Atmospheres Reading Questions

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 talks about Magic of the Real as relaxation and if there was a way to possible make relaxation within architecture. Benedikt talk more on a level of things that have already been made, and how the change our life's. 

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?

Serra and Zumthor have similar beliefs they both talk about mood and how it changes for each person. But Zumthor is more about trying to capture the mood with in his work and Serra is more about materials creating a repetition that was pure.

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

I think our memory experience has to do with what Zumthor is looking towards. If he didn't study or know how a person were to circulate through a space he would not be able to design a space with functionality. 

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 don't think I have a complete and full understanding of what beautiful architecture is. But right now I think beautiful architecture is function with a pretty face. Elements working together to make your marvel in delight. Without functionality within a space why even consider it a space. And by pretty face I am meaning nice to look at works well with its environment

Memory Experience w/ Section Cut

Richard Serra' Questions

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 space, but to redefine it. He wanted to reinforce the scale of the architecture elements.

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 is referred to as the open space that is not a vocal point within the gallery. The "experience of presence" is seen to be very reliant on the how a person affects that space and how it as a whole is presented.

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

The columns are huge vertical structures that are made to be a foyer like space from one gallery to the next. The pedestal condition challenges a vertical elevation that is different from all the other spaces, yet still in perspective with everything else as a whole. The octagonal space is vocal space that controls the rest of the space. Serra had to overcome all of this and still make it work together.

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

The scale wasn't read into well and its angle was set up in a defining way to work with the sculptures and the architectural set up. The square elements were positioned to stress the horizontal axis that was lacking compared to the vertical axis that was so overriding.

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

Barnett Newman's work is easier to read and comprehend. Newman’s work doesn’t work with space. Richard Serra uses his space as a whole. Horizontal axis, vertical axis and perspective are very important to Serra in this work. Serra considers everything in his work, making sure everything flows.

1 page paper

Chapters 4 & 9

Rooms

Intesections

Circulation

Section Memory w/ Grids

Memory Experience w/ Grids

Shoe Molds / Negative Frame / 2 Part Model

Memory Drawing

Shoe Plan

Hand Holding

Hand Inside

Elevation 4

Elevation 3

Elevation 2

Elevation 1

Plan 4

Plan 3

Plan 2

Plan 1

Point & 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, each street north, south, east, west.


Each street numbered or named alphabetical.


Stop signs give order also the sloping of the roads for rain run off.

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?



Spacing of the columns, radius of each arch way.


Also like a car dealership each car type next to each other in a certain order.



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



Sidewalks that lead to doors that lead to hallways or stairways.


Football games the way people enter and leave the game.


Parking lots each spot the same size.



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



Giam Battisanolli explains it with dark and light space.






What is the reality Michael Benedikt writes about?



Dreams vs. Reality


Dreams are reality that reflects your life that there is no control over.


And reality like walking to class it's real you can feel your body doing work.


With a dream you can't feel it you can see it or imagine it but the feeling is not there as it would be if you got hit by a car in reality vs dreams


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 Joke


For me the English building on Texas Tech campus is a reflection of this. For example there are balconies that you cannot get to.


And I have yet to find a bathroom on the first floor.



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


Statues outside of court houses stand for justice


University's stand for tradition like a mascot of a statue


Non-symbolism


a parking lot or and empty warehouse



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?


Some of the Sub building would be an example also the Overton hotel on Mac davis

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 - something that is meant to be there, and makes you feel feel in touch with the building.


significance - collective value of architecture, the importance of it would it be miss if it wasn’t there.


materiality - how you use a material that catches someone’s eye.


emptiness 1 - space that is not taken up between columns of walls.


emptiness 2 - implied emptiness something that draws you in.

picture

picture

field diagram 2

field diagram 1

plane

line

point

geometric composite 2

geometric composite 1