Project 2.2: Bedroom in Blocks

DA3: Coffee Kiosk

RR12: Changes in a Chapel at Ronchamp

We are entering into the modern era of architecture in the final weeks of this class, which is classified as a radical break with past forms. There are many different explorations in how this break is classified, and with the introduction of new building materials like steel and concrete, the expression of these new ideas significantly challenges building expectations from the 20th century on.

Le Corbusier is one such architect whose use of concrete in innovative forms and a free plan challenges even the most historically conservative architectural types: the catholic church. His chapel, Notre Dame de Haut at Ronchamp was built in 1955 in the Jura Mountains of eastern France on the site of a former pilgrimage chapel that was demolished in WWII. The new chapel is sculptural in form (see below).

http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/

The walls and the roof are all curvilinear (see below), sculptural in form and intentionally contrasting the traditional forms of a chapel building. The curve of the walls structurally support the curve of the massive roof and additionally are acoustical components for sound to carry across the hillside when services are conducted out of doors.

http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/

 

 

 

 

 

 

 The interior was designed to include:
-chapel tower
-sacristy tower
-baptistry tower
-two entrances
-one altar

But perhaps the most compelling feature of the Chapel at Ronchamp is the interior light. "Corbusier wanted the space to be meditative and reflective in purpose.  The stark white walls add to this purist mentality that when the light enters into the chapel there becomes this washed out, ethereal atmosphere.  The effect of the light evokes expressive and emotional qualities that create heightened sensations in tune with the religious activities [http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/]." He does this with his innovative take of the traditional stained glass windows that can be seen below.

http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/

A quick look at the section reveals the more fluid, structural and sculptural forms of the Chapel itself (see below).

http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/

 However, a panned-out view of the interior from the same orientation reveals a much different interior space (see below). To me, this is a great example of how a 2D rendering is much different than the rendering of the full space.

http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/

There are several things from this particular site that I feel I can take from Le Corbusier's work. The first is the power of exploration and the challenge of thinking outside of the (Catholic Cathedral) box. Another is that sculptural forms can be adapted for architectural spaces, and in some cases define architectural spaces. This is particularly key for me with my background in sculpture. Light as a formal element is also key here, remembering that small gestures can have huge impact. And finally, I think that this chapel is an excellent example of how designers and architects should think beyond plan and section renderings when envisioning a space, because this is clearly one of those spaces that moves beyond two-dimensional renderings for understanding.

[BP12] good design for all: everything fits in the fit

http://automobiles.honda.com/fit/exterior-photos.aspx

Perhaps I am a bit biased, as my Honda Fit gets me to school and back everyday from Winston, but I consider my Fit a contender for "good design for all." Compact with a tight turning radius, the fit comfortably seats four (or five if the backseat passengers are smaller in size like myself) with room to spare in the back for all necessary weekend luggage. The back seats lie flat and have successfully housed all sorts of combinations of bookcases, desks, large pieces of furniture, two bicycles, moving boxes, a cat and two dogs, or enough beach camping equipment for a week. With super stellar crash safety ratings, excellent gas mileage as a low emissions vehicle, a great sound system, and amazing affordability, I have highly recommended this car to a whole range of friends who are on the market for their next car. Incorporating both form and function, in addition to commodity, firmness and delight, I consider my compact vehicle super-sized in good design for all.

Reverberations: Unit Summary 2

http://www.dartmouth.edu/~classics/rome2003/updates/week7_8/1113vic35Web.JPG

The middle chunk of the semester focused on the reverberations in the design world after the rules were finally written down for architecture. In the East, the rules were established and afterwards a continuation of the same principles was encouraged. In the West, a new cycle was created between classical revivals and the subsequent breaking of the rules. Each cycle was discussed in a two-week section.

We began this unit looking at Medieval churches and then contrasting those churches with Gothic cathedrals and architecture and the exploration of architecture as frozen music. The keywords we created as we considered music and design included structure, order, repetition, rhythm, contrast, balance and unity. Using these forms we then moved onto the Renaissance, where the Gothic forms were rejected and the rules of good architecture were written down. Some of the rules included reviving the past using classical language, strive for order and harmony in all things, man is at the center, move forward the secular agenda along with the religious agenda, and expand your physical world. At the same time we looked at the rules set in place in the East, of which the major difference included maintaining continuity in the past and placing community needs before the individual while exploring the inner world.  Andrea Palladio’s Villa Rotunda (image at the beginning of this entry) and his book on architectural rules was a key concept during this introduction to the unit, as his work reverberates throughout the centuries.

Once the rules were established, the Baroque period was ushered in where the rules were challenged. An example of this is Boromini’s San Carlo alle Quattro Fontane, with its undulating façade and oval shaped interior and dome, which was in direct contrast to the more classical geometric forms from the Renaissance.  Additionally in France, we looked at Versailles, King Louis the 14^th ‘s reimagined palace outside of Paris, and how the architecture of happiness article by de Botton illuminates interior spaces in their relationship with its inhabitants.

As technology changes, there is a continuity of classical influences and a re-establishment as classicism as the true roots of desirable architecture. The best example of this is in England, which was quickly becoming the dominating world power as France heads towards its Revolution. The colonial expansion during this time period increases the influx of people and ideas and the first roots of the United States, which draws on Palladian influences. The Unit concluded with a trip to Monticello and Fallingwater.

The establishment of the “rules” of architecture in the Renaissance has reverberated through design practices in the West since. Either by borrowing from Palladian architecture or by rejecting the classical style in favor for something more organic, this Unit has helped to define just how deep the classical roots run in Western culture.  These layers of history and significance have helped me understand more fully why “traditional” or “conservative” buildings hark back to classical architectural types. Additionally, I think looking forward into the complexities of styles in the modern world, knowing the rules has helped me understand how and why modern architects pushed those rules and often broke them. I think that the Reverberations Unit has really helped me apply context to the many concepts from the previous Foundations Unit at the beginning of the semester. Additionally, I feel better suited to delve into the complexities of architectural forms spawned from the Industrial Revolution.

RR 11: Defining Pubic Space with New Technological Advances - Paris Opera House

With the dictatorship of Napoleon III, a new architectural mix was desired, called the Second Empire Baroque, the opulence of the style was considered distasteful and in direct contradiction to its modernist contemporaries. Blending both the colonnade from the Louvre with inspirations from Michaelangelo's work (facade seen below), the Paris Opera House designed by Charles Garnier was a successful study of how people move in space.

Garnier theorized that the purpose of the Opera was less a space for the music and more a space "to see and be seen" socially. He studied the space a couple uses when promenading and designed his grand central staircase inside to accommodate this social activity. (seen below)

Additionally, Garnier considered the various types of people who would attend the theater. He noted four distinctions:

-those who arrive by foot
-those who arrive by carriage
-those who already had tickets
-those who bought them at the box office

Using this knowledge, he designed four separate entrances to the building, all from different sides. The front facade was designed for those entering by foot. On one side is a place for those entering by carriage, and on the opposite side is a grand entrance for the emperor himself. At the back of the theater is the entrance for the actors and all those who worked there. This clear division can be seen on the plan (below):

Garnier designed the structure of the building from a new material, steel, which is encased with stone and brick. A greater emphasis was placed on the flow and movement of the people in the space - with the stairwell as a stage within the theater. Sectional views of the Opera House illuminate the egress:

In a period of innovations in both technology and style, I found this mix of pseudo-classical appearances with the new technology of steel a successful integration of thoughtful design. I am also particularly impressed with the considerations for how people move within a space, especially a public space. This harkens back to the Colosseum in Rome and the innovations of moving large masses of people in and out of spaces. This mesh of substance and style is an exploration that I find I need to be mindful of in my own design. 

http://www.greatbuildings.com/buildings/Paris_Opera.html

[BP 11] Style & Substance in Modern Design

I ran across this article this past weekend on a discussion of redesigning public space in Cleveland, Ohio. The major question appears to be how to best unify both form and function in a public space with a thoughtful consideration of how to attract and maintain a public presence. The latest proposal can be seen below:

http://media.cleveland.com/pdgraphics_impact/photo/11cgmalljpg-b09cefc673b80f25.jpg

 

 

I find that this article tied directly to our discussion in class of how to define and design a space that works reflects contemporary society, especially in the first industrial and globalized economies.  This past week in class, we discussed several different simultaneous movements in design across the world during the turn of the 20th century. As the world became more closely connected and interdependent, each country began to define its own distinct style, especially in the United States. With the new innovations in building that allowed for the first skyscrapers (after the combination of steel and glass), the overriding question became how incorporate classical building designs with the new, lighter-weight and transparent materials. Here we are 100 years later, and we are still having similar discussions on how to thoughtfully merge new technology into appealing and human friendly space. This style and substance debate is still being explored today.