tag:blogger.com,1999:blog-19192021050366698242024-03-28T20:29:34.430-07:00The mind of architectureThe mind of architecture is a blog dedicated to help those who are just starting to learn the basics in architecture, with an attempt to make it easier to understand, creating an easier approach to the craft, and explaining some of the foundations it is built upon.Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.comBlogger59125tag:blogger.com,1999:blog-1919202105036669824.post-20971130815525408682024-03-18T06:38:00.000-07:002024-03-19T16:39:17.703-07:00Ritual Centers | Navigating Ancient Ritual Centers: Insights into Prehistoric Societies and Urbanization<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxb7oIpFNZktwUTRA-49HGknxm75eSwgrD1mOecafU3y2e0-bfwujrhOI-MHX0yxKO4fzvh3BYfkJ_3xc976VCWUCAFlDgBId9tmRjKZTRAzPrXNX6XN1w2L_sIubfngc2xIFxGXNzF03Cj0KGtyTwYtvY4GsNilUl1m0yXjNKzvhC-T3a7d7bPsWO5-tE/s524/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="478" data-original-width="524" height="584" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxb7oIpFNZktwUTRA-49HGknxm75eSwgrD1mOecafU3y2e0-bfwujrhOI-MHX0yxKO4fzvh3BYfkJ_3xc976VCWUCAFlDgBId9tmRjKZTRAzPrXNX6XN1w2L_sIubfngc2xIFxGXNzF03Cj0KGtyTwYtvY4GsNilUl1m0yXjNKzvhC-T3a7d7bPsWO5-tE/w640-h584/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Plan: nabta Playa, Egypt</td></tr></tbody></table><br /><p><br /></p><p><br /></p><p style="text-align: justify;">In the transition to agropastoral lifestyles, human behaviors and perspectives underwent significant shifts compared to their First Society predecessors. This era demanded the clearing of forests, gathering of clay for pottery, establishment of granaries, tending to animals, and processing wool into cloth. Former food plants were now viewed as weeds requiring removal from gardens and farmlands. Prioritization became crucial, children learned their future roles, and priests sought divine favor.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">The complexities of village life included coping with the risks of disease, predators, pests, and neighboring conflicts, necessitating strategic decision-making and social cohesion. This dynamic environment fostered a cognitive revolution, with the village serving as a societal cornerstone across various regions.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Among the earliest manifestations of this transformation is Nabta Playa, located in modern-day southern Egypt. Dating back to 9000 BCE, this site featured a circle of upright stones, akin to Stonehenge, aimed at organizing time according to seasons. Stone alignments aided in solar and celestial observations, likely overseen by priests and clans, with periodic influxes of herder tribes for ceremonial gatherings.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"></p><ul><li style="text-align: justify;">The shift to agropastoral lifestyles marked a significant departure from traditional First Society practices, necessitating changes in human behavior and perspectives.</li><li style="text-align: justify;">Village life entailed tasks such as forest clearing, pottery-making, granary establishment, animal husbandry, and wool processing, along with the reevaluation of former food plants as weeds.</li><li style="text-align: justify;">Decision-making became paramount in prioritizing tasks, educating children, and securing divine favor through rituals conducted by priests.</li><li style="text-align: justify;">Village communities faced various challenges, including disease, predators, pests, and conflicts with neighboring tribes, requiring strategic responses and social cohesion.</li><li style="text-align: justify;">This transformative period sparked a cognitive revolution, with the village serving as a central pillar of societal organization across different regions.</li><li style="text-align: justify;">Nabta Playa, an ancient site in southern Egypt dating back to 9000 BCE, featured a stone circle serving as a ritual center for seasonal time organization and celestial observations, reflecting the early stages of societal transformation.</li></ul><div style="text-align: justify;"><br /></div><div style="text-align: justify;">By 3500 BCE, Nabta Playa had undergone significant aridification, leading to the abandonment of the site as the once-lush lake dried up, prompting a migration from the Nubian Desert to the Nile River. This migration played a crucial role in the emergence of social hierarchies in the pre-dynastic cultures of the Nile Valley. Hathor, the goddess of fertility, served as a significant link between Egypt and the ancient cattle cult of Nabta Playa.</div><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Similarly, atop a hill near the village of Urfa in southeastern Turkey, another ritual site known as Göbekli Tepe existed amidst what was once a flourishing forest. Dating back to around 9000 BCE, Göbekli Tepe featured circular dry-stone walls enclosing monolithic limestone pillars, interpreted as open-air ritual chambers or temples possibly associated with ancestor cults or mortuary rituals. Intricate reliefs of various animals adorned the pillars, showcasing remarkable craftsmanship even without metalworking tools.</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxKCJ2V2MuHMDf6pOQb4JAxrH9EY3lN2cAgkvxGEgkNsOZNMdm1syv8dVuM_OjuL7V37I-06WjPAYNubDBLRZFdSOQd5c6foEpCB9hffxU8nTZCxoCx5avBcrdJIEg4mnCHNWXqdifLWVo_ouvVh27EAb3HOtT2q4TxZZ9Jffa1DKShO1dPJjasV5JuFF/s518/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="518" data-original-width="347" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxKCJ2V2MuHMDf6pOQb4JAxrH9EY3lN2cAgkvxGEgkNsOZNMdm1syv8dVuM_OjuL7V37I-06WjPAYNubDBLRZFdSOQd5c6foEpCB9hffxU8nTZCxoCx5avBcrdJIEg4mnCHNWXqdifLWVo_ouvVh27EAb3HOtT2q4TxZZ9Jffa1DKShO1dPJjasV5JuFF/s16000/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Göbekli tepe, near urfa, turkey</td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">These sites, along with the Niuheliang Ritual Center in northern China (ca. 3500–3000 BCE) and Stonehenge (ca. 3000 BCE), served as gathering places and religious centers for newly settled communities. These ritual centers marked significant milestones in human development, preceding the emergence of cities around 3500 BCE. In Mesopotamia, this urban transformation was a deliberate effort by farmers who, initially avoiding the swampy Tigris and Euphrates floodplains, eventually ventured to cultivate barley, dig canals, and establish settlements, laying the foundation for early urbanization.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div><b>Summary:</b></div><div><br /></div><div>By 3500 BCE, environmental changes led to the abandonment of Nabta Playa and spurred migration to the Nile River, shaping social structures in the pre-dynastic Nile Valley cultures. Göbekli Tepe in Turkey and Niuheliang in China, along with Stonehenge, emerged as significant ritual centers, indicative of early human religious practices. Urbanization around 3500 BCE in Mesopotamia marked a deliberate shift from village life to city development, driven by agricultural advancements.</div><div><br /></div><div><br /></div><div><br /></div><div><ul><li>Nabta Playa's aridification by 3500 BCE prompted migration to the Nile River, influencing social hierarchies in the Nile Valley.</li><li>Hathor, the goddess of fertility, bridged connections between Egypt and Nabta Playa's ancient cattle cult.</li><li>Göbekli Tepe, dating back to 9000 BCE, featured circular stone structures and intricate animal reliefs, possibly serving as open-air ritual chambers or temples.</li><li>Niuheliang Ritual Center in China and Stonehenge in England emerged as significant religious centers around 3500–3000 BCE.</li><li>Urbanization began around 3500 BCE in Mesopotamia, driven by deliberate efforts of farmers to cultivate barley and establish settlements, leading to the emergence of cities.</li></ul></div></div><p></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-79332532011355008092024-03-17T05:55:00.000-07:002024-03-19T16:40:13.217-07:00 Exploring Ancient Hunter Gatherer Societies 25,000 BCE to 15,000 BCE | Ice Age Survival<p style="text-align: justify;"> "During the Ice Age, spanning approximately from 25,000 BCE to 15,000 BCE, humans encountered unprecedented global challenges. The frigid conditions, pushing immense ice sheets southward from the polar regions, notably affected Europe. However, contrary to leaving, inhabitants stayed, drawn by the emergence of prime hunting grounds. These regions became abundant with wildlife such as bears, lions, and vast herds of horses, reindeer, and mammoths traversing the grassy landscapes.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">The Gravettian Culture emerged as pioneers in adapting to the cold. They innovated leather-making techniques and crafted fur-lined clothing, boots, and jackets using needles. These communities gathered near caves adorned with awe-inspiring paintings of animals on walls and ceilings. The enigmatic allure of these artworks, created with astonishing skill and detail, continues to captivate modern imaginations. The depictions, portraying animals not as lifeless carcasses but as vibrant beings in motion, testify to the mastery of artists honed over lifetimes.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">As temperatures rose, hunters migrated eastward, traversing Siberia and eventually crossing Alaska around 13,000 BCE to reach the vast plains of North America. Known as the Clovis People, they initially hunted mammoths before transitioning to bison as mammoth populations dwindled. Their revered landscapes include Seminole Canyon in Texas, renowned for ancient rock art depicting shamans and sacred animal spirits."</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"></p><ul><li>The Ice Age (circa 25,000 BCE–15,000 BCE) presented unprecedented global challenges to humanity.</li><li>Europe, particularly affected by extreme cold, became a haven for hunters due to abundant wildlife.</li><li>The Gravettian Culture pioneered adaptation to the cold, developing leather-making and fur-lined clothing.</li><li>Festivals near caves adorned with exquisite animal paintings showcased the artistic mastery of the era.</li><li>Hunters migrated eastward, crossing Siberia and Alaska around 13,000 BCE, entering North America.</li><li>Known as the Clovis People, they initially hunted mammoths before transitioning to bison.</li><li>Seminole Canyon in Texas stands out as a sacred landscape adorned with ancient rock art depicting shamans and sacred animals.</li></ul><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsMLTqwMvagU9eeVL3WdKnJetjO95tw2_U_wSWtbs_jqzW4rhIlIsZl7SmgHy-3_oZk2ZRf4fjhJCm2IK2ePJWmYSpTCG52xlxZq0rmnehtwjDrzEXr9D9jlpg7JShj9nC-DPadNq5phRkS2rpj15SygBpig1VgwE1UyQDb_6soImQu2YSexMbed3uAg1s/s719/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="719" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsMLTqwMvagU9eeVL3WdKnJetjO95tw2_U_wSWtbs_jqzW4rhIlIsZl7SmgHy-3_oZk2ZRf4fjhJCm2IK2ePJWmYSpTCG52xlxZq0rmnehtwjDrzEXr9D9jlpg7JShj9nC-DPadNq5phRkS2rpj15SygBpig1VgwE1UyQDb_6soImQu2YSexMbed3uAg1s/w640-h368/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Haida settlement, canada</td></tr></tbody></table><br /><p></p><div style="text-align: justify;">The rise in global temperatures resulted in significant changes to the Earth's geography. This included the separation of Japan from China and England from mainland Europe, leading to the formation of expansive rivers, swamps, and forests teeming with diverse flora and fauna. This era can be described as one of prosperity, drawing human settlements to the shores of these newly formed water bodies.</div><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">One notable settlement emerged at Lepenski Vir along the Danube River, characterized by triangular huts. Here, the inhabitants relied on sturgeon fishing, a practice that could sustain entire communities with just one catch. Abundant forests nearby offered a rich variety of berries, mushrooms, and nuts to complement their diet. These settlements were not isolated; similar communities dotted the shores, connected by boats for ceremonial gatherings.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">On the opposite side of the globe, another affluent society flourished along the northwest coast of Canada. This region benefited from favorable conditions, including mild weather influenced by cross-Pacific winds and abundant marine life such as whales and salmon. The sacred significance of cedar trees to the Haida people provided resources for constructing houses and boats, serving as symbols of spiritual connection. Linear settlements comprised of large clan-based community houses emerged, each designed as a sacred representation of the cosmos.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Beyond rivers and shores, the allure of emerging rainforests also attracted human settlements. The Bambuti people in Congo, for instance, revered the forest spirit Jengi, organizing their society around individual households and traditional hut-building practices. Similar rainforest cultures developed in Brazil, Central America, and Southeast Asia, each embracing their unique connection to the natural world.</div></div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV8L__DNyiaksghu6ExLUb9RAmBu0sPo-7i8y9G2H76SqBN1mGt_uPzXMe375YhxtnuNfrAEwVdAEBNxIal2rjPZFEzms2K9Iw7bKR1L-GYivsQKqt_E9eo4tFX9XvQp20FFc67nUXo0c4t4DH7yHKy8jzaqW1Oiskb5QzAKRbCv-k3qHXzoAce6a3n0BG/s719/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="415" data-original-width="719" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV8L__DNyiaksghu6ExLUb9RAmBu0sPo-7i8y9G2H76SqBN1mGt_uPzXMe375YhxtnuNfrAEwVdAEBNxIal2rjPZFEzms2K9Iw7bKR1L-GYivsQKqt_E9eo4tFX9XvQp20FFc67nUXo0c4t4DH7yHKy8jzaqW1Oiskb5QzAKRbCv-k3qHXzoAce6a3n0BG/s16000/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjPlYvTwewt9HQ1g3fJZMVVo63Zwvw5ePZ7Gpi2tA6fti14BolApXsvYTSg4x97nijRiICq9gfPCkbRuk7BJPpO3EKBxAz14L-PrC_13ZA63FUqPR63R4hk27zC7axlNZqDDHtp4ba-6gdttgHq1dzhZapyBrDZgb1p5uZKRiAGNHJIstxUdKKjiJlcND/s415/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="415" data-original-width="349" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjPlYvTwewt9HQ1g3fJZMVVo63Zwvw5ePZ7Gpi2tA6fti14BolApXsvYTSg4x97nijRiICq9gfPCkbRuk7BJPpO3EKBxAz14L-PrC_13ZA63FUqPR63R4hk27zC7axlNZqDDHtp4ba-6gdttgHq1dzhZapyBrDZgb1p5uZKRiAGNHJIstxUdKKjiJlcND/s16000/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" /></a></div><br /><div style="text-align: justify;"><div><ul><li>Global warming during this era reshaped the Earth's geography, separating land masses and creating vast water bodies like rivers, swamps, and forests.</li><li>Settlements flourished along newly formed river shores, such as Lepenski Vir along the Danube River, where triangular huts housed communities sustained by sturgeon fishing and abundant forest resources.</li><li>Similar communities dotted the shores, connected by boats for ceremonial events, showcasing a network of thriving settlements.</li><li>On the northwest coast of Canada, favorable conditions attracted affluent societies, with mild weather and abundant marine life contributing to their prosperity.</li><li>The sacred significance of cedar trees to the Haida people led to the construction of linear settlements, symbolizing their spiritual connection to the cosmos.</li><li>Human habitation extended beyond rivers and shores to the emerging rainforests, with societies like the Bambuti in Congo organizing around household units and traditional hut-building practices.</li><li>Rainforest cultures also developed in Brazil, Central America, and Southeast Asia, each embracing their unique connection to nature and spirituality.</li></ul><div><br /></div></div></div>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-33501586669220007422024-03-16T06:09:00.000-07:002024-03-19T16:40:21.129-07:00Around 10,000 BCE <p style="text-align: justify;"> Around 10,000 BCE, pivotal shifts began reshaping ancient traditions that had long sustained human societies. Instead of solely relying on hunting and gathering, humans started herding animals and cultivating selected plants in organized fields, heralding the dawn of agriculture.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikIgNVegLl3ih6MF0dWBEGjnDpFGRHU6qi0q5uyera1SQIGwjHkRggjq1p4mB75X20HoTGU_ipnqonVPyt1Wl-dKT4aCGlz6q92N1noOKJb1Kv9RU0e8OodtbtexOEcSzXHry33QXmwML5BCtGsk-PRifdD6zPcohgNST2HK_lJ38LCtcRQJHdsiq4DDTL/s722/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="722" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikIgNVegLl3ih6MF0dWBEGjnDpFGRHU6qi0q5uyera1SQIGwjHkRggjq1p4mB75X20HoTGU_ipnqonVPyt1Wl-dKT4aCGlz6q92N1noOKJb1Kv9RU0e8OodtbtexOEcSzXHry33QXmwML5BCtGsk-PRifdD6zPcohgNST2HK_lJ38LCtcRQJHdsiq4DDTL/w640-h324/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" width="640" /></a></div><br /><p style="text-align: justify;"><br /></p><p style="text-align: justify;">This transformative period brought about profound changes in the spiritual perceptions of animals, particularly cattle, which were revered as living deities. Among the Dinka in Sudan, cattle were bestowed with special names, serenaded with songs, and treated with utmost reverence, with sacrifices reserved for significant communal occasions like weddings or funerals.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Simultaneously, the transition from gathering plants to farming marked a significant milestone. Crops like rice, millet, wheat, barley, and corn became focal points of human efforts and devotion, shaping the emergence of agropastoralism—a lifestyle blending agriculture and animal husbandry.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">It's crucial to recognize that these crops weren't just sources of sustenance; they were viewed as divine entities, shaping societal values and work ethics. This perspective underscores the profound impact on women, who played central roles in agricultural activities, alongside traditional tasks like pottery making, basket weaving, and childcare.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"></p><ul><li>Around 10,000 BCE, significant changes emerged in ancient societies, marking the transition from traditional ways of life to agricultural practices.</li><li>Humans shifted from hunting animals to herding them and from gathering plants to cultivating selected crops in organized fields.</li><li>Cattle, in particular, were revered as living gods, requiring daily care and respect, with sacrifices reserved for special community events.</li><li>Among the Dinka people in Sudan, cattle were given special names, serenaded with songs, and regarded with reverence.</li><li>The transition to agriculture saw crops like rice, millet, wheat, barley, and corn becoming focal points of human efforts and devotion.</li><li>This era gave rise to agropastoralism, blending agriculture and animal husbandry into a new way of life.</li><li>Crops were not merely food sources but were viewed as divine entities, shaping societal values and work ethics.</li><li>Women played pivotal roles in agricultural activities and traditional tasks like pottery making, basket weaving, and childcare, highlighting their contributions to early societies.</li></ul><p></p><div style="text-align: justify;">The rise of pastoral and agropastoral cultures gave rise to village societies governed by chiefs, their authority varying based on circumstances. These villages were meticulously designed to cater to the needs of animals, synchronize with planting and harvesting seasons, and produce essential tools like grain and water storage containers. Ritual practices and unwritten codes of conduct guided all aspects of village life, shaping their collective destiny.</div><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">However, the spread of village societies was contingent upon specific environmental factors. Ideal locations offered fertile soil for farming, grasslands for cattle, forests for firewood, and upland areas for hunting, along with access to water and salt.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Mesopotamian highlands provided an optimal setting for such societies, with compact villages emerging around 9000 BCE along river plains. Similar expansions occurred in regions like the Sahel in Africa, the foothills of Baluchistan Mountains, northern China, and along the Yangtze River. By 5000 BCE, these areas had evolved into distinct agropastoral communities, albeit retaining elements of older traditions.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In contrast, Europe witnessed a remarkable transformation between 9000 and 4000 BCE. Agropastoral cultures gradually migrated along rivers and coastlines, eventually reaching northern Ireland. Here, they thrived and erected remarkable structures like Newgrange, a monumental mound with a sacred chamber designed to capture the first rays of the winter solstice.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div><ul><li>The emergence of pastoral and agropastoral cultures led to the formation of village societies governed by chiefs, whose authority varied based on circumstances.</li><li>Villages were meticulously designed to meet the needs of animals, synchronize with planting and harvesting seasons, and produce essential tools for life, all guided by ritual practices and unwritten rules of behavior.</li><li>The spread of village societies depended on favorable environmental conditions, including fertile soil, grasslands for cattle, forests for firewood, and access to water and salt.</li><li>Mesopotamian highlands, the Sahel in Africa, the foothills of Baluchistan Mountains, northern China, and areas along the Yangtze River were prime locations for agropastoral communities.</li><li>By 5000 BCE, these regions had evolved into distinct agropastoral societies, maintaining some aspects of older traditions while developing unique cultural identities.</li><li>In Europe, a significant transformation occurred between 9000 and 4000 BCE, as agropastoral cultures migrated along rivers and coastlines, eventually reaching northern Ireland.</li><li>Notably, in northern Ireland, thriving agropastoral communities constructed monumental structures like Newgrange, symbolizing their cultural and spiritual significance.</li></ul></div></div>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-62566206112058774692024-03-15T05:51:00.000-07:002024-03-19T16:40:29.096-07:00 3500 BCE - Unveiling the Timeless Wisdom of the !Kung People<p style="text-align: justify;">The !Kung People: A Glimpse into Ancient Survival Strategies</p><p style="text-align: justify;">For millennia, humanity sustained itself through hunting, gathering, and fishing. Reflecting from our modern vantage point, it's astonishing to contemplate how our ancestors thrived amidst such challenges. Initially labeled as savages or barbarians, and later referred to as primitives, we now recognize them as hunter-gatherers, though this term oversimplifies their way of life. Take, for example, the !Kung people of the Kalahari Desert in Botswana, who have resided there for hundreds of thousands of years. Contrary to popular belief, they spend only about 40 percent of their time on food procurement. The remainder is devoted to activities familiar to us all: socializing, dancing, cooking, and simply relaxing.</p><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi988Fe44BGTyetL0b_RwBZJoOnPesgMFBFQruN2TpkQKIgBl2ROnGh_iaYFcLZWf1oEh1NCYNJS_efTy_emA02HH1K-jBaWksPsVNIHd7yV61URIg0VY2xa6Mo0MyHoJ6ND_fvW9jPvGj_YQ0R7zbnfMpumj_MuOrAAuvl8jjm0vfMnBPsCN1rX7j8B240/s719/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="719" height="445" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi988Fe44BGTyetL0b_RwBZJoOnPesgMFBFQruN2TpkQKIgBl2ROnGh_iaYFcLZWf1oEh1NCYNJS_efTy_emA02HH1K-jBaWksPsVNIHd7yV61URIg0VY2xa6Mo0MyHoJ6ND_fvW9jPvGj_YQ0R7zbnfMpumj_MuOrAAuvl8jjm0vfMnBPsCN1rX7j8B240/w640-h445/A%20Global%20History%20of%20Architecture%20(Francis%20D.%20K.%20Ching,%20Mark%20M.%20Jarzombek%20etc.)%20(z-lib.org).jpg" width="640" /></a></div><div style="text-align: justify;"><br /></div><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Introduction:</p><p></p><ul style="text-align: left;"><li style="text-align: justify;"> Humans thrived for millennia through hunting, gathering, and fishing.</li><li style="text-align: justify;"> Today, we marvel at their resilience amid challenges.</li><li style="text-align: justify;"> Labels like "savages" or "primitives" evolved into "hunter-gatherers."</li><li style="text-align: justify;">The !Kung people spend minimal time on food acquisition, prioritizing socializing, dancing, cooking, and resting.</li></ul><p></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">In the Kalahari Desert, mongongo trees flourish, yielding thousands of delicious and nutritious nuts in extensive groves. Beneath the earth's surface, tubers await harvest, while migrating animal herds offer opportune targets for skilled hunters armed with poison-tipped arrows. The !Kung people establish their camps anew each year near seasonal water sources. Women construct huts around communal campfires, often nestled beneath the shelter of large trees. Although primarily used for tool storage and as shade during hot days, these huts are not intended for prolonged habitation, as the !Kung predominantly live outdoors.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Despite the enduring wisdom of their ancestors, the modern world shows little regard for their way of life. Forced relocations, mining activities on their land, and the imposition of fences threaten the !Kung people's survival in the coming decades. It's not the natural environment but rather the encroachment of civilization that poses the greatest risk to their existence.</p><p></p><ul style="text-align: left;"><li style="text-align: justify;"> In the Kalahari Desert, mongongo trees thrive, producing thousands of tasty and nutritious nuts in extensive groves.</li><li style="text-align: justify;">Tubers can be harvested from the ground, while migrating animal herds provide easy prey for skilled hunters equipped with poison-tipped arrows.</li><li style="text-align: justify;">The !Kung people annually rebuild their camps near seasonal water sources.</li><li style="text-align: justify;">Women construct huts around communal campfires, often situated under the shade of large trees.</li><li style="text-align: justify;">These huts primarily serve as storage spaces for tools and offer shade on hot days, as the !Kung predominantly live outdoors.</li></ul><p></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Despite the timeless wisdom of their ancestors:</p><p></p><ul style="text-align: left;"><li style="text-align: justify;"> Forced relocations, mining operations on their land, and the erection of fences threaten the !Kung people's survival.</li><li style="text-align: justify;">The greatest peril to their existence stems not from the natural world but from the encroachment of civilization.</li></ul><p></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">"As human populations grew, they branched out to establish new settlements in adjacent valleys or along coastlines. This pattern of expansion began approximately 1.5 million years ago when the earliest groups departed Africa. Subsequently, another wave of migration, consisting of our human ancestors, occurred around 60,000 BCE, gradually spreading across the globe and eventually reaching the southern tip of South America by 13,000 BCE. Despite common misconceptions, the early societies were not purely nomadic. Instead, they tended to inhabit specific and familiar territories, migrating seasonally between winter camps near rivers and summer camps in upland areas for activities like hunting and fishing. For instance, ancient Australian communities followed predictable seasonal cycles, alternating between periods of isolation and communal gatherings for significant ceremonial and social events."</p><p style="text-align: justify;"><br /></p><p></p><ul style="text-align: left;"><li style="text-align: justify;"> As populations grew, groups would migrate to establish new communities in neighboring valleys or along coastlines.</li><li style="text-align: justify;"> Approximately 1.5 million years ago, the first groups of people departed Africa, with subsequent human ancestors following suit around 60,000 BCE.</li><li style="text-align: justify;"> This gradual expansion led to the colonization of the globe, with humans eventually reaching the southern tip of South America by around 13,000 BCE.</li><li style="text-align: justify;"> Contrary to popular belief, the earliest societies were not strictly nomadic; instead, they tended to reside within familiar territories.</li><li style="text-align: justify;"> These societies practiced seasonal migration, moving between winter camps near rivers and upland summer camps for hunting and fishing.</li><li style="text-align: justify;"> For instance, ancient Australian peoples followed predictable cycles, alternating between periods of relative isolation and large annual ceremonial and social gatherings.</li></ul><p></p><p style="text-align: justify;"><br /></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-83032572346383257852023-08-07T12:43:00.000-07:002023-08-07T12:43:15.444-07:00Exploring the Whimsical World of Rococo Architecture: A Guide to Identifying the Key Characteristics<p style="text-align: justify;"> Rococo architecture is a style that emerged in France during the early 18th century. It's known for its elaborate decorations, pastel colors, and playful and whimsical designs. If you're interested in this style, there are several key characteristics to look for when identifying a Rococo building.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">First, pay attention to the ornamental details of the building. Rococo buildings are famous for their intricate designs, often featuring floral patterns and cherubs. Next, notice the use of curves and soft, flowing lines, which are in contrast to the straight lines and sharp angles of other architectural styles.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Another characteristic of Rococo architecture is the use of pastel colors, such as pink, blue, and yellow, which create a light and airy feel. Asymmetry is also a defining feature of Rococo, with buildings often featuring unexpected twists and turns in their design.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Rococo buildings often have a sense of lightness and delicacy, with intricate lace-like details and open spaces. Playfulness is another key aspect of the style, with buildings often featuring hidden doors, secret passageways, and whimsical sculptures.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">By looking for these key characteristics, you can gain a deeper appreciation for the art and architecture of the 18th century. Whether you're a history buff or simply interested in the aesthetics of different architectural styles, Rococo is a fascinating and beautiful style to explore.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Rococo is a highly ornamental and theatrical style of art and architecture that emerged in France in the early 18th century. Its distinctive features include intricate decorations, pastel colors, and a sense of playfulness and whimsy. Here are some key characteristics that can help you identify a Rococo building:</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">1. Ornamentation: Rococo architecture is characterized by its lavish ornamentation, which often includes delicate floral motifs, swirling patterns, and playful cherubs.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">2. Curves: Rococo buildings tend to have an abundance of curved lines and shapes, with a focus on soft, flowing forms rather than sharp angles and straight lines.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">3. Pastel colors: Rococo buildings are often painted in soft, pastel colors such as pink, blue, and yellow, which create a light and airy feel.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">4. Asymmetry: Unlike the symmetry of classical architecture, Rococo buildings tend to be asymmetrical and unpredictable, with unexpected twists and turns in their design.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">5. Lightness: Rococo architecture is characterized by its sense of lightness and delicacy, with buildings often featuring intricate lace-like details and open spaces.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">6. Playfulness: The Rococo style is known for its sense of playfulness and whimsy, with buildings often featuring playful details such as hidden doors, secret passageways, and whimsical sculptures.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">These are just a few of the key characteristics that can help you identify a Rococo building. By studying the intricate details and whimsical designs of this unique style, you can gain a deeper appreciation for the art and architecture of the 18th century.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><b>Case studies for exploring Rococo architecture:</b></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">1. The Palace of Versailles - One of the most famous examples of Rococo architecture, the Palace of Versailles is a stunning example of the style, with its elaborate decorations and ornate details.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3t6BJ_KQfqyIXtsyx1gTJhEU1wueBmlGb5EWAm1Ex840bsKM10uJw2S4nxRUBYsT7_YHSuNPypp-6eq_pdWX3-8wIZIUmspbcOJrCr0thGLXYn-MnFm6M_2fvSfetOIehPERCpfztxCO3OQpxOFZ6Ou64B9y8Iz4ztyk--KnnMafovMU6KcOuBW0Xl1NJ/s1920/1920px-Chateau_Versailles_Galerie_des_Glaces.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1275" data-original-width="1920" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3t6BJ_KQfqyIXtsyx1gTJhEU1wueBmlGb5EWAm1Ex840bsKM10uJw2S4nxRUBYsT7_YHSuNPypp-6eq_pdWX3-8wIZIUmspbcOJrCr0thGLXYn-MnFm6M_2fvSfetOIehPERCpfztxCO3OQpxOFZ6Ou64B9y8Iz4ztyk--KnnMafovMU6KcOuBW0Xl1NJ/w640-h426/1920px-Chateau_Versailles_Galerie_des_Glaces.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Galerie des Glaces (Hall of Mirrors) in the Palace of Versailles, Versailles, France.</td></tr></tbody></table><br /><p style="text-align: justify;"><br /></p><p style="text-align: justify;">2. The Rundale Palace in Latvia - This 18th-century palace is a prime example of Rococo architecture in Eastern Europe, featuring a unique blend of French and German Rococo styles.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEituNosNPP_RRpp0rPe6ZM7nGDqunegBfhl6jCrGi7atyrrBdycHMr5lpf34Tm0HtyW8sNg35j0VP7CPj3JLB51JAqUYlGuQMTeS35iyMUvyAeke-4EcOb179WMA7ZRmhYfP1OQPBm8J8alHhRZYAA2lgmfVwV28BgRndinsmcB7C6tOvhHdSaZzCp7X6lt/s2500/Aero-foto_I-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1925" data-original-width="2500" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEituNosNPP_RRpp0rPe6ZM7nGDqunegBfhl6jCrGi7atyrrBdycHMr5lpf34Tm0HtyW8sNg35j0VP7CPj3JLB51JAqUYlGuQMTeS35iyMUvyAeke-4EcOb179WMA7ZRmhYfP1OQPBm8J8alHhRZYAA2lgmfVwV28BgRndinsmcB7C6tOvhHdSaZzCp7X6lt/w640-h492/Aero-foto_I-1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Rundāle Palace building ensemble included in the Latvian National Register of UNESCO World Heritage Sites</td></tr></tbody></table><br /><p style="text-align: justify;"><br /></p><p style="text-align: justify;">3. The Wurzburg Residence in Germany - This palace is a UNESCO World Heritage site and a prime example of Rococo architecture in Germany. It features intricate stucco work, ornate ceilings, and elaborate frescoes.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt9PIGTxwVqIMxxOvGes1BoHso2UCDjtkY6ZgPrwtUh-iThkqoPwYweLVvq6iHUSNO37KdtYLNtKeJAIRS00lUM6xoBmYflKHpidvENvJ_uW2TxvXxLT5jdAhg6tNLT1pJGNtVWMmuByeM2XbNWyPq1lAs9toWH6TBoL9FDlGi5IkdkAn3AV4RFUNgiNn8/s896/2004-06-27-Germany-Wuerzburg-Lutz_Marten-Residenz_side_view_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="672" data-original-width="896" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt9PIGTxwVqIMxxOvGes1BoHso2UCDjtkY6ZgPrwtUh-iThkqoPwYweLVvq6iHUSNO37KdtYLNtKeJAIRS00lUM6xoBmYflKHpidvENvJ_uW2TxvXxLT5jdAhg6tNLT1pJGNtVWMmuByeM2XbNWyPq1lAs9toWH6TBoL9FDlGi5IkdkAn3AV4RFUNgiNn8/w640-h480/2004-06-27-Germany-Wuerzburg-Lutz_Marten-Residenz_side_view_1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Würzburg Residence</td></tr></tbody></table><br /><p style="text-align: justify;"><br /></p><p style="text-align: justify;">4.The Catherine Palace in Russia - This palace in St. Petersburg is known for its impressive Rococo interiors, including the famous Amber Room, which was created in the 18th century and features intricate mosaics made of amber.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgODWNorgAicRj0ICGi0Mr1QnqNeQ74MV3Ts4-fy6USfDhR0E0A4Bi1gNEeyCb-HruzxHO_X_7HT5QUA-KnCwYpFWcdyGS4oDFo1W4G5gb1-CpNWXeKxQH99K5sxNLlzCR1kBRPziI6BKS2r_luXJdIbt92LEZ0n4ZoXVdedzBBJDkYuCuiTuYuAeoQBW61/s1020/2023-05-11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="765" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgODWNorgAicRj0ICGi0Mr1QnqNeQ74MV3Ts4-fy6USfDhR0E0A4Bi1gNEeyCb-HruzxHO_X_7HT5QUA-KnCwYpFWcdyGS4oDFo1W4G5gb1-CpNWXeKxQH99K5sxNLlzCR1kBRPziI6BKS2r_luXJdIbt92LEZ0n4ZoXVdedzBBJDkYuCuiTuYuAeoQBW61/w480-h640/2023-05-11.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Catherine Palace in Russia</td></tr></tbody></table><br /><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">5. The Church of Saint-Sulpice in Paris - This church is a prime example of Rococo architecture in religious buildings. It features intricate carvings and sculptures, as well as an ornate interior with gilded decorations.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjKDtUVc5NfBguYnN5FCibhe35N7ZKvzKMDtwfJOXa2rD9vWyHVMXb4W6Kpuz0XBSQRhXgjDITwAUzp1KLXyrxocDQSIiY1YYDB9OG0NVGY-515T2-JgEFdCrwaHaj51lyut5wMQd8mPPWhL08156LvHYjw9K9odrNeyO8u6g9HIFGI21-UBz0VMsXFH1-/s1920/1920px-Paris_Saint-Sulpice_Fassade_4-5_A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1568" data-original-width="1920" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjKDtUVc5NfBguYnN5FCibhe35N7ZKvzKMDtwfJOXa2rD9vWyHVMXb4W6Kpuz0XBSQRhXgjDITwAUzp1KLXyrxocDQSIiY1YYDB9OG0NVGY-515T2-JgEFdCrwaHaj51lyut5wMQd8mPPWhL08156LvHYjw9K9odrNeyO8u6g9HIFGI21-UBz0VMsXFH1-/w640-h522/1920px-Paris_Saint-Sulpice_Fassade_4-5_A.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Facade of the Church of St. Sulpitius, Paris, Region of Île-de-France, France.</td></tr></tbody></table><br /><p style="text-align: justify;"><br /><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">6. The Palais Rohan in Strasbourg - This 18th-century palace in France features an impressive Rococo façade, with elaborate sculptures and decorations.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaBDNQMacNlNbRmMBrF0O44cU6mCHOVIEKb8B3_orkdYRO4XFRmQHXLlctboeTYPcFP6y4UUBpzUgOi8etl6br-YXJy0VFNL2Acp4AKbJD4UKMhbwEo0E-6D_HRN-ckOkaTu_nqd6xZ4Bjof_O74JILBJSJ83Dcfu9huwKV4kV1lxVcFvzTBWLhhIsdFVh/s1920/1920px-Palais_Rohan_Jan_2020_(cropped).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1170" data-original-width="1920" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaBDNQMacNlNbRmMBrF0O44cU6mCHOVIEKb8B3_orkdYRO4XFRmQHXLlctboeTYPcFP6y4UUBpzUgOi8etl6br-YXJy0VFNL2Acp4AKbJD4UKMhbwEo0E-6D_HRN-ckOkaTu_nqd6xZ4Bjof_O74JILBJSJ83Dcfu9huwKV4kV1lxVcFvzTBWLhhIsdFVh/w640-h390/1920px-Palais_Rohan_Jan_2020_(cropped).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Musée des beaux-arts de Strasbourg</td></tr></tbody></table><br /><p style="text-align: justify;"><br /></p><p style="text-align: justify;">.........................</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">7. The Zwinger Palace in Dresden - This palace in Germany is a prime example of Rococo architecture, featuring ornate sculptures, fountains, and frescoes.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">8. The Royal Palace of Caserta in Italy - This palace was built in the 18th century and is one of the largest royal residences in the world. It features a stunning mix of Baroque and Rococo styles.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">9. The Chateau de Chantilly in France - This chateau is a prime example of Rococo architecture in France, with its elaborate façade and ornate interiors.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">10. The Hermitage Museum in St. Petersburg - This museum is housed in several buildings, including the Winter Palace, which features Rococo interiors with intricate stucco work and frescoes.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">11. The Church of Saint-Martin-des-Champs in Paris - This church is known for its Rococo interior, which features intricate carvings and paintings.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">12. The Charlottenburg Palace in Berlin - This palace in Germany features Rococo interiors with ornate decorations and frescoes.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-77313610369060750432023-08-07T12:36:00.004-07:002023-08-07T12:36:40.593-07:00How Our Minds Recognize Patterns: Understanding Edges, Contours, and Tone<p style="text-align: justify;"><b><br /></b></p><p style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkH0aCA-VkCdOaEWBsmbHlp129JWQzEavHvvjne_XdnjayiXyOVzF5ihPdbFHyYtuK4rWGZr3vA46sgr7YbxgaOqxPPCEUJk_D6yu-Je-dJS0B6iSgJvptkXvzUOPwA3lZ6YLpDCHfmES_b5O7OdMnkG9XDFqLXm14luTlBjklgmJ0IujakjX6NfTBnbAm/s540/_The_School_of_Athens__by_Raffaello_Sanzio_da_Urbino.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="419" data-original-width="540" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkH0aCA-VkCdOaEWBsmbHlp129JWQzEavHvvjne_XdnjayiXyOVzF5ihPdbFHyYtuK4rWGZr3vA46sgr7YbxgaOqxPPCEUJk_D6yu-Je-dJS0B6iSgJvptkXvzUOPwA3lZ6YLpDCHfmES_b5O7OdMnkG9XDFqLXm14luTlBjklgmJ0IujakjX6NfTBnbAm/w640-h496/_The_School_of_Athens__by_Raffaello_Sanzio_da_Urbino.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"The School of Athens" by Raffaello Sanzio da Urbino</td></tr></tbody></table><b><br /></b></p><p style="text-align: justify;"><b><br /></b></p><p style="text-align: justify;"><b>Have you ever looked at a two-dimensional image and perceived it as three-dimensional? </b></p><p style="text-align: justify;">The reason for our remarkable ability to recognize patterns lies in the innate wiring of our minds, which adeptly processes visual information through edges and contours. Consider, for example, the intriguing Kanizsa Triangle, an optical illusion cleverly constructed with line segments and circular sectors, leading our minds and eyes to connect these shapes and perceive a solid white triangle seemingly in the foreground, complete with an illusion of depth.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">This phenomenon allows us to perceive three-dimensional forms from two-dimensional representations merely by analyzing their edges. Even a simple arrangement of twelve lines on a flat surface can be interpreted as a three-dimensional box, thanks to our mind's ability to establish connections based on their arrangement. To achieve a single and coherent visual reading of the box, techniques like dashed lines or varying tones may be introduced to create hierarchy or suggest the position of a light source.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Speaking of tones, they play a crucial role in accentuating the visual interpretation of shapes, surfaces, and forms. The concept of tone involves how we perceive a color in relation to the amount of light striking a surface. By strategically varying the intensity of light across a surface, with lighter areas on one end and darker on the other, we can create the illusion of lightness or darkness, effectively describing the interplay of light on a form. By skillfully manipulating tones, a flat two-dimensional circle can be transformed into a rounded three-dimensional sphere, providing insight into the direction and impact of the light source on the form.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Next time you observe a visual image or embark on an artistic endeavor, take note of how your mind perceives edges, contours, and tone. By understanding these inherent patterns, you can elevate your ability to recognize and portray three-dimensional forms in the confines of two-dimensional representations, unlocking new dimensions of artistic expression and visual appreciation.</p><p style="text-align: justify;"><br /></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-30910159485842974122023-08-07T12:33:00.003-07:002023-08-07T12:33:45.277-07:00Church of Sainte-Bernadette du Banlay Nevers, France<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ5oAwY7YIbwowR0Cc51ljxIfxlQZZb9jNPtZP7c7BQCqtZYZFila27CigDyey6fwmvpqD1s9Q06pXWSBmePTiGu5ZAXXWZP-sH2j0vMPr6LNjgkw_s91ReGzKpFhZYuWQLEc88uXt8CQw/s999/Church+of+Sainte-Bernadette+du+Banlay++Nevers%252C+France.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="999" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ5oAwY7YIbwowR0Cc51ljxIfxlQZZb9jNPtZP7c7BQCqtZYZFila27CigDyey6fwmvpqD1s9Q06pXWSBmePTiGu5ZAXXWZP-sH2j0vMPr6LNjgkw_s91ReGzKpFhZYuWQLEc88uXt8CQw/w640-h468/Church+of+Sainte-Bernadette+du+Banlay++Nevers%252C+France.png" width="640" /></a></div><br /><p></p><p> </p><p> </p><p>Within the confines of this quaint church lies a captivating design - a grotto-inspired nave positioned above a ground floor housing classrooms and support rooms. From the exterior, it appears as a solid, cast-in-place, board-formed concrete monolith. However, a closer examination reveals its true nature - an ingenious composition of two thin concrete shells enveloping thirteen parallel structural frames. This suspended sanctuary extends beyond the central structural plinth, cantilevering gracefully at its outer edges. Accessible through a central stair emerging at the heart of the space, this unique church embodies the principles of "la fonction oblique," a visionary concept by Claude Parent and Paul Virilio, challenging the traditional horizontal layouts to inspire future social organizations centered around inclined surfaces.</p><p><br /></p><p>Drawing inspiration from Virilio's archaeological explorations of World War II bunkers, the church represents the intersection of two convex inclined volumes, intriguingly offset in plan. This meeting point is highlighted by a central skylight, spanning the entire width of the nave, allowing natural light to infuse the space. Departing from the conventional sectional organization of Western churches, the floor defies expectations, gracefully bending both downward and upward towards the altar. Congregants enter directly from below, embracing a dynamic and immersive spiritual experience.</p><p><br /></p><p>Intriguing and thought-provoking, this small church stands as a testament to visionary design, challenging preconceived notions of sacred spaces, and embracing the beauty of inclined surfaces as a catalyst for social and architectural evolution.</p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-68852496368607153132023-08-07T12:33:00.001-07:002023-08-07T12:33:03.256-07:00Ford Foundation Headquarters New York, New York, USA<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI537Oavfocc6dLd_45T59nB4GafImUBVLJtE1FRfOJBvSzwZpLecJAOMvgPeO3w49kBUfPE67KBwuLny8VCx7J6OF9inQw8xLuJNWQ2djZk-_oO8zWvp5c0bI_c261KVmJBZdNGe8cANv/s999/Ford+Foundation+Headquarters++New+York%252C+New+York%252C+USA.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="999" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI537Oavfocc6dLd_45T59nB4GafImUBVLJtE1FRfOJBvSzwZpLecJAOMvgPeO3w49kBUfPE67KBwuLny8VCx7J6OF9inQw8xLuJNWQ2djZk-_oO8zWvp5c0bI_c261KVmJBZdNGe8cANv/w640-h432/Ford+Foundation+Headquarters++New+York%252C+New+York%252C+USA.png" width="640" /></a></div><p></p><p><br /></p><p>At the heart of the Ford Foundation Headquarters lies a captivating feature - a glazed atrium adorned with an interior garden, carefully crafted to strike a harmonious balance between individual privacy and collective collaboration. Remarkably, the building's program required less space than the permitted buildable volume, presenting an opportunity for the Ford Foundation to transform the surplus area into a valuable civic amenity.</p><p><br /></p><p>The atrium soars impressively to a height of 179 feet (54.6 meters), thoughtfully situated in the southeast corner of the building, with an asymmetric placement that visually connects the various offices and offers captivating diagonal views towards the East River. The atrium's beauty is enhanced by steel beams spanning an impressive 84 feet (25.6 meters), which support the ten-story glass facades on the south and east sides, ingeniously inviting the public gaze into the interior garden while flooding the courtyard with natural light.</p><p><br /></p><p>On the north and west sides of the atrium, banks of offices boasting fully glazed windows enable the pleasant greenhouse-like air to circulate, creating a serene and refreshing atmosphere that overlooks the central space. As you ascend to the top, you'll discover the executive suite, a shared dining facility, and a magnificent skylight crowning this extraordinary hollowed-out section.</p><p><br /></p><p>The Ford Foundation Headquarters' glazed atrium, with its interior garden and innovative design, not only fosters a sense of interconnectedness among its occupants but also opens up to the public as a luminous and welcoming urban oasis.</p><p> </p><p> </p><p> </p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-4008893939378681122023-08-07T12:32:00.001-07:002023-08-07T12:32:21.959-07:00Moesgaard Museum Aarhus, Denmark<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZCfeDrQYrCO_sUouHwrmXpnp6ankbUqcBx9de4bBK1rGmQ0hEADgTBuFlZME20FvSD0Xa_M6ToV-KPHV4oLsQo54F_Bjo_XeyeOzrA_y7xvMz-cjLtozBuAEhbW_877frWNqXLx65HIjT/s1011/Moesgaard+Museum++Aarhus%252C+Denmark.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="631" data-original-width="1011" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZCfeDrQYrCO_sUouHwrmXpnp6ankbUqcBx9de4bBK1rGmQ0hEADgTBuFlZME20FvSD0Xa_M6ToV-KPHV4oLsQo54F_Bjo_XeyeOzrA_y7xvMz-cjLtozBuAEhbW_877frWNqXLx65HIjT/w640-h400/Moesgaard+Museum++Aarhus%252C+Denmark.png" width="640" /></a></div><br /><p></p><p> </p><p> </p><p> </p><div id="cleantext"><div id="cleantext">This museum of archaeology and ethnography embodies a unique architectural concept, seamlessly blending into and emerging from the natural landscape that serves as the inspiration for much of its collection. Upon arrival, visitors are drawn into the heart of the museum, as they enter through the side of an artificial hill, leading them to a central foyer positioned midway along a grand staircase that connects to galleries spread across three levels.</div><div id="cleantext"><br /></div><div id="cleantext">The most striking aspect of the building is its ten-degree, oblique, and green roof, which not only offers a harmonious transition with the surrounding gently sloping terrain but also serves as an inhabitable space. From this vantage point, visitors can enjoy breathtaking panoramic views and utilize the inclined surface for leisurely picnics or even thrilling sledding adventures.</div><div id="cleantext"><br /></div><div id="cleantext">Beneath this sloped surface, a continuous wood slat ceiling forms a distinctive feature, defining the main spaces within the museum. This creative design ensures that the building's interior remains connected to its natural surroundings. Additionally, at the base of the incline, the surface is recessed and leveled, creating seamless visual and physical links that unite the indoors and outdoors, further enhancing the visitor experience.</div><div id="cleantext"><br /></div><div id="cleantext">The building itself consists of horizontally stacked galleries, artfully blending with the inclined roof that overlays and intersects these spaces, creating an aesthetically captivating and functionally efficient architectural masterpiece. The result is a museum that not only celebrates its exhibited artifacts but also pays homage to the very landscape from which its treasures originate.</div></div>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-71276748828421451212023-08-07T12:28:00.002-07:002023-08-07T12:28:57.276-07:00Drawing and Projection | Descriptive Geometry<p style="text-align: justify;"> Architectural design involves various forms of drawing and visual communication, such as sketches, technical drawings, and renderings. Although drawing is now an integral part of the design and construction process, it wasn't always the case. In fact, prior to the Italian Renaissance, architects relied on physical models to convey information to builders and craftsmen.</p><p style="text-align: justify;">However, during the Renaissance period, the Florentine polymath Leon Battista Alberti introduced the idea of drawing as the primary mode of creating architecture. Alberti claimed that architecture is an idea that is conveyed through drawings and built by manual workers. This led to advancements in descriptive geometry and projection techniques, which further enhanced the role of drawing in architecture.</p><p style="text-align: justify;">Drawing played two critical functions during the Renaissance: as a tool for visualizing and exploring building ideas, and as a notational tool for builders during construction. Artists and architects during this period also emphasized the importance of conveying perfect geometric forms that relate to the human body, as described by Vitruvius.</p><p style="text-align: justify;">This human-centric approach to design and beauty is evident in Leonardo da Vinci's famous drawing, "The Proportions of the Human Body According to Vitruvius." Overall, drawing has played a vital role in the evolution of architectural design and continues to be an essential tool for architects today.</p><p style="text-align: justify;"><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ1G2Zr64XzGL6fZkq3M7dC_I4i_uD3SW-I8LPB8VdcewFg4pZYpiSmT9NMVhi2XjOeOaSuy-KZTOomFdgxmadjWTGDSQDneu5O6tFISShIFe2GTHR4d-pr-8shm8O8lM8D2kKzEeYVGRp5u0C4glp3wtx5aVz1LTawci6FCr5ui919JgqRUmAkS2fyQ/s2083/Leonardo%20Da%20Vinci,%20The%20Proportions%20of%20the%20Human%20Body%20According%20to%20Vitruvius,%20c.1490..jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2083" data-original-width="1479" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ1G2Zr64XzGL6fZkq3M7dC_I4i_uD3SW-I8LPB8VdcewFg4pZYpiSmT9NMVhi2XjOeOaSuy-KZTOomFdgxmadjWTGDSQDneu5O6tFISShIFe2GTHR4d-pr-8shm8O8lM8D2kKzEeYVGRp5u0C4glp3wtx5aVz1LTawci6FCr5ui919JgqRUmAkS2fyQ/w454-h640/Leonardo%20Da%20Vinci,%20The%20Proportions%20of%20the%20Human%20Body%20According%20to%20Vitruvius,%20c.1490..jpg" width="454" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leonardo Da Vinci, The Proportions of the Human Body According to Vitruvius, c.1490.</td></tr></tbody></table><p style="text-align: justify;"><br /></p><div><div style="text-align: justify;">Descriptive Geometry is a crucial method in architectural design that enables the visualization and representation of three-dimensional objects on a two-dimensional plane. It involves two types of projections: parallel projections and perspective projections. In parallel projections, points from a three-dimensional object in space are projected onto a two-dimensional plane resulting in projection lines that remain parallel to each other. Points are zero-dimensional figures that are projected onto a plane and can be connected to form a two-dimensional image of a three-dimensional object. The complexity of the form determines the number of points required for an accurate depiction. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The Italian painter of the early Renaissance, Piero della Francesca, was known for his works that accurately depicted the human figure through descriptive geometry and perspectival techniques. His interest in mathematics and perspectival theories led to the development of texts, including the treatise De Prospectiva Pingendi (On Perspective in Painting), where he described methods for designing, positioning, and coloring figures in space. The text focuses on perspective and explains the projection of complex surfaces and volumes that form the human body. In one of his drawings, various orthographic projections of a human head are formed by a series of points .</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Orthographic projections, a type of parallel projection, use projection lines that remain perpendicular to the projection plane. They provide accurate scale and metric information about forms and spaces and are widely used in conventional architectural drawings such as plans, sections, elevations, and axonometric drawings. Through descriptive geometry, architects can visualize and represent complex forms, enabling effective communication and collaboration with others involved in the construction process.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH6m9riqJEfft9XbPVxifD59S8dAIzPaDimui9toaveI70ms-lYj3uMKkmQsE1GHUalk2w8beAx3CjY32rE9QCsZhxC33xzpcb3YRCQvYMDSWtJE4f3zAAIyE4-RszEZxaua86LxR4AxgKGWeoSXFxn61Ckdmhwe9hwnAqS0XzpUwyeazUb3U1f_8Pzw/s2028/Piero%20della%20Francesca,%20Projection%20of%20a%20Human%20Head,%20from%20De%20Prospective%20Pingendi%20,%20c.%201474%E2%80%931482..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2028" data-original-width="1479" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH6m9riqJEfft9XbPVxifD59S8dAIzPaDimui9toaveI70ms-lYj3uMKkmQsE1GHUalk2w8beAx3CjY32rE9QCsZhxC33xzpcb3YRCQvYMDSWtJE4f3zAAIyE4-RszEZxaua86LxR4AxgKGWeoSXFxn61Ckdmhwe9hwnAqS0XzpUwyeazUb3U1f_8Pzw/w466-h640/Piero%20della%20Francesca,%20Projection%20of%20a%20Human%20Head,%20from%20De%20Prospective%20Pingendi%20,%20c.%201474%E2%80%931482..jpg" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Piero della Francesca, Projection of a Human Head, from De Prospective Pingendi , c. 1474–1482.</td></tr></tbody></table><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div><div><div style="text-align: justify;">Perspective projections are a powerful tool for architects and artists to convey forms and spaces as we see them in the world around us. By using projection lines that converge at a vanishing point, three-dimensional objects can be accurately represented on a two-dimensional plane. This technique was first discovered by the Italian architect Filippo Brunelleschi, who created accurate perspective drawings by projecting objects onto a plane using a single vanishing point. His methods were further refined and codified by Leon Battista Alberti in his influential text De Pictura (On Painting) in 1435. Alberti's treatise provided artists and architects with techniques for accurately depicting shapes, forms, and spaces as we experience them through the sense of sight.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">One of the most significant proponents of perspective projection techniques was Albrecht Dürer, a painter and theorist of the German Renaissance. Dürer illustrated his methods for projecting points of an object onto a plane in his engraving Man Drawing a Lute. In the engraving, a string representing a visual ray is connected from a point on an object to a hook on the wall, which represents the eye. The string traverses a plane with a swinging panel, and points are recorded where the string intersects the plane to form an identical image as perceived by the eye. This process of projecting points onto a plane is known as construction, and it is the basis of all perspective projection techniques used in architectural drawing today.</div></div></div><div style="text-align: justify;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Hyh8rc5mICiMnbLpW6beS8D_TTkEZ0w9zpq7Bi5JBK2p6mJlnXnx1ea7nitP5eHbDf48u2ZKRIKyLYgPsjA7-N6PAPR7IttBi5ZUr5rDgDJQXDM4DYFXtP7MmIegeZ2X0f4pY_3R3xBD_lBrpas9PjOtpK8VhLLryWedXyX4pF0MAGAc8L2WxHUsPg/s1479/Albrecht%20D%C3%BCrer,%20Man%20Drawing%20a%20Lute,%201525..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1052" data-original-width="1479" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Hyh8rc5mICiMnbLpW6beS8D_TTkEZ0w9zpq7Bi5JBK2p6mJlnXnx1ea7nitP5eHbDf48u2ZKRIKyLYgPsjA7-N6PAPR7IttBi5ZUr5rDgDJQXDM4DYFXtP7MmIegeZ2X0f4pY_3R3xBD_lBrpas9PjOtpK8VhLLryWedXyX4pF0MAGAc8L2WxHUsPg/w640-h456/Albrecht%20D%C3%BCrer,%20Man%20Drawing%20a%20Lute,%201525..jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Albrecht Dürer, Man Drawing a Lute, 1525.</td></tr></tbody></table><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">In conclusion, the use of parallel and perspective projections revolutionized the way architects design and communicate their ideas through drawing. The development of descriptive geometry and perspectival techniques allowed for the accurate representation of complex forms and spaces in two-dimensional drawings, providing a means for architects to explore and develop their ideas, and for builders to construct these designs. While these techniques have been traditionally applied through manual drawing methods, digital 3D modeling software now allows for the creation and manipulation of 3D models, with the location of points in space and their projection onto a two-dimensional plane forming the basis for viewing and creating architectural drawings. By using these techniques, architects can effectively communicate their designs to clients, builders, and other stakeholders, ensuring that their vision for a building is accurately realized in its construction.</div></div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPuWwRlPhH9EP2u1F3gPG_ktAY2ZXyYLLmTaZpFVm5t8xX-mHBMEXoLo62Gg2T3kHgF1hyagQnNdvFYS4SWcTAUK6QZSCOBobdLd_2foWoJCegTCnPAvm2wxzQAzGtPqPaXhWiQIGIsZ8fQR-3L7r4CTj4mMP88x02N6ptkKVoREp7PynvzAS4Otff4Q/s1593/Figure%C2%A01.12.%20%C3%89tienne-Louis%20Boull%C3%A9e,%20Restauration%20de%20la%20Biblioth%C3%A9que%20Nationale%20(Restoration%20of%20the%20National.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="995" data-original-width="1593" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPuWwRlPhH9EP2u1F3gPG_ktAY2ZXyYLLmTaZpFVm5t8xX-mHBMEXoLo62Gg2T3kHgF1hyagQnNdvFYS4SWcTAUK6QZSCOBobdLd_2foWoJCegTCnPAvm2wxzQAzGtPqPaXhWiQIGIsZ8fQR-3L7r4CTj4mMP88x02N6ptkKVoREp7PynvzAS4Otff4Q/w640-h400/Figure%C2%A01.12.%20%C3%89tienne-Louis%20Boull%C3%A9e,%20Restauration%20de%20la%20Biblioth%C3%A9que%20Nationale%20(Restoration%20of%20the%20National.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Étienne-Louis Boullée, Restauration de la Bibliothéque Nationale </td></tr></tbody></table><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-2576043792096053302023-06-11T15:26:00.006-07:002023-06-11T15:26:56.890-07:00Drawing Methods | Hand-Drafted Drawings<p style="text-align: justify;">Architectural drawings play a crucial role in the representation of technical information necessary for constructing buildings. Technical drawings are those that communicate information related to the design and construction of physical objects, buildings, and environments. These drawings are known as technical drawings, and a set of technical drawings and other related information, such as schedules, used in the design and construction of a building are collectively called construction documents.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Technical drawings are scaled and proportionally accurate to the physical reality of the object, architecture, landscape, or urban design project they represent. Precision and accuracy are essential in technical drawing, which historically was achieved by hand drafting. Hand drafting involves drawing with tools such as straight edges, triangles, and compasses that allow for precise control in drawing geometry and linework that can be measured. Additional tools, such as French curves, were developed to aid in drafting curve geometry, providing a means of accurately drawing smooth continuous curves.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">In the historical process of wooden ship building, ribs and keels, the elements that form the transverse and longitudinal structural framework of boats, were fabricated by drawing long, smooth curves onto timber, which were then cut to shape. Drawing the curve geometry required a template consisting of long, flexible strips of wood or steel, called splines, that were defined and held in position by weights. These tools and techniques served as a method for drawing the curve on large sheets of timber at a scale of 1:1, and eventually on paper. While most contemporary boat design processes rely on digital methods for the production of technical drawings, the artform of hand-drafting splines is still in use today.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">In the realm of computer-aided design (CAD) systems, the term spline is derived from the traditional term and is the basis for creating curve geometries in digital drafting and modeling environments. CAD systems have revolutionized the technical drawing process, providing faster and more accurate ways of creating technical drawings. These systems utilize digital platforms that facilitate the process of creating technical drawings, eventually leading to the replacement of hand drafting with computer-aided drafting. The majority of architectural practices today rely on CAD tools to create design drawings and technical drawings, thanks to their ability to generate technical drawings faster, more accurately, and with fewer errors.</p><p><br /></p><p><br /></p><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYURG-a9AVLlG7CmZ0RUCu_f38IPnZj6byLpsQGHn5RkYkrjbhXA5Q3_83AR1xChmXIyuKfNkC0c1mwEuVmAJurnUxYA_KafoAZDFAoAhIs_3FcCqgwa0igynHz2M23xBPzBt8-hZ_hKQbQF7pTTvD7GSnlCnEDVVe4Gn63egsP8tl3delm6bbqIfk5w/s1463/Bronze%20spline%20weights,%20Edson%20International,%20New%20Bedford,%20MA..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="975" data-original-width="1463" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYURG-a9AVLlG7CmZ0RUCu_f38IPnZj6byLpsQGHn5RkYkrjbhXA5Q3_83AR1xChmXIyuKfNkC0c1mwEuVmAJurnUxYA_KafoAZDFAoAhIs_3FcCqgwa0igynHz2M23xBPzBt8-hZ_hKQbQF7pTTvD7GSnlCnEDVVe4Gn63egsP8tl3delm6bbqIfk5w/w640-h427/Bronze%20spline%20weights,%20Edson%20International,%20New%20Bedford,%20MA..jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bronze spline weights, Edson International, New Bedford, MA.</td></tr></tbody></table><br /><br /><div><div>The Trans World Airlines (TWA) Terminal Building, designed by Eero Saarinen, is a prime example of modern architecture characterized by intricate curved geometry. Situated at John F. Kennedy Airport in New York, this concrete and glass structure, which is often likened to a bird or an airplane in motion, boasts sinuous forms with compound curvature. </div><div><br /></div><div>The building's Y-shaped concrete columns, which blend into the concrete roof, were cast in place, resulting in the need for extensive formwork that closely mirrored the building's curved geometries. The construction documents that underpin this structure showcase the complexity of the curved geometries that were hand-drafted to provide the necessary information for the formwork's construction. </div><div><br /></div><div>The hand-drafted technical drawing of the front column demonstrates a series of horizontal contours that have been cut at evenly spaced intervals. These contours were generated by measuring the intersections of horizontal datums with the physical model and transcribing the resulting measurements onto a two-dimensional drawing to accurately depict the sinuous surface's curves.</div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjagm6fwtNalaOeirw54LAHkQ4UOt_gR6h8MvtctcJ7omvz_dB65Iac9MaX-hFansU8jNe460VoH8nNzJN9Z7OioGecu7E2wBml8bF18vQTh-o4EHA1-ETcpM_bOL1ig2ijkMA8f0PR0-a_lLbqpRNSWf37FdQ9gA_GG1CXC72_XcvovDPMKguwkWrxrg/s220/Eero%20Saarinen%20and%20Associates,%20Trans.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="220" data-original-width="176" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjagm6fwtNalaOeirw54LAHkQ4UOt_gR6h8MvtctcJ7omvz_dB65Iac9MaX-hFansU8jNe460VoH8nNzJN9Z7OioGecu7E2wBml8bF18vQTh-o4EHA1-ETcpM_bOL1ig2ijkMA8f0PR0-a_lLbqpRNSWf37FdQ9gA_GG1CXC72_XcvovDPMKguwkWrxrg/w512-h640/Eero%20Saarinen%20and%20Associates,%20Trans.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="white-space: pre;"> </span>Figure 1.16. Eero Saarinen and Associates, Trans<span style="white-space: pre;"> </span>World Airlines Terminal Building, New York, NY.<span style="white-space: pre;"> </span>c.1956. Photograph of the curved column and roof. Eero Saarinen<span style="white-space: pre;"> </span>collection, 1880–2004 (inclusive), 1938–1962 (bulk). Manuscripts &<span style="white-space: pre;"> </span>Archives, Yale University Library. Photo: Richard Knight.</td></tr></tbody></table><br /><div><div>In the same era that witnessed the completion of the TWA Terminal Building, the notable Spanish and Mexican architect and engineer, Félix Candela, finished his own project, the Los Manantiales Restaurant in Xochimilco, Mexico City. </div><div><br /></div><div>This project exemplifies a cast-in-place concrete structure, featuring doubly curved ruled surfaces, known as surfaces that can be described with straight lines. Candela employed descriptive geometry and projection techniques to describe ruled surface geometries in the hand-drafted technical drawings that were produced for the construction of his projects. His designs embody modernist principles, such as minimalism, absence of ornamentation, and the use of reinforced concrete to achieve formal expressiveness, structural efficiency, and minimal material consumption. </div><div><br /></div><div>Candela used the technique of descriptive geometry and projection to accurately represent the various views of curved hyperbolic paraboloid surfaces. This method was employed in the creation of technical drawings for Los Manantiales Restaurant, where plan, section, and elevation views depict the rule lines and surface curvature of the architecture.</div></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHj8RUjP6EGyV4sEd4WplqdpAQTrtXZfGBn6_s5KjLjmhM9YMsPvJ9iz7H-xozOgeBqtDr7l_EWDD4lNCvjMRmPpPsdVN1FqEt6F4Wy967ehveCrJU2RZiMe371Kenlv51GP7J2hoqfCEwET96UV1WhSCfu-8VFrliRQcTCBwUwwByFHFniYMG3sQPmQ/s539/Eero%20Saarinen%20and%20Associates,%20technical.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="416" data-original-width="539" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHj8RUjP6EGyV4sEd4WplqdpAQTrtXZfGBn6_s5KjLjmhM9YMsPvJ9iz7H-xozOgeBqtDr7l_EWDD4lNCvjMRmPpPsdVN1FqEt6F4Wy967ehveCrJU2RZiMe371Kenlv51GP7J2hoqfCEwET96UV1WhSCfu-8VFrliRQcTCBwUwwByFHFniYMG3sQPmQ/s16000/Eero%20Saarinen%20and%20Associates,%20technical.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Figure 1.17. Eero Saarinen and Associates, Trans World Airlines Building Terminal, New York, NY. c.1956. As-builts, plan for the curved front column. Eero Saarinen collection,<span style="white-space: pre;"> </span>1880–2004 (inclusive), 1938–1962 (bulk). Manuscripts & Archives, Yale University Library.</td></tr></tbody></table><br /><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1XbWUIAFQhsWAbqpouA_tclis_N5aXjIQoT3Hmyf-tMZ1qC8xVXDMSMgS6ApuFAS45H10nSgFuin_Dg53RWQdLmNZ8tXuB149pC_C0QQE-LWaQksd2xNetEylEr-CwGMjUvWX7oYUdUsdHgoq8QIF_FRhnDmEvXOX8Jwq7LXtyjxr6SDXhmtbGuFX7w/s2262/F%C3%A9lix%20Candela,%20Plan%20and%20elevation%20projection%20drawings%20of%20hyperbolic%20paraboloid%20surfaces.%20%C2%A9%20Avery%20Architectural%20&%20Fine%20Arts%20Library,%20Columbia%20University..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1698" data-original-width="2262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1XbWUIAFQhsWAbqpouA_tclis_N5aXjIQoT3Hmyf-tMZ1qC8xVXDMSMgS6ApuFAS45H10nSgFuin_Dg53RWQdLmNZ8tXuB149pC_C0QQE-LWaQksd2xNetEylEr-CwGMjUvWX7oYUdUsdHgoq8QIF_FRhnDmEvXOX8Jwq7LXtyjxr6SDXhmtbGuFX7w/s16000/F%C3%A9lix%20Candela,%20Plan%20and%20elevation%20projection%20drawings%20of%20hyperbolic%20paraboloid%20surfaces.%20%C2%A9%20Avery%20Architectural%20&%20Fine%20Arts%20Library,%20Columbia%20University..jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Félix Candela, Plan and elevation projection drawings of hyperbolic paraboloid surfaces. © Avery Architectural & Fine Arts Library, Columbia University.</td></tr></tbody></table><br /><div><br /></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpG6obeWmoIkHX6-vTaxCdcbvPGVVPeIMuCf0er03mTtRRdqcERw3nV3wLpWzmHEUxZVWMERvc0vo-ud7Lm1S1Y2gOK_H3q-SYcMafMf8UiTDScTnA1Ed_HrldY6N7tSGLdsHHkNumVrX60YWt72fRFyxYaRpFg4ceHHsoJPCmN-fnmGOVrZJdaid8fw/s2300/F%C3%A9lix%20Candela,%20Los%20Manantiales%20Restaurant,%20Xochimilco,%20Mexico%20City,%20Mexico,%201958.%20Drawing%20of.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2300" data-original-width="1479" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpG6obeWmoIkHX6-vTaxCdcbvPGVVPeIMuCf0er03mTtRRdqcERw3nV3wLpWzmHEUxZVWMERvc0vo-ud7Lm1S1Y2gOK_H3q-SYcMafMf8UiTDScTnA1Ed_HrldY6N7tSGLdsHHkNumVrX60YWt72fRFyxYaRpFg4ceHHsoJPCmN-fnmGOVrZJdaid8fw/s16000/F%C3%A9lix%20Candela,%20Los%20Manantiales%20Restaurant,%20Xochimilco,%20Mexico%20City,%20Mexico,%201958.%20Drawing%20of.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Félix Candela, Los Manantiales Restaurant, Xochimilco, Mexico City, Mexico, 1958. Drawing of<span style="white-space: pre;"> </span>the roof geometry.</td></tr></tbody></table><br /><div><br /></div>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-37356560793722291732023-05-07T10:55:00.002-07:002023-05-07T10:55:34.508-07:00Architectural Drawing | Drawing from the Imagination <p style="text-align: justify;">Architectural Drawing: Unleashing the Creative Power of Imagination</p><p style="text-align: justify;">Are you a creative soul looking to explore the boundless possibilities of architectural design? Look no further than the power of drawing from the imagination! </p><p style="text-align: justify;">Architecture is much more than just the construction of buildings. It involves the imaginative creation of inhabitable spaces that are aesthetically pleasing, structurally sound, and thoughtfully designed to meet the needs of their inhabitants. As architects, we face numerous challenges related to spatial organization, geometrical relationships, tectonic assemblies, and a host of other complex issues that must be addressed during the design and fabrication process.</p><p style="text-align: justify;">But where do we start? The ability to sketch and draw from the imagination is a valuable tool that can help us “think through” our ideas, invent new solutions, and solve problems related to these issues. By using our imaginations, we can explore an infinite range of possibilities and push the boundaries of what is possible in architectural design.</p><p style="text-align: justify;">One architect who has fully embraced the power of architectural drawing is Daniel Libeskind. His body of work includes not only drawings, but also installations, buildings, and musical performances. His Micromegas series of architectural drawings and Lebbeus Woods' dystopian architectural conditions reflect the political nature of architecture and its ability to influence society. Libeskind's drawing Photon Kite, from his series Centricity, depicts a curvilinear mechanical architecture hovering in the air, defying gravitational forces while remaining connected to its environment through a tube. Such drawings demonstrate the potential of architectural drawing to reveal, discover, and invent new scenarios and possibilities for architecture.</p><p style="text-align: justify;"><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0uOPm9GfHIfCWw21k2FUdTmHrkRWVMUSms5o6GpqVFBagKpPwNrlHOzB9MusA8sVfhVUTM7e9Oqv8RN0gLa7XEV_vYzSXXW-o2WqqBsO8yus-kD-hRPY--SMrwhMWbooZ9nPGTSeF1qL1rt05LL_vmg7HDbnWjwU158F164z6HEZ-m5goohaCjCirnQ/s363/Giovanni%20Battista%20Piranesi.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="265" data-original-width="363" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0uOPm9GfHIfCWw21k2FUdTmHrkRWVMUSms5o6GpqVFBagKpPwNrlHOzB9MusA8sVfhVUTM7e9Oqv8RN0gLa7XEV_vYzSXXW-o2WqqBsO8yus-kD-hRPY--SMrwhMWbooZ9nPGTSeF1qL1rt05LL_vmg7HDbnWjwU158F164z6HEZ-m5goohaCjCirnQ/w640-h468/Giovanni%20Battista%20Piranesi.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption"><br /></td><td class="tr-caption"></td></tr></tbody></table><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: justify;"><div>Giovanni Battista Piranesi, Carceri d’Invencione (Imaginary Prisons), Plate XI, The Arch with a<span style="white-space: pre;"> </span>Shell Ornament, c. 1750.</div><div><br /></div></div><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcqP-PNu1c3E6UsVdUC06Tx7RNzzeGewDpu9AIMXHOmiMDer5e5_aTkjRRg1xpZfamDLdbPkscLHmFo2GvW3Zq84ICcwDNjv20TavhLnBJ0bE8j0sTtVnEc2kQG-Z1BLOaRKRGtAEG7JFl9H2s4W8ierpvnWqChusfzLjwGdRJ8i2Ralm_Z5UmcKsfqA/s610/Daniel%20Libeskind,%20Leakage,%20Micromegas%20series%20drawing,%201979.%20Courtesy%20of%20Studio%20Libeskind..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="610" data-original-width="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcqP-PNu1c3E6UsVdUC06Tx7RNzzeGewDpu9AIMXHOmiMDer5e5_aTkjRRg1xpZfamDLdbPkscLHmFo2GvW3Zq84ICcwDNjv20TavhLnBJ0bE8j0sTtVnEc2kQG-Z1BLOaRKRGtAEG7JFl9H2s4W8ierpvnWqChusfzLjwGdRJ8i2Ralm_Z5UmcKsfqA/s16000/Daniel%20Libeskind,%20Leakage,%20Micromegas%20series%20drawing,%201979.%20Courtesy%20of%20Studio%20Libeskind..jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both;">Daniel Libeskind, Leakage, Micromegas series drawing, 1979. Courtesy of Studio Libeskind.</div><div><br /></div></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: justify;">Lebbeus Woods is another architect who utilized drawing from the imagination to create provocative and thought-provoking designs. His sketches and drawings often portrayed dystopian architectural conditions that reflected the political nature of architecture and its ability to influence society. Woods believed that architecture was not just about creating functional buildings but also about challenging societal norms and pushing boundaries.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">One of Woods' most famous works is his series of sketches titled "Centricity," which features a curvilinear mechanical architecture hovering in the air, defying gravitational forces while maintaining a single connection to its surrounding environment through a tube. The sketches in this series explore the relationship between technology and nature, with Woods suggesting that architecture should be seen as an extension of the natural world.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Through his drawings, Woods challenged conventional notions of what architecture could and should be, demonstrating the power of architectural drawing to inspire new ways of thinking about the built environment. His work continues to inspire architects and artists today, and his legacy serves as a reminder of the importance of imagination and creativity in the field of architecture.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div></div><div style="text-align: justify;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsQiBVvmd6T3r_iXJTT6hQO-2tpjcIghaCNxCjIKUafJpVbJa_K9HVYpEXT2TFDiQ7nXkuRzHt_elq_w4v9dsknELw3GjMjoosYb4N-y1zPWPEsvpBL319YXMF_SG5HmRMKX1DbYRQ0uEtu_-_68QoGBMnMJmueWngrQ967I8lICELHtr5fAC3aTJRw/s397/Figure%C2%A01.8.%20Lebbeus%20Woods,%20Photon%20Kite,%20from%20the%20series%20Centricity,%201988..jpg"><img border="0" data-original-height="397" data-original-width="359" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsQiBVvmd6T3r_iXJTT6hQO-2tpjcIghaCNxCjIKUafJpVbJa_K9HVYpEXT2TFDiQ7nXkuRzHt_elq_w4v9dsknELw3GjMjoosYb4N-y1zPWPEsvpBL319YXMF_SG5HmRMKX1DbYRQ0uEtu_-_68QoGBMnMJmueWngrQ967I8lICELHtr5fAC3aTJRw/w578-h640/Figure%C2%A01.8.%20Lebbeus%20Woods,%20Photon%20Kite,%20from%20the%20series%20Centricity,%201988..jpg" width="578" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div>Figure 1.8. Lebbeus Woods, Photon Kite, from the series Centricity, 1988. Architectural drawing, graphite<span style="white-space: pre;"> </span>on paper. Collection SFMOMA. © Estate of Lebbeus Woods.</div><div><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-81814586365039293952023-05-04T23:48:00.002-07:002023-05-04T23:48:50.121-07:00Architectural Drawing | Drawing and Perception<p style="text-align: justify;">Architectural Drawing is a critical component of the design process in architecture. It involves various methods for creating design drawings using both analog and digital techniques. The process is based on our ability to see and imagine physical forms and objects, and then translate three-dimensional geometry into two-dimensional representations through descriptive geometry and projection techniques.</p><p style="text-align: justify;">Various historical and contemporary drawing methods have been developed to help architects and designers visualize, represent, and communicate information effectively. These techniques include hand sketches, technical drawings, three-dimensional projections, simulations, and visualizations. They can be applied at different stages of the architectural design process, expanding the tools available to architects and designers.</p><p style="text-align: justify;">The role of architectural drawing has evolved, and the field now ranges from analog representations based on visual observation to computational simulations based on input parameters and data. This expansion has led to a new paradigm in architectural representation and the education of architectural drawing. It ranges from the development of visual acuity and dexterity required for hand sketching and drawing to the development of coding skills for generating computational simulations and visualizations.</p><p style="text-align: justify;">Drawing and Perception play an essential role in architectural drawing. A line is the simplest form of drawing, and it can be defined as a dot that goes for a walk. The act of drawing has been used throughout human history to express thoughts and communicate information. From prehistoric markings found on the walls of caves to contemporary data visualizations generated by computational processes, humans have utilized various types of tools to create drawings.</p><p style="text-align: justify;">For example, Paul Klee’s drawing titled In Engelshut (In Angel’s Care) appears to be a simple illustration of a few closed shapes. However, the overlapping shapes generate other figures and blur the reading of any one specific figure. The resulting nonhierarchical juxtaposition of shapes creates a visual ambiguity in the drawing, which shifts depending on how the viewer combines the various shapes in their mind. The simultaneous reading of various figural elements and shape combinations creates a visual complexity through the use of a few relatively simple lines and shapes.</p><p style="text-align: justify;"><b>In summary, the role of architectural drawing in the construction of buildings is critical. </b>Various drawing methods provide architects and designers with the ability to visualize, represent, and communicate information effectively. The field of architectural drawing is continuously evolving, and new techniques are being developed to expand the tools available to architects and designers.</p><div style="text-align: justify;"><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxA3Zhhn5qSfrGYA_sfiboA2wFxHVUIp_YL83_Rypo_43WC34nND48NrYGEDMwzFDzULC5ei08BVJr6HWvHMWEMXOjrHckWnL4CFuQx4i4C3CSLHfgZk9yPKOG3bRCeI-yO2XkN0VLDM_6mNREiSPW6Eui0uM9MZdsHhxkISiimiZ0f-FjA9P2mmTFeA/s1820/Paul%20Klee,%20In%20Engelshut%20(In%20Angel%E2%80%99s%20Care),%201931..jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1517" data-original-width="1820" height="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxA3Zhhn5qSfrGYA_sfiboA2wFxHVUIp_YL83_Rypo_43WC34nND48NrYGEDMwzFDzULC5ei08BVJr6HWvHMWEMXOjrHckWnL4CFuQx4i4C3CSLHfgZk9yPKOG3bRCeI-yO2XkN0VLDM_6mNREiSPW6Eui0uM9MZdsHhxkISiimiZ0f-FjA9P2mmTFeA/w640-h534/Paul%20Klee,%20In%20Engelshut%20(In%20Angel%E2%80%99s%20Care),%201931..jpg" width="640" /></a></div><br /><div><br /></div><div><br /></div><div><br /></div><div><br /></div>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-63741188978259695312023-05-02T02:47:00.001-07:002023-05-02T05:22:31.449-07:00Drawing Methods | Computational Drawings<p style="text-align: justify;">Computational drawings have become an integral part of contemporary culture, thanks to the ubiquitous use of computational tools and algorithms. <b><u>Architects have been exploring digital models, simulation methods, parametric design, and algorithmic procedures to generate new architectural forms, modes of fabrication, and performance optimization. </u></b></p><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Using algorithms, which are essentially sets of instructions, in drawing can create visual expressions that are built on rule-based operations, opening up new possibilities for drawing.</i> These procedures are capable of generating visualizations of complex information and processing large amounts of data, which may be difficult or impossible for the human mind to do. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><b><i>The Symmetry Series by Young & Ayata</i></b>, a New York-based architecture firm, is a prime example of how computational drawings can challenge the role of architectural drawings produced through digital computations. These drawings question the usefulness of categorizing mediums such as drawing, painting, and photography, as well as confront the topics of what is real and what is abstract in representation. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><b><i>Simulations are often used to evaluate and test geometric forms to optimize their performance.</i></b> For example, simulating wind loads on a building provides a means for structural engineers to test and improve the structural design and performance of a building. However, simulations have also been used as generative design tools for exploring emergent geometries and forms that are based on input parameters. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><b><i>Zaha Hadid Architects' design of the Kartel-Pendik Masterplan in Istanbul, Turkey, in 2006, is an excellent example of the use of computational simulations</i></b> as a generative design tool. Inputs of circulation within the urban fabric, and computational simulations of bundling curve networks influenced by Frei Otto’s bundling wool-thread models, were used to generate the network of curves for the masterplan. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Computational drawings have revolutionized the architectural industry and continue to shape contemporary culture. They offer a means of generating new architectural forms, visualizing complex information, and exploring emergent geometries and forms through drawing and modeling.</div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifgKvku5RL-jKYDDsAVkTOq_unCed5s28r6d0MnEyQ-hCE7RKgtsAYpeKxy4viJvmFkqeXfyeBDMDYbGwmqk4CDWsN022i5F6e96QNMcjGbP7xv17WeMGDbKhQjrWLtF68xCF6hMU3bGuM-zyahhPEtit6ubloZQdMprNwG7z8vkRlKurd15tDs4Q9Xg/s1124/Young%20&%20Ayata,%20Symmetry%20Series,%202013.%20Computational%20drawing..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1124" data-original-width="1124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifgKvku5RL-jKYDDsAVkTOq_unCed5s28r6d0MnEyQ-hCE7RKgtsAYpeKxy4viJvmFkqeXfyeBDMDYbGwmqk4CDWsN022i5F6e96QNMcjGbP7xv17WeMGDbKhQjrWLtF68xCF6hMU3bGuM-zyahhPEtit6ubloZQdMprNwG7z8vkRlKurd15tDs4Q9Xg/s16000/Young%20&%20Ayata,%20Symmetry%20Series,%202013.%20Computational%20drawing..jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Young & Ayata, Symmetry Series, 2013. Computational drawing. </td></tr></tbody></table><br /><br /><div style="text-align: center;"><br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFD4CQvOEfjnDA7uSEKUUCZxv-hIL81-4H8O2TLJCGKH_5MPMl4ietgA1lgRahVrKt5ghHY934AYq_6zwdUfMfCXos6D7foRyHjUY0eUMCXXrFL8AL3Y70cCb9tM8jJVVCkI1sN0X0Gr2LuBq48utRlIHMBoQjO7IXP474USDP648SH-OHHBWe6imyyQ/s635/Zaha%20Hadid%20Architects,%20Kartal-Pendik%20Masterplan,%20Istanbul,%20Turkey,%202006.%20Site%20plan%20of%20the%20street%20layout%20and.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="635" data-original-width="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFD4CQvOEfjnDA7uSEKUUCZxv-hIL81-4H8O2TLJCGKH_5MPMl4ietgA1lgRahVrKt5ghHY934AYq_6zwdUfMfCXos6D7foRyHjUY0eUMCXXrFL8AL3Y70cCb9tM8jJVVCkI1sN0X0Gr2LuBq48utRlIHMBoQjO7IXP474USDP648SH-OHHBWe6imyyQ/s16000/Zaha%20Hadid%20Architects,%20Kartal-Pendik%20Masterplan,%20Istanbul,%20Turkey,%202006.%20Site%20plan%20of%20the%20street%20layout%20and.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Figure 1.25. Zaha Hadid Architects, Kartal-Pendik Masterplan, Istanbul, Turkey, 2006. Site plan of the street layout and<span style="white-space: pre;"> </span>urban fabric. Courtesy of Zaha Hadid Archite</td></tr></tbody></table><br />Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-84859533396089780512023-05-01T09:10:00.001-07:002023-05-01T09:10:00.139-07:00Cooper Square New York, New York, USA<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5UX8C7gWrasTm-Cn3hwsU3ntFGgHrLgfZ1EvPcxe8wIp9vKpH5Rw2mAZMHVB9-NXP9CbdfUSJEacX3VP3wh8HqYdGAqBhwQO0nvjSDAVzyc9mP8OUPpGJbO0j2ayFzu3x9M08yqh7UZX1/s1005/Cooper+Square++New+York%252C+New+York%252C+USA.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1005" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5UX8C7gWrasTm-Cn3hwsU3ntFGgHrLgfZ1EvPcxe8wIp9vKpH5Rw2mAZMHVB9-NXP9CbdfUSJEacX3VP3wh8HqYdGAqBhwQO0nvjSDAVzyc9mP8OUPpGJbO0j2ayFzu3x9M08yqh7UZX1/w640-h424/Cooper+Square++New+York%252C+New+York%252C+USA.png" width="640" /></a></div><br /><p></p><p> </p><p>This building for Cooper Union is designed with a rectangular shape that includes an interesting void section. The building's lower level has slanted concrete pillars that create a smooth connection with the street and offer a view of the public gallery and auditorium spaces below. Inside, there is a central atrium that is twisted and extends through all the floors of the building. This atrium adds natural light and improves air circulation while creating social and visual connections between the floors. The atrium is made up of steel pipes covered with glass-fiber reinforced gypsum and includes beautiful, translucent, back-lit staircases. At the fourth floor, there is a double-height student lounge with great city views that can be accessed by a beautiful staircase that connects the floors. The atrium's shape merges with the west facade's perforated stainless-steel panels, blending the building with its surroundings. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpZFjJ1mBICD4T6cASuge_doNtKJKzyywi3fb1moow4Bmd6wCtf-Qp_jcZkKswZblX6SIvKGUqSmfBz90PgaOs6-k82e8mn7IGilWbVM0b8V4fFGP5arneB2KBIneYqdjDQnaCtC_ASe7QhTZXEzznxovXkd5HL29mewapfKmp8qOxxoBR6fYr3VnFHw/s600/41%20coopr%20sqaure%20new%20york.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpZFjJ1mBICD4T6cASuge_doNtKJKzyywi3fb1moow4Bmd6wCtf-Qp_jcZkKswZblX6SIvKGUqSmfBz90PgaOs6-k82e8mn7IGilWbVM0b8V4fFGP5arneB2KBIneYqdjDQnaCtC_ASe7QhTZXEzznxovXkd5HL29mewapfKmp8qOxxoBR6fYr3VnFHw/s16000/41%20coopr%20sqaure%20new%20york.jpg" /></a></div><br /><p><br /></p><p><b><i>The academic and laboratory building for Cooper Union is a remarkable piece of architecture designed by the architecture firm Morphosis. Here are some additional details about the building:</i></b></p><p><br /></p><p></p><ul style="text-align: left;"><li>- The building is located in the East Village neighborhood of Manhattan, New York City.</li><li>- The building's design incorporates sustainable features, such as a green roof, energy-efficient lighting, and a rainwater harvesting system.</li><li>- The building is home to various academic and laboratory spaces, including classrooms, offices, and research labs.</li><li>- The design of the building encourages collaboration and interaction among students and faculty members.</li><li>- The building's central atrium is a major architectural feature, with its twisting lattice of steel pipes and back-lit, translucent staircases.</li><li>- The atrium provides natural light, improves air circulation, and creates a unique visual experience for those inside the building.</li><li>- The atrium also serves as a social hub for the building, providing spaces for students and faculty to meet and collaborate.</li><li>- The building's double-height student lounge on the fourth floor provides stunning views of the surrounding cityscape.</li><li>- The building's perforated stainless-steel panels on the west facade reflect the building's urban context and create a distinctive visual effect.</li></ul><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVBm3be20RS7pW6tWO9Eg7xglvJLIjY9klHpW_qd43sC4X4XmwiGT9b-uFr5ePSG1BjPwCT7DploGTwF73ROAhuodxqczi899vnjI9K1FaMGaMDxYhc0GntubeWn8u9w8uvsxmx3BIeWCawJJ1cHetY2IOXtXNevmkdSRmcexrWFY5Iwoy-RuMghF-dA/s750/41%20coopr%20sqaure%20new%20york%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="750" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVBm3be20RS7pW6tWO9Eg7xglvJLIjY9klHpW_qd43sC4X4XmwiGT9b-uFr5ePSG1BjPwCT7DploGTwF73ROAhuodxqczi899vnjI9K1FaMGaMDxYhc0GntubeWn8u9w8uvsxmx3BIeWCawJJ1cHetY2IOXtXNevmkdSRmcexrWFY5Iwoy-RuMghF-dA/w640-h428/41%20coopr%20sqaure%20new%20york%202.jpg" width="640" /></a></div><br /><p><br /></p><p><b><i><u>Bullet points summarizing the main features of the building:</u></i></b></p><p><br /></p><p></p><ul style="text-align: left;"><li>Rectangular shape with a complex, figural sectional void</li><li>Slanted concrete piers at ground level for a fluid connection with the street and visual access to public gallery and auditorium spaces below</li><li>Central atrium that extends through all the floors of the building, improving air circulation, adding natural light, and creating social and visual connections between the floors</li><li>Twisting lattice of steel pipes encased in glass-fiber reinforced gypsum and back-lit, translucent staircases in the atrium</li><li>Double-height student lounge on the fourth floor with city views</li><li>Perforated stainless-steel panels on the west facade reflecting the building's urban context</li></ul><p></p><p><br /></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-42969332018656872862023-04-30T01:07:00.000-07:002023-04-30T01:07:53.544-07:0010 Must-See Movies Featuring Architects That Will Inspire Your Design Journey<p style="text-align: justify;"> <b>Are you a fan of movies and architecture? If so, then you'll love this blog post! In this post, we're going to take a look at some of the coolest movies featuring architects. From inspiring documentaries to thrilling dramas, these movies showcase the creative and innovative work of architects and the impact they have on our built environment. So, whether you're an architecture student, a design enthusiast, or just a movie buff looking for some inspiration, you won't want to miss out on these must-see films. Get ready to sit back, relax, and be inspired by the captivating stories of these architects and their groundbreaking work on the big screen.</b></p><p><br /></p><p><b>Here are some movies featuring architects:</b></p><p><br /></p><p><b>1. "My Architect" (2003) - a documentary about the life and work of Louis Kahn, directed by his son Nathaniel Kahn.</b></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="483" src="https://www.youtube.com/embed/0HxB9Iu3Hbc" width="581" youtube-src-id="0HxB9Iu3Hbc"></iframe></div><br /><p><br /></p><p><br /></p><p><br /></p><p><b>2. "The Fountainhead" (1949) - an adaptation of Ayn Rand's novel, starring Gary Cooper as an individualistic architect fighting against conformity and mediocrity.</b></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="396" src="https://www.youtube.com/embed/swOxKu80JpU" width="476" youtube-src-id="swOxKu80JpU"></iframe></div><br /><p><br /></p><p><b>3. "Playtime" (1967) - directed by Jacques Tati, this film features a memorable scene in a modern office building designed by a team of architects.</b></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="498" src="https://www.youtube.com/embed/d8baw7Rb-9k" width="600" youtube-src-id="d8baw7Rb-9k"></iframe></div><br /><p><br /></p><p><b>4. "Blade Runner" (1982) - while not explicitly about architecture, this science fiction classic features stunning set design and futuristic buildings.</b></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="444" src="https://www.youtube.com/embed/eogpIG53Cis" width="534" youtube-src-id="eogpIG53Cis"></iframe></div><br /><p><br /></p><p><b>5. "The Belly of an Architect" (1987) - directed by Peter Greenaway, this film follows an American architect struggling to complete a project in Rome while dealing with personal issues.</b></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="485" src="https://www.youtube.com/embed/sxOPD-wYUWg" width="583" youtube-src-id="sxOPD-wYUWg"></iframe></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b>6. "The Matrix Reloaded" (2003) - the character of the Merovingian, played by Lambert Wilson, is a self-described "traffic control" for the Matrix who also happens to be an architect.</b></p><p><br /></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="412" src="https://www.youtube.com/embed/kYzz0FSgpSU" width="496" youtube-src-id="kYzz0FSgpSU"></iframe></div><br /><p><br /></p><p><br /></p><p><br /></p><p><b>7. "Inception" (2010) - while not specifically about architecture, the film's plot revolves around the manipulation of dreams and includes scenes of intricate cityscapes.</b></p><p><b><br /></b></p><p></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="421" src="https://www.youtube.com/embed/YoHD9XEInc0" width="506" youtube-src-id="YoHD9XEInc0"></iframe></div><br /><b><br /></b><p></p><p><br /></p><p><b>8. "The Grand Budapest Hotel" (2014) - while not centered on architecture, this Wes Anderson film features many of his trademark whimsical buildings and interiors.</b></p><p><b><br /></b></p><p></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="421" src="https://www.youtube.com/embed/1Fg5iWmQjwk" width="507" youtube-src-id="1Fg5iWmQjwk"></iframe></div><br /><b><br /></b><p></p><p><br /></p><p><b>9. "The Architect" (2006) - starring Anthony LaPaglia and Viola Davis, this film explores the relationship between an idealistic architect and a troubled family who hires him to design their dream home.</b></p><p><b><br /></b></p><p></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="414" src="https://www.youtube.com/embed/rn9pk_186P4" width="498" youtube-src-id="rn9pk_186P4"></iframe></div><br /><b><br /></b><p></p><p><b><br /></b></p><p><br /></p><p><b>10. "Ex Machina" (2014) - a science fiction film that features a remote research facility with stunning modernist architecture.</b></p><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="438" src="https://www.youtube.com/embed/EoQuVnKhxaM" width="528" youtube-src-id="EoQuVnKhxaM"></iframe></div><br /><p><br /></p><p style="text-align: justify;"><b>It's worth noting that in some cases, the architect is a major character in the film, while in others they may only appear briefly or be mentioned in passing:</b></p><p></p><ul style="text-align: left;"><li style="text-align: justify;"><b>"The Fountainhead" (1949)</b></li><li><b>"Mr. Blandings Builds His Dream House" (1948)</b></li><li><b>"The Lake House" (2006)</b></li><li><b>"The Architect" (2006)</b></li><li><b>"The Last Tycoon" (1976)</b></li><li><b>"The Belly of an Architect" (1987)</b></li><li><b>"The Towering Inferno" (1974)</b></li><li><b>"The Time Traveler's Wife" (2009)</b></li><li><b>"The Iron Giant" (1999) - features an architect as a minor character</b></li><li><b>"Mirrors" (2008)</b></li><li><b>"The Island" (2005)</b></li><li><b>"Her" (2013)</b></li><li><b>"The Four Seasons" (1981)</b></li></ul><p></p><p><br /></p><p><br /></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-21848161274592859072023-04-29T04:01:00.002-07:002023-04-29T04:01:50.159-07:00Drawing Methods | Computer-Aided Design (CAD) <p style="text-align: justify;"><span style="font-family: georgia;"><b>The development of computer-aided design (CAD) systems in the 1960s and 1970s marked a significant turning point in the field of architecture. </b>With the introduction of digital platforms, technical drawings could be created with greater speed and accuracy than traditional hand drafting methods. This eventually led to the replacement of manual drafting with computer-aided drafting, which is now the standard practice in the industry.</span></p><p style="text-align: justify;">In subsequent decades, <b>CAD systems continued to evolve, with 3D modeling becoming a key feature in the 1980s. </b>By the 1990s, CAD had advanced to the point where complex geometry, forms, and surfaces could be created through parametric capabilities and topology-based modeling. This, coupled with advancements in computer-aided manufacturing (CAM) tools, made it possible to fabricate complex architectural designs with data that was output directly from digital models.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><b>These technological advancements paved the way for some of the first built works of architecture that were designed primarily within 3D models. </b>The Yokohama International Passenger Terminal, for instance, designed in the mid-1990s by Foreign Office Architects, was conceived primarily in section as a series of digitally modeled surfaces that curved and folded to create an architectural topography.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><i><span style="font-family: georgia;">CAD drawings also include technical drawings produced through building information modeling (BIM) tools. These parametric modeling capabilities link three-dimensional geometries with two-dimensional drawings, allowing changes made in the 3D model to automatically update the associated 2D technical drawings, and vice versa. BIM software has become a useful digital workflow for managing the design and construction of large-scale architectural projects that are complex.</span></i></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">One such example is the Marqués de Riscal Winery in Elciego, Spain, designed by Gehry Partners, LLP, which utilized Gehry Technologies’ Digital Project BIM software to create 3D models that are associated with 2D projections. In addition to embedding data in the 3D model, BIM software allows for greater consistency and reduced errors between the 3D models and 2D technical drawings.</p><p style="text-align: justify;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYC6wA3Pl27OE4RBdNPBtWcjWrh0JU74giv5VPh3v0mDq-MLr0chTT5QITzPdDKv-jIx9hNwRiWkA6t7CjbKMYBzlbR3wSWJuIwehsPwXsiG7ah3MREmm3bmEmMVdqg03LRYbZ-3jcedCkSHIyDlrHNa_ZCJzXxfLlKFfUc6km51gD88ZNt5onOCvRFg/s1360/2022-05-05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="907" data-original-width="1360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYC6wA3Pl27OE4RBdNPBtWcjWrh0JU74giv5VPh3v0mDq-MLr0chTT5QITzPdDKv-jIx9hNwRiWkA6t7CjbKMYBzlbR3wSWJuIwehsPwXsiG7ah3MREmm3bmEmMVdqg03LRYbZ-3jcedCkSHIyDlrHNa_ZCJzXxfLlKFfUc6km51gD88ZNt5onOCvRFg/s16000/2022-05-05.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: justify;">Marqués de Riscal Winery in Elciego, Spain</span></td></tr></tbody></table><br /><p style="text-align: justify;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj78wwdeFlmiFznrxm7I2_2MyoIR9eDmwe-F11fJQMY0Rzq9nEarIcH-Kt7_coMr3cQPUceDvQE2saXBtJ3JDHD5tzCYng6-phFw5_OSeC_EiuymztrP6bX5b-LhMdh-TkvH_QGEDZHK0YtTVT6CtqHsg5mnpK94YU3gogUOsvn8nQYYWPuug0hYLqbWA/s1054/av_medium__av_61376.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1054" data-original-width="808" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj78wwdeFlmiFznrxm7I2_2MyoIR9eDmwe-F11fJQMY0Rzq9nEarIcH-Kt7_coMr3cQPUceDvQE2saXBtJ3JDHD5tzCYng6-phFw5_OSeC_EiuymztrP6bX5b-LhMdh-TkvH_QGEDZHK0YtTVT6CtqHsg5mnpK94YU3gogUOsvn8nQYYWPuug0hYLqbWA/s16000/av_medium__av_61376.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: justify;">Marqués de Riscal Winery in Elciego, Spain - CAD Drawings </span></td></tr></tbody></table><br /><p style="text-align: justify;"></p><h4><br /></h4><p></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj44HOq2DYRlQxjhH4RwMywFGGdZIB-gcJZWhYnQLJYmS6wJenmB0-8Eud8JhT_IE5AtGOghU_MmfkPTse5pwMNCSK1u6hKQRglWjtexU12gHobbcvT8Komm4aPjzs8gR_nsVJ8ZBDV1BW0530sac4bmMjepN61d59HrPg8Ef3Vd2uQtv0UB2MLg7nagA/s577/Farshid%20Moussavi%20and%20Alejandro%20Zaera-Polo,%20Foreign%20Office%20Architects,%20Yokohama%20International%20Port%20Terminal,%20Yokohama,.jpg"><img border="0" data-original-height="577" data-original-width="467" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj44HOq2DYRlQxjhH4RwMywFGGdZIB-gcJZWhYnQLJYmS6wJenmB0-8Eud8JhT_IE5AtGOghU_MmfkPTse5pwMNCSK1u6hKQRglWjtexU12gHobbcvT8Komm4aPjzs8gR_nsVJ8ZBDV1BW0530sac4bmMjepN61d59HrPg8Ef3Vd2uQtv0UB2MLg7nagA/s16000/Farshid%20Moussavi%20and%20Alejandro%20Zaera-Polo,%20Foreign%20Office%20Architects,%20Yokohama%20International%20Port%20Terminal,%20Yokohama,.jpg" /></a></div><br /><br />Farshid Moussavi and Alejandro Zaera-Polo, Foreign Office Architects, Yokohama International Port Terminal, Yokohama,<span style="white-space: pre;"> </span>Japan, 1995–2002. Oblique drawing of the transverse sections. Courtesy of Farshid Moussavi Architecture.<br /><div><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqn6shYvS5AFl1qdOkz1Pm9IUxO3gBU6WCcHia0zDc3Rsu44KLTqdWyTwIgYs-rGAWR9d61ucFsS4_u5RtQCvW59CBtWoAnj2zerLW72vuObTyHOTuCbLQAHIGS_EgeENm90spz6pAer9o6f64bIi9JfFWeEoVf9JFLhRC0_KfQpAYQEIYEb6UNrCGQw/s591/section_Farshid%20Moussavi%20and%20Alejandro%20Zaera-Polo,%20Foreign%20Office%20Architects,%20Yokohama%20International%20Port%20Terminal,%20Yokohama,.jpg"><img border="0" data-original-height="591" data-original-width="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqn6shYvS5AFl1qdOkz1Pm9IUxO3gBU6WCcHia0zDc3Rsu44KLTqdWyTwIgYs-rGAWR9d61ucFsS4_u5RtQCvW59CBtWoAnj2zerLW72vuObTyHOTuCbLQAHIGS_EgeENm90spz6pAer9o6f64bIi9JfFWeEoVf9JFLhRC0_KfQpAYQEIYEb6UNrCGQw/s16000/section_Farshid%20Moussavi%20and%20Alejandro%20Zaera-Polo,%20Foreign%20Office%20Architects,%20Yokohama%20International%20Port%20Terminal,%20Yokohama,.jpg" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Farshid Moussavi and Alejandro Zaera-Polo, Foreign Office Architects, Yokohama International Port<span style="white-space: pre;"> </span>Terminal, Yokohama, Japan, 1995–2002. Technical drawings of the transverse sections. Courtesy of Farshid Moussavi<span style="white-space: pre;"> </span>Architecture.</div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdpAIujDDFbjbrAXbDOKtIEETwsZqax4F5xfqHjMmo2sfhOG38EUm_sSg2S8n_tK8-UAId9eULYxLVcxYAbR5tthkKteD6HS27buvhEKMqxlmMnh_RdVTuOfVkwn3Jep2yVNe16vsycuYLTk3q84RVd5MRoHAogwq6-U8YBchWG9KddUNMRiH4f65K6w/s635/Gehry%20Partners,%20LLP,%20Marqu%C3%A9s%20de%20Riscal%20Winery,%20Elciego,%20Spain,%202003-2006.%20Floor%20plan%20drawing..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="635" data-original-width="456" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdpAIujDDFbjbrAXbDOKtIEETwsZqax4F5xfqHjMmo2sfhOG38EUm_sSg2S8n_tK8-UAId9eULYxLVcxYAbR5tthkKteD6HS27buvhEKMqxlmMnh_RdVTuOfVkwn3Jep2yVNe16vsycuYLTk3q84RVd5MRoHAogwq6-U8YBchWG9KddUNMRiH4f65K6w/w460-h640/Gehry%20Partners,%20LLP,%20Marqu%C3%A9s%20de%20Riscal%20Winery,%20Elciego,%20Spain,%202003-2006.%20Floor%20plan%20drawing..jpg" width="460" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gehry Partners, LLP, Marqués de Riscal Winery, Elciego, Spain, 2003-2006. Floor plan drawing.</td></tr></tbody></table><br /><div><br /></div><div><br /></div><div><span style="text-align: justify;"><span style="font-family: georgia;">The advent of CAD systems has revolutionized the way architects create technical drawings, allowing for greater precision, speed, and accuracy. The continued evolution of CAD has given rise to new possibilities for the design and construction of complex architectural forms, with 3D modeling and BIM technologies offering an efficient digital workflow for managing large-scale projects.</span></span></div><div><br /></div><div><br /></div>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-91897305802106533662023-04-28T02:26:00.003-07:002023-04-28T06:35:31.149-07:00The Art of Observational Drawing: Improving Your Eye for Detail<p style="text-align: justify;"><b>The Art of Observational Drawing: Improving Your Eye for Detail</b></p><p style="text-align: justify;">If you're someone who's always had an interest in the visual arts, design, or architecture, then you know how important it is to have an acute eye for detail. That's where observational drawing comes in! By using contours and tones, you can train yourself to replicate shapes and forms accurately, and bring your art to life.</p><p style="text-align: justify;"><b><i>Contour drawing is a technique that lets you create a two-dimensional representation of a three-dimensional object by drawing only its outlines. </i></b>By focusing on edges where surfaces meet, and sudden shifts in light reflection, such as the edges of highlights and shadows, you can create accurate drawings that capture the essence of what you're observing. When you add tones to your contour drawing, you can further enhance the perception of form by capturing its relationship to light.</p><p style="text-align: justify;">Observational drawing isn't just a great way to develop your artistic skills, it's also an excellent way to enhance your perceptual acuity. By honing your ability to perceive and comprehend shapes, surfaces, forms, and light, you'll be able to recognize visual patterns in both the surrounding and built environment. <i>This is a valuable skill that architects and designers use to represent formal and spatial information accurately in their work.</i></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><b><i>Observational drawing is an art that can be learned by anyone.</i></b> It's an excellent way to develop your eye for detail, and it's a valuable skill that you can use in your professional life. So why not grab a pencil, start observing your surroundings, and see what you can create?</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpntxkY7SGhWfq_BdaI7XqSEA-67ihdRxiVyGV8Xajf44b13Mk-KG5VtBLQrUoxlxcIVPLLZWJOalR-Ju2x0ZIbM8gxHMaDZyH8yotOceDzv0IHMs2yTrtTLTQwCHEHwj0gWDyT0hEIIIvfX_WPRNh1JS8ZYtecNMEHdeNKPnpB5udxsfMhEYs11z4w/s536/%C3%81lvaro%20Siza,%20Architect,%20Sketch%20of%20Machu%20Pichu..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="464" data-original-width="536" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpntxkY7SGhWfq_BdaI7XqSEA-67ihdRxiVyGV8Xajf44b13Mk-KG5VtBLQrUoxlxcIVPLLZWJOalR-Ju2x0ZIbM8gxHMaDZyH8yotOceDzv0IHMs2yTrtTLTQwCHEHwj0gWDyT0hEIIIvfX_WPRNh1JS8ZYtecNMEHdeNKPnpB5udxsfMhEYs11z4w/s16000/%C3%81lvaro%20Siza,%20Architect,%20Sketch%20of%20Machu%20Pichu..jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"> Álvaro Siza, Architect, Sketch of Machu Pichu. </td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com0tag:blogger.com,1999:blog-1919202105036669824.post-50610975557913803232022-12-21T01:19:00.004-08:002022-12-21T01:19:41.394-08:00Early Renaissance (Architecture Style)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8c-8KMYakALdIvWnG05L5cxilSqn1fTx9lZCujDgHVbKVJDzO2BgV4lgz_m7h414kCr5ODwAqrfEEhNyhLb_RLKjstnp-O0RWFyS53KtUrj14VpgMGZrBnvpkvRWkdwuIsdPu6Li_rCBdXyFCZUuZ8_xihXM5ta1PBQTzmLSxzWXPl86WKB0TQNf7Ow/s573/Michelozzo%20di%20Bartolomeo%20Michelozzi,%20courtyard,%20Palazzo%20Medici,%20Florence,%201445%E2%80%9360.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="573" data-original-width="503" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8c-8KMYakALdIvWnG05L5cxilSqn1fTx9lZCujDgHVbKVJDzO2BgV4lgz_m7h414kCr5ODwAqrfEEhNyhLb_RLKjstnp-O0RWFyS53KtUrj14VpgMGZrBnvpkvRWkdwuIsdPu6Li_rCBdXyFCZUuZ8_xihXM5ta1PBQTzmLSxzWXPl86WKB0TQNf7Ow/s16000/Michelozzo%20di%20Bartolomeo%20Michelozzi,%20courtyard,%20Palazzo%20Medici,%20Florence,%201445%E2%80%9360.png" /></a></div><br /><p><br /></p><p><br /></p><p></p><div style="text-align: left;"><b style="background-color: white; font-family: Lustria; font-size: 15px; margin: 0px; padding: 0px; text-align: justify;">Region: </b> Italy, especially Florence.</div><span style="background-color: white; margin: 0px; padding: 0px; text-align: justify;"><div style="text-align: left;"><span style="font-weight: bold; margin: 0px; padding: 0px;">Period:</span><span style="font-family: Lustria; font-weight: bold;"> </span><span style="background-color: transparent; font-weight: bold; text-align: left;">Fifteenth century.<br /><div style="text-align: left;"><b style="font-family: Lustria; font-size: 15px; text-align: justify;">Characteristics:</b></div></span></div></span><p></p><div><span style="background-color: white; margin: 0px; padding: 0px; text-align: justify;"><ul style="font-family: Lustria; font-size: 15px; font-weight: bold;"><li><b style="background-color: white; font-family: Lustria; font-size: 15px; margin: 0px; padding: 0px; text-align: justify;"><span style="font-family: "Times New Roman"; font-size: medium; font-weight: 400; text-align: left;">Centralized plan.</span></b></li><li><b style="background-color: white; font-family: Lustria; font-size: 15px; margin: 0px; padding: 0px; text-align: justify;"><span style="font-family: "Times New Roman"; font-size: medium; font-weight: 400; text-align: left;">Emulation of the Antique.</span></b></li><li><b style="background-color: white; font-family: Lustria; font-size: 15px; margin: 0px; padding: 0px; text-align: justify;"><span style="font-family: "Times New Roman"; font-size: medium; font-weight: 400; text-align: left;">Invention.</span></b></li><li><b style="background-color: white; font-family: Lustria; font-size: 15px; margin: 0px; padding: 0px; text-align: justify;"><span style="font-family: "Times New Roman"; font-size: medium; font-weight: 400; text-align: left;">Spatial harmony.</span></b></li><li><b style="background-color: white; font-family: Lustria; font-size: 15px; margin: 0px; padding: 0px; text-align: justify;"><span style="font-family: "Times New Roman"; font-size: medium; font-weight: 400; text-align: left;">Proportional façade.</span></b></li><li><b style="background-color: white; font-family: Lustria; font-size: 15px; margin: 0px; padding: 0px; text-align: justify;"><span style="font-family: "Times New Roman"; font-size: medium; font-weight: 400; text-align: left;">Delicacy.<br /><br /></span></b></li></ul><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><h2 style="text-align: center;"><b>Centralized plan</b></h2>The Early Renaissance saw the fi rst experiments with the Neoplatonic ideal of the centralized plan. Brunelleschi’s S. Maria degli Angeli was begun in 1434, but left incomplete. Michelozzo’s east end of SS. Annunziata, Florence, begun in 1444, is a complete example, but Giuliano da Sangallo the Elder’s S. Maria delle Carceri is the most perfect of the early iterations.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJlLiZHBwqFjh23nsHBYW9Ou6yafr-0SizG9XjxzrR4zGp_-RyzZDnNS5PCsUoB-F2GwZ4tpSZXp7wL1nzcLG4iJwCgKF3VhllVvTxYy7S1-i09EUT_W9zmTU8s-igcMdKAv1KRlSBjD0emWNHSUU6Nfvuh9MjbkZFlBqqw_T-SrC8HJ3sSY0gmW9Xg/s506/Giuliano%20da%20Sangallo%20the%20Elder,%20S.%20Maria%20delle%20Carceri,%20Prato,%201486%E2%80%9395.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="506" data-original-width="427" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJlLiZHBwqFjh23nsHBYW9Ou6yafr-0SizG9XjxzrR4zGp_-RyzZDnNS5PCsUoB-F2GwZ4tpSZXp7wL1nzcLG4iJwCgKF3VhllVvTxYy7S1-i09EUT_W9zmTU8s-igcMdKAv1KRlSBjD0emWNHSUU6Nfvuh9MjbkZFlBqqw_T-SrC8HJ3sSY0gmW9Xg/w540-h640/Giuliano%20da%20Sangallo%20the%20Elder,%20S.%20Maria%20delle%20Carceri,%20Prato,%201486%E2%80%9395.png" width="540" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giuliano da Sangallo the Elder, S. Maria delle Carceri, Prato, 1486–95</td></tr></tbody></table><br /></div><div style="text-align: left;"><h2 style="text-align: center;">Spatial harmony</h2><div><div style="text-align: justify;">Spatial harmony The fl at roof and round windows of Brunelleschi’s S. Spirito are vaguely Romanesque in derivation. Yet its arcade and volumes are the result of a deep understanding of the spatial harmony of classical architecture. The nave is twice as high as it wide, while in its entirety it is exactly four and a half cubes. The ground fl oor and clerestory are exactly equal in height.</div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJPXntkEh2I73y4IrsPcQnIjs__wgzc2nKY6WcJ5fuUwL-Xjl_Z75l_poksapcc8fFUMP79pP5LeOoEJt8NiP6fnZIsgyNorMJ_vIZacUTei4as5_HOPgivoAjJAlxsCJq6KeeRAftZ0CyeJe3xblX88x_Oa5XfDiALYeSOZoexuWNwQaqrnz9rZERg/s573/Filippo%20Brunelleschi,%20S.%20Spirito,%20Florence,%20begun%201436.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="573" data-original-width="474" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJPXntkEh2I73y4IrsPcQnIjs__wgzc2nKY6WcJ5fuUwL-Xjl_Z75l_poksapcc8fFUMP79pP5LeOoEJt8NiP6fnZIsgyNorMJ_vIZacUTei4as5_HOPgivoAjJAlxsCJq6KeeRAftZ0CyeJe3xblX88x_Oa5XfDiALYeSOZoexuWNwQaqrnz9rZERg/w530-h640/Filippo%20Brunelleschi,%20S.%20Spirito,%20Florence,%20begun%201436.png" width="530" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Filippo Brunelleschi, S. Spirito, Florence, begun 1436</td></tr></tbody></table><br /><div><br /></div></div><div style="text-align: left;"><h2 style="text-align: center;">Emulation of the Antique</h2><div style="text-align: justify;"><span style="text-align: left;">In his incomplete Tempio Malatestiano in Rimini, Alberti attempted to employ the Roman triumphal arch motif in church architecture. He succeeded in doing so at the slightly later S. Andrea, Mantua, in which he used various Roman features, notably the coffered barrel vault, to reconcile its essentially longitudinal space with his preferred centralized ideal.</span></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8lVzDoD_4HpZBqhjUwdN50w4SY1MrEAddzyGCLCa2emOzUrS9iu_Yyx9f_mzkdW1GBlt5Z-D0aV7okCYVoNlp4dEQZJ_8f9kE9BAW-E_IH2WAuB1mMmccD3fq-HSzrbY3PZ02e1pO1x9V8V6653nx3RJCbcPRQbd0525aA424JAXJgjRPmvW9BzCVzw/s506/Leon%20Battista%20Alberti,%20S.%20Andrea,%20Mantua,%20begun%201470.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="506" data-original-width="427" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8lVzDoD_4HpZBqhjUwdN50w4SY1MrEAddzyGCLCa2emOzUrS9iu_Yyx9f_mzkdW1GBlt5Z-D0aV7okCYVoNlp4dEQZJ_8f9kE9BAW-E_IH2WAuB1mMmccD3fq-HSzrbY3PZ02e1pO1x9V8V6653nx3RJCbcPRQbd0525aA424JAXJgjRPmvW9BzCVzw/w540-h640/Leon%20Battista%20Alberti,%20S.%20Andrea,%20Mantua,%20begun%201470.png" width="540" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leon Battista Alberti, S. Andrea, Mantua, begun 1470</td></tr></tbody></table><br /><div><h2 style="text-align: center;">Invention</h2><div><div style="text-align: justify;">Brunelleschi’s dome is symbolic of Florence as the birthplace of the Renaissance. The spirit of creative invention in early fi fteenth-century Florence was born from the coalescence of its political and social systems, fi nance and, most importantly, patrons such as the famous Cosimo de’ Medici, whose Humanist interests led him to commission some of the period’s greatest works of art.</div></div></div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNO2gMYwXy24Je9xC_Ge6jZyD5-JDmWJQUoUNbwsCXRok1541H1n0Nuey_kwfZBCASSabjq_-B7pwbiu60Gqf89V_xoedaiAXKQS-S9BlBcJh_nGfrkofe1f3rF6eGEK1xrd6R3-9ktiJ5hQ5ao_BeWT391nebuGAJC7K1yF4rMq5g5iUcuUny8N46aA/s478/Filippo%20Brunelleschi,%20Dome,%20Basilica%20di%20Sta.%20Maria%20del%20Fiore%20(Florence%20Cathedral),%20Florence,%201420%E2%80%9336.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="478" data-original-width="474" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNO2gMYwXy24Je9xC_Ge6jZyD5-JDmWJQUoUNbwsCXRok1541H1n0Nuey_kwfZBCASSabjq_-B7pwbiu60Gqf89V_xoedaiAXKQS-S9BlBcJh_nGfrkofe1f3rF6eGEK1xrd6R3-9ktiJ5hQ5ao_BeWT391nebuGAJC7K1yF4rMq5g5iUcuUny8N46aA/w634-h640/Filippo%20Brunelleschi,%20Dome,%20Basilica%20di%20Sta.%20Maria%20del%20Fiore%20(Florence%20Cathedral),%20Florence,%201420%E2%80%9336.png" width="634" /></a><br /></td></tr><tr><td class="tr-caption" style="text-align: center;">Filippo Brunelleschi, Dome, Basilica di Sta. Maria del Fiore (Florence Cathedral), Florence, 1420–36<br /><br /><br /></td></tr></tbody></table><div style="text-align: center;"><br /></div><div><br /></div></div></span></div><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;"><br /></h2><h2 style="background-color: white; text-align: center;">Proportional façade</h2><div style="background-color: white;"><div style="text-align: justify;">The coherent proportional system of Alberti’s Palazzo Rucellai emerges from its arrangement of the orders. Doric pilasters at ground level, Ionic on the fi rst fl oor and Corinthian above frame the repeating series of windows to give the whole façade a sense of order, a principle Alberti also deployed in the façade of S. Maria Novella in Florence.</div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1YNh_sgeZS15RwLDeK_h2_I-uvOecbzlMowaoolUM9S6Xkbmku78FE0B31IycceUMOED5IgxkNiqDWDfNF9vRtxpuTfXWjX1u8BRxYPk4mK9xGWlISzS6MPX_Uzky0HRuwFQPizJsO1ZOnSmMzTWgpM3mZLA1BrOq3gM9FojhJNifCErgFqE5cPGicQ/s503/Leon%20Battista%20Alberti,%20Palazzo%20Rucellai,%20Florence,%20begun%201446.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="478" data-original-width="503" height="608" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1YNh_sgeZS15RwLDeK_h2_I-uvOecbzlMowaoolUM9S6Xkbmku78FE0B31IycceUMOED5IgxkNiqDWDfNF9vRtxpuTfXWjX1u8BRxYPk4mK9xGWlISzS6MPX_Uzky0HRuwFQPizJsO1ZOnSmMzTWgpM3mZLA1BrOq3gM9FojhJNifCErgFqE5cPGicQ/w640-h608/Leon%20Battista%20Alberti,%20Palazzo%20Rucellai,%20Florence,%20begun%201446.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leon Battista Alberti, Palazzo Rucellai, Florence, begun 1446</td></tr></tbody></table><br /><div><br /></div><div><h2 style="text-align: center;"><span style="font-size: 24px;">Delicacy</span></h2><h2 style="text-align: center;"><br /><div style="text-align: justify;"><span style="font-size: small;"><span style="font-weight: 400;">In contrast to its heavily rusticated, almost fortress-like exterior – security was a necessity for such a rich and controversial fi gure as Cosimo de’ Medici – the inner courtyard of Michelozzo’s Palazzo Medici is light and airy. Its slender columns, characteristic of the Early Renaissance, recall those of Brunelleschi’s Ospedale degli Innocenti, as well as much earlier Florentine examples such as the Romanesque S. Miniato (1062–90 and later).</span></span></div><div style="text-align: left;"><br /></div></h2><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu0usAMXsK3o76FcwUplxcDgEkJhD6OGpo2Cet9bUucqG_yHBa_Mn_H9HESkSSTt3AYtxvOt5AL0HlBpVde6Bxu-eJZLEc3AHlWIjZcREKd9cBaFF0AU2-r5DL2epP8qum0LMrRe_7OXr5JpnbqdivQm-JYkHsdcrKPgM263ndC2UoK0DXDgkN2qmJrQ/s573/Michelozzo%20di%20Bartolomeo%20Michelozzi,%20courtyard,%20Palazzo%20Medici,%20Florence,%201445%E2%80%9360.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="573" data-original-width="503" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu0usAMXsK3o76FcwUplxcDgEkJhD6OGpo2Cet9bUucqG_yHBa_Mn_H9HESkSSTt3AYtxvOt5AL0HlBpVde6Bxu-eJZLEc3AHlWIjZcREKd9cBaFF0AU2-r5DL2epP8qum0LMrRe_7OXr5JpnbqdivQm-JYkHsdcrKPgM263ndC2UoK0DXDgkN2qmJrQ/w562-h640/Michelozzo%20di%20Bartolomeo%20Michelozzi,%20courtyard,%20Palazzo%20Medici,%20Florence,%201445%E2%80%9360.png" width="562" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;">Michelozzo di Bartolomeo Michelozzi, courtyard, Palazzo Medici, Florence, 1445–60</span><br style="text-align: start;" /></td></tr></tbody></table></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div></div>
Book Reference:<div id="cleantext">Architectural Styles A Visual Guide by Owen Hopkins<br /><a href="https://amzn.to/3GpINsx">https://amzn.to/3GpINsx</a><br /><br /></div>
Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com3tag:blogger.com,1999:blog-1919202105036669824.post-92027882671457164452022-02-27T08:21:00.001-08:002022-02-27T08:21:00.161-08:00Museum of Image and Sound Rio de Janeiro, Brazil<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhMADTi2u4np9RalhL5-4bnpNLo8Im58T_pXQVrOLFXYbzYpyVxvVXk55TTwbg73KQt5A1ZbivzhRIkYFfvI2tioM3tgWYDTUZ_4FsoQyx64wVWsLoTzSaQy5dca4DxXpjpI10Cr249fhVbMj0VT_s_odUpS4ieQftrlC9XnhzIcTLl73lvKvTfP3NpGw=s1140" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="737" data-original-width="1140" height="414" src="https://blogger.googleusercontent.com/img/a/AVvXsEhMADTi2u4np9RalhL5-4bnpNLo8Im58T_pXQVrOLFXYbzYpyVxvVXk55TTwbg73KQt5A1ZbivzhRIkYFfvI2tioM3tgWYDTUZ_4FsoQyx64wVWsLoTzSaQy5dca4DxXpjpI10Cr249fhVbMj0VT_s_odUpS4ieQftrlC9XnhzIcTLl73lvKvTfP3NpGw=w640-h414" width="640" /></a></div><br /><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Yf6YnM9noemy6JausKEq_x1dcEbMtP1I5785KGwMjNpD1sNSh3eVZEWRPyQ22OAXjHUC-ex1j65ZhrLe6OgV3jNK3UVVHFNmN5qHSYvH5OGJpSY9Ruq1dAgza5wEatYIjVfscP7EEAE4/s1003/Museum+of+Image+and+Sound++Rio+de+Janeiro%252C+Brazil.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="663" data-original-width="1003" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Yf6YnM9noemy6JausKEq_x1dcEbMtP1I5785KGwMjNpD1sNSh3eVZEWRPyQ22OAXjHUC-ex1j65ZhrLe6OgV3jNK3UVVHFNmN5qHSYvH5OGJpSY9Ruq1dAgza5wEatYIjVfscP7EEAE4/w640-h424/Museum+of+Image+and+Sound++Rio+de+Janeiro%252C+Brazil.png" width="640" /></a></div><br /><p></p><p> </p><p></p><div style="text-align: left;"><b>Architect</b>: Diller Scofidio + Renfro</div><div style="text-align: left;"><b style="font-weight: bold;">Location<span style="white-space: pre;"> </span>: </b><b> </b>Rio de Janeiro, Brazil </div><div style="text-align: left;"><b style="font-weight: bold;">Date</b><b>: </b>Suspended in 2016 </div><div style="text-align: left;"><b style="font-weight: bold;">Building Type :</b> Museum</div><div style="text-align: left;"><b style="font-weight: bold;">Construction System: </b>reinforced concrete</div><div style="text-align: left;"><b style="font-weight: bold;">Climate:</b><span style="font-weight: bold; white-space: pre;"> </span>temperate</div><div style="text-align: left;"><b style="font-weight: bold;">Context:</b><span style="white-space: pre;"><b> </b>Urban</span></div><div style="text-align: left;"><b style="font-weight: bold;">Style: </b>Modern</div><div style="text-align: left;"><b style="font-weight: bold;">Notes:</b>The project first took shape in 2014 but was completely suspended in 2016. Although the project has been untouched since then, a recent announcement by Governor Cláudio Castro promised the revival of construction works at the museum, with an expected public opening in early 2023.</div><p></p><p><br /></p><p style="text-align: left;"> Located along Rio de Janeiro’s Copacabana Beach, this museum interlaces
linked floors for exhibition and display with floors for retail and restau-
rants through an atrium defined by the vertical shear of those levels.<br /><br />In
the rectangular plan, social and exhibition programs are located between
two linear bars of circulation, one interior and one exterior. A performance
hall is positioned below grade, and an open-air cinema inhabits the roof.
On the facade continuous exterior paths and elongated stairs extend the
historic Roberto Burle Marx–designed street promenade up the side of the building, transgressing divisions between interior and exterior and allowing
direct access to programs above the ground level.<br /><br /><br />The figures of this vertical
circulation provide the building’s
image. Along this vertical sequence
a portion of the facade’s skin is composed of custom open masonry block,
choreographing views out of the museum and allowing light into the museum.
Through an intricate combination of incline, stack, vertical shear, and hole,
this section amplifies the social and cultural vitality of Rio de Janeiro. </p>
<div><b><br /></b></div><div><b><br /></b></div><div><b>Web Reference:</b><br /><a href="https://www.archdaily.com/966498/paul-clemence-releases-images-of-diller-scofidio-plus-renfros-discontinued-museum-of-image-and-sound">https://www.archdaily.com/966498/paul-clemence-releases-images-of-diller-scofidio-plus-renfros-discontinued-museum-of-image-and-sound</a></div><div style="font-weight: bold;"><b><br /></b></div><div style="font-weight: bold;"><b><br /></b></div><b>Book Reference: </b><div style="text-align: left;">Manual of Section<br /><a href="https://amzn.to/3yjy9As">https://amzn.to/3yjy9As</a></div><p style="text-align: left;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ac&ref=qf_sp_asin_til&ad_type=product_link&tracking_id=danakrystle-20&marketplace=amazon&region=US&placement=1616892552&asins=1616892552&linkId=a9f7b31e2a72e37624a989436cb675e3&show_border=false&link_opens_in_new_window=true&price_color=333333&title_color=0066c0&bg_color=ffffff" style="height: 240px; width: 120px;">
</iframe></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com5tag:blogger.com,1999:blog-1919202105036669824.post-23581897392676079222022-02-24T09:27:00.001-08:002022-02-24T09:27:00.177-08:00Netherlands Institute for Sound and Vision Hilversum, the Netherlands<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhogYOT58Yp9azOsoD4CgWYfbbTPzSrin6fnSH8ggef_et7EZj8DdlO1ohE48YFOe1oIXlKZz0L06fzJyaQZZBV3V1GeJhME-I02r2SbQd0j7aDz0iUTpWtmMAhd5t_ljC1H513YWIOv3pMnY4BeWG-4v7qb_Iqhr5EHV1UJMy8czOG2Y4MH11yGgtrcg=s472" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="319" data-original-width="472" height="432" src="https://blogger.googleusercontent.com/img/a/AVvXsEhogYOT58Yp9azOsoD4CgWYfbbTPzSrin6fnSH8ggef_et7EZj8DdlO1ohE48YFOe1oIXlKZz0L06fzJyaQZZBV3V1GeJhME-I02r2SbQd0j7aDz0iUTpWtmMAhd5t_ljC1H513YWIOv3pMnY4BeWG-4v7qb_Iqhr5EHV1UJMy8czOG2Y4MH11yGgtrcg=w640-h432" width="640" /></a></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj91YDkFyrBo_vsRgZGi7wiyV43hhYmguDuC_jYHuASmZg0gm6QH4KYc-8navgolEMpBwRHa3ybOG6tk9mxItdq1KrZez3eFdmxxulzLdJKVyhzZcF0KYg7Y7UIzk2ulFdccQEXjW6s-Pkv/s1009/Netherlands+Institute+for+Sound+and+Vision++Hilversum%252C+the+Netherlands.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="665" data-original-width="1009" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj91YDkFyrBo_vsRgZGi7wiyV43hhYmguDuC_jYHuASmZg0gm6QH4KYc-8navgolEMpBwRHa3ybOG6tk9mxItdq1KrZez3eFdmxxulzLdJKVyhzZcF0KYg7Y7UIzk2ulFdccQEXjW6s-Pkv/w640-h422/Netherlands+Institute+for+Sound+and+Vision++Hilversum%252C+the+Netherlands.png" width="640" /></a></div><p></p><p></p><div style="text-align: left;"><b>Architect</b>: Le Corbusier</div><div style="text-align: left;"><b style="font-weight: bold;">Location<span style="white-space: pre;"> </span>: </b>Hilversum, the Netherlands</div><div style="text-align: left;"><b style="font-weight: bold;">Date :</b> 2006 </div><div style="text-align: left;"><b style="font-weight: bold;">Building Type :</b>Museums / Music schools/Music academies</div><div style="text-align: left;"><b style="font-weight: bold;">Construction System: </b>Glass and reinforced concrete</div><div style="text-align: left;"><b style="font-weight: bold;">Climate:</b><span style="font-weight: bold; white-space: pre;"> </span>temperate</div><div style="text-align: left;"><b style="font-weight: bold;">Context:</b><span style="font-weight: bold; white-space: pre;"> </span>Urban</div><div style="text-align: left;"><b style="font-weight: bold;">Style:</b><b> </b>Modern</div><div style="text-align: left;"><b style="font-weight: bold;">Notes: </b>Light travels from the skylight and the stained-glass facades down through the atrium into the slate-clad archive.</div><p></p><p style="text-align: left;"><br /></p><p style="text-align: left;">This rectilinear volume contains a research institute and national archives
for Dutch television and radio. Limited to a height of 82 ft (25 m) above
ground, the building is divided into a thirteen-story block of offices and tech-
nical installations, five stories of archives below grade, and three floors of
exhibition space floating above a large central hall.<br /><br />Entered at grade, the space of the central hall
extends both down into a stepped canyon crossed by three bridges and up into a ziggurat-shaped void adjacent to the exhibition floors. <br /><br />The descending
and ascending spaces shear in perpendicular directions, torquing the
internal
space. This sheared section is less notable for its impact on the
interiors
within the sheared floors than for its shaping of the atrium. Carved
into the center of the building, the atrium paradoxically emphasizes the
programmatic division among three volumes while joining the assembly of
this sheared section into a legible whole.</p>
<br /><b>Web Reference:</b><br /><a href="https://www.archilovers.com/projects/41837/netherlands-institute-for-sound-and-vision.html">https://www.archilovers.com/projects/41837/netherlands-institute-for-sound-and-vision.html</a><br /><br /><br /><b>Book Reference: </b><div style="text-align: left;">Manual of Section<br /><a href="https://amzn.to/3yjy9As">https://amzn.to/3yjy9As</a></div><p style="text-align: left;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ac&ref=qf_sp_asin_til&ad_type=product_link&tracking_id=danakrystle-20&marketplace=amazon&region=US&placement=1616892552&asins=1616892552&linkId=a9f7b31e2a72e37624a989436cb675e3&show_border=false&link_opens_in_new_window=true&price_color=333333&title_color=0066c0&bg_color=ffffff" style="height: 240px; width: 120px;">
</iframe></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com5tag:blogger.com,1999:blog-1919202105036669824.post-10651583445934530992022-02-20T10:01:00.002-08:002022-02-20T10:01:00.169-08:00Prada Aoyama Tokyo, Japan<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi7VKjgZGizbW4YCvBlw45sEPHbQz2FnYS_tfb2v1r971Mh5BhT46x-hkKuvilaav9A2BOkI80nITeoZZltx57fVn19rEC087SkalTMe0aXXmHt2NVFQY-EATTOV9m4Rb3LDIw_HQVaFnxxT2g07ZjRRgkKkrwVDVjE-nq1dsWCjyoXkyGdVQiKG8Og1w=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1477" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEi7VKjgZGizbW4YCvBlw45sEPHbQz2FnYS_tfb2v1r971Mh5BhT46x-hkKuvilaav9A2BOkI80nITeoZZltx57fVn19rEC087SkalTMe0aXXmHt2NVFQY-EATTOV9m4Rb3LDIw_HQVaFnxxT2g07ZjRRgkKkrwVDVjE-nq1dsWCjyoXkyGdVQiKG8Og1w=w472-h640" width="472" /></a></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjwaXgnkAcz0I0cWp-xWO8OZv8fm3ATBqZp69LL0zY1WJkIjdErMFYSZIj66gGZGw2c6r7lasuIzdQr0n6ToYGWtkahVav8lWAQtJ2x9EaFwMCChfmnZ8RqDC14VLlZoifto1Er7hPZHdwWUSKnv31mS7SDDLbyVEOIBpQy8mUX_iqsFGS6ihkzbtN3rw=s640" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="419" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjwaXgnkAcz0I0cWp-xWO8OZv8fm3ATBqZp69LL0zY1WJkIjdErMFYSZIj66gGZGw2c6r7lasuIzdQr0n6ToYGWtkahVav8lWAQtJ2x9EaFwMCChfmnZ8RqDC14VLlZoifto1Er7hPZHdwWUSKnv31mS7SDDLbyVEOIBpQy8mUX_iqsFGS6ihkzbtN3rw=w420-h640" width="420" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p></p><div style="text-align: left;"><b>Architect</b>: Herzog & de Meuron</div><div style="text-align: left;"><b style="font-weight: bold;">Location<span style="white-space: pre;"> </span>: </b>Tokyo, Japan</div><div style="text-align: left;"><b style="font-weight: bold;">Date</b><b>:</b>2000 </div><div style="text-align: left;"><b style="font-weight: bold;">Building Type : </b>Retail</div><div style="text-align: left;"><b style="font-weight: bold;">Construction System: </b>Steel and Glass </div><div style="text-align: left;"><b style="font-weight: bold;">Climate:</b><span style="font-weight: bold; white-space: pre;"> </span>temperate</div><div style="text-align: left;"><b style="font-weight: bold;">Context:</b><span style="white-space: pre;"><b> </b>Urban</span></div><div style="text-align: left;"><b style="font-weight: bold;">Style: </b>Modern</div><div style="text-align: left;"><b style="font-weight: bold;">Notes: </b>Within the diagonal frame, convex, concave, and flat glass pillows provide a consistently varied texture to the building envelope.</div><p></p><p style="text-align: left;">The Prada flagship store in Tokyo combines an overall figural shape with inset
stacked floors and nested tubes to create a steel and glass shopping icon. A
structural exoskeleton made from 7-1/16–by–8-1/16-in (18 by 20.5 cm) steel
I-sections welded on site and encased in a fire-resistant layer of calcium
silicate form a grid of rhomboids, each 10 ft 6 in by 6 ft 6 in (3.2 by 2 m). <br /><br />The
entire building is set into a concrete tub, where isolation mats stabilize the structure during earthquakes. Inside, seven regularly spaced concrete floor slabs span from
the exterior skin and interior circulation cores and conceal mechanical and electrical
distribution. <br /><br />Three horizontal tubes, aligned with groups of four rhomboids on the
facade, are nested in the floor plates. These tubes enclose areas for changing and
checkout and provide lateral stability. Extruded from the diagrid facade, yet
embedded within the figural building volume and bifurcating floors, these
nested spaces complicate distinctions between exterior and interior or from
floor to floor, producing an intricate fusion of skin, structure, space, and form. </p>
<p><br /><b>Book Reference: <br /><br /></b>Manual of Section<br /><a href="https://amzn.to/3yjy9As">https://amzn.to/3yjy9As</a></p><p style="text-align: left;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ac&ref=qf_sp_asin_til&ad_type=product_link&tracking_id=danakrystle-20&marketplace=amazon&region=US&placement=1616892552&asins=1616892552&linkId=a9f7b31e2a72e37624a989436cb675e3&show_border=false&link_opens_in_new_window=true&price_color=333333&title_color=0066c0&bg_color=ffffff" style="height: 240px; width: 120px;">
</iframe></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com5tag:blogger.com,1999:blog-1919202105036669824.post-51796229279179932812022-02-17T10:18:00.002-08:002022-02-17T10:18:00.192-08:00Beinecke Rare Book and Manuscript Library New Haven, Connecticut, USA<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjVqEcNKrRHtyW5w4yxGoswHIQECR9TOa-w-UuhoSl91VVvvJVOfNP4btZYgAJkNlb1133GDinFnDymnOnS_CHEU4Zy8usAoR6qN3MQfPeS_khUNaF698SCRgxcKDp_FKuboiCicIYaUR86rl2_RpbJO_mRLF9eVSvIj1Gkl_tKBGx_cOj_uhcC1DjELQ=s1430" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1430" height="448" src="https://blogger.googleusercontent.com/img/a/AVvXsEjVqEcNKrRHtyW5w4yxGoswHIQECR9TOa-w-UuhoSl91VVvvJVOfNP4btZYgAJkNlb1133GDinFnDymnOnS_CHEU4Zy8usAoR6qN3MQfPeS_khUNaF698SCRgxcKDp_FKuboiCicIYaUR86rl2_RpbJO_mRLF9eVSvIj1Gkl_tKBGx_cOj_uhcC1DjELQ=w640-h448" width="640" /></a></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1MI8mb1qx7uJZdv35_IgzvLYiusqWwU5hcfmtqoJwGk8668N4ZFPUD3RwmyAA4WXLdH6UOQ3IGXCin86WPVOe1O-6QZNHUhdJLs3pDtbVQGCl_R0v3Xv4qWWmvdltRoRktOc58-NFvZF7/s1009/Beinecke+Rare+Book+and+Manuscript+Library++New+Haven%252C+Connecticut%252C+USA.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="1009" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1MI8mb1qx7uJZdv35_IgzvLYiusqWwU5hcfmtqoJwGk8668N4ZFPUD3RwmyAA4WXLdH6UOQ3IGXCin86WPVOe1O-6QZNHUhdJLs3pDtbVQGCl_R0v3Xv4qWWmvdltRoRktOc58-NFvZF7/w640-h420/Beinecke+Rare+Book+and+Manuscript+Library++New+Haven%252C+Connecticut%252C+USA.png" width="640" /></a></div><p></p><p><br /></p><div><b>Architect</b>: Gordon Bunshaft</div><div><b>Location<span style="white-space: pre;"> </span></b>: New Haven, Connecticut</div><div><b>Date</b>:<span face=""Source Sans Pro", Helvetica, sans-serif" style="background-color: white; color: #303030; font-size: 15px;">1963</span></div><div><b>Building Type </b>:Rare Book & Manuscript Library</div><div><b>Construction System</b>: Marble, Steel and precast concrete. </div><div><b>Climate</b>:<span style="white-space: pre;"> </span>temperate</div><div><b>Context</b>:<span style="white-space: pre;"> </span>urban campus</div><div><b>Style</b>: Modern</div><div><b>Notes</b>:at Yale University. light enters interior through thin marble.</div><p style="text-align: left;">The rare book and manuscript library at Yale University demonstrates the capa-
city of inset nesting to modulate light and climate through a multilayered con-
struction. The outer box is composed of four steel Vierendeel truss walls, clad in
faceted stone and precast concrete. <br /><br />The grid formed by the trusses is inset
with 1-1/4-in-thick (3.2 cm) translucent marble panels that filter out ultraviolet
rays while providing indirect illumination. The stone container is juxtaposed with an
inner box composed of a steel structure and glass panels that provide precise
thermal and climatic control. <br /><br />This glass box allows the tower of fragile books to be placed on full view, yet within a highly controlled environment. An exhibition mezzanine
wraps around the nested volume. The walls transfer structural load to four points at
the corners, where pillars elevate the stone enclosure off the ground, making the outer
frame seem to float monumentally above the stone plaza in the heart of the campus. <br /><br /><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjPWan1CraOPljKGszIgUWnE0FIc0um-gXg4L1nJvc0et8ZxUkDNfMidvBJlX_y9tFXA9mykx7UMUEyjp-09Vxx4ENiWrKuFJpEjAESq1BEk1VqjYTIu6dIehs4mPOWXz8b5OhpQsCTHFFWZSMhF-5Tee01Z_LcafQ_tBCIUHCH9BPZUbX7uVm7Ft-sNA=s1000" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1000" data-original-width="790" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjPWan1CraOPljKGszIgUWnE0FIc0um-gXg4L1nJvc0et8ZxUkDNfMidvBJlX_y9tFXA9mykx7UMUEyjp-09Vxx4ENiWrKuFJpEjAESq1BEk1VqjYTIu6dIehs4mPOWXz8b5OhpQsCTHFFWZSMhF-5Tee01Z_LcafQ_tBCIUHCH9BPZUbX7uVm7Ft-sNA=w506-h640" width="506" /></a><br /><br />A
sunken courtyard provides daylight to underground offices and library facilities.
While the nested section produces the spectacle of this library, excavated space
below contains the primary support facilities for the display above, including
seminar rooms, offices, curatorial spaces, and the vast majority of the books. </p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p> </p><p> </p>
<p></p><div style="text-align: left;">Web Reference:</div><div style="text-align: left;"><a href="http://www.greatbuildings.com/buildings/Notre_Dame_du_Haut.html">http://www.greatbuildings.com/buildings/Beinecke_Rare_Book_Librar.html</a></div><div style="text-align: left;"><a href="https://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier"></a><a href="https://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier">https://www.archdaily.com/65987/ad-classics-beinecke-rare-book-and-manuscript-library-skidmore-owings-merrill</a></div><p></p><p style="text-align: left;"><br /></p><p></p><div style="text-align: left;"><b>Book Reference: </b></div><div style="text-align: left;">Manual of Section</div><p></p><p style="text-align: left;"><a href="https://amzn.to/3yjy9As">https://amzn.to/3yjy9As</a></p><p style="text-align: left;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ac&ref=qf_sp_asin_til&ad_type=product_link&tracking_id=danakrystle-20&marketplace=amazon&region=US&placement=1616892552&asins=1616892552&linkId=a9f7b31e2a72e37624a989436cb675e3&show_border=false&link_opens_in_new_window=true&price_color=333333&title_color=0066c0&bg_color=ffffff" style="height: 240px; width: 120px;">
</iframe></p>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com3tag:blogger.com,1999:blog-1919202105036669824.post-58987899910934531722022-02-13T11:28:00.001-08:002022-02-13T11:28:00.170-08:00Architecture Language : What is (Context)? <p style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEip4x2TYH__pVU2f-5gMMXn__l_xEkGOiNZdZtYPI6sI-Y2vH9g72HcCLSIiCXbTQEyYksQRAnD8SRC0uIoH83ee4_pnxuWK8D3rCh85nR2-2zMplTKR_GqUTy-1m28MPqt7HM9aJWFJFArAevA7GO3VkNgYGUNE1pQNpFcPIeI1gtzdasL7Dxz72m9YQ=s1400" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1058" data-original-width="1400" height="484" src="https://blogger.googleusercontent.com/img/a/AVvXsEip4x2TYH__pVU2f-5gMMXn__l_xEkGOiNZdZtYPI6sI-Y2vH9g72HcCLSIiCXbTQEyYksQRAnD8SRC0uIoH83ee4_pnxuWK8D3rCh85nR2-2zMplTKR_GqUTy-1m28MPqt7HM9aJWFJFArAevA7GO3VkNgYGUNE1pQNpFcPIeI1gtzdasL7Dxz72m9YQ=w640-h484" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luiz Zerbini Happiness Beyond Paradise, 2020</td></tr></tbody></table><br /><b><br /></b><p></p><p style="text-align: left;"><b>Context is an important idea in post-modernist design, and the machine metaphor denies
this significance. An engine is an engine is an engine, and it always works the same way no
matter where it is</b>. —<i>Stephen Friedman</i></p><p style="text-align: left;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiYtZQ3aNOf15Ngez_l6Nk6uJ3lubz4j6cnjCJgNUheob4GPrWLYmCgyNX1r_dRstZlRmt8ZARQPoXc-qQCQo4gahQ6yEt7NmwYPz99SHoz_nQ5XB4gNvaVxGzFBxR0WTXU0Ie7Au00MLfzCkLDRzQnelTeBTzA08M-604TYRwA6hWOu1vCr26m5wpzrw=s1050" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="1050" height="336" src="https://blogger.googleusercontent.com/img/a/AVvXsEiYtZQ3aNOf15Ngez_l6Nk6uJ3lubz4j6cnjCJgNUheob4GPrWLYmCgyNX1r_dRstZlRmt8ZARQPoXc-qQCQo4gahQ6yEt7NmwYPz99SHoz_nQ5XB4gNvaVxGzFBxR0WTXU0Ie7Au00MLfzCkLDRzQnelTeBTzA08M-604TYRwA6hWOu1vCr26m5wpzrw=w640-h336" width="640" /></a></div><br /><p></p><p style="text-align: left;"><b>Architecture is an extension; a modification establishing absolute meanings relative to a
place.</b><br /><i> —Steven Holl</i></p><p style="text-align: left;"> </p><p style="text-align: left;">In its widest sense, the term context refers to all the issues and circumstances that surround a design of
which the nature of the setting is the most tangible. As the derivation of the word means ‘weave together’,
the spirit of its meaning denotes an interdependence—‘weaving’ or ‘knitting’ designs into existing site conditions and the striving for a sense of fit. <br /><br /><br />Context refers to the fact that most buildings are designed and
made for a specific place; the characteristics of which represent many of the constraints and opportunities in
which a design is determined. Because architecture cannot detach itself from its context, and because context
is never the same, it is essential that knowledge and insight be gained.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEisT5EggEYexBH33zv2VEc6ogKtFnsd6VIYnqEUn8_GSxZWwNlY5Uxg-bGb_pfo_qtBlPMd7H5bMVkjpdflintZjZOnsy8o-y2oRJcxP8fsmWqcfBA41safl5pXRF7CQgz9Ogw3dw43KMNwLc6bYg5_KS5lkLErCrgZtXS2Y17mPA09gIPX1mSJNZd2UQ=s640" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="473" data-original-width="640" height="474" src="https://blogger.googleusercontent.com/img/a/AVvXsEisT5EggEYexBH33zv2VEc6ogKtFnsd6VIYnqEUn8_GSxZWwNlY5Uxg-bGb_pfo_qtBlPMd7H5bMVkjpdflintZjZOnsy8o-y2oRJcxP8fsmWqcfBA41safl5pXRF7CQgz9Ogw3dw43KMNwLc6bYg5_KS5lkLErCrgZtXS2Y17mPA09gIPX1mSJNZd2UQ=w640-h474" width="640" /></a></div><br /><p style="text-align: left;"><br /></p><p style="text-align: left;"> </p><p style="text-align: left;">The technique for gaining insight into
a setting is the ‘<b>site appraisal’ </b>or<b> ‘site analysis’</b>, i.e. the systematic investigation of palpable (hard data) and
intangible factors (soft data). Owing to the more subjective aspects of this analysis, the question of how the
features of a site may impinge upon a design holds no clear-cut solution. <br /><br />This is under the control of the
designer; it is subject to ideas on which he or she has to make a stand.
<i><b>‘Contextualism’ is an approach that respects the setting in terms of its history, topography, memory, route
and so on.<br /><br /> </b></i>However, respect for context does not necessarily mean that a design has to conform. Steven
Holl describes the site for a building as the setting in which all its intentions are gathered together. The
design for a specific place may mean an inversion of inherent conditions. These may be based upon other
related frameworks for invention, such as esoteric or poetic linkages. Holl argues that today the link
between situation and architecture must be formed in new ways,’…which are a part of a constructive
transformation in modern life’. <br /><br /><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjByBhthr4TG2CtdnbD54dKd32d7uJ-rKT3EBMGpU3ggD9x--r-5sLee90wRiNBgd5XR9PWmGXZrWrSCUDU0SP7xeLvENh3fbox58rbaKrRt_aaplv7E-dfHd5CNN3onkuBoTKfzOaY3HDIL1PNMqSCAPvKIw0Vt5j1Ravlarm6U49-WNADOh-28zvqug=s1200" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="769" data-original-width="1200" height="410" src="https://blogger.googleusercontent.com/img/a/AVvXsEjByBhthr4TG2CtdnbD54dKd32d7uJ-rKT3EBMGpU3ggD9x--r-5sLee90wRiNBgd5XR9PWmGXZrWrSCUDU0SP7xeLvENh3fbox58rbaKrRt_aaplv7E-dfHd5CNN3onkuBoTKfzOaY3HDIL1PNMqSCAPvKIw0Vt5j1Ravlarm6U49-WNADOh-28zvqug=w640-h410" width="640" /></a></p><br />
<b><br /><br /><br />Book Reference:</b><br />Archispeak: An Illustrated Guide to Architectural Terms<br /><a href="https://amzn.to/3GE2g8K">https://amzn.to/3GE2g8K</a><br /><br /><p></p>
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</iframe>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com5tag:blogger.com,1999:blog-1919202105036669824.post-64855835928673574892022-02-10T11:32:00.001-08:002022-02-10T11:32:00.242-08:00Architecture Language : What is (Deconstructed space)?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgJMmMPlBl-wUmdVxZSZKbLrF--GZOOXDAKuxz9Pyr-BMR7CfFPvx_zGW9KW43stbuUuRy1Nr3KgP_TJNEyxkLrrekrGX8rP825shGCw23NGjAmi6mZ7mAe4OyJXK5P_LVqiZqWdOPZzQY5tkzzdsrgbss2NN182J0oVBrgvVsmPojN621bD-fUvjfW5Q=s1684" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1684" data-original-width="1191" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgJMmMPlBl-wUmdVxZSZKbLrF--GZOOXDAKuxz9Pyr-BMR7CfFPvx_zGW9KW43stbuUuRy1Nr3KgP_TJNEyxkLrrekrGX8rP825shGCw23NGjAmi6mZ7mAe4OyJXK5P_LVqiZqWdOPZzQY5tkzzdsrgbss2NN182J0oVBrgvVsmPojN621bD-fUvjfW5Q=w452-h640" width="452" /></a></div><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">In the history of space we have now arrived at deconstructed space as the leading edge spatial paradigm of
the moment. To arrive there we have travelled from the spherical, static, geocentric and limited space of the
ancient and medieval world, through the constructed perspective space of the Renaissance, and more
recently the relativistic space/time of the modern era.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"> Deconstructed space is not space at all in the usual
sense; it is the dimensionless, boundless space of the cyberworld. The very construct of space has been
deconstructed and then reconstructed as cyberspace. <br /><br />Space has become a quickly traversed event space. The
apparent limitations of this new conception of space are the human imagination and the speed of light.
There is no longer a separation between space and the actors within that space—it is transitory.<br /><br />Deconstructed space does not exist unless someone engages it. The tree does not fall in the forest until
someone is there to programme it to fall. Whether or not it makes a sound is dependent upon the volume
button.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiIee7I2iN7epD6GnOVrN9pxda0_as4ttYcNByK-cqubKmigS4imoLB11CwLNPYOX6J_yNXIhBd8D4GUsWokXxZ7Cz3fRj2cUpWfYJcxkX-RkZ3pbfP2K1G0cJKWB3uOGfOJJWfEICrm5qfa17Ck8Sr-VmD5D4yDuSMJRZFBhYLavs65AgqyCju-qAJHA=s2048" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1409" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEiIee7I2iN7epD6GnOVrN9pxda0_as4ttYcNByK-cqubKmigS4imoLB11CwLNPYOX6J_yNXIhBd8D4GUsWokXxZ7Cz3fRj2cUpWfYJcxkX-RkZ3pbfP2K1G0cJKWB3uOGfOJJWfEICrm5qfa17Ck8Sr-VmD5D4yDuSMJRZFBhYLavs65AgqyCju-qAJHA=w440-h640" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">SDL_Jewish-Museum_©HuftonCrow_008</td></tr></tbody></table><br />
<br /><br />Architects are beginning to flirt with the possibilities of representing deconstructed space within the
Limitations of traditional tangible space. Daniel Libeskind’s Jewish Museum provides a glimpse into
deconstructed space. The play of the straight and fragmented zig-zag lines, representing sudden
illumination or destruction, begin to approximate the experience of deconstructed space. Ultimately, there
may be no place for tangible and predetermined architecture in the world of deconstructed space.<br /><br /><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh-1BfA9HcBqCTYDmIDy5srdIY10yqfDcMVNcovo_82sVUkeYF5LbYv0NJXR0rmSnq1MngSjohXSpLwRdHU5X6xwIq1Ihyt-LOL39GzcfTCgGzJ-VnMSzeOOnTZxw6vkrDBThj6tHvQ6udPqgdDjpjByP4XqxdLXrPBEQ84GyucVsGoFcs7v8WAqJ0Bnw=s674" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="674" data-original-width="474" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-1BfA9HcBqCTYDmIDy5srdIY10yqfDcMVNcovo_82sVUkeYF5LbYv0NJXR0rmSnq1MngSjohXSpLwRdHU5X6xwIq1Ihyt-LOL39GzcfTCgGzJ-VnMSzeOOnTZxw6vkrDBThj6tHvQ6udPqgdDjpjByP4XqxdLXrPBEQ84GyucVsGoFcs7v8WAqJ0Bnw=w450-h640" width="450" /></a><br /><br /><br />In the
architecture of deconstructed space even gravity, the weather and daylight are no longer relevant.
The video game is an ironic twist on the notion of deconstructed space. It constructs fantasy worlds of
traditional Euclidean space that only exist in deconstructed space (one wonders if there will be future
difficulty in making a distinction). <br /><br /><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>
<b>Book Reference:</b><br />Archispeak: An Illustrated Guide to Architectural Terms<br /><a href="https://amzn.to/3GE2g8K">https://amzn.to/3GE2g8K</a><br /><br /><p></p>
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</iframe>Dana Krystlehttp://www.blogger.com/profile/01633229455221429318noreply@blogger.com3