Architecture of Happiness

     "[Beautiful] architecture has none

     of the unambiguous advantages of

     a vaccine or a bowl of rice"

          -Alain de Botton, The Architecture of Happiness, 2006

http://www.visitingdc.com/images/st-peters-picture-2.jpg

Achieving [Architecture of Happiness]. Is it possible? I believe St. Peter's Basilica is a perfect example. From the time you arrive, the Colonnade welcomes you to enter as if it were opening it's arms to you. Once inside, despite the height and openness, it gives a feeling of security with massive concrete columns. You feel comfortable surrounded by gold with a breathtaking level of detail. The monumental Michelangelo dome which floods the space with light seems to bring you closer to the sky, helping you to forget about failure and realizing nothing is impossible. 

De Botton talks about how a building, or architecture can help alter the mood you're in. This is very true, I can only imagine the level of astonishment one gains when exploring St. Peter's. [Architecture however, cannot be expected to suddenly make all of the unhappiness you exhibit disappear]. At this point, begin thinking; if architecture can't make you happy all of the time, what can? Anything? A spouse, a car, a tv show? Unhappiness is inevitably going to occur. If you happen to be within beautiful architecture as this moment happens, don't blame the architecture. Having said that, [architecture can create [happiness] only to a certain extent]. 

Space

http://thefirstborn.org/Pictures/preaching.jpg

http://www.sxipanihati.org/IMAGES/Classroom_2.jpg

http://farm1.static.flickr.com/91/236186316_7cd7dc95b7.jpg

The classroom we gather in for 222 is much larger than what would be sufficient. Our class doesn't even take up half of the seats. The way in which we have been raised teaches us to expect this sort of abundance. This gets quirky however, you walk into this large space with all of this room to spread out. You then sit down between people on either side of you, and this large space suddenly becomes small and overcrowded. Now, you and your neighbors have notebooks out taking notes and you find yourself in this uncomfortable, crowded space within this rather large room. You then have to concentrate and actively listen to the lecture, which would be difficult for some given the uncomfortable situation. 


What's the real reason we find ourselves uncomfortable? Is it because there truly is not enough space between ourself and the person beside us, or is it because we've become so accustomed to this theory that we must have the availability to have more space if we wish. We gather in this room with a 25' projector screen which is more than enough to clearly see and use to take notes. If we are in the very last row, there's not an issue of not being able to see because we are elevated above the row in front of us. The professor's voice seems to travel well throughout the entire room, so no problem with being able to hear. The seats we sit in are cushioned and are more comfortable than a lot of classrooms. The proximity of others causing us to not be comfortable, or is it us?


The first image is a gathering outside. I don't know how we would feel if we were asked to have class outside, through 90degree weather, through 30degree weather. Nor do I know how we would take it if we were asked to be practically stacked upon another as seen in the second image. A lot of us Americans have a lack of appreciation to what we are given. 

Textile design

http://www.textiledesigning.org/textile 20design 2000079.jpg

The textile above shows a variety of eastern influences. Harwood spoke about circles, spirals, and swastikas; which all can be seen in this textile. It's easy to get lost in viewing it as a whole.

There are tiles that have been mirrored, rotated, and manipulated in such a way that the original tile is lost within the design as a whole. In examining closely, you begin to see this circle starting out as some form of flower surrounded by what appears to be leaves which begin to get lost when you continue outward to the next level of the circle with more defined flowers. The circle is clearly seen simply by the shape. Within the circle, the leaves begin a spiraling effect starting from the center moving outward. The color of the faded leaves in the outer circle helps create the form of a swastika. All of this, as discussed by Harwood. 

Commoditie, Firmness, Delight

     "In architecture as in all other operative arts, the end must 
     direct the operation. The end is to build well. Well-building 
     hath three conditions:

          Commoditie, Firmness, and Delight"

               -Sir Henry Wotten, The Elements of Architecture, 1624 

http://www.ec-lapierre-evry.ac-versailles.fr/IMG/jpg/India_-_Taj_Mahal_sunrise_Hz_5x8-2.jpg

In exploring the text of Roth's understanding architecture, the building that first came to mind during his chapters on [Commoditie, Firmness, and Delight] was the Taj Mahal. The Taj (meaning "crown of buildings") touches on all three subjects Roth discussed.

[Delight]

The Taj is among some of the most precious buildings on earth. When viewing the Taj from the south (above image), it shows planning and design excellence. The pool gives an inviting effect leading your eye all the way up to the Iwan of the main structure. Once focused on the main building, you begin to explore the symmetry and geometry of this magnificent structure. The geometry of the Taj seems to be perfectly proportioned which is pleasing to the eye; a sense of delightment. Delight doesn't stop at viewing from afar with the Taj...

Walking through and exploring the details of the entire complex, it is found that beauty (or delight) is never left out, either from viewing the building a thousand feet away or inches from a small detail.


http://en.wikipedia.org/wiki/File:Taj_Mahal_Mosque_Interior_Hall.jpg

[Firmness]

When viewing the Taj again from the south, beauty is not the only thing present. It shows a massive, solid structure. The center of the taj (the central dome) being the main focal point, has smaller domes on either side, a huge mass beneath, and finally the four towers surrounding the main building (perhaps protecting the center piece, or watching over the building) gives the entire building firmness. As you approach the Taj, the solid form of white marble gives you sense of kingdom, something so big it couldn't fail. 


[Commoditie]
The Taj scores low in commodity. It was built by Mughal emperor Shah Jahan for one his wives Mumtaz Mahal. It seems the size of the Taj is just a bit unnecessary for a burial site. However, it has become one of India's finest attributes.