Task 14: Self Appraisal
Do you think that visiting a building can help you understand it better (through
phenomenology)?
Yes, I believe it is highly important to visit buildings on a whole, most areas/buildings may seem different to one than another experience wise, so it is better to visit first hand. To understand a building, you can just do so from pictures alone, a building could seem completely different in a picture, than first person experiences.
How useful has it been to use critical thinking?
Critical thinking has been vital to me, not only in patchwork but in my design projects. During research I need to take the information in and process it critically to progress.
Have you learnt enough about academic writing? Do you understand the relevance
of it and the risk of plagiarism?
Well, personally academic writing is highly important in the terms of giving reference and credit to other peoples work. The risk of plagiarism is very high if referencing has not been done properly. I still do find referencing highly confusing, but this will be due to the fact I was not taught it during my a levels unlike most people.
Have you understood the relevance of researching when preparing a design
project? Do you think you will use historical building when approaching a new
design project?
I have found out that research is very very important during the first stages of my design projects, not only the first stages, but as I progress when I want to use materials I need to research what they look like and how they work, but also the way in which they are used in current architecture.
phenomenology)?
Yes, I believe it is highly important to visit buildings on a whole, most areas/buildings may seem different to one than another experience wise, so it is better to visit first hand. To understand a building, you can just do so from pictures alone, a building could seem completely different in a picture, than first person experiences.
How useful has it been to use critical thinking?
Critical thinking has been vital to me, not only in patchwork but in my design projects. During research I need to take the information in and process it critically to progress.
Have you learnt enough about academic writing? Do you understand the relevance
of it and the risk of plagiarism?
Well, personally academic writing is highly important in the terms of giving reference and credit to other peoples work. The risk of plagiarism is very high if referencing has not been done properly. I still do find referencing highly confusing, but this will be due to the fact I was not taught it during my a levels unlike most people.
Have you understood the relevance of researching when preparing a design
project? Do you think you will use historical building when approaching a new
design project?
I have found out that research is very very important during the first stages of my design projects, not only the first stages, but as I progress when I want to use materials I need to research what they look like and how they work, but also the way in which they are used in current architecture.
Task 13: project 6, analysing architecture:
well, first off. the museum is Nottingham contemporary, I have been there due to it being so close to the site. This museum is a very new/modern building, which is a very abstract and different in terms of the old historic site it sits on.
The exterior of this building, is highly phenomenological, the outside is metal with a texture pattern over the top, This is a close up image, showing the materials and the intricate, abstract lace detailing on the outside of the building. ( below this text) Personally, I think this lace and the shape and materials used create an experience, where you just want to see what the building is about, it makes you interact with it. Not just to walk past and see it as a normal building, I see it as a piece of art in it self, while it accompanies art.
Well, in terms of furniture is very minimal in this building. There are moveable partition walls, which can be moved freely on desiring or less desirable space. Despite it being minimal, it's there and gives a perfect view of all the art work if a person was sat or around the furniture, due to It being low down, not distracting the view of the eye from the art.
The flow of the building itself, is very unnatural. But since when is art the same as everything else, its natural but its different, rational. It can be very expressive, so why not bring the expressiveness to the flow and circulation of the building. Id say the building is more a labyrinth, again making you interact with it, not just walk round.
In terms of design waste, yes less heavy materials could of been used to create less waste and emissions, but you can see why the materials have been used. The interior people could say should be less wasteful of the space, but I believe the interior flows well with the concept of the actual design of the whole building.
The context of the surrounding area, as a whole is all 'oldy worldie' but I believe it does fit its own context. It creates the context, of the area. It responds to the demands of the city, cities are ever growing technologically, this building shows that Nottingham can keep up with the contemporary style of architecture.
The exterior of this building, is highly phenomenological, the outside is metal with a texture pattern over the top, This is a close up image, showing the materials and the intricate, abstract lace detailing on the outside of the building. ( below this text) Personally, I think this lace and the shape and materials used create an experience, where you just want to see what the building is about, it makes you interact with it. Not just to walk past and see it as a normal building, I see it as a piece of art in it self, while it accompanies art.
Well, in terms of furniture is very minimal in this building. There are moveable partition walls, which can be moved freely on desiring or less desirable space. Despite it being minimal, it's there and gives a perfect view of all the art work if a person was sat or around the furniture, due to It being low down, not distracting the view of the eye from the art.
The flow of the building itself, is very unnatural. But since when is art the same as everything else, its natural but its different, rational. It can be very expressive, so why not bring the expressiveness to the flow and circulation of the building. Id say the building is more a labyrinth, again making you interact with it, not just walk round.
In terms of design waste, yes less heavy materials could of been used to create less waste and emissions, but you can see why the materials have been used. The interior people could say should be less wasteful of the space, but I believe the interior flows well with the concept of the actual design of the whole building.
The context of the surrounding area, as a whole is all 'oldy worldie' but I believe it does fit its own context. It creates the context, of the area. It responds to the demands of the city, cities are ever growing technologically, this building shows that Nottingham can keep up with the contemporary style of architecture.
Task 12: Le Corbusier
When Le Corbusier introduces mass production housing, the biggest problem is doubtfulness of the public, while being in the wrong frame of mine. Corbusier stated that 'the mass-production state of mind is hateful to architects and to ordinary man.' Page 214. Along with this, Mass production housing also didn't exist at the time, quite frankly didn't have to tools or materials to do so, let alone the setting stone guidelines.
How does Le Corbusier want to replace natural/ traditional materials in
architecture?
Le Corbusier believes 'old materials' is unsatisfactory to construction. He believes, they are prone to damage or corruption and breakage. He believes the materials should be changed to new materials which are proved to last and withstand weights and pressures without damage. Along with the new materials being less wasteful.
"A house will no longer be this solidly-built thing which sets out to
defy time and decay, and which is an expensive luxury by which wealth can be
shown ; it will be a tool as the motor-car is becoming a tool." -
Mass-production houses, Le Corbusier, 1946.
I partially agree with this statement, I do believe modern day architects and architecture is built for a function/purpose not a house. for example, when a house is built it always has a function in mind, a specific function, to eat, to sleep, and then has design integrated to encompass this. In terms of the solidly built, I believe it completely belongs in the hands of the constructers, yes some believe the new material isn't as strong due to it being lighter, thinner and look less stable, but in reality it is probably twice as strong with the technology we have built, so I neither agree nor disagree to that part.
Le Corbusier, plan for university quarter.
I believe the fact that he designs the building, to give everyone set requirements, is brilliant. Everyone should have the same in terms of lighting and warmth, it is unfair for one students quarter to be less comfortable or smaller than anyone else's.
I think the plan works very well, it also plans for people to have their own space but yet have easy acess to one another. I think this plan is the 'perfect' quarter in personal experiences I like to have my own space, but like to speak with friends as well.
Le Corbusier also identifies Architectural Schools as collaborators in the process of creating a new architecture
Well, architecture schools are not the only place architects learn, I believe I learn a lot in and away from school, architecture requires a high amount of self study to progress. however, architecture is an art, art never stays the same, technologies always push forward just like art and architecture, it is ever changing.
How does Le Corbusier want to replace natural/ traditional materials in
architecture?
Le Corbusier believes 'old materials' is unsatisfactory to construction. He believes, they are prone to damage or corruption and breakage. He believes the materials should be changed to new materials which are proved to last and withstand weights and pressures without damage. Along with the new materials being less wasteful.
"A house will no longer be this solidly-built thing which sets out to
defy time and decay, and which is an expensive luxury by which wealth can be
shown ; it will be a tool as the motor-car is becoming a tool." -
Mass-production houses, Le Corbusier, 1946.
I partially agree with this statement, I do believe modern day architects and architecture is built for a function/purpose not a house. for example, when a house is built it always has a function in mind, a specific function, to eat, to sleep, and then has design integrated to encompass this. In terms of the solidly built, I believe it completely belongs in the hands of the constructers, yes some believe the new material isn't as strong due to it being lighter, thinner and look less stable, but in reality it is probably twice as strong with the technology we have built, so I neither agree nor disagree to that part.
Le Corbusier, plan for university quarter.
I believe the fact that he designs the building, to give everyone set requirements, is brilliant. Everyone should have the same in terms of lighting and warmth, it is unfair for one students quarter to be less comfortable or smaller than anyone else's.
I think the plan works very well, it also plans for people to have their own space but yet have easy acess to one another. I think this plan is the 'perfect' quarter in personal experiences I like to have my own space, but like to speak with friends as well.
Le Corbusier also identifies Architectural Schools as collaborators in the process of creating a new architecture
Well, architecture schools are not the only place architects learn, I believe I learn a lot in and away from school, architecture requires a high amount of self study to progress. however, architecture is an art, art never stays the same, technologies always push forward just like art and architecture, it is ever changing.
Task 11: Nineteenth century
British architects
According to salmon, most British architects went to Rome, being inspired by the great architect Giovanni Battista Piranesi.
Histiography:
The term histiography suggests: The study of the writing of history and of written
histories.
According to Salmon, ancient Rome was a source of inspiration for the architects
of the 19th Century since it was possible to draw so many analogies between
these cultures. Do you agree with this statement?
I do agree with this statement, when you look at roman architecture it is very inspirational and pleasing, not only aesthetically but extremely structural! Most of roman architecture is very old, yet still stands today, despite the testament of time. although I agree with this, the buildings aren't only 'buildings' they tell a story, roman architecture has so much history behind it. They are very prestigious pieces of architecture, most people, even people who aren't 'into' architecture would know some of the roman architecture, maybe not to name but to image. To me they are a world wide inspiration.
Salmon also explains how at some point these comparisons became simple pastiches
or copies of Roman architecture. What is your opinion about using the past as
inspiration in such a literal way?
I agree with this statement, in some terms. When I have been designing in the early stages of my studies I look at other buildings from the past or present for inspiration. I believe it is acceptable to take inspiration from other buildings, but if I was to sit there and imitate it wall for wall, I would not see it as acceptable. Linking to my plagiarism task, this could be seen as plagiarism.
Arkwright Building
Nottingham Trent's Arkwright building was built between 1877 and 1881 by the Nottingham Corporation. The building was originally built to be the University College Nottingham. The building is in the Gothic style, and is adorned with decorations. The building is unusual because it unites the University College, public library and the natural history museum, which were the three fundamentals of Victorian education. The museum was relocated to Wollaton Hall in 1927, and the library moved elsewhere in 1977. Unfortunately, the Western side of the building took a blow from the Luftwaffe in 1941 and parts of the building were destroyed, including the statues of Georges Cuvier and James Watt.
(Nottingham Trent University, 2013. History of Arkwright building [website] available at
http://www.ntualumni.org.uk/giving_to_ntu/recognising_our_donors/benefactors_court/history_of_arkwright
[10/05/2014])
According to salmon, most British architects went to Rome, being inspired by the great architect Giovanni Battista Piranesi.
Histiography:
The term histiography suggests: The study of the writing of history and of written
histories.
According to Salmon, ancient Rome was a source of inspiration for the architects
of the 19th Century since it was possible to draw so many analogies between
these cultures. Do you agree with this statement?
I do agree with this statement, when you look at roman architecture it is very inspirational and pleasing, not only aesthetically but extremely structural! Most of roman architecture is very old, yet still stands today, despite the testament of time. although I agree with this, the buildings aren't only 'buildings' they tell a story, roman architecture has so much history behind it. They are very prestigious pieces of architecture, most people, even people who aren't 'into' architecture would know some of the roman architecture, maybe not to name but to image. To me they are a world wide inspiration.
Salmon also explains how at some point these comparisons became simple pastiches
or copies of Roman architecture. What is your opinion about using the past as
inspiration in such a literal way?
I agree with this statement, in some terms. When I have been designing in the early stages of my studies I look at other buildings from the past or present for inspiration. I believe it is acceptable to take inspiration from other buildings, but if I was to sit there and imitate it wall for wall, I would not see it as acceptable. Linking to my plagiarism task, this could be seen as plagiarism.
Arkwright Building
Nottingham Trent's Arkwright building was built between 1877 and 1881 by the Nottingham Corporation. The building was originally built to be the University College Nottingham. The building is in the Gothic style, and is adorned with decorations. The building is unusual because it unites the University College, public library and the natural history museum, which were the three fundamentals of Victorian education. The museum was relocated to Wollaton Hall in 1927, and the library moved elsewhere in 1977. Unfortunately, the Western side of the building took a blow from the Luftwaffe in 1941 and parts of the building were destroyed, including the statues of Georges Cuvier and James Watt.
(Nottingham Trent University, 2013. History of Arkwright building [website] available at
http://www.ntualumni.org.uk/giving_to_ntu/recognising_our_donors/benefactors_court/history_of_arkwright
[10/05/2014])
Task 10: Topography
The word topography is from the ancient Greek for the ‘writing of place’. It refers to the rise and fall of land and the natural and artificial features created by soil, rocks and building. In a more traditional sense, it also refers to the shape of the land created by the type of vegetation on it. For example, grassland would have a different topography from a forest. Inslightly narrower sense, topography simply means the shape of the land and how it is described on maps using contour lines. Both senses of the word are correct, Topography is the result of natural forces acting upon the land. http://my.safaribooksonline.com/book/design/9782940439232/chapter-two-site-and-context/topography
Falling Water, Frank Lloyd Wright, (again a very inspiring architect)
I have decided to research this building, due to it being in a very similar site to that of Lumsdale valleys.
Frank Lloyd Wright, America’s most famous architect, designed the house for his clients, the Kaufmann family. Fallingwater was built between 1936 and 1939. It instantly became famous, and today it is a National Historic Landmark.
"When the Kaufmanns first looked at Wright’s drawings, they were very surprised! They thought their new house would have a wonderful view of the falls. But instead, with the house right on top of the falls, it was very difficult to even see them. But not to hear them! Frank Lloyd Wright told them that he wanted them to live with the waterfalls, to make them part of their everyday life, and not just to look at them now and then."
To me this building is a highly defining example of Topography within architecture. The building sits there in the landscape as if it is natural part of the form. It seems to be the building which is letting the water out, when in reality its a waterfall running past. I personally find this building very beautiful, let alone creative! It is magnificent, the way it sits there beautifully, modern yet respecting the natural form of the site. This building is a great example, of a way in which the natural landscape can inform ones design, Frank LLoyd Wright, purposefully designed this building in the landscape, to not only see the waterfall, but to seem a part of it.
I have decided to research this building, due to it being in a very similar site to that of Lumsdale valleys.
Frank Lloyd Wright, America’s most famous architect, designed the house for his clients, the Kaufmann family. Fallingwater was built between 1936 and 1939. It instantly became famous, and today it is a National Historic Landmark.
"When the Kaufmanns first looked at Wright’s drawings, they were very surprised! They thought their new house would have a wonderful view of the falls. But instead, with the house right on top of the falls, it was very difficult to even see them. But not to hear them! Frank Lloyd Wright told them that he wanted them to live with the waterfalls, to make them part of their everyday life, and not just to look at them now and then."
To me this building is a highly defining example of Topography within architecture. The building sits there in the landscape as if it is natural part of the form. It seems to be the building which is letting the water out, when in reality its a waterfall running past. I personally find this building very beautiful, let alone creative! It is magnificent, the way it sits there beautifully, modern yet respecting the natural form of the site. This building is a great example, of a way in which the natural landscape can inform ones design, Frank LLoyd Wright, purposefully designed this building in the landscape, to not only see the waterfall, but to seem a part of it.
Task 9: Analysing architecture
Simon Unwin. Analysing Architecture, 2003. Pages 147-158
"Some argue that if geometry is the language by which God designed the universe, it should also be the language by which architects design their buildings"
This question is very deep, it is hard to express my opinions on this question, due to feelings of the term 'god' but I will give it my best shot. To define a link between, 'god' and architecture is confusing and puzzling, People class 'god' as the creator of everything, so theoretically an architect is a creator, so in theory 'god' himself is the 'architect' of the world, designing everything within it. if it wasn't for the belief of 'god' if its true, of him being the creator of everything, if there was no god, there would be no architecture? right? So theoretically, I believe his statement suggests that, Architects get inspired by god.
If the statement is true, that the earth was created by god through the language of geometry, then I may state that architects have been inspired by 'god'. Many architects get inspired through nature, I must say, personally as a student designer, I myself take inspirations and forms from nature. I have done so, since year 12 I started looking at natural forms for my design projects.
Do I agree with Unwin?
Well, this statement is very subjective. Many people have different beliefs on the term 'god' at personal level I am a sceptic. If I was to think about it logically, I think Unwin is stating that architects should copy the design of the earth, use the forms and landscapes to the advantage, and mirror the aspects of the earth's shapes ad forms.
Personally, I believe any designer looks to nature, whether it is to get a design, or just for inspiration to start designing, I believe nature is always the key to any design project. Yes I agree with architects designing through the ideas of god, whether or not I believe in god is another question. Because of this I have found this statement highly confusing, and subjective. I am talking on behalf of myself, not everyone else. There are many designs which are natural response, which I do like. so in theory, I do believe designing through the language of Geometry would be beneficial and also should be looked at on a world wide scale.
I do not fully understand Unwin's statement as of yet. Maybe, when I have furthered my architecture studies I will fully understand what Unwin is suggesting, and use this statement to benefit me in my designs or to disagree with it.
Unwin states that "Ideal geometry manifests human discipline and aspiration to achieve a perfection in form not found in nature" if I look at the works of Frank Gehry (I am very fond of his work, very rational, yet responds to a natural form.) While his work is very abstract and different from those of the 'traditional' idea of design. While his designs are still very natural, they are even more natural than that of a traditional design, breaking from the rule of thumb of the golden ratio, a very traditional mathematical principle.
To ask me to give a preference of organic or geometrical structures, I do not necessarily have a preference. So far in my studies, I have been taught to think about the context of the area of the building is situated, rather than the way I think, so an organic form could look better located somewhere than a geometrical structure and vice versa, it typically depends on the context. I believe that there should be a mixture of structures, I believe in taking risks.
"Some argue that if geometry is the language by which God designed the universe, it should also be the language by which architects design their buildings"
This question is very deep, it is hard to express my opinions on this question, due to feelings of the term 'god' but I will give it my best shot. To define a link between, 'god' and architecture is confusing and puzzling, People class 'god' as the creator of everything, so theoretically an architect is a creator, so in theory 'god' himself is the 'architect' of the world, designing everything within it. if it wasn't for the belief of 'god' if its true, of him being the creator of everything, if there was no god, there would be no architecture? right? So theoretically, I believe his statement suggests that, Architects get inspired by god.
If the statement is true, that the earth was created by god through the language of geometry, then I may state that architects have been inspired by 'god'. Many architects get inspired through nature, I must say, personally as a student designer, I myself take inspirations and forms from nature. I have done so, since year 12 I started looking at natural forms for my design projects.
Do I agree with Unwin?
Well, this statement is very subjective. Many people have different beliefs on the term 'god' at personal level I am a sceptic. If I was to think about it logically, I think Unwin is stating that architects should copy the design of the earth, use the forms and landscapes to the advantage, and mirror the aspects of the earth's shapes ad forms.
Personally, I believe any designer looks to nature, whether it is to get a design, or just for inspiration to start designing, I believe nature is always the key to any design project. Yes I agree with architects designing through the ideas of god, whether or not I believe in god is another question. Because of this I have found this statement highly confusing, and subjective. I am talking on behalf of myself, not everyone else. There are many designs which are natural response, which I do like. so in theory, I do believe designing through the language of Geometry would be beneficial and also should be looked at on a world wide scale.
I do not fully understand Unwin's statement as of yet. Maybe, when I have furthered my architecture studies I will fully understand what Unwin is suggesting, and use this statement to benefit me in my designs or to disagree with it.
Unwin states that "Ideal geometry manifests human discipline and aspiration to achieve a perfection in form not found in nature" if I look at the works of Frank Gehry (I am very fond of his work, very rational, yet responds to a natural form.) While his work is very abstract and different from those of the 'traditional' idea of design. While his designs are still very natural, they are even more natural than that of a traditional design, breaking from the rule of thumb of the golden ratio, a very traditional mathematical principle.
To ask me to give a preference of organic or geometrical structures, I do not necessarily have a preference. So far in my studies, I have been taught to think about the context of the area of the building is situated, rather than the way I think, so an organic form could look better located somewhere than a geometrical structure and vice versa, it typically depends on the context. I believe that there should be a mixture of structures, I believe in taking risks.
Right, so the images above, one geometric and one organic. As I stated above, I don't have a preference. I believe it all depends on the function of the building, one building could work better organic form, and one would work better geometric it depends on the function and space. There are different aspects of each building above, which I like, i don't typically hate any of the buildings they are both aesthetically pleasing in different ways.
Task 8 : Observation tower
The shard:"THE SHARD IS THE CAPITAL’S MOST DYNAMIC SINGLE BUILDING.
IT WILL FOCUS THE ATTENTION OF THE ENTIRE WORLD ON LONDON BRIDGE QUARTER."
The shard is a phenomenal piece or architecture, it is the tallest building in western Europe. The London Skyline is transformed by this enormous building, it has a crystal façade, and is a multi use 310m high tower. Uses of the tower are:
IT WILL FOCUS THE ATTENTION OF THE ENTIRE WORLD ON LONDON BRIDGE QUARTER."
The shard is a phenomenal piece or architecture, it is the tallest building in western Europe. The London Skyline is transformed by this enormous building, it has a crystal façade, and is a multi use 310m high tower. Uses of the tower are:
- High Quality offices
- Three world class restaurants
- 5 - star Shangri La Hotel
- Exclusive residential apartments.
- The highest public viewing gallery in the capital.
The view from the shard, is almost twice as high as any other viewing platform of London, the view is a 360 degree view of up to 40 miles.
The building is immensely tall, it stands along side the river thames, and makes buildings such as The Gherkin and the london eye look small, when in reality they are huge too. Just, shows how iconic this building really is. (image below)
The building is immensely tall, it stands along side the river thames, and makes buildings such as The Gherkin and the london eye look small, when in reality they are huge too. Just, shows how iconic this building really is. (image below)
30 St Mary's axe, (more commonly known as The gherkin) is the city of London's second tallest building, standing at 180m tall. It is situated on the former site of the Baltic exchange.
Despite being a mere 'mortal' compared to the shard in terms of size, this building is still highly iconic in London. Both in the skyline and the city itself. The gherkin is one of the most widely recognized forms of London's contemporary architecture. The building has some sustainable credentials such as;
Reducing energy consumption and cooling loads.
Despite being a mere 'mortal' compared to the shard in terms of size, this building is still highly iconic in London. Both in the skyline and the city itself. The gherkin is one of the most widely recognized forms of London's contemporary architecture. The building has some sustainable credentials such as;
- Natural Daylight and Ventilation
- Designed to maximise daylight penetration.
- Light Level and movement sensors prevent unnecessary lighting.
Reducing energy consumption and cooling loads.
Hierarchy within architecture:
Hierarchy of architecture, can be given through interior fitting, such as :Moritzkirche where the light penetrates highly through the front of the church, where most of the attention and function of this building is held. Yet more commonly than not the term 'hierarchy' links to buildings of power or luxury. Linking to both of the buildings I have looked at, both of sheer size and function. The elevation of a building has a mass effect on its 'iconic' or hierarchy, I could link this to my project 4 of design studio.
Hierarchy of architecture, can be given through interior fitting, such as :Moritzkirche where the light penetrates highly through the front of the church, where most of the attention and function of this building is held. Yet more commonly than not the term 'hierarchy' links to buildings of power or luxury. Linking to both of the buildings I have looked at, both of sheer size and function. The elevation of a building has a mass effect on its 'iconic' or hierarchy, I could link this to my project 4 of design studio.
Task 7: religion and place:
Chthonian Power:
The Oxford Reference, for the term 'chthonian power' is;' Literally meaning ‘belonging to the earth’, a term used to describe a god or goddess of the earth or the underworld. Also extended to mean the divine creative force, and the source of fertility in the crops, animals, and humans. The term is also used for underground deities connected with death. In ancient Greece, belief in the Olympian gods, under the sky god Zeus, succeeded the old belief in chthonian powers'.(http://www.oxfordreference.com/view/10.1093/oi/authority.20110803095611619)
'Where as a sacred natural feature is location specific, a sacred building, such as a Christian church can, in principle, be raised almost anywhere with appropriate rites of consecration'(p.11) - Tuan. Y .(2009), Religion : from place to placelessness
I believe, that in this world there are examples that highly support this idea and quote. There are many places of worship throughout Britain where there are no background of a religious event. However, these buildings are not seen as sacred. For a building to be 'sacred' it has to have a meaning behind it. In this world now, we are more than capable of constructing a building such as a church, or mosque with religious and sacred intent anywhere, when in reality This building may not be sacred in terms of background events.
"To educated Europeans, natural features may be valued for ecological and aesthetic reasons, but that does not make them sacred. If, in vestigial faith, anything is still regarded as not wholly of this world, it is the consecrated building: a shrine, church or synagogue." (page 14)
I believe this statement is incorrect, personally I think this quote could also be linked to any religion. Every religion I have some form of knowledge about have specific building to worship about/within. for Example, mosques, churches, cathedrals. There are certain buildings which are sacred due to a religious event happening in present or the past.
Researching phenomenology highly links to these quotes. After my task on phenomenology I believe that sacredness can indeed change the spirit and experiences of a place, while also enhancing it. A building which is sacred, or has a religious event/background I believe feels 'different' straight away, it has a different sense and atmosphere about it, whether its negative or positive its still different.
The Oxford Reference, for the term 'chthonian power' is;' Literally meaning ‘belonging to the earth’, a term used to describe a god or goddess of the earth or the underworld. Also extended to mean the divine creative force, and the source of fertility in the crops, animals, and humans. The term is also used for underground deities connected with death. In ancient Greece, belief in the Olympian gods, under the sky god Zeus, succeeded the old belief in chthonian powers'.(http://www.oxfordreference.com/view/10.1093/oi/authority.20110803095611619)
'Where as a sacred natural feature is location specific, a sacred building, such as a Christian church can, in principle, be raised almost anywhere with appropriate rites of consecration'(p.11) - Tuan. Y .(2009), Religion : from place to placelessness
I believe, that in this world there are examples that highly support this idea and quote. There are many places of worship throughout Britain where there are no background of a religious event. However, these buildings are not seen as sacred. For a building to be 'sacred' it has to have a meaning behind it. In this world now, we are more than capable of constructing a building such as a church, or mosque with religious and sacred intent anywhere, when in reality This building may not be sacred in terms of background events.
"To educated Europeans, natural features may be valued for ecological and aesthetic reasons, but that does not make them sacred. If, in vestigial faith, anything is still regarded as not wholly of this world, it is the consecrated building: a shrine, church or synagogue." (page 14)
I believe this statement is incorrect, personally I think this quote could also be linked to any religion. Every religion I have some form of knowledge about have specific building to worship about/within. for Example, mosques, churches, cathedrals. There are certain buildings which are sacred due to a religious event happening in present or the past.
Researching phenomenology highly links to these quotes. After my task on phenomenology I believe that sacredness can indeed change the spirit and experiences of a place, while also enhancing it. A building which is sacred, or has a religious event/background I believe feels 'different' straight away, it has a different sense and atmosphere about it, whether its negative or positive its still different.
Task 6: Islamic Architecture
Ancient Islamic Architecture:
Dome of the rock, Jerusalem
The dome of the rock, is a 7th century Edifice. (Large, Imposing building) The term 'the rock' is used because apparently this building enshrines the rock of which Muhammed ascended to heaven. was built by Caliph Abd al-Malik, between 687 and 691. The dome of the rock is classed as a masterpiece of Islamic architecture, it was the first domed shrine to be built.
The octagonal plan, and the dome of wood are of Byzantine architecture style. The tiles on the exterior are slabs made of marble, these were added later by Suleiman I in 1561. It is carried on a tall drum, originally faced with glass mosaics, which rests on a circular arcade of 12 marble columns, set in threes between four large rectangular piers. At the top of the drum, 16 colored glass windows light the central space. Inside and outside, the Dome of the Rock was enriched with marble columns and facings and floral mosaic patterns.
Today though, this building is in the middle of the disputes between Palestinians and Israelis, this building is referred to as the mosque of Omar, when intact it actually isn't a mosque. For a millennium this building served as an icon to other architecture.
Information available: http://www.domeoftherock.net/
Dome of the rock, Jerusalem
The dome of the rock, is a 7th century Edifice. (Large, Imposing building) The term 'the rock' is used because apparently this building enshrines the rock of which Muhammed ascended to heaven. was built by Caliph Abd al-Malik, between 687 and 691. The dome of the rock is classed as a masterpiece of Islamic architecture, it was the first domed shrine to be built.
The octagonal plan, and the dome of wood are of Byzantine architecture style. The tiles on the exterior are slabs made of marble, these were added later by Suleiman I in 1561. It is carried on a tall drum, originally faced with glass mosaics, which rests on a circular arcade of 12 marble columns, set in threes between four large rectangular piers. At the top of the drum, 16 colored glass windows light the central space. Inside and outside, the Dome of the Rock was enriched with marble columns and facings and floral mosaic patterns.
Today though, this building is in the middle of the disputes between Palestinians and Israelis, this building is referred to as the mosque of Omar, when intact it actually isn't a mosque. For a millennium this building served as an icon to other architecture.
Information available: http://www.domeoftherock.net/
Modern Islamic Architecture:
Masdar city, Is going to be the worlds first zero carbon city. It will be completely car free, and skyscraper free. Which know a days is a rarity, most modern famous architecture is to a phenomenal size, and iconic figure. let alone, the car free, People are now seen as 'stupid' if they don't drive, but in reality shouldn't it be the other way round?
Masdar city is being designed by the very well known and prestigious architects that are Foster and partners.I must admit, Norman foster is my favourite architect. To me, his designs are flawless. They are both beautiful and functional, yet different to others.
This city is being designed with features of ancient Islamic architecture, the narrow streets and natural shading. (natural shading will be a must, in this desert, in my eyes anyway.)
Masdar city, Is going to be the worlds first zero carbon city. It will be completely car free, and skyscraper free. Which know a days is a rarity, most modern famous architecture is to a phenomenal size, and iconic figure. let alone, the car free, People are now seen as 'stupid' if they don't drive, but in reality shouldn't it be the other way round?
Masdar city is being designed by the very well known and prestigious architects that are Foster and partners.I must admit, Norman foster is my favourite architect. To me, his designs are flawless. They are both beautiful and functional, yet different to others.
This city is being designed with features of ancient Islamic architecture, the narrow streets and natural shading. (natural shading will be a must, in this desert, in my eyes anyway.)
Task 5: Failed architecture
The Dutch city of Lelystad is a city raised from the sea. In the late 1950s, on a spot where 60 years ago there was only water, around 1500 square kilometres of land was reclaimed from the IJsselmeer lake, which had itself been open sea until the 1930s.
The city which is raised from city was seen in a very ambitious way. The city was supposed to house 100,000 residents. Firstly, the city's future seemed very bright, throughout the 1960's and 1970's the cutting edge architecture and modern spaces and planning ideas were put forward. a very striking component, was the elevated bicycle lane. (this sounds like a very cunning idea I must say, being knocked off a bike by a car when I was 10, its pretty frightening with a car behind.)
There was a lake in the city which was meant to be drained, but never was. This consequently made the city smaller, all these great ambitions seemed wasted, reality didn't seem to live up to the ambitions.
In 1980's Lelystad became 'connected' to Amsterdam with the opening of the train station, lelystad centrum. (I assume means centre) Getting on to the study I see as failed architecture, two connecting stations to Lelystad centrum were put forward, despite the undergrowth of population. however one of these didn't even make it to a drawing board, yet Lelystad zuid was constructed. It was constructed with the thought of residential areas being built around it, however even now there is very little residential areas around it. Some may not see Lelystad Zuid as 'architecture' as such, but i do. It is the skeleton/structure of the train station, yet nothing around. The station just stands alone. This piece of architecture will be seen as wasted till at least 2025 when the suburbia is expected to be built around it. that's even if it does. There is nothing to say that this skeleton will stand there alone 'forever'.
The city which is raised from city was seen in a very ambitious way. The city was supposed to house 100,000 residents. Firstly, the city's future seemed very bright, throughout the 1960's and 1970's the cutting edge architecture and modern spaces and planning ideas were put forward. a very striking component, was the elevated bicycle lane. (this sounds like a very cunning idea I must say, being knocked off a bike by a car when I was 10, its pretty frightening with a car behind.)
There was a lake in the city which was meant to be drained, but never was. This consequently made the city smaller, all these great ambitions seemed wasted, reality didn't seem to live up to the ambitions.
In 1980's Lelystad became 'connected' to Amsterdam with the opening of the train station, lelystad centrum. (I assume means centre) Getting on to the study I see as failed architecture, two connecting stations to Lelystad centrum were put forward, despite the undergrowth of population. however one of these didn't even make it to a drawing board, yet Lelystad zuid was constructed. It was constructed with the thought of residential areas being built around it, however even now there is very little residential areas around it. Some may not see Lelystad Zuid as 'architecture' as such, but i do. It is the skeleton/structure of the train station, yet nothing around. The station just stands alone. This piece of architecture will be seen as wasted till at least 2025 when the suburbia is expected to be built around it. that's even if it does. There is nothing to say that this skeleton will stand there alone 'forever'.
To me it seems that this building is stood there, waiting for its time to come. At this present moment, this piece of architecture is failed. To me it is just a building, giving shelter to wildlife or even squatters. I believe a piece of architecture is seen as 'good architecture' when it fits its purpose, it has a use that works well.
Ankara's 'cage' Approximately cost 27 million euros by the year 2008. After the 27 million euros was spent on this project, so many problems started. Some of the problems include, site selection, function and position of the block. The purpose of this iron cage, was to commercialise the city, along with all the other projects that were planned. However, all these projects were just a burden to the traffic of the city, due to the one road allowing access to the city centre.
The massive construction, of this big green 'skeleton' had to be ceased in 2008. The reasons for the ceasing of construction are so vague, due to their being so many. A source claims that the block was found improper in the development plan of the city. People started calling this huge structure the 'iron cage' even used by the authorities. Many people seen it as trash made of steel. The total cost of this structure was 50 million euros, a total waste of cash as it was removed and also a waste of human resources.
The lot of the former convention centre, there was apparently two towers with 80 storeys to be there. This outrages the public, again would be such a waste of money and resources, quite clearly. The lot can not handle the mass plans for it, it has one junction for traffic which causes problem upon problem for development.
Information found:
http://failedarchitecture.com/ankara-ironcage/
Avoiding failed architecture:
Ultimately, both of these two buildings I have used are a failure up to date. Failure's do exist in design, but it an be avoided. The biggest impact on the success or failure of a design it the context in which it is to be designated. After reading these two articles, I find that the context is highly important, its not just about the looks of the building. A 'good' design needs to incorporate the needs of the surrounding area, which both my articles back up this idea. why did the so underpopulated city need an extra train station placed in the middle of no where, but more importantly, the context of the 'iron cage' simply could not handle the pass development in the area, this huge structure was just a failure from the start, it caused problems in the community, such as high traffic, not only that but also was a wate of money from start to finish, apparently in the region of 50 million euros was spent on it, not forgetting all the resources. Theoretically, a designer must respect and examine the site correctly to decrease the chances of failure.
The massive construction, of this big green 'skeleton' had to be ceased in 2008. The reasons for the ceasing of construction are so vague, due to their being so many. A source claims that the block was found improper in the development plan of the city. People started calling this huge structure the 'iron cage' even used by the authorities. Many people seen it as trash made of steel. The total cost of this structure was 50 million euros, a total waste of cash as it was removed and also a waste of human resources.
The lot of the former convention centre, there was apparently two towers with 80 storeys to be there. This outrages the public, again would be such a waste of money and resources, quite clearly. The lot can not handle the mass plans for it, it has one junction for traffic which causes problem upon problem for development.
Information found:
http://failedarchitecture.com/ankara-ironcage/
Avoiding failed architecture:
Ultimately, both of these two buildings I have used are a failure up to date. Failure's do exist in design, but it an be avoided. The biggest impact on the success or failure of a design it the context in which it is to be designated. After reading these two articles, I find that the context is highly important, its not just about the looks of the building. A 'good' design needs to incorporate the needs of the surrounding area, which both my articles back up this idea. why did the so underpopulated city need an extra train station placed in the middle of no where, but more importantly, the context of the 'iron cage' simply could not handle the pass development in the area, this huge structure was just a failure from the start, it caused problems in the community, such as high traffic, not only that but also was a wate of money from start to finish, apparently in the region of 50 million euros was spent on it, not forgetting all the resources. Theoretically, a designer must respect and examine the site correctly to decrease the chances of failure.
Task 4: Academic writing and plagarism
Critical thinking is the intellectually disciplined process of actively and skillfully conceptualizing, applying, analyzing, synthesizing, and/or evaluating information gathered from, or generated by, observation, experience, reflection, reasoning, or communication, as a guide to belief and action. In its exemplary form, it is based on universal intellectual values that transcend subject matter divisions: clarity, accuracy, precision, consistency, relevance, sound evidence, good reasons, depth, breadth, and fairness.
So from my understanding, of the term 'critical thinking' I see it as the mode of thoughts/thinking towards a certain aspect of life, such as a problem or subject, while the thinker improves their thinking by taking charge of their thoughts and structures within thinking, and intellectually apply them.
I believe the term 'critical thinking' is highly confusing. It seems to have varying definitions. Other definitions I have found while researching are:
The process of independently analyzing, synthesizing, and evaluating information as a guide to behavior and beliefs.
'The American Philosophical Association has defined critical thinking as "the process of purposeful, self-regulatory judgment. The process gives reasoned consideration to evidence,contexts, conceptualizations, methods, and criteria" (1990). Critical thinking is sometimes broadly defined as "thinking about thinking."'
Information found:- http://grammar.about.com/od/c/g/Critical-Thinking.htm
The skills critical thinking rely's on are:
I will definitely be trying to incorporate my new found ideas of critical thinking within my studio project and also my context patchworks, It will give me the ability of taking on other peoples point of views on my up and coming designs, and take them on board and reason with them, maybe even interpret them.
Plagiarism:
The term plagiarism is defined as a person using other peoples work, and using it and classing it as their own. It not only refers to the thought of 'work'such as answers to a test. it is very broad, using someone else's images and classing it as yours is seen as plagiarism. Plagiarism is the use of someone else's ideas or other material without fully referencing their work. People often just change the words around in a sentence to make it 'seem' like it was their own thoughts. (yes, honestly I more than likely did this within my year 7 geography projects). Now I am in university I have been shown an insight in to how serious plagiarism actually is. People often Plagiarise without the intention to do so, by referencing the sources incorrectly.
Plagiarism is becoming an increasing problem, especially within studies. Many students may believe they are going to fail on a text/assignment, and to 'complete' it on time believe it is acceptable to copy straight from someone else's text and use them as their own. (this is very inconsiderate, especially if it is from a class mate.) In past experiences, on a personal level I have never thought about the consequences of not referencing a text found through research. Some students don't realise if they plagiarise due to the fear of failure, they are still putting them self at a high risk of failure, due to 'cheating' as such. Personally, I have never been given an insight or taught about the reasons to reference or the consequences of plagiarising until now, so not only can it be the student's fault for 'cheating' sometimes, (just like me) people aren't taught properly about it to fully understand it.
So from my understanding, of the term 'critical thinking' I see it as the mode of thoughts/thinking towards a certain aspect of life, such as a problem or subject, while the thinker improves their thinking by taking charge of their thoughts and structures within thinking, and intellectually apply them.
I believe the term 'critical thinking' is highly confusing. It seems to have varying definitions. Other definitions I have found while researching are:
The process of independently analyzing, synthesizing, and evaluating information as a guide to behavior and beliefs.
'The American Philosophical Association has defined critical thinking as "the process of purposeful, self-regulatory judgment. The process gives reasoned consideration to evidence,contexts, conceptualizations, methods, and criteria" (1990). Critical thinking is sometimes broadly defined as "thinking about thinking."'
Information found:- http://grammar.about.com/od/c/g/Critical-Thinking.htm
The skills critical thinking rely's on are:
- ability to interpret
- ability to verify
- ability to reason
I will definitely be trying to incorporate my new found ideas of critical thinking within my studio project and also my context patchworks, It will give me the ability of taking on other peoples point of views on my up and coming designs, and take them on board and reason with them, maybe even interpret them.
Plagiarism:
The term plagiarism is defined as a person using other peoples work, and using it and classing it as their own. It not only refers to the thought of 'work'such as answers to a test. it is very broad, using someone else's images and classing it as yours is seen as plagiarism. Plagiarism is the use of someone else's ideas or other material without fully referencing their work. People often just change the words around in a sentence to make it 'seem' like it was their own thoughts. (yes, honestly I more than likely did this within my year 7 geography projects). Now I am in university I have been shown an insight in to how serious plagiarism actually is. People often Plagiarise without the intention to do so, by referencing the sources incorrectly.
Plagiarism is becoming an increasing problem, especially within studies. Many students may believe they are going to fail on a text/assignment, and to 'complete' it on time believe it is acceptable to copy straight from someone else's text and use them as their own. (this is very inconsiderate, especially if it is from a class mate.) In past experiences, on a personal level I have never thought about the consequences of not referencing a text found through research. Some students don't realise if they plagiarise due to the fear of failure, they are still putting them self at a high risk of failure, due to 'cheating' as such. Personally, I have never been given an insight or taught about the reasons to reference or the consequences of plagiarising until now, so not only can it be the student's fault for 'cheating' sometimes, (just like me) people aren't taught properly about it to fully understand it.
Task 3: Project 2: ergonomics
The term ergonomics is about the design for people, when and where ever they interact with products, a system or a process. More commonly than not people don't recognise a good design unless it is exceptional, yet we notice all poor designs. Ergonomics emphasis's that design complement the strengths and abilities of people and minimise their limitations and the effects of them. When achieving this aim, it becomes necessary to design and understand for the differences and variability's within our population, such as;
The application of 'good ergonomics' will make a product easy to use, make furniture comfortable, increase the efficiency of the manufacturing process, it will contribute to the safety of the product, it adds many dimensions a product, environment or system needs to make it fit its purpose.
To give an example, say a chair, a chair will be designed with specific requirements, measurements, shape and to fit a specific purpose. These requirements will be due to the limitations or capabilities of a set person. The most purposely designed 'chair' that springs to my mind is a bus stop chair/stool. The waits for bus are a relatively shot period of time (unless on a sunday back home) so these chairs aren't deemed comfortable to sit in, this uncomfortable seating is designed purposely with the materials used to stop people hanging around at the bus stops.
- Age
- Size
- Strength
- Cognitive ability (The mental process of knowing, including aspects such as awareness, perception, reasoning and judgement.)
- Prior experience
- Cultural expectations
- Goals.
- physical
- cognitive
- organisational.
The application of 'good ergonomics' will make a product easy to use, make furniture comfortable, increase the efficiency of the manufacturing process, it will contribute to the safety of the product, it adds many dimensions a product, environment or system needs to make it fit its purpose.
To give an example, say a chair, a chair will be designed with specific requirements, measurements, shape and to fit a specific purpose. These requirements will be due to the limitations or capabilities of a set person. The most purposely designed 'chair' that springs to my mind is a bus stop chair/stool. The waits for bus are a relatively shot period of time (unless on a sunday back home) so these chairs aren't deemed comfortable to sit in, this uncomfortable seating is designed purposely with the materials used to stop people hanging around at the bus stops.
Anthropometrics:
The study of the human body and its movement, often involving research into measurements relating to people. It also involves collecting statistics or measurements relevant to the human body, called Anthropometric Data.
Anthropometry measures all the physical aspects of our body. There is simple measurements taking, such as height and width. But a more thorough body of measurements is usually measured and used. These measurements consist of measures such as, length from our elbow to tip of finger or the circumference of our skull are some examples of thorough measurements. A complete anthropometric survey measurements are measured between every joint and across hinge joints. Range of motion is also measured, thickness or girth is measured too. Anthropometric measurements use a term called 'percentile'.
The study of the human body and its movement, often involving research into measurements relating to people. It also involves collecting statistics or measurements relevant to the human body, called Anthropometric Data.
Anthropometry measures all the physical aspects of our body. There is simple measurements taking, such as height and width. But a more thorough body of measurements is usually measured and used. These measurements consist of measures such as, length from our elbow to tip of finger or the circumference of our skull are some examples of thorough measurements. A complete anthropometric survey measurements are measured between every joint and across hinge joints. Range of motion is also measured, thickness or girth is measured too. Anthropometric measurements use a term called 'percentile'.
Percentiles are shown in anthropometry tables (example below) and they tell you whether the measurement given in the tables relates to the 'average' person, or someone who is above or below average in a certain dimension.
Deciding whether to use the 5th, 50th or 95th percentile value depends on what you are designing and who you are designing it for.
Usually, you will find that if you pick the right percentile, 95% of people will be able to use your design. For example, linking this data to my studies, if I were choosing a door height, I would choose the dimension of people's height and pick the 95th percentile value. So I would be designing for the taller people. Therefore I wouldn't need to worry about the average height people, or the 5th percentile ones as they would be able to fit through the door anyway.
Deciding whether to use the 5th, 50th or 95th percentile value depends on what you are designing and who you are designing it for.
Usually, you will find that if you pick the right percentile, 95% of people will be able to use your design. For example, linking this data to my studies, if I were choosing a door height, I would choose the dimension of people's height and pick the 95th percentile value. So I would be designing for the taller people. Therefore I wouldn't need to worry about the average height people, or the 5th percentile ones as they would be able to fit through the door anyway.
Greek Temples and Roman Theatres:
The two images below, are examples that even before ergonomic and anthropometric studies were used, architects still considered proportion and scale for the specific purpose of 'architecture'.
Roman Theatres were built to house hundreds of people for entertainment purposes in contrast to the Ancient Greek temple (below) the Roman Temples were designed for humans despite the size of the theatre, human scale and proportion has been used, for example: The seating area of rows and rows circling the 'stage' are designed to fit a human. Another example of human scale is the 'stage' the scale and proportion is suitable to fit a group of people to perform for entertainment.
Ancient Greek temples weren't meant to be homes for 'humans' They were meant to serve as homes for the individual god or goddess who protected and sustained the community. It was the needs of the gods that were most important, hence the colossal structure, these temples were not designed with 'human' scale in mind. The gods of Ancient Greek times were imagined to be of a magnificent size, so the 'normal' proportions and scale has been massively enlarged to fit and deem comfortable for these gods.
Arne Jacobsen:
Architects are often seen as Designers of buildings, but not always is this the case, some architects such as Arne Jacobsen are very productive both as an architect and as a designer. At the end of the 50's Arne Jacobsen designed the Royal Hotel in Copenhagen. As for that project came the Egg. As a designer, Jacobsen made prototypes for furniture, textiles, wallpaper, silverware and other items. The cooperation between Arne Jacobsen and Fritz Hansen dates back to 1934.
Architects are often seen as Designers of buildings, but not always is this the case, some architects such as Arne Jacobsen are very productive both as an architect and as a designer. At the end of the 50's Arne Jacobsen designed the Royal Hotel in Copenhagen. As for that project came the Egg. As a designer, Jacobsen made prototypes for furniture, textiles, wallpaper, silverware and other items. The cooperation between Arne Jacobsen and Fritz Hansen dates back to 1934.
EGG™
Arne Jacobsen designed the Egg™ (1958) for the lobby and reception areas in the Royal Hotel, in Copenhagen. The commission to design every element of the hotel building as well as the furniture was Jacobsen’s grand opportunity to put his theories of integrated design and architecture into practice. The Egg is one of the triumphs of Jacobsen’s total design.
This product popped into mind, because Architects are not always a designer of buildings, they also design ergonomical furniture. The EGG is very iconic, when walking around I often see chairs which either are copies or replicas of the egg or are the egg. Following the organic, timeless shape, of one of nature’s most proportional creations, Arne Jacobsen’s iconic Egg Chair has harmonised a sensuous, aesthetic form with comfort and functionality. To me the key features of this product are the fact that it is Sheltered for privacy, its cosy structure integrates the surroundings, making it the focal point of any style-led space.
Arne Jacobsen designed the Egg™ (1958) for the lobby and reception areas in the Royal Hotel, in Copenhagen. The commission to design every element of the hotel building as well as the furniture was Jacobsen’s grand opportunity to put his theories of integrated design and architecture into practice. The Egg is one of the triumphs of Jacobsen’s total design.
This product popped into mind, because Architects are not always a designer of buildings, they also design ergonomical furniture. The EGG is very iconic, when walking around I often see chairs which either are copies or replicas of the egg or are the egg. Following the organic, timeless shape, of one of nature’s most proportional creations, Arne Jacobsen’s iconic Egg Chair has harmonised a sensuous, aesthetic form with comfort and functionality. To me the key features of this product are the fact that it is Sheltered for privacy, its cosy structure integrates the surroundings, making it the focal point of any style-led space.
Task 2: Project 1: Understanding phenomenology - Phenomenology
.According to the Stanford Encyclopaedia of Philosophy, the term 'phenomenology' suggests Phenomenology is the study of structures of consciousness as experienced from the first-person point of view. the central structure of an experience is intentionality, its being directed toward something, as it is an experience of or about some object. An experience is directed toward an object by virtue of its content or meaning (which represents the object) together with appropriate enabling conditions'. I believe that in terms of architecture phenomenology implies the reactions and experiences one feels within a space, more commonly than not these reactions are the key intentions of the architect themselves. Buildings have different atmospheres and feelings depending on the person, not every person will feel the same way in the same building, sometimes the architect tries to create a set feeling, for example the Jewish museum in Berlin. This building really fires up emotions within a person, to me there is one part which I personally feels gets emotions going is the area where the floor is covered in scattered metal faces which are used to represent the people lost during the holocaust, and to get past this area the visitors have to walk over these faces. This could cause very different emotions to different people, I find it very distressing the fact that you have to pass over this very unsteady surface but more importantly over these faces that are there to interpret the people lost during the holocaust, it seems somewhat disrespectful. There is an image below (not taken by me) of someone walking over these faces, looking very pre-cautious.
During Architecture in Context, we were required to read through a section of a book called 'Introducing architectural theory' by Korydon H. Smith. We read through Chapter 4, Titled "Material and Immaterial". I am going to portray my ideas on some of the quotes which I find intriguing within this chapter.
'In my opinion, the labor and expense of building should not be undertaken lightly';
Personally, I believe this suggests that the design and construction that goes in to the erection of a building should not be rushed, should not be thrown up. A rushed design or in comparison a rushed construction could lead to failed architecture, a piece of architecture that does not fit the needs or purposes it imposes. The expenses of a building sometimes may not reflect on the 'greatness' of architecture, but sometimes the neglect of cost will ruin an immaculate design to create a finish or construction that does not work. Throughout the chapter, Alberti expresses his opinions of the need to make models, to explore space before construction is started. Without a 3D visualization of a space you do not know whether or not the design is fit to inhabit a person or a purpose, I find this links back to expenses, without knowing if the 'space' works and starting construction this could cost a mammoth amount of time and money.
“We in the Western world are beginning to discover our neglected senses. This growing awareness represents something of an overdue insurgency against the painful deprivation of sensory experience we have suffered in our technologised world.”
Again, this quote pops out to me. I believe Ashley Montagu suggests that western architecture is beginning to look at senses other than vision. In the western world, we usually design with the primary thought being vision, yet we are now trying to incorporate all other senses. Thinking back to the Phenomenological approach by Daniel Libeskind who uses other senses in his building such as when walking over all the faces raring up the emotions causing distress. This building differs from the suggestion that 'western architecture' is completely visual, not only that of the 'faces' but also this building has sharp turns when travelling through also the lighting strategies encourage emotions to 'fly'.
'In my opinion, the labor and expense of building should not be undertaken lightly';
Personally, I believe this suggests that the design and construction that goes in to the erection of a building should not be rushed, should not be thrown up. A rushed design or in comparison a rushed construction could lead to failed architecture, a piece of architecture that does not fit the needs or purposes it imposes. The expenses of a building sometimes may not reflect on the 'greatness' of architecture, but sometimes the neglect of cost will ruin an immaculate design to create a finish or construction that does not work. Throughout the chapter, Alberti expresses his opinions of the need to make models, to explore space before construction is started. Without a 3D visualization of a space you do not know whether or not the design is fit to inhabit a person or a purpose, I find this links back to expenses, without knowing if the 'space' works and starting construction this could cost a mammoth amount of time and money.
“We in the Western world are beginning to discover our neglected senses. This growing awareness represents something of an overdue insurgency against the painful deprivation of sensory experience we have suffered in our technologised world.”
Again, this quote pops out to me. I believe Ashley Montagu suggests that western architecture is beginning to look at senses other than vision. In the western world, we usually design with the primary thought being vision, yet we are now trying to incorporate all other senses. Thinking back to the Phenomenological approach by Daniel Libeskind who uses other senses in his building such as when walking over all the faces raring up the emotions causing distress. This building differs from the suggestion that 'western architecture' is completely visual, not only that of the 'faces' but also this building has sharp turns when travelling through also the lighting strategies encourage emotions to 'fly'.
References:
http://plato.stanford.edu/entries/phenomenology/
http://cherilucas.files.wordpress.com/2011/03/stepping-on-faces-memory-void-jewish-museum-berlin.jpg
Smith, Korydon H. (2012) Introducing architectural theory, Chapter 4, “Material and Immaterial”, pp. 105-140.
http://plato.stanford.edu/entries/phenomenology/
http://cherilucas.files.wordpress.com/2011/03/stepping-on-faces-memory-void-jewish-museum-berlin.jpg
Smith, Korydon H. (2012) Introducing architectural theory, Chapter 4, “Material and Immaterial”, pp. 105-140.
Task 2: Project 1: Understanding phenomenology - Nottingham Magistrates Court.
history:
Until 1996, Nottingham Magistrates were housed in two separate buildings, the Guildhall and the Shire Hall. In 1996, all magistrates were moved to the new Nottingham Magistrates' Court building, and the old buildings were closed. The magistrates court is located opposite Nottingham city train station, the train station is a very iconic building in the city. The magistrates is a complete contrast to the train station, The court is very modern, with a glass from the floor to the ceiling front, very symmetrical in its form and interior and clean red brick. The building was designed by the county's architectural department with William Saunders partnership and Cullen, being built in 1992. It sits on the site of Nottingham Carrington Street Railway Station and the gateposts still frame the pathway from Carrington Street to the court.
Until 1996, Nottingham Magistrates were housed in two separate buildings, the Guildhall and the Shire Hall. In 1996, all magistrates were moved to the new Nottingham Magistrates' Court building, and the old buildings were closed. The magistrates court is located opposite Nottingham city train station, the train station is a very iconic building in the city. The magistrates is a complete contrast to the train station, The court is very modern, with a glass from the floor to the ceiling front, very symmetrical in its form and interior and clean red brick. The building was designed by the county's architectural department with William Saunders partnership and Cullen, being built in 1992. It sits on the site of Nottingham Carrington Street Railway Station and the gateposts still frame the pathway from Carrington Street to the court.
The interior of the court (pictured left) can be deemed incredibly intimidating. You walk in through the open front, into a very symmetrical and large open space, there is three tiers looking down towards the centre which also I would find very intimidating, as if the crowd were looking down on you. The symmetrical and immaculate interior imposes the power intended within the building.
Task 2: Project 1: Understanding Phenomenology - St Barnabas Cathedral
History:
The cathedral church of St Barnabas in the city of Nottingham, England. The Cathedral is a Roman catholic church. It is the mother church of the diocese of Nottingham and seat of the Bishop of Nottingham.
The architect of St Barnabas is Augustus Pugin. The building itself, is Grade II* listed of the English Gothic architecture with lancet style windows and arches. Many consider this to be one of the best examples of Pugin's work. The foundation stone was laid in November 1842 and the Cathedral consecrated in August 1844. St Barnabas Roman Catholic Cathedral was designed by A W Pugin, at a cost of £15,000, a substantial amount of this being paid by the prominent Catholic Lord Shrewsbury. Augustus Pugin was a Catholic convert. Pugin's architectural theories and practice transformed English Church building. Pugin was also highly involved in The Houses of Parliament.
The cathedral church of St Barnabas in the city of Nottingham, England. The Cathedral is a Roman catholic church. It is the mother church of the diocese of Nottingham and seat of the Bishop of Nottingham.
The architect of St Barnabas is Augustus Pugin. The building itself, is Grade II* listed of the English Gothic architecture with lancet style windows and arches. Many consider this to be one of the best examples of Pugin's work. The foundation stone was laid in November 1842 and the Cathedral consecrated in August 1844. St Barnabas Roman Catholic Cathedral was designed by A W Pugin, at a cost of £15,000, a substantial amount of this being paid by the prominent Catholic Lord Shrewsbury. Augustus Pugin was a Catholic convert. Pugin's architectural theories and practice transformed English Church building. Pugin was also highly involved in The Houses of Parliament.
The image to the right, is an image of the lancet style arches looking towards the central alter, within the interior of the cathedral. Inside the church the atmosphere is very powerful, within some churches I feel quite creeped out as if I should not be there, but this church gave me an impression of a peaceful and serene surrounding, welcoming everyone in at a time of need. I personally think that churches look as if they are really cold yet the architectural style of St Barnabas along with the powerful feeling, also gives off a warm embrace. I feel that the exterior and the interior are in contrast, but together create a masterpiece Gothic style architecture.
Location:
St Barnabas Church is located on the corner of Derby Road and North Circus Street.
St Barnabas Church is located on the corner of Derby Road and North Circus Street.
References:
- https://www.google.co.uk/maps/place/Cathedral+Church+of+Saint+Barnabas/@52.954741,-1.157022,17z/data=!3m1!4b1!4m2!3m1!1s0x4879c229df5d0cb3:0x4349c2fa8ed7b0dd
- http://www.picturethepast.org.uk/frontend.php?keywords=Ref_No_increment;EQUALS;NTGM016240&pos=98&action=zoom&id=7251
Task 2: Project 1: Understanding Phenomenology - Ye Olde Trip To Jerusalem
History:
Ye Olde Trip To Jerusalem claims to be the oldest inn in England, The painted sign outside of the building states, that it has been an inn since 1189 AD; making the inn roughly 825 years old. The pub is famous for its caves, carved out of the soft sandstone rock against which the building is set and connected with the labyrinth of sandstone caves at the foot of Nottingham Castle, dating back to the construction of the original castle (1068 AD).Nottingham Castle was a stronghold favoured by King Richard The First and legend has it that the knights who rallied in his call to fight in the First Crusade, gathered at the castle to rest before journeying to Jerusalem. Not only did these men rest at the castle. Legend also has it that The Crusaders stopped off at the Inn at the foot of the castle, for 'one for the road'. In the middle ages a 'trip' was not seen as a journey but was seen as a resting place where a journey could be broken, giving the Inn its name 'Ye Olde Trip To Jerusalem'.
Ye Olde Trip To Jerusalem claims to be the oldest inn in England, The painted sign outside of the building states, that it has been an inn since 1189 AD; making the inn roughly 825 years old. The pub is famous for its caves, carved out of the soft sandstone rock against which the building is set and connected with the labyrinth of sandstone caves at the foot of Nottingham Castle, dating back to the construction of the original castle (1068 AD).Nottingham Castle was a stronghold favoured by King Richard The First and legend has it that the knights who rallied in his call to fight in the First Crusade, gathered at the castle to rest before journeying to Jerusalem. Not only did these men rest at the castle. Legend also has it that The Crusaders stopped off at the Inn at the foot of the castle, for 'one for the road'. In the middle ages a 'trip' was not seen as a journey but was seen as a resting place where a journey could be broken, giving the Inn its name 'Ye Olde Trip To Jerusalem'.
My Visit,
After seeing Ye Olde Trip To Jerusalem for the very first time it is mind blowing that, in a world where everyone and everything around us seems to be somewhat 'futuristic', modern or contemporary, this Inn still manages after roughly 825 years in 'business' to keep the characteristics that make it so unique, that make it the oldest Inn in England. Despite the time and the obvious needs of 'Refurbishment', Ye Olde Trip To Jerusalem, in the picture to the right which I took, still looks structurally the same cavernous inn that it was when it was first constructed at the foot of the castle pictured above. I had not seen what the Inn looked like in the past, but amongst first viewings and being around the building, I felt and knew this building had history and meaning.
After seeing Ye Olde Trip To Jerusalem for the very first time it is mind blowing that, in a world where everyone and everything around us seems to be somewhat 'futuristic', modern or contemporary, this Inn still manages after roughly 825 years in 'business' to keep the characteristics that make it so unique, that make it the oldest Inn in England. Despite the time and the obvious needs of 'Refurbishment', Ye Olde Trip To Jerusalem, in the picture to the right which I took, still looks structurally the same cavernous inn that it was when it was first constructed at the foot of the castle pictured above. I had not seen what the Inn looked like in the past, but amongst first viewings and being around the building, I felt and knew this building had history and meaning.
The Interior of Ye Olde Trip To Jerusalem, may contain more modern furniture and lighting strategies to what they had during first establishment, but the way in which it is furnished and illuminated cleverly still gives the building the sense of atmosphere and history. The lighting system may be 'modern' compared to the historic means of lighting, but it differs widely from conventional lighting in pubs. The lighting in Ye Olde Trip is a more orange ambient light travelling short distances (shown in the picture to the left), in contrast to that of a modern lighting system which are more often a bright white, lighting up vast area. The furniture seems to be in contrast with the damp, dingy and cold walls but compliments it well giving a warm cosy atmosphere yet keeps the historic atmosphere. The furnishing within the building is kept to the style and background of the building.
The drawing to the left, I produced while at the Ye Olde Trip To Jerusalem. It was a very quick interpretation of what the inside of the building feels like, although it is very cave like, it also does not feel enclosed; hence why I have drawn the cave open with the rock to the side and not fully closed as if you were to be trapped. Ye Olde Trip To Jerusalem is carved into the stone, yet it does not have a claustrophobia feel to it at all, feels comfortable and warm, not cold and closed. Despite the small manoeuvrable spaces.
Task 2: Project 1: Understanding Phenomenology - Derby Road Tunnel
History:
Work on the tunnel was completed in May 1855, under the supervision of the architect Thomas Chambers Hine (1813-1899). Hine had been appointed as the duke's surveyor, with particular responsibility for the development of the Park as a residential estate in 1854. His influence on the Park is still evident on all sides - he designed the general layout of the roads and many individual houses.
The tunnel unfortunately never fulfilled its expectations as a main thoroughfare into the Park. Due to the development of other roads on the periphery of the Newcastle estate provided several more convenient routes, which hindered the necessity of Derby Tunnel, however before visiting the site, I thought the tunnel could be a very busy and bustling street to create the means of access between the two roads. Although in its current state people could be put off passing through, as it is very cold, damp, dark and dreary. The tunnel clearly has weathered over time, you can tell when touching the surfaces of the inside. Despite the weathering, the tunnel still stands tall and prominent to the eye. Upon walking past without looking for this tunnel in-particular you'd never know it was there, it is very well hidden for its shear size. I must say if I was to pass by I would not opt to use this tunnel as a means of access, the experience differs greatly to the initial intentions.
The tunnel which links the Derby Road to the aptly named Tunnel road is one of the most distinctive features of the 'Derby Tunnel'. The origins of derby tunnel more than likely go back to the proposals made by architect Peter Frederick Robinson for the area's development in 1827.
Work on the tunnel was completed in May 1855, under the supervision of the architect Thomas Chambers Hine (1813-1899). Hine had been appointed as the duke's surveyor, with particular responsibility for the development of the Park as a residential estate in 1854. His influence on the Park is still evident on all sides - he designed the general layout of the roads and many individual houses.
The tunnel unfortunately never fulfilled its expectations as a main thoroughfare into the Park. Due to the development of other roads on the periphery of the Newcastle estate provided several more convenient routes, which hindered the necessity of Derby Tunnel, however before visiting the site, I thought the tunnel could be a very busy and bustling street to create the means of access between the two roads. Although in its current state people could be put off passing through, as it is very cold, damp, dark and dreary. The tunnel clearly has weathered over time, you can tell when touching the surfaces of the inside. Despite the weathering, the tunnel still stands tall and prominent to the eye. Upon walking past without looking for this tunnel in-particular you'd never know it was there, it is very well hidden for its shear size. I must say if I was to pass by I would not opt to use this tunnel as a means of access, the experience differs greatly to the initial intentions.
The tunnel which links the Derby Road to the aptly named Tunnel road is one of the most distinctive features of the 'Derby Tunnel'. The origins of derby tunnel more than likely go back to the proposals made by architect Peter Frederick Robinson for the area's development in 1827.
My Visit to Derby Tunnel;
In had not been in Nottingham long before the site visit, the extensive difference in size between Nottingham and my home town left my imagination to wander. Before the visit, I imagined the tunnel to be very long, dark and narrow. Upon arriving, I was shocked at what I seen. It was nothing to what I envisioned. In fact, the tunnel on arrival was not even seen. The tunnel is hidden immensely behind a wall on a busy street. On Approach, I seen a small opening in the wall, which leads on to a large set of steps, dropping deeply towards the tunnel. I seen as this access a very dangerous access to the tunnel, especially in the conditions on the day. If it was summer time, this may be seen differently.
After walking down at my peril, I was shocked to see that the tunnel was nothing to my expectations. Although, the tunnel was big height and width wise, I was slightly disappointed in the differences in my imagination and what I actually had in front of me.
In had not been in Nottingham long before the site visit, the extensive difference in size between Nottingham and my home town left my imagination to wander. Before the visit, I imagined the tunnel to be very long, dark and narrow. Upon arriving, I was shocked at what I seen. It was nothing to what I envisioned. In fact, the tunnel on arrival was not even seen. The tunnel is hidden immensely behind a wall on a busy street. On Approach, I seen a small opening in the wall, which leads on to a large set of steps, dropping deeply towards the tunnel. I seen as this access a very dangerous access to the tunnel, especially in the conditions on the day. If it was summer time, this may be seen differently.
After walking down at my peril, I was shocked to see that the tunnel was nothing to my expectations. Although, the tunnel was big height and width wise, I was slightly disappointed in the differences in my imagination and what I actually had in front of me.
Despite this, The Tunnel still has a great sense of intimidation due to the shear size, darkness and coldness. I felt a shear sense of history, I could no longer see this tunnel being very busy and bustling, but I could imagine a single horse and cart passing through in the older times of its uses. Differing from the very bustling street above.
The Tunnel could indeed by seen as a hidden asset of the family, even so a hidden gem. It's shear size is not seen or 'felt' while walking past, but amongst visit it very impressive. The difference between the feelings of rushing around on the busy street above, to the feeling amongst exit of the tunnel; you enter 'the park' which I felt was a very secluded chilled residential area. My feelings were immensely different from entrance and exit of the tunnel, almost as if on exit I could relax.
The Tunnel could indeed by seen as a hidden asset of the family, even so a hidden gem. It's shear size is not seen or 'felt' while walking past, but amongst visit it very impressive. The difference between the feelings of rushing around on the busy street above, to the feeling amongst exit of the tunnel; you enter 'the park' which I felt was a very secluded chilled residential area. My feelings were immensely different from entrance and exit of the tunnel, almost as if on exit I could relax.
The picture to the right, is a quick sketch of my interpretation of The Derby Tunnel. The sketch was produced on site, and was an interpretation of what I felt in the tunnel, I have tried to demonstrate how dominant the tunnel is in its height and width.
References: http://www.nottingham.ac.uk/manuscriptsandspecialcollections/exhibitions/online/park/tchine.aspx
Project 1: Back Brief's
E test back brief
E test is a multiple choice test, which is put into place to assess my knowledge on architecture in context 1. Its main basis is 3 particular areas:
1. I need to be able to identify images, which include all pictures covered in lectures.
2. A research blog which I need to do.
3. The content which is given to me in lectures, such as the different architectural periods, debates and theories.
The essay question which I need to focus on is:
I need To pick a topic from appendix 11 and also a partner by week 11, to start research.
Patchwork 1 (500 word essay and presentation, the presentation is 5 slides):
Patchwork 2 (500 word essay and presentation, the presentation is 5 slides):
Patchwork 3 (1500 word essay, which is all 3 patchworks together. 5 PowerPoint slides):
Patchwork 1 is the historical building of the 2, where patchwork 2 is the contemporary.
Patchwork 3 is final conclusion.
Blog Brief:
How will I be assessed?
Research:
E test back brief
E test is a multiple choice test, which is put into place to assess my knowledge on architecture in context 1. Its main basis is 3 particular areas:
1. I need to be able to identify images, which include all pictures covered in lectures.
2. A research blog which I need to do.
3. The content which is given to me in lectures, such as the different architectural periods, debates and theories.
- The E test will assess my ability to identify and evaluate, through discussion and formal critique, the social, historical and cultural contexts of architecture, cities and landscapes.
- For the e test I will need to be able to recognise the relations between historical and contemporary architectural contexts.
- I will be taking test week 35.
- The patchwork essay is an assessment which consists of small sections of work, also known as ‘patches’.
- These sections get ‘stitched’ together later on in a reflective commentary.
- each patch makes up on ‘essay’ but all form a small bit of an overarching whole essay.·
- The patchwork is assembled throughout the duration of the module.
- For coursework 1, I need to submit a total of 3 patchworks which are different. These sum of 50% of the module.
- The final submission will be the result of the 3 patchworks. Together these form a piece of academic writing.
- All patchworks are done in groups of 2.
- The first 2 are used to allow the student to achieve a certain level of engagement.
- I will be researching two different buildings which were built in two different time periods.
- Patchwork 3 is so I can reflect on my research.
- The final submission will also allow me to improve PW1 and PW2.
- Submit hard copy of them all, but also have to create a presentation.
- I will be given the opportunity to enhance your knowledge on two periods, which are historical and contemporary.
- I will improve my research and academic writing skills.
- I will have the time to expand my awareness of history and theory of architecture.
- I will need to identify and evaluate through discussion and formal critique, the social, historical and cultural contexts of architecture.
- I will be able to analyse and debate the architectural perceptions and manifestations of a range of cultures and societies.
- The difference between historical and contemporary architecture will become clear.
- I will have to evaluate information, then use it to plan and develop my investigation strategies.
- I will have to use visual, verbal and written communication methods to occupy in and express my contextual knowledge and understanding.
- Use Harvard referencing system to avoid plagiarism.
The essay question which I need to focus on is:
- ‘The relationship between the object and intervening spaces is not formal: it is always rooted in the context of a particular setting’
I need To pick a topic from appendix 11 and also a partner by week 11, to start research.
Patchwork 1 (500 word essay and presentation, the presentation is 5 slides):
- Introduction to my work
- My general notes on the style of the building.
- I need to analyse and give my analysis of the existing building based on its style and particular context.
- I need to conclude to finish.y
Patchwork 2 (500 word essay and presentation, the presentation is 5 slides):
- Introduction to my work
- My general notes on style of the building.
- Show my analysis of the existing building based on its styles and particular context.
- I need to conclude to finish.
Patchwork 3 (1500 word essay, which is all 3 patchworks together. 5 PowerPoint slides):
- Introduction to my work
- Comparison between the styles and context, based on the research done in pw1 and pw2.
- Reflective comments about my research question while given my personal opinion.
Patchwork 1 is the historical building of the 2, where patchwork 2 is the contemporary.
Patchwork 3 is final conclusion.
Blog Brief:
- Homework tasks will all be linked back to discussions in lectures and the seminar.
- Include design projects.
- Final submission of my blog is may
- I am advised to complete tasks on a weekly basis to not fall behind.
- I will need to include drawings, pictures, models and research.
- A reflection on all feedback will be included onto my blog.
How will I be assessed?
- Blog link will be submitted before or no later than 18th October 2013.
- The final deadline is on the 16th may 2013
- Submit my link to a research blog after each design studio review.
- The blog links will be made available to the public on a main page.
- I will need to create a graphically creative and attractive blog, which has been clearly and professionally presented.
Research:
- I can use books in the library, which are the best types of research to find information.
- If I use the internet I need to thoroughly assess the credibility of the sources, e.g. Wikipedia is not a valuable source.
- Newspaper articles generally are viable sources to use for research.
- When referencing I need to use the Harvard system, which includes the http and time of link used.