Studio Folder Submissions

Atmosphere Seminar

1) Benedikt and Zumthor both talk about the experience of architecture and the emotions that different atmospheres present to us. Zumthor begins talking more of how to create these atmospheres while explaining how certain aspects are attainable through architecture. Benedikt looks more at atmospheres and how it is able to affect one's mood and not create it entirely.

2) It comes across that Zumthor and Serra want to create an influential space, but the processes of each are very different. Zumthor wants to have a great effect on viewers of the space, only without them being completely aware of it. He also goes on to explain materials to be endless because of all the ways that they can be spaced, manipulated and applied. Serra on the other hand wishes to create a space with a more upfront experience which would be noticed by its viewers and not really had to be thought into.

3) Architecture is mostly about the experience that is had within it, but it is also about where it is at on the site, also the physical beauty and its appeal to its viewers, and the last thing that affects everything is the funding that is place and the restrictions it puts into place. All of these could have an effect on how a building is designed or constructed. 

4) Seeing beauty in the created architecture is not always an easy thing to accomplish.  Beauty, in architecture, must has to incorporate several needs in order to earn such a label. The building has to be: first be practical, functional, and serve a purpose. All the while doing so, the building has to have an aesthetic appeal. Just because it does not appeal to everyone does not mean it does not appeal to the owner. As the saying goes, "beauty is in the eye of the beholder," which for the most part is always true. Otherwise the process has to be redone.

Pathway With Section Cut

Weight and Measure Reading by Richard Serra

1. He let the space maintain its boundaries as well as wanted to deal with volume, mass, space, and directionality of the space the two elements create a manifestation of space. it also allows experiential awareness of yourself and the space.

2. The field is the space around the elements and how they relate to it. Serra does not want too much space or too little space. The "experience of presence" is something that is had by the viewer and how they take in and deal with the spaces and objects around them.

3. The octagonal space is a center piece which is also self referential that contains a center of gravity. the pedestal condition creates a focal point for the octagonal space. The columns and vertical axis challenge him because they could take away from the elements if they are not scaled correctly. Both horizontal and vertical axis were a challenge because Serra wanted to create a pure space for the two elements and he had to deal with the space around them.

4. Because Serra wanted to create a sort of pure space he had to deal with physical space in the galleries. The scale of the elements created a fine proportion left around and by them. The rectangular shape read as more of a contextual external condition of space. it also worked well with the room and directionality of it all. The number 2 starts to create a series, and anymore would have taken away from the elements present in the space. It would also show a greater emphasis on the elements as objects rather than space that is taken up.

5. Similarities between the two would be a memory space in terms of a sequence as well as emphasizing the vertical plane which allows both to embody the direction in a space. Newman's zip painting achieved the same thing Serra's achieved spatially. The differences can be see that Newman Used vertical to horizontal to create a bilateral relationship where as Serra utilized both horizontal and vertical in the same manner not going from one to the other.

Book Sections

Theme: Axis That Reach/ Paths That Wander

Compositions: Rooms That Define/ Space That Leaks Up Into The Light

Rooms, Intersections, and Circulation Diagrams

Experience and Memory Map

Shoe Molds

Memory Drawing

Shoe Plan

Light, Volume, and Shadow

Points & Lines/ Architecture of Reality

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?

The Grid system of Lubbock, the streets going from East to West and North to South

The stop signs are the solution to dealing with people coming to the intersections

There is a consistent degree in the roads.

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?

The mosque has a set condition that can be replicated, that has the same spacing.

It can be compared to a Car dealership with the spacing in the line of same cars.

What are some other examples of field conditions that can be observed around campus?

The sidewalks that connect all of the buildings entrances and exits to each other

People cycling through the doors of the Stadium

Empty seats are one and another being people filling them

Parking lots

How does a field condition stand to redefine the relation between figure and round?

Giambattista Nolli's poched map of Rome with its lights and darks

What is the reality Michael Benedikt writes about?

It's the ability to imitate other things

For dreams Reality is temporal

Dreams are not really a tangible reality

Reality is Physical in a sense

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 illusions can be seen as the English Philosophy building on Texas tech campus because there are false balconies as well as false doors leading to these balconies.

Architecture of games can be seen as the Manhattan transcripts

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?

Church's have symbolism- specific churches such as Catholic ones

Flags have symbolism in the sense of battles or wars

shopping malls have it because of all the materials that are involved and the media that is present

Non symbolic would have to be the parking lot because it's a utility space

another would be the space underneath power lines

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?

Post modern can be seen as suburban houses and Vegas post environment

The 70's and 80's are illusion types

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- feeling the presence of making itself known feels like it has the right to be there

Significance- embodies its worth with others views, symbolic to people amount of value it has to some people has an immediate impact

Materiality- how it is used also what is given while managing space. There is a difference in structure making things that they are not.

Emptiness- is a containment of space, and example is the Kimble Art Museum in Fort Worth, Texas

Other embodiment, emptiness that has gravitation to it.

Flatland