iarc blog
Showing posts with label IAR 221. Show all posts
Showing posts with label IAR 221. Show all posts

Friday, April 27, 2012

Final BP





Object: my wedding ring. My wedding ring is a replica of a victorian/art deco ring. I chose this setting because the roundness of the design was very appealing to me. Everyone who has seen it says that it "looks like me." I found taking pictures of a diamond to be impossible, so I used a close example.

example of my wedding ring

:http://www.engagement-ring-mountings.com/artdeco_nouveau_ring_settings_info_1895.htm




Space: Food Hall at Harrod's. What does this say about me? I happen to love the tile and the arts and crafts/deco decor of the space, not to mention the bevy of food. It's a food orgy!








The Building: Hagia Sophia. I love the roundness and the enormity of this building. I am attracted to its history. I think history in design is very important












The Place:London. I have always loved England! I love the history, the monarchy, the tea. I guess I'm a bit of an anglophile.














As I stated in my first design autobiography, I tend to design circularly and my design aesthetic is traditional with a healthy dose of quirky. This blog post illustrates for me just how rooted in history and geography my design aesthetic is. I see curves, history, and mostly anglicanism in all of my choices.


:

US 3: Explorations




This summary is more to me than just a unit summary. It is a summary of the class and the knowledge I gleaned from it:





I believe that, at no time in history have humans sought to design and construct buildings that do anything other than demonstrate the latest innovations as they were understood at any moment in time. Architectural explorations in modern structures are not unique to the modernist movement (mid 19th century-present), as humans have pushed architectural boundaries since the inception of constructing environments, as an attempt at communication regarding their beliefs and values, and as a creative outlet of expression. The modernist movement and all of the modern sub-movements, are the only artistic periods in history in which the artists, architects, designers, style-makers, etc have named while simultaneously producing the style. We see these modern movements as, possibly, more technologically advanced because of the age of the machine, and subsequently the computer. But can you imagine how technologically advanced ancient structures built with simple machines must have been at the time of their construction? As we have seen throughout this class, architecture always looks forward and always looks back; this concept is not exclusive to modernism. We value the language of our culture as displayed in our architecture. And while our structures' skins may change stylistically, the bones of human understanding of architecture always remain the same; circles, groves, and stacks.



england~b.c.





england~21st century



After World War I there was an attempt by architects to erase the language of individual cultures by creating a universal human identity as embodied in architecture. But even that concept, while at the time seemed like a new idea, was appropriated. Historic examples include classic Roman architecture built throughout the Roman Empire, or by the Roman Catholic Church creating a universal language in the architecture of Gothic Cathedrals all over Europe. The modernist movement did, however bring a social consciousness to the forefront of architecture. The atrocities and aftermath of World War II led to the rebuilding of cities throughout Europe. As a result, modern architects and designers began to consider how good design could be available to all while providing the pinnacle of functionality. This concept of good design for all cemented the idea of international style. Ironically, this concept that actualized modern structures morphed into a design philosophy that did not consider human wants and needs or the natural environment. As a result, the globe is dotted with steel and glass cubes that, may, seem visually interesting but have had to be altered to be functional. Inevitably humans' need for classification and identification puts the notion of singular identity, as communicated through architecture, aside by developing, or embracing, vernacular architectural styles. The attempts at squelching cultural identity through architecture establishes regional reactions that have become more important as we understand sustainability in building practices in the 21st century.


steel and glass cube~Seagram Building





While modern and post-modern structures are still designed and built, humans have begun to consider sustainability practices in architecture and design. Again, regionalism is not a new idea in architecture. Early human structures were constructed to fit the landscape and they were built using local materials. It is human technological advances that instigated architectural movement away from regionalism and, I believe, as our understanding of sustainability improves, our advances in technology will bring us back to regionalism.


modern architecture~north carolina~materials



Throughout this course, we have discussed the cyclicality of architecture. We witnessed it in the consistent use of circles groves, and stacks throughout history, in classical architecture being revived (over and over and over...), in the human psyche that establishes sets of rules only to push against them to the point of breaking, and the human condition that implores us to communicate about ourselves and our culture through architecture.





Thursday, April 26, 2012

DA3



Design Autobiography 3:





I combined my funky painting with Patrick's classic clock. Using the colors and shapes from my painting and the lines of his clock, I created a contemporary clock from a clean, classic design. 

Monday, April 16, 2012

Reading Response 13: The Design is in the Details





The German Pavillion at the International Expo in Barcelona (1929) was designed by German architect, Ludwig Mies van der Rohe. Mies was commissioned to build the pavillion to highlight German architectural innovation. The building itself is not particularly innovative but Mies's "less is more" philosophy is demonstrated in a masterful manifestation of precision and intricately artful simplicity.



 With the exception of a statue in a shallow pool, the space is void of added decoration. The design of the pavillion was in the details and highlighted the richness of materials, such as onyx, Tinian marble, and stainless steel.








The pavillion was designed as an open structure, both to the outside and within. The functionality of the space was ambiguous, and thus could be multifunctional. Mies artfully demostrated his meticulous eye for detail and the precision of his design in the materials he chose and the craft with which the structure was assembled.








Mies designed the, now iconic, Barcelona Chair specifically for the German Pavillion in Barcelona. The chair embodies the modern aesthetic of functionality and considers comfort as part of its function. The chair is made from a stainless steel frame. The legs of the frame create a curved x that extend to support the back of the chair and the seats are box cushions that are upholstered in rich leather. The chairs echo the "less is more" ideal, simplicity, and precision of the pavillion in which they were housed.








 

The German Pavillion, and Barcelona Chair, both designed in 1929, seem so contemporary in design and scope of functionality that it is hard to imagine them coming out of the early 20th century. Architects and designers have emulated Mies's work so much that open spaces, both in residential and commercial, have become the expected norm in contemporary American architecture.












:http://www.ecomanta.com/2011/02/fashion-week-1929-barcelona-pavilion-by.html

http://www.barcelona-life.net/2010/03/06/mies-barcelona-pavilion/

:http://www.greenarchitecture.com.au/pavillion.php

:http://www.arkitectrue.com/architecture-%e2%80%93-spanish-style-4/

http://kitors.com/barcelona-pavilion-g6.htm

:http://daraparker.com/2011/01/12/barcelona-chairs-please-dont-sit/

http://modular4kc.com/2011/06/24/design-friday-ludwig-mies-van-der-rohes-barcelona-chair/



Tuesday, April 10, 2012

BP 12: Good Design for All








Good Design For All




Emeco's new Navy 111 chair represents an object that embodies good design for all. The chair was originally commissioned by the US Navy in 1944 with the main requirement being that it could withstand a torpedo blast while on a ship. Originally made from aluminum, it was designed to be functional and comfortable and comply with the Navy's requirement of durability; in fact many of the original chairs are still around and in very good condition.




The Navy 111 in aluminum


The chair is in current production,in collaboration with the Coca Cola company, made from recycled Polyethylene Terephthalate, or plastic bottles. Changing the production material from aluminium to recycled bottles is definitely good design for all, as new technologies were required to develop and manufacture this chair and that development had an economic trickle-down effect. Extensive technology had to be developed and tested to insure the project's success. Additionally, retooling was required for the plants in which these chairs are manufactured which led to new people being hired and trained to use the new equipment. Best of all, manufacturing the chairs from rPET could potentially re-purpose up to 3 million plastic bottles per year!





Collaboration between Emeco and Coca Cola~rPET


The chairs are visually attractive and contemporary, and maintain their original functionality. The chairs are available in a variety of vibrant colors and can be used outdoors as well as indoors. The property of good design for all of these chairs goes way beyond their appearance and functionality; the economic and environmental impacts of this design prove just how good the design is for all. The good design for all aspect of this chair is so strong that people who may not even know the chair exists are positively impacted by its creation, in job growth and reduction in recyclable material in landfills.






Plastic bottles



Reading Response 12: De Stijl The art of geometry




The de Stijl movement was born at a time when the world was recovering from World War I. The artists and architects of the de Stijl strived for a utopian, universal human identity as opposed to the many national identities that helped to fuel World War I. The goal of the movement was to achieve harmony through perfection by utilizing geometric shapes and by reducing unnecessary clutter and decoration. While color was a very important aspect of the de Stijl, pallets were limited to primary colors and shades of grey. In de Stijl architecture, function followed form as architects were more interested in perfecting the most harmonious environment with little regard for its actual purpose. The Schroder House in Holland is the most recognizable architecture of the movement.



Schroder House~Gerrit Rietveld~Utrect, Holland



Built by Gerrit Rietveld in 1924, the Schroder House embodies the de Stijl philosophy of form, color, minimalism, etc; in fact, the house looks like a Piet Mondrian painting in three dimension. The house was built in a mundane, suburban environment attached to the end of a line of row houses. It has two stories, the second of which has no defined rooms but is a large room that consists of movable partitions and windows that open completely, so the space can be specifically defined and redefined to suit its residents. The first floor consists of five rooms and a hall, the plan of this floor was only laid out in this manner to fit with building codes of the time. Both floors are centered around a central staircase.




Interior of Schroder House~2nd Floor~Red-Blue Chair




2nd Floor Plan~Schroder House


1st Floor Plan~Schroder House


The exterior of the home appears as a grouping of rectangular floating planes (Mondrian in 3-D). Most of the house is painted in white and shades of grey, accented with black trim and with blocks of red, blue and yellow around its entirety. The influence of Frank Lloyd Wright can be seen in the Schroder House's cantilevered roof and the grouping of the windows. Additionally, I would argue, one can see the influence of the Schroder House on the future works by Le Corbusier. Le Corbusier's  residential designs seem directly influenced by the use of glass walls, central staircase design and multi-functional interior spaces of the Schroder House.



Schroder House attached to Row Houses~Floating Planes~Cantilever Roof~Color Accents



Frank Lloyd Wright~Falling Water~Example of Wright's Cantilever Roof



Le Corbusier~Villa Savoye~Poissy, France~ 1929-1931


Like many architects, Rietveld designed furniture for use in his residential plans. One of Rietveld's iconic chairs, the Red-Blue Chair, was designed for the Schroder House. Again, the chair appears to be a three dimensional embodiment of a Mondrian. The chair clearly indicates the function follows form aspect of the de Stijl, as the chair does not appear to be very comfortable or inviting (but it does have a "cool factor").



Gerrit Rietveld~Red-Blue Chair

The de Stijl movement may have faded from the consciousness of style makers throughout the twentieth century, but, I think, it has been sub-consciously ingrained in our collective memories, as we still see architecture and design that visually has the de Stijl aesthetic.




Rubik's Cube




Lego Schroder House




Contemporary Architecture~de Stijl Influence








Monday, April 9, 2012

Design Autobiography 3






When I completed the painting project that I have used as my well-designed object, I instantly thought the pattern would work well in a contemporary carpet design or, size decreased and pattern repeated, as an interesting interior textile. The image next to my original is a contemporary medallion carpet that I think illustrates how my design could be manufactured.


Thursday, April 5, 2012

Unit Summary 2: Reverberations





It is impossible to design a structure without considering the architecture of the past, reacting to it, and interpreting the reaction. How we utilize and express our reaction, by embracing or breaking known rules, is architectural reverberation. There are only a few architectural forms on which all architecture is based (circles, groves, stacks), so all architecture is a reaction to that of the past.


When it became clear that Christianity had a stronghold, mostly in western Europe, it was important for the church to communicate a uniform message to its, mostly illiterate, congregations. Emerging from the Dark Ages, this was done in the basic building forms and decorations of the Gothic Cathedral. To unify various Christian sects, visual literacy in the form of physical, readable symbolism was employed in churches throughout Europe. The Gothic Cathedral was based on the basilica form but the absolute limits of dimension, scale, technology, and materials was pushed. Their size and expanse expressed a boundless universe from the inside and their community dominance from the outside. These cathedrals were built to be enormous and could be seen from great distances above their city's skyline; they were used as a geographical and spiritual marker, imploring people to always look to the church.


Cologne Cathedral~Example of Gothic Cathedral~Size

 


The Renaissance movement viewed Gothic as inappropriate design and it jumped back to classical architecture. The essence of the Renaissance was to achieve precision, balance, and symmetry, while emphasizing the importance of the individual and expressing serenity and control. It was during this period that the rules of architecture were first recorded. The philosophy of the Renaissance was that of enlightenment and reached across many cultural and scientific disciplines.




The Baroque is a reaction to the rules of precision in the Renaissance. During the Baroque lines became curvy; theatricality and excess was the rule. As many monarchs and aristocrats enjoyed great wealth, the architectural language of the period became more frivolous. The frivolity of the Baroque ignored the Renaissance ideals of simplicity and precision and created a style that is boisterous. The French Chateau is born during the Baroque and comes to epitomize the style, however, the decorative arts, fashion, food, etc, reflect the opulence of this period as well. The Baroque met its demise in the revolutions of Europe. The style symbolized the disproportionate wealth and resources of the aristocracy, and as Europeans demanded reform, architecture returned to classical roots throughout Europe and into the New World.


 
Palace of Versailles~Hall of Mirrors~Epitome of Opulence
http://www.dudziak.com/picture.php/hall_of_mirrors3419


Colonialism expanded accepted European architecture throughout the world. In the United States, the architectural language was that of England, neo classical, and colonial America turned to the architectural lists and rules of the Renaissance as evidenced in homes, civic structures, and churches of the original thirteen colonies. After the American Revolution, the federal government adopted Roman architecture while most states adopted Greek architecture in government buildings. Greek architectural language helped establish states' governments by reinforcing the ideas of rationality, balance, and control.



Villa Designed by Palladio~Inspiration for Drayton Hall in South Carolina


 
 
Drayton Hall, Charleston, SC~Classical Design~Replica of Palladio
 


The independent development of the United States left a void in original American architectural language and style. But in the 19th century, American architects began to express themselves by innovative methodology and technology. Chicago became a hotbed of architectural ingenuity, mostly due to the Great Fire, which presented an opportunity for new city planning, design, and construction. During this period the skyscraper was born. New technologies using steel-frame construction contributed to the new heights of buildings, which utilized physical acreage to its greatest extent. Steel frames allowed facades to be less structural and more decorative. As they were seen as "skins" of buildings, they became a place to express designers' ideas about proportion and decoration, which led to and established an American style.





US Capitol Building~Roman Revival Architecture




NC Capitol Building~Greek Revival Architecture



Tuesday, March 20, 2012

Reading Response 9: Classic Forms Made Modern




St Paul's Cathedral:London





Old St Paul's Cathedral~Gothic





The current St Paul's Cathedral in London was designed by Christopher Wren after the Great Fire in London, 1666. Wren was tasked to design a protestant cathedral that would rival St Peters in Rome, on the site of the Old St Paul's Cathedral. The area around St Paul's was developed and populated which meant that the English model of church building was inadequate and great care would need to be used while the building was under construction.




Bird's eye view of St Paul's Cathedral


Bird's Eye~Development around Cathedral

Wren's original design for St Paul's was unlike anything built in England to that point but he faced strict opposition to his design from the bishops in the church. They wanted the Cathedral to be built in the Gothic style that it had been before but Wren wanted to employ the latest design and technology from Europe. An agreement was reached between Wren and the clergy; the cathedral became a Latin Cross plan and the church agreed to a "modern exterior but insisted on a Medieval-style section, with low side aisles and a tall nave (Ching 570)."



Front Facade of St Paul's Cathedral~2nd Story


Using neo-classic styles, Wren designed St Paul's with precision and care. To visually balance the enormity of the dome, Wren designed a false second story. The second story gives visual mass to the structure of the building, maintaining proportion between the dome and the structure. The facade of the cathedral bares neo-classical motifs in a modern way for 18th century England. Wren paired a series of Corinthian columns on both stories, emulating Bernini's use of columns at the Louvre in Paris. Additionally, Wren borrowed aspects of Mansart's dome at Invalides by dividing it into three courses. It is interesting to note that the towers on either side of the front facade were an addition, by Wren, when the cathedral was close to completion.



St Paul's dome in section


The dome rests on a course of buttresses that appear to be columns. There is a conical shaft between the interior and exterior walls of the dome that allows light from various angles to shine through the occulus. The light enters the shaft via eight light wells in the exterior wall of the dome. 


Cornice over the main entrance of St Paul's Cathedral


The interior is well lighted, considering its massive size; a great deal of light comes in through the dome. The ornamentation and decor in the cathedral is grand and rich but not overstated, as we see in examples of French Baroque.





Interior view~from south side looking toward altar



Looking directly into dome



Looking east toward the altar and choir




The building of St Paul's Cathedral was funded by a tax levied on sea coal. During this time in history, we witness buildings commissioned and funded by the government instead of wealthy, private patrons.






The dome of St Paul's from the east side of the Thames~Millennium Bridge



The dome as an architectural feature was not new in the design and building of St Paul's Cathedral, nor is it today. But as with St Paul's, the form is used, even today, and given modern twists as technologies change. The dome can still be found in contemporary structures throughout the world and conveys that we look to the past for ideas and ways to discuss our culture through architecture while always seeking innovative ways to create the "ideal."





Modern dome made from cable and canvas



Modern dome in mosque


 Modern dome on stadium




Photo Credits: