Similarities Between Zumthor And Feur Eliasson

With Constructing the Good Life, we’ve looked the ways in which architecture and specific places in the environments we inhabit are defined by a sense of cultural and personal connection or significance, beyond the physical conditions or even basic function of the space. This week’s readings, “Subconscious Landscapes of the Heart” by Randy Hester and “Replacement” by W.G. Clark in particular, help to show the ways that meaningful spaces are often designed and constructed by the people who use them, and the deeper connections to the land that may develop.

Upon entering the museum I was bombarded by this 12 x 45 ft. architectural painting. Almost resembling the museum building itself. With sharp horizontal and verticals lines, this multi colored piece reminded me of our last piece from project 8. Using a variety of colors with no obvious correlation, the clash of colors instantly made me reflect on how I could improve future and previous projects alike. The amount of straight lines in different lengths and widths, also reminded me of our piece from project 1. With no curves and lines going every which way, its amazing how a piece made entirely of lines with no figures could be so captivating.

Taking a design that was once used for events, now abandoned and derelict, and reinventing its potential to be used by all to enrich their lives and provide a social and content atmosphere is a goal of attaining. It will be something extraordinary to redesign a building and mix existing features to make a new design that everyone can appreciate. “Instead of downplaying the 110-year-old building, S&T made enthusiastic use of the old timber floors, brick walls and open trusses, celebrating heritage alongside contemporary design.” (Arch Daily). No matter what materials, space, or structure is being used within a design, in the end, it is always about the creativity for its achievement. “Creativity is about play and a kind of willingness to go with your intuition. It’s crucial for an artist. If you know where you are going and what you are going to do, why do it?” (Freshome). Capturing memories and expressing them into a design that tells a story that has never been told is what makes this project, inimitable; it cannot be special if it was heard or seen before. Everyone has a way of

I can recall my childhood home all too vividly. Though I have not had a glimpse of it in nearly a decade, the vast edifice and its protracted corridors are indelibly etched into my mind - the entryway, glass french doors several meters high; the towering double staircases culminating in an indoor balcony; the seemingly innumerable

Out of the three artists I chose Cindy Sherman. Cindy Sherman was born on January 19, 1954 in glen ridge, New Jersey. Sherman wasn’t always deeply interested in the arts growing up, but finally decided there was a way of art that could show a message about the world, and hold meaning. Sherman’s first works of art were of her taking self portraits, and having them displayed. Sherman’s work conveyed many different meanings of different parts of media, and culture. Her pieces were sometimes viewed as strange, and many people had a hard time picking up what she had behind them. The art work of hers generally displayed some sort of stereotype or idea in the society. Cindy Sherman had many powerful displays of art, but one I really found interesting

Paul Rand is also interesting to me because of his unique style and his personality. He was one of the first American graphic designers to use the Swiss Style and that shows in a lot of his work. He had an interesting practice where he would sign all of his work. This was not very common in the US because of how designers worked for companies.

If I were a graphic designer, which graphic designer from the history of art would I be like? I would be most like Michael Bierut. Bierut was born sometime during 1957 in Cleveland, Ohio. During his early years living in Ohio, graphic design was not widely taught to young people but this didn’t stop Michael. With his love of his love of art, music, and drawing Bierut’s first began designing album covers. Wanted to learn more Michael took to the library a poured over the only two design books the library had at the time. At this point he was hooked on graphic design he then went on to study graphic design at the University of Cincinnati's College of Design, Architecture, Art and Planning. During his time at University of Cincinnati Bierut

Well I'd say Dan Weiss and maybe Brian Blade as far as people that have shaped my sound and executed my vision in a way that I could not have come up with on my own.

“ When architects write about their work- and they probably shouldnt they are often quick to make distinctions between projects and buildings. Projects are incomplete schematic trapped in the midst of their production. They are often optimistic investigations that were it not for some undefined tragedies of reality, would be granted more pictures more words and a longer life. Buildings on the other hand, are finite resolved and liberated of all scars of production. projects are left to engage only other architects and students of architecture. Buildings have the opportunity to engage architects students and the public for whom it was ment and subsequent publics who could never

thoughts. Over the years of history, artists such as Vincent Van Gogh, Pablo Picasso, and many

Installation art is an embodied and immersive experience, which can affect the way people navigate and experience a particular space. It has the ability to activate the viewer’s mechanisms of perception and ultimately awareness of a place. This occurs through the stimulation of the senses by interaction or awakening one’s perception through disorientation. Installation art directly presents the elements texture, space, light and so on for us to experience. Artist works hard to express and experiment with feelings, emotions and viewpoints through various medium that can influence and enlighten people. They break the limitations of conventional architectural practice through its “exploration of sensory stimulation and spatial perception”. Phenomenal

In every field there are people who seem to leave their mark for everyone to remember them by. In the field of Arts and Architecture, there are many such names, which are not only held in great respect and honor, but have also been a source of great inspiration for the future generations.

When trying to trigger a memory people often look at something that will remind them. Many historical moments are linked to buildings, Mount Vernon, and Monticello are a few that quickly come to mind. The link between a visual representation and how they create or change the memories connected to them is an important one to think on and protect. This is where the creation of historical preservation is created. Preservation protects a building from demolition and also allows them to not conform to certain building codes if they would damage the historical value of the building. This is determined by a series of tests, research and forms done in accordance with the National Preservation Act of 1966 (Wallace, 191).

Visit any major museum of art, at any given time, and one could find an abundance of monumental names listed on tiny plaques hanging next to even more recognizable works of art. The excitement felt by any art enthusiast when walking into these buildings of time and creation, is undeniable and especially unique. Could it be the atmosphere of the building, the presence of artwork, the people, possibly the grandeur of the space, or perhaps, could it be the spirit of the artists themselves, peering through the work they created?

The book, Sensory Design published by Joy Monice Malnar and Frank Vodvarka in 2004, explores a new multi-sensory method of design for architects in 335 pages. The opening of the book starts with a question “What if we designed for all senses?” Very similar to articles from Pallasmaa, the book leaves the reader wanting to know more about this method although this book covered many topics and included many references. Malnar is an associate professor at the University of Illinois, and Vodvarka is an artist who wrote many articles on architectural history.