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Q1:E. Select and explain three historical instances where technology influenced the designed environment. Support your answers with specific examples.See Answer
Q2: Book Link: https://archive.org/details/richard-ingersoll-world-architecture-a-cross- cultural-history/page/v/mode/2up Questions - Select ONE of the following: A. In what ways did architectural cultures we have studied engage with the cosmos? Were there common practices that transcend time and geographic locations? Reference specific projects to explain your answer. B. In Modules 1-4 we saw examples of symbolism in a variety of places, including cities, buildings, theories, and objects. Identify and explain three examples of symbolism in any of the above categories. For each example, explain what it is, where it's located, who created it, and what it symbolizes (one paragraph for each example). Are there any commonalities among your three examples? If so, explain why they exist. If not, explain why you think there are no commonalities. Questions - Select ONE of the following: C. Religion played an important role in shaping architecture and urbanism outlook of various cultures. Explain this role comparing and contrasting the three major built cultures we covered thus far (Olmec, Greco/Roman, Chinese). D. A theme that repeated across the modules we have studied thus far is how the designed environment (architecture and urbanism) engaged with nature. Explain the different attitudes to incorporating elements of nature among Harapan, Aegean, and pre-contact American architecture. Support your answers with specific examples. E. Select and explain three historical instances where technology influenced the designed environment. Support your answers with specific examples. Format: Select one question from A-B and one from C-E. You will answer two questions total. The answer to each question should be in 600 words (+/- 50). Write in full sentences and paragraphs paying attention to spelling and grammar. Bullet points and/or outlines will not be accepted as an answer. Use proper and consistent citation. Submit your answers through Canvas. See below for instructions on submission. Sources: Your answer must be supported by scholarly published materials such as your textbook (Ingersoll textbook). However, you can also use the following to support your answer Sources listed under LTU library guide on Architecture: https://libguides.Itu.edu/c.php?g=955370 Extra readings posted to Canvas Recorded lectures and your notes from them 1 LTU e Page Exam outlines and Module Review recordings from Canvas Discussion notes Example of unacceptable sources • Material published on the internet blogs & pages. • Anything prepared by or with another student. Grading: ● This is an open book, open note essay exam. This is NOT a group project, so do not consult with or work with your friend on this exam. Any indication of collaboration and/or plagiarism is considered cheating which would be reported as a potential honor code violation. • Each question is worth 10 points earned according to the following criteria: 5 pts Content: Correct and cited information, contribute to your answer, focused and logical argument. Spelling, grammar, staying within the word count limit. Using proper word choice, tone, and terminology. Overall organization. Explaining answers with specific examples. 2 pts 2 pts 1 pt Plagiarism Lawrence Technological University and the College of Architecture and Design are committed to academic integrity and honesty. All members of the LTU community are charged with upholding the Academic Honor Code in their academic work. Students are expected to present and submit only their own work in tests, and assignments. If you have a question regarding proper attribution of work of others, contact the professor prior to submitting your work for evaluation or refer to the university policies on the subject. Plagiarism in any form is a serious academic dishonesty offense that will not be tolerated. Violators will receive a failing grade and will be subjected to disciplinary action. Some examples are: Quoting, paraphrasing, or summarizing written material, even a few phrases, without acknowledgment. Page 2 • Failing to acknowledge the source of either a major idea or an ordering principle central to one's own paper. LTU e ● Relying on another person's data, evidence, or critical method without credit or permission. . Submitting another person's work as one's own. • Using unacknowledged research sources gathered by someone else. Reference chapters are mentioned which you can find on the book (link is provide). re to search MODULE 1 MODULE 2 MODULE 3 MODULE 4 Date Aug. 23 Aug. 25 Aug. 30 Sept. 1 Sept. 6 Sept. 8 Sept. 13 Sept. 15 Sept. 20 Sept. 22 Sept. 27 Sept. 29 Oct. 4 Oct. 6 Oct. 11 Oct. 13 Oct. 18 Oct. 20 Discussion Groups None 1-3 4-6 7-9 None 1-3 B 4-6 7-9 ASSESSMENT DAY NO CLASSES None 1-3 4-6 7-9 None 1-3 4-6 7-9 None Lecture Topic Introduction Prehistory Mesopotamia/SW Asia/Achaemenid Persia Old and New Kingdom Egypt MODULE 1 REVIEW SESSION Biblical Jerusalem Indus Valley/Mauryan India The Aegean Sea Classical Architecture MODULE 2 REVIEW SESSION The Greek City-State Ancient Rome Ancient China MODULE 3 REVIEW SESSION Ancient Mexico Mayan Pre-Contact America MODULE 4 REVIEW SESSION Textbook Sections Preface 1.1-1.3 2.1, 4.1 2.2, 3.2 3.3 2.3, 4.3 3.1 None 4.2 5.1 5.2, 7.2 5.3 7.3 10.3 Notes Quiz 1 Quiz 2 Midterm Exam posted 72°F SunnySee Answer
Q3: ANTH 3: Coyote Wash Pueblo Chronology Construction Project For this project, you are presented with a set of data from the Coyote Wash Pueblo, a hypothetical Ancestral Pueblo site from the American Southwest. Using the information provided (e.g. site plan, provided dates, ceramic information) on the course project Gaucho Space page, write up a chronological report analyzing the history of the site. Including an introduction and conclusion, your project report must address the following: N 3 Reconstruct the relative chronology of the construction and expansion of the pueblo. Using the information on the site plan (e.g., architecture, wall alignments, presence of subfloor deposits) identify the set of rooms first constructed. Next, determine the blocks of rooms that were apparently added to the initial construction, and the sequence in which they were added. Include a figure that indicates the sequence of construction, accompanied by a written justification. You may find a color-coded approach using the provided maps to be best suited for this. Using the tree-ring and radiocarbon dates, offer your best interpretation of the absolute dates associated with each construction phase or room addition. Include a figure that indicates your best interpretation of the chronological phases. Again, a color-coded approach may be well suited for this. How do you interpret the differences in the total number of pottery sherds found on the floor's surface in each room versus the sherds found in excavation (i.e., total fill sherds)? Include a graphical representation of the pottery fill sequence alongside your written explanation. The text of the Pueblo Construction Chronology Project must be approximately two [2] pages in length or approximately 500-750 words. It must include graphs, data, and images included in the project handout to provide support for your arguments. No sources aside from course resources are required for this assignment. You must properly cite, in text, any resources you do use from the class to defend your arguments. All information from these sources must be properly cited according to Chicago Author/Date format. Each posted question must include an associated graph/figure visualizing how you are interpreting the relative chronology for a minimum of three [3] included figures. Each paragraph must directly reference and explain your figures and each graph must come with a key. Plot out and explain the patterns you observed in the archaeological record – why did you come to the conclusions you reached given the data provided to you? Grading Criteria Assignment Rubric Quality: content accuracy, specificity, citations to support arguments, depth of argument, persuasiveness. Quantity: adequacy (length), compactness. definitions of terms used, provides details, provides examples to illustrate points, comparisons used when appropriate. Visualization: use of graphs to visualize data. Graphical Representation Content Style: Organization Structure: includes all listed sections. Includes robust introduction and conclusions. Includes thesis statement. Sequence (rational flow, logical organization - doesn't ramble), appearance (correct margins and headings, neatness, etc.), pagination, correct citation format (Chicago Author/Date). Total Score: Style: Clarity Sentences: clarity, relevance (on-topic), fluency, no use of clichés, no use of unknown referents. Paragraphs: structure (topic sentences, development), length (not too short or too long - minimum paragraph size is 3 sentences; a paragraph should not extend longer than the full length of a single page), coherence. Diction: conciseness, no overuse of the passive voice and weak verbs, no repetitive phrasing, does not use exaggeration, no overuse of modifiers or misplaced modifiers. Vocabulary: correct word choice, no repetition of words, no use of colloquialisms. Style: Grammar Use of correct spelling, grammar, and punctuation. Appropriate sentence length. Score 30 30 10 20 10 100See Answer
Q4: Make a connection between two or three images/objects/concepts not discussed in the same module. How are they related? Does their meaning change when viewed together? Explain in detail why you have selected these works and why they are important. Write a 750-1000 word (3-4 pages double spaced) response to one of the writing prompts provide using Microsoft Word with TIMES NEW ROMAN, 12 pt. font, double spaced. Please use Chicago Manual, APA, or MLA with either (parenthetical citations) or footnotes. A Works Cited or Bibliography must be included on a separate page at the end BOOK LINK: https://pressbooks.bccampus.ca/arthistory2/ EXTRA INFO: 1. 2 IMAGES TO BE SELECTED NEEDS TO BE FROM DIFFERENT CHAPTERSSee Answer
Q5:Question 1 Which of the following is not one of john Ruskin's seven lamps of architecture? purpose ℗ truth sacrifice beauty E) memory 10 PointsSee Answer
Q6:Question 2 Which of the following best describes the difference that Ruskin sees between building and architecture? Architecture goes beyond building by adding useless ornaments. There is no distinction between architecture and building. Any building of cultural significance like religious and public institutions, is a piece of architecture everything else is mere building 10 Points O Architecture is the masterly. correct and magnificent play of volumes brought together in light. Anyone who does not follow this precept is merely building.See Answer
Q7:Question 3 Which of the following is not one of the five heads of architecture? Transport Devotional Memorial Civil Domestic 10 PointsSee Answer
Q8:Question 4 Given the choice of two marbles equally beautiful but of different costs, which does Ruskin think a designer should choose? The more expensive, because it shows the spirit of sacrifice as a devotional offering B The cheaper because it is more cost effective The more expensive because it can impress without much craftmanship. The cheaper because it will allow you to pay your craftsman more, and they will be able to carve more detail into it. 10 PointsSee Answer
Q9:Question 5 How does religion play into Ruskin's views of sacrifice in architecture? Ruskin believes that one should show one's devotion to God through the sacrifice one puts into a building. Ruskin believes religion should play no part in architectural design. Ruskin believes that religious buildings should focus on the word of God and devotion to others, rather than on impressive ornament that distracts from the word of God and good deeds. 10 Points Ruskin believes that religious ornament from all cultures should be adapted in England to reflect its growing status as an empire.See Answer
Q10:Question 6 Which of the following is not a type of architectural deceit according to Ruskin? A Facades that hide the true functional layout of a buidling False suggestion of structural support The painting of surfaces to represent some other material The use of machine made ornaments 10 PointsSee Answer
Q11:Question 7 Which of the following best describes Ruskin's attitude to iron? It is false when cast and used as a structural support, because it is usually used in a way that reflects the structural laws and proportions of an older material, either clay wood or stone. Bit is false when cast and used as a structural support, because it looks too skinny to actually support anything. It represents the law of truth, because it is the true material of the era, rather than a false representation of the past. It should be used as much as possible, because its shininess is a symbolic representation of the "lamp" of truth 10 PointsSee Answer
Q12:Question 8 Why does Ruskin object to machine made ornament? Ornament should reflect the amount of human labor and care spent upon it. Machine made ornament is too expensive. Machine made ornament allows for buildings to look too ornate and buildings should look as simple as possible. Machines cannot properly imitate historical forms. 10 PointsSee Answer
Q13:Field Trip Essay Attend the Ivy Hall tour or the Inman Park tour and take notes to document a building and its history. In a 250-500 word essay describe the building in terms of most or all of the following: plan, function, style, ornament, massing, light, materials, and structure. and compare it to one building discussed in this class or in the textbooks. Responses should not be just a description of the building, but an analysis of its form, space, play of light function, use of materials, etc. Students should ask themselves how the design choices of the architect may be demonstrated in the building. The essay should be written in a formal academic manner with proper grammar, punctuation, and word usage. It should be well organized with a clear and specific thesis statement in the introductory paragraph. Will be graded according to the following rubric:See Answer
Q14:Assignment Requirements. Written 1000-1500 words, 10-12 point font, standard margins, double spaced, citations in Chicago Style, divided into the following sections: • A thesis that explains the basic concept of your building and how it ties into 18th/19th century architecture • General description of your project ● A research section placing your project in the context of the history of 18th and 19th century architecture by comparing it to at least one other building from that period that is of a similar building type, style, or exhibits similar design principles/nGeneral description of your project A research section placing your project in the context of the history of 18th and 19th century architecture by comparing it to at least one other building from that period that is of a similar building type, style, or exhibits similar design principles • A description of and justification for the style that you have chosen to design your building in. The justification should be specific, and you are encouraged to base your justification on the theories of style of some of the architects we have studied in this course. • • A description of the materials and structure of your building Footnotes that cite the sources listed in your bibliography when you use information or ideas from them • A bibliography (not part of the page count) of at least three non-website sources (scholarly articles and books). You may use internet sources as well, which should also be included in the bibliography. • Images of the building(s) discussed in the historical context section. Images should be numbered, labeled, and referred to in the text.See Answer
Q15:pls read the text and come up with one question. For example :"Semper seems to connect walls with ornament and detail. Do you believe it is necessary for a wall to be decorated or is its structural purpose and the privacy it supplies enough to justify its existence?"See Answer
Q16: 1908 Adolf Loos: Ornament and crime Adolf Loos (b. 1870 in Brno, d. 1933 in Vienna) brought back with him to Vienna from his three-year stay in the United States (1893-6) a remark of Louis Sullivan's: 'It could only benefit us if for a time we were to abandon ornament and concentrate entirely on the erection of buildings that were finely shaped and charming in their sobriety'. From this Loos developed his radical aesthetic purism, which made him a zealous foe of Art Nouveau and the German Werkbund: 'The German Werkbund has set out to discover the style of our age. This is unnecessary labour. We already have the style of our age.' The human embryo in the womb passes through all the evolutionary stages of the animal kingdom. When man is born, his sensory impressions are like those of a newborn puppy. His childhood takes him through all the metamorphoses of human history. At 2 he sees with the eyes of a Papuan, at 4 with those of an ancient Teuton, at 6 with those of Socrates, at 8 with those of Voltaire. When he is 8 he becomes aware of violet, the colour discovered by the eighteenth century, because before that the violet was blue and the purple-snail red. The physicist points today to colours in the solar spectrum which already have a name but the knowledge of which is reserved for the men of the future. The child is amoral. To our eyes, the Papuan is too. The Papuan kills his enemies and eats them. He is not a criminal. But when modern man kills someone and eats him he is either a criminal or a degenerate. The Papuan tattoos his skin, his boat, his paddles, in short everything he can lay hands on. He is not a criminal. The modern man who tattoos himself is either a criminal or a degenerate. There are prisons in which eighty per cent of the inmates show tattoos. The tattooed who are not in prison are latent criminals or degenerate aristocrats. If someone who is tattooed dies at liberty, it means he has died a few years before committing a murder. The urge to ornament one's face and everything within reach is the start of plastic art. It is the baby talk of painting. All art is erotic. The first ornament that was born, the cross, was erotic in origin. The first work of art, the first artistic act which the first artist, in order to rid himself of his surplus energy, smeared on the wall. A horizontal dash: the prone woman. A vertical dash: the man penetrating her. The man who created it felt the same urge as Beethoven, he was in the same heaven in which Beethoven created the Ninth Symphony. But the man of our day who, in response to an inner urge, smears the walls with erotic symbols is a criminal or a degenerate. It goes without saying that this impulse most frequently assails people with such symptoms of degeneracy in the lavatory. A country's culture can be assessed by the extent to which its lavatory walls are smeared. In the child this is a natural phenomenon: his 19 first artistic expression is to scribble erotic symbols on the walls. But what is natural to the Papuan and the child is a symptom of degeneracy in the modern adult. I have made the following discovery and I pass it on to the world: The evolution of culture is synonymous with the removal of ornament from utilitarian objects. I believed that with this discovery I was bringing joy to the world; it has not thanked me. People were sad and hung their heads. What depressed them was the realization that they could produce no new ornaments. Are we alone, the people of the nineteenth century, supposed to be unable to do what any Negro, all the races and periods before us have been able to do? What mankind created without ornament in earlier millenia was thrown away without a thought and abandoned to destruction. We possess no joiner's benches from the Carolingian era, but every trifle that displays the least ornament has been collected and cleaned and palatial buildings have been erected to house it. Then people walked sadly about between the glass cases and felt ashamed of their impotence. Every age had its style, is our age alone to be refused a style? By style, people meant ornament. Then I said: Weep not! See, therein lies the greatness of our age, that it is incapable of producing a new ornament. We have outgrown ornament; we have fought our way through to freedom from ornament. See, the time is nigh, fulfilment awaits us. Soon the streets of the city will glisten like white walls. Like Zion, the holy city, the capital of heaven. Then fulfilment will be come. There were black albs, clerical gentlemen, who wouldn't put up with that. Mankind was to go on panting in slavery to ornament. Men had gone far enough for ornament no longer to arouse feelings of pleasure in them, far enough for a tattooed face not to heighten the aesthetic effect, as among the Papuans, but to reduce it. Far enough to take pleasure in a plain cigarette case, whereas an ornamented one, even at the same price, was not bought. They were happy in their clothes and glad they didn't have to go around in red velvet hose with gold braid like fairground monkeys. And I said: See, Goethe's death-chamber is finer than all Renaissance splendour and a plain piece of furniture more beautiful than any inlaid and carved museum pieces. Goethe's language is finer than all the ornaments of Pegnitz's shepherds. The black albs heard this with displeasure, and the state, whose task it is to halt the cultural development of the peoples, made the question of the de- velopment and revival of ornament its own. Woe to the state whose revolutions are in the care of the Hofrats! Very soon we saw in the Wiener Kunstgewerbe- museum [Vienna Museum of Applied Art] a sideboard known as 'the rich haul of fish', soon there were cupboards bearing the name 'the enchanted princess' or something similar referring to the ornament with which this unfortunate piece of furniture was covered. The Austrian state took its task so seriously that it is making sure the foot-rags used on the frontiers of the Austro- Hungarian monarchy do not disappear. It is forcing every cultivated man of 20 for three years to wear foot-rags instead of manufactured footwear. After all, every state starts from the premise that a people on a lower footing is easier to rule. Very well, the ornament disease is recognized by the state and subsidized 20 with state funds. But I see in this a retrograde step. I don't accept the objection that ornament heightens a cultivated person's joy in life, don't accept the objection contained in the words: 'But if the ornament is beautiful!' Orna- ment does not heighten my joy in life or the joy in life of any cultivated person. If I want to eat a piece of gingerbread I choose one that is quite smooth and not a piece representing a heart or a baby or a rider, which is covered all over with ornaments. The man of the fifteenth century won't understand me. But all modern people will. The advocate of ornament believes that my urge for simplicity is in the nature of a mortification. No, respected professor at the school of applied art, I am not mortifying myself! The show dishes of past centuries, which display all kinds of ornaments to make the peacocks, pheas- ants and lobsters look more tasty, have exactly the opposite effect on me. I am horrified when I go through a cookery exhibition and think that I am meant to eat these stuffed carcasses. I eat roast beef. The enormous damage and devastation caused in aesthetic development by the revival of ornament would be easily made light of, for no one, not even the power of the state, can halt mankind's evolution. It can only be delayed. We can wait. But it is a crime against the national economy that it should result in a waste of human labour, money, and material. Time cannot make good this damage. The speed of cultural evolution is reduced by the stragglers. I perhaps am living in 1908, but my neighbour is living in 1900 and the man across the way in 1880. It is unfortunate for a state when the culture of its inhabitants is spread over such a great period of time. The peasants of Kals are living in the twelfth century. And there were peoples taking part in the Jubilee parade [of the Emperor Franz Joseph] who would have been considered backward even during the migration of the nations. Happy the land that has no such stragglers and marauders. Happy America! Among ourselves there are unmodern people even in the cities, stragglers from the eighteenth century, who are horrified by a picture with purple shadows because they cannot yet see purple. The pheasant on which the chef has been working all day long tastes better to them and they prefer the cigarette case with Renaissance ornaments to the smooth one. And what is it like in the country? Clothes and household furniture all belong to past centuries. The peasant isn't a Christian, he is still a pagan. The stragglers slow down the cultural evolution of the nations and of mankind; not only is ornament produced by criminals but also a crime is committed through the fact that ornament inflicts serious injury on people's health, on the national budget and hence on cultural evolution. If two people live side by side with the same needs, the same demands on life and the same income but belonging to different cultures, economically speaking the follow- ing process can be observed: the twentieth-century man will get richer and richer, the eighteenth-century man poorer and poorer. I am assuming that both live according to their inclinations. The twentieth-century man can satisfy his needs with a far lower capital outlay and hence can save money. The vegetable he enjoys is simply boiled in water and has a little butter put on it. The other man likes it equally well only when honey and nuts have been 21 added to it and someone has spent hours cooking it. Ornamented plates are very expensive, whereas the white crockery from which the modern man likes to eat is cheap. The one accumulates savings, the other debts. It is the same with whole nations. Woe when a people remains behind in cultural evolution! The British are growing wealthier and we poorer . . . Even greater is the damage done by ornament to the nation that produces it. Since ornament is no longer a natural product of our culture, so that it is a phenomenon either of backwardness or degeneration, the work of the orna- mentor is no longer adequately remunerated. The relationship between the earnings of a woodcarver and a turner, the criminally low wages paid to the embroideress and the lacemaker are well known. The ornamentor has to work twenty hours to achieve the income earned by a modern worker in eight. Ornament generally increases the cost of an article; nevertheless it happens that an ornamented object whose raw material cost the same and which demonstrably took three times as long to make is offered at half the price of a smooth object. Omission of ornament results in a reduction in the manufacturing time and an increase in wages. The Chinese carver works for sixteen hours, the American worker for eight. If I pay as much for a smooth cigarette case as for an ornamented one, the differ- ence in the working time belongs to the worker. And if there were no orna- ment at all – a situation that may perhaps come about in some thousands of years - man would only have to work four hours instead of eight, because half of the work done today is devoted to ornament. Ornament is wasted labour power and hence wasted health. It has always been so. Since ornament is no longer organically linked with our culture, it is also no longer the expression of our culture. The ornament that is manufactured today has no connexion with us, has absolutely no human connexions, no connexion with the world order. It is not capable of developing. What happened to Otto Eckmann's ornament, or van de Velde's? The artist has always stood at the forefront of mankind full of vigour and health. But the modern ornamentalist is a straggler or a pathological phenomenon. He him- self will repudiate his own products three years later. To cultivated people they are immediately intolerable; others become aware of their intolerable character only years later. Where are Otto Eckmann's works today? Modern ornament has no parents and no progeny, no past and no future. By unculti- vated people, to whom the grandeur of our age is a book with seven seals, it is greeted joyfully and shortly afterwards repudiated. Mankind is healthier than ever; only a few people are sick. But these few tyrannize over the worker who is so healthy that he cannot invent ornament. They force him to execute in the most varied materials the ornaments which they have invented. Changes of ornament lead to a premature devaluation of the labour product. The worker's time and the material employed are capital goods that are wasted. I have stated the proposition: the form of an object lasts, that is to say remains tolerable, as long as the object lasts physically. I will try to explain this. A suit will change its form more often than a valuable fur. A lady's ball 22 gown, intended for only one night, will change its form more quickly than a desk. But woe if a desk has to be changed as quickly as a ball gown because the old form has become intolerable; in that case the money spent on the desk will have been lost. This is well known to the ornamentalist, and Austrian ornamentalists are trying to make the best of this shortcoming. They say: 'We prefer a consumer who has a set of furniture that becomes intolerable to him after ten years, and who is consequently forced to refurnish every ten years, to one who only buys an object when the old one is worn out. Industry demands this. Millions are employed as a result of the quick change.' This seems to be the secret of the Austrian national economy. How often do we hear someone say when there is a fire: 'Thank God, now there will be work for people to do again.' In that case I know a splendid solution. Set fire to a town, set fire to the empire, and everyone will be swimming in money and prosperity. Manufacture furniture which after three years can be used for fire- wood, metal fittings that have to be melted down after four years because even at an auction sale it is impossible to get a tenth of the original value of the material and labour, and we shall grow wealthier and wealthier. The loss does not hit only the consumer; above all it hits the producer. Today ornament on things that have evolved away from the need to be ornamented represents wasted labour and ruined material. If all objects would last aesthetically as long as they do physically, the consumer could pay a price for them that would enable the worker to earn more money and work shorter hours. For an object I am sure I can use to its full extent I willingly pay four times as much as for one that is inferior in form or material. I happily pay forty kronen for my boots, although in a different shop I could get boots for ten kronen. But in those trades that groan under the tyranny of the ornament- alist no distinction is made between good and bad workmanship. The work suffers because no one is willing to pay its true value. And this is a good thing, because these ornamented objects are tolerable only when they are of the most miserable quality. I get over a fire much more easily when I hear that only worthless trash has been burned. I can be pleased about the trash in the Künstlerhaus because I know that it will be manufac- tured in a few days and taken to pieces in one. But throwing gold coins instead of stones, lighting a cigarette with a banknote, pulverizing and drinking a pearl create an unaesthetic effect. Ornamented things first create a truly unaesthetic effect when they have been executed in the best material and with the greatest care and have taken long hours of labour. I cannot exonerate myself from having initially de- manded quality work, but naturally not for that kind of thing. The modern man who holds ornament sacred as a sign of the artistic super- abundance of past ages will immediately recognize the tortured, strained, and morbid quality of modern ornaments. No ornament can any longer be made today by anyone who lives on our cultural level. It is different with the individuals and peoples who have not yet reached this level. 23/nA question about Adolf Loos's essay "Ornament and Crime." The question should be open ended, specific to the reading, and designed to spark discussion with your fellow students. It could raise a point in the reading that you disagree with, that you agree with, or that you think deserves clarification.See Answer
Q17:9:18 Course CC1 A2 Essay questions.docx 1 ESSAY QUESTIONS CC1 A2 Essay questio... PALEOLITHIC AND NEOLITHIC GREECE ROME ISLAM 1. Examine the relationship between form, Mark Jarzombek, Architecture of function and structure in one First Societies architecture of the Paleolithic or Neolithic society. 2. Compare and contrast two different historical understandings of the creation of Stonehenge. 3. Discuss the emergence of the Greek temple using two temples of your choice. 4. Illustrate the relationship between Doric and lonic order in the architecture of the Parthenon. 6. Review some of the major innovations. in engineering of the ancient Romans in light of two buildings of your choice. 7. Discuss the main features of Roman domestic architecture, analysing it in the different contexts of town and country. 8. Use the development of Londinium to illustrate the main features of an ancient Roman civic spaces. MIDDLE AGES 5. Examine the urban structure of the Greek polis in light of two civic spaces of Greek Architecture your choice. 9. Compare and contrast two church buildings of your choice to illustrate the transition between Romanesque and Gothic. 10. Examine the relationship between form, function and structure in the architecture of one French Gothic cathedral. 11. Discuss the figure of the architect in the Middle Ages, using at least a building site as an example. 12. Using two buildings of your choice, discuss the differences between mosques built during different caliphates. + 13. Illustrate the relationship between Christian and Islamic architecture in light of either the Dome of the Rock or Mike Parker Pearson, Researching Stonehenge: Theories Past and Present Margaret Miles, A Companion to Greek Architecture Margaret Miles, A Companion to Greek Architecture Margaret Miles, A Companion to Roger Ulrich and Caroline Quenemoen, A Companion to Roman Architecture J.B. Perkins, Roman Imperial Architecture J.B. Perkins, Roman Imperial Architecture and Dominic Perring, Roman London Roger Stalley, Early Medieval Architecture and Nicola Coldstream, Medieval Architecture Nicola Coldstream, Medieval Architecture Roger Stalley, Early Medieval Architecture and/or Nicola Coldstream, Medieval Architecture Robert Hillenbrandt, Islamic Art and Architecture Richard Ettinghausen, Oleg Grabar, Marilyn Jenkins-Madina, Islamic Art and Architecture 650-1250 A RA KYSee Answer
Q18:Student note : do the research presentation on the OPEN Architects. Chapel of Sound. Chengde, China. 2021 ONLY DO THIS PART AND READ THE RUBRIC FOR DETAILS: 1/How the forms, spatial layout, material choices, structure, etc. of the building reflect the architect's individual style or an architectural movement associated with the architect. These should include your own observations based on your analysis of the photographs and drawings of the building. 2/ The set of design principles espoused by the architect and/or his movement that shaped the design of the building Need to make 4 slides and need speaker notes as well first sllide is starting with overview/n Group Oral Presentation on a Contemporary Building This assignment asks you to take some of the analytic skills that we have been honing together in class and apply them to significant works of architecture from the 21st century. In doing so, you should focus on how the work of architecture grows out of, extends, or subverts the traditions of modernism we have been examining in our class. On your assigned date, prepare a 5-7 minute presentation on your building. The presentation should clearly explain the significance of the work of architecture by describing the following: ● ● Winter 2024 ARLH 208: Modern Architecture II Prof. Williamson ● How the forms, spatial layout, material choices, structure, etc. of the building reflect the architect's individual style or an architectural movement associated with the architect. These should include your own observations based on your analysis of the photographs and drawings of the building. ● The set of design principles espoused by the architect and/or his movement that shaped the design of the building How the social and cultural context of the project and the architect gave rise to the particular design solutions he or she pursued. In addition, you will submit a peer and self-assessment to the submissions folder in Blackboard on the day your presentation is due. Please briefly describe each student's role in the presentation and give them a score of 1-10 in terms of the contribution they made to the group. (1-5 = F; 6 = D; 7 = C; 8 = B; 9-10 = A) A comparison between the work of architecture and a work of architecture from class that you think reveals the ways that the building grows out of and/or subverts important principles of modern architecture. Some things to keep in mind when crafting your Power Point presentations: ● This is a collaborative presentation. The presentation should not feel disjointed, as if it is three individual presentations pieced together. Thus, the presentation should have a unified aesthetic, fonts, etc. Backgrounds may be aesthetically pleasing but should not distract from the images you show. Do not include your entire script as text on the slide. If you include text, make sure you use bullet points that highlight only the most essential information. ● ● ● ● In general, if you include text, it should be used with an image. The text should not overwhelm or dominate the image. ● Try to avoid using video clips in your presentation. It is fine to include very short video clips in the presentation, as long as you are using them to fulfill one of the four tasks of the project described above. However, in general, long interview clips of the architect describing their own project should be avoided. It is better to simply quote the architect yourself for brevity's sake. All images should be labeled. The first time you show a work, the label should include the artist (if known), title of the work, period style and/or culture who produced the work, and date. If the work is architecture or a site specific work, please include the location (city, country). You may also want to include the medium and dimensions of the work. Make sure that you do not distort the proportions of your image. A variety of views of the building, including interiors, plans, and other drawings are often helpful in making your point. When comparing two buildings, it is best to put the two images side by side to better make your points. The last slide should be a bibliography of ALL sources you consulted in making your Power Point presentation, including sources of your images. MLA or Chicago Style is preferred for the bibliography, but not necessary. Some things to keep in mind as you research your work: You need to find a minimum of three other sources that will complement the formal observations you make on your own, and the information provided in the textbook. It is highly recommended that you begin with the architects' own website. The presentation should include your own observations, particularly with regard to the formal properties of the work. If ideas come from other sources, you should mention that in the presentation. The presentation should not be a recitation of some other source. If you use internet sources, you must use your own critical judgment about the quality of the source. Even Wikipedia entries can contain false information. In general, citing Wikipedia shows a lack of initiative. Some things to keep in mind as you prepare your presentation: Part of the grade will be on your presentation skills. Practice in advance so that you feel comfortable with what you are going to say. ● ● Please make sure you are organized and that the presentation fits the allotted time. If you go over ten minutes, I will ask you to conclude. Please make sure that every student has a role in the presentation. This means that every student must have a speaking role. Part of your grade is based on a self and peer evaluation that documents the contributions of each member of your group. Criteria Visual ● Oral The presentation includes clear views of the buildings, including interiors, exteriors, and plans, that relate to the content of the presentation. All images are properly labeled. The visual and oral components are well organized. This also means that the group chooses fonts and backgrounds that are appealing and do not distract from the presentation. Research Sample Grading Rubric The presentation includes a Works Cited page with at least three quality sources The student speaks in a clear, articulate manner that engages the audience (individual assessment) Comments Points 15 15 15 15 __/10 Content How the forms, spatial layout, material choices, structure, etc. of the building reflect the architect's individual style or an architectural movement associated with the architect The particular set of design principles espoused by the architect and/or his movement that shaped the design of the building How the social and cultural context of the architect gave rise to the particular design solutions he or she pursued Comparison to a significant work of architecture from the class that reveals how the new building extends or subverts modernist ideas. Group Participation: All members of the group contributed to the presentation and had a role in speaking. (This is primarily based on students' peer and self assessment of their contributions). /15 /15 /15 /15 /10 Total= /100See Answer
Q19: Good choices. Include dates. The thesis is a little general. What are his innovative approaches? What is the historical context? How does that impact the building? Your conclusion is probably closer to what you want for your thesis in terms of specificity. Outline: Your descriptions of the buidllings don't really line up with each other. You talk about the urban context of Prague but not LA. Why? You'll need to break these buildings down along similar categories of analysis and really hold them up against each other. Right now you're talking about each in isolation. Ultimately the idea of context, function, and nature of each commission leading to different interpretations is a strong justification, but it will only work if the buildings are really analyzed against each other. The gendered reading of the "Dancing House" needs to be more than asserted here. It needs to be interrogated. How is this a combination of masculine and feminine? Why is that appropriate in the setting of Prague? Why is there no gendered reading of the Disney Concert Hall? Is it specific to the commissions? A phase that Gehry moved out of? An interpretation imposed on the buidling by others? Sources: These should be stronger. There are literally dozens of books about Frank Gehry. I shouldn't see these totally random things dredged up from the internet on a college level Works Cited page about somebody who has been written about as frequently as Gehry. Source 1 is about an AI light show that incorporated Gehry's building. It is not directly about the building. Source 2 is about the acoustics firm, not Gehry's contributions to the Disney Concert Hall. Source 3: The Vojack isn't a published paper. It was written for a class by a random student majoring in business. You can't use it as a source. It would be like citing one of your classmates' papers. Books and articles have been edited and peer reviewed. You could however use some of the sources he did. He actually demonstrates the kind of bibliography I expect to see in a college level bibliography. You should get some primary sources, his talks interviews, something. Format this properly. Thesis: 1.75/2 Outline: 1.5/2 Building choices: 2/2 Images: 1/1 Bibliography: 1.5/3/n Project Preliminary Proposal- Outline Architect: Frank Gehry Buildings: Walt Disney Concert Hall (Los Angeles, USA) and Dancing House (Prague, Czech Republic). Thesis Statement The idea is to analyze and compare two iconic Gehry buildings: Walt Disney Concert Hall and Nationale-Nederlanden Building, commonly known as the Dancing House. These masterpieces illustrate Gehry's innovative approaches and the evolution of his style by examining their structural features, design philosophies, historical contexts, and cultural impacts. Specific characteristics of each building will be explored, including their forms, materials, spatial arrangement, and cultural significance. Introduction Frank Gehry, renowned for his groundbreaking architectural designs, has left an indelible mark on the built environment with his avant-garde creations. Among his most celebrated works are the Walt Disney Concert Hall in Los Angeles and the Nationale-Nederlanden Building in Prague, both of which epitomize his innovative approach to form function and symbolism. Analysis The genesis of the Walt Disney Concert Hall can be traced back to an international design competition in the late 1980s, where Gehry's visionary proposal stood out among over 70 submissions. In contrast, the inception of the Nationale-Nederlanden Building stemmed from a commission by the Dutch bank, which sought to commission a distinctive architectural statement for its headquarters in Prague. The Walt Disney Concert Hall is a testament to Gehry's mastery of form and materiality, characterized by its undulating stainless-steel façade, fluid contours, and dynamic spatial composition. The exterior of the building evokes the imagery of sails billowing in the wind, while the interior exudes an aura of sculptural elegance, with the main auditorium resembling the hull of a ship. Gehry's meticulous attention to acoustics, spatial flow, and visual aesthetics imbues the concert hall with a sense of harmony and immersion, forging a symbiotic relationship between architecture and music (Anadol and Kivrak 2023), (Toyota et al. 2020). Fig-1 Walt Disney Concert Hall The Nationale-Nederlanden Building, also known as the Dancing House, challenges conventional notions of architectural symmetry and stability. Comprising two distinct towers, one solid and the other transparent, the building embodies a playful interplay of masculine and feminine forms, reminiscent of a dancing couple. Gehry's design language, characterized by asymmetry, fluidity, and whimsicality, imbues the structure with a sense of dynamism and vitality, juxtaposing sharply against the historic backdrop of Prague's urban fabric. m Conclusion 60 50 83 61 BUNTE Fig-2 Dancing House (Prague, Czech Republic) While both the Walt Disney Concert Hall and the Nationale-Nederlanden Building showcase Gehry's signature style and experimental ethos, they diverge in their contextual responses, programmatic functions, and cultural resonances. The former epitomizes Gehry's pursuit of architectural excellence in the realm of cultural institutions, offering a transcendent space for musical performance and civic engagement. On the other hand, the latter represents a bold departure from traditional architectural paradigms, serving as a contemporary icon of Prague's architectural renaissance (Vojcak). The comparative analysis of these two iconic buildings underscores Gehry's transformative impact on contemporary architecture, pushing the boundaries of design innovation and cultural expression. Through their distinct forms, spatial narratives, and cultural contexts, the Walt Disney Concert Hall and the Nationale-Nederlanden Building stand as enduring testaments to Gehry's visionary legacy and architectural ingenuity. Bibliography Anadol, Refik, and Pelin Kivrak. "AI, Architecture, and Performance: Walt Disney Concert Hall Dreams." In Choreomata, pp. 379-389. Chapman and Hall/CRC, 2023. Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, Erik Bergal, Yasuhisa Toyota, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Walt Disney Concert Hall." Concert Halls by Nagata Acoustics: Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria (2020): 33-43. Vojcak, Danny. "Professor Kucera Art 161 Gehry's Nationale-Nederlanden Office Building (Dancing House/Fred & Ginger)."/n Final Paper Project Choose ONE of the following topics and write a 8-10 page paper (2000-2500 words, excluding footnotes and Works Cited page). All papers should exceed the minimum word count. The maximum word count may be exceeded without penalty. Topic 1 Write a paper focused on the theory and architecture of an architect of your choice. Architects we have discussed in class may be selected, but you may not work on a building or text that we discussed extensively in class. Your paper should explore how an architect's ideas intersect with and are manifested in his or her buildings. To fulfill the assignment, the student should do the following: ● Choose a critical/theoretical text by an architect that lays out principles and theories of design. The text should not simply be a description of one of the architect's building. Nor should it be one of the supplemental readings from class (It can be a different section of one of the longer works excerpted as a supplemental reading). In addition, the text should be a minimum of five pages long. It is highly recommended that you get the professor's approval of the text prior to proceeding. Your discussion of the text should not just summarize their argument but analyze it and critique it. Here are some questions you should ask yourself as you read the text. What does the text reveal about the architect's beliefs about the role of architecture in society? How architectural form should be generated? What aspects of architectural practice does the text ignore? Can you think of ways to enhance the architect's argument? Choose a building designed by your architect and analyze it according to the principles and theories laid out in your chosen text. As you do so, think critically about whether there is a gap between theory and practice, i.e. whether the building adequately reflects the principles described in the text or whether the text is unable to articulate fully what is happening in the design, whether the building reinforces or reveals flaws in the architect's theoretical position, etc. Topic 2 Choose two buildings by the same architect that show significant change in his or her approach. This change could relate to the materials and their expression, structure, space, ornament, style, etc. It could be a change over time, a change due to client demands, a change due to context, or a change for some other reason. Describe this change, as well as any continuities shown between the two buildings, and put forth a valid hypothesis explaining why it occurs based on primary and secondary research. You may choose an architect whom we have discussed in class, but you may not choose works by that architect that we have discussed extensively in class. At least one of the buildings you discuss must have been completed after 1900. Paper Criteria All papers should include: A strong introduction and conclusion, as well as a clearly articulated thesis statement. A thesis statement should be the summary of the argument you are going to make about the architect. If you are doing topic one, it should address the architect's theoretical argument and how that is revealed or contradicted in the architect's building. If you are doing topic two, it should explain the change you see in the architect's career and explain why you think that change occurred. A Works Cited page (not part of the total word count) that includes at least five books or journal articles by academics or professionals beyond the textbook. If you are analyzing a theoretical text by the architect, that text counts as one of your five sources. ● ● ● ● Important due dates: Due: Tues. Jan. 30, preliminary project proposal. The proposal should include: ● A preliminary thesis statement. The architect's name, name of building, location, and date of the building or buildings you are writing about. If you are doing option 1, you will also need to include the title of the theoretical text you are planning to analyze and its original date of publication. Preliminary outline of your paper. In addition, include a Works Cited page with at least three sources that are books or journal articles by academics or professionals (beyond the textbook). Primary sources are strongly encouraged. You do not have to have actually used the sources yet, but you should have collected them by the due date. All sources should be in English, unless prior approval has been granted for use of a source in a foreign language. An image of each building you are writing about. ● Footnotes that show that all of your sources were used for your research. Labeled images with references to them in the text. Do not integrate the images into the text but include them at the end of the paper after the Works Cited page. (The images and Works Cited pages do not count towards your final page count). Standard margins, 12-point font, double-spacing, footnotes and works cited page in Chicago Style format. An attachment of screenshots showing the sources of the information in your footnotes. ● Suggested sources for critical texts if writing topic 1: Conrad, Ulrich, ed. Programs and Manifestoes on 20th-Century Architecture. Cambridge: MIT Press, 1975. Ockman, Joan, ed. Architecture Culture 1943-1968: A Documentary Anthology. New York: Rizolli, 1993. Hays, K. Michael, ed. Architecture Theory since 1968. New York: Columbia Books of Architecture, 2000. Mallgrave, Harry Francis and Christina Contandriopoulos. Architectural Theory Volume II: An Anthology from 1871-2005. New York: Blackwell Publishing, 2008. Nesbitt, Kate, ed. Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995. New York: Princeton Architectural Press, 1996. NOTE: If you use these as sources to find a critical text, you must cite the specific text you have found, not just list the anthology. Also, note that some of the texts in the anthologies are not by architects. Others may be too short. Your text should be by an architect. Places to find additional resources: ● Use the bibliography found in the textbook. Search databases for scholarly articles and articles from architecture journals, particularly the Avery Index, JSTOR, ArtSource, and ProjectMuse. Wikipedia is not an adequate source for a college level paper, but many Wikipedia articles now have very extensive lists of sources.See Answer
Q20: Complexity and Contradiction in Architecture Robert Venturi with an introduction by Vincent Scully The Museum of Modern Art Papers on Architecture The Museum of Modern Art, New York in association with the Graham Foundation for Advanced Studies in the Fine Arts, Chicago Distributed by New York Graphic Society, Boston Contents Acknowledgments 6 Foreword 8 Introduction 9 Preface 13 1. Nonstraightforward Architecture: A Gentle Manifesto 16 2. Complexity and Contradiction vs. Simplification or Picturesqueness 16 3. Ambiguity 20 4. Contradictory Levels: The Phenomenon of "Both-And" in Architecture 23 5. Contradictory Levels Continued: The Double-Functioning Element 34 6. Accommodation and the Limitations of Order: The Conventional Element 41 7. Contradiction Adapted 45 8. Contradiction Juxtaposed 56 9. The Inside and the Outside 70 10. The Obligation Toward the Difficult Whole 88 11. Works 106 Notes 132 Photograph Credits 133 Preface This book is both an attempt at architectural criticism and an apologia-an explanation, indirectly, of my work. Because I am a practicing architect, my ideas on architec- ture are inevitably a by-product of the criticism which accompanies working, and which is, as T. S. Eliot has said, of "capital importance. in the work of creation itself. Probably, indeed, the larger part of the labour of sifting, combining, constructing, expunging, correcting, testing: this frightful toil is as much critical as creative. I maintain even that the criticism employed by a trained and skilled writer on his own work is the most vital, the highest kind of criticism . . ." ¹ I write, then, as an architect who em- ploys criticism rather than a critic who chooses architecture and this book represents a particular set of emphases, a way of seeing architecture, which I find valid. 1 In the same essay Eliot discusses analysis and compari- son as tools of literary criticism. These critical methods are valid for architecture too: architecture is open to analysis like any other aspect of experience, and is made more vivid by comparisons. Analysis includes the breaking up of archi- tecture into elements, a technique I frequently use even though it is the opposite of the integration which is the final goal of art. However paradoxical it appears, and de- spite the suspicions of many Modern architects, such disin- tegration is a process present in all creation, and it is essential to understanding. Self-consciousness is necessarily a part of creation and criticism. Architects today are too educated to be either primitive or totally spontaneous, and architecture is too complex to be approached with carefully maintained ignorance. As an architect I try to be guided not by habit but by a conscious sense of the past-by precedent, thoughtfully considered. The historical comparisons chosen are part of a continuous tradition relevant to my concerns. When Eliot writes about tradition, his comments are equally relevant to architecture, notwithstanding the more obvious changes in architectural methods due to technological innovations. "In English writing," Eliot says, "we seldom speak of tradi- tion. . . . Seldom, perhaps, does the word appear except in a phrase of censure. If otherwise, it is vaguely approbative, with the implication, as to a work approved, of some pleasing archeological reconstruction. . . . Yet if the only form of tradition, of handing down, consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes, 'tradition' should be positively discouraged. Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense, which we may call nearly indis- pensable to anyone who would continue to be a poet beyond his twenty-fifth year; and the historical sense in- volves perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe . has a simultaneous existence and composes a simultaneous or- der. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and temporal together, is what makes a writer traditional, and it is at the same time what makes a writer most acutely conscious of his place in time, of his own contemporaneity. ... No poet, no artist of any kind, has his complete meaning alone." 2 I agree with Eliot and reject the obsession of Modern architects who, to quote Aldo van Eyck, "have been harping continually on what is different in our time to such an extent that they have lost touch with what is not differ- ent, with what is essentially the same." ³ 4 The examples chosen reflect my partiality for certain eras: Mannerist, Baroque, and Rococo especially. As Henry-Russell Hitchcock says, "there always exists a real need to re-examine the work of the past. There is, presuma- bly, almost always a generic interest in architectural history among architects; but the aspects, or periods, of history that seem at any given time to merit the closest attention cer- tainly vary with changing sensibilities." * As an artist I frankly write about what I like in architecture: complexity and contradiction. From what we find we like-what we are easily attracted to-we can learn much of what we really are. Louis Kahn has referred to "what a thing wants to be,” but implicit in this statement is its opposite: what the architect wants the thing to be. In the tension and balance between these two lie many of the architect's decisions. The comparisons include some buildings which are nei- ther beautiful nor great, and they have been lifted abstractly from their historical context because I rely less on the idea of style than on the inherent characteristics of specific buildings. Writing as an architect rather than as a scholar, my historical view is that described by Hitchcock: "Once, of course, almost all investigation of the architecture of the past was in aid of its nominal reconstitution-an instru- ment of revivalism. That is no longer true, and there is little reason to fear that it will, in our time, become so again. Both the architects and the historian-critics of the early twentieth century, when they were not merely seeking in the past fresh ammunition for current polemical warfare, taught us to see all architecture, as it were, abstractly, false though such a limited vision probably is to the complex sensibilities that produced most of the great architecture of the past. When we re-examine or discover-this or that aspect of earlier building production today, it is with no idea of repeating its forms, but rather in the expectation of feeding more amply new sensibilities that are wholly the product of the present. To the pure historian this may seem regrettable, as introducing highly subjective elements into what he believes ought to be objective studies. Yet the pure historian, more often than not, will eventually find himself moving in directions that have been already determined by more sensitive weathervanes." 5 I make no special attempt to relate architecture to other things. I have not tried to "improve the connections be- tween science and technology on the one hand, and the humanities and the social sciences on the other . and make of architecture a more human social art." I try to talk about architecture rather than around it. Sir John Summerson has referred to the architects' obsession with "the importance, not of architecture, but of the relation of architecture to other things."" He has pointed out that in this century architects have substituted the "mischievous analogy" for the eclectic imitation of the nineteenth century, and have been staking a claim for architecture rather than producing architecture. The result has been diagrammatic planning. The architect's ever diminishing power and his growing ineffectualness in shaping the whole environment can perhaps be reversed, ironically, by narrowing his con- cerns and concentrating on his own job. Perhaps then relationships and power will take care of themselves. I accept what seem to me architecture's inherent limitations, and attempt to concentrate on the difficult particulars within it rather than the easier abstractions about it ". . . because the arts belong (as the ancients said) to the prac- tical and not the speculative intelligence, there is no sur- rogate for being on the job." 8 9 This book deals with the present, and with the past in relation to the present. It does not attempt to be visionary except insofar as the future is inherent in the reality of the 14 present. It is only indirectly polemical. Everything is said in the context of current architecture and consequently certain targets are attacked-in general, the limitations of orthodox Modern architecture and city planning, in particular, the platitudinous architects who invoke integrity, technology, or electronic programming as ends in architecture, the popularizers who paint "fairy stories over our chaotic reality" "10 and suppress those complexities and contradic- tions inherent in art and experience. Nevertheless, this book is an analysis of what seems to me true for architecture now, rather than a diatribe against what seems false. Note to the Second Edition I wrote this book in the early 1960's as a practicing architect responding to aspects of architectural theory and dogma of that time. The issues are different now, and I think the book might be read today for its general theories about architectural form but also as a particular document of its time, more historical than topical. For this reason the second part of the book, which covers the work of our firm up to 1966, is not expanded in this second edition. I now wish the title had been Complexity and Con- tradiction in Architectural Form, as suggested by Donald Drew Egbert. In the early '60's, however, form was king in architectural thought, and most architectural theory focused without question on aspects of form. Architects seldom thought of symbolism in architecture then, and social issues came to dominate only in the second half of that decade. But in hindsight this book on form in architecture comple- ments our focus on symbolism in architecture several years later in Learning from Las Vegas. To rectify an omission in the acknowledgments of the first edition, I want to express my gratitude to Richard Krautheimer, who shared his insights on Roman Baroque architecture with us Fellows at the American Academy in Rome. I am grateful also to my friend Vincent Scully for his continued and very kind support of this book and of our work. I am happy that The Museum of Modern Art is en- larging the format of this edition so that the illustrations are now more readable. Perhaps it is the fate of all theorists to view the ripples from their works with mixed feelings. I have some- times felt more comfortable with my critics than with those who have agreed with me. The latter have often misapplied or exaggerated the ideas and methods of this book to the point of parody. Some have said the ideas are fine but don't go far enough. But most of the thought here was intended to be suggestive rather than dogmatic, and the method of historical analogy can be taken only so far in architectural criticism. Should an artist go all the way with his or her philosophies? R.V. April, 1977/n 9:27 .5G 214 < To Do MH Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 Marianne Holbert 16 Apr 2024 at 4:25 PM Prompt #1: Metabolism proposed radical ideas for urban renewal and regeneration. "A key passage in the Metabolist declaration reads. 'We regard human society as a vital process, a continuous development from atom to nebula. The reason why we use the biological word metabolism is that we believe design and technology should denote human vitality. We do not believe that metabolism indicates only acceptance of a natural, historical process, but we are trying to encourage the active metabolic development of our society through our proposals.' This is an important element in our declaration for two reasons. First, it reflects our feelings that human society must be regarded as one part of a continuous natural entity that includes all animals and plants. Secondly, it expresses our belief that technology is an extension of humanity." (Kurokawa 1971, 27). Are humans an extension of technology or separate from it? Refer to and cite specific passages as you engage the discussion. - What demonstrates the Metabolists' belief that technology is an extension of humanity? - How did Metabolism address the need for change and transformation within urban environments? - Analyze passages Metabolism in Architecture and View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:27 < To Do Assignment Details . 5G 214 ARCH 3214-001: Hist & Thry of Architecture 2 process, a continuous development from atom to nebula. The reason why we use the biological word metabolism is that we believe design and technology should denote human vitality. We do not believe that metabolism indicates only acceptance of a natural, historical process, but we are trying to encourage the active metabolic development of our society through our proposals.' This is an important element in our declaration for two reasons. First, it reflects our feelings that human society must be regarded as one part of a continuous natural entity that includes all animals and plants. Secondly, it expresses our belief that technology is an extension of humanity." (Kurokawa 1971, 27). Are humans an extension of technology or separate from it? Refer to and cite specific passages as you engage the discussion. - What demonstrates the Metabolists' belief that technology is an extension of humanity? - How did Metabolism address the need for change and transformation within urban environments? - Analyze passages Metabolism in Architecture and highlight design proposals that highlight the movement's vision for reshaping cities to accommodate evolving social, economic, and cultural needs. - Kurokawa speaks of the Characteristics of Japanese culture that are the most influential in the design thinking beneath the Metabolist movement. View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:28 < To Do Assignment Details . 5G 214 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #2: Metabolism ideology suggested a cyclical process of construction, destruction, and reconstruction. Kurowaka wrote: "This philosophy of continuity, characteristic of wood-based culture, is lacking in stone-based culture. Instead of using the material in such a way as to make full use of its natural characteristics, stone-based culture processes the material, and physically alters it... Furthermore, unlike wood-based culture, stone based culture opposes nature, its architecture uses walls to protect the interior from the exterior. According to this approach, architecture and nature are discontinuous. Human beings do not live with architecture for architecture is only a container for human beings. This aspect of the traditional stone-based culture is directly connected to modern rationalism and to functionalist architecture" (Kurokawa 1971, 34). Probe the ideas of change in architecture. Refer to and cite specific passages as you engage the discussion. - Explore passages from Metabolism in Architecture that examine the role of destruction, construction, and reconstruction in the evolutionary process of architecture. - Consider how this perspective challenges conventional notions of permanence, durability, or conservation. -Should architecture more naturally embody cyclical View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:28 . 5G 214 < To Do Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 wood-based culture, is lacking in stone-based culture. Instead of using the material in such a way as to make full use of its natural characteristics, stone-based culture processes the material, and physically alters it... Furthermore, unlike wood-based culture, stone based culture opposes nature, its architecture uses walls to protect the interior from the exterior. According to this approach, architecture and nature are discontinuous. Human beings do not live with architecture for architecture is only a container for human beings. This aspect of the traditional stone-based culture is directly connected to modern rationalism and to functionalist architecture" (Kurokawa 1971, 34). Probe the ideas of change in architecture. Refer to and cite specific passages as you engage the discussion. - Explore passages from Metabolism in Architecture that examine the role of destruction, construction, and reconstruction in the evolutionary process of architecture. - Consider how this perspective challenges conventional notions of permanence, durability, or conservation. Should architecture more naturally embody cyclical processes of impermanence? - Do you agree with Kurokawa's differentiation between wood-based and stone-based architecture cultures? View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:28 < To Do Assignment Details .5G 214 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #3: Metabolism emerged during a period of rapid technological advancement. Kurokawa wrote "At the same time that the rapid economic development of Japan began, in 1960, the Metabolist group advocated the creation of a new relationship between humanity and technology. Thinking that the time would come when technology would develop autonomously to the point where it ruled human life, the group aimed at producing a system whereby man would maintain control over technology" (Kurokawa 1971, 31). Examine the words and ideas connected to the Metabolists attitudes and approach to technology. Refer to and cite specific passages as you engage the discussion. - Examine examples from Metabolism in Architecture that demonstrate how technology was harnessed to create flexible, adaptable structures capable of responding to changing societal needs and technological developments. - Discuss examples from Metabolism in Architecture that illustrate the movement's approach to designing buildings that could adapt and evolve over time, challenging traditional notions of permanence. -Should buildings be easily reconfigured, expanded, or altered as needed to more truly reflect the realities of natural systems? View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications InboxSee Answer

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