Create Yourself

A SCULPTURE

2007-05-31T03:27:00.000-04:00

MY FRIEND MIKE FISCHER (Mike is a year 2 master of architecture student @ UMD) AND I SPENT A FEW DAYS AFTER THE END OF THE SEMESTER WORKING ON A SMALL SCULPTURE PROJECT WHICH WAS MORE OF A PROCESS PROJECT FOR US RATHER THAN A FINAL ONE. THE CONCEPT WAS TO CREATE CURVATURE USING A MODULAR SYSTEM. WE USED 1"X3"x24" BLOCKS OF WOOD AND PLACED THEM ON TOP OF ONE ANOTHER AT DIFFERENT ANGLES AND IN A WAY, DESIGNED ON THE SPOT.

KIDS AT THE ARCHIECTURE SCHOOL

2007-05-30T15:30:00.001-04:00

KIDS LEARN ABOUT ARCHITECTURE THROUGH FUN LITTLE PROJECTS LIKE BUILDING WITH VOLUMES, DRAWING BUILDINGS, LASER-CUTTING THEIR NAMES AND DIFFERENT SHAPES THAT THEY DESIGNED, AS WELL AS BUILDING WITH CARDBOARD BOXES.

UNIVERSITY OF MARYLAND GRADUATION

2007-05-30T15:21:00.000-04:00

ARE WE DONE!?

UNIVERSITY OF MARYLAND MEMORIES

2007-05-30T14:54:00.000-04:00

THE UNDERGRADUATE YEARS HAVE BEEN FULL OF SWEET AND SWEET-BITTER MEMORIES OF WORKING HARD AT THE STUDIO & HAVING NO SOCIAL LIFE. IT IS BEAUTIFUL HOW ALL THE BITTERNESS IS REMEMBERED AS SWEET.. NOW THAT IT IS OVER. WHAT WE HAVE GOTTEN OUT OF THESE YEARS ARE EVERLASTING FRIENDSHIPS, A DEEP KNOWLEDGE OF ARCHITECTURE AND ITS APPLICATION IN LIFE, AND AN EDUCATIONAL BACKGROUBD THAT IS WORTH A LOT MORE THAN THE MONEY WE PAID THE SCHOOL.

REVIEWS

2007-05-14T00:33:00.000-04:00

This was our last "mini" project for studio. Unforgettable years...

MY CORNER

ME
CYNTHIOO

ARTORITO

MY CHRIS

CHATT

HINHIN

JOHAYNA

JENNIFER

Animation of Movement + light

2007-02-27T17:08:00.000-05:00

Here is an animation concentrating on light and the non-linear curves of the model. What is being posted is work process + analysis.

Light Play 2
Uploaded by mkafshar

Motion and Form

2007-02-13T21:40:00.000-05:00

BODY MOTION IS CONVERTED TO A DIGITAL MODEL RELATING BOTH TIME AND MOTION TO ONE ANOTHER...AND TO ARCHITECTURE? ...to be continued

STUDIO III POSTMORTEM

2006-12-21T01:43:00.000-05:00

Swetha and her dope

Artur scratching his face! really!

Cynthia being Cynthia

Artur being Cynthia

Having coffee "for pleasure"!

1-ready 2-not ready 3-not suppose to be in the pic

PLACING SPACE & more...

2006-11-16T17:36:00.000-05:00

Here is where you can go to find out more about the creative design/research course I took this past summer. It was basically a course on the effects of movements on space and vice versa and also the concepts of balance, shape, circulation and etc...

NAME OF THE COURSE : PLACING SPACE
http://claricesmithcenter.umd.edu/2007/c/engage/immerse_yourself

I know I have a rather slow blog...and unfortunately it will always remain this way.

SHEIKH LUTFALLAH MOSQUE

2006-10-20T02:02:00.000-04:00

SO FAR I HAVE TALKED ABOUT THE CHAHAR BAGH (FOUR GARDEN) AVENUE, WHICH IS AN AVNUE THAT LEADS TO THE GRAND MASION SITE OF THE GREAT KING ABBAS OF THE SAFAVID DYNASTY IN ISFAHAN, IRAN --- I HAVE TALKED ABOUT THE ALI QAPU PALACE, WITHIN THE BORDERS OF THE SAME SITE---ABOUT THE MOSQUE OF THE KING, WHICH AGAIN STANDS BY THE ROYAL MANSION---AND...LAST AND DEF. NOT LEAST, THE GRAND NAQSH-I-JAHAN SQUARE, WHICH IS SURROUNDED BY TWO GATES ( ONE LEADING TO THE KING'S MASION SITE AND ONE TO THE CITY BAZAARS) AND TWO MOSQUES: 1. THE KING'S MOSQUE & 2. SHEIKH LUTFALLAH MOSQUE.

THE SHEIKH LUTFALLAH MOSQUE STANTS OPPOSITE TO THE ALI GAPU GATEWAY (THE ONE THAT LEADS TO KING ABBAS' PALACE GROUNDS)...AND SURPRISINGLY IT WAS THE FIRST MONUMENT BUILT AT THE NAQSH-I-JAHAN SQUARE! IT WAS IN FACT BUILT AT-THE-SAME-TIME! IT WAS A FEW YEARS LATER THAT CONSTRUCTION OF THE OTHER MOSQUE (KING'S MOSQUE, MORE GRAND IN SCALE) WAS STARTED. ITS CONSTRUCTION WAS COMPLETED IN 1618.

SO WHO WAS SHEIKH LUTFALLAH? HE WAS ACTUALLY THE KING'S FATHER-IN-LAW!THERE IS WHOLE STORY BEHIND HOW HE GOT TO BEING THE PRAYER LEADER FOR SHAH ABBAS' MOSQUE...BUT SHAH ABBAS GREATLY RESPECTED HIM AND SO DECIDED TO NAME THIS MOSQUE AFTER HIS NAME....AFTER HE HAD ALREADY DIED.

AS FOR THE BUILDING...UNLIKE OTHER MOSQUESM IT HAS NO MINARETS, NO OPEN COURTYARD, AND NO WELL SHOULD I SAY THE FAMOUS "4 IWANS". IT FOLLOWS THE SAME CONCEPT AS THE SHAH(KING) MOSQUE, IN THE WAY THAT ITS GATEWAY IS PERPENDICULAR TO THE SQUARE AND THE MOSQUE ITSELF IS AT A 45 DEGREE ANGLE TO THE SQUARE, SO IT WOULD FACE MECCA.

THE ENTRY GATEWAY IS A RECESSED HALF-MOON (JUST LIKE THE GATEWAY TO THE BAZAAR AND THE KING'S MOSQUE). IT IS ACTUALLY ABOUT 6 METERS WIDE AND 5 DEEP AND BEAUTIFULLY CONNECTS TO THE PORTICOS OF THE BAZAAR THAT SURROUNDS THE SQUARE.

UPON YOUR ENTRANCE TO THE MOSUE YOU WOULD HAVE TO GO THROUGH A COVERED PASSAGEWAY LEADING TO THE CENTRAL COURTYARD THAT IS ROOFED BY A LARGE DOME. INSIDE YOU FIND BASINS OF WATER HERE AND THERE AND A PORTABLE PULPIT SITTING BENEATH THE LARGE DOME. THE DIAMETER OF THE DOME IS ABOUT 12 METERS AND IT IS LAID ON WALLS THAT ARE AOUT 1.5 METERS! THICK!!ONE OF ITS MOST UNIQUE CHARACTERISTICS IS THAT IT HAS A PEACOCK AT THE CENTER OF THE DOME.

THE FAMOUS RPYAL CALLIGRAPHER : ALIREZA ABBASI HAS CARVED THE PRINCIPAL INSCRIPTION ON THE ENTRY GATEWAY....INSCRIPTIONS IN ARABIC MENTIONING THE FACT THAT KING ABBAS HAD FUNDED FOR THE MOSQUE. ACCORDING TO HIS INSCRIPTIONS THE BUILDING IS DESCRIBED AS " THE ASUPICIOUS MOSQUE OF THE GREAT SULTAN".

TRUE LOVE

2006-10-06T00:51:00.000-04:00

(Architecture School Lounge)

"THE RICHEST LOVE IS THAT WHICH SUBMITS TO THE ARBITRATION OF TIME"

Lawrence Durrell

SENSE AND SPACE

2006-09-16T01:58:00.000-04:00

MAIN FUNCION OF ARCHITECTURE = PROVIDING FOR SHELTER

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IMAGE BELLOW: FROM BLUE SET BY BLUE-VELVET @ FLICKR

CENTER vs. CORNER

EXPOSURE vs. CONCEALMENT

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CONTRACTION vs. EXPANSION

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AND SPACE

THE MOSQUE OF THE KING IN ISFAHAN

2006-08-23T01:29:00.000-04:00

Masjid-i-Shah (Mosque-of-King) - A.K.A IMAM MOSQUE- is located at the southern end of the Maidan-i-Naqsh-i-Jahan (Square-of-illustration-of-world). An outline, on the topic of the Square of Illustration of the World has already been posted, for those who are interested to know more. Like the many other major buildings and bridges that exist in the city of Isfahan (in Iran) this large mosque was built during the reign of the famous Shah Abbas (King Abbas), who is known to be the most productive of all Safavid kings (the Safavid Dynasty ruled Persia from 1501 to 1736, Isfahan was their capital state). So as probably mentioned throughout earlier postings, this square became the city center once Shah Abbas ordered for the construction of Ali Qapu Palace, the Mosque of the King, another Mosque called Sheikh-Lutfallah, and a gate Qaisariya which lead to the major city bazaars. The Mosque of the King was built around the same time as the square pretty much, yet the closest date I could find for its initial stages was May 1611.

It was completed two years after Shah Abbas died, so the poor soul never got to see his favored mosque. I read in one book that Shah Abbas ordered his men to compensate the owners of the land on which the mosque sits on today. He believed that due to the holy purpose of the land’s use none of it should be taken by force…and so yeah he paid a large sum to the owners, one owner being a widowed woman who owned most of the land and grew melons (I guess she got the water through a canal from the river nearby, somehow?). Anyhow, the mosque was built by the imperial architect. One was Badi Alzaman who was responsible for the initial stages of the design and construction; the other was Ali Beg who was the chief of the imperial household architect, he planned the entry gateway, and really…oversaw the completion of the entire thing.

Hmmm…lets see…there is so much to say about only this one mosque but I’m going to focus on the historical aspects…and only the ones that I remember from my readings, ‘cause chances are…those are the things that you will find more interesting as well. So, as you can see by looking at the plan of this mosque, it is built at an angle relative to the Square. Okay, two things about this angle, one: it is 45 degrees, and two: this was done in order for it to be directing towards Mecca (remember, Muslims face the house of God in Mecca when they pray). It was, and still is I believed, tradition for mosques to be built this way. The architect however hid the anomaly of the mosques direction by having a vertical gateway to the square. The same thing was done for the other mosque (Sheikh Lutfallah Mosque), on the other side of the North/South rectangular square.

The rest are more of the details in an outline format. If you find anything that you don't know about, don't be afraid to google it, or just ask if you can't understand what I'm saying! oh and those who know more about the details that aren't mentioned in books please do share them with me.

A. Ornamentation
calligraphy on interior and exterior
used abstract designs and bright colors
vast display of floral wealth, emphasizing Persian poetic passion for flowers
plaques attached to both walls of forecourt
contained praises in Arabic of God and Prophets
inscriptions containing mosque’s endowment deed
inside vestibule, large marble basin on pedestal filled with fresh water

interior tile work
employed haft rangi (seven color) style of tile mosaic
in haft rangi method - colors put on tiles all at once then fired
cheaper and quicker
allowed for wider range of colors
also used in other areas at Naqsh-i-Jahan
principle colors : blue, yellow, turquoise, pink, aborigine, and green
colors soft in tone
had powdery texture

Alireza Abbasi
famous calligrapher
worked also on calligraphies in Sheikh Lutfallah Mosque
carved principal inscriptions on entry gateway
inscriptions in Arabic
declaring that Shah Abbas had funded for mosque

B. Entrance

entry gateway
finished in 1616 earlier than mosque
great half-circle of marble covered with tiles
in middle – small pool
chain across opening kept out horses and other animals

portal
25 m high arch
delicate tile work
dramatic impact on square
tiles glitter with light reflection
arch framed by triple cable ornament
turquoise in color
rising form large marble vases
semi-dome filled with clustering stalactites
on both sides of entrance two great tiled panels like carpets

C. Madrasas
Madrasas were institutions for higher religious learning
contained two madrasas:
eastern corner madrasa – rooms for students contained inscriptions celebrated historian
western corner madrasa –contained sundial made by well-known mullah
underground chamber for holding classed during winter

D. Minarets
Minarets are slender towers built at side of mosque from which call to prayer given for Muslims
four total rose from mosque floor
two flanking entry gateway
dominate facade
two inside
35 m in height
enriched with white inscriptions
wooden cabinets prevented view from Imperial Harem

E. Court
half-right turn from gateway into court
aligns building towards Mecca
follows typical Persian pattern of four-iwan mosque
four sides walled with two-storied arcades
arcades broken by towering portals
largest portal leads to sanctuary
over sanctuary huge turquoise dome
dome rose so high that could be seen from very far by travelers
Christians not allowed to enter

F. Sanctuary
double-layered dome
has good acoustics
ceiling dominated by dramatic medallion
on each side of sanctuary, oratories with medallions in domical vaults
beyond oratories, two courts
more intimate in character
each with pool
against left pillar of portico, elevated pulpit held preacher in bad weather
second pulpit in open air used in good weather
central niche, large marble tablet, indicted direction of Mecca
above niche gold-encrusted cupboard of aloe wood
held Quran copied by Prophet Reza
bloodstained robe of Prophet Hussein
marks final perfection of dome-on-square plan
single-shelled dome 13 m in diameter
excessive thrust taken by massive walls (1.6 m thick)

THE ALI QAPU PALACE IN ISFAHAN

2006-08-10T18:13:00.000-04:00

A. Origin and background
small palace left from Timurid Dynasty
originally designed as vast portal
Ali Qapu, Turkish for “High Gate” name given by Safavids
acted as entrance to Safavid palace grounds
built by decree of Shah Abbas the Great, in early 17th century
intended to symbolize strength and authority of Safavid monarchs
all who favored royal favor kissed gate
considered bast (asylum) for criminals and fugitives
followed dominant Safavid palace design
had iwan and talar
often used for garden pavilions

B. Interior
major colors : red, white, blue, and gold

walls painted with landscapes and hunting scenes
-by Reza Abbassi, court painter of Shah Abbas I
-floral, animal, bird motifs
-Safavid cornices and floral tiles above portal
-figure paintings mildly erotic
-men and women in lascivious postures
-standing with flagons of wine and cups in hand
-lying asleep in drunken stupor

Chancellery on first floor

Talar: veranda or pavilion facing Naqsh-i-Jahan Square
-slender wooden columns
-russet-colored roof
-rectangular jasper-bordered pool
-water raised using hydraulic machines worked by oxen
-precipitous winding staircases lead to music room

Music room, located on sixth floor
-popularly called “music room” or “music hall”
-held royal reception and banquets
-largest room located on sixth floor
-many stucco decorations in banquet hall
-pierced in motif of various vessels and cups
-niches served as acoustics as well as decoration
-pen porches with niches and fire places surrounded music room

C. Construction Stages
founded in several stages
from single gate, entrance to government building
period of development lasted approximately seventy years
follows golden proportion

first stage
initial building acting as entrance to complex
cubical in shape
two stories
dimensions measuring 20 x 19 m and 13 m high

second stage
laid foundation of upper hall
built on entrance vestibule
height kept same, two stories added

third stage
foundation of fifth story
called “music hall”
used central room for sky lighting
emphasized vertical extension

fourth stage
foundation of eastern talar advancing toward square
supported by tower shaped building
entrance vestibule extended along main gate
passage to market provided

fifth stage
foundation of wooden ceiling of talar
supported by 18 wooden columns
contemporaneous with erection of ceiling
additional stairway of southern flank added
called “Kingly Stairway”

sixth stage
water tower built in northern flank for provision of water for copper pool of talar
plaster decorations in reception story and music hall added

D. Function
talar: distinguishing architectural feature of mid-seventeenth-century Safavid palaces
provided prominent site for official ceremonies on larger scale
made private use of intimate rooms and governmental offices on ground floor possible
more formalized place where court’s grandiose riches and importance could be viewed by citizens

Sources: "Isfahan Pearl of Persia" Wilfird Blunt, "Half the World" by Stephan P.Blake

THE CHAHAR BAGH AVENUE IN ISFAHAN

2006-08-10T17:11:00.000-04:00

Chahar Bagh* Avenue:
Champs Elysees of Isfahan
designed by Abbas I to be “the grand approach” to his new capital
name means ‘four gardens’
derived from four vineyards which originally occupied site
naturally imagined that it would lead to Maidan* in fact came to end at point west of palace to pavilion erected for royalseraglio
beautiful promenade

lead to two major gardens of Hazarjarib and Julfa
canal flowed down center of avenue
dropping in little cascades from terrace to terrace
pouring into rectangular or hexagonal pools filled with cut rose-heads
on either side of canal, row of chinars, promenade, shrubs and flowers, and row of chinars
Shah* Abbas would allow no tree planted wihtout his presence

under every tree planted one gold and one silver coin of his reign
beside Chahar Bagh, open archways led to other gardens and vineyards
coffee houses and tea houses surrounded Chahar Bagh, giving it life

1. Chahar Bagh: Four Garden

2. Shah: King

3. Maidan: piazza, square

Sources: "Sense of Unity" by Nader Ardalan, "Half the World" by Stephan P.Blake

NAQSH-i-JAHAN SQUARE in ISFAHAN

2006-07-28T14:11:00.000-04:00

Although I lived in Isfahan (Esfahan,Iran) for a period of my life, I don't remember much about its architecture since it was a very long time ago. Naqsh-i-Jahan Square is the ancient center of the city, and the palaces, mansions, gardens, streets, and bazaars that surrounded it each have a tale of their own. A few months a go I was introduced the architecture of Naqsh-i-Jahan through translating an article about it for a friend. I have now decided to start this learning process of mine on Persian architecture with Naqsh-i-Jahan…and see how far it will take me. I am counting the days until I can experience them...for the first time.

situated in center of Isfahan
one of largest city squares in world
became significant as Shah Abbas I, relocated Safavid capital from Qazvin to Isfahan
important historical site and one of UNESCO’s World Heritage Sites
surrounded by important historical buildings from Safavid era
Other Names:
Maindan-i-Naqhsh-i-Jahan (Square of the Illustration of the World)
Maidan-i-Imam (Square of Imam)
Maidan-i-Shah ( Square of the King)

A. Spatial Organization

Center:
402 m long by 146 m wide
several major and small gates open onto Maidan
brick canal, 2 m wide, ran around Maindan
6 m wide grassy space between canal and perimeter
trees surrounded grassy area, with branches shading shops
8 m pole marked center of maindan
two marble columns (1.5 m tall, at both ends), marked termini of race course

shops
two hundred identical ring of shops surround Maidan
each two-stories (5m tall)
lower story consisted of shops
upper story consisted of rooms facing inside and outside of Maidan
with small balconies and brick railings
held businesses of wholesale merchants, skilled artisans, and artists
southeast corner of piazza: shops of rope makers, caravanserai, shops of silk-winders, blacksmiths, otton-beaters, and makers of wooden cradles
northwest corner of piazza: shops vending lace, gold and silver buttons, vegetables, sweets, medicine, clothes, cooked food, books, iron & brass utensils, water pipes
near Qaisariya Gateway : coffee shops, tea shops, wine bars
western wall of piazza (fronting Ali Qapu) : shops for merchants selling shoes, European glass bubles, Russian leather, medicine
eastern wall of piazza (near Ali Qapu): Ulama with desks wrote petition letters for illiterate, coffee houses, shops for goldsmiths, Armenian jewelers, stone-cutters, iron mongers, hardware merchants

Sheikh Lotfallah Mosque
built in 1615
marks eastern part of Naqsh-i-Jahan Square

Masjid-i- Shah
built in 1611
marks south side of Naqsh-i-Jahan Square

Ali Qapu Palace
built in 1597
pavilion that denotes entrance to square
marks west side of Naqsh-i-Jahan, taking up its entire western side

Qaisariya Gateway
marks north side of square
opened onto Imperial (Qaisariya) Bazar on other side
name given by Abbas I
made on model of gate of Cesar

B. Function of Square during Safavids

mornings
no permanent structure in center of Maidan
at each end of Maidan : pair of marble polo goalposts
lower-gallery coffee houses full with coffee-drinkers tobacco-smokers early mornings
mullas directed by Abbas I present at coffee-houses for lectures on history, poetry, law

daytime
most of open space given to booth of petty hucksters, grouped according to trade
booths often left at square overnight
ruthless police prevented theft
space near Ali Qapu always clear to preserve access to palace
story tellers, jugglers, mountebanks, acrobats present among buyers sellers
on occasion, booths cleared in order to use space for polo or other form of pageantry
--->origins of polo lost in antiquity
--->extremely popular in Persia
--->even played at night, using balls of slow-burning wood
when Shah not playing, he watched from balcony of Ali Qapu
‘house on wheels’ drawn by oxen quickly carried Shah
cross country races held at Square
shatirs or runners trained from early age to cover very long distances
--->had to walk backward and forward at square
--->went naked except for pair of drawers
animals brought onto square to fight
--->lions, bears, cocks, bulls, rams, zebras fetched from different regions
--->kept in small zoo at Palace grounds

nighttime
vaulted room, hung with lamps and candles
had “a curious splendor”
at times shah and his companions came for entertainment
dancing girls, painted catamites, wine, other reprehensible pleasures present
respectable places also available
tea houses – had tea, conversed, played chess
reputable restaurants

winter
often under water and mud
anyone of any importance always on horseback

summer
water thrown at ground to keep dust down
water carriers carried iced-water in goat skins for thirsty at no charge
various types of music played by local bands throughout square

SOURCES: "Half the World" by Stephen P. Blake ; "Palaces and Gardens of Persia" by Yves Porter & Arthur Theven

CRISTOBAL VILA

2006-07-20T00:31:00.000-04:00

ISFAHAN

"AN ANIMATED FILM INSPIRED BY PERSIAN ARCHITECTURE"

CHECK

OUT

ARCHICAD 10

2006-07-17T20:24:00.000-04:00

FREE DOWNLOAD FOR A YEAR - STUDENT VERSION

http://www.graphisoft.com/community/education/downloads/

"The Archicad student version is a fully-functional copy of the commercial version, with the only exception that it prints a watermark-style logo onto all Archicad project files created or opened with the Archicad student version.

To download the Archicad 10 student version, the only thing you need to do is to register to receive a personalized serial number! "

THE WILLIAM PACA HOUSE + GARDEN

2006-07-09T02:44:00.000-04:00

LOCATION : Annapolis, Maryland

BUILT BY:
William Paca with the assistance of master builders! Who was: a signer of the Declaration of Independence during the colonial times (18th century). He was also Maryland’s governor for 3 (1 year long) terms. In 1789 George Washington appointed him a federal district court judge. He was a Lawyer before that, and got rich[er] through his wife.

FACTS ABOUT THE HOUSE:So after dear Paca got married he decided to build a new home for himself and his “most agreeable” wife to live in. The house was constructed in five parts: a central block, one-story hyphens or passages (x2), and two-story wings (x2). This type of building was quite common during the colonial times, and really evokes the 18th century English country villas, more found on the plantations than the urban areas. The exterior of the house is quite symmetrical and has balance, which are both two main characteristics of Gerogian design, but Paca’s house is a lot less ornate both on the ext & int.
Later when Paca’s wife and children died (he was left with only one son), he sold the house and after several different ownerships, the historic Annapolis foundation purchased it and they turned it into a historic landmark. I forgot to mention that the house was turned into a hotel, and the garden, built over. So an entire process of restoration + excavation had to take place in order to get it to where it is now.

THE GARDEN:
It is quite…what is the right word…colonial! Uses simple geometric shapes, such as rectangles + circles = demonstration of human control over nature. It is sloped up as the house is approached from the little summer house in the very back of the garden. Steps take you down to the summer house and there are parterres on axis with one another (I will scan the plans and post them…later). The summer house serves as a focal point in the garden and is right on axis with the pathway that leads straight to the house. There is a Chinese style bridge in front of the summer house and over the little garden pond which simply adds to the elegance of the garden.

MEMORIES OF ITALY II

2006-07-02T01:49:00.000-04:00

MEMORIES OF ITALY I

2006-07-02T00:53:00.000-04:00

DAY 11 - 15

2006-06-22T13:44:00.000-04:00

I. M. Pei AND HIS EAST BUILDING OF THE NATIONAL GALLERY OF ART

2006-06-20T00:07:00.000-04:00

I’ve been told that my writings confuse people. I think it’s because people either don’t know enough to understand what I’m saying OR they don’t spend enough time trying to understand the point I’m trying to make. I am not saying that my writing is perfect, I am sure it isn’t, but it is written in the way that I think. I describe things with the best words I can thing of, but it seems like I’m the only one enjoying using those words. I guess Anyways…I’ll try to write in a way that is less boring to those who don’t have time to spend time on comprehension. And so here we go you difficult, demanding, busy skimmers. *.^

Size: 604,000 s.f

Height: 107 ft

Opening Date : June 1, 1978

Cost: 94.4 million

Location: look at the map.

HISTORY IN BRIEF:

The EAST BUILDING of the National Gallary of Art in Washington D.C is the part Designed by Pei. The WEST BUILDING, is a neoclassical structure, completed in 1941 and by the beloved architect John Russel Pope. (Curious about Pope too now? I know how it feels so here is a bit a bout Pope: Early 19th century architect, I believe he was American, his designs followed neoclassical + gothic revival styles, also the Beaux Art style…He actually attended Beaux Arts as well as some other school that is not important [schools don’t make people smarter than they are capable of being]. He was the guy who designed the Jefferson Memorial also!)

BACK TO THE PRECIOUS PEI, well not him specifically but his CREATION. See, now I’m thinking less and blabbing more, is that what you wanted?! Heh…So when Pope build the West Building, the congress set aside this trapezoidal piece of land ( East Building to be), for future use of the gallery since they knew that production of excellent art is simply unstoppable (why does art mean so much to us?). So the Mellon family funded the new building (The East Building), and in 1974 construction began to take place. The West building houses arts from 13th-19th century and the East Building houses modern + contemporary art.

ARCHITEKTUR IN BRIEF:

There were some challenges Pei had to face…

1) shape of the site which was an irregular trapezoid,2) it was also the last major undeveloped site at the mall, 3) it had to follow the National Capital Planning Commission’s set-back lines for the plot, as well as the building height, 4) AND the structure had to be appropriate to the setting, & also to maintain human scale for viewing of the arts.

What did Pei do? …He divided the site into two triangles: one large isosceles triangle (with its base facing the West Building, looks like and H in façade), and a right triangle, with one side of it facing the Mall. A third triangle is the glass roof which ties these two triangular shapes together. Now lets get to the interior.

Remember the large isosceles triangle I mentioned? On the inside it is open with skylights. There are three towers on each corner of the triangle connected by bridges. So when you enter the building you see bridges all over the place with glass railings, and light flowing everywhere. It is absolutely stunning simply sitting there and watching people circulate through the space…Both when looking up and when looking down. Anyhow, the other triangle (the right triangle), unlike the larger isosceles one with its dramatic open space, is subdivided into 8 levels and is a solid volume of its own, without much openness to it. This triangular solid volume houses a 6-story library, a center for “advanced studies in visual arts”, and offices for the staff. I’ve never actually gone in there, so have no more to say regarding it. It is noteworthy to mention that the two parts of the National Gallery of Art (the East + the West buildings) are connected through an underground link (see image).

Also on the outside, a nice beautiful plaza links the two buildings. Underneath the plaza there is a café + gift-shop, with tetrahedron skylights that stick out of the plaza (like the Louvre in Paris-- also designed by Pei), and bring light into the underground gathering point. The fountain too, pours down to give a refreshing feel to the underground space.

Day 10

2006-06-19T21:56:00.000-04:00

Day 9

2006-06-19T21:55:00.000-04:00

Day 8

2006-06-19T21:49:00.000-04:00

DAY 7

2006-06-16T00:33:00.000-04:00

MOVEMENT for SPACE -- analytic performance

Today was the day of performances. Movements emphasized exertion of energy by the space to the body & vice versa, the effect of the material the space is made up of, as well as the shapes that form the space. Each space was abstracted on the set and movements worked to bring in the fundamental nature as well as the sense of the original space into play.

One student’s project for example, seized to demonstrate a busy street located in the part of the town where the population was focused around a single ethnicity. By involving the audience in her performance, she demonstrated the sense of the space as well as the feeling which she had experienced while being there. People from the audience walked throughout the stage, at different speeds, some staring at her unconsciously and some concentrating on themselves; and she simply stood there. Looking down at her feet, at the corner of the stage, looking up every once in a while uncomfortably. What I found to be most powerful in her performance was how she brought life to the space. The walls were no longer still walls, the space was no longer just a space. It was as though the walls were moving too, directing how people should move and the space was the container, but a “living” container.

For my performance I highlighted the three main feelings I got from the space. Overpowered, thrilled, and lost. Three spaces were created on one set: the Hall of Witness, the Hall of Remembrance, and the exhibition space. It is interesting because I felt as though during the performance I got a better sense of the Museum space. Perhaps because my body was moving the way it desired within the space that I was purely imagining in my head.

CONTROVERSIAL SITE PLAN

2006-06-15T18:55:00.000-04:00

Work of a Graduate student -- The image on the left was the site plan for his final project. After completing the drawing at his desk and taking a look at his work from far, he realized that the plan did not look quite right! He was however able to scan and cut parts of the plan before presentation in order avoid any distractions during the review. Some say it looks like E.T…I have to agree. At least looking at it that way makes it easier to talk about.

DAY 6

2006-06-14T22:16:00.000-04:00

GENERATING MOVEMENT FOR SPACE

Having each visited a space, the class presented general information as well as images about the space. Having visited the Holocaust Museum over the weekend, I based my movements on certain characteristics of the building such as the compact space through which you enter, the grand & bright Hall of Witness (great space with skylights), the Hall of Remembrance (the memorial), and the baffling permanent exhibition spaces. I found the creation of the movement as well as the space to be very simple since the entire time I was at the museum the idea of circulation and desired movements in regards to the architecture of the building had not escaped my mind. A thinking method which I doubt will ever escape my mind when I visit spaces = exaggeration and abstraction of movement/Circulation through spaces...

As I had predicted, this class has helped me open a new window...a window that has a view of architecture from a completely different angle than the window I look through in studio. And it is def. something that helps during the design process...so do consider it, if you're in the field.

->For the rest of the day, students worked on their movements in order to prepare for next day’s performance.

THE UNITED STATES HOLOCAUST MEMORIAL MUSEUM

2006-06-12T22:51:00.000-04:00

The United States Holocaust Museum, located in Washington DC. (at the southwest corner of the National Mall, on 14th street), is truly a masterpiece in both architecture and art. It is a building which takes its visitors through a disturbing journey, and leaves them with a deeper understanding of an appalling part of the human history.

The mastermind architect behind the making of this museum is no one but James Ingo Freed, of Pei cobb Freed & Partners, who regrettably passed away this passed year. Freed who himself had been effected by the events of the Holocaust, based his design on engaging the visitors by creating an “architecture of sensibility,” where visitors would be engaged through a stir of emotions; sadness, horror, disturbance, and assurance. “It must take you in its grip,” Freed had said and it certainly does that, and much more.

Upon your entrance to the Museum you will first have to go through a large portal made of limestone in order to agree with the official stone type in Washington (on 14th street). The curved portico consists of square arches, and window grating, yet it is merely a “freestanding façade layer”. Although the portico appears to be covered, it is open to the sky. The motif of hiding the reality is repeated throughout this superb structure. Heh…imagine on rainy days for example, when people would walk through the portal expecting to be safe from the rain, yet finding out that the fake, open façade had simply deceived them. Or even during nice weather…the heavy limestone and the large columns certainly help in making the plot work!

The museum is five stories all together. The first level (ground level) consists of the great Hall of Witness. The lower level (underneath the ground level), consists of an auditorium, a children’s education center, and an exhibition gallery. From the hall of witness, a grand set of stairs take the visitors up to the second level where there is a memorial (Hall of Remembrance), a hall of learning, and space for permanent exhibitions. From there up to the fourth floor then is dedicated to permanent exhibitions and on the fifth floor a library which houses books and archived records relative to Holocaust. To simplify, the museum’s key spaces are: The Hall of Witness, The hexagonal Hall of Remembrance, exhibition spaces, and the Library.

If you ever visit the Holocaust Memorial Museum in D.C expect to get lost, because you will. “I’ve been working here for two months now and I still get lost!” said one of the museum guards to me during a short conversation we had in the elevator (OK, I confess, I started from the ground level and went all the way up then took a shortcut by taking the “EMPLOYEES ONLY” stairway and the elevator…with the help of the security guard…who had an FBI badge?! So maybe she wasn’t just a plain guard…and I don’t exactly know why she offered to do that for me...maybe because I was taking TOO many pictures of the building and nothing else…I did get a warning about that too though…but…anyways I’m used to it). So I was saying, there is a reason behind the incompetent, and bewildering architecture of the museum. Freed simply wanted the visitors to undergo the feeling of being lost, cheated, and confused without having any idea of what will come next. And he does that, he does that only through the architecture. He evokes your feelings through using, glass, steel, limestone, brick, and concrete. Walking through the museum, even without the exhibitions, is a distressing experience. The U.S Holocaust Mem. Museum is a work of architecture that works to the highest extent with its function. Its function and form have not followed one another; they have worked hand in hand, in order to generate a building that provides for both evenly.

I give up on talking about the building, there is so much I want to say, so many aspects and particulars that I admire about Freed’s design that a simple post in a blog would just not do. For those of you interested, here is the link: http://www.ushmm.org/ --[There’s also a nice little statement about the (no comment) Iranian President’s remarks on the Holocaust]

If you ever visit D.C. a trip to this Museum would not be regretted!

DAY 5

2006-06-11T21:36:00.000-04:00

MOVEMENT AND SPACE CONTINUED
Modular movements from the prior day were polished in order to enhance the collaboration with the space. Movements emphasized concepts such as: compression/tension, energy, direction, expansion, juxtaposition, literal perspective, and point of view. The spaces then worked either with the movements or against them. In both cases however, the arrangement of the panels and the form of the space had a DIRECT and STRONG effect on the concepts that the movements were trying establish.
During the performance of the movements, the audience was also involved. Using charcoal and newsprint, the rest of students in the class were to draw illustrative diagrams of the play between the forces of the movements and the spaces. A fascinating understanding that we came to during that exercise was the great amount of influence that “directional view” has on our realization of what exists in the space, how far the space extends, and what is intuitively expected of the space.
There’s more to say…unfortunately though, no images were captured and the explanation is so much based on the experience of being there and viewing things that I doubt even images could do much for getting the point across.

DAY 4

2006-06-09T18:36:00.000-04:00

MOVEMENT AND SPACE:

The focus was to create a space using the panels, for the modular movements created the prior day. The space was built in accordance with the movement, making the task a bit difficult for me, since I am used to doing the opposite. However the results were quite remarkable. Space was formed to set boundaries for the movements, and instead of space limiting the movement, movement limited the space. In terms of performances and stage setup the concept works quite nicely, yet in terms of architecture…Would it be the same? I believe it is definitely just as important.

[sorry, I need to spend more time on really describing what we do...just havent had much time]

DAY 3

2006-06-09T18:18:00.000-04:00

BLANCE AND MOVEMENT
Today more collages were presented which reflected on ideas such as balance, movement, weight, and tension. It is amazing how shapes can direct the movement of the eye, have a certain weight to them, and create points of tension. After the collage presentations we first learned how to awaken the upper portion of the body with the help of another then each created a movement module in groups of two which we were to create a space for, for the next day.

DAY 2

2006-06-09T18:08:00.000-04:00

BALANCE AND SPACE

This morning we were surprised with a new activity! One thing I love about this course is that activities are diverse, they seem to build up on one another, and they lead us to conclusions. We created collages that represented the idea of “balance” and “force” in a very dynamic manner. It is amazing how the idea of gravity is so set in our mind that a simple composition of black shapes on a white piece of paper can make us feel uneasy by opposing that concept! For the second part of the day we created a room using the panels, and each performed a movement within that space. We realized how movements can highlight characteristics of a space and how a space can limit us as to what movements we can make.

DAY 1 OF : Selected Topics in Architecture: Placing Space: Architecture, Action, Dimension

2006-06-09T18:02:00.000-04:00

First thing is First
---------------------------

Today was the first day of class. Although I had little sleep the night before and had spent the early morning hours on the plane, I did not have to struggle with keeping my eyes open throughout the day. What we are going to learn in this course is way more extensive and eclectic than I thought it would be! First of all, we gathered together at the faculty’s roof garden (which I had never noticed the exquisiteness of), and each gave a bit of background information about ourselves, to our fellow classmates; who range from undergrad dance majors to PhD students focusing on a wide range of interesting fields; and of course a few of us architecture majors. After a brief introduction and reviewing the syllabus we went down to the auditorium where each one of the three professors (Ronit Eisenbach, Bebe Miller, and Dana Reitz) demonstrated pieces of their previous works such as dance concerts, art installations, museum exhibits, as well as research on the movements of the body. After that we had a nice and relaxed lunch at my new favorite place at the Univ. of MD architecture building (the roof garden), and chitchatted for half an hour (only because it was the first day). We then went to the Great Space where long, vertical, and portable white drapes were hung from the ceiling and the floor underneath the drapes was covered with dance floor vinyl – all installed for the purpose of the course. There, Professor Reitz (an outstanding Dancer and Choreographer), talked about how one’s body and specially feet can be awaken through simple massages and so having awoken the body, how to become more conscious of the space we are at through a few exercises, such as walking in between the drapes, lying down on the ground, and standing relative to the surrounding objects. One realization that I came to during that exercise was that “life treats you the same way you treat it.” For one part of the exercise we were to lie down on the floor with closed eyes, and tighten all the muscles in our body. Then after a few minutes of staying in that position we were to loosen all the muscles, extend our hands, or in a way, “hug the floor.” I realized, that when all my muscles were tightened the ground exerted more pressure on my body, and when I relaxed the muscles the ground was my friend, I was leaning against it, and I felt it will all my being. It is the same in architecture in a way. You can create spaces that tighten the muscles, which make people feel uncomfortable, and count every seconds until they can get out of; and at the same time you can create spaces that make you feel relaxed, places where feelings come into play, or in other words places that are “more preferred.”Another exercise assigned by professor Eisenbach, aimed to bring about consciousness of simple objects. We were each given an approximately 8 foot long piece of wood and were simply told to “do whatever we want with it.” And so, like young children we decided to observe the object, balance it, walk on it, extend it, hang it, lean on it, and much more. Afterwards we had a discussion about the activity, and realized how much can be learned from little things simply by being conscious.

CREATOR OR CREATIVITY?

2006-06-06T00:31:00.000-04:00

True, architects make spaces for people, and people use them.
But really, how much of it depends on the architect, and how much of it on the creativity of those who live in it?

WHY?

2006-06-01T23:59:00.000-04:00

CAMPANILE OF THE CATHEDRAL OF SANTA MARIA DEL FIORE

2006-05-30T01:11:00.000-04:00

GIOTTO DI BONDONE WAS THE ARCHITECT BEHIND THE ORIGINAL DESIGN OF THE BEAUTIFUL BELL TOWER ADORNING THE DUOMO IN FLORENCE ITALY. THE TOWER WHICH WAS ADDED IN 1334 (A CENTURY BEFORE THE COMPLETION OF FIORE’S DOME), IS STILL REFERRED TO AS GIOTTO’S TOWER. ALTHOUGH BY THE TIME OF GIOTTO’S DEATH, ONLY THE FIRST TWO LEVELS OF IT WERE COMPLETED (IMAGE SHOWS THE ORIGINAL ELEVATION BY GIOTTO). THE NEXT ARCHITECT, WHO TOOK OVER THE JOB, HAD TO REDESIGN THE UPPER LEVELS OF THE TOWER DUE TO SOME STRUCTURAL ISSUES THAT EXISTED IN THE ORIGINAL SCHEME. CAMPANILE IS BANDED IN THE SAME TYPE AND COLOR OF MARBLES AS THE CATHEDRAL AND THE BABTISTERY OF ST. JOHN (RIGHT IN FRONT OF THE DUOMO AND THE CATHEDRAL--SEE PICTURES), AND IS ABOUT 20 FEET (6 METERS) SHORTER THAN THE DOME! THERE ARE 414 STEPS UP TO THE TOP OF THE TOWER, AND ALTHOUGH THE STAIRWAY IS EXTEREMELY NARROW AND CONTINUOUS AND EXHAUSTING, THE VIEW OF FIRENZE FROM UP TOP MAKES IT ALL WORTHWHILE!

[I 'LL WRITE ABOUT THE CATHEDRAL & THE BABTISTERY LATER]

WORTH BUYING

2006-05-29T03:09:00.000-04:00

THERE ARE SO MANY AMAZING BOOKS OUT THERE BUT NOT ALL OF THEM ARE WORTH BUYING. SPECIALLY IF YOU ARE IN THE FIELD OF ARCHITECTURE, THEN YOU PROBABLY KNOW WHAT I AM TALKING ABOUT. WHENEVER I GO TO THE BOOKSTORE I JUST WANT TO EMPTY ALL THE SHELVES THAT ARE RELATED TO ARCHITECTURE RIGHT INTO MY BASKET. BUT LETS FACE IT, YOU PROBABLY WON'T HAVE THE TIME TO READ MANY BOOKS WORD BY WORD (SPECIALLY WITH STUDIO). WELL I HAVE MADE A NEW RULE FOR MYSELF. I AM GOING TO INVEST ON ONE BOOK EVERY MONTH AND ONLY ON THOSE THAT ARE WORTH KEEPING. THERE ARE SO MANY BOOKS OUT THERE THAT YOU'D ONLY NEED FOR REFERENCE. ANYHOW, I'LL UPDATE YOU ON HOW THE PLAN IS GOING A FEW MONTHS FROM NOW. HERE ARE TWO BOOKS I'VE RECENTLY PURCHASED:

ISMS : UNDERSTANDING ARCHITECTURE BY JEREMY MELVIN -- GREAT BOOK TO SKIM THROUGH A FEW TIMES AND EVEN CARRY WITH YOU IF YOU HAVE A SHORT MEMORY LIKE ME.

SPACE : JAPANESE DESIGN SOLUTIONS FOR COMPACT LIVING BY MICHAEL FREEMAN -- I AM ACTUALLY IN THE MIDDLE OF READING THIS BOOK RIGHT NOW AND I THINK I WILL FINISH READING IT. YOU MIGHT THINK IT’S THE USUAL PICTURE-SKIMMING TYPE BOOK, YET I STRONGLY BELIEVE IT TO BE THE OPPOSITE.

The Brilliance of the Pantheon

2006-05-28T01:38:00.000-04:00

The Pantheon is one of the most important buildings in architectural history, and THE most important historic work of architecture in all Italy. It is a "significant" architectural piece consisting simply of a typical rotunda with sixteen Corinthian columns and a pediment on top. I said it was significant, yet everything about it seems to have been borrowed. It is the oculus, the great 27 feet wide eye that distinguishes it! The oculus, which is the only source of light into the temple (now a church), stands above the center of the circular interior (open to the outside; floor is concaved in center to drain rain water), representing the way to the heavens. The secret behind the dome’s sturdy structure is the type of concrete used, as well as the way it was applied. The Roman concrete, consisting of lightweight pumice, hydrate lime, and pozzolanic ash as well as large bits of rocks has helped the in keeping the roof restoration-free. Also it is worth mentioning that dear ancient & sharp Romans, applied the concrete bit by bit in order to allow for the water within the concrete to evaporate and kill potential air bubbles within it.
It is not only the oculus that distinguishes Pantheon, what you will find breathtaking upon your visit is the spectacular view of the pantheon from the piazza. Heh... and it is not just that which you will find to be breathtaking, it is also the vivacity and the whole liveliness of the entire area that surrounds the pantheon and the piazza that will make the heart of those who appreciate architecture pound spontaneously!

Real Virtual

2006-05-27T11:44:00.000-04:00

Thanks to photoshop, we can take amazing virtual tours of the interiors and exteriors of buildings we wouldn't be able to visit right away! Created by Columbia University's department of art history and archeology, the following website takes you to architecturally major buildings all around the world.

Enjoy.

http://www.mcah.columbia.edu/ha/index.html

Chronos Chromos Concrete

2006-05-27T00:45:00.000-04:00

Quite Awesome! A new system which allows for different patterns to be displayed on the concrete surface. Here is how it works: within the concrete there is thermochoromic ink, and beneath the concrete surface are these nickel chromium wires which heat up and when they do, the concrete area above the wires changes color and allows for the displays!

Memories with Scent

2006-05-26T01:06:00.000-04:00

Sometimes, never every time …certain scents bring back sweet memories of old times.
Like the smell of wet soil, on a hot summer evening
And the smell of wet forests…playing hide and seek..
Of my mother’s kitchen…only rarely, smells like that of my grandmother’s
Certain dusty boxes in basements…of him who is now gone.
Sometimes, the way wet towels smell…summer swims
Books, the pages of a new book…elementary school
The smell of spring, it smells the same everywhere...once a year…for a few seconds
Wet newspaper, airplanes, alcohol, snow, tobacco, wood, burnt wood, asphalt…
Rarely do these smells bring back memories, yet when they do,
Their effect is profound.
Deeper than contact, deeper than sight.
Thank god they happen only rarely.

MICHELANGELO

2006-05-24T12:25:00.000-04:00

WHERE IS HE?
HE IS WITHIN THE DOME OF SAINT PETER'S;
STANDING BY THE SCULPTURE OF DAVID;
INSPECTING FRESCOES OF THE SISTINE CHAPEL;
ADMIRING PALAZZO FARNESE FROM THE PIAZZA;

WALKING THE LINES OF CAMPIDALGO'S PAVINGS;

...WATCHING YOU AND I, STARE AT HIM IN ASTONISHMENT.

IS THERE AND END BEFORE EVERY BEGINNING?
IS THERE A BEGINNING BEFORE EVERY END?

[CREATION OF ADAM BY MICHELANGELO]