Drafting Portfolio: 2nd Half

Model [Sacred Space]: Meditation

Model [Sacred Space]: Celebration

Sketch Up View #8

Sketch Up View #7

Sketch Up View #6

Sketch Up View #5

Sketch Up View #4

Sketch Up View #3

Sketch Up View #2

Sketch Up View #1

Axonometric Projection Lettering Quiz

Rendered Section of Sacred Space

Rendered Section of Sacred Space

Rendered Plan of Sacred Space

Sections of Gatewood 118 and 120

Sections of Gatewood 118 & 120

Crit Room: Interior Perspective

Stair Research

Plan of Gatewood 118 & 120

15 x 15 Interior Perspective

15 x 15 Exterior Perspective

Book Work Page One

Book Work Page 2

Precedent Analysis: Revised Essay

The cycle of design is dependent upon the borrowing of building styles from previous eras. These buildings that are the foundation of another design are called precedents. Precedents are used throughout the history of architecture and design to inspire those styles to come. The Crystal Cathedral is a major example of a building that is a potential precedent for the future of religious architecture.
 

Before the Garden Grove Cathedral existed a small “drive-in church”, founded by Rev. Robert Schuller and his wife, in Garden Grove, California. This drive-in replicated that of a drive-in movie: lots of space for parked cars and a projector screen in the front. The popularity of these services increased as word was spread. However, as the local congregation grew to be near 10,000, it was necessary to build a new church to house all of these people In 1970, Schuller approached architect Philip Johnson, asking him if he would build a larger structure, with a desire to hold on to the idea of a drive-in. This goal was the cause of the resulting materials used in construction as well as the layout of the church. The product of this goal resulted in the “Crystal Cathedral” by Johnson and his partner, John Burgee. The construction of the Garden Grove cathedral was completed and opened to the public in 1980.

The Crystal Cathedral towers over many of its surrounding buildings. Though it is massive in height and span, its visual weight is deceiving. This church is made out of silver colored glass, which is pieced together by steel trusses. This glass is what allows for the deceiving “lightness” of the structure. It also supports the idea of a “drive-in”. Being able to see to the outside from the interior creates a seamless-ness. So while people are worshipping inside, they actually feel like they’re outside, back in the historic “drive-in” service. The layout is also crucial to enforce religious beliefs. Like most churches and cathedrals, the Crystal Cathedral provides a modified version of porch, court and hearth. The outside lawn is the porch. From this lawn, people enter the cathedral, transitioning from a public place to somewhere more private: the court. The hearth is specified by the massive wooden structure, which is a backdrop for the altar, where the most important person (the priest) gives his sermons. Also like many cathedrals in history, light is a crucial element in design. Johnson uses a complete façade of glass, and though it may or may not have been intentional, the entrance and exit of light throughout the space is what creates a “sacred space”. Further supporting the idea of a drive-in, doors behind the pulpit also open to allow sunlight as well as breezes into the space. The structure system could be compared to that of the postmodern era, as Johnson does not try to disguise the structural elements of the building, but instead, exposes the steel and glass so that light can protrude through.

The Crystal Cathedral is one building. It is a unified whole. Its parts consist of its commodity, firmness and delight. First, it accommodates the amount of people in the church congregation, and then those who travel to this church from all over the world to participate in the “Hour of Power”. It accommodates its intended function of religious worship and entertainment, providing a space for religious service. Its structure is extremely firm, as I spoke of before. The manipulative trusses make the expanded ceiling possible, while the columns provide for withstanding of earthquakes and high winds. The structural organization also has a hierarchy to it. At the front point of the church stands the altar and pulpit. This is the hearth of the church, where the most important person stands, or where the most important people sing. Then comes the court, where the people sit. The people are also given importance in this space as seating spans the entire width of the church. Last but not least, this cathedral provides delight in its appearance. It is illuminated, like the heavens, to create an extreme effect of worship upon those inside. It is also delightful in its unique difference from a typical church. The light gives the cathedral a sense of life that could not be achieved in an enclosed church, and the use of natural materials such as wood and marble achieve the virtual idea of being outside, while actually still inside.

What strikes me about The Crystal Cathedral is its ability to follow all the preconceived ideas of a religious space, but also suggest new ideas. If someone were to look at this building, he would not guess that it were a cathedral. He might be close in thinking it was a place of entertainment, but without seeing the large cross in the tower next to it, it is impossible to identify. It clearly pulls away from the traditional religious spaces that we have studied in history by obtaining many dualities. First, I will suggest that it has both transparent and opaque qualities. The building itself is transparent in that you can see right through it. However, it is opaque in a sense that it is unidentifiable as a religious building. This is due to the switch from traditional stone, as seen in the Gothic era, to glass. Its theme also contradicts the purpose it serves in temporary versus permanent. The idea of a drive-in is somewhat of a temporary idea. It only serves its purpose as a drive-in when there are people parked. However, a cathedral is quite permanent. It’s not something you can pack up. It requires much more thought and intention.

I have complete faith that this structure that breaks the rules will have an extreme impact on other spaces. I think this abstract worship space will give way to the rise of many other contemporary cathedrals across the country, if not the world. Take the Cathedral of Christ the Light in Oakland for example. It is also a massive structure that rejects the idea of stone in a religious building. It, too, uses projection of images on the lengthy walls. Being that it is placed next to commercial buildings, its purpose is disguised. Some may argue that this huge structure takes away from the religious tradition. However, a religion is a religion despite the place where it is worshipped. I think the Crystal Cathedral provides the community with new ideas about how to design spaces for the public, and I know this building will become a prototype for those in the future.

Explorations of Influence

Chateau de L'aile- Vevey, Switzerland

This chateau was a part of the Robert-Couvreau family many many years ago. It has now been renovated to provide living space for residents.

Venice, Italy

Venice is a place where I dream to go. With the history that I know now, it would be ignorant not to visit there.

The Louvre, Paris

The juxtaposition of this Industrial Sculpture next to a series of classical buildings leaves much room for interpretation and inspiration.

Classic Ray Ban Wayfarers

Revival through trends. I own a pair... and they are my way of keeping it classy.

New York City, New York

One of the most historic cities in America in terms of development and industry. It is also a place I like to call home (or close enough).

Church of Hagia Sophia- Istanbul, Turkey

Inspiration by use of light. This church is unique as it was built while Gothic Cathedrals were going up in countries like Italy and France. It looks nothing like Amiens, or the Duomo.

Carcassonne, France

A French Exchange Program. We visited this site (La Cite) and learned about how it used to house the entire city of Carcassonne, which has now expanded a great amount.

Family Crest

This ring has been a tradition in my family for centuries. A Family is received through marriage or birth. It is given on a child's sixteenth birthday, or on the day of marriage.

Grand Central Terminal, New York City, New York

I see the inside of this building at least 25 times every summer, commuting back and forth to Long Island to visit friends. It makes more and more architectural sense every time I see it. Its beauty never leaves.

The Nautilus Shell

My admissions project for this program. The abilities that this shell has, as well as its fit with commodity, firmness and delight, helps me understand the concepts of architecture. However, this shell is not only representative of architecture or mathematics, but of life.

PHOTOS TAKEN FROM FLICKR

Coming Full Circle

COMMUNITY: a social group of any size whose members reside in a specific locality, share government, and often have a common cultural and historical heritage; a locality inhabited by such a group

Community is a major consideration in architecture and design. Why? Because usually a firm builds or designs for a group of people, whether it’s for a family or an entire town. Depending on the community, there will be limitations that are set on how a design is created. These limitations often reference style, context, time period, etc. An example of the importance of community is seen in the time of critical regionalism. “One of the notable aspects of critical regionalist reactions to imported Euro-American Modernism was the reaffirmation of community, of creating environments for groups of people, living and working together in ancestral traditional ways” (Roth, 607). This idea of designing for a community coexists with the concept of creating a community within a design. “What makes housing complexes successful are two essential factors: a consistent design that results in a related family of forms and an appropriateness of scale and an organization of spaces that arise from the ethos of those who will live there” (Roth, 607). Communities are particularly influential in the 21st century due to the fact that populations are growing and there is more need for things such as communal housing and villages. This raises another complication: Mass Construction while respecting the rise of sustainability. Sustainability is becoming a huge idea within architecture due to stewardship towards the environment and a concern about decreasing global warming.

STEWARDSHIP (steward): One who is actively concerned with the direction of the affairs of an organization

With sustainability, we have stewardship, or lack thereof. If Global warming wasn’t an issue, I’m not so sure that sustainable design would even exist. Global warming rose with lack of concern about our earth. We were ignorant of the harm we were causing, allowing the problems to increase in severity, and now there are threats that the world will come to an end. Right there, is the lack of stewardship. However, stewardship is rising in architecture and design firms, with new restrictions and alternate ideas. “The overriding issue is that of sustainability, which has grown in importance on a global level, and for the field of design generally. As awareness about issues such as scarce resources and global warming is raised, so government policy in the developed world calls for a more responsible use of precious materials and energy” (Massey, 219). This responsible use refers to the awareness of toxicity of materials as well as the lifecycle of these materials and how much energy is inputted into particular building technologies. This type of stewardship is the only way to go about design these days. For the most part, the more earth-friendly you are, the more chance you have of scoring a client, especially in commercial design. There are many ways designers go about sustainability. However, two specific ways involve renovation and deconstruction.


AUTHENTICITY: being genuine or real

The idea of authenticity in design refers to how a building came to be, whether it was constructed from scratch, renovated into a new building, or taken apart to be something more simple. One major design movement that involves authenticity is deconstructionism. During the deconstruction movement, designers were all about “composing an interior which looks as if it might fall apart, a loose collection of different technological and structural elements” (Massey, 216). This idea of structural element involves the exposure of systems as part of the design. A good example of this exposure is seen in Herzog and de Meuron’s Turbine Hall. Instead of disguising the systems, “they exploited the might of the vast Turbine Hall as the key public space of the building. Industrial materials are laid bare” (Massey, 228). Renovation is also a major part of authentic versus artificial. Preservation and recycling of existing buildings was a major part of a step towards sustainability in both hotel design and commercial building. This consistent presence of architecture, regardless of change, is supported by Eisenman “… there is always some being-in as opposed to the condition of being-as. It is the being in that architecture that is questioned” (Massey, 602).

INNOVATION: the introduction of something new; a new idea, method or device

Sustainable design is an innovation in itself. As far back as Egypt goes, people have never been worrying about how their use of products would impact the future. Sure, there have been considerations about how long materials would last, and how the buildings would be used in the future, but as far as consideration of the environment goes, sustainable concern is at an extreme. Like I said above, sustainability has caused many new considerations and limitations in design, causing designers to come up with new ways to approach building projects. For example, Ken Yeang came up with a new building type appropriate for the sustainable movement. “By the early 1980’s, Yeang had begun to define a new building type, the tropical skyscraper, exploiting strategies for reducing the need for energy consumption (especially for ventilation and cooling), for incorporating elevated masses of landscaping, and for facilitating neighborhoods or communities of people in the high-rise building” (Roth, 609). The computer also became a major part of design work. Technologies were growing and it became easier to develop ideas with computer programs. “The computer now makes possible the virtual creation of building projects that were never executed as well as the ability to recover buildings and environments of antiquity that no longer survive” (Roth, 611).

I know that there is usually a summary at the end of these, but I am going to take the last paragraph of Roth and analyze it and relate it to all four words above.

“Architecture is the art we cannot escape; it is over, under, around us virtually every second of our lives. An architecture of substance is more than simply a benevolent, protective umbrella; at its best, it interacts with us on our behalf, informing our memory, allowing us to become more human.” [Interaction has to do with community in that architecture is built for a specific group of people. This interaction is also an example of stewardship, in that community is a concern of the designer or firm]. “It is far more than shelter, more than a commodity for speculation, more than an expedient package, more than a capricious, artistic gambol. It is the built record of how we have ordered our cultural priorities, of who and what we are, and what we believe in.” [This idea of who we are and what we believe in has to do with authenticity, and someone following their genuine beliefs. These beliefs then create an authentic design that is not only real, but also original. Different from the others]. “The many contemporary expressions of modernism, how they reflect regional desires and needs, and how they respond to divergent theories on the role of architecture coupled with the emerging changes in how buildings are conceived and designed, make it impossible to say how architecture around the globe will develop in the century now opening- except to say that it will be ever changing and stimulating.” [This everchanging architecture is constantly raising new ideas and concepts for design. This is an example of innovation]

[pair]ing down

Meditation/Celebration

Meditation: Contemplation; pondering; musing over

Celebration: Honoring something; observing a notable occasion

^This was a sketch of my primary idea for a meditation space. I wanted to use the sense of audio to engage my client. I wanted he or she to be able to enjoy the space, relaxing and listening to the water fall.

Meditation and Celebration are not entirely different. One can be a component of the other, but they can also have separate effects. United, meditation and celebration emphasize the importance of something, honoring or musing over that thing, or event, or person. Separate from one another, a meditation could be a quiet and private act, while a celebration could be more public, and noisy or loud. Architecture in itself portrays both qualities. Architecture, most often, meditates history, as it looks for things that are most important to revive or work off of. It then creates a new style that celebrates history, or the important aspects of it. One example of a meditation and celebration of design is that during Pop Culture. The type of architecture that arises during this time period meditates the influential aspects of the time period, and then celebrates that context through form. “The need ofr young people to dissociate themselves from the older generation and communicate fun and transience explains the diverse inspirations for Pop. The aim was not to replicate past styles but incorporate them into a new, young look” (Massey , 175). The focus for the second half of the semester in our studio class has been about meditation and/or celebration of light. It has caused me to meditate how the two could be unified as one, or how they could be used to directly contrast one another. We have explored these similarities and differences through multiple compositions. My final project consists of two spaces: one of meditation, and one of celebration. We were asked to combine these acts with the thought of public versus private space. My meditation space will be that of a private experience, while my public space will be more about the celebration of presence. Light and shadow are extremely important in order to convey these two experiences.

 

Light/Shadow

Light: something that makes vision possible; the sensation aroused by stimulation of the visual sense organs.

Shadow: partial darkness in a space from which light rays are cut off; shade cast upon a surface by something intercepting rays from a light.

^ These two photos show how light and shadow is emphasized in my two spaces during different times of day. The top photo is of my meditation space in the morning, and the bottom of my celebration space midday.

How Light and Shadow is incorporated into a design is extremely important. Why? Because light and shadow have everything in the world to do with how a space is experienced. I am going to relate light and shadow to day and night for a second. Celebration is not always about light. Sure, people celebrate things all day, such as a cup of coffee, or lunch, or a meeting, etc. But then people also celebrate during the nighttime when they go out dancing, or go out to eat. Meditation is the opposite. Meditation can happen when one is sitting outside, soaking up the sun. However, meditation can also happen inside, in a dark area, where light is minimal, allowing one to think about nothing but what’s going on at that exact time. So the point im trying to make is that light cannot strictly be associated with celebration, and shadow with meditation. This idea is inaccurate. So how do light and shadow affect an experience? Well light could energize a space through a reflection of color, forming a celebration, but it could also calm a space if it’s used in a room of all white, or all black, forming a meditation. Shadow could create a sense of meditation, due to a “winding down” effect that it has, but shadow could also create a celebration space for personal events. Light and shadow is constantly being considered in the development of spaces. For example, during the Modernism era, Alexander Girard paid close attention to how light would integrate his interior and exterior. “The Rieveschel house has […] The ‘Natural’ element is introduced with fur rugs on the floors, indoor plants, and the use of natural light wherever possible” (Massey, 150).  Light and Shadow can be used in emphasizing a space of meditation or celebration through sequence (transposition or juxtaposition).

 

Transpose/Juxtapose

Transpose: to change the position or sequence of

Juxtapose: to place side by side

^ Above is an example of the way I decided to juxtapose my two spaces. By choosing to put the door where I did, I was able to transpose the sequence of circulation through the space.

Transposition and Juxtaposition of space (s) is crucial to design, particularly because one must meditate how a space will be laid out before it can be built that way. Depending on what kind of experiences on which a designer wants to focus, spaces will be transposed or juxtaposed accordingly. In studio, we are working on the transposition and juxtaposition of spaces in order to specify two qualities (celebration and meditation) while still obtaining unity between the two. Personally, I have found this to be a great challenge, because I am placing one space next to another, with an implied wall between the two, trying to make them different enough so that they emphasize different qualities, but still concentrating on one or two aspects that can tie the two together. For my design, this uniting aspect is seen in the auditory sense, as well as the color scheme and materials used. My grad student will walk up to the room, and see and hear water. The grad student then enters the room, seeing walnut wood, aluminum, brick and pale walls, and then circulates through the public space into the private, to return to water. By juxtaposing these two spaces, rather than keeping them as one space, I have specified what kind of experience I want to impose on my graduate student, and by transposing these two spaces, I have created a unique circulation path. Juxtaposition is a major aspect of the development of Postmodernism in history. Until the late 20^th century, Architects were focused on styles that reflected specific types of design. Postmodernism, however, is extremely different. Postmodernism borrows from all different eras, from Ancient Egypt, to the Renaissance, to Industrialism and back again. What is so special about this era is its ability to take multiple styles throughout history and combine them to create a unified design. Nigel Coates displays this in the design of his flat in London. He shows a developed collection of objects and forms suggesting architectural structure. “His flat in London was an essay in architectural metaphor, juxtaposing different period-styles and an artful decay like a self-conscious and deliberate stage set” (Massey, 212). 

 

Literal/Abstract

Literal: adhering to fact or to the ordinary or usual meaning of something

Abstract: considered apart from a particular instance; expressing a quality apart from an object; having only intrinsic form with little or no pictorial representation

^Above is one of the throw up sheets I did to speculate about this project. I came up with several ideas, many of which were more literal than abstract. One of the crucial parts of abstraction is extreme process of thought.

While Meditation and celebration have been key concepts for only half a semester, we have been focusing on literal and abstract all year now, not only in studio but in our history class and our visual design classes. While all the rest of the words above can interrelate, abstract and literal are antonyms to the death of it. However, design can have qualities of both. Abstract and Literal fit together with the three goals of design: commodity, firmness and delight. Commodity, or how a building fits a function, can be literal in that it is built for a specific function, but also abstract in the way that it chooses to accommodate that function. Firmness is literal in that it is unavoidable; a building must be firm in order to function. Big whoop. However, as we approach reactions to modern design, we are finding that firmness is becoming abstract in the hi-tech and de-constructivist eras. Both eras take technology, and expose that technology through their design. The systems that make up a structure actually act as the decoration for a certain design. “The Hi-tech movement celebrated the aesthetic of industrial production […] Here all the apparatus for servicing the building is boldly displayed on the exterior of the cultural center. The Interior is less inventive […]” (Massey, 195). Though this quote refers to the Pompidou centre by Piano and Rogers, it can be applied to a majority of architecture during this movement. Delight is literal in that it is self-explanitory (doing things to the interior to delight people), but the way in which delight is achieved can be rather abstract in a broad range. In our studio class we have been asked to look away from the literal (or more generic) uses of light to convey celebration and meditation and focus more on our interpretation of how light should be used to create these two effects. I won’t lie. It is extremely difficult not to create a dark room and call it meditation. But not only is that too easy to do, but it’s also too literal. Good design is derived from abstraction of meaning and ideas. Good designers take a concept and abstract it to the fullest, while still keeping in mind commodity, firmness and delight.

 

Monologue/Dialogue

Monologue: a long speech monopolizing conversation

Dialogue: a conversation between two or more parties

^ This presentation board is the example of dialogue. Without having these drawings spaced out and carefully placed, each drawing would have its own monologue. However, my layout was created so that there would be dialogue between each aspect, communicating a more legible idea.

Like Literal and Abstract, these words, too, are antonyms. Ironically, however, I think they coincide quite well with celebration and meditation. Sometimes, when someone wants to meditate, he or she will go sit, alone, in order to think for themselves, without any distraction or interference. This person is involved in a monologue, conversing with herself in order to come up with some type of idea. On the other hand, a celebration may involve people coming together to honor something for which they share interest or commonalities, whether it’s only two people or a bunch of people gathering.  This then creates a dialogue, whether it’s dialogue between two people or dialogue among many. Monologue and Dialogue are important to consider in effect, but they are also important to consider in context and history. Does the building that is being designed share a dialogue with its context? Does it relate to the time period? Do the spaces create dialogues among eachother to form a whole? Massey explores dialogue in her exploration of post-modernism, where different styles throughout history hold a dialogue with eachother to form unity in a design. “Stylistic heterogeneity continued to be the prevalent trend in the late twentieth century with an inexhaustible range of styles available to reflect individual identities” (Massey, 218). So dialogue between styles takes individual taste and combines it with historic elements in order to create what is seen as “good design”.

Action Verbs

Speculate: To think or wonder about a subject;

^ The 20 word list I came up with to describe the interaction I want my space to convey, and some pictures of inspiration cut from magazines.

Speculation is the first step in the design process. In order for a designer to create a concept, he or she must first speculate the many possibilities. Of course, these possibilities will differ with the task. However, it is impossible to choose one concept without exploring the possibilities, and this need for exploration is a constant emphasis in our design classes. It is the reason that we make multiple iterations, use multiple medias and line weights, and read about multiple time periods in history. Speculation must consider both the elements of design as well as the context of the environment around where the design will be located, and how the design will relate to a certain time period or movement. For example, Le Corbusier believed in an architecture that matched its context. “He praised the new functional industrial design and proclaimed that ‘Modern decorative art is not decorated’. […] he dismissed past styles irrelevant to the 1920’s…” (Massey, 83). Modernism focuses on the industrial age, and how a machine can be interrelated with architecture. This connection between design and time period is obvious. Speculation not only defines present connections, but it also allows for precedent analysis. One speculates a building and considers how it relates or opposes other buildings from either the same or a different time period, which is something we’re learning to do with each step of our analysis.

Shape: To form ; to design

^ The beginning idea which will shape the process to my final piece

Speculation is a prerequisite to the shaping of a design. In order for shaping to occur, one must have speculated the possibilities and chosen one concept to stick to. After choosing a concept, a designer begins to contemplate the many parts of a design, such as placement, scale, proportion, colorway, etc. Shaping a design requires much thought process as to what’s logical and what’s not. But then it is also important to consider rules and regulations in a design. There are many things that affect the way a design is shaped: style, client, time period, context, etc. Context was what shaped Modernism: “Modernism was closely linked to economic and social modernization, and it can hardly be held wholly accountable for the sins of property speculators and government bureaucracies who employed third-rate architects to cover our cities with cheap hand-me-down versions of Modernist design.

Stretch: To spread or reach out; to draw out in length or breadth; to make tense

^ My window installation stretches the boundaries by using materials other than those specified in the assignment

Stretching is extremely important in design. No, I do not mean that a designer needs to do hamstring and arm stretches before they can come up with a good design. By stretching, I mean knowing when it’s appropriate or necessary to go beyond limitations in order to reach a certain goal or pull a design together into a whole. In studio, interior architecture students have been stretching the boundaries all year. This is because sometimes a design just doesn’t work with a linear element, or paper is not strong enough to emphasize a certain point. Part of the reason why design is so personal is because it is flexible. Sure, there are rules and regulations that MUST be followed in order to pass inspections, and these cannot be ignored or broken. However, design is flexible in that there is such a wide variety in terms of building materials, technologies, and styles, that it’s okay to push the boundaries in order to make a design successful. Frank Lloyd Wright not only stretched the boundaries of the Modernist era, but he ignored all restrictions. “Frank Lloyd Wright and other American designers could not accept the restrictions of the Modern Movement, rejecting its characteristic use of pilotis and regular blocks. In the 1930’s, Wright continued to develop his own personal style which he considered more expressive of American values” (Massey, 85). Wright ignores entirely the traditions of modernism, and incorporates his own organic style, focusing on natural values, which he sees to be more important.

Compose: To form by putting together; to produce by composition

^ My Composite Drawing for Fallingwater

Once a design is shaped, whether it’s on paper or in the designer’s head, it is then necessary to compose it, or bring everything together to form the final product. As we have been learning all year, composition is crucial in design. Without composition, the parts are more like random ingredients; there is no unity. A composition is a composition when all aspects of anything, whether it’s a building, a drawing or a presentation board, come together to create a whole. It is also easier for a designer to influence a client or audience when his or her presentation is composed in a way that makes sense. With the composition of a piece of architecture, it is important that the design incorporates some, if not all, of the elements of design. These include the common elements throughout history such as light, positive and negative space, rhythm etc. Le Corbusier creates his own composition in his buildings. He uses the common elements, but also adds elements of his own. “These stipulated that the building should be supported above ground-level by pilotis; the interior should use a free plan; there should be a roof-terrace; the windows should be large, and form a continuous element of the exterior wall and the façade should consist of one smooth surface” (Massey, 80). These “Five Points of Architecture” are crucial for Corbusier in Modernism.

Energize: To give energy to [something]

^ This concept of levels is given energy through the use of color

Once a design has been composed, a designer can then add energy to her design. This can be done through choice of color, use of natural versus artificial light, shape of furniture, etc. The energy level of a room usually depends on the interaction that a designer wishes to create between her space and the person who is experiencing it. For example, a room with multiple windows that allow light in is more likely to be energetic than one that has less windows. A room with red or yellow paint is going to be more energetic than one with green or blue paint. Energy in design can also be reached through the exterior. For example, a skyscraper such as the Chrysler Building or the Empire State Building has energy in that it reaches to the sky. These buildings are about speed, and speed is an important concept in the Modernist era. This had to do with the rise of the automobile, along with other machines during the industrial revolution. Le Corbusier adds energy to his machine age structures through “’the masterly, correct and magnificent play of volumes brought together in light’” (Weston, 3) through architectural promenades. This energy is made to create an experience as if one is walking through a space.

In case you haven’t already realized, I took the words on the list and switched the order. Their chronology is significant in that one comes after the other in the design process. These action verbs are five major steps to a successful design, and it’s important to follow them in order. Mistakes or “fails”, without a doubt, affect this process. One could get to the composition stages, thinking that his or her idea or design was flawless, and then make a model and realize it doesn’t work. Then, the designer needs to either go back to shaping and figure out how the design can be modified, or start all over again with speculation of new ideas. Though it may seem like these faults are hurting the process, it actually helps in the long run in the same way of “learning from one’s mistakes”. It can also make the second run through of the process a lot quicker. This theme of chronology has definitely produced an overall theme for the semester in that projects have been spread out over time in steps quite similar to those described above. Knowing these steps and taking them is crucial in order for a design to be a well-thought-out and sensible product.

Composite Drawing: Fallingwater

This is a photo of my composite drawing from Fallingwater. I decided to photograph it and put it up here in case the Advil PM that I took 10 minutes ago prevents me from waking up for class tomorrow. I have never experienced worse allergies in my life. So if I miss class, I swear, I finished my drawing the night before it was due... not the day of :/

Unit Summary: Reflections

Gare de l'Est- Paris

Reflections are all about looking back and trying to mirror something, or create a similar image of it. However, in architecture, a design reflects only parts, rather than a whole. In the reflections unit, architects look back in history and take favorable parts of architecture from those time periods, and then these architects use this knowledge to create a new.  This idea of reflection ultimately leads to innovation. Though these two concepts seemed opposite before this unit, we have learned how reflection has encouraged creation of a new architecture.

            The reflections unit begins with an architecture parlent. This type of architecture has its own language. Right out of the French Enlightenment, architects such as Palladio and Ledoux take the rules from the Baroque and Roccoco eras, and revise them. The two languages resulting from this revision is a language by architecture through the ancient world and the Renaissance. These two time periods provide a great amount of precedents for building during the beginning of the 18^th century. Connections to these time periods are evident in buildings such as the Place de Vosges and the French Pantheon. Reflections of the ancient world and Renaissance can also be seen overseas in America, which was, at the time, under English rule. Many American buildings, such as Drayton Hall and the Carters Grove Plantation, were inspired by English architecture, which often looked back to Rome. This desire to mimic English style ended with the rise of the American Revolution.

            Revolution was a turning point in architecture. In the late 18^th century, there were many revolutions going on, such as the American Revolution, the Industrial Revolution, the Information Revolution, etc. These revolutions called for a combination of reform and revival. After gaining independence, America decided to stick to a Grecian Revival. Why? They wanted to rebel against England and have an independent architecture to match their independent state of mind. Coexistent with the American Revolution was the Industrial Revolution. New technologies were being innovated, and old technologies were improving to become more advanced. Two major materials that were introduced during the Industrial Revolution are glass and iron. These two materials created multiple possibilities for architecture. Iron made possible the expansion of roofs over large spaces, as seen at the Gare du l’est in Paris and Joseph Paxton’s crystal palace in London. Glass also provided the ability to create structures that provided a space inside where the walls and ceiling seemed to disappear, as seen in the Royal Conservatory at Kew Gardens in London. As the popularity of these materials grew, so did the use of machinery and the desire to create new buildings.

            The introduction of the machine into design was appealing to some, but others were set on the tradition and beauty of handcraft. The Arts and Crafts Movement raised the question, “should the machine be used in architecture?” William Morris was a strong believer of honest workmanship throughout the interior. He said “turn our artists into craftsmen and our craftsmen into artists” (Massey, 12), believing that “there should be an obvious artistic presence in an interior” (23). Warren Ashbee, however, supported the machine: “we do not reject the machine, we welcome it, but we desire to see it mastered”. This debate brought much contemplation of what methods were appropriate. The machine was used more in Art Deco, which initiated the beginning of the 19^th century.

            During the 19^th century, there were many changes occurring. These changes involved material and scientific developments, social changes, technological improvements, and changes in the interior. The increase of the population in major cities of America called for more building spaces. Taking advantage of the availability of iron, glass and concrete, architects decided to change their goals entirely and begin to build higher. These new building technologies made possible to construction of bridges, towers and palaces. Louis Sullivan is an architect who is well-known for his skyscrapers in both Chicago and New York. These skyscrapers often provided space for business corporations and offices. However, skyscrapers were not the only advances in architecture. While Sullivan focused on skycrapers, Frank Lloyd Wright was designing residencies.  Moving away from the idea of revival in the Arts and Crafts movement, Wright decided to rely on nature for inspiration. He also introduces a new importance to the concept of horizontal line. Through horizontal lines, Wright was able to invent a way of subdivision without using interior walls. This idea opened up horizons for many other architects, not only in residential design, but also in commercial.

            All of these styles used reflection as a basis for their architecture. However, as architecture reached the middle of the 19^th century, it was reaching toward a new era. Through the availability of materials, and the introduction of the machine, architects were coming up with new ideas for future designs. Societal changes also had a huge impact, as populations were growing and transportation was progressing. These changes lead to the explorations unit, where different possibilities will be explored in hope of reaching new heights in architecture.

Road Trip

Roots: the fundamental or essential part; the source or origin of a thing

Roots can be interpreted in design two different ways. First, roots can be general fundamentals, or the essential considerations in the design process. There are specific rules that are set for design, such as measurements for pathways, or how far doors can push out or in, or how much space is needed to accommodate someone in a wheelchair. These roots are universal, as all must follow them. Also, the elements of design act as roots for the progression of a design. 

Depending on where the focus is (color, positive/negative space, proximity, etc), the design will progress from that one idea, through a concept. Second, though, they can be roots that provide for the unique taste of a designer. These roots that will make a design special most often derive from location or culture, and sometimes, personal taste. This idea of locality can be seen in America’s wishes to incorporate styles different from those in Europe. Our nation wanted to use a style that would identify America; this style would be identified as typical of America. “ The American Moderne grew out of a need to express the new dynamism of American life. It combined the sleek surfaces of Art Deco, the French Moderne preference for new materials, and an optimistic view of machinery inspired by the Italian Futurist movement and America’s own Stuart Davis, who rendered the excitement of American mass culture in paint” (Massey, 110).

Congruence: the quality or state of agreement or correspondence

Congruence is obvious in the term “interior architecture”. Through interior architecture, the exterior and the interior of a building are in agreement with each other, through both design and architecture. This congruence between the two is what creates a sense of unity. This unity in a design can be achieved using duality, whether it is a duality of contrasting or comparing ideas. This idea of interior architecture is easily found in the work of Frank Lloyd Wright, as he designs the space, as well as the furniture he will use in it. He makes the furniture to create a composition with the space. This idea of congruence in Frank Lloyd Wright’s work is something that he is recognized for. Congruence with time period is also a major part of architecture, while it is crucial to design buildings in relation to context. “This design idiom drew from the architectural traditions of each particular nation or region t create a style that a building’s users would have immediately recognized as belonging uniquely to them” (Roth, 470).

Concept: An idea of something formed by mentally combining all its characteristics or particulars

Concept initiates design. It is the first step of the design process. When a designer receives a task, she will first brainstorm multiple possibilities to go about completing it. However, when she reviews these ideas, she picks one that she likes the most and goes with it. This preferred idea becomes her concept. Without a concept, it is impossible to reach a desired end. There is a concept behind every structure that has ever been built, regardless of its time period. This concept can relate to religion, location, culture and function. During modernism in the nineteenth century, eclecticism, or revival of previous architectures, became a common concept for building and designing. “This associationalism became an underlying concept in the stylistic eclecticism that pervaded the nineteenth century and the later rise of historicist Postmodernism” (Roth, 469).

Materiality: Material nature/quality

The availability and abundance of material has a great impact on design. The vast range of materials available for architecture provides many possibilities for ideas. In fact, material is so crucial in design that it has the ability to illuminate the design. Materials go hand in hand with concept and style. The amount of possible materials has increased greatly since the beginning of history, giving designers today many opportunities. Material is particularly important today as architects are paying more attention to sustainability and reusable building materials, both inside and out. In the beginning of the eighteenth century, glass and iron were introduced as new materials. These two materials gave way to new building technologies, such as the creation of the train stations and greenhouses. “Paxton made full use of all that the British has learned of iron building technology in the construction of train stations and greenhouses in the preceding decades, but his innovations produced a giant leap in the building scale, in the prefabrication of standardized building parts of factories across England, and in methodical organization of the building process” (Roth, 487). The introduction of glass and iron was a turning point in architecture. Not only did it write the path for train station and factory construction, but it was also crucial in the late 19th and early 20th century during the rise of skyscrapers.

Compression:Release

Compression: being pressed together; forced into less space; to cause to become a solid mass; to condense, shorten or abbreviate

Release: To free from confinement; to let go

Compression and Release are two opposite concepts. Compression might be represented by a space that is very compact, with minimal lighting and circulation space. Release, however, could be implied in a space that is very open, with much circulation and moderate to high lighting. This space of “release” might even be sub-divided without an interior wall. In other words, the space could function in more than one way. Compression and release have an incredible impact on the way a person experiences a space. If a space is compressed, a person might feel extremely uncomfortable and overwhelmed, while a space that is “released” could be a lot more calming, and probably more functional as well. In the Gamble House at Pasadena, California, the Greene brothers create a house of “seamlessness”. All levels are integrated through the use of horizontal and vertical lines. The Greene brothers focused on nature as an inspiration, using wood as their main material. This material gave them the ability to design a room within a room, creating a feeling of release within the space. This release is also achieved in this building through the fully composed series of parts to create a whole. While I’m speaking about material, I will go ahead and say that glass and iron also made it easier to enforce compression or release of light. Walter Gropius does this in his Fagus factory. Mirroring the function of the building by using iron and glass, he allows much light inside. “The building appears to be reduced to sheets of glass (with the window panes at the floor lines replaced by opaque metal panels), but here, significantly, the corners are not solid masses but the merging of transparent glass planes” (Roth, 522).

To summarize this week's opus, concept is the main theme. A concept can be created through roots (location, culture, society, etc) or it can be created through congruence (the need or want to agree with a set of rules or traditions). From roots and congruence comes materiality, which is dictated by the roots of a time period or historicism, and also dictated by what the building is agreeing with, whether it is commodity, firmness or delight, though I hope it is following all three. Roots and congruence also control compression/release, determining whether or not it is appropriate for a certain type of design. Compression or release can also be achieved through materiality, depending on what type of material is used in construction of a building.