In class, we broke into seven groups that each discussed a pair of images in reference to one of the “seven lamps of architectural history.” By the due date listed above, each group’s recorder shall post a response to the following to this page (in 100 words or less):
“LAMP” NAME IN ALL CAPS
Define the “lamp” in the words of your group members.
Explain how each building illustrated on your sheet illustrates/manifests that “lamp.” How are they different or alike?
Sign with each group members’ name
Response: due Wednesday, Sept. 5 at 1 PM
Based on your assignment immediately below, add to the discussion/definition of each “lamp”, using the traditions of Chinese architecture as your example.
BUILDING TYPE: Bandel, Bishop, Boyce, Colburn, Colon
DESIGN: Gonzalez, Gordon, Grosshans, Hamon, Hiller
CONTEXT: Jones, Kruzich, Laansma, Lombard, Madison
PATRONAGE: Mubarak, Norgren, Omole, Otiniano-Ponti, Perez
PRACTICE: Polan, Provo, Saad, Smith A, Smith K
TECHNOLOGY: Soetermans, Stevens, Thompson, Toure, Turrill
CONTEXT
Context: the building in relation to its surroundings.
Theatre (Delphi, Greece): it forms to the natural features of the land.
Sta. Croce (Florence, Italy): it forms to a more urban setting rather than the nature form and land.
The Sta. Croce stands out from its surroundings and community, while the Theatre conforms to the land and blends into the mountains. Even though they are quite different from each other, they are meant to be the central focus of the scene.
Theodore K., Shawn B., Luis C., & Allyson S.
In your definitions, I’d emphasize the surroundings OF the building, but also the fact that we’re talking about physical surroundings: natural world or built environment; density/isolation, etc.
As we’ll see when we get to Italy, the importance of Sta. Croce as a church in Florence really means that the urban fabric–other buildings, the piazza–are conditioned by the church first.
Chinese architecture is meant to stand out from its surroundings with strong colors and many visual characteristics but each of the structures are very alike in form and style to each other. They were governed by the Emperor to have the same layouts and design forms.
What surroundings do you mean? Be clear about what is “standing out” from what.
The context surrounding buildings is the most important aspect of architecture. The context contains all of the information needed to understand the purpose of buildings. By observing what is needed in a community or nation it is possible to know what is going to be built. This can be seen when the Chinese government built a new palace or when private investors built a monastery in a community. They see the need and respond to it accordingly. Another big factor is what environment surrounds the planned building. This affects what supplies are used as well as the structure’s shape itself.
Truly “most important,” more so than building function, or structural stability? I think you need to sort out cultural context, so to speak, from what is intended by this “lamp:” the physical surroundings, natural and built.
Based off the definition provided, the context of traditional Chinese architecture is designed to be able to not disturb the natural habitat and seems to be part of that natural habitat.
I don’t follow your comparison–what “natural habitats” have we seen? I think most people would see the urban environment of Beijing, which was the focus of our study, as being quite antithetical to whatever was there before they started building the capital.
Context is especially important in Chinese architecture. Many of the surviving traditional Chinese structures were built to work in and contribute to a closely-packed, carefully planned urban setting. The appearance, size, layout, and design depended a lot on their setting. In the forbidden city, for instance, the halls are elevated and centered along the axis of the city to accentuate and draw attention to them. Meanwhile, all the other buildings in the complex are positioned in a way that contributes to the context of the centralized halls.
The traditional Chinese home layout arose at least partially in response to the typical urban context. In a culture that valued privacy, Feng-shui, and tranquility; it was important to have a garden-type area while staying out of eyesight. Thus the Siheyuan style layout came into use, which allowed people to maintain privacy even in a densely populated area.
This is a good consideration of the urban environment that we studied, and the relationship of significant buildings rising above and being distinguished from it. Remember too that the city, like individual homes and the palace, are on strict cardinal points, in part for matters of feng shui.
TECHNOLOGY
1) Define
Use of material that was local, affordable, and efficient applied
2) Explain
Each structure manifests the technology “lamp” in the materials and methods by which it was created
Katsura imperial Villa used post-lintel system, while the Aqueduct redirected loads through a cascade of arches.
Their context, or geography, is radically different. This influences load bearing techniques, as a palace does not span the same distance as an aqueduct. This also reflects differing functions.
Take another look at that definition: the use of the material for what? To do what? Not all materials in buildings serve the same purpose. Be specific!
In addition to the availability of materials in one place, it’s important to consider the use/destination of the building, and with that, the expectation of its lifespan. What were the expectations of the Roman & Japanese builders in this regard?
Technology is a “lamp” of architecture that not only refers to the materials used to build the structure, it also refers to how to keep the building comfortable. Most of the time, technology is used based on its availability. In traditional Chinese architecture, the primary building material was timber, which was not only because of its availability, but also because its ability to keep a structure strong amidst seismic activity. Another reason why wood was great building material is that it can be joined together fairly easily. There are many different joinery techniques that the Chinese used, the mortise and tenon being one of them.
TECHNOLOGY
The Chinese relied heavy on wood construction for their designs. By using such, they could form joints that didn’t need fasteners to hold it together. Its able to take heavy loads due to the framing as well as be used as wall paneling. Wood was readily available and could withstand earthquakes and such due to the ability to move and settle. If upkept, it could last for many years.
Consider ecology, available materials, substructure, and particular methods (specifically, post and lintel).
Looking at the definition of technology, we agree that technology goes beyond what is local, affordable, and efficiently applied. We think that technology is a means of innovation; going beyond what is readily available or efficient. Technology is the application of the materials. In China, the Duogong was invented as a means of connecting columns and beams. Not only were they made from local resources, but they were also a highly ornate and sturdy means of supporting post-and-lintel systems.
Based of the definition provided, traditional Chinese architecture does use affordable materials that is provided to them through means of their surroundings. They use the wood for their houses and bridges and stone in their surrounding areas.
when thinking about technology in this context, consider both materials and methods
LAMP
We decided that Building Type is also referred to as the function of a building. The Santa Maria’s appearance reveals its function as a church. The bell tower on the top of the building as well the cross sitting on top of that, suggest this function. The building on the right, the Flavian Amphitheater is used for entertainment. Its large size suggests it’s use to fit many people inside the building. The form and sitting arrangement of the building suggest its use for amplifying sound. They have both have signified spots of attention and are used for gathering. They are different in that the church has a more functional and conservative appearance whereas the amphitheater has a more grand appearance and meant to impress.
Robyn, Hailey, Dermeei, Sydney, Erica.
As we get into the semester, it may be interesting to return to these analysis, especially in terms of the statue of the church, given its time frame. It’s also important to think about those forms that are so closely associated with certain functions that they help us “read” the building–for example, how do you know the brick building is a church? Which of its features are symbolic of its function? It’s an important task throughout this course to think about how those traditions came to pass, and how they are so legible to us.
Going along with Robyn’s groups definition of building type, Chinese building type can be seen in the style/format in which all houses are made; Siheyuan. This style is the inspiration for traditional Chinese households, as well as the forbidden city’s layout. In Chinese culture, the Siheyuan layout holds many hierarchical elements. Strong symmetry down the center axis leads guests and residents to the most important structures (or rooms) within the property.
Building type significantly encompasses function, so the definition here is a bit blurred when you consider the courtyard parti.
BUILDING TYPE 2
As it was determined that the building type is the function of the building. It is interesting however that two buildings with the same building type can look completely different. For example, the Santa Maria church and pagodas both have similar building types, but look very different. Each of these is used as a place of worship. The building type can be recognized through the large open public spaces, the alters within the building, the ornate design of the building, and the size of the building showing its importance to the people.
The function was very similar in all floor plan layouts. Traditional houses for the common folk reflected that of the Emperor’s in the Forbidden City. They contained designated areas for the head of the household, the men and women children, workers, dining areas. Each building was dedicated to giving a privacy to each household.
Recognize the commonality and distinction between functions housed in the siheyuan “type.”
I agree with the definition as the building type being referred to as the function of the building. In terms of how it relates to Chinese architecture, I think there is a reason why the chinese organize the sructure of a building or a civilization. One example of this is how in The Hall of Supreme Harmony, it uses three sets of stairs to lead up to the throme room. It has three because the middle ramp is only used for the emperor. No one else is allowed to walk on it with the exception of the empress on her wedding day. Another example of this how the Chinese use sihuyuan courtyards. The design of these courtyards is significant because it is symmetrical in all way except the entrance being offset from the center.
Be careful in blurring the line between form and function: siheyuan is a plan type that serves many different functions.
The Building Type, as stated in the original comment, also acts as the function of the building. This is no different in Chinese Architecture. We can see in the Hall of Preserving Harmony, the building is set on a large foundation, to signify the importance of what the building is used for, and it is used as the Emperor’s throne room. Another example we can see is in the pagoda. Pagodas are tall structures, which translates into its function of connecting the relics of the buddhist leader to heaven.
The building types, or function of traditional Chinese buildings are mostly based off their beliefs and principles. They built their houses in a way to reflect the Forbidden City and followed principles such as using the grid like pattern and the west and east axis. Their Pagodas to be more specific are based off the Buddhist religion and holds the relic of Buddha.
Beliefs in what? I assume you mean design principles/traditions. Focus on the function, not just the plan/form, and their relationship.
PRACTICE = How the architect’s specializations and other professions affect their work.
Salisbury Cathredal shows that he was a mason by the amount of brick and stone work. He had specialization in that field so he felt comfortable using a lot of brick and stone.
Djoser’s Funerary Precinct shows that since he had many professions his work showed many characteristics from them.
They are similar because their professions largely affected the style and materials in the buildings.
-Tim Gordon, Luciano Otiniano-Ponti, Stephen Bishop
I’m not convinced that you can make assumptions about the training of a person by virtue of what their buildings look like–there’s a famous Byzantine church that we’ll study, with lots of brick and stone, designed by people who had no idea how to handle masonry (as is the case of most “architects” since the 18th/19th c.!). How do we learn about practice, and what you summarize with the simple word, “work”, in your definition? Also, knowing that will change your final assumption: these builders were very, very different people in both their training and vocational expertise.
Traditional Chinese architecture is part of a long tradition of careful craftsmanship and learned skills to be able to construct the buildings of that design. Architects would need to learn, probably through apprenticeship, their principles for their architecture and spend several years in order to master the careful design put into their structures.
How did they learn? Unique evidence exists from Imperial China that’s not evident in other cultures.
The practice of designing many of the structures was completed by team of people. There was most likely individuals skilled in the design layout and following the Emperor’s rules. Others set in the crafting of the logs, others in drawing and painting these structures. They follow the set standard design such as an axial approach and expression of confusion teachings but would have taken the combined work of many skilled laborers.
how were those “rules” communicated?
Design is the visual characteristics of the structure created through forms and/or patterns. Essentially, it’s how the building looks. The Great Mosque utilizes calligraphic writing and plant-like patterns to add to the design of the building, while the S. Apollinaris Church uses imagery (paintings) of Biblical themes that are important and recognizable by anyone within the Church. These differences are present because the designers were emphasizing different themes that were important to each religion. The Muslims are focusing on the writings of Muhammad while the Christians are focusing on displaying Christ and the saints due to their importance to the Church and their centrality to its core beliefs. Both structures use design to represent what was important to their patrons and to also create a visual appeal.
Revisit that small, but important, point in your definition: design (in our sense, for this class) CAN derive from/affect structure, but it does not have to. (Unless, of course, you are using the term “structure” as a synonym for “building” but that’s not a good approach when you’re writing specific definitions).
As the semester progresses, we will see that there are more significant traditions of each faith that require/prohibit/encourage certain approaches to ornament–which you might discover now with a slight bit of research.
In the forbidden city, the dragon is strong design element that often appears which reflected the peoples ideas of being strong and feared. Additionally there is the color yellow that appears on the roofs in the city which were the Emperor’s special color. Other prominent colors included Chinese red, dark blue and green leaf but the gold/yellow held the most prestige.
Those are a few details; how would you describe Chinese design principles overall?
Design, being the visual characteristics of the building, will be different for different cultures and even different buildings in the same society. The design of the Chinese architecture is a great example of what design is and how it works with the other lamps. in Chinese buildings, they use a lot of small intricate designs and paintings on the building itself. they also us dougong which is a way of interlocking parts to make the structure. this allows the structure to influence the design.
Don’t confuse ornament with design–the former is one aspect of the latter.
An example of design in China is the Sakyamuni Pagoda. The pagoda draws its influence from the Buddhist Stupa. It has a similar shape and the feature on top resembles the Chatra from the Stupa. Overall, it is a good design choice for a Buddhist place of worship.
You are confusing a few different ideas here. Better to compare the visual quality of pagoda & stupa to understand the design characteristics of each culture.
PATRONAGE
When dealing with architecture, patronage refers to the desires of the commissioning client. The client’s purpose for the building, as well as design and aesthetic preferences are all needs of the client; Patronage is how those needs are addressed in architecture.
Caesar Augustus commissioned the Maison Carree. It served not only as a place of worship, but as a commemoration of his grandson.
Persepolis was commissioned by the Persian king Darius, and it served as a religious and ceremonial complex. It features reliefs depicting the festival of Nowruz, and the pillars feature religious icons.
The high ceilings and stairways in both these buildings help to create a sense of grandeur. The abundance of pillars and the stone material distinguish them as ceremonial and built-to-last.
Caleb Jones, Abigail Turrill, Kiersten Laansma, Rachel Norgren, Nate Madison
The only thing I would add here is to underscore that these buildings, while quite different in every other way, have this important element in common: both are commissions from the highest political leaders in each culture.
The structures in china were typically built for each family group to have their living own space and courtyard but they weren’t really allowed much individual design attributes as those were set by the Emperor.
Most of the buildings in China have a different patron for each structure it is hard to get into specifics unless we single out one particular structure to analyze. In general most of the patrons or clients were high ranking political people and sometimes there was not a single patron but many patrons who contributed to a structure. One of the structures which is comprised of many patrons is the great wall of China which was built by people in different states all with the same idea of protection.
What does the act of patronage reveal about individuals?
THEORY
The overarching idea of a culture and their values. These values and cultures of the society then lead to the creation of a building that exhibits specific characteristics unique to that culture. For example, the Pyramids of Giza and the Hagia Sophia, although different, have a similar theory. One such theory is the idea of the heavens. The pyramids point upward to the heavens giving the dead a path to the heavens. The Hadia Sopia has a large dome on top that used to depict images of Christianity which eludes to the sky which is symbolic of the heavens.
-Dallas Colburn, Brad Polan, Joseph Soetermans, Matt Thompson
Maybe unique to them, maybe not, since many cultures share similar values. This is true in the very interpretation you offer, which is interesting, and accurate, to think of these very different buildings as having a general expression of the importance of the “heavenly realm” in common.
PRACTICE
Practice: the general characteristics of the architecture of the building.
When thinking about Chinese architecture and the practice behind their buildings, one can come to the assumption that they follow a lot of similar styles. The use of Feng Shui(with the ideas of Yin and Yang), Dougongs, and Sihayuans. Feng Shui is the system that governs spacial arrangement. Dougongs use the structural element of interlocking wooden brackets. Sihayuans are courtyards surrounded by buildings. The most noticeable style when looking at Chinese architecture would be the use of Dougongs. The idea of interlocking the wood within each other is mesmerizing. Its a simple yet complex look to the traditional Chinese building.
Most of your examples are manifestations of practice. What are the activities of the designers and builders? How are they informed/inspired?
When pertaining to the garden/courtyards they took a natural feel to reflect Confuscian precepts and Daoism principles generally pertaining to the yin and yang as well as the concept of Feng Shui. We can also see such ideas in building design such as setting the entrance gateway off symmetry to “confuse” evil spirits from entering the housing area. Buddhist beliefs affected the shape of Pagodas from that of Stupas. Sacred halls were designed from Confucian tradition such like the Hall of the Sacred Mother having an usual hilly landscape yet keeping a central axis. Even today, the buildings reflect these ideas.
DESIGN
Definition: Design refers to either or both the visual characteristics or form of the building through which cultural values are expressed.
Similarities and Differences: The visual characteristics of both structures aim to give a sense of transcendence, which means emphasis on the verticality of the form. This is enhanced through columns of ceramic shingles that striate rooftops, in addition to rafters curved upward to give optical impression of lifted weight, and brackets that gradually increase in complexity and span the further they are built up. Visual differences express hierarchical standing of building, as the monastery lacks the abstract embellishment seen on the dougongs of the Imperial temple, Hall of Supreme Harmony. There is a generally lack of color on the entire facade of the monastery, especially gold, which may be characteristic of Buddhist attitudes towards simple living and overt expression of wealth, but, more definitively, a distinction between a religious structure and an imperial one.
What’s your single-sentence, overarching description of Chinese design principles?
Patronage
Chinese architecture reflects interesting characteristics about the patron or client. For example, with the forbidden city we can see that the color yellow is present in the buildings because it is the color that only the emperor was allowed to wear. We also learned that in China there were certain ways a building was designed for different types of people. For instance, a scribe’s home would look different than a butcher’s home in accordance to these social rules. Chinese architects had to take their patron’s status into account when designing. Going back to the Forbidden City, the palace is breathtakingly elaborate in detail as can be seen by the intricate dougong construction. All in all, in china the patron’s status and or occupation had an impact on the design of their building or structure.
good–there’s a lot about status/social hierarchy here, all of it conditioned by rules and traditions that, unusually in the ancient/medieval world, are recorded in books.
Building Type:
How the function of a building dictates it to have certain defining features that become characteristic of its type.
Example in Chinese Architecture:
The Hall of Supreme Harmony shows its type by the many characteristic things that are associated with a throne room. The lavish adornment and the difficult undertaking of the complex dougong throughout the immense building sets it apart as special. The main ramp, unlike the two offset that is specifically for the emperor to enter and exit the building shows that it was built for such an occasion. The Hall of Supreme Harmony is also the largest, as well as tallest point in the forbidden city and it is naturally seen as a place where someone powerful would reside.
What does this “type” tell you about what is important to Chinese culture as a whole?
PRACTICE
In the chinese architecture the practice is prelevant in most of their religeous buildings, buildings such as pagodas get their style from old stuppas which shows the buddhist culture and were used for the same funtions
Revisit this concept: practice relates to the activities of building designers and builders.
CONTEXT
Traditional Chinese architecture is very rigid, however, it still invites the surrounding natural elements from it’s context in, while keeping the public out. For example, a traditional Chinese house has specific locations for where rooms should be, and in the center of all of the rooms there is a courtyard that is blocked off from the public. This allows for privacy from people passing by, but still allows for a taste of being outside while in the court yard. Sometimes people add gardens to their court yards, which then adds more to the natural elements inside the privacy of the house.
more on influence of the one particular context we studied: Beijing?
After examining the aspects of architectural technology again, it is interesting to note that technology is a highly innovative lamp of architecture. Technology goes beyond what is generally practiced or what is used. Technology is the development of a system that has never been used before. Duogongs, for example, are timber puzzle-like systems that connect posts with lintels. The intricacies of the Duogong are mesmerizing, and they hold members together very well.
“highly innovative,” how so? compared to what?
In terms of your one example: dougongs have been employed in Chinese architecture for centuries.
TECHNOLOGY: How was it put together? What is the function of the of the material used to create the building?
An important part of the technology of Chinese architecture is dougong construction. The intricate layers of wood crafted together to anchor the construction is very unique to the Chinese buildings. An amazing example of dougong is the Buddhist temple Sagami-ji in Kasai, Japan.
What else? Dougongs are one detail.
A lot of architecture in China is based around the courtyard layout. It engages the whole plot instead of western buildings which sit in the middle of the plot. It utilises the interior space, many times creating a garden within that space. Most buildings have strong columns that bear most of the weight and non-structural walls. This ensures wind can pass through the building during the summer. On some occasions like for a temple, the ground is terraced to create a platform for the building to sit on.
Which lamp?
PATRONAGE
In Chinese Architecture, patronage was a very important element in the way of thinking of he architects of the time. When the building was designed, it had to go according to the Patron, who in this case would normally be an Emperor. Emperors were known to have an attachment to a color, this color represented who they were through decorations, garments, clothing, etc. When you look at Chinese buildings from the Dynasty eras, you will find an assortment of colors in them presented through decorations on the walls, paintings, silk and other more. These were know to represent the emperor who was the patron of the building and other emperors who followed the throne after him. In the Ming Dynasty we can see the representation of the color “Golden Yellow” as being part of the emperors patronage in Imperial buildings.
Even when it’s not the emperor, individuals followed the same guidelines to ensure that architecture maintained adherence to social expectations.