In the reading we studied several artifacts:
Desk p.427- high ornament, pictorial, flower motif, compartmentalized into geometric shapes- squares, rectangles, hidden elements, displayed wealth- work of art and also functional, showed taste
Windsor chair p.451- delicate, intricate, symmetrical, order, appearance of boundaries
Tall clock p. 473- high ornament, delicate intricacy, swags – classical language, modular, similar to a column- base, shaft, and capital, gilding, swags, cherubs, boundaries, order, symmetry
State bed p.502- intricate, mass, delicate ornament, high ornament, repetition, square and circle- collenette, aedicule- escape
Sheraton chair p.522- delicate, symmetrical, urn, swags – classical language
These artifacts all speak a design language where the design of the object it self reflects and represents their life style and social class.
They express design elements such as space, shape and line. These are expressed in the form of geometric shapes, repetition of patterns using symmetry, which creates boundaries that show forms of hierarchy. As a whole they all have a sense of strong ornamentation... some in delicate forms. The artifacts all show a common design language which speaks and shows emphasis on the owners wealth and taste.
In a way, they create "warmth in the [spaces] in which they dwell in"(Harwood 267)
In a way, they create "warmth in the [spaces] in which they dwell in"(Harwood 267)
Even though each of these artifacts are from different geographical locations, stylistic periods and have been designed for different classes of people, they all have similar design principles which tell us the sole purpose for designing these pieces in the first place… functionality within a space.
This leads to the topic of space. Space is a design element described as a place available for a particular purpose. All the spaces mentioned in the colonial design matrix are residential spaces:
Holkham p. 418- rosettes within octagons, dynamic texture, mimicked wall pattern to upholstery, significant contrast between wallpaper and the ceiling and the upholstery, high ornament, broken pediment similar to temple, repetition. contrast, pattern, organized, placed with purpose, contrast in scale of patterns.
Gunston Hall p.447- stairs used as an architectural element to be celebrated vs. only being functional, now a statement, became their own space, symmetry, balance of space, repetition- each stair has a banister that corresponds to it that are evenly spaced- balance through repetition.
Marie Antoinette's Bedroom in Le Fountainbleau p.463- theatrical, high ornament, ordered by pattern but excessively busy, so excessive that the order almost feel chaotic.
Saltram House Saloon p.494- parlor, patterned, compartmentalized, swags, classical motif, symmetry, central arc window with two flat edged windows
Gardner Pingree p.519- subdued ornament, removed from high ornamentation, classical language, focal point- fireplace, symmetry, central motif planked two swags, centralized ornament on walls (urns), design elements mimicked throughout (fireplaces, and encasement to entrance of room), molding that emphasizes the lines of the room, transition from the wall to the ceiling, celebrates the openings, sense of order.
These spaces express specific tastes and different stylistic periods however each share similarities in aspects of design principles and elements, altered and fitted to the cultural context which they fit in.
Each space depicted balance, repetition, proportion, functionality, contrast, hierarchy of importance and some form of unity. They each have a harmonic unity which encompasses both the architectural design, ornamentation and the things which dwell + reside in it.
Rooms such as Marie Antoinette's bedroom exhibit this unity in forms of repetition of delicate shapes + motifs. Her room focuses on an abundance of patterns which is kind of harmonic in a way: patterns creating the space.
As I looked through the spaces in this matrix I noticed an importance in a hierarchy of public + private spaces in the buildings such as the Pantheon of St. Genevieve in Paris and Monticello in Virginia. All have geometric forms and play with different forms of light... such as the palette or natural light. Even though these spaces share several similarities in the sense of elements and principles of design, we must realize that their differences in appearance are dependent and solely based on their geographical locations. Every culture has exhibited their belief in the traditions of the classical architectural language but they all bring the idea of the pizza to their geographical design language... refreshing and renewing ideas from which we started.
Rooms such as Marie Antoinette's bedroom exhibit this unity in forms of repetition of delicate shapes + motifs. Her room focuses on an abundance of patterns which is kind of harmonic in a way: patterns creating the space.
As I looked through the spaces in this matrix I noticed an importance in a hierarchy of public + private spaces in the buildings such as the Pantheon of St. Genevieve in Paris and Monticello in Virginia. All have geometric forms and play with different forms of light... such as the palette or natural light. Even though these spaces share several similarities in the sense of elements and principles of design, we must realize that their differences in appearance are dependent and solely based on their geographical locations. Every culture has exhibited their belief in the traditions of the classical architectural language but they all bring the idea of the pizza to their geographical design language... refreshing and renewing ideas from which we started.
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2.“Architecture as an independent, rational, structural frame is transformed into a unity or fusion of the visual arts"(Harwood 404). When looking at the American Georgian colonies across the Atlantic Ocean to the English Neo-Palladian/Late Georgian periods as well as Louis XVI /French Provincial periods I see a strong design ancestry that reflects their homelands of England, France, Spain, Germany, and Holland. As the colonists made their way to new settlements in the Americas, they strived for change and for a new culture that would be different but yet a reflection of the homelands they left behind. They often looked back on the prototypes and previous architectural foundations of England, Spain, France, and Germany/Holland in order to form a new sophistication or style of architecture that they could claim as their own. It is known that rich finishes, elaborated ornamentation, use of wood + brick as materials were a trademark of these periods in history.
Interiors in the new Americas were the melting pot of ornamentation and form. The used light scale, rational planning and mathematical proportions to help form their structures and emphasize straight lines + geometrical forms.
These styles varied between monumental down to the precise elegant + refined ornamentation. Interiors were built to a human scale and had a rococo charm with a sophistication that was familiarized with developments from england.
2.“Architecture as an independent, rational, structural frame is transformed into a unity or fusion of the visual arts"(Harwood 404). When looking at the American Georgian colonies across the Atlantic Ocean to the English Neo-Palladian/Late Georgian periods as well as Louis XVI /French Provincial periods I see a strong design ancestry that reflects their homelands of England, France, Spain, Germany, and Holland. As the colonists made their way to new settlements in the Americas, they strived for change and for a new culture that would be different but yet a reflection of the homelands they left behind. They often looked back on the prototypes and previous architectural foundations of England, Spain, France, and Germany/Holland in order to form a new sophistication or style of architecture that they could claim as their own. It is known that rich finishes, elaborated ornamentation, use of wood + brick as materials were a trademark of these periods in history.
Interiors in the new Americas were the melting pot of ornamentation and form. The used light scale, rational planning and mathematical proportions to help form their structures and emphasize straight lines + geometrical forms.
These styles varied between monumental down to the precise elegant + refined ornamentation. Interiors were built to a human scale and had a rococo charm with a sophistication that was familiarized with developments from england.
Gateleg Table(p.264): spindle legs, retractable table, repetition of ornamental motifs and geometric shapes. Material is wood.
Fraileurs(p.283) : decorative detail, repeated motif, Geometric shapes mixed with fluidity, balance and proportional elements.
Armoirs(p.302) : compartmentalized space, symmetrical on an x + y axis, contained boundaries, functionality, geometric space + repetition.
Shrank(p.313) : separation of boundaries, hierarchy, geometric shapes, wood as a material, symmetrical and a balanced separation of public + private spaces
In conclusion not only do these periods share similarities in the elements + principles of design but they also share the commonality in the idea that they are stylized periods that were formed from many foundations before theirs reflecting on their structures both inside and out.
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3.
The construction of this plan consisted of the sub division of one circle. I chose the circular form because Paladio is known for the central dome used in his famous Villa Rotunda. I divided the circle into half and then in to half again so that it was slit into four quarters. The circular floor plan creates a rotating floor plan. [which starts at the entrance + ends at the entrance]
I then decided to use the aid of axial progression to lead you from the exterior staircase into the Saloon which has an oculous.
As for the exterior columns... they say the best things come in threes.
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4. Baroque was a period designed to capture your attention through emotion and the senses using architectural theatrics. I personally believe that in the forms of Art, Architecture + Design. Baroque not only manipulated the minds of the people but it effected their entire lifestyle as well... they treated life as if it was theatre.
Baroque art + architecture were designed with such passion that it draws you in. It was a blend between mystery + divinity purposely attracting the people back through the doors of the church... creating a personal experience between you and God. [or in the sense of French Baroque, it draws you closer to the King]
Italian Baroque focused more on curvilinear lines, fusion of medias + the contrast between light and dark; also known as chiaroscuro. Almost like a theatrical trick which plays with the religious ideas of good + evil... Heaven + Hell.
I feel that Sant Andrea Al Quirnale + The Coraro Chapel are two beautiful structures that encompass Italian Baroque most passionately. They were both built with such passion, such ecstasy that it makes you want to cry...
Coranro Chapel
[Ecstasy of St. Theresa]
[Ecstasy of St. Theresa]
structurally, on the outside, the chapel is pleasing. But once you make it inside it captures you in ways that keep you bound to it.
Bernini Sculpts Theresa's moment of ecstasy in such a way that it looks as if he covered her in stone as it was happening. Such passion + fluidity is captured in this sculpture that it looks as if she is literally taking her last breath. There is a mix of realism + illusion here... he does it in a way where he has sculpted her in a way where he "subtracts" her earthly body... as if everything dematerializes, breaking the boundaries between what looks like it is liquid... and what is actually stone.
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Sant Andrea Al Quirinale
The use of reflective material, light palette + light it self helped amplify the architectural theatrics which draw you in. It creates an affect which triggers an emotion, drawing the audience in.
Over all Baroque wasn't just a stylized architectural period it became apart of the lifestyle. It affected the poetry + literature, the theatre, music and all aspects of art... especially architecture
[1] great job in using the elements and principles of design [2]good job in stating implications, how do you see the ancestry from europe? [3]great plan and annotation [4]wonderful response...i like your use of 'manipulation of minds' and bernini is a great example of theatrical baroque art
ReplyDeletewatch your roman numeral label it should be IV (4) instead of IX (9)