Critical study in art and design by Deeptashree Saha

Deeptashree Saha

CRITICAL STUDY IN ART AND DESIGN

INTERIOR DESIGN TH

VII SEMESTER EDEXCEL - PEARSON ARCH ACADEMY OF DESIGN

DEEPTASHREE SAHA

UNIT - 6 Deeptashree Saha

CRITICAL STUDY IN ART AND DESIGN

FOREWORD

This book is intended to analyze critically design eras, movements, styles and techniques to develop, evaluate and improve the readerâ&#x20AC;&#x2122;s design sensibility. By looking at a work of art's symbolism, colours and materials we can learn about the culture that produces it. We will also be comparing artwork, which provides different perspectives, and gives the reader a well-rounded way of looking at events, situations, and people. By analysing artworks from the past and looking at their details, the reader can rewind time and experience what a time period different from our own was like. This document is basically the research work and selection of my inspiration to develop interior design of a residence with getting immense inspiration. The scenario is to study various art movements, in relation with interior design and draw inspiration to design a residence for a family residing in C 34 6D, Engineerâ&#x20AC;&#x2122;s Colony, Mansarovar,Jaipur; who have recently bought a new plot. The plot has a 40' road in the front and 20' road at the rear side. On both the sides it has 2 similar residences boundary walls. The family comprises of husband wife and their sons. The wife is an artist and wants the designer to design their residence while getting inspired with history of art and design culture. The sons are 19 and 21 years old respectively and are very particular about getting their bedroom designed. Client's requirements: a. Any wall on the ground ďŹ&#x201A;oor dining room should depict a design culture era of the learner's choice. b. The designer must prepare a concept for the residence designing with the same design culture era.

ACKNOWLEDGMENT

Ancient Greek Architecture

Contemporary Architecture

Islamic Architecture

References

Inference

Citation

THE ANCIENT GREEK ARCHITECTURE

THE ISLAMIC ARCHITECTURE

THE CONTEMPORARY ARCHITECTURE

Ancient Greek Architecture.

Islamic Architecture.

Contemporary Architecture.

Art Appreciation is the knowledge and understanding of the universal and timeless qualities that identify all great art. The more we appreciate and understand the art of different eras, movements, styles and techniques, the better we can develop, evaluate and improve our own artwork. By looking at a work of art's symbolism, colours and materials we can learn about the culture that produces it. We also can compare artwork, which provides different perspectives, and gives us a well-rounded way of looking at events, situations, and people. By analysing artworks from the past and looking at their details, we can rewind time and experience what a time period different from our own was like. Therefore, I am choosing The Ancient Greek Architectural Era, marking the dawn of architecture which inﬂuenced the civilization; The Islamic Architecture, marking the importance of aesthetics and ornamentation detailing in architecture; and lastly The Contemporary Architecture, marking the ultimate freedom and functionality in architecture without avoiding ornamentation. I do realize that understanding The Ancient Greek Architectural Era will give me the knowledge of how the highly civilized Greeks gave importance to mathematical preciseness to such great monuments. The Islamic Architecture, will provide me with understanding of structural ornamentation and surface ornamentation reﬂecting the religion’s beliefs. Whereas, The Contemporary Architecture will allow me to meet today’s demand in terms of design and will help me to offer designs that will

Ancient Greek Architecture

In the Aegan, during the prehistoric period there were two distinct architectural traditions which can be clearly seen in the domestic buildings of early Bronze Age. a. the typical houses were freestanding hut with just a single room. b. houses consisted of apparently random *1 and totally asymmetrical agglomeration of rooms. MEGARON PLAN. Few buildings in the age was monumental with the exception of those of citadel Troy which included large rectangular Troy, consisting of a room which was clearly a deep porch formed by prolonging the side walls : this so called Megaron plan was the basis of Greek Classical Architecture.

PLAN AT COURT LEVEL

PLAN (RESTORED) OF ENTRANCE SYSTEM

PALACE OF KNOSSOS 7

in the 2nd Millenium B.C there were important developments in the agglomerated buildings of Crete. An essential feature adopted from the near East and Egypt, was the arrangement of rooms round the courtyard, which might be totally enclosed. Most highlighting monumental building were the Palace of Knossos, the Palace at Tiryns, the Palace at Mycenae and the Palace at Pylos.

The Dark Age

The Classical A Period

t the heart of Greek Architecture were the classical “orders” - the types and styles of columns and the forms of structure and decoration that followed on from them. We know them as Doric ( as in the design of Parthenon ), Ionic and Coranthian, which developed one after the other. Each stemmed initially, from different parts of Greece : Ionic came initially from Ionian islands; Corinthian was a late development. The capitals of Greek columns were again representation of natural forms, as in ram horns of the Ionic or the stylized Acanthus leaves of the Corinthian. While Doric columns are serious and mascuine, Corinthian columns suggests delicacy and feminity.

Doric Order

he Doric column stands without a base directly on crepis ( or crepidoma), conventionally of three steps in temples, though other buildings, such as stoas, may have only one. Earliest columns are very slender, but later ones are excessively thick, with a height no more th than 4Xdiameter of the base. 5 Century. it was heightened by (5 ½ to 5 ¾) X diameters, while in Hellensic period the columns were over seven times diameter their height are known. 8

The circular shaft diminishing at top to between ¾ and ⅔ of the diameter at the base is usually divided into 20 shallow flutes or channels separated by sharp ‘arrises’, but sometimes there are 12,16,18 or as at Pastum 24. The shaft has normally a slightly convex profile called the entasis, to counteract the concave appearance produced by straight-side columns. The shaft terminates in the hypotrachelion*4 usually formed with 3 grooves; immediately*5 above, on the block which forms the capital is the continuation of the *6 fluted shaft known a trachelion or necking. The distinctive capital consists of abacus*7 *8 and echinus . Near the base of echnius are *9 annulets or horizontal fillets, from 3 - 5 in number, which stop the vertical lines of the arrises and flutes of the shaft. The form of echnius varies from date of the building a. In the earliest temples at paestum it projects considerably and is fuller in outline. b. mature examples the projection is less and outline is subtle. c. Hellensic Period : straight echnius. The Doric enblature has 3 main divisions 1. Architrave or principal beam, which in larger temples usually is made up of two or three slabs in the depth, the outermost showing a vertical face in one plane. Capping it is a flat projecting band called the taenia, under this at intervals called trigluphs are strips known as regulae, each with six guttae or small connical drop below it.

2. the Frieze, which is formed of triglyphs with two vertical channels at each glyphs and two half channels at each side (so triglyphs) alternating with metopes sometimes ornamented with ﬁne relief sculptures, as in the Parthenon. The

triglyph is alligned over each column and another centrally over each intercolumnation. At the angle of the temple, however two triglyphs with bevelled edges. It is a general rule that Doric friezes must end with a triglyphs, which may be moved outward from its proper position over the centre of the end column : to achieve this, the columns are brought closer together at the corners. 3. the cornice or geison, which is the upper or the crowning part. The sofﬁt or underside has an inclination approximately to the slope of the roof, and has ﬂat blocks ot mutules, which suggest the end of sloping rafters. A mutule occurs over each triglyph and each metope, and is usually ornamented with 18 guttae in 3 rows of 6 each. The vertical face or corona has a overhanging dip at the bottom.

Ionic Order

onic columns, including capital and base are usually between nine and ten times their lower diameter in height and have 24 ﬂutes separated by ﬂattened arrises. There are two different forms of the base principally that used in the Eastern Greek th area, and that developed in the 5 Century B.C. in Athens which eventually prevailed in the eastern form. *10

The capital has two pairs of volutes or spirals, about ⅔ the diameter in height, one pair on the front of the column, the other on the back, and joined at the sides by a concave cushion, sometimes plain but usually ornamented with numerous ﬂutes, ﬁllets and beads. The volute scrolls rests on an echnius, circular in plan, carved with an egg-and-dart*11 moulding and restin g on a bead moulding, usually with running pelmettes where it disappears under the volutes. Above the volute scrolls is a shallow abacus. The Ionic enblature passed through various stages of development. As evolved in the Eastern Greek era, it had two main parts : 10

architrave and cornice (supported by a frieze of large dentils). It was therefore, very light in relation to the columns, being as little as 1/6 of their height, though in some temples, such as the archiac temples of Artemis at Ephesus, it was increased by a high vertical faced ‘parapet’ sima, with carved decoration as for a frieze. Ionic Temples do not have anteﬁxae on the ﬂanks; instead, the sima or gutter moulding of the raking cornice is carried along the side cornice and is often ornamented with acanthus scroll. Carved lion heads at intervals serve to throw rainwater from the roof.

Coranthian Order

t made its first appearance in Greek architecture in the 5th Century B.C as a decorative variant of the ionic, the difference lying almost entirely in the column capital. It was first used only for internal colonnades or for fanciful monuments. Its use in the external colonnades was an Hellensic development. The distinctive capital is much deeper than the Ionic, and though of variable height at first, settled down to a proportion of about 1 to ⅓ diameter high. The perfect type has deep, inverted bell, the lower part of which grew surrounded by two tiers of eight acanthus leaves and from between the leaves of the upper row rises 8 stalk each surmounted by a calyx from which emerged volutes or helices supporting th angle of the abacus and central foliated ornaments. Each face of the moulded abacus is curved outwards to the corners, where it ends either in a point or is chamfered. Its enblature is not distinguishable from the developed ionic until later Hellensic period.

Greek architecture : reﬂection of society or reﬂection on society?

he Greek architecture is, unlike the Egyptian and Mesopotamian styles that preceeded it, both serious and light hearted. For the ﬁrst time we can look at buildings and see a sense of gaiety and humour. Earlier architecture never smiled. But then Greek society notably at its height in the 5th Century B.C, had begun to produce architects, mathematician, philosophers, artists and playwrights of the very highest order : it also produced wits and satarists. Beneath the temples there were shops, ofﬁces, workshops, and places to eat - but also the assembly halls, stadiums and gymnasiums and theatres that no Greek city worthy of the name lacked. The model Greek citizen was meant to be healthy in mind and body, a classical all-rounder.

Inﬂuence of Greek Architecture on architecture styles of its later.

Parthenon : the epic monumental evidence of Ancient Greek Architecture.

he main building on the Acropolis is the revived large temple of Athena, the Parthenon, started in 447 B.C. and completed in 436 B.C. The existing massive south foundation was reused, but the temple was made wider by extending it towards the centre of the Acropolis. The facade was now given 8 rather than 6 columns, while there were 17 along the ﬂanks as approved by the 5th Century ratio. The architects of the building were Ictnius and Callicrates. Phidias was the master sculptor, and may have been responsible for general supervision of the work on the Acropolis. The temple stands on the conventional 3 steps, below which the foundation platform originally created for its predecessor remained visible on the west, south and east sides of the building. Dimensions at the top step are 101’ X 228’. The steps with a height of 29” were too high to use, so intermediate steps were provided at the centre of each of the short sides. The cella consisted of two rooms end to *12 *13 end with hexastyle prostyle porches. Ÿ Eastern room was 98’ X63’, with internal Doric colonnades in 2 tiers structurally necessary to suport the roof timbers. Ÿ Inside the colonnades towards the end, there stood the gold and ivory statue of Athena Parthenos, the work of Phidia, fully armed with spear, helmet, aegis and sheild, accompanied by a snake holding in her extended right arm, a statue of victory. Ÿ The ceiling was of wood with painted and gilded decorations. Ÿ Light was allowed to enter, as normally in Greek temples through the doorway as the great doors were opened, but it is now known that there were also windows high in the walls on either sides of the doors. To the west, with its own porch, was a square chamber, the Parthenon or Virgin’s chambers a depositary for valuable offerings.

Ÿ Here the roof was probably supported by

a group of Ionic column. Ÿ The space between the antae

*14

and the porch columns, at either end, were closed by metal grillers.

LONGITUDINAL SECTIONAL VIEWOn the exterior, the Doric columns measure

6’-2” in dia and are 34’-3” high.

Ÿ approximately 5 ½ times the diameter. Ÿ the corner columns are slightly larger in

EAST SECTIONAL VIEW

Optical Reﬁnement of the Parthenon

dia, with their spacing reduced to make it possible for the frieze to conﬁrm to the rule that it must terminate with a triglyph. refer pg-8

he Parthenon is the best example in a Greek temple architecture of the practice of optical refinement. Apart from the entasis on the columns, the long, horizontal lines of such features as stylobates*15, architraves and cornices, which if straight in reality, would have appeared to the Greek eyes to sag or drop in the middle of their length, were formed slightly convex outlines. In the Parthenon, the stylobate has an upward curvature towards its centre of 2 ⅜” on the east and west ends, and of 4 ¼” on the sides. Vertical features were also inclined inwards towards towards the top to correct the appearance of falling outwards, thus the axes of the corner columns lean inwards 2 ¾” and the axes of the columns, if extended upwards, would meet at a distance of 1 ½ miles above the stylobate. The joints of the marble roof tiles above the *16 cornice were covered by carved antifixae , which formed an ornamental cresting along the sides of the building. There were gutters except over the pediments, with short returns along each side decorated with false (unpierced) lion’s head spouts. Below the colonnades, the coffered ceilings of marble, were supported on marble beams. The pediments had large floral *17 acroteria at the apex and lower angles. The sculptural decorations of the eastern pediment*18 represented the birth of Athena. 14

That of the western pediment one the contest of Athena and Poseidon for the patronage of Athens. The carved decorations were exceptionally lavish. All the metopes were decorated in deep relief, depicting scenes of combat. Ÿ Gods and Giants on the east facade Ÿ Greeks and Amazons on the west Ÿ Centaurs on the south Ÿ Battles of the Trojan war on the North All symbolises the success of Greek versus Persians. Though the porch architraves had the regulae and guttae, which normally occur under a Doric freize, the freize was infact continuing in Ionic style, in low relief. It's a masterpiece of design and depicts a procession, with the gods seated intheir homes an Mount Olympus.

Impact on Parthenon when Christianity took over it.

In the late 6 Century the Parthenon was converted into a Christian Church. Ÿ dedicated to Devine Wisdom, thus perpetuating an attribute of Athena. Ÿ An apse was formed at the eastern end, damaging the sculpture. Ÿ From about 1204, under the Frankish Dukes of Athens, it served as a Latin Church, until in 1458, it was converted by the Turkish conquerors into a mosque. During the seize of Athens by the Venetians in 1687 a powder store exploded causing considerable damage. Fortunately drawings have been made of the sculpture which survived before the explosion. The North colonnade was restored in 1921-9 but the use of steel reinforcements, which have rusted, and the general atmospheric pollution of modern Athens, have necessitated a new and massive conservation program.

PARTHENON PHOTOGRAPH TODAY

Architects of Parthenon : Ictinus a

Greek architect and chief designer of th Parthenon in the second half of the 5 Century B.C. He is known to have designed Telestian, the great hall of the Mysteries at Eleusis. Of what citizen he was is an unknown fact, but the importance of the building projects assigned to him in Athens makes it not unlikely that he was an Athenian. He seems to have been particularly interested in the development of interior space in Greek Architecture. Both Vitruvius and archeological evidences suggest that the distinctive features of Ictinusâ&#x20AC;&#x2122; design for the Telestrion at Eleusis, a project never completed,was to reduce greatly the interior supports so that there would have been unobstructed space tha ever before.

Architects of Parthenon : Callicratesb

Known from an inscription of 449 B.C (the year of the signing of peace with Persia) that the Senate Commissioned Callicrates to construct a temple of Athena Nike (also known as Wingless Victory) on the Athenian Acropolis. He designed the temple to be pentellic marble, small in size, and Ionic in order; it was to be built on bastion of the South Western corner of the Acropolis. He and Ictinus were the architects of the Parthenon, the largest Doric temple in Greek mainland. On the basis of stylistic similarity a small Ionic temple on the bank of the Ilissos River, in Athens was attributed to him. his other works : Doric temple of Apollo, island of Dellos; Hephaesteum, the temple of Poseidon at Sunion; the temple of Ares at Archarnae.

Sculptor of Parthenon : Phidiusc

He was an Athenian sculptor, the son of Charmides, and is generally acknowledged as the greatest ancient Greek sculptor of th th Classical style of the 5 to 4 Century B.C. He lived around 490 - 430 B.C. He gained most of his fame foe his two enormous chryselephantine (gold and ivory) sculptures: Athena in Parthenon and Zeus at Olympia. Phidias is known to have been closely connected with Pericles.

Islamic Architecture 20

Islam and its T Predecessors

his part is concerned with an architectural continuity that ran parallel to the history of western nd architecture from the 2 Century B.C. The eastern movement of Greek and then Roman Classical architecture merged with locally generated styles : Ÿ Archimendian - ﬁrst Persian Empire Ÿ Parthian - was a major Iranium political and culrture power in ancient Iran and Iraq. Ÿ Sassanian - Neo-Persian Empire Ÿ peripheral eastern variants of Hellensic styles.

No architectural styles other than Muslim, is designated by concordance with a religion. Within Islam, however, variations in styles is distinctive : so much so that to the scholars the common pattern is blurred to the extent that they deny that there is any such thing as Islamic architecture. These varied styles have evolved around tribal or dynastic foci by which they are known. Muslim architecture may be seen as one great product of two streams of development of the Mediterranean and the South Central Asia. The coalescence took over a period from about 3000 BC. to 800 AD. with a melding of inﬂuences spread over a very longer period. Initially there were two different traditions : Ÿ Mediterranean - Greek architecture

rose Ÿ Archimedean - Palace at Parsepolis The fusion of Greek architecture (credits to Alexander) was as inevitable as it was deliberate but the sheer weight of local population determined the ultimate subfusion and integration of cities of Seleucid and Ptolemanic foundation in the begining of later empires. The most impressive architectural monuments of this injection of Classical Design in the East it's the palatia Core of a desert city at Hatra, now in Iraq, but the passing and inﬂuence of these extreme eastward penetration of Greek culture are still to be found in Inscription, and works of art, such as the 21

kingdoms at the Gandhara in Northern India. The incursions of the Seleucids halted an evolution of native styles for some hundreds of years and it is not until the time of Christ that strong local traditions reemerged on about Iranian plateau. Parthian dynasty focused on nationalism which allowed east again to comfront the west military with thrust and counter thrust across Asia Minor succeeded by Roman incursions into Mesopotamia and Persia. Some lasting works were built by Roman prisoners who brought their skills of masonry and engineering to the bridges and perhaps to the early domes of their Parthian captors. The early churches were however had a major inﬂuence on these pre-muslim centuries. Islam means literally submission. The architectural consequences of this keystone of Muslim philosophy was the natural acceptance of building appropriate to the circumstance of the new building. appropriate to the circumstances of the new religion.

Architectural character

he countries into which Islam ﬁrst expanded were rich in building tradition. Brick-making and modeling in mud-brick were almost universal in the alluvial plains. In the stone-bearing areas the arts of the selecting and quarrying stone were well established. Marble was generally available as an article of trade if nor available locally. Lime and gypsum for mortars were usually easily procurable. Decorative marble slabs and grilles, plate tracery and mosaics were common place. Masonry. Most masonry structures were in arched, vaulted or domed forms, however continuing the Roman and Byzantine building forms. Ÿ True voussoirs were used in curved shape. Ÿ Interlocking voussoirs guarded against earthquakes. 22

Glass. a Glass manufacture was sufficiently advanced to provide window glass and there was a long history of ceramic production. Bas-reliefb Cement, plasters and stucco were used for bas-relief carving, and the highly decorative muqarnas techniques employed in domes, vaults and arches. Mosaicsc Coloured external surface was first achieved with mosaic but the developing skills of mediaeval potters solved the problems of producing brilliant colour in glazed earthenware, which was used first in small areas as inlay. In the earlier period complex patterning was achieved by making or cutting to the necessary shapes tiles of a single colour. Coloured tilesc Timurid architects employed tiles fired at temperature to suit individual colour.

Tiles and method of ﬁringc th In the 15 Century a method of ﬁring was developed which enabled tiles of regular size to be produced bearing the painted pattern. This change allowed much larger surfaces to be covered and the intricacie of the pattern-making became the preview of the potter rather than the tile cutter and mosaicist. Metals Lead-working, bronze-casting and the use of iron were all well established technique. Dome, roofs and steeples were often weathered in lead and iron was widely used in tie-bars, grillers and cramps. Timber The skills and techniques for wood working and timber engineering were used from the earliest period for roof construction including the earliest domes. Timber components such as doors, windows, 23

fittings and furniture were built in interlocking geometric assemblies of rare timbers, mother-of-pearl, metals, ivory and various stones. At a simpler level flat timber roofs were extremely common and timber framing was used extremely in walling and the construction of upper floors. No history of Muslim building can overlook the extensive use of un-baked bricks and the other forms of earth construction. Lime and gypsum used to stabilize earth brick. Fire bricks used in conjunction to achieve ribs and groined domes and vaulting. Taken as a whole, the architecture of Islam must be seen primarily as a matter of arcuate masonry construction in which its artisans achieved the highest levels of finish and invention. The reason being the prevalence of earthquake across much of the centre of the Muslim world gave particular importance to the inventive skills of masons and resulted in the employment of specialized structural techniques. The construction techniques used were to meet climatic conditions, while usually simple, contributed significantly to the character of the buildings. From the use of small window openings in thick walls to the sophisticated window scoops refer to the left used to carry air into the interiors, the technical mastery of climate in the hot climate and arid Middle East, was a notable achievements in construction terms. The less crucial was the use of cusping and guarding colonnettes or nook shafts. By 11th Century, Islamic muqarnas or stalactile corbel become established. The absence of figurative design in Islamic imagery has given rise to much misunderstanding and not a little debate. Early Islam was rivalry with the early Christian churches when iconoclasm was at its height, and the techniques of the church affected the attitudes of early converts to Islam. Consequently calligraphy and pattern-making took the place of figures. It is typical of Islamic building that there is no attempt to collect 25

numeros spaces and volumes within one great envelope, whose facade then describes as single mass. Each component stands out of a sequence of linked structures. The coordination and articulation of the individual component together supply the prime discipline. Among the notable outwardly characteristic features of Muslim architecture are the: Ÿ pointed arch Ÿ horse-shoe arch, in which the lower segment carried below the normal springing point.

Architectural elements

Vaultsa : It is an architectural term for an arched form used to provide a space with a ceiling or roof. Thicker wall is used to ease of barrel or continuation vaults. Squinchb : Developed in the 5th Century AD. in the Persian empire. Fixed in the angle of two walls, rather like a shallow’s nest in a corner of a courtyard, it provides on its top outer edge a support for the dome. Four squinches one at each corner, effectively turn a square into an octagon - a shape on which it is possible to construct a dome. The squinch has to be achieved by building a short bridge across each corner of a square structure, either by a system of corbelling (with projecting course of stone or brick) or by constructing a small arch. Archesc : Arch in architecture and civil engineering, curved member that is used to span on opening and to support loads from above. The arch formes the basis of evolution of vault. Arches have several great advantages over horizontal beams or lintels : can span much wider opening, and, can carry much greater load. Domesd : Dome in architecture, hemispherical structure evolved from the arch, usually forming a ceiling or roof. They ﬁrst appeared as solid mounds and in techniques adaptable only to the smallest buildings, such as round huts and round tombs in the Middle East, India and Mediterranean. 26

Voussoirs : A wedge shaped tapered stone used to construct an arch. Talar : It is an architectural term given to the throne of the Persian monarchs which is carved on rock-cut tombs. Iwana : It is a rectangular hall or space, usually vaulted, walled on 3-sides, with one end entirely open. Blind arcadeb : It is an arcade that is composed of a series of arches that has no actual openings and that is applied to the surface of a wall as a decorative element. The arches are not windows but masonry faces. They do not act as load bearing function but serve only aesthetics.

a&e

Dados : The lower part of the wall of a room, below about waist height, when decorated differently from upper part.

Spandrelc : The almost triangular space between one side of the outer curve of an arch, a wall, and the ceiling or framework. The space between the shoulders of adjoining arches and ceiling and moulding above. String coursed : A raised horizontal band or course of bricks on a building. Cresting : An ornamental decoration at the ridge of a roof or top of a wall.

Muquarnase : The muquarnas are a form of architectural ornamented vaulting, the â&#x20AC;&#x153;geometric subdivision of a squinch or cupola or corbel into a large number of miniature squinches, producing a sort of cellular structure.

Buttressa : Any external prop or support built to steady a structure by opposing its outward thrusts, especially a projecting support built into or against the outside of a masonry wall.

Filigree: Ornamental work, formerly made with grains or beads. Today it is fine wire of gold, silver or copper. Ashlar : Is finely dressed masonry, either an individual stone that has been worked until squared or masonry built of such stone. Rosette bordersb : A rosette is a round stylized flower design.

Barrel-vaultedc : It is a ceiling or roof consisting of a series of semi-cylindrical arches. Arcade : A series of Arch. Stalactile capitald : Also called honey-comb work. Consists of a series of little nisches, bracketed out on above the other, or of projecting prismatic forms in rows and tiers c that the connected at their upper endsby miniature squinches and arches. Inlaid : A layer of ﬁne material inserted in something else.

Shah-iZindeh, Samarkand

n extraordinary palimpsest of the architectural styles of Central Asia survives in the burial ground, Shah-iZindeh (lit. “the Living King”), on the South side of the Afrasiyab hill in the city of Samarkand. A cousin of the Prophet had been buried there on a low hilltop and a shrine at his tomb may have survived Genghis Khan’s destruction in 1220. Restorations date from the late 13th and 14th Centuries. The area, which by that time had become a necropolis was enhanced continuously by the internment of Timurid nobles from the late 14th Century to mid 15th Century, at which point Sultan Ulughbeg built a gateway selectively sealing it off. The necropolis was crowded with tombs, of which over 20 major monuments survive with variations of the contour and ﬁnish. The focal point of the complex is the shrine of Qusam b. Abbas, a prophet of Muhammad, who was reportedly beheaded on a site near Samarkand’s wall. ascending from the souther slope of the Afrasiyab hill, the Shah-i-Zinda complex consists of a narrow 200 meter alley or corridoor, lined with some 40 funery buildings, nearly half of which was revealed in excavations. The standing monuments can be grouped in three clusters, marked by a succession of three chahar taqs (domed crossings). Tall ribbed domes on high drums, ceramic mosaic facings and bold use of patterned brickwork, beautiﬁed the Shah-i-Zindeh, Samarkand. The typical double dome on cube mausolem has shallow iwan at its arched portal (pishtaq) oriented towards the corridor. Below the tomb chamber is the crypt (sardab), where the actual grave is located. While the portals facing the corridor are clad in elaborate tile decoration, the other sides are left plain or enlivened with simple geometric designs in brick. A typical interior is adorned with tiles mosaic or carved and painted plaster. The ensemble is accessed through a high

iwan, decorated with banna’i brickwork, which together with two flanking halls formed the monumental gatehouse (dargah) of the complex. Known as the Dargah Abd al-Aziz, this gateway takes its name from Ulugh Beq’s son, Abd alAziz, according to the remains of an inscriptive band running inside the arched recess of the portal. Passing the entrance door, the visitor enters a cruciform vestibule (the first chahar taq). To the west is the remnant of the original flanking halls, which once consisted of a central domed space with two rectangular bays, and now serves as a museum. To the east is a madrasa built in the early nineteenth century. Some 20 metres beyond the gateway, a set of steep stairs ascends the hill. Originally, this sequence featured a series of terraces, built at the same time as the gateway in a campaign to provide a ceremonial entry to the ensemble. To the west of the stairs stands the twin-

domed Anonymus Mausoleum III, formerly known as Qazizadeh Rumi Mausoleum (1425), whose shimmering turquoise domes rise in high drums decorated with hezarbaf inscriptions. The stairs lead up to the second dome crossing (chahar taq), then to a cluster of well-preserved mausoleums with high portals shading the corridor. To the west are the Amir Zadeh Mausoleum (1386) and the Shad-I-Mulk Aqa Mauseleum (1371-83), and to the east are the Tughluq Tekin Mausoleum (1376) and the Sherin Beq Agha Mausoleum (138586), followed by the Octagonal Mausoleum. While the ﬁrst three are covered with ribbed domes that have lost their tile revetment, the bulbous dome of the Shirin Beg Agha on its high drum still boasts its tile decoration. The rest of the alley that leads to the last chahar taq (and the shrine of Qusam) is lined with mausoleums that came to light via excavations and were recently reconstructed. Of the tomb chambers

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located at the core of the alley, only two of the western side have survived in part: the ďŹ rst is the Anonymous Mausoleum II (c.1385), of which only the elevation is original. The third cluster of buildings is grouped around the sanctuary of Qusam. The ďŹ rst building to the east is the Amir Burunduq Mausoleum (attributed to a general Timur), built on the northeastern corner of the eleventh-century madrasa. Below the chahar taq to the east is an elaborate carved wooden door, dated to 1404-05 and signed by Seyyed Yusuf Shirazi, which opens to the shrine complex of Qusam. The most striking aspect of the Shah-iZinda is its exquisite tilework. The decorative programs of the funerary buildings display a wide range of motifs, materials and techniques. While the earlier tombs are decorated with cuerda seca, or monochromed unglazed covering, the later mausoleums are clad in polychrome glazed revetment. As a funerary complex the Shah-i-Zinda features a rich epigraphic program. The portals feature several inscription bands, Koranic in the main but which also include sayings and poems in Persian. The inscriptions also gives the names of the patrons and the craftsmen. Inscribed in the World Heritage list, the Shah-i-Zinda complex has been continuously excavated, studied and reconstructed since the 1920s. The surrounding areas of the necropolis are still used for burials.

DETAILS OF SHAH-I-ZINDA

SHAH-I-ZINDA

33 SHAH-I-ZINDA

SHAH-I-ZINDA

Contemporary

Ÿ It means living or occurring at the same

What is Contemporary? Notion of O contemporary architecture.

time. Ÿ Belonging to or occurring in the same time.

ne may think that contemporary architecture would be all futuristic and doing something different, but frankly it is not. Instead there are four main ideas that contemporary architecture and dealing with: Ÿ the re-use of old buildings to make sure something new. Ÿ Organic architecture that ttries to blend with the environment by being more curvy and sometimes incorporating plants into the structural design. Ÿ Deconstructivism Ÿ CAD

Modern Vs. Contemporary

ontemporary architects create designs that embody all the differences in styles, making the modern times masterpieces. Cutting away from Modern architectural designs of the late twentieth century, today’s architecture feature eco-freindly, whimsy and creativity. Because todays architecture styles are numerous, it is difficult to come up with a formal or precise definition of contemporary architecture. Contemporary architecture take into account stark, clean lines and utilitarism of Modern Architecture and seek to design more buildings. New architecture makes use of oversized windows to invite an abundance of natural light and large open spaces, providing a sense of airiness. The buildings’ frames veer from symmetry, often being given unique shapes. It focus on eco-freindly designs that are energy efficient and improved outdoor air quality. Natural materials are being used inside today’s edifices, and blending buildings with natural surroundings or re-purposing existing buildings are also common themes. The use of concrete can no longer be classified as Brutalism. Architects have

36 37

raised the value of reinforced concrete in contemporary structural design. Ÿ It can be shaped in almost any imaginable to make authentically pleasing buildings, and its economical. Ÿ Once its reinforced with steel it can be erected in ways other building materials can’t Ÿ Concrete can be mixed with recycled materials, such as broken glass to give it texture and sparkle, it can also be pigmented for subtle or vibrant colours.

One of the ﬁne example of today’s architecture is the new Musee de Quai Branly a & b in Paris. Designed by Jean Nouvel, the museum rests beside the Eiffel Tower and features mismatched buildings (Asian, African and Oceanic art). Its refreshing sight nestled in a beautiful exotic garden on the Seine River. A glass wall is erected to separate the garden from the trafﬁc on the other side, and one building is wallpapered in plants. The masterpiece breaks Parisian rules, just as all Contemporary architecture seem to do.

Styles under Contemporary Architecture

Blobitecture Critical Regionalism Computer-aided Design Conceptual architecture Deconstructivism Industrial Chic New Classical Architecture Post-modern Architecture

Blobitecture image on the right

he architect Greg Lunn coined the term “blobitecture based on the software that created Binary Large Objects. Also known as blobism. It is postmodern architectural style characterized by curved and rounded building shapes. It appears to have an organic form that is soft and free-flowing, yet comes together to produce complex whole. It is one of the most influential branch of architecture in the last 15 years. The designs of buildings has historically been limited by performance of materials found in nature or easily manufactured from available materials. With the modern capability of technology to supply entirely artificial building substances, with unique performance characteristics the range of possible design forms has grown considerably. In 1990s, the widespread adoption of CAD facilitated the building adopting unconventional building shapes, free of right angles, became practical. One of its patrons is San Kapickly.

Critical Regionalism

ritical regionalism is an approach to architecture that strives to counter the placelesness and lack of identity of the International Style, but also rejects the whimsical individualism and ornamentation of Postmodern architecture. The styling of critical regionalism seek to provide an architecture rooted in modern tradition, but tied to geographic and cultural context. It is not regionalism in the sense of vernacular architecture, but a progressive approach to design that seeks to meditate between the global and local languages of architecture. It adopts modern architecture, critically, for its universal progressive qualities but at the same time values the geographical context of the building, emphasizing; topography, climate, light, tectonic movement.

Eden Project, Cornwall

Computer Aided Designa

lso known as CAD. It is the use of computer systems to aid in the creation, modiﬁcation, analysis or optimization of design. It is used to increase productivity of a designer, improve the quality of design, improve communication through documentation and to create database for manufacturing. CAD output is often in the form of electronic ﬁles for print, machining, or other manufacturing operations.

CAD Drawing of a stool

Conceptual Archiectureb

t is a form of architecture that utilises conceptualism, characterized by introduction of ideas or concepts from outside of architecture often as means of expanding the discipline of architecture. I is necessary to exercise to take ideas into th realm of the unreal, later to br refined to produce new tangible results. Beko Master Plan - Zaha Hadid The new complex will include residential component, retail and commercial spaces, a large conventional facility and a five-star boutique hotel, situated next to the historical Kalmegdan castle wall. The language connects the individual elements of masterplan in a way which maintains their uniqueness and creates the feel of a free-flowing urban layer that integrates into architecture. Private and public spaces overlaps one another as structures blends into landscapes, creating a series of dynamic environments in a continumm of structure.At the ground level ‘a pinch’ in the built edifice brings it down into ground, opening a large exterior green courtyard for the flow of civic traffic

Beko Master Plan - Zaha Hadid b

Deconstructivism

Industrial Chic

t is a development of post-modern architecture that began in the late 1980s and early 1990s. It is spread headed by ideas of fragmentation and a tendency to look like crystals. The style uses nonrectilinear shapes (usually triabgles) which serve to distort the shape of the structure and create jutting sections for extra space. The finished visual look is chaotic and unpredictable, but allow for extra space in ways not previously thought of. It was major theoretrical theme during the 1982 Parc de la Vilette architectural design competition. Deconstructivism was initially considered an extension of interest in radical formalism. The attempt in deconstructivism throughout is to move architecture away from what its practitioners see as the constricting ‘rules’ of modernism such as ‘form follows function’. Refers to an aesthetic trend in Interior Design that takes clues from old factories and industrial spaces that in recent years have been converted to lofts and living spaces. Components included are weathered wood, building systems, exposed bricks, Industrial lighting fixtures, concrete and use of unexpected materials used in building - shipping containers are now being used in architecture for homes and commercial spaces. Aesthetic became popular in the late 2000s and remained popular in 2010s. Its about proudly displaying the building materials that many try to conceal. Its about adding a raw, unfinished look to the most thoughtfully designed homes. Its about selecting pieces that are as much about function as style. Uses natural tones, utilitarian objects and wood and metal surfaces. The result is a “warehouse look” that combines a true industrial feel with a range of other styles, from the earthy to the polished. this look is not just unfinished spaces. Infact, many design enthusiast who celebrate upscale interiors are incorporating industrial style into their homes through features such as stainless steel surfaces, metal light fixtures and vintage furniture

Deconstructivism by Frank Gehry 46

Neoclassicalism

his is architecture that looks back to a classical past. The roots of Classicalism are in ancient Greeks and Roman architecture - in the temple architecture of ancient Greece and the religious, military and civic architecture of Roman Empire. The style comprises of a range of conventional forms, notably columns (known as orders) each with ﬁxed proportions and ornaments (especially Doric, Ionic and Corinthian). Proportion, Symmetry and relationship of individual parts to the whole also characterise classicalism. The style is characterized by severity of appearance and solidity, with orders being used in structural rather thn decorative manner. Characteristic : Ÿ Use of orders Ÿ Proportion Ÿ Symmetry Ÿ Repetition nof elements such as windows Ÿ References of Classical architecture Ÿ Triangular pediment Ÿ Domed roof Romanticization of simple forms and Classical orders of architecture spread to American colonies. We may ﬁnd Neo-clssical ideas in these historic house styles: Ÿ Greek Revival : These stately pillared

homes became popular in US during the 1800s. Ÿ Federalist : A Federalist building does not always have imposing pillars, but its symmetry and decorative details are classically inspired. Ÿ Antebellum Architecture : Stately plantation homes built before America’s Civil War were often inspired by classical architecture. Ÿ Beaux Arts Architecture : In the late 1800s to 1900s,ancient Greek and Roman ideas were combined with balustrades, balconies and decortions.

Soni building by Phillip Johnson

Postmodern Architecture

Postmodern architecture can be called a “modern take on traditional methods”. It means using the traditional material in nontraditional manner. Started in 1950s and became popular in 1970s. It was cited as return of wit ornamentation. Soon modern architecture started being described as black and white, which meant it had became stereotype, rigid, monotonous and not open to experimentation. Although postmodern architecture emerged from the modern form, it goes against the very core of modernism. It uses the same forms, and shapes, but displays them differently. Stylistic characteristic. Ÿ Sculptural forms : Manu buildings now have sculptural forms or even plastic adorning its exteriors and interiors. This adds to the beauty and uniqueness of the building. Ÿ Ornaments : As compared to the modern architectural era, where decorations are considered to be unnecessary, postmodernism makes use of ornaments to the fullest. The buildings are no longer bare and minimal, but are adorned up to their visual appear. Ÿ Trompe-l’oeil: It means 2-D object look like its 3-D. Hence, there appears to be more space than is actually present. This gives the illusion of the building being bigger. Ÿ Context : Although postmodern architecture does emphasize on the appearance of the buildings, it does not waver from its original context. Ÿ Symmetrical Facade : This means that the front of the building its facade, its symmetrical. the corners are tightlu packed, and the windows are in the line of the walls. This feature of the postmodern architectural era can be seen on the Hood Museum of Art. Ÿ Anthropomorphism : This is the concept of giving a structure human quality. For example making pillars shaped like people.

The Mango Tree House by Ujjval Panchal and Kinny Soni Architects : Ujjval Panchal and Kinny Soni Location : Bhopal, Madhya Pradesh 462001, India. Project year : 2015 Photographs : Dhrupad Shukla

house. Experiencing of being under the large foliage of mango trees was the inspiration for the designer. They intended to create a private living spaces without compromising the feeling of being under the foliage of mango trees. This house plan is conceived as a solid wall envelope from outside giving privacy to the house. Inside this envelope all the spaces are designed as pavilions facing trees, where inside becomes outside and vice-versa. Large glasses are used as transparent walls to enclose spaces, without compromising experience of being under the trees. Tall openings, flat ceilings and continuous floor levels further blur the boundaries of inside and outside. Various passages, staircases and terraces at different floor levels create new vistas and interesting movements around the mango trees.

The Mango Tree House, is a private residence of Mr. Jain in Bhopal, India. As the name suggests, this house is built around several large 50 years old mango trees. The house consists of two major blocks connected through passages : block one accomodates private areas such as living room, bedrooms, kitchen and dining; block two accomodates formal seating, guest rooms, studio, gym and swimming pool.

For each material selection emphasis was again given to enhance the experience of being connected to the landscape. Cotton white walls and ceilings, uniform granite stone ﬂooring prolong the experience to being close to outside. Wooden ceilings of the upper spaces merge with the tree foliage. Careful selection of low wooden furniture does not interrupt openness of the plan, yet create cozy living spaces. Interior and exterior lighting design emphasized the Mango trees were the most important continuity of spaces towards trees. Lighting elements of this site when the designers controls are programmed to create delightful transitions through different times started thinking about designing this of a day.

Plan of First Floor

Plan of Ground Floor

Plan of Second Floor 52

Front elevation

Back elevation

The Mango Tree House by Ujjval Panchal and Kinny Soni

The Mango Tree House by Ujjval Panchal and Kinny Soni 54

The Mango Tree House by Ujjval Panchal and Kinny Soni 56

The Mango Tree House by Ujjval Panchal and Kinny Soni

The Mango Tree House by Ujjval Panchal and Kinny Soni 57

The Mango Tree House by Ujjval Panchal and Kinny Soni 58

The Mango Tree House by Ujjval Panchal and Kinny Soni 60

The Mango Tree House by Ujjval Panchal and Kinny Soni

The Mango Tree House by Ujjval Panchal and Kinny Soni 61

The Mango Tree House by Ujjval Panchal and Kinny Soni

The Mango Tree House by Ujjval Panchal and Kinny Soni 62

The Mango Tree House by Ujjval Panchal and Kinny Soni 64

INFERENCE

As an end note I would like to state “Critical Studies in Art and Design” was a successful journey to me. When building this book I researched thoroughly three iconic design eras, or we may say revolutionary eras in art and design, and have developed a sense and taste for each one of them. When I was assigned with the unit “Critical Studies in Art and Design”, I was keen to travel the timeline of design evolution, the journey of Art and Design for which we get the most refined form of design in this Contemporary time. If we look at Contemporary Design, many of its style talks about revival of Classicalism, hence drawing its inspiration back from Ancient Greek architecture. I would not be accused, if I state that ancient Greek architecture was the first of the civilized and discipline form of architecture. They constructed these massive stone monumental buildings in spite of having technological constraints. Their eye for perfection and balance has inspired each of the Design eras in the timeline and still inspires us, though we have moved to Deconstructivism today. The Greek empire was taken over by the Islamic empire, has marked its presence since then to today. Islamic architecture had only one principle, anti-iconoclasm. In order to place this principle they developed tons of Architectural character and elements with heavy ornamentation to break the iconoclasm character of each element in its architecture. The reflection of this concept in a refined form is what we see in contemporary architectural style, Post-modernism for which it refused the notion of Modernism stating that “modernism was black and white”. The geometric patterns, its architectural elements are still reflected in contemporary architecture, for its vernacularism; and the ability to mould itself into any era given the fact they are antiiconoclasm. As we see, contemporary architectural style is what we may say is the summary of the art and design evolution. It is the statement of simplicity, with witful ornamentation which to the viewer's eye seem to be no ornamentation, for the given fact the ornamentation justifies itself. Therefore to me contemporary architecture commoves me most out of the three arts and design eras I have stated in this document. I am looking forward to commute my vision of contemporary architecture to the resident of Mr. Saini, which would justify his roots to Rajasthan with vernacular design and the resident could have a statement, justifying his occupation into construction.

References *1

pg-4

Agglomeration

pg-7

Rubble footing

a mass of collection of things; assemblage

pg-7

Wattle

a type of foundation that uses loose stone or rubble to minimise the use of concrete and impove drainage.

pg-8

Hypotrachelion

Wattle is a composite building material used for making walls in which a woven lattice of wooden strips called wattle is daubed with a sticky material usually made of some combination of wet soil, clay, sand, animal dung and straw. this technique is becoming popular as low impact sustainable building technique.

The Classical architecture, a number of part between the capital proper and shaft of an order, meaning literally ‘be low neck’. Its exact meaning varies through the Order used. In te Greek Doric Order it meant the horizontal grooves, reeds, or ﬁllets encircling the column above with ﬂutes, terminating in the annulets under the echnius being the trahelion (um).

References *5

pg-8

Capital

pg-8

Trachelion

capital in architecture, is the crowning pg-8 mmber of a column, pier, anta, pilaster or Echnius other columnar form, providing a structural support for the pg-8 horizontal member (enblature) or arch Annulets above.

the convex moulding supporting the abacus of Doric capital.

a small ﬁllet or band of encircling a column.

*10

a spiral scroll characteristic of Ionic capitals and also used in Corianthian capital and composite capitals.

the neck of Doric Order column between the hypotrachelion grooves Volute around the top of the shaft and the annulets under echnius.

pg-9

is an ornamental device, consisting of pg-9 closely set, alternative is a flat slab forming Egg-and-Dart series of oval and the uppermost member painted forms. or division of the capital of a column, above the bell. Its chief function is to provide a large supporting surface, tending to be wider than the capital, to six column portico receive the weight of pg-12 the arch or the architecture above. the Hexastyle shape of abacus and its edge profile varies in different classical is an architectectural orders. In the Greek term to define free pg-12 Ionic order, the abacus standing columns is rectangular in plan, Prostyle (maximum four) at the owing to the greater front of a building, as width of the capital and often in a portico. consists of a carved ovolo moulding.

*11

pg-8

Abacus

*12 *13

References *14

pg-13

Antae (in - antis)

an anta (pl. antae) is an architectural term pg-13 describing the posts or the pillars on either Stylobates(n) side of a doorway on the entrances of a Greek temple - the pg-13 slightly projecting piers which terminate antiﬁxae(plural) the walls at the naos. In contrast to the pillars they are directly connected with the walls of a temple. They were load bearing structures to carry the pg-13 roof timbers, as no Acroteria reliance could be placed on walls built with unburnt bricks or in rubble masonry with clay and mortar.

*15

a continuous base supporting a row of columns.

*16

an upright ornament at the eaves of tiled roof, to conceal the foot of a row of convex tiles that cover the joints of a ﬂat tile. An ornament above the top moulding of a cornice.

*17

made of terracotta. It is an architectural ornament placed on a ﬂat base called the acroteroplinth and mounted at the apex of the pediment of a building in Classical Style..

*18

a triangular area on the face of a building below the roof, above the entrance.

pg-13

Pediment

Citation PAGE 1 : a.https://images.megapixl.com/1973/19730786.jpg b. https://s-media-cache-ak0.pinimg.com/originals/13/75/0d/13750d3c36c0e58fe31df724bd1f801a.jpg c.https://s-media-cache-ak0.pinimg.com/originals/f4/6f/d5/f46fd5b2825934a48495d3e4a98dcbff.jpg Page 5: Prehistoric Architecture: “A history of architecture (Twentieth edition) by Dan Crivickshank. Page 6: The Dark Age: “A history of architecture (Twentieth edition) by Dan Crivickshank. The Classical Period : Ÿ The story of Architecture - Jonathan Glancey Ÿ “A history of architecture (Twentieth edition) by Dan Crivickshank. Page 11: Greek architecture : reflection of society or reflection on society : The story of Architecture - Jonathan Glancey Influence of Greek Architecture on architecture styles of its later : ancient.eu/Greek_Architecture Page 12: Influence of Greek Architecture on architecture styles of its later : “A history of architecture (Twentieth edition) by Dan Crivickshank. Page 16: Architects of Parthenon - Ictinus : encyclopedia.com Architects of Parthenon - Callicrates : britannica.com Sculptor of Parthenon - Phidius : ancientgreece.com Page 20 - 30 : “A history of architecture (Twentieth edition) by Dan Crivickshank. Page 37 : what is contemporary? : google.com Page 37 : Notion of Contemporary Architecture : arthistory.com - Charles Moffat Page 37 : Modern Vs. Contemporary : blog.art.com/artwiki/n/contemporary-architecture/ Page 39 : Styles Under Contemporary Architecture : en. wikipedia.org/wiki/contemporary-architecture Page 40 : Blobitecture : designbuildings.co.uk/wiki/blobitecture Page 40 : Critical Regionalism: en.wikipedia.org/wiki/critical_regionalism Page 42 : Computer Aided Design : en.wikipedia.org/wiki/Computer_aided_design Beko Master Plan - Zaha Hadid : designboom.com/architecture/zaha-hadid-beko-masterplan-in-belgrade Page 44 : Deconstructivism : en.wikipedia.org/wiki/Deconstructivism Page 44 : Industrial Chic : en.wikipedia.org/wiki/Industrial_style Page 46 : Neo-classicalism : www.architecture.com/Explore/ArchitectureStyles/Classical.aspx Page 48: Postmodernism : www.buzzle.com/articles/stylistic-characteristics-of-postmodern-architecture.html Page 50 : The Mango Tree House by Ujjval Panchal and Kinny Soni : www.archdaily.com/783597/the-mango-tree-house

DEEPTASHREE SAHA TH

INTERIOR DESIGN - VII SEMESTER