Alternatives Unit Summary

The Alternatives Unit begins to look at the translation of Classical design ideals as society changes through time. Classical Greece based its buildings on the landscape but strived for vertical expression through the classical orders and the ideal building form. The Greek’s worked tirelessly to correct visual ambiguity through the placement of orders and structure of each. Their building elements can be described as sculptural as their precise form and detailed surfaces were meticulously formed and hand carved. Ancient Rome disregarded the landscape and brought a strong horizontal expression across it in their arch form and aqueducts. New technology allowed for new structural elements – the arch and dome, but an important building feature was rooted in societal arrangement. The interior became an important aspect in Ancient Rome for social gathering and interaction. Public entities brought bread and circuses to the commoners and baths provided public retreats for learning, socializing and relaxation.

As the Roman Empire collapsed, the excessive taxes that helped provide for these public systems resulted in commoners being bound to the trade and lands of their fathers, beginning serfdom of the Middle Ages. During this tumultuous time history ceased to be written, but building design moved forward. The church and few wealthy patrons commissioned the great Gothic Cathedrals. While geometric proportions remained strong in organizational planning, the rational orders of classical times reached a new level. Vertical expression returned to new heights. The classical orders extended to infinity and light and materials were used to evoke a sense of awe within a space – to bring a feeling of heaven on earth. Architects and designers began to push the limits of their structural elements but resulted in buildings with a rich history and story. Flying buttresses moved the structure from the walls and allowed for increased fenestrations and light to pour into the cathedrals. The scale of the church in relation to the surrounding community and spire placed over the alter reinforced the vertical expression, reaching heavenward to declare the importance of the church on society.

“The artistic focus shifted to the building’s interior, on creating a mystic image of heaven that was the very opposite of the architecture of the workaday world outside.” (Roth, p.298)

In reaction to the detailed excesses of Gothic cathedrals, and as societal views changed, the Renaissance began to reorder society. Designers looked back to Classical design for a return to rationality and a sense of order, but the Renaissance is not a copy of the past. New humanistic ideals within society were expressed through the architecture and design. The sacred and profane came together in a single building form in as the individual claimed their importance on society and the landscape. Previously this was only accomplished by the state and church and was a direct expression of humanism. Again, horizontal expression and symmetry is of primary importance as it was in Ancient Rome but proportions are expressed differently. Public spaces anchor the building with private spaces being more refined and away. Interior space begins to be extended beyond the walls through perspective and the landscape begins to be introduced as a design element.

The Baroque movement takes this to a new level by creating landscapes that are meant to be inhabited. They are an extension of the building and create a more holistic design by bringing the architectural elements outdoors and exterior elements in. Baroque design is about breaking the rules of the Renaissance. Facades begin to undulate in and out, curves and flowing characteristics create movement on a rigid surface. Art becomes an extension of the wall surface and is carved out into the inhabitable space while light, water and habitation enhance its viewing. Baroque architecture creates theater. The design elements move with nature and order space through their movement. They move people in and through spaces in a dynamic manner. The classical elements are not forgotten, but are altered in such a way that they indicate opulence and largess within society. The church and state again claim their importance by reordering society; redesigning the boulevards of Rome and creating vast palaces and gardens in France to direct the commoner’s attention to exemplify their power and value.

The Alternatives Unit shows the ways in which classical elements cycle back into the design process but are expressed in new and exciting ways. Each design movement alters the past to fit with their view of the current and future. New building technologies are incorporated along the way and design moves forward. Architecture becomes more than a place for housing statues and social gathering. It maintains these elements while pushing forward and incorporating living spaces and landscape. Geometry remains an important building block within each, but expressions change. This unit clearly shows the design cycle. Today classical elements are evident in many building forms and the design cycle continues to reinterpret the past, hoping to make it more relevant for the future. New elements are added, new materials used, different emotions expressed, but the classical ideals of rationality, geometry, symmetry, etc. order space on the landscape and of the landscape for human inhabitation and societal gathering.