Voices

METRIC: Of or relating to measurement; of or relating to the metric system; ways of thinking of something as a system (Patrick Lucas).

When thinking of the word “metric”, one automatically thinks of measurement. Yes, the word “metric” could be used to explain measurement and scale in design, but there’s more to it than 

that. The metric of a space or collection of spaces is the way in which something is organized to create a system. System gives way to interaction between people in a space. This system and its connection to interaction are clear in the Baths of the Diocletian. With multiple purposes (enjoyment, entertainment, exercise, education, etc.) they create a system of living. The baths are organized on 32 acres of land, each space having a different commodity. It is separated into three parts: the caldarium, tepidarium and frigidarium. These three sections are connected by water, and enclosed by a large wall around the whole piece of land. These baths accommodate women, men and slaves, though at different times of day. Referring to the more literal definition, metrics are important in design. In order to accommodate all nine words above, one must consider measurement. For example, proximity, or how someone or something is spaced from another, can only work with intended measurements. Let’s say a designer wants to create a feeling of comfort in a residential design for a family; he or she might space things closer together than someone who is designing a commercial space for people who do not necessarily feel as comfortable with each other.

PRECEDENT: Something said or done that may serve to authorize or justify further words or acts of the same or similar kind.

The Church of the Holy Sepulchre

The dome shape of the capitol building

Precedents provide history for a style of architecture. Like I said last week, precedents (or prototypes) provide a path for the development of design. Before building, architects often refer to a previous model for inspiration. As we already know, Rome used several precedents for its creation of architecture, the column being the most obvious example. The Romans took the Greek orders, cut them in half, and added their own ornamentation to create a pilaster, which was adopted as the Roman column form. This use of a precedent continued as Rome began to separate. For example, the form of the church began as a piggyback off of the basilica form. “Constantine and church officials looked to secular public buildings, and the type they selected was the basilica” (Roth, 280). The Church of the Holy Sepulcher in Jerusalem is just one example of numerous churches built off of this form. It was ordered by Constantinople to be built as “a basilica more beautiful than any on earth” (Roth, 284). Though it was formed as a basilica, it was used as a church in the rise of Christianity. To this day, architecture styles still incorporate the use of precedents. For example, the dome on the Pantheon became a precedent for multiple governmental buildings across the country. Used in my precedent analysis project, Grand Central Terminal was used a precedent internationally in terms of influencing train stations. In the continuation of passageway, each model was intended to provide inspiration for the next, to the point where we are using our own models, as well as a precedent in history, to create a 3-D portal for a door. This process of precedent is gradient in that there is a continuation of development over time.

PRESENCE: The fact or condition of being present; the space immediately around a person; the bearing of a person

Hagia Sophia

Along with precedent, the presence of style in history makes way for new styles. There would be no development without existence. For example, the presence of the Greek orders provided for column development. The existence of Roman Basilicas gave way to the development of Christian churches. Presence is also important in a sense of delight. In order for a building to be what it is intended (whether it’s meant to be mysterious, inviting, avoiding) it must obtain a certain presence. Usually this desired presence is delight. Designers want the people who will be using the space to be delighted by its presence. The church of Hagia Sophia contains this aspect of delight. On page 290, Roth explains how the design of this church is associated with the fusion of empire and church. “Unlike the static an rationally perceivable forms and spaces of classical architecture, here all seems in motion, surfaces curving and intersecting, bathed in a mystical, suffused light issuing from the hundreds of windows and reflecting from marbled walls and mosaics” (Roth 290). “…All these details […] produce a single and most extraordinary harmony in the work, yet do not permit the spectator to linger much over the study of any one of them, but each detail attracts the eye and draws it on irresistibly to itself” (Procopius quoted by Roth, 291). This presence provides the utmost respect for worship and Christianity, as well as an enjoyable space for those in worship.

DUALITY: Having a double character or nature

Though Webster seems to believe that duality has to do with double, I beg to differ. When I think of duality, I think “more than one” or “multiple”. If a design is successful, it will serve more than one purpose. It will follow commodity, firmness AND delight. It will be universally designed so that it will accommodate the present and the future, man and woman, both young and old, etc. An early example of this duality is the bath. These baths provide changing rooms, 

gymnasiums, libraries, meeting rooms, theaters, concert halls, and so much more. Though these baths are not all incorporated into one building, they provide an organized metric for a specific community, and serve multiple purposes. They accommodate social and physical needs (entertainment and exercise), they are built with a structure that accommodates the people (33 acres inside a 20 foot wall (Roth, 269)), and they are delightful in that they are not only physically enjoyable, but also visually. Most baths are made with mosaic floors and marble facades. This way, they are easy to wash and maintain. In our process of creating a passageway, we discovered that each passageway made to represent one word (rhythm, proximity, contrast, symmetry, balance, boundary, pos/neg. space, hierarchy, gradient) actually resembled multiple words. Why? These words all go together. For example, I made a staircase for the word 

“symmetry”, however, this staircase also incorporated rhythm in its direction, as well as balance in its similarity on both sides. The ability for a design to obtain more than one of these aspects is what makes it influential, not to mention it allows for change within a space.

MOMENT: a minute portion of time; a time of excellence; consequence, significant

Moments create intimacy in design. They celebrate the excellence and success of a design. There are certain moments in design where the layout of a space becomes incredibly successful, and these moments are where the incorporated elements are obvious; where there is a sense of delight. Churches create moments for people to worship; these moments are crucial in religion. In the church of Santa Costanza this moment is in the circle. This circle creates a connection between heaven and earth. It provides a space in which people can worship to an altar, which is in the middle of the circle, raised on a platform. Baths create moments for people to be entertained; these moments are crucial in society. In the Baths of Diocletian, these moments happen during the enjoyment of each amenity, whether it’s in the gymnasiums, or the libraries or the theatres. These moments tell stories in that they tell how a space is being experienced. Each moment is linked by an aspect of design. In drawing class we were asked to choose 5 thumbnail drawings of a building that represent moments. I chose the places in the building where people walked or sat, or stood and had a conversation. These moments are crucial in the experience of a space.

The main focus of our other design classes (not so much history) has been this idea of creating a moment using duality. We spoke about numerous aspects of design and divided these aspects into nine categories: (1) Boundaries, (2) Positive and Negative Space, (3) Rhythm, (4) Balance, (5) Symmetry, (6) Contrast, (7) Gradient, (8) Hierarchy, (9) Proximity. All nine of these words must be considered during the process of design. It is difficult to portray one of these words, without portraying another along with it, though it is possible to emphasize the importance of one over an other. All of these words together create a language that shapes design. The reason I have chose to speak about these in my summary is because I believe that they connect directly with all of the words above. These words create a metric or a system, and also require measurement in order to be effective. A precedent can be used in order to develop a further knowledge of these words. For example, one could look up a word from the list above, and click on images, and oftentimes a building or a space will appear in at least 5 of these images. This is because these words are important aspects of design and architecture. All of these words are important in creating a sense of delight or presence. Without these words, there is not much organization, and therefore the design is less successful. There is a duality in design when one of these words is incorporated, because with one of these concepts, comes another concept. The most obvious example of this is the interaction between symmetry and balance. If something is symmetrical, it is the same on both sides. This means that the visual or actual weight is the same on both sides, creating a balance. Last but not least, these words are what create moments. If something is contrasted in a design, it is often a strong contrast, and therefore creates a moment in the attention that it attracts. If there is an obvious difference between the uses of positive and negative space, that will be where the moment is. The interior architecture professors have put so much emphasis on this language this past week, that I couldn’t ignore the use of them in my blog. I noticed this importance in all of my previous projects, as well as those that I am working on now, and therefore, I must tie them together with this theme of voices, and the way that a design speaks to the people experiencing a space.