Meaning of Architecture and Architectural Technology - Assignment Example

PATCH ONE Meaning of Architecture/Architectural Technology Stretching my understanding before joining the University, architectural technology was multifaceted. From the one hand, I knew there was distinct between architectural technology and architecture. The differences were based on subjects and tasks. To me, architectural technology was a task that dealt with the economical and constructive aspects of designs and building. On the other hand, I took architecture as a subject and for that matter; they were people I believed were tasked with the responsibility of providing aesthetic satisfaction of designs and structure as per the desires of customers. While the two positions are what I had about architectural technology and architecture, technological views of symbols and signs in different buildings and structures redefined my understanding of architectural technology. I saw architectural technology as overwhelming success of technology that has been fused to generate sensual experiences for its customers. The technology has created a new experience of time and space in architecture. From this point, I have concluded that architecture is artistic work where technology is linked more with the dynamics and functional aspects of life to create a design that suits specific needs. Conversely, architectural technology to me is the assumption that every dwelling or structure needs technology---even if in the basic sense. Architectural technology means a situation where architectures apply their artistic skills to make a structure become distinguishable with building rules. In such case, technology becomes everything that architecture makes to gain building’s physical form. PACK TWO Topic 2.1: Compare and contrast Greek Orders and Roman Orders The Greek architectural order was specific to the people and style of building. According to Vitruvius’s The Ten Books on Architecture the three Greek orders (Ionic, Doric and Corinthian) differed from Roman orders in the sense that the Greek’s served index of style itself (Pollio 1914). The figure 1 below indicates the Doric order. It did not merely serve as descriptors for what could be seen as ancient structures in Greek but index to the aesthetic and architectural development in Greek. Greek orders were characterized by a representation of important period in history. Vitruvius points the history to be a period of Mediterranean architectural designs that were fused in the architecture. On the other hand, Roman orders acted as monumental designs that made the transition from tradition to modernity. Unlike Greek orders, a comparison made by Vitruvius noted that Roman orders gave a more slender as well as elegant profile. However, the two categories of orders (Greek and Roman) were characterized by simple, unadorned columns and a single column that rested on the stylobate of their temples according to figures 1 and 2 below. Topic 2.2: Compare and Contrast Roman Groin and Rib/Ribbed Vaults Studies have come to consensus that Roman groin existed in two forms; Pompeii and Forum Baths. Differentiating Roman groin from ribbed vaults, they were characterized by semi-circular arch that were designed to appear repeated around the axis to make what was architecturally known as barrel vault. According to (Hoey 1996 p. 158) an intersection between two barrel vaults formed a groin vault. One distinct feature of Roman groin was based on its weight that unlike ribbed vaults, in most cases, contributed to symmetrical plans that in turn, created plans with a limited span. To bring to focus the difference between Roman groin and ribbed vaults, Hoey (1996) recognized that Gothic plans had asymmetrical arrangement with the challenge that its uneven design requiring rib vaulting which was flexible compared to the plan. Accordingly, St. Denis Paris provides the first case of what architectures consider to be the first kind of Gothic diagonal rib vault. As a matter of fact, it was St. Denis Paris that shaped the pattern of the rib that formed the same intersection lines similar to that of a groin vault. Topic 2.3: Compare and Contrast Trabeated and Arcuated Systems Gothic structural systems provide specific approach of comparing and contrasting trabeated and arcuated systems. From this position, trabeated was used in the Gothic period as a style when constructing temples in cases where horizontal beams were majorly used for windows and roofs (Moffet and Wodehouse 2013 p. 148). On the other hand, arcuated systems entailed Gothic architectural designs where arches were built to carry the weight of a given unit of substructure. Recent studies have differentiated the two systems by giving examples. Gothic structural system that represents arcuated system was the Alai Darwaza (the structure was considered as the ancient true arches or arcuated systems in India). On the other hand, trabeated systems are represented by Gothic systems that were applied in the contruction of tombs and buildings that architectures used to attach to steeped wells and a good case was the Quwwat al-Islam mosque. It is from the two examples of Gothic structural systems that a sharp contrast is often drawn. That is, trabeated systems would have horizontal beams while arcuated designs would have structures with arc designs and as it was with the figure below, two connected pillar Topic 2.4: Compare and Contrast Domes in Roman, Byzantine, Renaissance and Neo-Classical Architecture Most domes in Roman represented monumental size during the imperial period. Unlike Byzantine, Renaissance and Neo-Classical architecture Roman domes used decorative elements using coloured bricks. The Temple of Asklepios Soter located in Pergamon and the Pantheon temple which was completed by Emperor Hadrian (Anderson 1901 p 205). Byzantine brought uniqueness in the design of structure, far much better than Roman domes. Commonly referred to as pendentive to insinuate to the uniqueness of their sail vaults, they were designed to have a what ‘Hagia Sophia’ (a dome and drum). This was a reflection of renaissance and post-renaissance domes that differed from Roman domes. Domes in the Renaissance period were an improvement from the Roman and Byzantine depicting key structures such as Florence Cathedral and St. Peter's Basilica. However, figures below indicate that renaissance domes looked back to the Roman and Byzantine inspirations in the design of buildings. Neo-classical architectural domes signaled a return to rationality after the Roman and Byzantine domes. Taking examples from US Capitol Building and the Pantheon in Paris, neo-classical architectural domes were basically based on antique from Greek and Roman architecture. Topic 2.5: Compare and Contrast Interior Spaces of Early Christian and Baroque Structures While interior designs of Baroque structures were known for their glided sculptures, their spaces were wider and bright to accommodate marble, silver, bronze and gold finishes. Unlike Early Christian structures, Hoey (1996) recognizes the structures as pieces of art that were spacious and versatile. A good case in hand of the interior spaces of baroque structures is the interior design of S. Maria Della Salute. The rooms were vast to accommodate altars, carved sculptures and furniture that stretched from one corner to another. Other examples of Baroque structures with unique interiors include the Palace of Versailles with extravagant interior spaces (Payne 1999, p 371). Interior spaces of early Christian structures differed with baroque structures. Taking a case of the Basilica, interior spaces of the early churches were designed to serve places to offer sacrifices with most activities done in the outdoor altars. Early Christian architecture was majorly a design of exterior with limited space given to the interior design when compared with baroque structures. However, interior designs of the two structures put greater emphasis on decoration with spaces created to cater for animations and other forms of decorations. Topic 2.6: Compare and Contrast the Interior of the Banqueting, London and the Red House London The interior design of the Banqueting had a fine finish with the needed space, designs for patent, and spaces for the king to put his sword, vest and coronet. According to Payne (1999) the interior design was to take the shape of a throne where worthy subjects could be presented for ennoblement with a clear example of this design being the great Palace of Whitehall. However, Banqueting was slightly different when compared with London and the Red House London in the sense that the interior of Red House London had revolutionary architecture that led to dominant imposing scale in their interior designs. The most striking difference in the design of Red House London was the nine ceiling paintings that were done by Peter Paul Rubens. References Anderson, W.J., 1901. The Architecture of the Renaissance in Italy: A General View for the Use of Students and Others. BT Batsford. Fazio, M., Moffett, M., Wodehouse, L., Crouch, D.P. and Johnson, J.G.,(2001). USC School of Architecture Arch 514A: Global History of Architecture: 4500 BCE to 1500 CE: 3 units. Fletcher, B., 1931. A history of architecture on the comparative method. Рипол Классик. Hoey, L.R., 1996. A problem in Romanesque aesthetics: the articulation of groin and early rib vaults in the larger churches of England and Normandy. Gesta, 35(2), pp.156-176. Payne, A.A., 1999. The Architectural Treatise in the Italian Renaissance: Architectural Invention, Ornament, and Literary Culture (p. xv343). Cambridge: Cambridge University Press. Pollio, V., 1914. Vitruvius: The Ten Books on Architecture. Harvard university press. Read More