Atmospheres Reading Q&A

1. How does Peter Zumthor talk about the "Magic of the Real" and explain how this compares, in terms of the subtleties, to Michael Benedikt's "Architecture for Reality"?
--Zumothor talks about the "Magic of the Real" in relation to the atmosphere, physical aspects and realities that can be translated and defined into architecture. Defining the space and taking a moment to take it all in is what defines the experience. Benedikt describes more of how we are physically affected by structures in reality of the architecture.
2. Material Compatibility, Temperature of a Space and Levels of Intimacy are some conditions that both Peter Zumthor, in “Atmospheres”, and Richard Serra, in “Weight and Measure”, make a point of articulating when consider space. Where in their explanation of these overlapping conditions are they similar and where do they differ?
--The similarities of both readings are that they talk about your personal space effecting the architecture and your interaction is what is most important. Temperature is always in relation to the human body, materials are endless and the intamacy of the body effects thresholds. Zumthor relates more to the mood and physical aspects where Serra is more about defining a space that is more apparent.
3. Zumthor looks towards experiential conditions when creating architecture, what are other methods architects use when generating architecture and what is the corresponding building?
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4. For Zumthor at the end of the day, after figuring use, sound, place, light and the other listed conditions, if the coherence isn’t beautiful the process is started again. Beauty is simultaneously subjective for the individual, as held “in the eye of the beholder”, and universally recognizable. Define your subjective understanding of what beautiful architecture is.
--I believe that beautiful architecture is where the interaction of the building and site is well defined along with whats placed around it. The inside space should be well articulated and easy to follow. The use of the inside space i believe is a key factor as well, being able to have the least amount of empty space as possible.

Richard Serra Questions & Answers

1. What were Richard Serra's goals for the installation?
--Serra's goal for the Duveen Galleries was to not take away from its original form, but to simply redefine the space. He wanted to make the space as one, reinforcing scale and the elements of the architecture as a whole.

2. Define the field Serra is referring to when he states that his sculptural elements need to create "enough tension within the field to hold the experience of presence in the place". How do you define "experience of presence"?
--The field Serra talks about is having a plane like visual. When you see the huge columns you see the vertical plane that also goes along with the horizontal plane created by the perspective you see. The "experience of presence" is seen to be very dependent on the self and how aware you are of the presence and the space.

3. How do the columns, pedestal condition, octagonal space and vertical axis challenge Serra?
--The columns are massive vertical structures that are made to be a transition from each individual gallery.The octagonal space is the dominant space that modifies whats already there and is used as a central space. The pedestal condition is read as a separate vertical volume that is out of scale with the other spaces, yet placed to be in perspective with everything as a whole to make it work. Serra had to deal with all of this and make everything work and flow together.

4. What is effective in terms of the shape, scale and number of the two square elements in the Duveen Galleries?
--The square elements were placed to emphasize the horizontal axis was that lacking compared to the vertical axis that was so dominant. The scale wasn't something that was well read into and its directionality was set up in a certain way to work with the sculptures and the architectural set up.

5. Describe the differences and similarities between Barnett Newman's and Richard Serra's work.
--Barnett Newman's work are less complicated to understand, it has a "lack of complexity" as Serra states. His work doesn't work with the space in every way, it just floats through. Richard Serra uses his space as an overall whole. He makes sure to consider everything, he works with the perspective, space, and both horizontal and vertical axis; making sure everything has a flow that works together.

Paper

Chapter 3 - Platforms that seperate / Slopes that join / Stairs that climb and pause
Chapter 10 - Types that recur / Order that comes and goes

Rooms, Intersections, and Circulation diagrams

Memory plan line drawing

Memory section line drawing

shoe casts, negative, and model

Plan Drawing

Shoe Plan

Model - Hand Inside

Model - Hand Holding

Model - Elevation 4

Model - Elevation 3

Model - Elevation 2

Model - Elevation

Model - Plan 4

Model - Plan 3

Model - Plan 2

Model - Plan

For An Architecture of Reality Reading

For An Architecture of Reality
By: Michael Benedikt

1. What is the reality Michael Benedikt writes about?
   --Michael Benedikt writes about the reality of the known and unknown, the reality of dreams has an ending. The reality is physical and he shows how it relates with architecture.
   
2. Benedikt describes degrees of reality in architecture as: Architecture of Dreams, Architecture of Games, Architecture of Illusions, Architecture of Enactments and Architecture of Jokes. What are some example buildings that fall under these categories?
   --Architecture of dreams - This type is relayed as imaginitive space with a surreal quality. An example building would be "Emilio's Folly: Man is an Island" by Emilio Ambasz
   Architecture of games - This type is played out with rules and is a type that needs to followed. "The Manhatten Transcripts" by Bernard Tschumi demonstrates a good example of this.
   Architecture of illusions - This type of architecture appears to be functional, when in reality is was built to give the illusion it serves a purpose but doesn't. A good example of this woud be a mural, on the Kroger building, in Cincinatti, by Richard Haas.
   Architecture of enactments - The type of architecture this is where its a set, like a law would be, there are things that have to be done.
   Architecture of jokes - This type is where its so basic and almost have a messy look to them it comes off child like. The construction of the building isnt something that seems to be professionally done. An example of this is a commercial building, in Austin, Texas by Arquitectonica.
   
3. Benedikt describes “direct esthetic experience of the real” as being moments without symbolism. Where in our environment does symbolism occur and where in our environment is symbolism absent? What is an example of this situation?
   --Symbolism can occur in many places in our environment, some examples are our flag, its something that we acknowledge daily and has significance. Battlefields, such as jamestown, catholic churches and statues are a few other examples. Some things that have no symbolic meaning would be parking lots, spaces under electrical lines and a transformer box.
   
4. Although Benedikt’s position pulls examples from the 70‘s and 80‘s to illustrate that an architecture of reality is polar to the post-modern architecture movement, this condition continues to exist today. Where in the city would be examples of an architecture of reality and post-modern architecture?
   --In Lubbock examples of architecture of reality would be rooftops, parking lots and sewer conditions. Some post-modern architecture examples are suburban houses, and even Las Vegas.
   
5. The four components that define the “realness” of an architecture for reality are: presence, significance, materiality, and emptiness (in two categories). How do these components relate to architecture? and What are some examples of architectural elements that make up these conditions?
   --Presence -It is real to us, it speaks for itself. Presence works with its space like the purpose for being there is already known.
   Significance - It has a collective value, to some people it has an immediate impact with its amount of value.
   Materiality - This is how you use what is given, managing space and making things appear differently then what they are.
   Emptiness - A containment of space, even if something is empty it still has a way of occupying space.

Field Conditions Reading

Field Conditions
By: Stan Allen

1. Stan Allen describes field conditions as “bottom-up phenomena: defined not by overarching geometrical schemas but by intricate local connections.” What are some field condition examples that can be found in the road systems of Lubbock?
   --Some field conditions that can be found in Lubbock are stop signs at intersections, the road gravings because they have a consistant degree, and the layout in relation to a grid system.

2. In part 1, Allen distinguishes a geometric relationship of classical architecture from an
algebraic combination of the Cordoba Mosque. How do these two architectural examples
differ?
--Classical architecture relates to a whole, there is a system that is apparent. The Cordoba
Mosque started with one set condition, like an assembly line, and is grown from there.

3. What are some other examples of field conditions that can be observed around campus?
--Some of the field conditions you can find around campus are the paving, seating at the
football stadium, bike racks, and the parking lots having consistant spaces. All of these
have repeating patterns that make up a field condition.

4. How does a field condition stand to redefine the relation between figure and ground?
--Physical materials define the relationships as well as spacing. There is a consistancy and
two material conditions, it's a one to one relationship. Giambattista Nolli shows a great
example of this with his city plan of Rome, he takes figure ground and makes it useful.

Picture 2

Field 2

Field

Picture

Composite 2

Composite

Plane

Line

Point