Tuesday, April 27, 2010
Tuesday, April 20, 2010
Drawing for the New Scheme
*N.B: all these drawing are rough but they are to scale and the dimensions are the correct one
Plans
Section
Elevations
Plans
Section
Elevations
Change of proposed design
After the critical review on monday i decided to get rid of my last scheme and recreated a new work...
please click on the images that explore my new scheme
this is a sketch up model still in rough stages
please click on the images that explore my new scheme
this is a sketch up model still in rough stages
Wednesday, April 14, 2010
Spatial Narrative
A fashion designer’s studio for a young maid where she can escape reality. In this place she will be liberated to create clothes and explore her passion for fashion.
Narrative within: Pieter de Hooch (artist) The Bedroom, 1658/1660
• it's a bourgeois Dutch household we're looking into.
• A cool northern light streams through the tall windows and the door way to the floor.
• A room leads into rooms.
• Doorways frame doorways. There is an emphasis on continuousness.
• Series of connected rooms
• The play of light within the room
• Backyard has a relationship to the interior
• It appear as tough the maid is working for in a rich household, due to the difference of clothes between her and the little girl.
• Action of everyday domestic activity
• The women is in the quite interior of the home , deep in thought while directing some duty...
• The light makes our sight move from figure to figure in the room
• Everything is clean and pristine
• There is a kind of drowsiness produced by the sunlight
• The garden and the house are only a few steps away
• The wall as well as the room alternate shade and light
• Big and spacious room
• It looks like the maid is dreaming out of the window, due to the material in hand it may seem she is dreaming about sewing?
• The child disturbs the sense of peace enforcing the fact that the maiden does not have a free life she has to serve the family .
• Richly furnished.
• its palpable space, strong sunlight, and sonorous colour harmonies
• There is a banded pattern made by the light on the interior's marble floor.
• It's a classic 'keyhole' De Hooch, featuring an interior scene, an open door that pulls the eye through the room out onto a little patio, and then through a patio door out into what looks like a garden.
• A cool northern light streams through the tall windows and the door way to the floor.
• A room leads into rooms.
• Doorways frame doorways. There is an emphasis on continuousness.
• Series of connected rooms
• The play of light within the room
• Backyard has a relationship to the interior
• It appear as tough the maid is working for in a rich household, due to the difference of clothes between her and the little girl.
• Action of everyday domestic activity
• The women is in the quite interior of the home , deep in thought while directing some duty...
• The light makes our sight move from figure to figure in the room
• Everything is clean and pristine
• There is a kind of drowsiness produced by the sunlight
• The garden and the house are only a few steps away
• The wall as well as the room alternate shade and light
• Big and spacious room
• It looks like the maid is dreaming out of the window, due to the material in hand it may seem she is dreaming about sewing?
• The child disturbs the sense of peace enforcing the fact that the maiden does not have a free life she has to serve the family .
• Richly furnished.
• its palpable space, strong sunlight, and sonorous colour harmonies
• There is a banded pattern made by the light on the interior's marble floor.
• It's a classic 'keyhole' De Hooch, featuring an interior scene, an open door that pulls the eye through the room out onto a little patio, and then through a patio door out into what looks like a garden.
Project 2 :17th-century Artist
Pieter de Hooch
• Dutch painter
• Mainly depicted highly ordered interiors with domestic themes and merry companies and pioneering the depiction of genre scenes set in a sunlit courtyard.
• The hallmarks of his art are an unequalled responsiveness to subtle effects of daylight, and views to adjoining spaces, either through a doorway or a window, offering spatial as well as psychological release.
• The subjects of de Hooch’s mature period were more conventional than their treatment.
• De Hooch’s celebration of domesticity is no doubt related to the sanctity and centrality of the home in Dutch society.
• De Hooch’s orderly spaces perfectly complemented this new celebration of domesticity, the walls and their light-filled windows and doorways creating a comforting framework for chores and nurturance.
• Iconographic studies of Dutch genre paintings have often revealed ‘hidden meanings’, or what Erwin Panofsky called ‘disguised symbolism’, in outwardly naturalistic scenes. De Hooch did not share the metaphorical and highly moralizing approach of some of his contemporaries.
• The meanings of his art usually arise from the associations of the subjects depicted, such as his images of domestic virtue, rather than through covertly encoded ideas.
• When he introduced symbols, they usually functioned as supplementary footnotes rather than the central theme of his works of art.
Bibliography
C. Hofstede de Groot: Catalogue of Dutch Painters, i (London, 1908), pp. 471–570
W. R. Valentiner: Pieter de Hooch, Klass. Kst. Gesamtausgaben, xxxv (Stuttgart, 1929)
F. W. S. van Thienen: Pieter de Hoogh, Palet Series, v (Amsterdam, n.d. [c. 1945])
• Dutch painter
• Mainly depicted highly ordered interiors with domestic themes and merry companies and pioneering the depiction of genre scenes set in a sunlit courtyard.
• The hallmarks of his art are an unequalled responsiveness to subtle effects of daylight, and views to adjoining spaces, either through a doorway or a window, offering spatial as well as psychological release.
• The subjects of de Hooch’s mature period were more conventional than their treatment.
• De Hooch’s celebration of domesticity is no doubt related to the sanctity and centrality of the home in Dutch society.
• De Hooch’s orderly spaces perfectly complemented this new celebration of domesticity, the walls and their light-filled windows and doorways creating a comforting framework for chores and nurturance.
• Iconographic studies of Dutch genre paintings have often revealed ‘hidden meanings’, or what Erwin Panofsky called ‘disguised symbolism’, in outwardly naturalistic scenes. De Hooch did not share the metaphorical and highly moralizing approach of some of his contemporaries.
• The meanings of his art usually arise from the associations of the subjects depicted, such as his images of domestic virtue, rather than through covertly encoded ideas.
• When he introduced symbols, they usually functioned as supplementary footnotes rather than the central theme of his works of art.
Bibliography
C. Hofstede de Groot: Catalogue of Dutch Painters, i (London, 1908), pp. 471–570
W. R. Valentiner: Pieter de Hooch, Klass. Kst. Gesamtausgaben, xxxv (Stuttgart, 1929)
F. W. S. van Thienen: Pieter de Hoogh, Palet Series, v (Amsterdam, n.d. [c. 1945])
Project 2 :17th-century Dutch painting (2nd choice)
PIETER DE HOOCH
1658-60
Oil on canvas, 50,8 x 61 cm
Spatial Narrative
A secretative hideway for a woman who prides boldness and enjoys a fixed routine
OR
A relaxing getaway for a powerful man where he like to be pampered.
OR
A relaxing getaway for a powerful man where he like to be pampered.
Project 2 :17th-century Society
Society and economy in the Dutch republic
o The state tolerated many different religions.
o The Dutch had large merchant and shipping fleets. In 1670, about ten per cent of Dutch adult males were sailors; - the Dutch had more ships than England, France, Germany, Portugal, Scotland, and Spain combined.
• Dutch fishermen caught vast quantities of herring, particularly in the North Sea fishing grounds. On purpose-built ships called buizen ("busses") the fish were gutted, salted and barreled. Other faster ships - ventjagers ("sale-hunters") - sailed out to meet the buizen, so that the catch could be transferred and delivered to market quickly while the large, slow buizen returned to the fishing ground to catch still more fish.
o Dutch vessels were very important in the carrying trade. Western Europe's major source of timber was the wooded southern shore of the Baltic - the most important port being Danzig. Dutch vessels moved almost all the timber in the seventeenth century, but the English were also concerned in the trade. Both the Dutch and the English depended on Baltic timber for shipbuilding, and the wars and diplomacy with Sweden and Denmark revolved around these countries' need to guarantee freedom of timber supplies through the Baltic Sound.
o The Dutch exploited the the wind-powered saw-mill (invented 1596) to turn timber into lumber more efficiently than their rivals.
o The Dutch built ships more cheaply, more quickly and better than did any of their rivals.
o Dutch ships also carried exports of cloth manufactured in the Netherlands (Leiden and Amsterdam were the largest centers).
• Dutch religious tolerance attracted skilled workers, many of whom came to work in the new draperies - light cloths that increasingly replaced expensive high-quality woolen cloth.
o Dutch agricultural output had increased in part because of land reclamation. During the first half of the seventeenth century, the Dutch drained large areas of land.
o Another necessity that the Dutch turned into a virtue was the shortage of land. In other Western European countries the wealthy bought large estates, but unable to do this, the Dutch invested in trade, insurance, and banking.
o There was some poverty in the Netherlands despite its overall prosperity, but the Netherlands did have a system of civic poor relief and charitable institutions that was the envy of Europe. The old, the insane, the sick, disabled, and orphans were all supported and put to useful work wherever possible. The system was - of course - also one of social control and its dependents were given religious instruction and subjected to discipline. Nevertheless, perhaps as many of ten per cent of the larger cities' inhabitants benefited directly from the system.
o To maintain local order, Dutch towns raised civic militias from the ranks of the modestly wealthy (shopkeepers, lumber dealers). Militia officers were often closely related to local government officials. The Civic militias were not usually of any political importance, but in 1672 their decision to side with the populace and against those members of the elite willing to capitulate to France, was crucial.
o The state tolerated many different religions.
o The Dutch had large merchant and shipping fleets. In 1670, about ten per cent of Dutch adult males were sailors; - the Dutch had more ships than England, France, Germany, Portugal, Scotland, and Spain combined.
• Dutch fishermen caught vast quantities of herring, particularly in the North Sea fishing grounds. On purpose-built ships called buizen ("busses") the fish were gutted, salted and barreled. Other faster ships - ventjagers ("sale-hunters") - sailed out to meet the buizen, so that the catch could be transferred and delivered to market quickly while the large, slow buizen returned to the fishing ground to catch still more fish.
o Dutch vessels were very important in the carrying trade. Western Europe's major source of timber was the wooded southern shore of the Baltic - the most important port being Danzig. Dutch vessels moved almost all the timber in the seventeenth century, but the English were also concerned in the trade. Both the Dutch and the English depended on Baltic timber for shipbuilding, and the wars and diplomacy with Sweden and Denmark revolved around these countries' need to guarantee freedom of timber supplies through the Baltic Sound.
o The Dutch exploited the the wind-powered saw-mill (invented 1596) to turn timber into lumber more efficiently than their rivals.
o The Dutch built ships more cheaply, more quickly and better than did any of their rivals.
o Dutch ships also carried exports of cloth manufactured in the Netherlands (Leiden and Amsterdam were the largest centers).
• Dutch religious tolerance attracted skilled workers, many of whom came to work in the new draperies - light cloths that increasingly replaced expensive high-quality woolen cloth.
o Dutch agricultural output had increased in part because of land reclamation. During the first half of the seventeenth century, the Dutch drained large areas of land.
o Another necessity that the Dutch turned into a virtue was the shortage of land. In other Western European countries the wealthy bought large estates, but unable to do this, the Dutch invested in trade, insurance, and banking.
o There was some poverty in the Netherlands despite its overall prosperity, but the Netherlands did have a system of civic poor relief and charitable institutions that was the envy of Europe. The old, the insane, the sick, disabled, and orphans were all supported and put to useful work wherever possible. The system was - of course - also one of social control and its dependents were given religious instruction and subjected to discipline. Nevertheless, perhaps as many of ten per cent of the larger cities' inhabitants benefited directly from the system.
o To maintain local order, Dutch towns raised civic militias from the ranks of the modestly wealthy (shopkeepers, lumber dealers). Militia officers were often closely related to local government officials. The Civic militias were not usually of any political importance, but in 1672 their decision to side with the populace and against those members of the elite willing to capitulate to France, was crucial.
Project 2 :17th-century Artist
Research about the artist :
• Dutch painter.
• He was a generalist artist, doing portraits, history paintings, marine scenes and, chiefly, the interiors of churches.These are usually quite imaginary churches, exercises in mood as much as architecture, complex overlays of arches and pillars and organ pipes, darkened with atmospheric gulfs of shadow.
• He also did markets, with hearty traders and slimy fish.
• He was often in debt, and his longish life appears to have been ended by suicide
• He had a long career as an unpromising figure painter,
• Later de Witte’s interpreted architectural interiors predominantly in terms of light and shade, and—in their casual drawing, comparatively broad brushwork and uncertain articulation of space.
• From the beginning, de Witte’s imagination seemed to have responded more to the great spaces than to the forms of Dutch Gothic churches, to the evocative contrasts of sunlight and shadow and to the people who visited and worshipped in these communal and spiritual environments.
• The Oude Kerk in Delft with Pulpit (1651; London, Wallace), de Witte’s first dated church interior, suggests in its descending daylight some communication between the heavens and the quiet congregation; the preacher in the pulpit, unlike van Vliet’s gravediggers and some of Houckgeest’s tourists, plays a comparatively inconspicuous part.
• in de Witte’s approach, archways and windows were as assertively shapes in the compositional pattern as a solid architectural element or a piece of furniture.
• de Witte de-emphasized diagonal and direct recessions into depth in favour of forms spaced at rhythmic intervals from side to side. Zones of space are thus layered and interrelated by a continuous interplay of solid and void, as well as by rich harmonies of light and shade.
• De Witte also used linear perspective
• de Witte passed from ‘portraits’ of actual churches to paintings of imaginary buildings, many of which incorporate elements of Amsterdam’s main churches and Stadhuis
• de Witte also worked rather like a landscape painter, employing plausible and sometimes actual elements to create largely invented views.
• Later de Witte painted outdoor market scenes,
• The quality of de Witte’s work varied considerably, due partly to his unstable temperament, But most of his surviving works are exceptionally good
Bibliography
A. Houbraken: De groote schouburgh (1718–21), i, pp. 223, 282–7; ii, p. 292
I. Manke: Emanuel de Witte, 1617–1692 (Amsterdam, 1963)
W. A. Liedtke: Architectural Painting in Delft: Gerard Houckgeest, Hendrick van Vliet, Emanuel de Witte (Doornspijk, 1982)
• Dutch painter.
• He was a generalist artist, doing portraits, history paintings, marine scenes and, chiefly, the interiors of churches.These are usually quite imaginary churches, exercises in mood as much as architecture, complex overlays of arches and pillars and organ pipes, darkened with atmospheric gulfs of shadow.
• He also did markets, with hearty traders and slimy fish.
• He was often in debt, and his longish life appears to have been ended by suicide
• He had a long career as an unpromising figure painter,
• Later de Witte’s interpreted architectural interiors predominantly in terms of light and shade, and—in their casual drawing, comparatively broad brushwork and uncertain articulation of space.
• From the beginning, de Witte’s imagination seemed to have responded more to the great spaces than to the forms of Dutch Gothic churches, to the evocative contrasts of sunlight and shadow and to the people who visited and worshipped in these communal and spiritual environments.
• The Oude Kerk in Delft with Pulpit (1651; London, Wallace), de Witte’s first dated church interior, suggests in its descending daylight some communication between the heavens and the quiet congregation; the preacher in the pulpit, unlike van Vliet’s gravediggers and some of Houckgeest’s tourists, plays a comparatively inconspicuous part.
• in de Witte’s approach, archways and windows were as assertively shapes in the compositional pattern as a solid architectural element or a piece of furniture.
• de Witte de-emphasized diagonal and direct recessions into depth in favour of forms spaced at rhythmic intervals from side to side. Zones of space are thus layered and interrelated by a continuous interplay of solid and void, as well as by rich harmonies of light and shade.
• De Witte also used linear perspective
• de Witte passed from ‘portraits’ of actual churches to paintings of imaginary buildings, many of which incorporate elements of Amsterdam’s main churches and Stadhuis
• de Witte also worked rather like a landscape painter, employing plausible and sometimes actual elements to create largely invented views.
• Later de Witte painted outdoor market scenes,
• The quality of de Witte’s work varied considerably, due partly to his unstable temperament, But most of his surviving works are exceptionally good
Bibliography
A. Houbraken: De groote schouburgh (1718–21), i, pp. 223, 282–7; ii, p. 292
I. Manke: Emanuel de Witte, 1617–1692 (Amsterdam, 1963)
W. A. Liedtke: Architectural Painting in Delft: Gerard Houckgeest, Hendrick van Vliet, Emanuel de Witte (Doornspijk, 1982)
Project 2 :17th-century Context of Artist
Context : Art in the Northern Netherlands, 1585–1700
• Within a few decades after Antwerp fell to the armies of Philip II in 1585, its population was reduced by half, to around fifty thousand. Because the northern Netherlands now controlled the entrance to the Scheldt River on which Antwerp lay, the city lost to Amsterdam its position as the leading port in northern Europe.
• Artists fled to the northern Netherlands as Protestants and sought relief from the repressive policies of the Catholic Habsburg rulers
• They responded to the tastes of a predominantly Protestant culture (and the growing wealth of a broad middle class that was concentrated in the cities.
• The earliest examples of a uniquely northern Netherlandish art were in the 1580s.
• the first works these artists produced were dramatically mannerist
• The new Protestant faith had little use for religious imagery. Nevertheless, religious paintings continued to be produced (although on a much smaller scale) for hidden Catholic churches to which municipal authorities turned a blind eye, for private devotion in the home, and even for Protestant collectors.
• the Dutch were better known for secular subjects and contemporary scenes, they also produced important history paintings. Pastoral subjects, from classical mythology and contemporary plays, were popular with members of the stadtholder's court. Later, a taste for such works was developed by wealthy burghers who increasingly aspired to an aristocratic lifestyle.
• While history painting traditionally enjoyed the highest prestige, there was a tremendous demand for portraiture as well in a culture where men and women were amassing fortunes and defining new social roles.
• There was also a demand of genre painting—depictions of men and women in contemporary interiors, from a broad range of social classes, and engaged in mundane tasks—has always been closely associated with seventeenth-century Dutch art.
• In observing the world around them, Dutch painters developed a unique genre, the church interior painting. This appeared to record the church exactly, manipulate both the perspective and details of the interior.
• Within a few decades after Antwerp fell to the armies of Philip II in 1585, its population was reduced by half, to around fifty thousand. Because the northern Netherlands now controlled the entrance to the Scheldt River on which Antwerp lay, the city lost to Amsterdam its position as the leading port in northern Europe.
• Artists fled to the northern Netherlands as Protestants and sought relief from the repressive policies of the Catholic Habsburg rulers
• They responded to the tastes of a predominantly Protestant culture (and the growing wealth of a broad middle class that was concentrated in the cities.
• The earliest examples of a uniquely northern Netherlandish art were in the 1580s.
• the first works these artists produced were dramatically mannerist
• The new Protestant faith had little use for religious imagery. Nevertheless, religious paintings continued to be produced (although on a much smaller scale) for hidden Catholic churches to which municipal authorities turned a blind eye, for private devotion in the home, and even for Protestant collectors.
• the Dutch were better known for secular subjects and contemporary scenes, they also produced important history paintings. Pastoral subjects, from classical mythology and contemporary plays, were popular with members of the stadtholder's court. Later, a taste for such works was developed by wealthy burghers who increasingly aspired to an aristocratic lifestyle.
• While history painting traditionally enjoyed the highest prestige, there was a tremendous demand for portraiture as well in a culture where men and women were amassing fortunes and defining new social roles.
• There was also a demand of genre painting—depictions of men and women in contemporary interiors, from a broad range of social classes, and engaged in mundane tasks—has always been closely associated with seventeenth-century Dutch art.
• In observing the world around them, Dutch painters developed a unique genre, the church interior painting. This appeared to record the church exactly, manipulate both the perspective and details of the interior.
Project 2 :17th-century Dutch painting
Emmanuel de Witte
1617-1692
Interior with a Woman Playing a Virginal
About 1660
Oil on canvas
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