Alternatives Unit Summary

This past unit has been about alternatives. Previously we studied the foundations of the design world established by the Grecian and Roman rational designs. This unit was on the times following the Greeks and Romans in which the ideas of what was known was challenged and new possibilities tested. After the fall of the Roman Empire the Church took responsibility for reassembling order for the West. The church therefore became a representation of community and regionalism for the West and in turn took on renovations in design aspects. The Church had a large courtyard in front leading to the entrance of the church; the interior experienced a major crossing in space and the place for alter was an aedicule. The church had a Romanesque style with applied columns, arches, an oculus or “rose window,” spire(s), and an ornate front façade. During these Dark Ages, the Church took a new form known as the Gothic style cathedral. The gothic style church was created in massive scale with an emphasis on height, which was an alternate way to portray the idea of bringing heaven to earth. The gothic era also transformed the classical orders, stretching them to appear as if they could continue into infinity. An emphasis on light was born in the gothic times. Before, light was used in oculus’ to give connection to heaven; the mood created by light and the way in which light allows one to see things was explored during the gothic age. Following the gothic age was the Renaissance or the rebirth and revival of ancient world models. The Renaissance brought about humanism and reconnection to the natural world. Florence is credited for being the epicenter for this rebirth. The Renaissance was significant because of its revival of the ancient ideas and writing them down as design rules. Out of the Renaissance came the duomo in which the largest dome space was incorporated into design. The largest dome space of this time was Santa Maria del fiore. The restoration of the importance of geometry in design led to buildings with parts making sense to the whole. Many buildings took the front façade of an ancient temple form and superimposed it to the rest of the building which often disappeared in a vernacular language as opposed to recreating an entire structure like that of the ancient world. As a result of Humanism and the importance of the mercantile industry, living spaces were created around the industry; palazzos were created so one lived about their industrial space. After the writing of the rules during the Renaissance, individuals became curious as to creating alternate means of design by breaking the established rules and testing the waters of their boundaries. In this there was the gothic voice with the classic voice with emphasis on movement and fluidity. Designers such as Michelangelo provided an example of one testing the waters of design; he incorporated ambiguity and free form into his designs as well as visual illusions while using symbolism and ideals of the classical era. The designer Bernini then came along and completely turned from the rules and created alternate means of design; he used curves and deliberate complexity and ambiguity in order for the viewer’s eye to never rest while looking at a structure of his. His style of design became known as Baroque style of design. Roth says that baroque was derived from a Portuguese word meaning misshapen pearl; and baroque design had an emphasis on appearance, yet not a perfect appearance. In the baroque era, the designers went beyond the rules, captured motion, and was based on emotional versus rational. After a short time of appreciation of baroque design, the ideals of the Renaissance were once again in demand. The alternatives of the baroque design was too much for the West and they intended to rewrite the rules of the Renaissance with slight modern twists, however, the classical form from the initial design foundations was predominate over the outside-the-box ideas. With the coming of the French Revolution, baroque design was no more.