wsoa-arch120-s-khalil-blog
wsoa-arch120-s-khalil-blog
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Sources
Checkerboard Film Foundation. “Steven Holl: The Nelson-Atkins Museum of Art, Bloch Building.” Online video clip. YouTube. YouTube, 10 June 2011. Web. 5 December 2017. Kipnis, Jeffrey, Roland Halbe, and Steven Holl. Stone & Feather. Munich: Prestel, 2007. Print. Murray, Scott Charles. Contemporary Curtain Wall Architecture. New York: Princeton Architectural Press, 2009. Print. Ouroussoff, Nicolai. "Steven Holl - Nelson-Atkins Museum Of Art - Architecture - Review." Nytimes.com. N.p., 2007. Web. 5 Dec. 2017. "The Nelson-Atkins Museum Of Art / Steven Holl Architects." ArchDaily. N.p., 2017. Web. 5 Dec. 2017. Youmans, Joyce M. "African Art at the Nelson-Atkins Museum Of Art." African Arts 33.4 (2000): 40. Web.
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Week 12
I am fascinated by the manner in which the author contends that architecture is the only place where redundant and straightforward construction in material reality and thinking takes place. Architecture is different from other forms such as mathematics because it engages and adapts to the opportunity of variety. Architecture is rendered complex due to the complex layers from previous and old methods. In this case, it is prudent to bring the architecture of the Egyptian Pyramids. It is appalling to comprehend the technology the Egyptians were using during their time to come up with such complex architecture. The pyramids consist of a multitude of paradoxes; from dealing with the inside and outside and so forth. There is an obligation towards the difficult whole. The complexity of any architectural work can even increase its aesthetic value. The richness of any architectural work can thus be judged by the reevaluation of its complexity and the entire parts that function as the architecture.
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Week 11
The overflowing of the Mississippi River can best be understood by looking into all the process that define the events. The entire force of the current of the river is strong enough to excavate the soil below it by a couple of feet. It is noted that the force of the river cannot be stopped by man's efforts and machines. Indeed, even if people come to be in the capacity to control the flow of the river, there might come a time when it cannot be contained any longer. It is important to note that the structures and machines that man makes can succumb to rust and decay. However, the river and other natural structures gather strength with time. Humanity weakens at will and activity with time. This article is important in pointing out the fact that man is not always in control, and there are aspects of nature that are beyond their control.
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Week 10
I find the propositions that Allen gives to be quite agreeable and practical to our society as it pertains to infrastructure. Infrastructure is a collaborative art where many individuals and notions can contribute to. Indeed, the motives of all architects have changed over time. Currently, all architects not only focus on function but also on aesthetically pleasing the eye. The change in the architect's priority has dramatically affected infrastructures. For instance, the Taj Mal is an appealing structure that has almost always captivated the attention of many for its beauty and durability. In the US alone, there are a variety of buildings that depict infrastructural urbanism at large. The Broad Museum and the LACMA museum are samples that can be used to show how the change of the architect's priorities have impacted the infrastructural urbanism of design and architecture. Through infrastructural urbanism, we can determine the relationship of a building and its role in the society.
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Week 8
Indeed, society has always been praising design instead of the workmanship itself. For instance, a scientist comes up with a theory, and he is remembered for a lifetime; however; those who put the theory into practice are not entirely acknowledged. The difference between design and workmanship lies in the practical nature of them; the design is put in words and drawings, but the workmanship is the concrete of the design. However, workmanship itself can be of risk or certainty. I think that the workmanship of certainty should imply craftsmanship. In our society, almost everything is done by machine rather than hand. There is an operation for everything. For instance, if I want to chop some tomatoes, I will use a knife. If I want to move from one place, I will use a car or a bicycle. Indeed, the nature and art of workmanship are transitioning according to the article.
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The Broad Visit
I must accept, the architecture of the Museum itself challenges the artworks it houses. The Broad is well structured in an artistic manner that captivates the eye. From outside, the Museum looks like a honeycomb, painted white. I wished I could have an aerial point of view. The Broad is a three-story box exhibition and archive space that is quite exhilarating. I found the interior layout of the Broad to be precise and prescriptive. I found it convenient taking the escalator to the top floor to view the art, and then taking the stairs down; thus, getting a chance to peer at the archives along the way. The cylindrical glass elevator at the back of the lobby was framed in an almost Baroque vertical fold and thus paved the way for a clear view of some mirrored installation. Indeed, my walk throughout the museum proved that the Broad has the boldest design ideas that challenge the construction process; to the extent that they appear entirely intact and appealing.
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LACMA Visit
My visit to the Los Angeles County Museum of Art, LACMA was fascinating. The LACMA museum is designed and constructed in a similar style with the Lincoln Center and the Los Angeles Music Center. It is made up of three buildings which include the Big Center, the Ahmanson Building, and the Lytton Gallery. The Ahmanson building was the largest of the three, and it housed permanent collections. I found the pedestrian bridge, made of plywood, to be increasingly convenient. Indeed, the museum was built to give refuge from the city. The interior design of the museum was designed to house a variety of artworks, and the dazzling nature of each wall was a reflection of the artwork beside it. The museum is increasingly spacious, and it managed to accommodate a lot of people and artworks at large.
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Thinking Architecture
In this collection of essays, Peter Zumthor thinks about architecture both as learning and teaching it from different perspectives of looking at things, finding the core of beauty, translation of passion into things and the body of architecture. He presents his observations and experiences in architecture in a profound way by talking about the presence of materials, using light and visual aesthetics to enhance the architectural experience of a space. This collection of essays and lectures from Peter Zumthor provides an insight into his design approach and creating spatial impressions that trigger human emotion. He discusses his different projects and makes little observations which provide deep insight on his architectural philosophy. For instance, he speaks about removing oneself from the mundane to truly become aware using the tools of observation and connecting with places on a personal level. Peter Zumthor also compares the conceptual and final form of his projects contrasting the hardness of the material with smooth strokes of pencil as if by enveloping itself in material the building becomes a completely new character that generates a unique atmosphere. The author exhibits passion with the practice of architecture and creation of buildings that over time become essential part of the form and history of their respective sites. Lastly, all the essays in this book tend to communicate a sense of romance, nostalgia, connection and deep emotion in the step-by-step practice of architecture and landscape which resonates with all of us in an intimate way
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(Response #4)
In this article the author, Perry Kulper evaluates the need for architects to continually evolve and grow with changing architecture landscape. The author demands architects to broaden their horizon by developing a new framework of design which involves multiple visualization techniques, different design methods and expansion in limits of what is possible in architecture. Accordingly, the author discusses architectural drawings as the visualization aids which can transform conceptualization and modelling in architecture. Perry Kulper suggests that drawings are the language of representation in architecture and so much can be intellectualized, over simplified, reduced and eliminated through them. He goes on to analyze the artistic production and realignment of drawing techniques of Marcel Duchamp and Roland Barthes. The subtle difference between the language of architecture and the language of representation are identified as means to explore design possibilities for architects. The different types of drawings from the basic thematic drawings to the final geometric drawings and model visualization all enable the architect to translate an idea from language of representation to language of architecture. Perry Kulper expertly delineates the drawing techniques and design methods based on the particular project requirements. Accordingly, the design methods vary from automatic to syntactical approaches and concepts of gesture translation, parametric modelling and surrealism are variedly applied. In my personal opinion, the author examines the broad spectrum of architectural drawings as artistic production in order to liberate architects from contemporary ways of producing work.
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Heterotopias (Response #3)
Edward Soja examines the unpublished notes of Michael Foucault on “Heterotopias” as to what it meant and to explain the context of human geographies with “other spaces” that are hidden in apparent sight. He then applies this concept to the Citadel in Los Angeles when observing it spread in an exhibition held by the UCLA to commemorate bicentennial of the French Revolution. The author uses writings of Michael Foucault and Jean Baudrillard to make his study of postmodern geography of LA region. Foucault defines Heterotopias as real existing spaces that are inherent in social life, it is a level field where utopia and reality merge, interact and superimpose each other. Soja analyzes this new discipline of heterotopology and its fundamental principles. The author discusses intricate delicacies and subtle allusions to heterotopology throughout the paper taking references from Michael Foucault’s notes wherever suitable. The paradox of the location and symbolism of Citadel Los Angeles is sufficiently evaluated. Edward Soja posits that although the Citadel is located in the heart of a decentralized urban space with its dissociated neighborhoods but its centrality continues to exist partly in history and rest due to the adherence of building structure. The author continues to study this element of centrality in the Citadel and identifies the heterotopologies found in this space. For instance, Frank Gehry’s cultural crown i.e. Walt Disney Hall is mentioned as well as it correlation with the surrounding buildings of Bunker Hall and Music Hall. The heterotopologies of palimpsest and panopticon represented in the exhibition of Citadel are also adequately studied with historical background. Thus, Edward Soja uses interesting inferences of heterotopologies and hidden spaces to analyze the post-modern geographies of LA as observed through the Citadel exhibition.
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Animate Form (Response #2)
This paper is about animation and its place in architecture, it provides an exhaustive study on implications of animation for the structure of architecture a discipline which is usually perceived on static medium. In my opinion, the author presents animation in architecture as a new dimension for its advancement. Throughout the history and evolution of architecture it has been perceived as embodiment of timelessness with formal purity and autonomy in proposed designs. The concept of animation challenges this base of permanence and diverts the focal to an active form rather than an inert one. The author maintains a convincing argument in this paper and questions the notions of design in architecture. For instance, he states why architectural space is conceived in a neutral vacuum instead of associating it with force and virtual motion. The domain of animate design is discussed in detail with emphasis on the concept of virtuality and what it truly means in terms of architectural design. The cubist movements and futuristic approaches were adopted by architects in twentieth century which were applied to capture motion in architectural forms. Thus, these ideologies revolved around capturing a specific motion and superimposing it in space as per certain rules. Moreover, the author reinforces his argument by contrasting the dynamic modelling of architecture using force and motion vectors with the conventional notions of formal stasis in architecture. The author presents another interesting and insightful observation about gravity in architecture. He states, that architects by default consider that gravity only allows a building to stand vertically so they do not experiment with other options which are also possible to implement as they hold stand against gravity. To sum up, the author introduces a new element of animation to architectural design, explains its vitality for advancement in architecture but also recognizes its limitations due to mathematics and complexities of geometries in an effective way.
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Views Of LA (Response #1)
Banham, the author of the article presents his view on diversity of the urban façade in Los Angeles which is wrongfully considered as disastrous and unworthy of discussion not only by the tourists but also by inhabitants of the city. There is great depth in the observation made by Benham that people and other authors tend to miss out the human element which is vital to comprehend the sprawling urban life in Los Angeles with its coastal, hilly and plain ecologies. The evolution of Los Angeles into its current state represents the rich culture and history of the region with its vast railroad networks and country houses. In my opinion, the author makes an adept analysis of the situation of Los Angeles and the never ending criticism it receives because of its apparent chaos and urban mismanagement. He posits that while the city has its failings nevertheless it continues to symbolize a great dream of urban homestead which is far removed from the squalors of cities undergoing urbanization but closer to countryside farmhouses. In order to grasp this dream albeit allegorically one must consider its architecture and urban space in the context of human element. From an architectural perspective, the author rightfully points out that Los Angeles is filled with marvels ranging from Lovell Houses, Dodge House, and Disneyland to Eames Building, Schindler Market and Hollywood. The argument made by Benham is substantial, one cannot consider all these top class architectural feats as a result of accident or poor planning as suggested by Los Angeles locals. All of this was possible because the ecology of this city is conducive to architectural design and planning.
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Infrastructural and Cartographic Urbanism Week 10
The images shown in the file are collections and show how changes in politics, and economy influence infrastructure changes. Architects and designers are engaging in other issues beyond designs in buildings like culture, religion, politics, and social factors, using traditional collections and museums for labs to have more creative responses to problems in their field.          The file involves land images, public space with settlements, and technical infrastructures. However, both of the represented elements are at different times, showing both change and shift.  We can see the land occupied by Jewish and Palestine in 1947 with Palestine holding the most significant area. In 1947 after partition, the same space is occupied by Israel and Palestine in nearly equal scale, with no Jewish. Between the year 1947 and 1967 Israel expand more into the land of Palestine with more than half occupation. The current land is now occupied by Israel nearly all of it, with Israel people mixing in the areas of Palestine, but Palestine isn’t in Israel land. In 22nd July 2014, after forced displacement, the inhabitants in square kilometer are 11,450.  The No-Go-Zone has expanded from 400 meters to 3000 meters and is very close to the old city. The chain of islands of Palestine is well seen with their population; an example is Rafat and Ramalla with a population of 2,100 and 70,000 respectively. The differences displayed are as a result of the political issues like partitioning of domains. There is the image of the US aircraft carrier by the name USS Lexington. The image is a 1990’s version of advertisement to raise funds for the rebuilding of one B-24 bomber with reasons of the exhibition, but not the original 1940’s image. The flour of the factory shows early modernism’s ideal space, with the Museum being postmodernism space. The shifts in infrastructures shown are resultants of economy, social, and political changes, but not purely Architects.        Many factors like politics, social life, culture, and the economy affect the changes in infrastructures.  Infrastructure is an element which results from design, and it’s usually used as a tool for comparison. Infrastructure Urbanism involves both the knowledge of landscape urbanism and architectural urbanism. Architecture and planning of the urban areas rely on each other. Both public and architectural spaces are agreed upon components in the urban realm. However, public space is defined by principals of the landscape, and it’s a spatial concept.
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