Lorejas (Sculpture & Architecture)

7/24/2019 Lorejas (Sculpture & Architecture)

1/34

SCULPTURE

andARCHITECTU

RE


2/34

Sculptureis three-dimensional art. Traditionally, there are two main

methods: carin! material s"ch as wood or stone, and modelin!#orms $y addin! %ieces o# material s"ch as clay.

& T'PES () SCULPTURE

*. S"$tractie&. Additie


3/34

Evolution of Sculpture

Prehistoric SculptureSc"l%t"re $e!ins in the Stone A!e. E+actly when, we dont now.The earliest nown e+am%les are the two %rimitie stone e!iesnown as The Venus of Berekhat Ramand The Venus of Tan-Tan. The Venus of Berekhat Ram 0datin! #rom c.&12,222 3CE orearlier4 is a $asaltic 5!"rine made d"rin! the Ache"lian Period,which was discoered on the 6olan Hei!hts. The Venus of Tan-Tan0c.&22,222 3CE or earlier4 is a 7"art8ite 5!"rine #rom the same%eriod.

Mesolithic Sculpture (c.10,000-4,000 BCE)9esolithic artwitnessed more $as-relie#s and #ree standin!sc"l%t"re s"ch as the anthro%omor%hic 5!"rines "nearthed in

eali Cori and 6o$eliTe%enear Ur#a in eastern T"rey, and thestat"es o# LepenskiVir0e!. The )ish 6od4 in Ser$ia. It alsowitnessed the creation o# the Shi!irIdol0;,


4/34

Neolithic Sculpture (c.4,000-2,000 BCE)eolithic art is noted a$oe all #or its %ottery, $"t it also #eat"red#ree standin! sc"l%t"re and $ron8e stat"ettes - in %artic"lar #rom

the Ind"s =alleyCiili8ation, the orth Ca"cas"s and%re-Col"m$ian artin the Americas. The most s%ectac"lar #orm o#eolithic art was E!y%tian %yramid architect"rewhose $"rialcham$ers led to an increased demand #or ario"s ty%es o# relie#s aswell as %orta$le stat"es and stat"ettes.

Estern Me!iterrnen Sculpture (c.2000-1100 BCE))ollowin! the >owerin! o# architect"re and other arts in E!y%t, theLeant also witnessed the rise o# the 9inoan c"lt"re on the island o#Crete, which was noted #or its sc"l%t"re and metalwor. A#ter an"nnown catastro%he 0%ro$a$ly earth7"ae4 aro"nd *


5/34

"r Estern Sculpture (c.1#00 BCE - 11$0 CE)Chinese artd"rin! the Shan! ?ynasty0c.*@22-*2


6/34

%rchic ree Sculpture (c.*00-$00 BCE)The Archaic %eriod was a time o# slow $"t contin"o"s

e+%erimentation the most %ri8ed #orm o# Archaic 6ree sc"l%t"rewas the o"ros 0%l.o"roi4, or standin! male n"de.

Clssicl ree Sculpture (c.$00-+2+ BCE)?iided into the Early ClassicalPeriod, Hi!h ClassicalPeriod andLate ClassicalPeriod, this was the hi!h %oint o# 6ree creatiity. In

the %lastic arts, #amo"s sc"l%tors lie Polyleitos0


7/34

orl!s retest Cl' SculptureTheTerracotta Army0datin! to &F@-&2 3CE4, a h"!e collection o#clay warriors and horses, was sc"l%ted in Shaan+i %roince,

China, "nder the orders o# Em%eror in Shi H"an!di. Tho"sandso# 5!"res remain $"ried at the site.

o/n Sculpture (c.200 BCE - c.200 CE)Until a$o"t &; 3CE, des%ite the in>"ence o# earlier Etr"scansc"l%tors - noted #or their GJoi de ireG - Roman sc"l%t"rewas"nideali8ed and realistic therea#ter it $ecame sternly heroic, and7"ite mediocre. It was desi!ned a$oe all to e+%ress the maJestyand %ower o# Roman r"le, th"s aside #rom a n"m$er o#ma!ni5cent historical relie#s 0e!. the s%iral $as-relie# o#TraJans Col"mn4 and rare mon"ments 0e!. theAraPacisAugustae

4, Roman sc"l%tors were lar!ely em%loyed in the %rod"ction o#%ortrait $"stso# the Em%erors and other di!nitaries. In short, no$i! deal.
http://www.visual-arts-cork.com/east-asian-art/terracotta-army.htmhttp://www.visual-arts-cork.com/antiquity/roman-sculpture.htmhttp://www.visual-arts-cork.com/antiquity/trajans-column.htmhttp://www.visual-arts-cork.com/antiquity/ara-pacis-augustae.htmhttp://www.visual-arts-cork.com/sculpture/portrait-busts.htmhttp://www.visual-arts-cork.com/sculpture/portrait-busts.htmhttp://www.visual-arts-cork.com/antiquity/ara-pacis-augustae.htmhttp://www.visual-arts-cork.com/antiquity/trajans-column.htmhttp://www.visual-arts-cork.com/antiquity/roman-sculpture.htmhttp://www.visual-arts-cork.com/east-asian-art/terracotta-army.htm


8/34

B'ntine Sculpture (++0-14$0 CE)U% "ntil the #o"rth cent"ry, early Christian sc"l%t"rehad $eenalmost e+cl"siely tom$ relie#s #or sarco%ha!i in Rome. Bhen the

Roman Em%ire diided into East and Best, the Eastern ca%ital waslocated in Constantino%le. The art o# the Eastern Roman Em%ire,$ased in 3y8anti"m, was almost entirely reli!io"s, $"t, aside #romsome shallow iory relie#s and !oldsmithin!, the Eastern (rthodo+$rand o# Christianity did not %ermit 1-? artwors lie stat"es or hi!hrelie#s.

Sculpture urin 3he r %es (c.$00-00)As the name s"!!ests, this was a dar and 7"iet time #or E"ro%eansc"l%tors. The Ch"rch was wea, the 3ar$arians 0who werent $i!into sc"l%t"re4 were stron!, and cities were im%oerished and"nc"lt"red.
http://www.visual-arts-cork.com/sculpture/early-christian.htmhttp://www.visual-arts-cork.com/sculpture/early-christian.htm


9/34

5ellenistic ree Sculpture (c.+2+-2# BCE)?"rin! this %eriod 0characteri8ed $y the s%read o# 6ree c"lt"rethro"!ho"t the ciili8ed world4, classical realism was re%laced $y

!reater heroicism and e+%ressionism. )amo"s wors o#Hellenistic 6ree sc"l%t"reincl"de: Dying Gau !y "pigonusthe #inged Victory of $amothrace Laocoonand %is $ons$yHa!esandr"s, Polydor"s and Athenodor"s 0F&-&2 3CE4, and theVenus de &io.

Celtic Metl Sculpture (400-100 BCE)Lets not #or!et the Celts - a series o# nomadic tri$es whichemer!ed #rom the Ca"cas"s aro"nd 22 3CE, and !rad"allys%read westwards across E"ro%e 0@22-*22 3CE4 as #ar as theI$erian %enins"la, 3ritain and Ireland. Altho"!h hi!hly mo$ile,and masters o# $lacsmithery and !oldsmithery, they were too

disor!ani8ed to com%ete with the hi!hly disci%lined andcentrali8ed State o# Rome. Eent"ally wholly Romani8ed, at leaston the Continent, their Celtic metalwor artincl"ded some o# the5nest metal sc"l%t"re o# the a!e 0e!. theBroighterBoatc.*22-


10/34

Erl' o/nes&ue Sculpture (Crolinin, 6ttonin)

(c.00-10$0)The reial o# medieal sc"l%t"re$e!an with Charlema!ne I, in! o#the )rans, who was crowned Holy Roman Em%eror in 22. TheCarolin!ian em%ire dissoled 7"ite 7"icly $"t Charlema!nes%atrona!e o# the arts was a cr"cial 5rst ste% in the reitali8ation o#E"ro%ean c"lt"re, not least $eca"se many o# the Romanes7"e and

6othic ch"rches were $"ilt on the #o"ndations o# Carolin!ianarchitect"re.

o/nes&ue Sculpture (c.1000-1200)In the **th cent"ry, a more con5dent Christian Ch"rch $e!an toreassert itsel#. This doctrinal e+%ansionism led to the Cr"sades to

#ree the Holy Land #rom the !ri% o# Islam. The Cr"saders s"ccessand their ac7"isition o# Holy Relics tri!!ered the constr"ction o# newch"rches and cathedrals across E"ro%e in the #"lly >ed!edRomanes7"e style o# architect"re - a style nown in 3ritain andIreland as GormanG architect"re. This in t"rn led to a h"!e wae o#commissions #or Romanes7"e sc"l%t"reand stained !lass.
http://www.visual-arts-cork.com/sculpture/medieval.htmhttp://www.visual-arts-cork.com/sculpture/romanesque.htmhttp://www.visual-arts-cork.com/sculpture/romanesque.htmhttp://www.visual-arts-cork.com/sculpture/medieval.htm


11/34

othic Sculpture (c.11$0-1+00)The Ch"rchs $"ildin! %ro!ram stim"lated the deelo%ment o#new architect"ral techni7"es. These techni7"es came to!ether

d"rin! the mid-late *&th cent"ry in a style which Renaissancearchitects later d"$$ed G6othic architect"reG.

7tlin enissnce Sculpture (c.1400-1*00)The Italian Renaissancewas ins%ired $y the GrediscoeryG o#, andreerence #or, the arts o# Classical Anti7"ity, es%ecially in the

5eld o# architect"re and sc"l%t"re. Renaissance artwas alsocolo"red $y a stron! $elie# in H"manism and the no$ility o# 9an.

Erl' enissnce Sculpture (1400-80)Early Renaissance sc"l%tors so"!ht to im%roe #"rther on 6othicwors, tain! m"ch o# their ins%iration #rom Classical Roman and

6ree sc"l%t"re. In so doin!, they inJected their stat"es with aran!e o# emotion and im$"ed them with new ener!y andtho"!ht.
http://www.visual-arts-cork.com/history-of-art/gothic-architecture.htmhttp://www.visual-arts-cork.com/history-of-art/italian-renaissance.htmhttp://www.visual-arts-cork.com/renaissance-art.htmhttp://www.visual-arts-cork.com/renaissance-art.htmhttp://www.visual-arts-cork.com/history-of-art/italian-renaissance.htmhttp://www.visual-arts-cork.com/history-of-art/gothic-architecture.htm


12/34

5ih enissnce Sculpture (c.1480-1$+0)(ther im%ortant sc"l%tors o# the Hi!h Renaissance incl"de the

artist and =enetian architectKaco%o Sansoino0*F@-*


13/34

Bro&ue Sculpture (c.1*00-1#00)?"rin! the later *@th cent"ry, in res%onse to the ProtestantRe#ormation, the Roman Catholic Ch"rch la"nched its own Co"nter

Re#ormation. This %ro%a!anda cam%ai!n, desi!ned to %ers"adeworshi%%ers to ret"rn to the Gtr"eG Ch"rch, em%loyed the #"ll%ano%ly o# the is"al arts, incl"din! architect"re, sc"l%t"re and%aintin!, and $ecame associated with a !rander, more dramaticidiom nown as 3aro7"e art.

ococo Sculpture (c.1#00-1#8)3asically a )rench reaction a!ainst the serio"sness o# the3aro7"e, Rococo art$e!an in the )rench co"rt at thePalace o# =ersailles$e#ore s%readin! across E"ro%e. I# 3aro7"esc"l%t"re was dramatic and serio"s, Rococo was all #rills and nos"$stance, altho"!h in reality it was not so m"ch a dierent style

#rom the 3aro7"e $"t rather a ariation on the style $ro"!ht to#r"ition $y 3ernini and his contem%oraries.
http://www.visual-arts-cork.com/history-of-art/rococo.htmhttp://www.visual-arts-cork.com/history-of-art/rococo.htmhttp://www.visual-arts-cork.com/history-of-art/versailles-palace.htmhttp://www.visual-arts-cork.com/history-of-art/versailles-palace.htmhttp://www.visual-arts-cork.com/history-of-art/rococo.htmhttp://www.visual-arts-cork.com/history-of-art/rococo.htm


14/34

Neoclssicl Sculpture ("lourishe! c.1#80-1+0)eoclassical art - $asically 6ree art with a modern twist - wasdominated 0lie the 6othic era4 $y architect"re. eoclassical

$"ildin!s incl"de the Pantheon 0Paris4, the Arc de Triom%he 0Paris4,the 3randen$"r! 6ate 03erlin4, and the United States Ca%itol3"ildin!. In sc"l%t"re, neoclassicism inoled an em%hasis on theirt"es o# heroicism, d"ty and !raitas.

18th Centur' Sculpture

In many ways, the nineteenth cent"ry was an a!e o# crisis #orsc"l%t"re. In sim%le terms, architect"ral deelo%ment had lar!elye+ha"sted itsel#, reli!io"s %atrona!e had declined as a res"lt o# the)rench Reol"tion, and the !eneral climate o# G%o%"lismG, $e!an toca"se m"ch con#"sion in the minds o# instit"tional and %riate%atrons as to what constit"ted acce%ta$le s"$Jects 0and styles4 #or

sc"l%t"ral re%resentation.


15/34

Pop-%rt SculptureChronolo!ically, the 5rst maJor %ost-war moement inolin!sc"l%tors, was *D@2s Po%-Art, which ori!inated in the %ioneerin!

wor o# Ro$ert Ra"schen$er!0*D&


16/34

Me!iu/ of Sculpture

Stone hard and $rittle s"$stance #ormed #rom mineral andearth material. The 5nished %rod"ct is !ran"lar and d"ll ina%%earance. These are normally "sed in !raestones incemeteries. Stones incl"de sandstone, !ranite, $asalt, mar$le, andlimestone.

9!e it is a 5ne color#"l stone, "s"ally !reen, and "sed widely inAncient China. It is hi!hly esteemed as an ornamental stone #orcarin! and #ashion Jewelry.

7vor' this comes #rom the main %arts o# t"ss o# ele%hants. It is

the hard white s"$stance "sed to mae carin!s and $illiard $alls.


17/34

Metl incl"de any o# a class o# elementary s"$stances s"chas !old, siler, or co%%er all o# which are crystalline when solidand many o# which are characteri8ed $y ca%acity, d"ctility,

cond"ctiity and %ec"liar l"ster when #reshly #ract"red. Bhen$ein! d"ctile it can $e trans#ormed into 5ne wires or treads. Itsmain 7"ality is that it can $e sha%ed into any directions or#ormed "nder !reat %ress"re witho"t $reain!.

Plster com%osition o# lime, sand and water. Plaster iswored as an armat"re o# metal wires and rods in addition toario"s metals and 5$ers. This a%%lied on walls and ceilin!s andallowed to hard and dry. The medi"m is "sed e+tensiely #ormain! maniins, model molds, architect"ral decorations and

other indoor sc"l%t"re.

lss it is medi"m that is hard, $rittle, non-crystalline, moreor less trans%arent s"$stances %rod"ced $y #"sion, "s"allyconsistin! o# m"t"ally dissoled silica and silicates and containsoda and lime. This is to mae $ea"ti#"l $"t #ra!ile 5!"rines. It

can $e molded in ario"s colors and sha%es.


18/34

Cl' is a nat"ral earthly material that has the nat"re o#%lasticity when wet, consistin! essentially o# hydratedsilicates o#

al"min"m "sed #or main! $rics and ceramics. Clay is !enerally#ra!ile so it $ecomes necessary to cast it in another d"ra$lematerial.

oo! as a medi"m is easier to care than any other medi"msaaila$le $eca"se it can $e intricately cared and s"$Jected into

a ariety o# treatment not %ossi$le with stone. It is li!hter andso#ter to care des%ite hain! !reater tensile stren!th thanstone hence it can $e "sed in lon! %ieces witho"t tain!$reain!. Common wood "sed #or sc"l%t"re are da%da%, whitela"nan, oa, waln"t, maho!any, narra, and dao. They areselected #or $ea"ty and %ermanence.

3err Cott is the tenderest o# sc"l%t"ral materials. 9ost o#oriental sc"l%t"res deals with this medi"m. This is "sed in ases,5!"rines, and in small thins.


19/34

3echni&ues of Sculpture

1. Crvin is a time-cons"min! and %ainstain! %rocess inwhich the artist s"$tracts, or c"ts away, s"%er>"o"s material"ntil the desired #orm is reached. The material is "s"ally hardand #re7"ently wei!hty !enerally, the desi!n is com%act andis !oerned $y the nat"re o# the material.

&. 9odelin! consists o# addition to, or $"ildin! "% o#, #orm. Thematerials "sed are so#t and yieldin! and can $e easilysha%ed, ena$lin! ra%id e+ec"tion. Clay or claylies"$stances, $aed to achiee increased d"ra$ility, hae $een"sed #or modelin! since ancient times.


20/34

Mo!elin in Cl'This artist is creatin! a

sc"l%t"re o"t o# clay. She is"sin! a wooden tool s%eci5callydesi!ned #or clay sc"l%tin!.Borin! in clay can $e done"sin! tools or the artistMs hands.It is one o# the oldest methods

o# sc"l%tin!.


21/34

Cstin

The only means o# o$tainin! %ermanence #or a modeled wor isto cast it in $ron8e or some other d"ra$le s"$stance.

Two methods o# castin! are "sed: the cire perdue'or lost-wa+%rocess, and sand-castin!.

Castin! is accom%lished in two sta!es: )irst, an im%ression orne!atie mold is #ormed #rom the ori!inalNa clay model, #orinstanceNand second, a %ositie cast or re%rod"ction is madeo# the ori!inal wor #rom the ne!atie im%ression.


22/34

Mol!s n! CstsThe #o"r seals, to% row,were "sed as ne!atie

molds to cast the %ositiere%rod"ctions, $ottom row.Similarly, in sc"l%t"re,artists sha%e a model #romclay or some othermallea$le s"$stance, #orma ne!atie mold o# thismodel, and %o"r a li7"e5edcastin! s"$stance s"ch as$ron8e into the hollowmold. (nce the castin!s"$stance has hardened,the 5nal wor is ready.


23/34

Construction n! %sse/;leAltho"!h traditional techni7"es are still em%loyed, m"ch &2th-cent"ry sc"l%t"re was created $y constr"ction and assem$la!e.

These methods hae their ori!in in colla!e, a %aintin!techni7"e deised $y Pa$lo Picasso and the )rench artist6eor!es 3ra7"e in *D*&, in which %a%er and #orei!n materialsare %asted to a %ict"re s"r#ace. Picasso also made three-dimensional o$Jects s"ch as m"sical instr"ments o"t o# %a%erand scra%s o# dierse materials, which were termedconstructions. E+am%les o# modern constr"ctiist sc"l%t"reran!e #rom the s"rrealistic $o+es o# Kose%h Cornell to the J"n-car and machine-%art wors o# Kohn Cham$erlain, $othAmericans. The term assem!age' which is now sometimes"sed interchan!ea$ly with construction' was coined $y the)rench %ainter Kean ?"$"et to re#er to his own wor, which!rew o"t o# colla!e.


24/34

%sse/;le ;'9oseph CornellAmerican artist Kose%h

Cornell is $est nown #orhis small wooden $o+esin which he assem$leso#ten incon!r"o"so$Jects. S"8yMs S"n0*D


25/34

%rchitectureIn its strictest meanin!, it is the art o# desi!nin! a $"ildin!

and s"%erisin! its constr"ction.

-is shelter to sere as %rotection o# all actiities o# men.

Evolution of %rchitecture

%rchitecture in Prehistoric 3i/es3e#ore recorded history, h"mans constr"cted earthen

mo"nds, stone circles, me!aliths, and str"ct"res that o#ten %"88lemodern-day archaeolo!ists. Prehistoric architect"re incl"desmon"mental str"ct"res s"ch as Stonehen!e, cli dwellin!s in theAmericas, and thatch and m"d str"ct"res lost to time.

%ncient E'pt1,2


26/34

Clssicl


27/34

othic %rchitecture**22 to *Fected ino%"lent and dramatic ch"rches with irre!"lar sha%es ande+traa!ant ornamentation. In )rance, the hi!hly ornamented3aro7"e style com$ines with Classical restraint. R"ssianaristocrats were im%ressed $y =ersailles in )rance, andincor%orated 3aro7"e ideas in the $"ildin! o# St. Peters$"r!.

Elements o# the ela$orate 3aro7"e style are #o"nd thro"!ho"tE"ro e.


28/34

ococo %rchitecture*@


29/34

Beu< %rts %rchitecture*D< to *D&< A? Also nown as 3ea"+ Arts Classicism,

Academic Classicism, or Classical Reial, 3ea"+ Arts architect"re

is characteri8ed $y order, symmetry, #ormal desi!n, !randiosity,and ela$orate ornamentation.

Neo-othic %rchitecture*D2< to *D12 A? In the early twentieth cent"ry, 6othic ideas

were a%%lied to modern $"ildin!s. 6ar!oyles, arched windows, and

other medieal details ornamented soarin! syscra%ers.

%rt eco %rchitecture*D&< to *D1; A? Oi!8a! %atterns and ertical lines create

dramatic eect on Ja88-a!e, Art ?eco $"ildin!s. Interestin!ly, manyArt ?eco moti#s were ins%ired $y the architect"re o# ancient E!y%t.


30/34

Mo!ernist St'les in %rchitecture*D22 to Present. The &2th and &*st cent"ries hae seen

dramatic chan!es and astonishin! diersity. 9odern-daytrends incl"de Art 9odern and the 3a"ha"s school coined $yBalter 6ro%i"s, ?econstr"ctiism, )ormalism, 9odernism,and Str"ct"ralism.

Post/o!ernis/ in %rchitecture*D;& to Present. A reaction a!ainst the 9odernist

a%%roaches !ae rise to new $"ildin!s that re-inentedhistorical details and #amiliar moti#s. Loo closely at thesearchitect"ral moements and yo" are liely to 5nd ideasthat date $ac to classical and ancient times.


31/34

Me!iu/s of %rchitecture

oo!-Is the common $"ildin! material today. Its adanta!es areits a$"ndance, relatie d"ra$ility and hi!h tensile and com%ressionstren!th. Howeer, it is easily destroyed $y moist"re, insects, and5re.

Stone-is the material "sed in most o# the !reat architect"re o#

the world where %ermanence is desired.

Concrete is a $"ildin! material made o# sand and !rael mi+edwith ceme1nt. Lie stone, it has hi!h com%ressie stren!th. Itdoesnt easily cr"m$le or $rea down when s"$Jected to heaywei!ht. It does not corrode and is 5re resistant. )or stron!er

str"ct"re, )erro-concrete or rein#orced concrete is "sed. It isconcrete rein#orced with steel.


32/34

Steel-it is still demand today. It is a to"!h alloy o# iron in

aria$le amo"nts. It is mallea$le "nder %ro%er conditions and!reatly hardened $y s"dden coolin!. It has tensile stren!th. The"sed o# str"ct"ral steel maes it %ossi$le #or the architect to $"ildmany o# the %resent day str"ct"res witho"t worryin! a$o"t the%ro$lem o# s%ace and the wei!ht o# the other materials. It has alsomade %ossi$le the $"ildin! o# the hi!h-rise str"ct"res which are

ery %o%"lar these days.


33/34

Contem%orary Techni7"es in Architect"re addresses thetranslation o# techni7"es in desi!n methodolo!y to theirarchitect"ral reali8ation, at the scale o# s%ace, material

%ro!rammed and constr"ction. It challen!es techni7"e-drien e+%erimental architects at the ne+t intellect"allyri!oro"s leel - that o# e+%lorin! conce%ts and translatin!them into their material co"nter%arts. How do yo" thinthro"!h the $"ildin! o# aant-!arde #ormsQ The title

incl"des the wor o# hi!h-%ro5le %hiloso%hers, architectsand en!ineers, s"ch as 9an"el ?elanda who wrote *222'ears o# on-Linear History 6re! Lynn and )orei!n (ceArchitects and Cecil 3almond o# (e Ar"%, who woredwith ?aniel Li$esind on his %ro%osal #or the S%iral 3"ildin!#or the =A 9"se"m in London, as well as with Phili%Kohnson and St"dio 3aad on the Chaasse Par ProJect#eat"red here.


34/34

Intellect"ally stim"latin! and is"ally en!a!in!, with its

incl"sion o# s%ectac"lar writin!, desi!ns, man"#act"red%rototy%es and #"ll-scale $"ildin!s, Contem%oraryTechni7"es in Architect"re taes architect"ral %"$lishin!streatment o# the di!ital to a new leel, looin! at its%otential in a reali8ed #orm as well as a creatie medi"m.

Lorejas (Sculpture & Architecture)

Documents

Transcript of Lorejas (Sculpture & Architecture)