Reading Comprehension 4

Question One

The artifacts come together as one through their symmetry and order on the basis of shape, proportion, and embellishment added greatly to their scale in comparison to the architecture that surrounded them. The artifacts listed as the Sheraton chair, State bed by Robert Adam, Tall clock, Windsor chair, and desk all hold highly ornamental aspects, some more than others as they are derived from different places and style periods. Across the board however, the intricacy in the artifacts is clearly defined in their construction. The Windsor chair for instance is perhaps the least ornamental out of the bunch, yet holds an attention to detail through its delicacy with an appearance of boundaries shining through in its shape and proportioned. No geometry within these pieces is random. We see a repetition in motifs, speaking a similar classical language, like the swags depicted on the tall clock. Developing from past designs, these artifacts represent the attention one devotes to more personal objects within a space while displaying the owner’s wealth and learning.

The spaces listed including Holkham, Gunston Hall, Marie Antoinette, Saltrame House Saloon, and Garner Pingree range greatly in their renditions of symmetry and balance. Maries Antoinette’s room is certainly theatrical, but order is still slightly prevalent, developed through pattern. It is still so excessive in its details this “order” feels somewhat chaotic, while in Gunston Hall the architectural element of the stairs are celebrated though symmetry and balance of space through evenly spaced banisters in repeated form. The Garner Pingree has subdued, centralized ornament however, through the placement of urns. Order is brought through transition as the molding following the lines of the room bridges the gap from wall to ceiling, creating fluidity within the space. Classical motifs are brought in spaces like the Saltram house saloon showing repeated forms while in Hokham the repetition and contrast in the placement of patterns brings an organization to the space. These spaces celebrate many classical elements while adding and subtracting ornament, using various techniques such as contrasting ceilings and wallpaper to bring balance throughout the space.

Choosing a different take on classical design, the buildings listed as Chiswick, Drayton Hall, St. Genevieve, Nathaniel Russel, and Monticello all take on ideas such as repeating elements at different scales, built with classicism in mind to depict the owners learning and wealth to visitors. Monticello has an octagonal dome similar to Chiswick, showing to design risks in the formation of complex geometric shapes opposed to a more simply circular shape; a new take on classicism. Contrasting, St. Genevieve takes a more literal approach to classism within its monumental scale and great contrast between solid and void. Drayton Hall and St, Genevieve shares an emphasis on their front facades, similar to that of the Romans. While St. Genevieve is perhaps based off examples such as the Parthenon, Nathaniel Russel takes cues from palazzo Medici going from bottom to top, and public to private.

Taking in the built works of the places listed as England, America, and France, we can observe the influence of Classical architecture of Greece and Rome carry across the regions. With different regions however, come different cultural standards. For example, Classical language within English architecture showed signs of an owner’s education while the classical elements in the newly birthed country of America served as a form of setting standards while legitimizing education much like England. French architecture takes on a much more detail oriented approach in a spin off of Rococo. Addressing the different takes on classical elements Roth discusses “ The Classical elements of column, entablature, pediment, and arch remained, but the intellectual formal austerity was replaced with a new, deliberate sensualism. This change, only hinted at in Mannerist whimsy, shortly would be transformed in full-flown Baroque Theatricality. (ROTH)


Question Two

All and all, I have found the designs begin to encompass three main aspects in my analysis. These are a step towards residential design for the middle class. No longer is “good” design reserved for royalty and the extremely wealthy, the main materials used include a heavy use in wood as it is bountiful across the landscapes, and basic classical principles are tweaked and often simplified to create a less formal atmosphere.

In Boston, The Parson Capen House stays true to classical ideas within the idea of symmetry, and the dark exterior translates similarly to the Hurt House interior in its emphasis of used dark wood as a main material choice. From the beamed ceiling to mixture of contrasting elements throughout the Hurt House, although simple, uses the basis principal of repetition, an aspect carried through in the Gateleg table as well. The repeated geometry within the simple ornamental motif adorning the Gateleg table provides a great staple for each of the space, building, and places within this group, which is a level of functional grace.

The use of contrast is the main principle linking the second group together. Within the light walls and dark wood of the Governor’s Palace we can also see some steps towards simplicity. This is translated in St. Augustine as patterns become much less chaotic. Repetition of geometric shapes is present within the entry of Columbus House and the repeated motifs bring a balance of horizontal and vertical elements in the artifact Fraileros.

The use of compartmentalization stands true in the designs of New Orleans as storage pieces include double doors in their wood form. We can observe these boundaries at the Single Brothers House thought the use of boundaries, compartmentalizing of a larger scale,. Although simplistic, these boundaries are also set within the floor plan of Parlance Plantation throughout the separation of public and private spaces.

In New York, German influence is prevalent in the Jackson house as we see a functional hierarchy in the balanced space of the shrank. Andrew Jackson’s parlor and chamber uses this balance of space to create a multifunctional atmosphere.

“By the beginning of the nineteenth century, architects were turning increasingly to specific source models, in a wide variety of historical styles resulting in revivals of Greek and roman Classicism, medieval and Gothic architecture, as well as Egyptian and even more exotic re-creations.” (ROTH)


A sketch of a Palladian influenced Baroque floor plan.




Question Four

Looking at the Baroque theatricality in architecture within the style period, the buildings do tell a story much like a theatrical show or musical/dance performance. To speculate wether the theatrics or the architecture came first though is quite iffy in my opinion though. Just as buildings, spaces, and artifacts come into different scales of ornament, playing off each other, culture and the activities surrounding it shape architecture as architecture shapes culture vis versa. It would be very hard to not stand in awe at the excessiveness of Versailles just as it would be hard to to move forward in a metro station. When done to meet intention, form translates function, and therefor a culture within a building.