Universal Sacred Space

Universal Sacred Space

General Description
This is a universal sacred space. It includes a main building as well as its immediate surrounding area. Followers of all religious groups and world-views as well as individuals who do not identify with a specific ideological or religious conviction are equally welcome. The main goal of the place is to offer a calm, spiritual, and inspirational atmosphere without making anyone feel excluded based on their believes. In order to achieve this universality, many aspects of the place are kept as vague as possible. This allows the largest number of individuals to connect their own interpretations and world-views with the place.

Architectural Design
The main element of the space is a two-story building. Each story holds one large room. The bottom story is underground and has no windows. The walls of the top story room mostly consist of large windows. The entire building is shaped in a circle. The roof is dome-shaped. An accessible balcony is encircling the building at the level of the top story.

Harmony with Nature
The place is located in the Texas Hill Country on top of a hill in the midst of an opening in the forest. The outside of the building is painted in earthy colors that fit in with the natural surroundings. On the inside, along with the same earthy colors, abstract murals symbolizing the sun and the moon are painted in subtle tones of blue, yellow, and purple. The building is made out of rammed earth – a natural building material with high energy efficiency.
Furthermore, no artificial light is used, which further emphasizes the closeness to nature. Since the bottom room has no windows, candles are the only light sources. A large number of candles are installed securely in shielded shelf racks along the walls. More candles are placed in shielded, simplistic chandeliers across the room. In addition to the candles, during daylight, the top storey room also has natural lighting from the large windows as well as a panoramic view onto the natural surroundings.
A small pond with a waterfall is located to the side of the building. The surrounding region offers small quiet paths, meditative areas with benches or rocks to sit on, and abstract sculptures scattered throughout the area up to the forest.

Symbolism and Sacred Objects
No sacred objects are present in the place to avoid any tendencies of favoring one world-view over another. The purpose of the place demands the absence of any such objects. However, individuals are welcome to bring their own sacred objects for the duration of their stay, provided that they keep them on themselves and take them with them when they leave. Should any objects remain at the end of the day, they will be collected and sent to a lost-and-found office. This is done in an effort to prevent the possibility of one religion dominating the place, such as by displaying their specific symbols and objects.

Symbolism is mostly found in the choice and shapes. The figure of the circle is repeated in variations in the building’s overall shape, its dome, and a large spiral that is painted on the floor in yellow, blue, and purple. These round forms as well as the sun and moon murals on the walls emphasize the openness of the place and at the same time represent the lifecycle.
Other elements of the place are symbolic as well in an equally broad and vague manner. The pond and waterfall symbolize the connection of the individual to humanity and all life, as water is a necessity for all living things. The sun and moon murals inside the building represent the continuity of the human lifecycle. The sun provides guidance during the day, the moon during the night.

How it is Used
The main building as well as the surrounding park area is accessible 24 hours every day of the year. Everyone who is respectful of the quiet atmosphere of the place is welcome. Visitors come to pray, meditate, perform Yoga, or just spend some quiet time away from their stresses and demands of their daily life. The abstract and open forms and the integration with nature are all aimed at creating a quiet and meditative atmosphere. Visitors can choose between the dark, candle-lit room and the brighter upper room, as well as the balcony or various places outside the building to find their own quiet place. The dark, lower section of the building can function as an escape from the world and all the dangers and demands that come with it, while in the upper section the large windows create a sense of oneness with nature while being sheltered inside. The balcony then, and even more so the surrounding park area, allows individuals to connect to the outside nature without barriers. Thus, the elements of the place can invite to meditate on the relation of the self to the outside world. All furniture is freely movable. Simplistic chairs and benches, as well as bean bags and mats are provided, and visitors are welcome to bring their own mats or pillows. Furniture is purposely limited, however, in order to preserve the openness and cleanliness of the place rather than creating chaos by cluttering the place and its atmosphere. Maintenance of the place is largely financed through donations.

Shinto Shrine - Ryan Bell

General Description

A Shinto shrine is a general term for a structure in Japan that is designed to house a kami (a sprit in the Shinto religion. The sprit can represent various things like trees, lake, and mountains). There are over 100,000 estimated to be in Japan and some are even considered national treasures since the Shinto religion is so important to Japanese culture.

Architectural Design

The shrines are not all the same though, as there are different types of shines. They range from huge shines to small local shines. But they do have some things common. A shrine usually has honden which is a place to hold the kami. It is usually in the back of the shine and visitors are not allowed to visit it. There also could be a haiden or offering hall for visitor to come to pray and make offerings. It can be it own building or connected to the honden depending on the shrine. Building a shrine will vary depending on when it was built. Early shrines where plain while later ones are more colorful and decorated because of a Chinese Buddhist influence. One or more Torii gates usually are on the entrance to the shine. They are usually painted orange and black. All of the structures in a shine are usually made up out of wood and don’t use nails.

Harmony with Nature

The Shinto religion has always stressed a harmony with nature. Early Shinto shrines were traditionally near unusual "concentrations" of nature such as waterfalls, caves, rock formations, mountain tops, or forest glens and instead of building mounds, groves, and caves where used. Currently since the religion has become more popular since then, larger complexes needed to be built to allow more people to visit the kami. But they are still built in harmony with nature since it is a base of the religion.

Symbolism and Sacred Objects

There are also of symbols and sacred object in a Shinto shrine. In the Honden where the kami is housed, there is usually a mirror or statue to represent it. If the shrine has multiple torii in the shrine, they symbolize the increasing holiness as one gets closer to the Honden. Komainu are statures of lions are dogs at the get that are said to protect the shrine. And the kami sprit itself is a symbol for something. The shrine itself is also very sacred. There are a number of rule for visitors so that impurities with not be dirty to sacredness of the shrine.

How it is used by Worshippers

Shinto shrines have many purposes in the Shinto religion and the Japanese culture. People visit the shrines to pray for good fortune and to pay respect to the kami. Shrines are also visited during special events such as New Year and other festivals. New born babies are traditionally brought to a shrine a few days after birth, and many couples hold their wedding ceremonies there. Also if the shrine has a kaguraden, a special stage, they have Noh or kagura ritual dances on it.

Sources

http://orias.berkeley.edu/visuals/japan_visuals/shinto.HTM

http://www.japan-guide.com/e/e2059.html

Parthenon and the Acropolis - Savanah Anderson

Parthenon and the Acropolis


General Description

The Parthenon is the remains of the temple to the Greek goddess Athena, goddess over the entire ancient city of Athens, and by far the most famous structure still existing in Ancient Greece. The temple was built to honor Athena, and to show gratitude for the recovery of Athens to Greece during the time of the Persian Wars. The temple has been a part of the Greek culture for over 2,500 years. As such beauty should never be gone or forgotten.


Architectural Design

The style of the Parthenon is traditional in the time of its creation, designed by a famous sculptor named, Phidas, at the request of Pericles. Pericles was a Greek politician that is credited with starting the "Golden Age of Greece." However, the construction of the temple was supervised by two Greek architects, Iktinos, and Kallikrates. It was built using the Doric-Style. The Doric is best known for its plain, un-embellished style, distinguished and more recognizable by its basic columns. The Parthenon is built of forty-six columns, with most of the stone coming from Mount Pentelicus, which is about 10 miles from Athens. The columns themselves are wider at the bottom and progressively get smaller at the top. However, the corner columns are slightly larger, giving the illusion that the columns within the structure are straight. On top of the columns, the area called the metopes display the battles of Amazons, Centaurs, Giants, and the Greeks. The building of the temple occurred during 447 - 438 BC; but some of the decorations were completed later. The exact measurements of the temple are still in the air, but the best and most familiar measurements that have been given are about 30.9 meters by 69.5 meters.

Harmony with Nature

The Greeks inherited and industrialized an eye for certain surprisingly specific combination's of landscape features as meaningful of particular holiness. This came about because of a religious tradition in which land was not a picture but a true force which physically incarnate the powers that ruled the world. The place it's self holy and before the temple was built upon it personified the whole of the deity as a recognized natural force. With the coming of the temple, housing its image within it and itself developed as a sculptural epithet of the god's presence and character. There for, the formal elements of any Greek sanctuary are, first, the specifically sacred landscapes in which it is set upon.


Symbolism and Sacred Objects

The temple was sacred to two different aspects of the Greek goddess Athena, and Athena Parthenos (young maiden). The "on" ending means "place of", so Parthenon being the "Place of the Parthenos". Inside of the Parthenon stood a bronze statue of Athena, which originally stood in the center of the temple but was taken by a Roman emperor and destroyed. There is also a triangular area above the columns called pediments, which house a display of Athena's birth on the eastern corner and on the western side one of Athena's battle with Posiden, and again on the northern side with depictions of the Trojan War.

How it was used by Worshipers

The Parthenon was used for the worship of Athena (Pathenos), the "Virgin Athena." It was the most important temple in ancient Greek religion of almost a thousand years. Around the 5th century AD the temple was turned into a Christian Church devoted to the Virgin Mary, but once considered to be the house of the Franks and later of the Turks. After so, once again the Parthenon was once again converted into a Mosque in 1460. Until 1687, when gun powder stored by the Turks inside the temple exploded and destroyed the central area, and again in 1801-1803 when much of the remaining sculpture was sold by the Turks, and finally ended up in the British Museum.

Sources:
Web. April 10, 2009
http://academic.reed.edu/humanities/110Tech/Parthenon.html
Web. April 10, 2009
http://ancient-greece.org/architecture/parthenon.html

Ziggurat of Ur - Jamie Banks

Ziggurat at Ur

General Discussion
The Ziggurat at Ur is the most well preserved ziggurat. It was built back in the time of the Sumerians around 1700 BC . It is said to be the biggest and most beautiful ziggurat built, and because of its well preservation most of it is still standing today. Because of its size and popularity, the ziggurat at Ur is often referred to as The Great Ziggurat at Ur. The site of the Great Ziggurat was excavated by J. E. Taylor and is approximately 210 by 150 feet .

Architectural Design
A ziggurat is usually square or rectangle, and the Ziggurat at Ur is comprised of smaller platforms placed near or on top of one another. It contains a court, a secondary court, and three great temples, all on a large rectangular platform. At the top of the structure stands a building that was once a temple . The building is made of mud-brick covered by “a thick skin of burnt-brick for protection” . One could get to the actual ziggurat by stairways that were located either on ramps on one side or a spiral ramp from the base . Interestingly the corners of the structure pointed North, East, South, and West , possibly signifying an importance of location to the Sumerians. Even though the ziggurat was constructed around 1700 BC, it was not finished until the 21st century BC by King Shulgi .

Harmony with Nature and Symbolism and Sacred Objects
These two subtexts go hand in hand with the Ziggurat at Ur. According to Dr. Richard Ingersoll from Rice University, the Ziggurat at Ur “recreated a tangible vision of the cosmological order” . He also states that the Great Ziggurat at Ur established the center of the world, or the “axis mundi” to the hill people and that the Ziggurat gave a “necessary link between heaven and earth that will ensure that fertility and prosperity continues”. This is significant with the Ziggurat at Ur because of its location. It is located in the center of a desert, so its grand size is emphasized due to this adding the interpretation of the building at the center of the world and the high place of worship.


How it is used by Worshipers
The Ziggurat at Ur was remodeled by Urnammu, to worship Nannar, the moon god. Only priests were allowed in the ziggurat temples, and they were thought to be in connection with the god of the temple. In the case of the Ziggurat at Ur, the priest would connect to the moon god, Nannar. Here the priest would attend to the needs of the gods and worship them. Because of this the rooms of the ziggurat were made for the priests, such as the sacred workshops, granaries, storehouses, kitchens, and special rooms. For the people of the land, the Ziggurat was used as a place to get closer to the heavens to worship. Because of its great height, it gave the people access to the city god.
The Ziggurat at Ur was an important building in the city of Ur. It helped end the first depression of Ur. It gave the people of Ur a place of hierarchy, in which the proximity to the center is relative to the social hierarchy, in the order of kings, high priest, soldiers, artisans, and then slaves . The construction was set at the center of a walled city, also signifying its importance to the community. Because of this, the building must have been the center and the main focus of the city.

The Pyramid of the Sun at Teotihuacan - Melanie Alvarado

General Description
The Pyramid of the Sun is located in Teotihuacán, an ancient city that was built by a pre-Aztec culture and was later inhabited by the Aztecs. Until today, very little is known about the Teotihuacan. It is thought that Teotihuacan was established around the time of Christ as a place for spiritual worship. By the fourth century, it had become one of the largest cities in the world with an estimated population of 125,000. Around the seventh century this civilization seemed to come to a sudden end for reasons that up to date are unknown. The central axis of Teotihuacan is the Avenue of the Dead. East of this avenue, at a central location within the city, the Pyramid of the Sun was built. It is the third largest pyramid worldwide.
Architectural Design
The pyramid is made of stone at an impressive size of 738 square feet at base, and a height of 233 feet. The original design is thought to have consisted of four distinct platforms, a temple, and an Adosada platform. The structure was finished with lime plaster on which colorful murals have been painted. The temple along with the upper portion of the pyramid has been destroyed, and it is not known to which deity the temple was dedicated. The pyramid has been reconstructed in the early 20th century with five platforms, which has later been criticized as not accurate. A large stairway leads up the west side of the pyramid.
Harmony with Nature
The name, by which the pyramid is known today, like the names of all other structures in Teotihuacan, was given by the Aztec people. What the Teotihuacános called the pyramid, and whether they had in fact built it in worship of the sun is unknown. The large stairway is facing west towards the setting sun, but no strong connection with solar phenomena has been noticed. The Aztecs highly worshipped the sun, and it is possible that they simply thought of this pyramid as dedicated to the sun due to its impressive size and height that makes it stand out from the surrounding structures. It is also noted that the pyramid appears to be standing “central, but separate and unique” (Pasztory, 1997) within the city. However, if this meaning was intended by the Teotihuacános is not known to us. Another, less speculative, example of how the natural elements are incorporated in the construction of the pyramid is the fact that a natural cave was found underneath the pyramid. Even though the significance of this cave is not fully known, it seems that the presence of the natural cave has been the reason for the pyramid to be built at its exact location.
Symbolism and Sacred Objects
Very few sacred objects were found within the cave underneath the pyramid. Among the findings was a vessel with an image of the Storm God Tlaloc that was commonly offered in burials. However, the identity of the God is not believed to represent the function of the pyramid. The interior of the pyramid is currently the focus of a research project in which physics attempt to investigate the inside material with the help of electron accelerators (Alfaro, 2003). It is not considered impossible that a burial chamber might exist deep inside the pyramid similar to the Egypt pyramids, but no evidence for this assumption exists to this point. Furthermore, the adosada platform was decorated with a number of jaguar and snake figures, both of which were associated with deities in later civilizations.
The cave underneath the pyramid is thought to have been of symbolic significance to the builders of the city. Several suggestions regarding its meaning have been made. For example, similar to the Aztecs, the Teotihuacános might have believed that their people emerged out of the earth from that cave.

How it is used by Worshippers
We do not know how the Teotihuacános originally used this pyramid. It is believed that the cave underneath the structure might have been used for certain ceremonial activities. The finding of several sacred objects within the cave supports this theory, even though it is not clear what kind of rituals were performed in the cave. Furthermore, whether the entire pyramid was intended primarily as a burial place or as a place dedicated to the gods, or both, is not known. What is clear is that the Aztec people later considered it a place for worship of the sun. Evidence exists to suggest that the cave was also of significance to the Aztecs. The glyph the Aztecs used to refer to Teotihuacán consisted of two pyramids over a cave. Today, the pyramid is accessible to tourist and has become a place of primarily historic significance. Thus, its uses have greatly changed over the centuries depending on the peoples that inhabited the city and its surrounding area.







Sources
Alfaro, R. et al (2003). Searching for Chambers and Caves in Teotihuacan’s Sun Pyramid. AIP
Conference Proceedings 670(1), 493-500. Retrieved March 8, 2009 from the Academic Search Complete Database.
Lazzari, M, Schlesier, D. (2002). Exploring Art. A Global, Thematic Approach. Thompson
Learning, 262-265.
Pasztory, E. (1997). Teotihuacan: An Experiment in Living. University of Oklahoma Press.
Retrieved electronically March 4, 2009 at http://ipac.mclennan.edu/ipac20/ipac.jsp?term=teotihuacan&index=.GW#focus
Witcombe, C. (2009). Art of the Americas. Art History Resources on the Web. Retrieved March
4, 2009, at http://witcombe.sbc.edu/ARTHamericas.html

Sacred Space

Stonehenge
General Description
One of Britain’s national icons, Stonehenge is a prehistoric circle of upright stones and is still a mystery. It was constructed over 5,000 years ago, and although historians cannot pin point any one reason for its construction, it is known that it was not constructed for any casual reason, because the creation took a lot of effort and time (Lacey).
Theorists think that the stones were brought from the inland mountains to the headwaters of Milford Haven by the use of roller and sledge, and then placed on rafts to travel to Somerset, and then floated down a river, once again, to West Amesbury, then having only a short distance to the Stonehenge site. The giant stones weigh as much as 50 tons each (Gerald). This was a lengthy and strenuous process, signifying that the construction must have been for an important reason. The monument’s assembly has been largely attributed to the people of the late Neolithic period (Lacey).
The Stonehenge of today is in a state of ruin because many of the original stones have fallen, or have been removed. Visitor contact has been prohibited since 1978 because serious damage occurred. Even the prehistoric carvings are wearing (Lacey).

Architectural Design
The architectural design of Stonehenge is believed to have been built in different stages. In the first stage, a 320 foot circular ditch was created, using deer antlers as picks. The ditch was 20 feet wide and 7 feet deep. Inside of the circle, 56 holes were dug, and two parallel stones were put up at the entrance to the circle. This first stage of Stonehenge is believed to have been used for 500 years (Rodney). The second stage of involves a semicircle of granite stones. These 80 stones, each weighing up to 4 tons each, came from mountains that were nearly 250 miles away. The third stage of Stonehenge construction is accountable for the stone circle that can be seen today. During this stage, a circle of upright sarsen stones, and each pair of stones as topped with a stone. Originally there were 30 upright stones, and only 17 of these still stand today. These stones weigh nearly 50 tons each (Gerald).

Harmony with Nature
Stonehenge has been argued to have summer solstice alignment because the opening of the Stonehenge is in the direction of the midsummer sunrise. Gerald Hawkins has argued that Stonehenge was created as an astronomical calculator (Gerald).

Symbolism and Sacred Objects
The astronomical significance of Stonehenge is very apparent. The Stonehenge site clearly had religious and social significance, and was connected to the rituals of the people, and may have played an important role in setting the calendar. (Rodney)

How it is used by worshippers
Modern day sun-worshippers head for Stonehenge, and in 2007, more than 24,000 worshippers visited Stonehenge for the Summer Solstice, and it has been increasing ever since (Wilshiretimes).

Muesum Project Ryan Bell

When I went to the Fort Worth Museum for Modern Art I honestly just thought that all I would see was some boring paintings(heck, I only chose that museum since it was free on the day that I went). And while granted there were some I didn’t think some of the things that I saw(like a ladder narrowed as it got higher making its own vanishing point and a pile of thousands of individual wrapped candies ). The one piece that stood out to me was Anselm Kiefer’s Book with wings.

Book with wings is a sculpture that can be seen in the round. It is made up of lead, tin, and steel. It seems to be an additive sculpture with an internal frame holding the wings in place. I can only imagine the difficulties of sculpting with lead since it is a weak metal and poisonous (especially since it two years to make).
It is made up of three main shapes. There are two triangles that form the wings and a rectangle that forms the book itself. The balance of the piece is symmetrical. The piece could be split down the middle leaving a page and a wing on each side. This also leads to a symmetrical balance in the piece.
The space the statue takes up is quite large. The wingspan of it is bigger than me. But there is a lot of empty space: below the statue around the base and all along the room since it is the only piece in the room. This to me gives a sense of solidarity. Also the circular room that the statue is in really focuses all of you attention to the piece since it is the only one in the room and since it is in the center of the room.
The room it lit directly above the statue casting the shadow straight down to the floor. This gives that feeling that the book glowing with knowledge or divinity especially if you stand directly in front of it so the light reflects to your face (can see this in the second picture).
Emphasis seems to start in the middle of the book. You can see that this is where most of the reflecting light if coming from. Then the eyes would be drawn outwards to the wings, to the smaller glimmers of light in the cups of the wings, and then down the tips of them.
This statue is made out of lead so the only color is the dull grey. It really goes with the grey of the concrete of the room that it is in, yet stands out because of the light on it. Also the steel stand does stand out a little with its black paint and red rust.
The texture is a very note worthy aspect of this piece. Not only is the texture of the feathers of the wing visible, but the texture of the pages of the book is very detailed. The pages are wrinkled and crunched up to and the cover appears to be weathered down.

Museum Project Savanah Anderson

Museum Assignment The Running Flower by Fernand Leger


The Running Flower by Fernand Leger made in 1952 is an amazing piece of artwork. It is currently at the Kimball art museum in Fort Worth. It travels from different places but is on loan from the Burnett Foundation, to the museum during it's renaissance and love exhibits. The Running Flower is made up of implied lines that create the petals and the center of the flower to show the middle hole missing with in the blue color. It is a volumetric design that is three dimensional. The lines are used to show the area that would represents the petals. The lines show the movement of the Running Flower with the different straight and curved lines, and the different widths of the sides and different lengths and depths. The flower is made as organic, it is drawn from nature. It's placement being outside and the different shapes and sizes of the petals makes it more like nature and that it's not perfect sizing makes it feel less perfect.
It fills the space in a large area, placed outside in it's own environment, the sculpture is larger than a flower is and stands taller than the average adult human. The sculpture interacts with the light in it's setting by pulling the colors from the environment surrounding it. There are many different types of flowers and trees that have the same colors which make the sculpture stand out bright and bold. The different gradations of the colors create depth with in the sculpture. The colors being in the front so the movement, but with the black on some petals helps to show that they are in the back and farther away, the eye seems to avoid the black but at the same time it shows the different dimensions of the flower and portrays movement.
The different color intensities in this sculpture are bright and bold. The hues that the artist used when painting this sculpture make the eye focus on the middle of the flower and the top and bottom with the brightness of the orange and blue colors that stand out.
The natural feeling people receive from flowers is fun and light, kind of joyful. The colors used by the artist still portray the same feelings when looking at the sculpture. The colors are ones that could be found in real life on flowers so the flow isn't interrupted at all. With the use of complimentary colors the flow is actually very coherent. The red with the green and than the blue with the orange, makes the feeling more natural and life like, with the artist use of warms colors. The over all texture of the sculpture is smooth, it is rounded in area's and sharp in others but the patterns made in this form make the appearance more substantial. The balance that is the "Running Flower" is asymmetrical, like stated earlier the eye is drawn to the middle of the sculpture with the eye going down the bright orange and meeting in the middle of the medium.
Fernand Legar, had to have some difficulties when creating this piece with jsut the shear size or the art work. The ceramic is a fairly easy medium to work with but with the piecing together of the different areas, he was bond to come across some problems. However, the medium is strong and solid and seems to have a great durability. The initial piece was all painted white and than later painted over with the colors. The paint is shiny and kind of has a glossy look to it. From pictures of the past to when I saw it the other day it didn't seem to have changed much at all. The art work is beautiful and had to require a mixture both of strength and patience, because the detail and the many attempts that it would have taken to figure out what it would have taken for the medium to stand in the round and not have a base to support it with all that weight on top. The strength part is being able to piece all the different sections together after the carving of the ceramic. I think that it was a little of both process that were used in making this sculpture, subtractive and additive. For the subtractive part it would the carving of the petals and making the different shapes, and for the additive part it would be piecing the different parts together to make the big picture.

Museum Project Jamie Banks

Museum Visit

While at Baylor University for a wedding, I attended the museum. One painting in the museum struck my attention. I assume it was a painting done by a student at the University because there was no name or title next to it. The lack of identification only added to the mystery and tone of the painting itself.
This painting has two focal points. First of all there is the naked woman on the left hand side with black lines encircling her, and then there is a big black door or window on the right hand side. There is a perfect balance between the two focal points, most likely to emphasize the woman being alone on the left hand side. To separate these images, there is a gray line down the middle. Some may argue that this could be a focal point; however I view it more as a separator between the two objects. With the two focal points, the painter uses ovals. The lines that encircle the woman are drawn to create a dark oval around her, and the door (besides being somewhat oval itself) has lines on the outside that further emphasize the shape. The two focal points help show the tone of the painting, which tends to be anxiety and isolation. With the two objects being so far apart with a line in the middle, the loneliness is expressed. Also, the woman is the only object that stands in the middle of the room, all other objects are either on the walls or against the walls. The woman is physically isolated in the room.
The colors used in this painting are also dull colors. The painter uses black, brown, yellow, and some gray. Without splashes of bright color, the painting loses life and possibly signifies the isolation even further. The onlooker sees a woman encircled in dark black lines with only dark colors around her. Warm colors seem to be presented more in the foreground while cool colors are used in the background. This could be used for a visual effect. Also, the fact that all the lines are thick black lines further shows the importance of them in interpreting the painting. They add a tension to the onlooker, and possibly anxiety for what is occurring in the painting. The onlooker now asks why is the woman alone. And why is she naked and alone? The nakedness of the woman shows vulnerability, so further add to the tone of the painting.
The artist does not seem to have needed a steady hand when painting this piece. The objects are not perfectly drawn and are not drawn perfectly to scale. The jaggedness of the objects adds to the mystery and anxiety. The lines themselves seem to be the most chaotic and intense part of the painting, again signifying their importance in the tone. Because of the intensity of the lines, the artist made it clear that the woman is the most important aspect of the painting. Not only is she naked, which draws attention, but she is encircled by the most lines. Even though there are jagged dark lines everywhere in the painting, the artist seemed to elaborate it around the woman. This not only brings more attention to her, it also further emphasizes the isolation of the woman in the room.
The intensity of this painting is what drew my attention. The colors, although dull choice of colors, is done in an intense way to invoke some kind of curiosity from the onlooker. Also, the fact that the painter put so much emphasis on the naked woman really intrigues me and made me want to further analyze the painting.

Museum Project Kari Bailey

Museum Assignment- UTA Gallery: “Time and Space of Books”

The Galleries at UTA increase student’s culture and allows them to see what the students of the art and art history department are capable of doing. The gallery contains contemporary art, and is presented in creative and critical context, including “the creation of new art by regional, national and international artists through residencies, exhibitions, and other programming forums” (galleries).
The artwork that intrigued me was titled “Time and Space of Books” and was designed by a liberal arts fine arts student named Tan Huili. There are many art elements included in the artwork. The line elements were very apparent. It was easy to see the objects clearly defined, and the artwork was divided into seven sections, each with a different image of books. The lines were going in many directions, some straight across, and a lot diagonal. The artist utilized the lines well, because it is easy to see the separation of the seven subsections of the artwork. The shapes that are used in the artwork are all square and rectangular. The sizes of the objects are pretty proportional to each other, although in some of the subsections, the sizes of the books are slightly smaller than other sections.
In this two-dimensional artwork, the artist uses space elements to visually project the art into our space. The area of the artwork where there is an open book overlapping the sections gives this effect. The actually texture of the artwork is smooth like a photograph, but with the space elements giving the effect of a book popping out, I think the there is an implied texture of how a book would feel. The light source in this artwork is artificial. You can see that light is hitting the books, and in one of the sections, the artist used shadows and you can see where light is coming in through blinds.
The most used color in this artwork is grey, but the artist uses red as the main accent. Red is placed a little bit on all of the books in the different sections. The artist uses only about three hues, and it creates a sense of unity among the books.
The artist created a balance in the artwork by creating the different subsections of books, and there is emphasis placed on the book that is open and overlapping each section. All of the sections have their own focal point, but the open book is the main foal point of the entire artwork. The artist created repetition by using red as an accent in each one of the books.
The media and technique the artist used was drawing and it is a two-dimensional object. I believe the artist started to draw everything by hand, but probably used a computer graphic skills to finish editing all the images to make things overlap and to create the different sections. I do not see any limits that this medium could run into except that maybe some people wouldn’t appreciate the art as much since he may have used a computer.

Museum Project Melaine Alvarado

Waco Suspension Bridge

The Waco Suspension Bridge was built in 1870 and originally served as a cattle and pedestrian toll bridge across the Brazos River. It was sold to McLennan County and opened toll-free to the public in 1889. Due to the steady increase in vehicle traffic, the bridge was reconstructed 1913-1914 to assure its stability. Older steel was replaces, trusses added, the cable system replaced, the towers rebuilt, and the roadway reinforced with steel. Today, there are other, more stable traffic bridges and the Suspension Bridge is used as a pedestrian bridge. It is listed in the National Register of Historic Places and has the status of state marker. Today the structure combines its modern as well as original elements.
Architect Johann August Röbling was limited by the obvious function the structure needed to fulfill. The object obviously had to be three-dimensional. Furthermore, its size and dominating horizontal direction were largely predetermined by the function of the bridge. The span of the bridge is 475 foot. The towers on each side of the river constitute contrasting vertical lines and help create a balanced appearance. While most lines in the structure are straight, the seven cables on each side across the river form a somewhat dynamic symmetric curve that opens to the top. As a variation of this curve, each tower has two prominent arches that open to the bottom. Between the two towers on each side of the river, the cables form a straight diagonal line that is echoed in the line of the slanted roofs on the outer towers. Pattern is created with this adapted repetition of clear, geometric lines. Smaller lines on the towers add detail and help create balance. All shapes are geometric, large, and very symmetrical. While the large size of the horizontal span is predetermined by the span of the Brazos River, the large vertical size of the towers was a choice of the architect and increases the appearance of stability and balance.
Most of the structure consists of empty space to which the horizontal, vertical, and curved lines and shapes build the framework. The structures take up comparatively little space, which emphasizes the width and size of the construction and bestows it with a certain light and effortless appearance.
The way the structure interacts with light and shadow differs greatly depending on the weather and time of the day. Shadows are strongly visible on the light grey color of the towers as well as on the walkway, which emphasizes the geometric angles and the depth of the structure. On sunny days, when the light falls at an angle in the morning or evening, the shadows cast by the trusses and cables create an intricate pattern of geometric lines on the walkway. In addition, a row of light bulbs is attached to the cables on both sides of the bridge that illuminate the structure at night, emphasizing its framing curves. The two towers closest to the river are also illuminated at night.
The bridge is made up of two colors: the grey of the towers, trusses, and cables, and the dark brown of the walkway and the roof on both sides of the towers further away from the river. The colors are fairly uniform throughout the different structures. The grey is very light with low intensity, further suggesting an impression of openness, lightness, and a certain coolness of the heavy and solid structure. The brown is darker and more intense and has a warmer appearance. The two colors create balance and are an example of how the historic and more modern aspects of the bridge are combined. This is further emphasized by the texture of the structure. The smooth texture of the stone towers and steel trusses contrasts with the rough texture of the wooden walkway.
The structure does not have a single focal point. The two towers closest to the river function as focal points due to their height, symmetry, and stability. The outer towers don’t have the same emphasis as they are markedly lower and on the periphery of the structure. In fact from one side of the river the second tower on the other side can easily be missed. Thus, the bridge has three main components: the walkway, the inner pair of towers, and the outer pair of towers. These elements are unified by the symmetry of the structure as well as by its rhythm and pattern that have repeatedly been addressed above.

References:

Texas State Historical Association (2008). Waco Suspension Bridge. The Handbook of
Texas Online. Retrieved March 8, 2009 at http://www.tshaonline.org/handbook/online/articles/WW/rtw1.html

Texas State Historical Association (2009). The Waco Suspension Bridge. Texas
Almanac. Retrieved March 8, 2009 at http://www.texasalmanac.com/history/highlights/waco/