King, Katherine : Assignments

King, Katherine : Assignments

Research Project Summary Essay

Cultural production pertains to what was mainstream in society in a particular era. Through research of cultural production, my group found a direct relation between the events of the time period, and the style of what was being produced. In a way cultural production is the system of historical documentation without words. It is the proof of conflicts and questions of the 1880-1910 era. It is noticed in fine arts, inventions, music, pop culture, and film. Through research we found that between 1880 and 1910 there was a transition of customs, throwing away of traditions, and challenges of what culture was about as a whole. New inventions were being produced, and the industrial revolution was just starting to gain momentum. Because of this, this era was filled with tearing away the layers of societal customs to get down to the raw emotion and thoughts of society.
I was responsible for researching fine arts during this time period. The type of art being produced all around the world, as well as locally, showed a key expression of the rebellion against conventional styles. Thus modernism art was developed, which branched from impressionism. Impressionism broke away from posed and planned pictures and captured real life moments. Modernism took those real life moments and abstracted them to show raw emotion and convey elements that could not be conveyed through a realistic painting or drawing. In a time of the rebuilding of the South in the United States, the Industrial Revolution, as well as a global economic boom, cultures all around the world were changing as a result of all of the changes. Modernism captured this in the way that it abstracted subjects to bring the unsaid issues of the time to the foreground in a subtle, yet powerful, way.
When researching different websites as well as books, I found that the most prevalent topics addressed in fine arts was generating an uncomfortable emotion in the viewer when he or she viewed the work of art. Also, the issue of the struggles wrought by the industrial revolution was also addressed often.
The questions that my research left suspended were ones like what exactly was the aim of modernism art? To be beautiful and appealing, or just the opposite? Was it an accident that some of them are actually considered beautiful? Did the artists intend for them to become as popular as they are, and for what reason exactly? The sources that I have not explored yet are museums in different regions of the world, as well as the lives of the artists themselves. If I were to continue my research, and if I were capable of doing so, I would visit many museums that exhibited modernism art and research the lives of the artists as well to see what in their lives molded their artistic style.

Fifth Street Essay

“The street means life in the heady currents of the urban river in which everyone and everything can mingle. It is exactly its social mobility, this lack of compartments and distinctions, that gives the street its danger and its magic, the danger and magic of water in which everything runs together.” (Solnit, p. 176)
Just as species evolved from the quintessential DNA of their ancestors, so did the world’s cities evolve around the quintessential dirt paths that eventually evolved into paved cultural microcosms, or streets. These paved microcosms are the bloodstream of society, and provide a place for lifestyles to clash and flow together. They provide a place of sanctity, glorification, and release. Historically, streets have been used to promenade our glorified idols down them, barter and trade cultures, or migrate whole civilizations to other regions of the world. They are the backbones and gateways of society, and without them the underlying systems of humanity would fail. One such example of these gateways is the much debated Fifth street, which connects the urban city of Atlanta with the bubble that is Georgia Tech. The bridge itself was modified to accommodate more functions of college life, as well as urban life, while incorporating a feel of a green park and nature. Whether this was effectively executed in the design of the new bridge is something that is still up in the air. The rest of the street is a clash of community, business, leisure, and academia. Fifth street is theoretically the common ground of the city and the university, and serves many aspects of both of these lifestyles.
As a public space, Fifth street was intended to be just that. Beginning at the Biltmore where Fifth street begins, Tech Square looms over the street with its urban-designed buildings. The sidewalks themselves are uniformly decorated with trees and cubicles of benches, devoid of too much shrubbery or too much sitting space(1). The buildings here are occupied by restaurants, a nail salon, the Barnes and Noble Book Store, as well as the college of management. The bases of the buildings are lined with enormous looking glasses for pedestrians to look in and window shop each store. The benches face these windows, connecting leisure with shopping. It is a place designed for the public, for meeting, greeting and socializing. In a way this part of the street serves its function, but the courtyard on the north side of this section of Fifth Street lacks the welcoming appeal that usually comes with a public space like this. The uniformly placed trees, man made blocked off green spaces give a sense of “look but don’t touch” to some areas of Tech Square, including the courtyard. It is a wide open area, and instead of the benches facing each other they are spaced far apart and the same way(2). It is unwelcoming for leisurely pedestrians, and has more of a feel of business and preciseness about it. However, the wide open courtyard and the wide sidewalks do offer opportunity for much diverse activity. The bridge, with its wide open green spaces and bridge-length benches, offers an enormous public space, and leaves room for interpretation of function and activity(3). As the street enters Georgia Tech, the space beyond the sidewalks again close in as the Fraternities and Sororities line the roads. Here public space turns into private property, and the freedom that the bridge and Tech Square offers is more refined to living quarters and college functions.
The cause of this change from public to private land is the result of the division of the residential area(fraternities and sororities), meant solely for living quarters, from Tech Square, which was meant for public activities. The street is also controlled by different organizations at different intervals. The Department of Transportation, Midtown Alliance, the Tech Square Developers, and the campus planners all have a different say at different physical points, making for a hodge podge of a street. As a result of this, the landscaping as well as the architecture differs more frequently and diversely between each section. Zooming in even more, There is division between each house in the residential area in some form in order to show division of property. The transitions usually consist of shrubberies, thereby marking a clear and abrupt line. At Tech square, even though it offers more public space, there is still distinct division between privately and publicly owned properties. The brick- laid part of the sidewalk is public, and the part paved with cement is private. This subtle difference in design makes for a smooth transition between public and private, but still allows for open spaces and keeps the public ignorant of the division. This draws a similarity to the issue of storefront signs in London in the late 19th century, and where public and private property ended. At first, the signs projected and were hanging, but after much debate laws restrained the signs to be flat against the buildings. There is not so much of a restriction at Tech square, but there is no advertising of the stores except for the signs above each their respected store.
In the public spaces, there is evidence of palimpsests in the parking lot at the east end of Fifth Street. This lot seems to be frozen in time, because there is no evidence of modernization. It is extremely secluded due to the unwelcoming fence that doesn’t match the rest of the architecture surrounding it. It is obvious that, when compared to its surroundings, this is a contrast and reminds a passerby of how much effort has been put into Tech Square’s architecture to make it more presentable and less grungy. Overlooking this parking lot is a residential building built in the late sixties, which is a time stamp as well as another palimpsest. It highlights what has changed in architecture over the years, and what architects have tried to improve on for the future. Another example of a palimpsest that is a pleasant contrast is the Biltmore building itself at the end of Fifth Street at the east end(4). The classical architecture is a juxtaposition of the urban architecture of the bookstore right next to it. It is a marriage of two eras, and provides some history and a meeting of two worlds. Despite the contrast of architecture, it is a time stamp that is informative and pleasant to the eye.
When observing the bridge as a pedestrian, it is interesting to note how, even though it was turned into a green space, nature itself is symbolically and literally pushed into the background. The design itself screams “do not touch” to users of the green turf. The shrubbery that was planted is along the walls of the bridge, elevated above the rest of the ground, and is sectioned off from the rest of the area by high rising cement landings(5). The only savior of this “incorporation of nature” is the sheltering structures on the south side of the bridge, where vines are growing in order to provide natural shade. However, there is not much creativity otherwise, and despite the “park” appeal, not all of it is easily accessible. On the positive side, both green spaces on either side are wide open, allowing for a diverse range of activity on the bridge, and a much more welcoming atmosphere than the cement walkway that was there before. When observed over a long period of time, it is noted that the green space is not used as often as what was anticipated. Sparse amount of activity happens on the green fields, and rarely does anyone sit beneath the urban- influenced shading structures. The bridge is often desolate, and the sidewalks are the most used part as people make their way from one side of the bridge to the other, not stopping to take advantage of the bridge’s interpretive space.
The urban part of the street exists at Tech square, where the restaurants and businesses are located. The urban architecture as well as the uniform landscaping makes for an area that is inviting, yet not completely relaxed. The initial layout of it follows Unwin’s ideal concept of the street being nestled between the buildings and an active part of pedestrian life. He wanted the streets to be unsegregated from all the other societal elements, which is exactly what Fifth Street accomplished. The street serves as a social ground that incorporates business with pleasure. Opposite of Corbusier, Unwin wanted to put transportation on the same level as pedestrians and everyday societal life. The Tech Trolley makes regular stops on the street, and cars are allowed to use it all hours of the day.
The most versatile part of Fifth Street is arguably the park on the bridge, because of its wide spaces and opportunities for activity. From observance, a typical day consists of people playing Frisbee, walking their dog, or sitting on the ledge. However, on football game days, the bridge is packed with tailgating tents and people(6). It seems that this is the time when the street is most alive. It becomes a social haven and the street is completely taken over by pedestrians(7). In the summer, a movie screen is set up and the bridge is used as an outdoor theater for the public. The part of the street that is located adjacent to the fraternities and sororities is also versatile, as many students use it for various activities, such as transportation, Greek activities, and baseball games because of the stadium being on Fifth Street.
As a social institution, Fifth Street is more than capable of handling any social function. As mentioned before, the bridge is utilized during tailgating. Also, the benches and social areas of the restaurants allow for social interaction between pedestrians. The courtyard is a meeting place of businessmen. The bridge itself is a social haven of a versatile array of activities, mostly pertaining to leisure. The fraternity and sorority houses further along the street serve as social centers from time to time, usually on the weekends. Also, the freshman cake race starts on this road, at the west end in front of Phi Mu. This is a tradition that Fifth street is used for, and is a major part of it. At different intervals of the day, week, or year, certain parts of Fifth street come alive, much like the blinking lights of Christmas lights. Each part gets its chance to shine, and it is rarely ever all at the same time.
Fifth street of course would be nothing with out human interaction and utilization. The bridge’s sole purpose is for humans to interpret the space for their own, and to use it as they please. With out that, the green park serves no more of a function than does the rest of the street. Tech square relies on the liveliness of customers, and the atmosphere relies on the pedestrians. As in Paris, France, the “Flaneur” is what makes the street. A Flaneur is defined as a “wanderer”, much like a pedestrian or citizen. He is the energy and vibrancy of the painting, and the street is merely the backdrop to complement him (Solnit, Paris, or Botanizing on the Asphalt). The special events are nothing, such as the tailgating or the summer movies, without human interaction and participation.
As this back bone of a street bends and morphs to the needs of its surroundings, the evolution of it is both fascinating as well as controversial. Because different organizations control different parts of the street(the Department of Transportation, the City, and the University), a mesh of concepts, aspects, and aspirations have been meshed to form what seems to be a friendly compromise between all three controllers. The street has some flaws in its “community” aspect pertaining to Tech Square, and the bridge is not fully welcoming like an intended park should be, but it is a gateway, the DNA of the university, as well as the back bone of that transition and bondage between city and campus. Fifth Street continues to bond property, culture, and worlds together, such as streets have done for thousands of years.

Assignment #5

In the lecture pertaining to the architecture program at Georgia Tech, the lecturer highlighted the key differences between an “ordinary building” and actual architecture. Architecture was defined as design that answers social and economical interrogations, such as “what kind of world are we shaping?” as well as all of the “how” questions involved in construction. Buildings that answer these questions are representations of the world around us; a response to issues that cannot be verbalized, and cannot be captured in words. They are there to eliminate issues, and are time stamps for lessons of history. As Winston Churchill stated “We shape buildings, and then buildings shape us.” The lecturer then proceeded to provide examples of architecture that has been researched, and answers the questions of the time. One example was the architecture at the University of Virginia. The houses by the green field are all unique in their design, representing Thomas Jefferson’s want of variety in the United States, as well as at the university itself.
One term discussed in the lecture was conceptualization, which is the perceiving of a subject through the mind. This often involves research and observation, and in the end produces a thesis or conclusion that is informed. Architecture involves great amounts of conceptualization in order to conceive buildings that are both functional and original.
Another term discussed was environmentalism, which is a theory that views environment , as the important factor in the cultural and intellectual development of an individual or group. The environment greatly influences the question of how a building is going to be built, how it is going to be designed, and how it is going to function.
When discussing time stamps, the presenter mentions “retrofitting”, which is the addition of new technology to older objects or, in context with this lecture, buildings. Often retrofitting happens with buildings in order to keep them functional and a healthy part of society.
For this lecture, the presenter focused on what makes something architecture, and what the stereotypes are of the profession. What was surprising is how much architecture is used throughout pop culture, and how subtly essential it is in entertainment. The presenter starts with defining what architecture is, and then proceeds to show many examples of buildings throughout the world that exhibit those characteristics. Then, stereotypes of the “typical architect” are described, and dispelled. The presenter mentions The movie “The Fountain Head”, starring Hugh Grant in which he plays an architect who blows up his own building since it wasn’t built right. Another example of the stereotype was “Architect Barbie”, released in 2003, which supposedly represented the entire construction industry. The presenter then goes on to describe the program at Georgia Tech, which helps smooth out what the profession of architecture is really like.
In the lecture about Building construction, Dr. Kangari explained the process of building construction, and how involved and knowledgeable one has to be in order to be in the profession of building construction. It is a process that involves every single aspect of the design process imaginable, and someone from building construction must be able to incorporate and streamline communication so that the design and building process goes smoothly and efficiently. Dr. Kangari then presented the different kind of building construction professions that one can go into, which include building operation and management, and building decommissioning.
One of the terms discussed was decommissioning, which means to remove form service. Some building construction majors go into this profession in order to take down buildings in order to make room for newer ones that are more efficient. It is just as complicated of a process because of all of the implications and liabilities.
Another term discussed was schematic design, which is the elemental aspects of a building. This is usually the core design and vision which is then enhanced by the rest of the design.
One last important term was fragmentation, which is the breaking up and lack of current through a system. In the case of architecture it is the lack of architecture between the different professions in a design process.
In this lecture, Dr. Kangari describes the difficult and highly involved process of the profession of building construction and explains just how informed and in-the-know one has to be in order to pursue it. In a nutshell, someone in the building construction profession is the thread between all of the other professions in the design process. With out him or her, the design process would fail because of lack of communication, and nothing would get done. One of the faults of the construction industry is the lack of communication between all of the different aspects, and this is partially because of the need for building construction majors in order to draw everyone in. They make the process flow smoothly, and help get jobs done quickly and efficiently.
In the lecture concerning the field of industrial design, Professor Mullick discusses the varied and exciting field of industrial design. It is a field that opens doors for exploration, and in a certain way answers the same questions that architecture does, of “how will this shape our world”. In addition, Industrial design is specifically meant for the consumer, and is there to solve problems, as well as be appealing to the eye. Industrial designers take an aspect, and have the duty of investigating and researching it fully in order to produce a product that is better and/or more appealing. Industrial designers are in charge of the entire world around us, not just architecture. They produce architecture on a smaller scale, and have the consumer as number one.
One of the terms discussed in this lecture was “aesthetic”, which means pleasing in appearance. This is most likely one of the most prolific words in the vocabulary of the industrial designer’s design process. Not only does a product have to be functional and efficient, but the aesthetic aspects are crucial in the marketing part of the product.
Another term discussed was “multi-faceted”, which means multi-surfaced. A product has to have many aspects researched behind it in order to be fully efficient and appeal to a wide consumer range.
One last term discussed was “tactile”, which means being perceptible through touch. Many products produced by industrial designers are tactile, and involved body to object interaction.
The profession of industrial design takes on a larger aspect than that of architecture. It involved everything surrounding a human being, even what is on a human being. Therefore, Industrial designers shape the world more than any other profession. Professor Mullick describes the different types of design, and then went into the definition of design itself, and how it applied to what industrial designers did. It is a profession that has a wide range of opportunities, and opens up worlds of exploration, much like a profession in the sciences does. Professor Mullick demonstrates this through pictures, as well as diagrams and many definitions.

Conceptualization: http://webster.com/dictionary/conceptualization
Environmentalism: http://webster.com/dictionary/environmentalism
Retrofitting: http://en.wikipedia.org/wiki/Retrofit
Decommissioning: http://en.wikipedia.org/wiki/Decommissioned
Schematic design: http://en.wikipedia.org/wiki/Schematic
Fragmentation: http://webster.com/dictionary/fragmentation
Aesthetic: http://webster.com/dictionary/aesthetic
Multi- faceted: http://webster.com/dictionary/faceted
Tactile: http://webster.com/dictionary/tactile

Library 101 Assignment

1. DesRoches, Reginald, “Hurricane Katrina’s impact on Louisiana’s transportation infrastructure”, 2006

2. Sharon P. Robinson and M. Christopher Brown II, “The children Hurricane Katrina left behind : schooling context, professional preparation, and community politics”, New York : Peter Lang, c2007

3. Hillary Potter, “Racing the storm : racial implications and lessons learned from Hurricane Katrina”, Lanham : Lexington Books, c2007.

4. Jenni Bergal, “City adrift : New Orleans before and after Katrina”, Baton Rouge : Louisiana State University Press, c2007

5. Sam Lubell, “Louisiana Recovery Continues to Hit Snags”, New York 2007

6. Shawn Kennedy and James Murdock, “Remaking New Orleans, without losing its past”, New York 2007

7. Brown, Joseph E. and Caldwell, Kenneth, “New Orleans: One Year after Katrina”, District of Columbia 2006

8. Katie Gerfen, “Greening New Orleans”, New York 2006

9. Charles Reith, “A more protective urban landscape: as the world warms and becomes more populous and urban, more is expected from cityscapes”, District of Columbia 2006

10. Carl F Weems, Sarah E Watts, Monica A Marsee, and Leslie K Taylor, “The psychosocial impact of Hurricane Katrina: Contextual differences in psychological symptoms, social support, and discrimination”, Behaviour Research and Therapy. Oxford: Oct 2007

11. Michael T Abel, Steven M Presley, Thomas R Rainwater, and Galen P Austin, “Spacial and Temporal Evaluation of Metal Concentrations In Soils and Sediments From New Orleans, Louisiana, USA, Following Huricanes Katrina and Rita”, Environmental Toxicology and Chemistry. New York: Oct 2007

12. Mark N Lobato, Emad Yanni, Arthur Hagar, and Charles Myers, “Impact of Hurricane katrina on Newborn Screening in Louisiana”, Pediatrics. Evanston: Oct 2007

13. N Kevin Krane, Richard P DiCarlo, Marc J Kahn, “Medical Education in Post-Katrina New Orleans: A Story of Survival and Renewal”, JAMA. Chicago: Sep 5, 2007

14. Javed Iqbal, David Gisclair, Debra J McMillin, Ralph J Portier, “Aspects of Petrochemcal Pollutionin Southeastern Louisiana(USA): Pre- Katrina Background and 15. Source Characterization”, Environmental Toxicology and Chemistry. New York: Sep 2007

16. Erin Robinson, “Dealing with winds of change; A year after Katrina, some retailers struggle”, Automotive News 2006

17. Geof Fein, “Katrina Showed Need For Rapid Damage Assessment, Improved Communications”, 2006 Access Intelligence, LLC.

18. Joby Warrick, “Washington knew about Hurricane Katrina’s Likely Impact”, 2006 The Irish Times

19. Stephanie Strom, “The post- charity Katrina boom is going bust”, 2006 International Herald Tribune

20. Ben Lieberman, “Fixing the Energy Crunch”, 2006 The Washington Times

21. Mollyann Brodie, PhD, Erin Weltzien, Drew Altman, PhD, Robert J. Blendon, PhD and John M. Benson, MA, “Experiences of Hurricane Katrina Evacuees in Houston Shelters: Implications for Future Planning”, 2006 American Public Health Association

22. Michael Eric Dyson, “Come Hell or High Water: Hurricane Katrina and the Color of Disaster”

23. David Atkins and Ernest M Moy, “Left behind: the legacy of hurricane Katrina”, BMJ 2005;331:916-918 (22 October), doi:10.1136/bmj.331.7522.916

24. Havidán Rodríguez, Joseph Trainor, and Enrico L. Quarantelli, “Rising to the Challenges of a Catastrophe: The Emergent and Prosocial Behavior following Hurricane Katrina, 2006 American Academy of Political & Social Science

25. Raymond Jay Burby, “Hurricane Katrina and the Paradoxes of Government Disaster Policy: Bringing About Wise Governmental Decisions for Hazardous Areas”, 2006 American Academy of Political & Social Science

26. Lloyd Dixon, “Commercial wind insurance in the Gulf States : developments since Hurricane Katrina and challenges moving forward”, Santa Monica, Calif. : RAND Institute for Civil Justice, 2007

27. Henry A. Giroux, “Stormy weather : Katrina and the politics of disposability”, Boulder, Colo. : Paradigm Publishers, c2006

28. David Overfelt, and J. Steven Picou, “The sociology of Katrina : perspectives on a modern catastrophe”, Lanham : Rowman & Littlefield, c2007

29. Kristin A. Bates and Richelle S. Swan, “Through the eye of Katrina : social justice in the United States”, Durham, N.C. : Carolina Academic Press, c2007

30. Michael Eric Dyson, “Debating Race With Michael Eric Dyson”, New York : Basic Civitas Books, 2007

31. Wikipedia, “Hurricane Katrina”, http://en.wikipedia.org/wiki/Hurricane_katrina, Retrieved 10-11-07

32. CBS News, “Race an Issue in Katrina Response”, http://www.cbsnews.com/stories/2005/09/03/katrina/main814623.shtml, Retrieved 10-11-07

33. About, “Hurricane Katrina and the Economy”, http://economics.about.com/od/hurricanekatrina/a/katrina_economy.htm, Retrieved 10-11-07

Assignment #4

In the lecture pertaining to architecture and how it affects behavior, the author elaborates on how the decisions made in the design process greatly influence the overall health and behavior of different groups. He first begins with graphs of statistics of health issues in the United States, starting with the rapid growth of the epidemic of obesity, moving to depression, and finally diabetes. In the second part of his presentation, the author demonstrates how different styles of architecture, as well as design research, could greatly increase good health decisions for people who interact with research-related architecture. The main concept is that architects and designers alike hold a part of the responsibility for the health of the environment that they are designing for.
One term that the author used in demonstrating the growing threat of obesity was the BRFSS, which stands for the Behavioral Risk Factor Surveillance System. This survey is carried out by a random phone poll, and can be used to gather data from various regions and compile it into one graph. If I had not attended this lecture, I never would have thought of the significance of this system in regards to the design process, but now I understand that the multi-disciplinary aspects that this data can provide are crucial to developing architecture that is effective to its purpose and function.
Another term that the author discusses is environmental sociology. This is the study of the interactions between the environment, social organization, and social behavior. This philosophy has been around for about thirty years, and has been frequently used in the study of architecture and human interaction with it. Before researching this term, I had a vague understanding of it, thinking that it had to do with wayfinding more than the long-term behavioral aspect. I didn’t think that it encompassed social aspects at all, but simply rather the instinctual interaction of the human with his or her immediate environment. Now I understand that environmental sociology encompasses many dimensions of social aspects, as well as the long-term effects on human behavior.
One final term that the author mentioned was space syntax, which is the technique for special analysis of all kinds of spaces. This is especially crucial when dealing with designs of buildings that are supposed to serves a specific function, as well as civil engineering. Space syntax helps analyze the “flow” of people within a building, and somewhat relates to environmental sociology. In relation to this lecture, the author mentioned space syntax when talking about the fields contributing to architecture, culture, and behavior.
For this lecture, I would like to know how flexible one can be with the research, or if there is a defined pedagogical approach in researching how architecture affects behavior. Also, what background of study is necessary to do this work? Would one have to branch off and study many other aspects of design in order to fully appreciate and be successful at this research? Could this kind of design really have an impact on today’s society, or does the root of the problem lie elsewhere? In the economy today, is the construction industry the one that defines us as a society and as a culture the most? If so, do architects hold more responsibility than what they are given credit for?
In the lecture presented by Ruth Dusseault, the issue of society’s crave for the new and modern is discussed. Dusseault makes the point that we are ignorant of the fact we are wiping the slate clean to start over each time, and as a consequence are not preserving history like we should be. Her main example is Atlantic station, which is a versatile environment for many cultures, both day and night. Also, Dusseault explains her fascination with the idea of creating a Utopia from scratch.
The utopia is a term that, in this sense, means a place without flaw that has an atmosphere of bliss and happiness. Such is Atlantic station, where there are virtually endless amounts of shops, and the architecture is slick and clean. Dusseault explains her love and hate of this concept. She loves the idea of creating such a place from the scraps of a steel mill, but she also hates the fact that in order to make way for the Utopia, history that doesn’t fit must be demolished.
Another term mentioned was substructure, which is the underlying foundation of a structure. In this presentation the term refers to the substructure of the steel mill before it was torn down, and how precious it was to history. Now, not a trace of that substructure is left, but instead a cement parking lot.
Dusseault defines the term modernism in her own words: “Modernism can be loosely described as the practice of sweeping away the existing world and building something perceived to be better”. This is a more cynical view of modernism, and takes it to another level in perception. Dusseault makes the point that while modernism helps accommodate the infrastructure, and is “better”, at the same time it doesn’t make way for the integration of the old with the new.
Homogeneous surroundings are another concept discussed. In today’s society, because of building codes and the thirst for modernism, we erase history and instead build uniform buildings, creating a homogeneous atmosphere of anti- individualism. Because of this, we lose our identities as a culture and as persons.
For this lecture, I would like to know how history might be saved, whether through monuments of it, or actually physically preserving buildings. Is it worth it to preserve physical memories, or should the simply be documented and demolished in order to save space? How might society “see the light” of what it is doing to the past, and become more educated in the necessity of remnants of the past? Are Utopias the best thing when aiming for a construction design?
In the lecture about Palladio, Professor Sonit Bafna discusses the influence, as well as the almost rebellious appeal of Palladio’s designs. Palladio brought back classical architecture in his work, from pediments, to columns, to the tight uniformity of the design itself. Bafna starts with presenting pictures, and then goes on to show a map to demonstrate the massive region that Palladio’s influence stretched in Spain.
One concept that was discussed was the “tightness” of the buildings. In other words, the construction was so precise and symmetrical; it left no room for variation. This was a key characteristic in Palladio’s works, leading to his massive influence because of the appeal of his architecture. The windows were perfectly aligned with the door and evenly spaced, giving a very organized air and appearance.
Another term used in the lecture was “villa” which is the rural or suburban high- end residence of someone. At first, I thought that this meant a general term, referring to many types of buildings that were pertaining to Palladio. However, a villa was the most controversial part of Palladio’s work. He perfected the art of them, making them look like they should be in big towns, when their real environments where they were built were in rural areas. They were gems amongst the trees and dirt roads, which caused some opposition against Palladio’s work because of how much they stood out.
Ratios were also key to Palladio’s design. It almost became anatomical, the way Palladio mapped out his designs. He would start with a different graph that mapped out the ratios of each part of a building. From there, he could design and construct buildings that could pass as high- end residences, and have a very slick look, but at the same time not lose its own soul or personality. This is something that only Palladio could do, which carried his fame far.
For this lecture, I would like to know if Palladio’s concepts for design were original, or if he was influenced by other past architects. Is his design process a style or a reformed and efficient way of drawing up buildings? Does this kind of discipline offer room for variation and originality, other than the ornaments? Did Palladio trust other professions with his designs, or was he his own team? Finally, how did Palladio’s fame travel? Was he that influential to other architects, or did he make a point to travel and design on location?

Bibliography:

BRFSS:http://www.cdc.gov/brfss/
Environmental Sociology:http://www.socialresearchmethods.net/Gallery/Neto/Envsoc1.html
Space syntax:http://www.spacesyntax.org/introduction/index.asp
Substructure:http://webster.com/dictionary/substructure
Villahttp://webster.com/dictionary/villa

Assignment #3

The lecture on disability research was about an open- minded and fully informed approach to the designing and engineering aspects of disability related products. The presentation also demonstrated how the appeal of the products spilled over in to mainstream usage, giving examples such as utensils designed for people with arthritis, and glasses. The author starts by defining what a disability is, then moves to the design appeal of the industry, and ends with the process of designing a disability-related product. He stresses the concept of the disability design leaking into mainstream products, and how it will become fashionable to use certain products.
One of the terms discussed in the lecture was “anthropometry”, which is the study of human body measurements. In researching this term, I found that this research is crucial in the design and engineering of products that are used by humans. In the lecture, a wheelchair was shown that was influenced by anthropometry. The wheels were placed further up, based on how far back the arms could go without stress being put on the elbows or hands. This allowed for much easier turning of the wheels. I have discovered that anthropometry goes beyond just products, but also goes into the nutritional well-being of people, helping pharmacists match up drug dosages to body masses. In short, anthropometry affects virtually everything that has to do with the human body.
Another term discussed in the lecture was “myriad”, more specifically in the concept that in order for the design process to be successful, there needs to be a myriad of approaches. As I looked back on my notes and researched the disability-related world, I found that in order for a process to be successful, a myriad of scenarios and concepts have to be taken into consideration. A disability-related product has to be versatile to the utmost degree in order to render its user truly free of any handicaps. In order to do so, the designer and the engineer must take into consideration the environments and lifestyles of their consumers. This may even involve cultural research, as well as close observance of the consumer.
The fact that disability-related research is leaking into mainstream fashion and usage was a concept that was brought up by the author. In today’s society, because of all of the advancements in technology, life has become facile and to a degree superficial. It no longer takes manpower to do practically anything, and humans are left with very little physical challenges in life. As a result, it has become fashionable to make known the physical challenges we do have. For example, the optical industry is booming. People are wearing glasses as a statement, and sometimes even if they don’t need them, to show that despite the immortal image of someone because of today’s technology, they are stylishly humbled by the need of glasses. Glasses also help people who don’t need them perform even better. The author of the lecture even predicted that hearing aids would go the way of glasses, becoming more popular because of their ability to sharpen hearing.
For this lecture, I would want to know how involved the designers and engineers get with their consumers. Do they research the history of the families, or perhaps the culture that they are immersed in, in order to perfect their design? Also, how long does a design process like this take if it is truly done correctly? Is that the reason society does not see frequent advances in disability-related technology? Finally, what is more important in the process, the design and appeal to society, or the function? For example, the design of glasses is crucial in order to be appealing for the consumer, but are researchers branching out from that design and possibly engineering a new way to wear lenses? Or has society made it clear that glasses are here for good?
In the lecture about AEC integration, the author covered the diversity of the construction industry, and how there is a lack of communication and collaboration between the different departments. The author first broke down the different aspects of the industry, listing the different types of construction: residential, non-residential, and civil. Next, he listed the ten characteristics of the industry and the historical roots of design today. Finally, the author explained the barriers in the industry and how it is possible to take those down so that the design process and the industry are more functional.
Capitalization was a term that was brought up in the characteristics of the construction industry. Before researching this term, I thought it meant getting the most out of something that one possibly could. After looking up and researching, I found that it is the total investment of an owner into a business enterprise. The author explained that the client always wants three things: a product that is good, cheap, and fast. Unfortunately, one of these aspects always has to give because of the lack of capitalization on the owner’s part. The author made the point that there is a lack of capitalization in the industry because of the consumers and the economy.
Another term that was discussed was “technocrat”, which is someone who is a technological expert. This term was brought up in questioning what exactly the industry was advancing towards in the future. The author explained that a technocrat behind the controls might speed up the process, but also introduced the idea that this might take away from the overall appeal of the finished product. Basically, when was technology too much? And how much input should computer calculations (I.E. a technocrat) have in the overall design of a constructed product?
A concept that was discussed was the importance, and issue, of integration. Because of the wants of the client, and the differing opinions and techniques amongst the professions involved in the design process, often times there is miscommunication, or incomplete collaboration, and the design process thus becomes difficult and frustrating. The author made the point that the construction industry needs to become more integrated, possibly through more respect for each other, and possibly a change in the education process, involving broader studies of the industry. Integration is key to helping the design process become more efficient, and to satisfying the client.
I would like to know how in depth the education system would have to go in order for the construction industry to become more efficient and in-the-know. Would this involve more collaborative projects? Or simply learning about the other professions that one might be working with? Also, will there be any effort in the future to work more with engineers in order to produce more efficient constructions? Will it get to the point where architects are taking engineering classes, and engineers taking architecture classes? Finally, will the design process be modified in order to become more efficient, so that there is more collaboration and communication?
The lecture about Geographic information systems focused on the technological advancements and current devices of architectural planning and civil engineering. The author starts with explaining what GIS is, then explains the tools that are currently used, and what scenarios they would be used in. The lecture then demonstrates how these devices can predict how the infrastructure of whole cities will change over the course of years, and how this is important in the building and engineering processes of cities.
A term that was discussed, and is key to GIS, is the “emerging environment”. Technology involved in GIS must be able to not only calculate and store data, but also be able to predict the future infrastructures, or the emerging environments, of regions. If this can be predicted, a more accurate and efficient building and engineering plan can be created to accommodate the changes of the future. The emerging environment is something that always must be taken into consideration. Engineers always find themselves looking years into the future in order to keep up with the ever-changing environment, and to make sure that their products are always functional and useful.
One formula that was presented in the lecture was the regression model development for the estimation of impervious surfaces. This is a model that helps predict how much impervious material will develop over a period of time in a region. Impervious material is defined as any material covering the ground that prevents water from reaching the soil. In other words, this model predicts the growth rate of cities and regions, and where the most growth will be. This model is important in developing future plans for cities, as it helps locate where the most modification and planning will be needed.
For this lecture, I would want to know what kind of education is necessary in order to work with GIS. Does one only have to technologically savvy, or does one also have to have a sense of history of the region or city that he or she is researching and planning for? How much work is involved on a human’s part? Is there a device out there that can actually design plans by itself? If not, is that in the imminent future? What professions are involved in this process? Are designers involved at all, or engineers for that matter, since it is mostly technology’s doing? Is it possible that civil engineering jobs might become obsolete since technology is taking over calculations and possibly designs?

Assignment #2

In The classical architecture lecture, the speakers focused on the uses and diverse designs of classical architecture. Each speaker took on a different approach in designing buildings or interiors with a classical style, and demonstrated that it can be applied to numerous scenarios and blend in perfectly, without being out of place or unnecessary.
The lecture was divided into individual sections, one for each presenter. Each person had their own slides on the powerpoint, and each one lectured on separate approaches to the use of classical architecture. There was no particular order to the lecture. No presentation built off of another one because the objective was to show the diversity and individuality that is present in classical architecture.
One of the most important concepts throughout the presentation was the point that classical architecture is used in diverse scenarios. The presentation covered projects from high end residences, to mass philanthropic projects involving hurricane Katrina. Tim Kelley, the first presenter, lectured on the different kinds of classical architecture that can be found in residences across North America, while Mike Watkins was involved in a philanthropic project for the victims of Hurricane Katrina, in which his team designed cheap houses for the people whose homes were destroyed.
In this lecture, David Pearson drew a “schematic drawing”, in which he drew the building as how it is a part of the environment around it. This does not focus on details, but rather the overall structure and “function” of the building. Symmetry was also discussed in the presentation, and was one of the key elements in classical architecture. Each construction was not abstract, but rather was the same on either side in measurements. This created a clean and unique look that is a major part of classical architecture. Urbanism was also discussed, which is the study of cities in terms of their economic, political, social, and cultural environment.
A question that I have for this lecture is if industrial designers were involved in any point in the process. The pieces that are used are often extremely unique, but at the same time they have to be functional. It seems an industrial designer might help to some degree. Also, what social class is this kind of architecture most associated with, and is classical architecture able to branch out from that stereotype? Finally, how strict is the curriculum if one is learning how to design classical architecture? Does the student study other styles in order to compare, or is it a very focused curriculum?
In the lecture focusing on the Solar Decathlon, the author demonstrates and breaks down how a house is built that is going to be entered into this competition, and explains what the categories are for judging. The author mainly focuses on a house that he himself is involved in. He breaks down the house form the general concept, to the details of the construction.
In this presentation, the author starts with the overall concept of what is expected in a house that is entered into the competition. From there, he goes into more detailed and focused areas of the process. He also breaks down his own thoughts on the entire process since he himself was directly involved.
One of the important terms and concepts that the author talks about is the issue of efficiency. The solar decathlon is judged based on efficiency, as in how well it works with its environment, and how well it can function as a residence without harming or taking anything away from the environment around it.
As stated before, one of the key terms in this presentation was efficiency, which is the effective operation of something through and element, which in this case is energy. Also, the author mentioned that the house has to be “ambient” or encompassing. It could not be entirely open, or be missing a side. Form resins were also discussed, which are translucent materials. These materials are important in order to let light through, and cut the cost of electrical lighting.
For this lecture, I would ask which section was focused on most in constructing the building. The construction is judged based on several factors, so what is a popular strategy? Also, what is the style that is mostly used in constructing these houses? Finally, does this type of competition and team work prepare one for working in the “real world”? Should one focus more on working individually, or with a team of other architects?
In the digital design and manufacturing lecture, the author broke down the design process, and talked about who specifically was involved in each step. He first started with the process of designing, and then ended with an overview of the installments in the college of architecture, and one that was at the High museum, that were designed by students as a research project.
The author organizes his presentation inductively. He first starts with the details of the design process, explaining each profession’s role, and which step in the process he or she is involved in. He ends the lecture with a presentation of the results of the design process, by showing how each installment in the architecture building was designed and built.
The author discusses the concept of a question being answered behind each installment that was designed by students. Each installment is an answer to how diverse a single piece of material can become. Also, the author notes the importance of the overall effect of each installment, and how it contributes to its environment.
One of the terms discussed was “algorithmic”, which means “step by step”. The design process is an algorithmic process in which there are many steps to the final project. Also, the concept of an overall question that is answered by the structures was greatly stressed by the author. The author also talked about the medieval concept of a “master builder”, who is someone who is master of his craft and works alone.
For this lecture, I wonder if the advancement of technology is taking away from the beauty of rendering and affecting how appealing a building is in its rendering. Also, does an installment have to answer one question, or can it be something that is left up to free interpretation? Finally, how does the technology affect the design process these days? Do the programs we use limit our imagination and make us conform to Auto Cad and other such programs?

Schematic: http://www.encyclopedia.com/doc/1O999-schematic.html
Symmetry: http://webster.com/dictionary/symmetry
Urbanism: http://webster.com/dictionary/urbanism
Efficiency: http://webster.com/dictionary/efficiency
Ambient: http://webster.com/dictionary/ambient
Form resin: http://webster.com/dictionary/resin
Algorithm: http://webster.com/dictionary/algorithmic

Assignment #1

As one steps outside of the west architecture doors from the atrium, a massive object demands the eye’s attention. To take in the complexity of it in once glance would be injustice to the creation. The plastic that it is made of is very translucent, almost transparent, making the light weave in and out of its grooves at certain points of the day. It is easily manipulated, yet durable. The creators relied on a minimal amount of screws in order to keep it intact, with only two of them at each convergence of the parts. They relied more on bending the plastic and making slits in which it could fold in on itself. It seems the intention was to use a small amount of metal in order to preserve the translucency, as well as the smooth, majestic flow of the creation as it unfolds outward and upward. At each joint there are, on average, three pieces overlapping and screwed together. The entire installment is made of individual long and flat sheets of plastic, each one concisely cut and bent in a different way to make a complicated wave effect. The pieces start at one end, where they are stacked, and end at the other where they are fully expanded. Each piece extends from end to end, and they are all the same length.
The method that the creators used in order to make all of the pieces identical seems to be a laser cutter. The edges of the pieces are smooth, and it can be easily seen at one end, where the sheets are stacked in uniform, that they are precisely the same in shape. A laser cutter has the ability to be this precise. From observation, it seems one template was drawn in order to make a form that was wide, but when folded could gain depth and differ in movement. Slits were cut in various places, especially where the plastic starts to gain depth, so that the creators could work with one piece of plastic, instead of many pieces.
Its form takes on different characteristics as it expands, growing and becoming more complex as it progresses. At one end, the installment is nothing more than a stack of the plastic sheets, perfectly aligned. As the creation progresses and starts to “unfold”, the long sheets of plastic expand and acquire depth, defying the restraints of order and simplicity. Each piece takes on its own individuality, overall making the piece a paradox in itself, displaying an organized chaos of wavelengths.
When the light hits the installment from an angle, in the morning and at dusk, it bounces off of the grooves of the plastic and highlights the different waves. The light also funnels through the sheets, making some pockets where the waves have expanded fully seem to stand out more than the others. This generates a more dimensional view of the creation, giving not only more lines to be seen, but also different layers of light as it is filtered by the plastic. The structure is smooth to the touch and even sharp in some places where it is cut. At other places the edges are rounded since the plastic has been folded in on itself to avoid screws. When the temperature changes, the structure’s temperature changes with it. The plastic is thin, so it is easily affected by the heat of the sun or by other elements of weather.
As the plastic unfolds, it compliments the outside architecture of the building by curving around one column and ascending over another concrete support before stopping abruptly. The installment is smaller than the building it is related to, and is framed between one column and the end of the patio. The general shape of the creation is serpent-like and fluid, twisting around and gliding over its surroundings. However, close-up, the installment does not have much detail, concentrating more on the fluidity and translucency, rather than small designs and details on the plastic itself. The details lie rather in the way the pieces expand and unfold, and how each one intertwines with another.
From what I have observed of the creation, the challenge seemed to be to take something that seems simple, and expand it to give it new meaning and more angles. The creators took these long pieces of plastic and made them into something that is more complex than what it originally started out to be. The creators’ intention in design was to use as little fastening devices as possible, and rather have the creation stand and stay intact on its own.
The way the creation moves, and the motif of fluidity sparks the imagination. The effect of it is like a gust of wind, starting on the ground, and then gaining momentum and force as it rises and sails around the column and over the concrete support. In an instant it is cut off and gone, much like the brevity of a breeze or gust. The form itself resembles the essence of an idea as it evolves and becomes a more stately thought. It starts out as the epitome of conformity, the way all of the sheets are perfectly stacked. Then, as the “idea” is fueled and given more dimensions, it expands and unfolds into something that must be taken in over time, rather than through a quick glance or assumption. If this installment were given a secret life and a personality, it would seem like the type that is shy at first and soft spoken. This doesn’t necessarily mean that it is uninteresting. Instead of boasting its inner beauty, it waits for the right moments to show its true character. If I were to choose a name, I would pick “gale”, because of its wind-like references and majesty.
In the atrium of the west architecture building, a looming wooden structure descends from the third floor, to the ground of the first floor. This installment is made out of carved and curved slender pieces of wood. Each piece is perfectly aligned, following the one beside it, producing an effect that makes the overall surface of the installment seem smooth, if observed from afar. At a close up look, each strip of wood is made up of a series of smaller units that lock and fit together like a puzzle, giving the illusion that each strip is three stories high. Again, a minimal amount of screws and other fastening devices are used, as to not take away from the wood structure and the smoothness of it. However, for this installment, braces were used in order to keep the structure in place. It is a massive vertical creation that cannot stand on its own, and without the braces the wood would warp or the entire structure would collapse. This installment is translucent if viewed straight on, but, if viewed from the side, all of the wood pieces line up and the curves of the creation become more prominent.
From observation, it seems the wood was carved by use of an electric saw that could be easily maneuvered. Drills were used in order to bore the screws in, as well as make holes for the braces that are installed on the second floor. Many templates were used for this structure, because at various points in the descent of the wood the strips must curve differently in order to produce the right effect.
If one was to observe the installment from the ground to only about ten feet up, it looks like nothing more than an abstract bench. But, as the eye ascends, it is realized that it is much more than a piece of furniture, but something that curves and is a unity between all three floors in the building. Again, this is a structure which the creators started out simple at its bases, but then gave it more meaning and symbolism as it progressed and gained grooves and curves. The overall form is like a waterfall, curving just over the railings of each floor, and finally plummeting into a bench at the bottom. There are certain areas where the wood has been bent sideways, which create pockets where the wood is not uniformly straight. This gives the installment character, and gives the observer details to catch and take in.
On the third floor, when the light comes through the windows, the panes of wood do not filter out what comes straight at it. From this angle, the light passes through the slits, making the wood seem thinner than it really is, and creating shafts of light and shadow on the other side. The light also highlights where the pockets are, and how much the wood has been expanded to the side. The wood is smooth to the touch, and is usually cool, despite surrounding temperatures. It is a static creation that does not conform to the climate or physical changes that go on around it.
It is interesting to note how each piece of wood is as thick as the next, a detail that gives the effect of simplicity. Yet since there are so many, it is pleasing to the eye to see each one spaced exactly as far away as the next. When compared to the scale of the building, it is almost as tall, and is even intimidating when approached up close. From far away, the strips blend together, and the individual strips are not noticed as easily. The mind instead pays more attention to the overall smooth and flowing surface of the entire piece, experiencing the entire effect of it as it flows over railings and walls. The creation works with its environment, folding over the railing at the top, draping over the railings, and at the bottom turning into a piece of furniture that is usable.
Since this installment cascades over the surrounding architecture, the image that first comes to mind is a waterfall. The structure brings nature inside in a way that makes the entire architecture of the building seem like different elements of the earth. The bench at the bottom is reminiscent of the crash of the water as it hits the un- rippling pool of carpet below. The pockets where the wood spreads apart are like the water making its way around and over rocks or chunks of earth that are jutting out from behind. I would call this structure “Fluo”, which is the Latin word for flow. If this installment led a life, it would be one that is laid back and un- judging. It rather tries to help the ones around it, but in its own way is dignified and respectable. Even though it is beautiful, it does not boast about its own achievements or physical superiority, but rather lets its personality speak for itself.
For this installment, the objective seemed to take individual pieces, and align them so that each piece collaborates in producing an overall effect. With this wooden structure, it is made of individual piece, but the strips of wood work with each other in order to produce something that does not look as rigid as what it is composed of. The creators wanted to see how they could trick the eye, and make a structure that looked differently from far away, than it would up close.
For both of these structures, the idea was to take long strips of material, and contort them into a structure that is more complex than what it started out to be. The plastic installment outside the west Architecture building expands and folds in on itself, with the intent on proving that a massive amount of movements and creations can be thought of by simply folding and bending plastic. The wooden waterfall in the atrium, when viewed up close, is made of many rigid strips of wood, but when viewed from far away becomes something smooth and flowing. Both of these structures are a statement by the creators that complexity can lie in even the most simple things, and all one has to do is perhaps take a step back, and think beyond straight lines.

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official class list last edited on 15 September 2007 at 5:34 pm by 12.19.35.253

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