I. Select an object or a building from any time period that you believe meets Wotton’s
definition (as cribbed from Vitruvius) of commodity, firmness, and delight. With an
annotated image, take care to EXPLAIN the ways in which you see the definition
realized through the object or building. Use design language and concepts discussed
in class for dealing with precedents
Alvar Aalto's Vippuri library/auditorium certainly meets the standards of Wooten's definition of commodity, firmness and delight. Focusing on the auditorium section shown in the picture above, the space is designed to be an acoustic masterpiece. Using relatively new-to-the-time materials, Alto dequises the techtonics of the structure with an undulating wood ceiling creating a softer approach to the modern design that could have had a completely different rank on my scale of architectual delight had its mechanics underneath the wood been exposed. The use of the wood material creates a whole different feel to the space allowing the occupant to emerse themselves warmer environment less sterile than simply a concrete and steel room. The repeating curves of the ceiling create a wave that descends throughout the auditorium which establishes a means of hierachy throughout the space as the room an its entirety needs as much attention from the front as it does from the back. For instance, an occupant listening to the a performance seated in the back of the space deserves to hear it the same as they would had they sat in the front and vis versa. Following the wave takes the occupant in a streamline throughout the space as a whole. This gliding movement of a natural material makes for a pleasing vision of the emersion of the outdoors with the indoors, ranking high on my interpretation of delight. Of course the addtion of the wood is completly nessessary though to create its high condition of commodity. The undulating wood ceiling is a main acoustic benefit to the principal function of the room as an auditorium. In conclusion, the building stands and has no major stability flaws to my knowledge therefor Wooten's condition of firmness is checked off.
II. Working from Harwood et al’s concept of cultural precedents, select one of the
contemporary textiles illustrated above and PINPOINT the influences you see from the
eastern world on the production of fabric in the west. Concentrate on motifs and
patterns provided in Harwood’s text
The farthest right textile, which depicts a series of overlapping spirals and wave like forms (similar to what people would now call paisley) are part of a contemporary design whose influences wether known or unknown, actually came from eastern designs from long ago. The roots of the wave and spiral design can be tracked back to the geometric motifs made by the native peoples of the eastern hemisphere. Originally created for function before aesthetic beauty, the spiral and waves motifs could be seen woven into baskets and other small furnishings, many times as storage. The early versions of these designs were inspired by the native's natural surroundings and embedded with ulterior meanings as the spiral and wave combo is said to have have represented rain, prosperity, and fertility across various eastern cultures. Although in todays western society, we simply find this cultivation of shapes a harmonious pattern of which we find visually pleasing rather than symbols to various aspects in the circle of life, early eastern motifs are the original source of many forms we see in moderns textiles.
III. When considering perceptions of personal and social space, Hall and others
suggest that different cultures have different space needs and attitudes. Most
consider that citizens of the U.S. generally feel a need for more space. How does this
play out in the classroom in which we gather for iar222?
As the next McMasions rises in the distance, we become more certain that a new breed of architecture has formed in America. Not that I'm personally a fan of the latest and most popular developments, but they are certainly telling of modern American perceptions of personal and social space, which is much greater than what is once was and even many other cultures today. An outstanding example would be the difference in the average space from the 70s today; 1.800 ft graduated to 3,150 from the 1970s' to 2010. Although the average American home seems to have grown in recent decades, I wonder if that translated evenly into how much personal space was expected/wanted from the 70s to today. One building, or room more specifically causes me to delve into such a subject...for Ferguson 100, built in the 70s could be considered relatively weak in compatibility with its occupant and perhaps be rated even lower on a scale of overall delight felt upon interacting in this room. Both classes I have taken and am currently taking in this room are lecture courses, therefor my major activities in Ferguson 100 include sitting, listening, watching, taking notes, and asking the occasional question. This auditorium of sorts is entirely too compacted to achieve any sort of pleasant commodity with its users, even if all they are doing is sitting and staring (I take notes). At 5'7" , I do not consider myself a gigantic human being, so most spaces should provide necessarily leg and arm room. Unfortunately leg and arm room are completely lacking in this space. I find myself switching between which leg to cross and attempting to keep a still position, arms by my notebook or at my sides in order to not violate my neighbors personal space. When it comes down to it however, just sitting with two other persons on each side of me in a way is a spacial violation we have simply come to accept . To have a face to face conversation with a neighbor opposed to a side face to side-half front combination would be a luxury in this space planning from around forty or so years back, unless one wanted to shift into an entirely new (still uncomfortable) position. As enclosed spaces go, Ferguson 100 exudes a rather compressed dungeon like vibes compared to most classrooms and lecture halls i have occupied in my existence.
IIII. SPECULATE about whether or not there can be an architecture of happiness, as de
Botton writes in the work by the same title. Provide a juicy quote that helps give
evidence to your views from the passage that you read. Include an annotated image of
a happy object, space, building, or place and specify WHY and HOW your example
exudes happiness
Architectural happiness can be achieved, at the same time certain spaces can also cause feelings of uncomfort, sleepyness and even fear. The point that must not be missed in de Botten's text is the discussion of what magnitude architecture can effect ones mood; say if you are already have the blues. Spaces can certainly shape how to feel to an extent, but not how your day goes. However, certain objects, people, and places can provide a sanctuary of comfort to us. Take for example the chair one sits back in and first relax after a day of pent up stress. If this becomes your favorite chair and has that certain association attached to it, the design of the chair can only add to its happiness. I choose the loge easy chair designed by Gerard Van den Berg in 1989 (Made in Holland by Montis). It provides literal comfort with a seat made to slide into, its curvilinear form swoops across your visual track as if to show you exactly how you could glide into comfort in this well designed lounge chair. This object may not inspire design happiness for everyone, but it should be noted that this chair has the "apparent shape of being low and deep, but the seat is actually shallow on the inside, the Loge is also suitable for tall people", a key point i found seeing that many modern stylized chairs are more appeasing to the eye than they are comfortable. When good design and comfort collide though, a certain happiness is born. This chair has all the the potential to be the one to glide into and take your first sigh of relief, finally being able to relax after a stressful day in your (my) favorite chair. "It has provided not only a physical but also a psychological sanctuary. It has been a guardian of identity." (Botten)
