Reading Comprehension 2

[1] Hersey’s understanding is quite impressive, his assumption about temples origin derived from rituals that were constipated around sacred tree which were decorated with a scarified warriors remainins like weapons, bones, horn, relics, etc. What we see on a temple is a numerous decorative elements like Metope especially the ones in Doric Frieze of Parthenon fragmenting war between Centaurs and Lapiths, last ones were pre-Hellenic people that lived in Thessaly. Greeks has been associated with civilized Lapiths on a war against Persians which were seen as barbarians-Centaurs. In this case those fragments may portray heroic scarifying of a Greek warrior. Another aspect is columns that were applied in Doric order that symbolizes a virtue of a man, is approximately of a Lapith man proportion.

[2] McCauley in humorous way expresses some imaginary history of the future (year 4022) with his intention to describe problems that some archeologists and journalists face when they encounter archeological facts. He writes in narrating way as an archeologist discovers a complex (motel) and the funny way how archeologist indicates element of an apartment and confuses those with a much older elements in pre-history. This is quite similar to most of undesired moments of trying to find information on internet and using it as a primarily source. Wrong or inadequate images, short and wrong description are mostly found on internet sources. It results in poor work and achieving a better knowledge.

[3] Temple of Queen Hatshepsut is a mortuary building like other pharaohs but as a architectural building it differs from the rest. It is built partially in a rock (mountain) which is not common to pyramids of other pharaohs; it deviates from traditional way of baring the tomb that used to be epicenter of the whole complex. It doesn’t have the physical majesty, or pre-dominance of pyramids, but is as impressive in terms of a cultural and ceremonial building. First element that is encountered is long ramps that will lead up to the three levels of terraces that are manifested by colonnades in linear expansion, column, a unit that is not encountered in “masculine” mortuary structures and it may emphasis a much flexible and sensible element than mass megalithic structures at pyramids. Another thought that contribute to diversity between feminism and masculinity is that Limestone was used as material instead of sandstone which was used for other buildings describing smooth surface for feminism and. rough texture for masculine.

[4] Similarity exists as much as diversity in both cultures and principles of building. The effect of monumentality is applied in both civilizations when it comes to sacral (sacred) architecture. Colorful murals on interior part is well emphasized, treatment of columns looks like there is strong connection between two civilization as much as spatial organization and best example is the comparison of egyptian hypostyle hall and Portico of Megaron. Columns treated in northwest side at Temple of Queen Hatshepsut serves as prototype of Doric column or columns from Temple of Obo (Egypt} comparing with Corinthian column at Zeus Temple in Athens with a slight distinction on their capitals of column, speculating that Egyptian column was an influence on Greek column. Difference exist in the way cities are organized which is related more to the social and cultural aspect. Temples even though had similar purpose, a slight relation in spatial organization there was a different approach on exterior aspect. Difference consist at enclosure of the temple in Grece it is manifested proportionally by columns on 4 sides whereas in Egypt temples are enclosed by walls at some cases, and a height difference is another element.

[5] This section may be addressed to importance and the impact that both section have regarding to early Egyptian era. Tomb architecture was the main priority and it proved to be the significant element that captured so many disciplines including art and craft. Because of the monopolized economy where all the material credits were addressed to a single person, Pharaoh, there was a clear idea where all the richness is going to end. Just to mention all the gold that was used only for the sarcophagi (Tutankhamun's tomb). That in perception can look pretty heavy. Egyptian furniture is quite similar to what we have nowadays but unproportional to those we have and there is a lack of craftsmanship. Furniture was made of wood mainly and highly decorated.

[6] Gender unequality was known to be a common phenomenon for humankind until last century, its interesting to know that  it was pretty common for ancient time. What is portrayed on the two pictures is that there is a disproportional relation between a man and a woman, a rough separation of roles in a family unit. One that possess authority, in this case it is a man who orders a woman to serve for a resting mans' needs. In one of a pictures, I can easily assume that it may portrays bigamy. However, there is a quite distinct situation that proves the poverty of a man. 

Theory Unit

One asks of architecture and there may be million emotional expressions from tangible to invisible, from solid to fluid, from whisper to cacophony. There should be a disinterested contemplation or better saying a clinical argumentation on what architecture is and what does it represents. What does architecture encompass, is it something that must attract us or is it an ugly necessity? History is a great lesson on how architecture has evolved. It is architecture nowadays, it was architecture back then and, most important thing is that there is a connection through time so, architecture is both art and science.

Prior to general understanding of architectural values, distinction of architectural values, there is a complex and diverse evaluation on what essentially those values rely on. How it is perceived, on what condition or context? Is there a measurement to evaluate all the characteristics of the building? According to R.Barthes, ”There exists a normally hidden set of rules, codes, and conventions through which meanings particular to specific social groups are made.” I can allude there is not a universal distinction as there can not be a unifying set of rules, codes and conventions.

Commodity, firmness and delight are three elements of how architecture is organized, three components that confirm that architecture is both art and science. Commodity is accepted wide as a component that has to deal with practicality of any object that serves as a function part of a building. It can be a group of elements that altogether convey an uninterrupted visible sight, a path on which we fundamentally rely as an ordinary action takes place. “A house is a machine for living in”- Le Corbusier. It is understood that a building without a life in it is simple an ornament if it has geometrical order, if not then it’s a sculpture.
Firmness is a path that we unconsciously rely as action takes place; it’s the strength of an order. As a perception it’s a rigid attitude when we approach a building on every sequence of our movement. Buildings manifested by a bigger volume of elements are considered firm in both aspect but it can not be a precedent of delusional thought for a flexible forms of structures. Through time, deliberation has improved in combining commodity and firmness. Perceptual structure is quite distinct from Physical structure. In so many high-rise buildings, we se structures of glass and sub-structures such as concrete floors and in some cases we see only glass, we may assume that a glass structure can not hold a concrete structure and it is actually right. It is not a glass that holds the weight of concrete, structures like columns with few exceptions on walls are not far away from glass but are deeper to see those from outside.
Delight is the third but nevertheless a crucial element in architecture. It is a composition of forms and shapes, structures and décor-a composition of spaces that captures neutrality in essence. It should be an environment where harmony of all components dominates among all. It requires a master of both understanding the space and a highly skill developed on crafting and decorating.

Map Project

Monticello


Unit: Foundation

Scale: Artifact

Form: Word

Aspect: Symbol



Rockefeller Centre

Unit: Reflections

Scale: Place

Form: 3D

Aspect: Nature



Schroder House

Unit: Alternatives

Scale: Space

Form: Paragraph

Aspect: Material



Guggenheim Museum, Bilbao

Unit: Explorations

Scale: Building

Form: 2D

Aspect: People



Precedent analysis

Artifact-Monticello

Monticello, designed by Thomas Jefferson under high influence of an Italian renaissance building principles, in particular buildings by a famous architect Andrea Palladio. It is one of the monumental masterpieces that can be easily captured and understood in terms of shapes, starting from the construction of a octagonal dome which reflected building skills and difficulties of renaissance mathematical calculations and all of the artisanal works on decoration.

Space-Schroder House

There is no fixed perception about space in the house. It may be perceived from outside at some level but you may get lost as you enter the house. From outside you may get familiar to what De Stijl is characterized with, bold simple shapes manifested by deep voids, basic colors most notably black and white and with few exemptions from shades of gray. Inside the house, what anybody may expect is what is well known as “form follows the function” but mixed with the notion of “The house is a machine for living.”

Building- Guggenheim, Bilbao

One of the masterpieces in contemporary art and architecture is without a doubt the Guggenheim museum in Bilbao. It definitely is a building that will correspond to physical human needs without disrupting the impact that environment gave to the building. It is enough to mention the game between organic contours of titanium panels and Nervion River; it looks like they were made for each other.

Place- Rockefeller Centre

Place is what determines the construct and forms, the way this structure is built. Its boundaries consist of a streets pattern, to be more precise it is an urban-planning regulation that gives shape to the building. From the context of usage, it is a high-rise building and as it rises up there is a manipulation of the basic rectangular shape on the base. It goes to be more flexible on its volume and all the way to the top, on the four sides; it becomes a postponed gradually from its initial line of the façade.

[1] COMMODITY, FIRMNESS, DELIGHT

Being one of the influential work-pieces of the last century, Villa Mairea embodies commodity in so many aspects. New technology had its impact on the way it was built, thinner walls, columns and structural features were applied which certainly affected the space that was provided inside.

The house itself is comprised of a functional spatial composition starting from entrance that serves as a kind of junction among kitchen, dining room, living room and office, four of which enclose an entire daily activity purpose. In logical sense of a spatial organization, stairs are postponed deeper in the house that leads to a much intimate space, to the sleeping area on the second floor which is also multi-functional since studio is located within area so,  additional daily activity may be transferred on the upper floor.  

Even though big openings on the wall, big spans associated with lower ceilings may contribute to some perceptions of collapse of all structures at the same time. It may happen when you experience a walkthrough inside the house as from outside you may experience looking at the first floor that looks like its going to be replaced by the second floor  which is  quite solid and probably that is the most fascinating thing about its firmness.

Space is well delivered and easily percept as soon as you enter the house which it will be easily to navigate to every part and every room. Elements whereas superficial or structural, contribute to a much distinguished physical space without complicating structure of the walls, columns and floors.

[3] PERCEPTION OF PERSONAL AND SOCIAL SPACE

It becomes natural that there is a going to be a discomfort on the perception of personal space after the emerging   and fast evolving   society especially on the direction of technology uses.  Another aspect is that coming from an individualistic society which develops every day; there is an assumption of freedom intrusion.

The classroom seems to be out of date. Since it has been built, there were major changes and necessary those changes from outside are going to affect our behavior and percetion on the environment that is not suitable. Sitting on the tight hard chairs is a big contrast from the comfort that car industry gave us intensively throughout the years, a much more advanced learning requires latest technology uses which means a much more space for the appliances. On the other hand the chairs don’t provide mobility for us therefore tension is present in our perception.