Our Snoa Analysis

The Nativity Façade doors are a part of the Sagrada Familia Basilica in Barcelona; however, the doors were only placed into the 151-year-old structure in the year 2015. In my opinion, the façade doors are truly astounding. The symmetry of the two doors divided by a center column gives an aspect of balance, while the doors are still unique in overall design. The color and attention to detail on the exterior makes the doors almost seem like sculptures instead of entrances. The ornate metal doors are smooth and heavy, yet the sculptural ivy, flowers, and insects give the illusion of being an aspect of nature. However, the color is what truly stands out. The natural green, yellow, and red are the opposite of what one would expect, but in the Nativity

Organs were traditionally used for Christian and Catholic Church services, that is why they are commonly referred to as “church organs”. Organs are ideally made to accompany human voices. It could be a soloist, choir, whatever, that is one of its key purposes. This first began in the seventh century with Pope Vitalian. At first people were not fond of having music and singing during church services but people quickly became accustomed to having an organ around because of the beautiful sound that complimented the songs of worship. The organ became a popular and much wanted necessity in years to come.

One of the most apparent symbols in the text are the bizarre colored rooms. The rooms represent the cycle of life, blue is birth, purple childhood, green adolescence, orange adulthood, white is the elderly years, violet is dying, and finally black is death. The rooms are arranged like the sun rise and set with the blue room all the way in the east and the black at the west end. Furthermore, the rooms have similar styles, all one color with the decor and windows matching said color. However, the black room is different with black velvet curtains, and the windows a blood red color. The light from the hall isn’t able to enter the room so a candelabra was placed behind each window so that it “projected its rays through the tinted glass… And produced so wild a look upon the countenances of those who entered” (2) The

The piece displays a cavernous interior with a series of dark arches that recede towards some flickering flames. These huge bricks and arches make the hall resemble a sort of dungeon or a sort of oven. The palette he used is limited to solely to shades of black, and brown. White paint is used to outline the crevices and edges of the bricks. The windows are dark black, and the ceiling is pitched black. The dimly lit piece seems to be an interior space solely lit by the series of small flames, and these flames are placed at a

This room was about 40 feet by 40 feet. It had been opened to the public only recently and was located on the east end of the premises on the first floor of a second-class building consisting of three stories, and an attic (59 Broadway). The second floor of this building contained motors and a locker room for employees was on the third floor.

This Jewish community is the modernized Jews who prides on welcoming non-Jews into the community and to the religion itself. Their motto is not to get to know you, meaning they welcome anyone from any religion to come and see how and what they do to perform their service with the offering of coffee and desserts which are very darn hard to say no to.

First Purchase was unceiled and unpainted within. Along its walls unlighted kerosene lamps hung on brass brackets; pine benches served as pews. Behind the rough oak pulpit a faded pink silk banner proclaimed God Is Love, the church’s only decoration except a rotogravure print of Hunt’s The Light of the World. There was no sign of piano, organ, hymn-books, church programs—the familiar ecclesiastical impedimenta we saw every Sunday. It

The observation took place at Family Options in the training room. Which was located right next to the conference room. The door was in front of the room. Once entering the training room, one can glance a relatively chilled clean room that resembles that of a classroom setting. In front of the room was a television that was used for presentations and a wooden table. In the center of the room, there were three rows of tables with two chairs. But it also resembles that of a dance studio since in the right wall is a full-length wall mirror with hardwood flooring plus a full-length wall window on the back of the room, where the exit door is located also. The area around the left wall was banners and

The “Sisterhood Sanctuary” is an auditorium that holds approximately 250 people. The sanctuary is emphasized with different plants in large containers, and glass doors that make up the entrance of the sanctuary. Wright created the “Sister Sanctuary” in order to achieve the mood and presence of harmony and peace while people are in meditation and in prayer. On the east side of the sanctuary a magnificent Ark of the Torah is placed in wood with light shadowing the top of the Ark. Robed extravagantly in many color mantels, the Ark holds seven Torahs which represent seven days of the week. The seven Torahs represent the seven days of the week crowning in the holy Sabbath. One of the most important features of the Synagogue is this ark that holds a very important message for the congregation and well as the heart of Judaism. One of the prominent features that takes over the synagogue is the massive Monolith that suggests the shape of the Ten Commandments or the tablets of Law. This is important for many reason, the most important being it represents the teachings, morals and values of

The Vogelstein addition is unique in that is combines two dramatically different styles in the same building. The addition respects its predecessor, while borrowing from, and reinterpreting the original. The mass of Vogelstein acts to balance the overwhelming presence of Avery’s façade, as the addition’s layers hint at the building’s depth, while remaining far less distinctive. The windows are highlighted with burnt orange window frames, comparative to the white window frames that dominate the façade. While different colors, the color contrast itself is complementary, as it serves to highlight the windows in both structures. Further, while much simpler in shape, these windows serve to continue the building’s tradition, without dominating focal attention. The glass doors reflect the façade’s windows, while the glass towers reinterpret both elements, acting as a transition. The canopy above the entrance is orange as well, creating a sense of balance between each of the building’s

The Mikvé Israel-Emanuel Synagogue is significant because of its ability to withstand the test of time and be able to maintain its purpose for all those years. While also being able to coincide with adaptions in culture and still accommodate, and appeal to its Jewish Community. The Curaçaoan Synagogue’s history starts in Spain. After the Spanish inquisition in the 15th centrury, the Jewish community of Spain had gone underground or fled into still tolerant Portugal. After living in Portugal for a hundred years, and adopting the culture and family names, they had to flee once again because the inquisitors became active in Portugal as well. The Jews now fled to the Netherlands, the recently victorious from Spain protestant state was a haven

As we approached the Gershwin theatre, we marveled at the sleek and pristine building that towered above us, which bore the classic image of the green and white witches from the play. Though from an exterior view the venue gave off an almost futuristic aura, its interior was decorated richly in fairytale-like splendor,

While I was there I was able to take a tour of the whole building. Once you walked in the front door you where greeted by beautiful stained glass windows. To the left there is a door that lead to the synagogue itself. Upon walking in I loved an aisle lined with rows of chairs. The aisle let to an alter where the rabbi would stand during service. At the very center is the ark which houses one of the synagogue’s Torah’s. I later then found out that they keep a traditional sheep skin torah. Also up on the alter is a tradition menorah. I was told that the menorah was actually one of the items donated from another synagogue that had been shut down. Going through the back door I entered the common family center. This is the area where the hold

entering the general area of the synagogue, it looked like a school or a daycare, and then entering they had a simple directory for the main office for the school they held. When entering the building they had three areas where service could be held. When asked we were led, to what appeared to be, the smallest of the service rooms. Before entering the service they had a mini gallery of art pieces, such as sculptures, paintings, and specially designed emblems that they used for worship.

Herman Hertzberger created the inside of this building to be one social space. He created low ceiling for concentration around the work space but also created open spaces to seat between breaks or to take a breather. The building has four different entry ways that connect in the heart of the building making it the meeting place, it is also the space most open. Hertzberger made a format to arrange rooms to be social or antisocial. He creates these spaces so that people are looking at each other or away from each other. These spaces are made for up to four people creating social spaces between coworkers. The spaces are made to choose between open meeting places and hidden secluded spaces.Hertzberger created the open spaces to make it feel like you are outside, in these open spaces the building has natural light coming from above and has greenery throughout. There are also rooftop spaces created to take breaks and catch some fresh air. The rooftop spaces are larger so more people can gather in these spaces rather than chatting through the hallways. The main focus Hertzberger had was to make it feel cozy and homelike as much as possible.