Reading Composition No. 6

[1]

Art Nouveau became a very common theme across numerous nations in the 20th century. Combining art and nature was a designers new way of introducing modernism and new production methods. America was not the only nation to use this declaration of being it's own independent country, but also Paris and Berlin, who countries who have been through many different eras, have also began to adapt the art nouveau style.

In Paris, France, Hector Guirmard, who is known for his metal work in metro stations, began to alter all of the decorative characteristics he was putting in his buildings. He was designing carpets, furniture, wallpaper, mosaic floors, and even door handles. One of his buildings was the Castel Beranger apartment complex. The most exciting space of the house was the entrance. Putting to use his good reputation for iron work, he made the front gate entrance with art nouveau style. The gate is asymmetrical, the ornament was inspired by naturalistic themes, and the 'dynamic whiplash' is used many times (Massey, p. 40). These same characteristics are shown throughout the house. The shapes used in the gate are also placed along the hallways, carpets, banisters, and in the colored glass. This demonstrates the use of stylistic unity by incorporating all of the same art nouveau characteristics throughout many things in the building.

Castel Buranger Entrance

In Munich, Germany, Henry Van der Velde, Art Nouveau was also known as 'Jugendstil', which translates into 'young style'. This fits this style well considering it is new, and is being experimented with. It originates from young designers throwing away the old and just focusing on the new. Van der Velde had designed a bathroom for an art nouveau exhibit, but then moved onto bigger things. He designed the interior of Francios Haby's Barbour shop in 1900. His style is art nouveau, but with a more german take on it' it's different then Guirmard's. He used surface decoration of shapes on the walls, and has swooping cabinets that are completely symmetrical. He always did something people did not entirely approve of; he left light fixtures and pipes completely exposed. (Massey, p. 44) I thought this picture put Henry's view of art nouveau in an interesting way...

[2] When I saw the word "machine", I automatically thought of the Villa Savoy. It was created by Le Corbusier and placed in a suburb in Paris. Not only does this house look like a machine, but it acts as one too. In society, cars were invented and becoming more and more advanced. Le Corbusier used them as part of his inspiration. The actual radius of the first floor is based of the radius of a car. It is interesting that the house function as a machine, just was the car whom inspired it is a machine. The house appears to be 'lifted free of the earth' by the columns supporting it (Roth, p. 531). The roof is made of gardens (p. 532) which gives the appearance almost of the house growing out of the landscape. The floor plan is very open, which allows smooth human movement, just like a machine should run.

This picture shows the new ideas of modernism; straight linear lines, some bold color, ribbed windows, and abstract shapes.

[3] Massey, p. 72

Reflections Summary

Jasmine Jones

Jasmine's introduction to her essay makes me feel very interested to keep reading. Her idea of evolving architecture beginning with a simple thought is so true. She states that fact then once one person thinks of something, other people join in, and these thoughts tun into actions. People produce these thoughts because they are curious of what else is out there. These curiously thoughts then turn into revolutions; a change in what is happening in their current time. People are done with order and classism, and are ready for something new. She states the idea that trading of all different cultures is what put new ideas into people's minds. Everything was new, especially materials. I agree with her thoughts of eastern inspiration on western products, we discussed this a lot in class and in our reading comprehension. She then goes into the idea of the industrial revolution and mass production. To support the growing population and job opportunities, mass production was needed; not this made by hand stuff anymore. The need for craftsman became scarce. Glass and iron were the new materials and they opened many new doors for architecture. I enjoy reading her essay, as along with the others, because we all discuss different important topics of the units. It's nice to hear what stuck out to other people.

Her picture fit well with her essay. She describes this design era as 'overwhelming' in the sense that it is rapidly changing. She states, that as the ferris wheel goes round, it always comes back to where it started to cater to new groups of people. How philosophical!

Ebony Grey

Ebony jumps right into the idea of testing the boundaries of classical design. She begins to talk about the Crystal Palace as the 'kick off' for the industrial age because of the use of new materials, glass and iron. I liked how she put that this era was a time for exploration for designers. The Crystal palace was built for people all over to bring their goods to sell. She states this building as a utilitarian design, and not made for beauty. I disagree. This building was beautiful for the soul fact that people had never seen anything like it before, and that is why people were drawn to it. She then describes the life cycle of iron. It started off with the Crystal Palace, then extended to train stations, shopping centers, and libraries, then eventually led to the building of skyscrapers.

These ideas of mixing design and moving away from the typical classism leads to new design ideas. She ten discusses the idea of eastern influence, which Jasmine previously discussed. She looks at this unit as exploring ideas, and about finding a new language.

Kacie Leisure

Kacie starts off explaining revolution and all the different steps. I believe this is an appropriate intro to the start of discussing this unit. She begins with the gothic revival at Strawberry Hill in England. She points out specific details such as the gothic art, and references heavenward, all characteristics of the gothic style.

Just as the other two people I have summarized, she points out the eastern influence on the west in regards to design language. She references the four aspects of design, which was a good tie to make! She states that these new western designs were an "escape" of what they were used to. Patterns on plates and bowls became used on western carpets and fabric. Silk was also being imported and used for clothing. She then ties all these influences to the Royal Pavilion building in England. This building made her think it should be in India, which I agree. It looks like it came out of the movie Aladin. The reference is made to the banquet hall, where it appears that everything was just shoved into the room and onto the walls, hence, introducing clutter. She then continues to state the presence of gothic style still prevalent in today's designs.

Alternatives Summary

Anna Behrent

Anna's observations of the cathedrals are similar to my own. The fact that society and what was happening at the time effected the design is obviously apparent. I liked how she put the purpose behind building these cathedrals: "The religious people were attempting to make the church beautiful to draw people in". Beauty is what made people fascinated with going to church. The 'cover of the book', as you would say, made people want to read it. I also enjoyed reading her speculation about the Chateau Chambord. Combining geometric shapes, Gothic influences, and newer aged architecture to create a completely different meaning then before is something that I wish was focused on more. When analyzing historical spaces, whether they be the same or not, it would be interesting to know the different purposes. The idea of these shapes used to create something beautiful, turned into the idea of stacking. I like that she explained this concept of the 'life' of shapes. Each 'stack' had a different purpose. I learned from her point essay that the materiality of the floors changed with upward progression. The stones were rough on the bottom floor, symbolizing the space for workers and servants, and as the buildings grows, the stones become smoother and refined just as the people do. Then, she proceeded to lead her essay into the next unit by explaining refinement and alteration were on the way. Her essay flowed so well, and definitely explained things that I didn't catch onto in class. It was insightful to read!

Thinking outside of the box, and helping architecture to constantly grow.

Leslie Canipe

I like how Leslie went in depth of explanation of the gothic style of architecture. She stated, "An important strategy of gothic movement is that within a single building the entire universe must me expressed." This reminded me of the pantheon when the world was presented in a scientific way. I think there is a connection to these buildings of great importance in the way they try to explain or demonstrate the world. These buildings achieve this all in many different ways, verticality being one of them. Her application of "ecstasy and exultation" is very true. The church tries to draw people in by appearance and convinces them they need a 'fix' and then after they have been drawn in, they are then hoped to be exalted.

For her next paragraph, her description of transformation into the Renaissance describes it just right. She states that the idea of protection fades away and the new concept of comfort comes in. There are many different styles and rules become vague. She speculates that this is when our principles of design come into our society. Theatricality is also born, her analogy fits the description of baroque perfectly. Theater becomes the whole idea of architecture during this time.

Kathryn Frye

Kathryn's speculations of the renaissance being an alternate to the ancient world is interesting to me. She follows along with Anna in her ideas of shapes and geometrics creating something more. Her opinion says that the renaissance was more about the private homes and their hearths, rather then the public spaces that have been previously discussed in Anna's and Leslie's.

The statement that verticality is reached through the shape of circles, (domes), is very true for religious cathedrals. Man is the measure, and through the grand verticality of the dome is a place where heaven meets man as an individual. The connection she made by that idea describes the idea of verticality in the renaissance perfectly to me. She goes on to describe the ways of the renaissance, and basically says this era was kept inside a fence. No rules were broken, and everything was based on balance and function. This shows great contrast into the next era of baroque.

Her picture of the Laurentian Library clearly demonstrates the conversion of renaissance to baroque. Michelangelo starts to break the rules of architecture this era has created. The image shows three stairs merging into one, which demonstrates the over flowing of boundaries.

Point : Reflections

The switching of breaking the rules, and obeying the rules seems so interesting and abrupt to me. From going to the Renaissance and human measure to baroque where that idea is completely thrown away. The baroque period focuses on the facade extending beyond just the face of the building. A good example of this concept is the Palace of Versailles. The boundaries themselves, or therefore, lack there of, create the experience and the progression of space. The overflow of naturalistic details swallows the space. It is about bringing the outside in, and creating a more whimsical feeling through out the space. The hall of mirrors especially creates this holistic experience. Every wall space has a mirror, which only enhances the aura of nature by means of reflection.

Other buildings are being built in France that portray the same architectural characteristics. The Louvre is one mile long, and was literally stamped with repeated classical details. Because the scale of the Louvre is so large, the classical details seem watered down. The scale of a lot of the buildings is growing for the soul fact that the middle class is growing and rising. This is when the idea of making things seem grandeur then they actually are. The front facades tell a completely different story then the inside does. The Palace de Vosges was built for middle class residents. The exterior facades are all identical and have a 'wealthy' appearance, when in all actuality, the rooms this exterior contains are very small in scale. This residential building just screams with contrast.

Another big thing we discussed in class is the revolution. Revolution corrects the excess, aka baroqueness. Extra curves and frill were taken out of furniture after the revolution. But then in the 1820's, curves come back and furniture is about movement and flexibility. This is a direct reflection of Roman influence.

Another fact I learned that I found interesting was about the White House. The white house was built with an Irish palace influence, whom which hate the british (oxymoron?). A fire was set to the house, and it was practically destroyed. Then, it was restored back exactly to what it was before. This symbol supersedes moving forward in design. I think this concept is still true today for some designers. They are constantly trying to copy Charleston houses, or victorian houses. Why not move forward and create something new?

In the 19th century, glass and iron are introduced. This completely changes the idea of architecture. Glass and iron allows spaces to be larger and grandeur. It also allows buildings to have curves and bends. The Crystal Palace built in 1851 was six football fields long made completely out of glass and iron. It was a place meant for people from all classes, and for people from anywhere in the world. It was meant to be a show of goods that all the different kinds of people bring. Again, bringing back the idea of contrast from inside to out, the decorative goods themselves speak a different language then the sleek exterior that contains them.

Some things never stay in the past, and people are constantly stuck on the ideas that have already been thought of.

Reading Composition No. 5

[1]

During the Renaissance period, design was ever evolving. It was constantly changing and always advancing rapidly. Structural aspects were being rendered to add scale, lightness, and industrialism. Stone was out, iron and glass were in. They were used structurally, because even a thin piece would hold a great amount, and they were also used decoratively. Iron was easy to bend. This new revolution or decoration carried on into house hold items, which provided things such as light. Candles were simplistic and had one simple purpose, to illuminate. Time went on and moved into the Rococo period, and interiors began to be filled with 'stuff' and things became more gaudy. The candlestick also transformed along with the time. They were more naturally decorated and smaller in scale in contrast to the simple, large ones from before in the Renaissance(image pg. 47). Oil lamps were also introduced and became used more as a decorative piece( image pg. 23). Today, we don't have much use for candles, unless the power goes out of course. Now we rely on electricity and light bulbs. People use candles now for pure effect; either for smell, or for lower light to create a 'mood'. But even certain types of light switches can do that today. Oil lamps are used purely for decor. The candlestick and oil lamp were practically useless after the light bulb and flashlight. They are just merely a decorative accessory now, kind of like they were in the Rococo and Renaissance time period. The methods used for light are constantly changing, and each old method is thrown away for it's original purpose.

Harwood Pg 23

Oil Lamp

[2]

Artifact: Clothes

Western

Eastern

The Eastern influence is apparent here. The idea of tight corset dresses was carried over to the west. Although it is now shown in the western influence, the pattern in the eastern dress is also carried into many other western patterns not only in a dress, but upholstery, furniture and carpets.

Space: Room

Western

Eastern

Even though an Eastern space is not shown, I could not help but draw the influence between this pattern and the many items of furniture in the space. The pattern shows a tree with flowers, buds, and fruit like pictures. The pattern influence was carried into the upholstery on the chair and also on the large cabinet. The feel of "blooming" is shown in both the eastern and western picture. The curvilinear lines in the eastern pattern is also displayed in the lines of the western furniture. The legs of the chairs, tops of the mirror, and cabinet show curvilinear, feminine lines.

Building

Western

Eastern

This eastern Chinese Tea house is very obviously related to the Palace of Amalienburg. The feminine, outside/nature, light palette, and curvilinear lines are all attributes of the Rococo style. Even though the outside of the palace is square, the inside speaks a different language. The curves go beyond the limits and all rules are broken.

Place

Eastern

Western

This Eastern and western cityscape are taken from Belgium and Pennsylvania. The colors and scale are both similar. The use is for socializing and retail. The symmetry of the buildings is also alike, so is the symmetry of the windows on the buildings.