Peter Zumthor: Seminar Reading Responses

1. How does Peter Zumthor talk about the "Magic of the Real" and explain how this compares, in terms of the subtleties, to Michael Benedikt's "Architecture for Reality"?

Zumthor discusses the "Magic of the Real" being comparable to music as something that can touch a human being. This phenomenon was something that Zumthor strived for in his architecture. This has a connection to the discussion that Benedikt had concerning architecture being like a piece of fine art that must sit in its frame in a predictably poised manner. The subtle connections of these two men's thoughts lie in the comparison of an architectural work to something more "realistic" in that it exists on the tangible human scale. 

2. Material Compatibility, Temperature of a Space and Levels of Intimacy are some conditions that both Peter Zumthor, in “Atmospheres”, and Richard Serra, in “Weight and Measure”, make a point of articulating when consider space. Where in their explanation of these overlapping conditions are they similar and where do they differ?

Peter Zumthor speaks of material, temperature and intimacy as a reaction of a person moving through a space. These types of things are said to present themselves in an organized fashion in such a way that one can form an immediate opinion about the space in question. He also discusses the owner's role in organizing the material, especially and how that role can have a unique effect on the space itself. 

Serra differs in that he concentrates mainly on the materials as a sculptor. In considering the metal piece that he was to install in the Duveen Galleries, Serra had to take into account what shape the form needed to take. He had to consider the vertical rise of the pre-installed spatial elements as well as a series of niches and the overall vertical changes of the space. These considerations are not unlike the attention Zumthor speaks of when creating a first impression of sorts with his architecture. Both Peter Zumthor and Richard Serra seem to strive for the "immediate appreciation" that Zumthor brings up when they are creating work. All the choices concerning temperature, intimacy and material contribute to the experience that one has thus, they must be considered in design. 

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

In the same way that Zumthor looks at the overall experiential quality of a building, Alex Jordan considers the overall site just as much as the interior perspective. In designing "The House on the Rock" Jordan relied heavily on the piece of land that originally caught his eye to dictate what he would build on it. In this way the overall structure harmonizes with the site conditions. Where there is an organic vertical rise, the structure experiences a vertical rise in an organic style (such as a steeply sloping ramp to follow a hill structure). This patterning is not unlike Zumthor's experiential design, however it does add another element. 

4. For Zumthor at the end of the day, after figuring use, sound, place, light and the other listed conditions, if the coherence isn’t beautiful the process is started again. Beauty is simultaneously subjective for the individual, as held “in the eye of the beholder”, and universally recognizable. Define your subjective understanding of what beautiful architecture is.

I do agree with Zumthor's idea of a space being "moving" however I do understand that not every person is going to be moved in the same way by the same things. I would say, my few years of experience in the design world have caused me to consider architecture slightly differently. Mainly in a way that I look at the utility of the design; how it functions for the user. Fortunately my years of travel around the world with my family have given me a unique insight into what different cultures see as monumental architecture, sacred architecture and beautiful design. This is where another side of my subjective definition comes from. My opinion would be that any design that does not interrupt the environment or class with her sovereign beauty is "beautiful architecture". As an architect we are not the mediators between the client's need and our own idea of correct, our allegiance is to nature. We must mediate between the our clients need and nature's need to be preserved. This is not to mean that we should not cut down a tree or interrupt the route of a small creek, it just simply means that we should draw in the colors of that tree, make it the center piece of our lobby, let that creek define a walkway's "borders that control" person's movement. In short my philosophy of beautiful architecture is that it must come from an architect who fully understand's their minimal place in nature. 

Memory Writing

from Chambers for a Memory Palace, by Donlyn Lyndon & Charles W. Moore

"Themes": "Borders that separate / Walls that layer / Pockets that offer choice and change"

"Compositions": "Types that recur / Order that Comes and Goes"

Essay topic centered around the word GUIDANCE

Weight & Measure

Interview with Richard Serra

Reading Discussion Questions:

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

Serra wanted to create a space with a noticeable sculptural presence. He was mindful of the scale and proportions of his installation so as not to create a series of objects but rather a series of elements. He wanted to create a stunning and correct visual field with his sculpture by defining space and not allowing the Duveen Galleries to define his sculpture. 

2. Define the field Serra is referring to when he states that his sculptural elements need to create "enough tension within the field to hold the experience of presence in the place". How do you define "experience of presence"?

Richard Serra is speaking of a visual field created by the sculpture itself. This is why he must be mindful of the tension within that field. He notes that as one walks through the gallery their position should change within that field; this alludes to the overall presence of the installation. If the installation is to dominate to the point of providing a reference able change to the viewer then the shape and grandeur of the sculpture must be well defined. 

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

In creating a rhythm amongst the elements of his installation, Serra had to work around the preset structural surroundings of the museum. The columns had their own sculptural presence Serra had to work around, the pedestals created a visual field higher than that of the ground plane and the octagonal space had a defined center of gravity due to its self-referential nature. In dealing with these he began to incorporate the rectangle to provide a balance. The vertical axis which changed with the ceiling elevation also called for a particular attention to be paid to the installation's scale and height proportions. 

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

After dwelling on the options for the space, Serra found the Octagon to be too self-referential. He found the circle to mimic the columns already in place and the curve to be far too post-modern in such a way that it created an external condition in the space. Serra settled on the rectangle because it provided a definition of the space and a much needed sense of directionality. Serra also decided the sculptural installation needed to be full scale in order to define physical movement by confronting scaled relationships up-front. The number of elements, being two, was chosen because it did not posses a quality of repetition. 

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

Newman's work is often referential to art or a known work/structure. Serra has a limitless conceptualization in his installations which know no reference. Serra's full scale works define architectural space and Newman's often will define more of a memory space. However, both men do pay close attention to the sculptural presence and how their works begin to create a body orientation in space. 

Documentation 10.01.10 (Memory Mapping)

Documentation 09.27.10

Ground Level Floor Plan - Kyoto Station

Kyoto Station Memory Draft

Shoe Deconstruction Final Drawing

'2-Part Model' Documentation Set II

'2-Part Model' Documentation Set I

"For an Architecture of Reality" by Michael Benedikt

What is the reality Michael Benedikt writes about?

The reality of symbols as a reference or not. He discusses the reality of dreams vs. reality television; both are real however, the physical reality is more tangible and less of a mental phenomenon. Reality television simply exists with less symbolism than the reality of dreams. 

- Symbolism is human nature thus unavoidable. 

Benedikt describes degrees of reality in architecture as: Architecture of Dreams, Architecture of Games, Architecture of Illusions, Architecture of Enactments and Architecture of Jokes. What are some example buildings that fall under these categories?

The Architecture of Dreams: "Emilio's Folly" 

The Architecture of Games: "The Manhattan Transcripts"

The Architecture of Illusions: "Mural, Krayer Building" 

The Architecture of Jokes: "Commercial Building" - Austin, TX

The Architecture of Re-Enactment: "University of Houston School of Architecture"

The Architecture of Pre-Enactment: "Centre Pompidou" - Paris

Benedikt describes “direct esthetic experience of the real” as being moments without symbolism. Where in our environment does symbolism occur and where in our environment is symbolism absent? What is an example of this situation?

Symbolism occurs in religious architecture (i.e. Catholic Churches), advertising, legislative buildings with prominent features alluding power and substance. Another example is more literal symbolism such as the top of the "Chrysler building" being designed to look like the spokes of an automobile (Chrysler's product) 

- Institutions also tend to represent long standing tradition and academic valor. 

- Francises tend to represent the overall look of a company providing onlookers with a reference frame. 

Non-symbolic spaces include utilitarian spaces such as parking lots, vacant lots and the area around or under utilities installations. 

- Most spaces do carry a sense of symbolism which can change how the structure is perceived from person to person.

Although Benedikt’s position pulls examples from the 70‘s and 80‘s to illustrate that an architecture of reality is polar to the post-modern architecture movement, this condition continues to exist today. Where in the city would be examples of an architecture of reality and post-modern architecture?

An architecture of reality is represented in city sewer systems, city utilitarian architecture and parking lots. Post-modern architecture, or architecture that often represents something else, is found in modern suburban homes and themed attractions such as the hotels on the Las Vegas strip. 

The four components that define the “realness” of an architecture for reality are: presence, significance, materiality, and emptiness (in two categories). How do these components relate to architecture? and What are some examples of architectural elements that make up these conditions?

1. Presence: 

    - A building's right to be there or appropriateness

    - A structure "stands right where it needs to be"

2. Significance: 

    - The Architecture's collective value & importance

    - The Architecture's ability to be used as a reference

    - "How they continue to be apart of people's lives" (referring to buildings) 

    - (i.e. The Dairy Barn on Campus) 

3. Materiality:

    - Genuine material being shown and used in design/ construction

    - Functionality having a larger effect on material selection (i.e. using a glass ceiling or wall instead of a glass floor)

4. Emptiness:

    - Meaning one: not full (applied)

    - Meaning two: "mod", with gravitation, to be filled in the future, substantial space in need. 

"Points & Lines" by Stan Allen

Stan Allen describes field conditions as “bottom-up phenomena: defined not by overarching geometrical schemas but by intricate local connections.” What are some field condition examples that can be found in the road systems of Lubbock?

Field conditions in Lubbock include: the grid layout of the roads, the road system's orthogonal layout, stop signs and the numbering/ lettering patterns of the streets.

- Stop signs are a field condition in their relationship to the intersection. 

- The degree of road taper (or grading) is a practical road condition facilitating runoff in     Lubbock's flat terrain. Which proves that solutions to problems can be field conditions.

In part 1, Allen distinguishes a geometric relationship of classical architecture from an algebraic combination of the Cordoba Mosque. How do these two architectural examples differ?

In the case of the Cordoba Mosque, the units (arches) refer back to the whole. The arch structural pattern started with one arch and grew in a algebraic model. 

- Geometric relationships exist as stable patterns (i.e. all angles of a triangle adding up to 180 degrees) vs. Algebraic combinations which introduce unknown variables. 

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

The paving and paths exist as a field condition. Stadium seating, people filling the seats and crowd behavior exist as field conditions as well. 

- parking lots with the classic 8'x16' space are well known, utilitarian field conditions. 

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

Figure ground representations are simplistic filled vs. non-filled space represented by the positive and negative space of a drawing. One famous figure ground drawing is Giambattista Nolli's figure ground representation of Rome. Field conditions add a dimension relationships in spaces and the element of usage. 

09.03.10 Flatlander Upload