GRAMMAR : SYNTAX

[re]visions
In history we learned about Baroque France, a form of architecture that evolved in the 15th century. This was a revision of traditional French architecture in which the main rooms of a building were emphasized as the hearth with side wings of less importance. Also this revision included the integration of gardens into residential homes.
Much like the French, " The Italian royal palaces featured those of marble mosaic. The tops we often in laid with geometric designs in the pietra dura technique and were therefore, very costly; tables constructed and decorated in this manner were valued and used in princely palaces all over Europe." (Blakemore, 152)
So we can see that throughout history and in many different places revisions are constantly made to design and architecture.


I created several different patterns to revise my ideas for the light project. (4 separate drawings)

Audience
As we developed our “lights” in studio, we had to not only think about who would be seeing our projects but where they would be viewed. This week I learned to look at things besides people as an audience. For example the way light is manipulated as it passes through each project is an effect our project is having on the audience. I am trying to think of light as an audience in the way it is being presented through my project.


A sketch model of my "light"

character
This week we learned about character the most in history when we studied the Davids. One, (the most famous) is Michelangelo’s David and the other is Bernini’s David. We studied how Michelangelo’s David is one that is not in motion, but rather posing after winning his battle. On the contrary, Bernini’s David is in the middle of the action. Although the two sculptures are of the same person, the character of each is very different.





transition
For studio this week, our project has been taking natural found pieces (I chose a few flower blooms, twigs and water to work with) and transforming them into a celebration of light with ¼ inch medium density fiberboard. I found this a huge challenge because I chose pond water as my final natural object. The idea of making the transition from something as fluid as water to something with no form beyond a rectangular board was intangible to me. I then decided to use a clear linear element to join the two and I am now developing a light fixture/window treatment using clear glue sticks and the MDF.


Capella Coranaro by Bernini uses light and theatricality to make hard materials portray fluidity and emotion.

We also learned about transitions in design this week. For example: “When Louis XIV reached maturity in 1661 and assumed personal control of the government operations, he began an extensive enlargement of Versailles.” (Roth, 417)

datum
This week, we used datum lines most frequently in our final presentations boards for drawing class. My group presented the Ferguson building, using a brick graphic made of cardboard, placed on yellow matte board with a composition of black and white and colored drawings. Datum lines were imperative for keeping our project looking neat and professional. We focused on using a grid to make the arrangement easy to follow. Overall, I found our presentation extremely successful.
Datum also exists in architecture. For example, Blakemore writes,"[...]the ceiling was deeply compartmented with an emphasized center- an oval, a circle, a rectangle or other complex contours, surrounding this centerpieces were anciliary divisions." (Blakemore, 154). These divisions created a datum and sense of balance and organization in the design.


Planning our board on a grid with a central horizontal datum.


The final product (Photo courtesy of Christy Wallace)

Overall this week, I have learned the most about transitions through design. I have also learned the importance of other elements such as character. Most of all, though, I have taken with me the thought of revision. Before entering IARC I bareley revised any work, but I have learned the hard way that the first iteration is always WRONG.