A refreshingly poetic, Mediterranean, response to a type of architecture with which Italians are deeply familiar, Americans hardly at all. Minetti writes (English translation by Eric Wilson): "Reading the reviews devoted to the new Getty Center . . will not clarify thing for you, but it will convince you of one thing: it's worth going there." "The pleasure that is felt in coming up to the Getty Center and walking among the buildings derives to a very large degree from the perception of its 'organic unity'; of its articulate nature. The sense of being inside a citadel makes the experience very rich, just as when you take a walk in a real city and, even though you don't go inside the houses, or don't visit all the monuments you still sense the activity, the pulse. But the pulse of the Getty has an ideal beat profoundly different even from that of a university campus, which is what it resembles most. And this is because it's laid out just like an ideal place, like a splendid utopia come true, and it has the luminosity of a utopia, the empyrean setting and the metaphorical quality that take on through it's dominant position, isolated and yet open to welcome everyone who goes up there." "Meier's creative stamp is in having extended the vast panoramic view from the hilltop--the view out over the endless city as far as the ocean and, on the other side, as far as the snow-covered Sierras--to inside the structure of his buildings, where the air flows among slender columns, tree-lined plaza, flights of stairs that fling themselves at the buildings like light climbing plants, Japanese-style pools of water strewn with large local rocks, and in the course of the day the air takes on a hue and tints the architecture with the delicate color of the sky until the final kindling of the sunset, with an inexpressible chromatic intensity." "A City invisible from below, but clearly perceptible from above, when the visitor, brought up to the terraces of Meier's small city, has the feeling of finally being able to unify the scattered city below, not unlike a feudal lord who controls his dominions from the tower of his castle. Then you take the train, go back down the hill, the smoke from the cars on the Freeway swallows you up, and any horizon is once again lost."
Knight writes: "Both of Meier's previous museums are dreadful places to look at art. Their galleries, rigorous and demanding to a fault, are awful." "How, I marveled, could a search committee composed of distinguished professionals have visited those terrible exhibition rooms, so blatantly dismissive of art, and collectively decided, "Aha! This is the architect we need to design our new museum'?" Knight then enthusiastically describes many aspects of the galleries at the new Getty Museum and asks: "How did such an agreeable outcome happen . . . ? Credit the client. Regardless of a designer's talent, architectural commissions can flounder at the client level. But not here; the hero of this story is John Walsh. He is one museum director who knew exactly the experience he wanted his new building to provide. Working with skillful designers, he got it."
ARCHITECTURAL CRITIQUE / REVIEW
The act of criticism not only involves researching the project under review, its genesis, form and function, but also researching the broader context in which it sits and creatively connecting it to its milieu. Thus architectural criticism is a major form of research, and when aired in public forums such as design journals or mass media can be a potent form of dissemination, questioning, and influence. In this assignment you are to prepare an architectural critique or review of approximately 1500 words (absolute maximum 2000) of your design work to date. The review may be of another students’ project provided you seek the consent of that student AND the course coordinator. The review must be critical, and insightful, contextualised spatially, socially and historically. It should be a readable piece of journalism. it must have an argument or opinion, rather than just normative description of the scheme.
In addition to rigorously edited text (no typos, no grammatical errors, etc.), you are to design the journal/magazine spread as a proof for publication, including images, captions, headings and copy using desktop publishing software such as Adobe InDesign. In this way you will develop your skills at combining text and image in a sophisticated narrative. (You may employ the services of a professional editor to assist you in refining the writing, as this is an insight in itself.) You may also prepare your review as a model for a webpage journal or blog, on approval from the course coordinator, however it must also be submitted as hard copy.
Your review should be prepared with a specific type of publication in mind, so part of the assignment is to examine existing media outlets for architectural criticism, identify the characteristics of their journalism and graphic design, and tailor your piece to suit. You may propose a different model for criticism, based on a well articulated argument of what the aims might be for a new type of publication/
With the exception of six illustrations of models, the photographs were all taken by the Meier himself. It is perhaps unique that a major architect has not only written a first-hand account of his most important commission but has also published a personal photographic record of the process. The illustrations are all black-white but include 13 double-page spreads and the best published views of the site before and during the extensive grading. The photographs are well reproduced but not fully served by this medium format volume. They deserve large format publication and exhibition as photographs.
Goldberger writes: "As a work of architecture, the Getty complex possesses all of Meier's strengths and a few significant weaknesses." "The rotunda at the entrance to the museum may be the finest interpretation of a classical rotunda in modernist garb ever built anywhere, and the long open courtyard within the museum turns out to be livelier, more serene, and grander as urban space than the piazza surrounding the tram stop. The galleries are excellent, with superbly controlled natural light, and Meier has organized them in a rhythm that allows frequent breaks onto outdoor terraces." "The Getty Research Institute. . . is one of his finest works ever: an exquisite circular building that melds geometric grace with precision of form. In other hands, modernism can feel industrial: Meier makes it breathtakingly lyrical. Still, one feels frustrated because the over-all effect of the Getty is so corporate and its tone so even." "Whatever the Getty's ultimate contribution to culture, it has already accomplished something that was always thought impossible: to get Angelenos to use alternative forms of transportation." "The planners of the Getty Center . . .did not intend their work to be the latest addition to . . . alluring fantasy environments, but that is what it has become."
Sloan s homestead architecture containing forty designs for doreshwork Research Essays Essays On Waiting For Godot How We critical essays on endgame critical essays on endgame
Furthermore,since do not, by definition, emerge as a consequenceof pleasing the aesthetic preferences of users, a situation in which some peoplewould fancy such , while some would be indifferent to them, or positivelydislike them, would simply not obtain. One could safely assume (the logic went) that since such forms were developedin order to appeal to anybody in particular, they would be acceptable, perhaps even pleasing, to everyonein general, regardless of the person's social or cultural background. simply do not appeal to taste, because they are a matter of truth - andtruth does not pander to taste. As it was put by a writer of modernist persuasion in the late twenties, "... from the standpoint of modern architecturethe question of taste may be altogether out of date ..." (64). (the functionalist designer would have maintained) weretherefore creating a common visual language across a variety of boundaries,including the time-boundary: since such forms were not related to any fashionthey could not go out of fashion either. They would not age, because theywere essentially timeless (30, 76). The functional language of forms, it was suggested, was making itfinally possible to bring an end to the wasteful use of resources, impliedin the fashion-based changes of forms, as well as the aesthetic masqueradeof false facades, driven by the chase for social prestige. Functionalism, in the eyes of functionalists themselves, was simply showing the way back to natural, necessary forms appropriatefor the Present, i.e. for the Modern Epoch.
Kamin writes: "What ultimately defeats the critics . . . is Meier's architecture, which proves to be both elegant and populist. At first glance, it may seem monastic, even clinical, but actually the design is nothing if not sensual, delighting and surprising with its richly layered spaces and exquisitely framed views. . . . His Getty is not about motion. It is about contemplation. . . . What sets apart the Getty . . . is not its buildings, but the spaces in between them and the way they relate to each other and to the landscape. . . . This blend of a traditional European sense of permanence and a breezy California informality works well at the museum. . . . How does it measure up to Frank Gehry's new Guggenheim Museum in Bilbao, Spain? As an urban experience, the Getty dazzles. As architecture, it cannot compare with the Guggenheim. . . . The Getty, in contrast, does not expand our vision of what an art museum can be. Nor does it seamlessly synchronize the museum and the art it houses. What it does do is give Los Angeles an alluring treasure house of art and an exemplary, breathtaking public space."
Ouroussoff writes: "the center is not so much woven into the landscape as perched on top of it." "Although these public areas are thoughtfully balanced, the complex as a whole does not cohere." "Is the problem with Meier's architecture or with the attempt to make coherent the identity of the Getty as a whole? Do these institutions belong together? . . . Its architecture lays bare its own internal contradictions. Most visitors, however, will ignore the buildings that don't concern them and head straight for the museum. There, Meier's design is an undeniable success."