Atmosphere Questions

1. How does Peter Zumthor talk about the "Magic of the Real" and explain how this compares, in terms of the subtleties, to Michael Benedikt's "Architecture for Reality"?

Zumthor's "Magic of the Real" looks to forge an atmosphere out of the space that physically embodies different feelings by using sensory measures. Michael Benedikts "Architecture of Reality" focuses more on ways that the architecture can affect us on a personal level. Instead of creating a space that IS something, he creates a space that makes you feel something.

2. Material Compatibility, Temperature of a Space and Levels of Intimacy are some conditions that both Peter Zumthor, in “Atmospheres”, and Richard Serra, in “Weight and Measure”, make a point of articulating when consider space. Where in their explanation of these overlapping conditions are they similar and where do they differ?

Material Compatibility - 

To Zumthor, the combinations of "compatible material" is essentially endless. By employing the different materials in different manners and establishing different relationships between them, he finds that you have no limits on what you can do. Serra is very careful about his use of materials, he wants to convey a particular feeling with out making use of symbology that may affect how on interprets his work.

Temperature of a Space - 

Zumthor believes that the thermal properties of different physical materials can have a lot of gravity on how a space is interpreted. Wood for example feels much warmer to the touch than steel, while the only reason for this is the fact that metal conducts heat better, Zumthor still believes that wood "warms" the atmosphere of a space. Warming to the experience, rather than literally.

3. Zumthor looks towards experiential conditions when creating architecture, what are other methods architects use when generating architecture and what is the corresponding building?

More traditional architecture was built on program. Architecture was usually built in the same manner, using the same proportions, similar floorplans, and very little differentiation.

4. For Zumthor at the end of the day, after figuring use, sound, place, light and the other listed conditions, if the coherence isn’t beautiful the process is started again. Beauty is simultaneously subjective for the individual, as held “in the eye of the beholder”, and universally recognizable. Define your subjective understanding of what beautiful architecture is.

To me, beautiful architecture possesses special qualities that can't necessarily be pointed out. Beautiful architecture takes you beyond the physical space and leaves you questioning what these hidden qualities are. Beautiful architecture has inherent characteristics that puzzles whomever is experiencing it, but in a mystical intriguing way.

Revised Diagrams

Weight and Measure: Reading Questions

1. What were Richard Serra's goals for the installation?

He wanted it "to be understood as volumes in relationship to the volume of the space." However; he did not want to "impose a formal composition on the hall, isolating the installation from the conditions of the place." He thought that the work would be successful if it could "collect the scale of the space no matter what the light conditions."

2. Define the field Serra is referring to when he states that his sculptural elements need to create "enough tension within the field to hold the experience of presence in the place". How do you define "experience of presence"?

The field that he is referring to is the relationship of the object to the space around it. The field is altered/affected/manipulated by objects within the field's given volume.

3. How do the columns, pedestal condition, octagonal space and vertical axis challenge Serra?

Serra had difficulty with the columns because they have an "enormous sculptural presence" of its own. They cause you to "acknowledge the vertical scale of the room" which draws attention to the volume of the space, rather than the objects that lie within it. The pedestal condition was seen by Serra in the form of the center octagon. Its shape gives "vertical rise" which places the sculpture on a "pedestal".

4. What is effective in terms of the shape, scale and number of the two square elements in the Duveen Galleries?

"It is very absolute to forge a cube."

Serra felt that the form of the square and the cube were definite, simple, beautiful and most of all absolute. "Curves carve discrete spaces out of the volume that already existed."

5. Describe the differences and similarities between Barnett Newman's and Richard Serra's work.

Similarities: Both artists are very conscious of the way that orientation in space affects the experience of the piece, both put great emphasis on axes and planes. 

Diferences: Richard Serra's work rarely, if ever alludes to an external reference. It lacks the borrowed themes and allusions present in much of Newman's work. The ways in which the axes and planes are used by both men is interesting. Newman utilizes the bilateral relationships to convey contrast while Serra likes to show a harmonious relationship between vertical and horizontal axes.

Site diagrams

Falling Water Memory Maps

Falling Water Sections

Negative Space Boot Frame/Plaster Molds

Light, Volume, and Shadow

Shoe Plan

For an Architecture of Reality*Michael Benedikt

What is the reality Michael Benedikt writes about?

He discusses architecture as a sort of symbolic language that creates reality, whether physically tangible or not. Benedikt breaks down the four elements that define reality or "realness".

Benedikt describes degrees of reality in architecture as: Architecture of Dreams, Architecture of Games, Architecture of Illusions, Architecture of Enactments and Architecture of Jokes. What are some example buildings that fall under these categories?

Architecture of Dreams - "Emilio's Folly"

Architecture of Games - "The Manhattan Transcripts"

Architecture of Illusions - Mural, "Kroger Building"

Architecture of Enactments - "University of Houston Architecture Building"

Architecture of Jokes - "Arquitectonica"

Benedikt describes “direct esthetic experience of the real” as being moments without symbolism. Where in our environment does symbolism occur and where in our environment is symbolism absent? What is an example of this situation?

It can be argued that anything considered "architecture" carries some form of symbolism. On the other hand, spaces that lack real purpose or significance, carry little or no symbolism. An example of insignificant space would be a bike shed or parking lot.

Symbolism can be found in religious architecture, federal buildings and institutions, urban architecture, health care facilities etc. 

Although Benedikt’s position pulls examples from the 70‘s and 80‘s to illustrate that an architecture of reality is polar to the post-modern architecture movement, this condition continues to exist today. Where in the city would be examples of an architecture of reality and post-modern architecture?

Utilitarian systems like sewers or traffic lights could be considered the architecture of reality that he discusses. Post modern would be something like the strip in Las Vegas NV.

The four components that define the “realness” of an architecture for reality are: presence, significance, materiality, and emptiness (in two categories). How do these components relate to architecture? and What are some examples of architectural elements that make up these conditions?

1. Presence - stands for itself, independent, exists with purpose. Should never "apologize" for being where it is.

2. Significance - A building is significant if it has a special meaning for someone. If someone feels that it has a defined purpose or symbolic meaning.

3. Materiality - Does the material used in the construction of the building accurately reflect the visible materials of the space? Affixing a prefabricated brick facade to the exterior of a concrete and steel building would not be an honest representation of the building's materiality.

4. Emptiness - Defines the reality through the use of negative space. Purposeful and careful placement of solids to leave a spacial void that acts as a medium for movement.

Points and Lines * Stan Allen

Stan Allen describes field conditions as “bottom-up phenomena: defined not by overarching geometrical schemas but by intricate local connections.” What are some field condition examples that can be found in the road systems of Lubbock?




Repeating parallel and perpendicular streets create a lattice of lines, intersecting at points. These are representative of traffic patterns. Lubbock's major arteries are exactly one mile apart, 4th street from 19th, 19th from 34th, 34th from 50th, etc. Along these lines, repeating objects can be seen; stop signs, power lines, street lamps etc.



In part 1, Allen distinguishes a geometric relationship of classical architecture from an algebraic combination of the Cordoba Mosque. How do these two architectural examples differ?




Geometric can be seen as units or modules that are being perpetually replicated. It could be seen as a 'whole' that relies on the geometric pattern.
Algebraic breaks the division into smaller units and maintains mathematical order while also maintaing individual partitions.



What are some other examples of field conditions that can be observed around campus?


Around campus, things like bus stops, sidewalk relationships, asphalt and concrete relationships etc.


How does a field condition stand to redefine the relation between figure and ground?


A field condition conveys information beyond the figure and where it exists in space, it illustrates a deeper relationship about how where and why interactions occur.

Field Conditions

Flatland Photograph