Reading Three – Baroque Architecture

Reading Three – Baroque Architecture Raggatt, H. & Macarthur, J. 2001. Australian Baroque. Architecture Australia 90(2): 49-62

I found this reading of Australian Baroque interesting in how the National Museum of Australia has been developed over a strenuous and eclectic thought pattern. Upon first glance, I did not see clearly how the notion of Baroque medium was apparent within the NMA. I found it quite a bold statement to categorize it under Baroque. Raggatt’s design is very eclectic in an intertextual manner; linking it to various landmark designs famous worldwide. These include Libeskind’s Hallocaust Museum, Sydney Opera House and the TWA Terminal at JFK airport, New York as well as elements from Le Corbusier, Walter Burley Griffin, Eero Saarinen and James Stirling. As I read this reading, it started to annoy me that such a Landmark place in Australia that was named Australia’s best major tourist attraction in 2005 and 2006 was being marvelled.

But as I went over the reading, I began to appreciate more on what Raggatt was attempting to portray. There were particular elements that I enjoyed, such as the “building being modestly low; framed and sheltered by existing mature trees, that seem to grow out of the landform of the peninsula with only a large steel tower, intended to be the icon and landmark of the museum, rising up to contest the landform in fanciful aerial loop.” There are some architectural elements I thought were quite appropriate to the site but overall, my opinion of the building is one of mediocrity. I believe that it from what I can observe without visiting it is that Raggatt’s initial outcome was not necessarily the most relevant for that type. I am glad that the reading also pointed this out saying,

“No one seeing the National Museum of Australia can doubt the architects’ skill and determination, but many will doubt their wisdom, taste and professional comportment.”

Overall, I think the architects concentrated a little too much on giving a reason to develop ideas within the building within a contextual sense and slightly neglected a more professionally functional approach.

Lyons, The Pursuit of Ideas

Lyons Architecture Firm - http://www.lyonsarch.com.au/

I have recently read an article regarding the methodologies and practices from a band of brothers that form Lyons Architecture. Their unique approach to design design has helped expand their company rapidly since 1996. Their complete design methods have been both marvelled and criticised. Marvelled for their strong aesthetics and criticised in the terms that it diverts from the complex understanding of how a building functions. Their firm collaborates within the office as a studio environment, working heavily with the client to encourage them to take initiative and ownership of the design outcome.

This allows them to move quickly through all aspects of the brief and focus on the areas of potential innovation and interest. This reminds me of the last blog I posted about the function of ornament. Lyons aim at developing an external shell that aesthetically relates to the surrounding environment. It is interesting to note how they use computers to generate a new form of compelling surfaces through an abstract digital image.

A great example is the Online Training Centre in the St Albans campus of the Melbourne University. The building is coated in a skin of digitally patterned repetitive vitrapanels that plays on the illusion that it is a 3D element. The playful nature of this texture allows for interaction as it is only upon touching the surface that you acknowledge it is a flat surface. The pattern is an abstract form of the colours taken from the rocks and grasses of its surrounding landscape.

This interaction is this building has with the landscape comes from three different scales; the distance, approaching the building and entering the building. Upon each phase, recognisable features begin to immerge. From a distance, the building's geometric colours and patterns blend into the landscape to create a unison. Approaching the building, you begin to see defining elements and recognise key structural elements and as you enter the building, the human scale is restored and the function of the building becomes clear.

I think this approach is a very interesting aspect given to the design. It allows for a strong external connection for the building and its environmental context. This sort of process is important to relate the built environment with the surrounding environment.

Lorenzo Bernini

I mentioned Bernini within my post about the Ornament Reading so I thought I would further express my ideas on how his use of Baroque style influenced the Roman Catholic Church (RCC) status in Europe.

Within the 1500s, the Protestant Reformation began, creating an uprival against the RCC. Slowly over 100 years of reformation, the RCC's power began to diminish. In those days, it was the churches that controlled a large sum of the masses due to its religious influences. Pope Alexander commissioned Bernini in 1656 to redesign a forecourt so that"the greatest number of people could see the Pope give his blessing, either from the middle of the façade of the church or from a window in the Vatican Palace" (Norwich 1975 p 175)." The colossal scale of the square compared to the surrounding environment, as well as its beautiful decoration of saints and martyrs help to emphasise the glory of God and the mighty power of the RCC.

I was lucky enough to visit the Vatican in Rome a couple of months ago. I have put up some pictures of my visit.

This is an aerial view from the top of St Peter's Basilica. This picture portrays the sense of grand scale given from the design. The people on the ground look like dots compared to the colossal square. Also, it is important to mention that the surrounding built environment is quite dense. This was purposely done to create an emotion of awe as you step away from the tight net group of the buildings and into the Square.

This is a picture of me and my friend AO standing in the square facing the facade of the Basilica (created by Carlo Maderno). You can see an emphasis on verticality and symmetry as an ornamental form of power and order.

The window in the middle is where the Pope comes out...

As you Approach the Vatican, it is quite apparent with the scale that you are entering an area of great significance and importance.

I like this photo because it really shows the scale of the Piazza in relation to people. The emotional response you have is one that makes you wonder how much time was spent in creating such a magnificent space.

Opinions about reading 1

The Function of Ornament, Moussavi, F. 2006

After reading the introductory pages of this book, it began to become more apparent as to how important ornaments have become within design. There is a specific ornamental element within architecture that allows a connection with design and its culture. Throughout history, there have been a variety of ways to display aesthetics within architecture that correlate with the use of ornamental functions. Throughout the 1600s, Gian Lorenzo Bernini was responsible for the gentrification of Saint Peter’s Square in Rome. He was known for his work that used the theatrical aspects of Baroque design. The ornamental designed displayed throughout his career around Rome helped to strengthen the Roman Catholic Church’s status and power in Europe. The Dawn of Modernism introduced transparency as a new definition of ornamentation. It created a direct representation of architectural elements of space, structure and program.

In modern society, there are an increasing number of ‘blank’ type of buildings (shopping malls, department stores, cineplexes and libraries) that do not need a connection with the outside environment. Therefore an architect’s role has become very focussed on the shell of the building and how it relates to the built environment it is situated in; leaving the interior to be fitted out by other specialised designers. This means that the architects role is now focussed on creating a building that relates and engages in the urban setting it is currently in.

Our society is constantly changing, developing and pushing its potential as to what else there is often questioning the past and how things have been done. “If architecture is to remain convergent with culture, it needs to build mechanisims by which culture can constantly produce new images and concepts rather than recycling existing ones.” That being said, it is important to keep old buildings and methods as a reminder of the origins of the culture and to preserve its traditions. Cultures that have been around for a long time tend to stick to a tradition to ensure that what makes their way of life unique remains. As society changes and adapts, so too does a culture but the essence remains the same.

Welcome

Hey all,

Welcome to my blog post. This is the first time I have done such a task and look forward to expressing my views and opinions about various topics of design.