examples of an architecture of reality and post-modern architecture?
Post modern architecture that is present in the city would be buildings that are understood to us as something else. Examples of post modernism would be Robert Venturi’s mother’s house, and Ricardo Legorreta’s Public Library in San Antonio. Impression of stability and social equality was a component that was trying to be built into modern architecture.
5) The four components that define the “realness” of architecture for reality are: presence, significance, materiality, and emptiness (in two categories). How do these components relate to architecture? And what are some examples of architectural elements that make up these conditions?
Presence- This component of the realness of architecture isn’t apologetic in any way. It stands strong and makes itself known. It also has appropriateness and looks as if it was meant to be built there.
Significance- The collective value of architecture. This component of the realness of architecture is less about functionality and more about how people relate to the building depending on how they value it or the importance it has to them.
Materiality- This component has to do with how materials are used. They should not be used to support of give false acquisitions about the structure of the building or the way it was built. The materials should be used authentically, and it is more focused on the use of materials rather than the choice.
Emptiness- This component represents the void between columns and the space that is part of a building that still has a presence. It is the containment of space. An example of this is the Kimble Art Museum. Emptiness (2)- This type of emptiness draws you to emptiness, it has a gravitation to it.
9.8.2010
For an Architecture of Reality
Michael Benedikt
1) What is the reality Michael Benedikt writes about?
The reality that Michael Benedikt writes about is the reality of architecture. He explains many different types of this reality and enlightens us of how each type of reality is linked to architecture.
2) Benedikt describes degrees of reality in architecture as: Architecture of Dreams, Architecture of Games, Architecture of Illusions, Architecture of Enactments and Architecture of Jokes. What are some example buildings that fall under these categories?
Architecture of Jokes- This type of architecture is a play on architecture as we know it. Windows are out of proportion and order, and Columns are holding the building off of the ground. These buildings have a childish feel to them in the sense that no measurement was made while building. Like objects were placed randomly. There is an artificial condition to these buildings.
Architecture of Games- This kind of architecture seems to have rules like a board game. There is a specific right and wrong was to complete the puzzle. It also has a step by step process of how to produce the final product.
Architecture of Dreams- This type of architecture has a false sense of reality. Like something we would see in our dreams subconsciously.
Architecture of Illusions- This type of architecture puts off false acquisition of what the object really consists of. This can be achieved by things such as paint, materials, false balconies, or rooms that cannot be entered. This is very strong in buildings that put off a false sense of material and structure.
3) Benedikt describes “direct esthetic experience of the real” as being moments without symbolism. Where in our environment does symbolism occur and where in our environment is symbolism absent? What is an example of this situation?
Symbolism occurs in almost everything and varies from person to person. Churches, battlefields, shopping malls, and universities are just a few places that represent something bigger than themselves. The closest we can get to non-symbolic places are utilities such as parking lots, manholes, electrical lines, and rooftops. These all are purely used for functionality and have no history.
4) Although Benedikt’s position pulls examples from the 70‘s and 80‘s to illustrate that an architecture of reality is polar to the post-modern architecture movement, this condition continues to exist today. Where in the city would be examples of an architecture of reality and post-modern architecture?
Post modern architecture that is present in the city would be buildings that are understood to us as something else. Examples of post modernism would be Robert Venturi’s mother’s house, and Ricardo Legorreta’s Public Library in San Antonio. Impression of stability and social equality was a component that was trying to be built into modern architecture.
5) The four components that define the “realness” of architecture for reality are: presence, significance, materiality, and emptiness (in two categories). How do these components relate to architecture? And what are some examples of architectural elements that make up these conditions?
Presence- This component of the realness of architecture isn’t apologetic in any way. It stands strong and makes itself known. It also has appropriateness and looks as if it was meant to be built there.
Significance- The collective value of architecture. This component of the realness of architecture is less about functionality and more about how people relate to the building depending on how they value it or the importance it has to them.
Materiality- This component has to do with how materials are used. They should not be used to support of give false acquisitions about the structure of the building or the way it was built. The materials should be used authentically, and it is more focused on the use of materials rather than the choice.
Emptiness- This component represents the void between columns and the space that is part of a building that still has a presence. It is the containment of space. An example of this is the Kimble Art Museum. Emptiness (2)- This type of emptiness draws you to emptiness, it has a gravitation to it.
Reading One: Field Conditions
Reading One
9.8.2010
Field Conditions
Stan Allen
1) Stan Allen describes field conditions as “bottom-up phenomena: defined not by overarching geometrical schemas but by intricate local connections.” What are some field condition examples that can be found in the road systems of Lubbock?
Some field condition examples that can be found in the road systems of Lubbock are streets, stop signs, manholes, sidewalks, and curbs. All of these are related individually by number systems or patterns. They all solve local solutions and are field conditions.
2) In part 1, Allen distinguishes a geometric relationship of classical architecture from an algebraic combination of the Cordoba Mosque. How do these two architectural examples differ?
The Cordoba Mosque started with one set condition, the spacing of columns, and the geometry of the arch. As the Mosque grew the field conditions were replicated to create a larger space for a larger clergy. The new additions all replicate and preserve the previous stage, always representing special order of the axial focus typical of western churches.
3) What are some other examples of field conditions that can be observed around campus?
Sidewalks are a good example of a field condition on campus. They are paths that always consistently lead to doors. They also have the repeated unit of expansion joints that are present in every sidewalk. Another good example of a field condition on campus is a flock of people heading to a football game. The cycle of people finding seats and sitting down as well as the seats themselves are field conditions. They are both repeating patterns.
4) How does a field condition stand to redefine the relation between figure and ground?
Figure ground has two material conditions which are the physical material that makes up walls and the space between these materials. A good example is the city plan of Rome by Giambattista Molli. Field conditions redefine this because they are relationships, or number systems that are repetitive, or have a common pattern in some way that is presented subconsciously. They are not just black and white or figure and ground, they are more complex yet more concealed in our construction and plans.
9.8.2010
Field Conditions
Stan Allen
1) Stan Allen describes field conditions as “bottom-up phenomena: defined not by overarching geometrical schemas but by intricate local connections.” What are some field condition examples that can be found in the road systems of Lubbock?
Some field condition examples that can be found in the road systems of Lubbock are streets, stop signs, manholes, sidewalks, and curbs. All of these are related individually by number systems or patterns. They all solve local solutions and are field conditions.
2) In part 1, Allen distinguishes a geometric relationship of classical architecture from an algebraic combination of the Cordoba Mosque. How do these two architectural examples differ?
The Cordoba Mosque started with one set condition, the spacing of columns, and the geometry of the arch. As the Mosque grew the field conditions were replicated to create a larger space for a larger clergy. The new additions all replicate and preserve the previous stage, always representing special order of the axial focus typical of western churches.
3) What are some other examples of field conditions that can be observed around campus?
Sidewalks are a good example of a field condition on campus. They are paths that always consistently lead to doors. They also have the repeated unit of expansion joints that are present in every sidewalk. Another good example of a field condition on campus is a flock of people heading to a football game. The cycle of people finding seats and sitting down as well as the seats themselves are field conditions. They are both repeating patterns.
4) How does a field condition stand to redefine the relation between figure and ground?
Figure ground has two material conditions which are the physical material that makes up walls and the space between these materials. A good example is the city plan of Rome by Giambattista Molli. Field conditions redefine this because they are relationships, or number systems that are repetitive, or have a common pattern in some way that is presented subconsciously. They are not just black and white or figure and ground, they are more complex yet more concealed in our construction and plans.
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