Atmospheres

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"?

Zumthor discusses the possibilities of how to create an atmosphere, how to take a feeling or mood and translate it into a physically defined space. Benedikt talked about architecture in more of an analytical tone, looking at how structures affect us, while Zumthor looks to make the architecture the cause for Benedikts affect.

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?

Their explanations are similar in that they want to define the mood and or reaction of whoever is occupying or inhabiting the space. Serra seems to want to create a hard definition of the space and an instant recollection of the experience while Zumthor wants to create a space that creates a mood without the occupant noticing.

3. Zumthor looks towards experiential conditions when creating architecture, what are other methods architects use when generating architecture and what is the corresponding building?

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.

Beauty of architecture is very difficult to define, as it is usually a composite of several aspects. My subjective understanding of beautiful architecture is a definition of space that allows that moves the user both physically and spiritually while remaining also aesthetically appealing.

Weight and Measure

1. What were Richard Serra's goals for the installation?

He wants the installation to create it's own space, separate from the building within which it is being installed. Also, he wants the sculpture to create a lasting experience.

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 he is referring to is the relation of the sculpture to the gallery space. The tension he is describing is the difference of the sculpture from the gallery space. The experience of presence is defined by this difference and the way the the sculpture is not to blend in with the gallery but be a separate element within it.

3. How do the columns, pedestal condition, octagonal space and vertical axis challenge Serra?

The columns challenge Serra because he does not want to mimic them in his sculpture. He wants to maintain a separation between his installation and the galleries preexisting structure. The pedestals also challenge him by creating a visual plane. The octagonal space eventually renders itself unusable because of it's pompous self implication.

4. What is effective in terms of the shape, scale and number of the two square elements in the Duveen Galleries?

The elements create a balance within the space. The original idea of five elements, that changes to three and eventually two, places to much emphasis and visual weight on particular elements. When it is narrowed to an idea of three elements there is too much visual weight placed on the element residing in the octagonal space. This would be the same even if there was not such a drastic space for a middle piece, there would still be an imbalance. The shape that is used comes about as an effort to separate the piece from the existing structural elements. Instead of using the original round or multi-faced form, which would relate too much to the existing structure, Serra chooses a square form. This rectilinear form relates to the space rather than the structure.

5. Describe the differences and similarities between Barnett Newman's and Richard Serra's work.

Both men are expressing a "cut" in space. Each going about it in his own way. The difference is that Serra's work strives to create an experience while Newman's work reminisces about, and clarifies a past experience.

Serra creates an experience while Newman references experiences.

Reading Selection

Theme-

Axes That Reach / Paths That Wander

Compositions-

Types That Recur / Order That Comes And Goes

Site Model Diagrams

Cast Documentation

Memory Drawing

Shoe Plan

Light, Volume, Shadow

Scale Reference

Plan 1
Plan 2
Plan 3
Plan 4
Elevation 1
Elevation 2
Elevation 3
Elevation 4

For an Architecture of Reality ::: Michael Benedikt

What is the reality Michael Benedikt writes about?

Architecture. He explains how the reality of architecture is different for everyone because of

symbolism and the way that each person interprets it. He also lists the 4 components of realness

that make up "real" architecture.

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?

"of Dreams" - Emilio's Folly

"of Games" - The Manhattan Transcripts

"of Illusions" - Mural, Kroger Building

"of Jokes" - Commercial Building (Austin, Tx)

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 is unavoidable. No one thing exists without being a symbol for something and to someone. One might say that a Wal-Mart distribution center isn't symbolic of anything, but to people who work there the building symbolizes daily life and employment.

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 the city an architecture of reality can be found with utilitarian structures and systems. Power stations, sewers, telephone poles. Post-modern can be found readily on the Las Vegas Strip.

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:

- an architecture for reality must speak for itself

Significance:

-there must be something significant about the architecture

- the way in which it was constructed

- how it interacts with people and how people interact with it

Materiality:

- an architecture of reality must be honest in it's materials

- if an architect wants to construct a facade out of foam, and the foam is covered in stucco, the architecture is lying about its material

Emptiness

(1) - refers more so to the potential of the architecture

(2) - the architecture draws people to it.

Points and Lines ::: Stan Allen

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?

A field condition is created by the repeated grid structure of the Lubbock. Also, the repeating stop-signs, traffic lights, and street lights create field conditions.

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?

- An algebraic combination involves simply extending the fields and conditions already put in place by the existing form and structure.

- A geometric combination on the other hand suggests replicating through the use of ratios of the existing geometric forms

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

-Crowds of pedestrians

-Sidewalks

-Parking-lots

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

A field condition can represent the patterns and uses within a space, while field and ground only represents inhabitable and uninhabitable spaces.

FlatLand