The objective behind our recent IARC trip to Monticello and Falling Water was to observe how lighting empowers both spaces. One thing that I noticed immediately was, when the light fell upon both places they both projected shadows that conveyed depth adding a new dimension to the spaces.
Looking at Monticello the lighting seems to almost provide a sense of direction and empowerment. Looking at both of the wings protruding from the sides of the main building the banisters capture the essence of natural light encasing and projecting it onto the wings guiding the observer into the main house. In approaching the main house, it casts a show upon itself giving a sense of empowerment. This sense of empowerment displays Monticello’s extravagance in the past and even in its future. As one enters the space the light effects do not stop at the door. In the Entrance Hall, the 18’ ceilings draw the eye straight into the shadows and light that pass through the space to once more, provide a sense of direction and passage. The shadows of natural light that were cast into the Entrance Hall were also partly due the overhangs from the second floor. This provides a dark atmosphere around the outer walls but the light that pierces through from the Parlor into the Entrance hall draws the guest into the next room. The skylights that are displayed in Monticello, such as the one present in Jefferson’s bedroom, take the natural light from the outside and project it into the house’s 18’ ceilings providing the sense of openness and freedom.
While taking what was just said about Monticello into consideration, the lighting exhibited by Falling Waters was showcased a little differently but continues to work in its advantage. This is part due to the fact that Thomas Jefferson built Monticello onto the land versus Frank Lloyd Right who built into the land. The majority of the shadows at Falling Water were cast onto the Kaufmann home. As the exterior of the home is observed one may notice the patterns of nature that are presented onto the different areas of the houses. The shadows that were cast from the house were cast back into the hillside of rocks once more providing a sense of how the building was built into the land rather that onto it. Looking at the front of the Kaufmann home, the different piers that protrude from it capture light, portraying it in an open and freeing sense; drawing the people who inhabit the space outside to interact with the nature. As stated many times, the hallways presented inside the house contains a low ceiling that makes the guest desire to move quicker to their designated location throughout the house.
Both of these houses exhibit light different but both encompass light projection that work well with each space. One would expect nothing less than this from such monumental houses in history. The lighting effects presented in both homes are ones that can be learned from and built upon in future designs.
Craft: Craft is the level of a special trade or skill that someone or something possesses. The craft level at Monticello was one that has been proven over the test of time. Looking at Monticello, the door from the Entrance Hall into the Parlor contains a mechanism that Thomas Jefferson put in place over 200 years ago that is still operating smoothly today. This design was considered the automatic door of its time. With this mechanism, as one door is closes the other door works in coherence closing at the same time. Jefferson’s craft continued to shine onto his design of Virginia capital. When it came to moderations of his craft he stated, “how is a taste in this beautiful art to be formed in our countrymen unless we avail ourselves of every occasion, when public buildings are erected, of presenting to the models of their study and imitation, (Roth 461).” Personally, I fell that this alone with his belief of the never-ending learning cycle contained in architecture is why he became known for his designs.
This detail of Falling Water exhibits the craft behind the usage of lighting placed in the rafters and shows how they are cohesive with the design of the house.
Public: Private: One commonality that the two share is designation. Public space is designated to affect a group as whole versus a private space in which is designated to affect a specific individual or grouping of people. Blake more stated this about “Public: Private” spaces within design in the 19th century, “The stratification of the interior was highly complex; spaces were designed for women, men, children, and servants. Rooms were designed for specialized activities within each area, (Blakemore 393).”At Monticello, Jefferson designed his estate with hidden quarters and passageways. Among these hidden quarters were the slave areas. It has been said that Jefferson having slaves was not his proudest achievement but with all of the people who inhabited Monticello on a normal basis, assistance was needed. With this being said it is not surprise that the slave quarters were hidden under ground, unable to be seen at eye with the main house, thus making these private quarters. In the main house the Entrance Hall, was considered a public place. It served as a small scale museum to guests and it was also the place uninvited visitors were allowed to enter.
Although all of the areas presented in my Trading Spaces project in Perception & Communication are designated as public spaces within the home, I choose to enclose the dining area while elevating the floor and pulling down the ceiling using acrylic to create a feeling if intimacy. The reasoning behind the use of acrylic is to play off of its clarity continuing to keep the room open.
Technique: A technique is the approach a designer applies to a design to produce a solid outcome. Looking to Monticello once more, the bricks used on the columned portico on the East Front were made of wood that has been blasted/coated with sand to make the wood appear like brick. The use of materials that were either present on the land or made on the land, made Monticello sustainable of its time. “New materials and building techniques were used to create a lighter, more spacious and functional environment the early modern designers hoped to change society for the better with the creation of a healthier and more democratic type of design for all, (Massey 63).” This statement is embodied by Frank Lloyd Wright’s Falling Water. This building was one that contained new methods of construction used to build into the land instead of onto it. The use of the cantilever method is the only reason Falling Water came into existence and still remains intact today. These techniques were considered revolutionary of their time, because it was different from the normal post and beam method.
The technique in placing a pediment above the window at Monticello was an example of how Jefferson always tried new techniques because he seen architecture along with his home as a never ending learning experience.
Virtual: Resulting or capturing the essence of something that is or will be in existence, something virtual does not necessarily contain size or shape. John Locke’s Essay Concerning Human Understanding, focuses on sensationalism, “This essay proposed that all human understanding came from experience acquired through sensation, rather than through received or inherent knowledge (Roth 459).” When creating a virtual atmosphere it must satisfy the sensations of the people who inhabit the space. Serving as an example of virtual is the vast amount of windows contained in Falling Waters. The amount of windows creates a virtual atmosphere of the outdoors indoors. Wright designed this space with the intention of it being virtual; after seeing the outdoors being presented indoors it begins to draw guests outdoors therefore bringing them into a virtual reality.
Contained in the image detail is a window that is in the basement wing at Monticello. Aside from the small amount of light entering into the room there are a few vibrant green leaves entering into the room creating a virtual reality of freedom from the gloomy basement.
Language: More specifically relating language to design; language is the way something speaks with or within a concept. Design styles speak different languages to different cultures and locations. “During the years leading up to the First World War, the avant-garde interior became simpler and more geometric. This trend is already evident in Wright’s interiors, and can be observed in the work of designers in Britain and Austria. The Art Nouveua style never found favour in Britain, and was criticized by leading designers as there for its exoticism and femininity, (Massey 52).” The concept that Frank Lloyd Wright created within the Kaufmann Home was one that wasn’t always seen by Ms. Kaufmann. Designed by Wright was the Barrel Chair in which he and Mrs. Kaufmann were in disagreement on. This chair originally designed for the dining area was placed elsewhere in the house, Mrs. Kaufmann instead found Italian peasant chairs in which she preferred. Although Wright was not pleased, he did as his client preferred although it didn’t communicate with his design.
Synopsis: “Between Silence & Light,” is interwoven with each OPUS word for this week in its own individual way.
Craft: I feel that Silence & Light is related to this in the sense that when a designer creates something they what it to be able to illuminate itself and speak to the client.
Public: Private: Silence & Light can define Public and Private Spaces whether it is with a virtual concept or a more realistic one.
Technique: Different techniques and finishes exemplify different variations of light in which makes any silent design acquire a language of its own.
Looking at Monticello the lighting seems to almost provide a sense of direction and empowerment. Looking at both of the wings protruding from the sides of the main building the banisters capture the essence of natural light encasing and projecting it onto the wings guiding the observer into the main house. In approaching the main house, it casts a show upon itself giving a sense of empowerment. This sense of empowerment displays Monticello’s extravagance in the past and even in its future. As one enters the space the light effects do not stop at the door. In the Entrance Hall, the 18’ ceilings draw the eye straight into the shadows and light that pass through the space to once more, provide a sense of direction and passage. The shadows of natural light that were cast into the Entrance Hall were also partly due the overhangs from the second floor. This provides a dark atmosphere around the outer walls but the light that pierces through from the Parlor into the Entrance hall draws the guest into the next room. The skylights that are displayed in Monticello, such as the one present in Jefferson’s bedroom, take the natural light from the outside and project it into the house’s 18’ ceilings providing the sense of openness and freedom.
While taking what was just said about Monticello into consideration, the lighting exhibited by Falling Waters was showcased a little differently but continues to work in its advantage. This is part due to the fact that Thomas Jefferson built Monticello onto the land versus Frank Lloyd Right who built into the land. The majority of the shadows at Falling Water were cast onto the Kaufmann home. As the exterior of the home is observed one may notice the patterns of nature that are presented onto the different areas of the houses. The shadows that were cast from the house were cast back into the hillside of rocks once more providing a sense of how the building was built into the land rather that onto it. Looking at the front of the Kaufmann home, the different piers that protrude from it capture light, portraying it in an open and freeing sense; drawing the people who inhabit the space outside to interact with the nature. As stated many times, the hallways presented inside the house contains a low ceiling that makes the guest desire to move quicker to their designated location throughout the house.
Both of these houses exhibit light different but both encompass light projection that work well with each space. One would expect nothing less than this from such monumental houses in history. The lighting effects presented in both homes are ones that can be learned from and built upon in future designs.
Craft: Craft is the level of a special trade or skill that someone or something possesses. The craft level at Monticello was one that has been proven over the test of time. Looking at Monticello, the door from the Entrance Hall into the Parlor contains a mechanism that Thomas Jefferson put in place over 200 years ago that is still operating smoothly today. This design was considered the automatic door of its time. With this mechanism, as one door is closes the other door works in coherence closing at the same time. Jefferson’s craft continued to shine onto his design of Virginia capital. When it came to moderations of his craft he stated, “how is a taste in this beautiful art to be formed in our countrymen unless we avail ourselves of every occasion, when public buildings are erected, of presenting to the models of their study and imitation, (Roth 461).” Personally, I fell that this alone with his belief of the never-ending learning cycle contained in architecture is why he became known for his designs.
This detail of Falling Water exhibits the craft behind the usage of lighting placed in the rafters and shows how they are cohesive with the design of the house.
Public: Private: One commonality that the two share is designation. Public space is designated to affect a group as whole versus a private space in which is designated to affect a specific individual or grouping of people. Blake more stated this about “Public: Private” spaces within design in the 19th century, “The stratification of the interior was highly complex; spaces were designed for women, men, children, and servants. Rooms were designed for specialized activities within each area, (Blakemore 393).”At Monticello, Jefferson designed his estate with hidden quarters and passageways. Among these hidden quarters were the slave areas. It has been said that Jefferson having slaves was not his proudest achievement but with all of the people who inhabited Monticello on a normal basis, assistance was needed. With this being said it is not surprise that the slave quarters were hidden under ground, unable to be seen at eye with the main house, thus making these private quarters. In the main house the Entrance Hall, was considered a public place. It served as a small scale museum to guests and it was also the place uninvited visitors were allowed to enter.
Although all of the areas presented in my Trading Spaces project in Perception & Communication are designated as public spaces within the home, I choose to enclose the dining area while elevating the floor and pulling down the ceiling using acrylic to create a feeling if intimacy. The reasoning behind the use of acrylic is to play off of its clarity continuing to keep the room open.
Technique: A technique is the approach a designer applies to a design to produce a solid outcome. Looking to Monticello once more, the bricks used on the columned portico on the East Front were made of wood that has been blasted/coated with sand to make the wood appear like brick. The use of materials that were either present on the land or made on the land, made Monticello sustainable of its time. “New materials and building techniques were used to create a lighter, more spacious and functional environment the early modern designers hoped to change society for the better with the creation of a healthier and more democratic type of design for all, (Massey 63).” This statement is embodied by Frank Lloyd Wright’s Falling Water. This building was one that contained new methods of construction used to build into the land instead of onto it. The use of the cantilever method is the only reason Falling Water came into existence and still remains intact today. These techniques were considered revolutionary of their time, because it was different from the normal post and beam method.
The technique in placing a pediment above the window at Monticello was an example of how Jefferson always tried new techniques because he seen architecture along with his home as a never ending learning experience.
Virtual: Resulting or capturing the essence of something that is or will be in existence, something virtual does not necessarily contain size or shape. John Locke’s Essay Concerning Human Understanding, focuses on sensationalism, “This essay proposed that all human understanding came from experience acquired through sensation, rather than through received or inherent knowledge (Roth 459).” When creating a virtual atmosphere it must satisfy the sensations of the people who inhabit the space. Serving as an example of virtual is the vast amount of windows contained in Falling Waters. The amount of windows creates a virtual atmosphere of the outdoors indoors. Wright designed this space with the intention of it being virtual; after seeing the outdoors being presented indoors it begins to draw guests outdoors therefore bringing them into a virtual reality.
Contained in the image detail is a window that is in the basement wing at Monticello. Aside from the small amount of light entering into the room there are a few vibrant green leaves entering into the room creating a virtual reality of freedom from the gloomy basement.
Language: More specifically relating language to design; language is the way something speaks with or within a concept. Design styles speak different languages to different cultures and locations. “During the years leading up to the First World War, the avant-garde interior became simpler and more geometric. This trend is already evident in Wright’s interiors, and can be observed in the work of designers in Britain and Austria. The Art Nouveua style never found favour in Britain, and was criticized by leading designers as there for its exoticism and femininity, (Massey 52).” The concept that Frank Lloyd Wright created within the Kaufmann Home was one that wasn’t always seen by Ms. Kaufmann. Designed by Wright was the Barrel Chair in which he and Mrs. Kaufmann were in disagreement on. This chair originally designed for the dining area was placed elsewhere in the house, Mrs. Kaufmann instead found Italian peasant chairs in which she preferred. Although Wright was not pleased, he did as his client preferred although it didn’t communicate with his design.
Synopsis: “Between Silence & Light,” is interwoven with each OPUS word for this week in its own individual way.
Craft: I feel that Silence & Light is related to this in the sense that when a designer creates something they what it to be able to illuminate itself and speak to the client.
Public: Private: Silence & Light can define Public and Private Spaces whether it is with a virtual concept or a more realistic one.
Technique: Different techniques and finishes exemplify different variations of light in which makes any silent design acquire a language of its own.
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