Marco Frascari describes in his article that dictionaries define “detail” as a small part in relation to a larger whole. He says, “In architecture this definition is contradictory, if not meaningless.” (Frascari 501) He also says “A column is a detail as well as it is a larger whole,” (Frascari 501) which allows a detail to be a small joint, or even a larger column that holds the building up. At the University of Michigan’s Museum of Art, there are many details that are overlooked, but have a large importance to the building as a whole. This leads to the detail we chose, a beaming detail that usually passes over the heads of most people.
The beams, resembling steel girders, lined along the ceiling of the top floor contribute to the overall theme of the building. Not only do they let in light, but also they are also similar to a Brise Soleil, which is a type of sun-shading structure. The Brise Soleil is common throughout the building, with many areas having lined girders across the windows. In this wing of the University of Michigan’s Museum of Art, there are many open girders, evoking a feeling of modern construction within the building. This detail on the ceiling contributes to this same theme, and also is used practically in the lighting of the building. The collocation, which is the functional placement of the details (Frascari 504), gives this detail a larger function than many other details. The girders are laid across the skylight on the ceiling, letting in a limited amount of natural light. It then makes up for this by having artificial light fixtures along the girders. This detail helps in controlling the amount of light that enters the room. The material matches with the material throughout the building, with the metallic grey color. The metal evokes the feeling of a modern almost futuristic building, but the grey not exaggerated color brings the modern feeling back down to earth. The almost dull grey makes the girders not so “out of this world” and gives it a much more modest and modern appeal.
The poetic expression behind this detail stems from its placement relative to where people walk through and from it’s function. It is above the room, above all the action, but it still has a significant effect on the room. Frascari says “God lies in the detail,” (Frascari 500) and this detail lies above, looking down, almost as if it were a higher power. Not only does it look down upon the room, but it also affects the light that comes in, which can change the feeling of the room. This detail poetically is somewhat of a god like figure, controlling aspects of the room, and at the same time being above it all. The fact that this detail is horizontal contrasting to the direction of the windows and the roof shows that this is detail is like a gatekeeper. It allows some things to break past the gate, but not everything. This also contributes to the god like aspects of this detail. God is also based on our own image, and similarly this detail being based on the entire image or theme of the building. Poetically, this detail is a watchful guardian, almost god like part of the entire building.
We selected this material joint for its combining of tectonic with actual aesthetic. The modern section of the University of Michigan Museum of Art as a whole is trying to distinguish itself from the classical art section of the building, which was accomplished in many ways, particularly in the details such as these girder-like ceiling beams. As a feature of the structure, these beams serve as an actual ceiling support. Being made of what appears to be solid steel, having a row of them as the UMMA does in the modern section is a very solid, firm support for the entire building. Choosing to show these beams, as opposed to having them covered up by a decorative ceiling was a clear choice by the architect. It says far more about the building by having the support beams explicitly than if the architect were to hide them. For one, it shows the museum attenders that this is a completely different area from the classical section, which used marble pillars, and had a decorative ceiling with windows at the top to let in light, not showing how the ceiling is held at all. In this modern section of the museum, having these supports also is a statement to show the attender that the building is firm and solid, in contrast to the art that you may see in the building, which may not have a clear, definitive form. Showing the solid steel material of these beams is also another reassurance to the attender. In his article, Marco Frascari states that “The joint… is the place of the meeting of the mental construing and of the actual construction.” I believe that this aspect of the UMMA follows these criteria for a joint perfectly. The detail is no longer just a part of the building that is there to look good, or is just there to function. It is there to display meaning and expression of the building as a whole. It is saying that this building is something new, solid, and different from the expression of the older era. These girders express how everything that makes the building does not need to be hidden, but is there for the world to see.
Marco Frascari describes in his article that dictionaries define “detail” as a small part in relation to a larger whole. He says, “In architecture this definition is contradictory, if not meaningless.” (Frascari 501) He also says “A column is a detail as well as it is a larger whole,” (Frascari 501) which allows a detail to be a small joint, or even a larger column that holds the building up. At the University of Michigan’s Museum of Art, there are many details that are overlooked, but have a large importance to the building as a whole. This leads to the detail we chose, a beaming detail that usually passes over the heads of most people.
ReplyDeleteThe beams, resembling steel girders, lined along the ceiling of the top floor contribute to the overall theme of the building. Not only do they let in light, but also they are also similar to a Brise Soleil, which is a type of sun-shading structure. The Brise Soleil is common throughout the building, with many areas having lined girders across the windows. In this wing of the University of Michigan’s Museum of Art, there are many open girders, evoking a feeling of modern construction within the building. This detail on the ceiling contributes to this same theme, and also is used practically in the lighting of the building. The collocation, which is the functional placement of the details (Frascari 504), gives this detail a larger function than many other details. The girders are laid across the skylight on the ceiling, letting in a limited amount of natural light. It then makes up for this by having artificial light fixtures along the girders. This detail helps in controlling the amount of light that enters the room. The material matches with the material throughout the building, with the metallic grey color. The metal evokes the feeling of a modern almost futuristic building, but the grey not exaggerated color brings the modern feeling back down to earth. The almost dull grey makes the girders not so “out of this world” and gives it a much more modest and modern appeal.
The poetic expression behind this detail stems from its placement relative to where people walk through and from it’s function. It is above the room, above all the action, but it still has a significant effect on the room. Frascari says “God lies in the detail,” (Frascari 500) and this detail lies above, looking down, almost as if it were a higher power. Not only does it look down upon the room, but it also affects the light that comes in, which can change the feeling of the room. This detail poetically is somewhat of a god like figure, controlling aspects of the room, and at the same time being above it all. The fact that this detail is horizontal contrasting to the direction of the windows and the roof shows that this is detail is like a gatekeeper. It allows some things to break past the gate, but not everything. This also contributes to the god like aspects of this detail. God is also based on our own image, and similarly this detail being based on the entire image or theme of the building. Poetically, this detail is a watchful guardian, almost god like part of the entire building.
We selected this material joint for its combining of tectonic with actual aesthetic. The modern section of the University of Michigan Museum of Art as a whole is trying to distinguish itself from the classical art section of the building, which was accomplished in many ways, particularly in the details such as these girder-like ceiling beams.
ReplyDeleteAs a feature of the structure, these beams serve as an actual ceiling support. Being made of what appears to be solid steel, having a row of them as the UMMA does in the modern section is a very solid, firm support for the entire building. Choosing to show these beams, as opposed to having them covered up by a decorative ceiling was a clear choice by the architect. It says far more about the building by having the support beams explicitly than if the architect were to hide them. For one, it shows the museum attenders that this is a completely different area from the classical section, which used marble pillars, and had a decorative ceiling with windows at the top to let in light, not showing how the ceiling is held at all. In this modern section of the museum, having these supports also is a statement to show the attender that the building is firm and solid, in contrast to the art that you may see in the building, which may not have a clear, definitive form. Showing the solid steel material of these beams is also another reassurance to the attender.
In his article, Marco Frascari states that “The joint… is the place of the meeting of the mental construing and of the actual construction.” I believe that this aspect of the UMMA follows these criteria for a joint perfectly. The detail is no longer just a part of the building that is there to look good, or is just there to function. It is there to display meaning and expression of the building as a whole. It is saying that this building is something new, solid, and different from the expression of the older era. These girders express how everything that makes the building does not need to be hidden, but is there for the world to see.