Frascari states that the joint is where “the construction and the construing of architecture” happen (Frascari 511). In other words, nestled in the detail is the art and science of architecture. To paraphrase van der Rohe that is where the architect finds God (501). No more is this simple importance found than in this material joint at the University of Michigan’s Museum of Art’s Frankel Wing. What could be the simple end of a staircase instead combines elements of the larger structure and seemingly distinct materials into a cohesive, binding work of architectural art that transcends simple ornamentation as is fitting for a world renowned art museum. First consider the grey iron stair rail. Its formal upright, heaviness, at first glance, echoes just the exposed elements of construction found in building such as its heavy iron columns and grey steel beams, but a closer inspection reveals a more complex moment. This element does not just reveal its construction, it manages to reveal and conceal. It plays off the dichotomy found in the Frankel Wing that presents itself in everything from heavy metal beams that support massive beams and visible bolts and hinges to floating floors that are attached by nothing more than air and a few spindly brackets and staircases that seem to simply rise from the floor, uninterrupted. The stair rail seems to be hewn from a solid piece of iron with few visible welds or supports. Its elements flow into each other and, then, quietly slip into the floor. All this is accomplished will it gently floats above the white element it surrounds. A thin line of matching grey paint on the outline of that white completes the uncanny unconnected connection. They are not disconnected properly, but they are never actually connected. The stabilizing connection is hidden away in the initial indention and thus made less important, less evident. It completely vanishes as they approach the floor. These elements never seem to meet by appearance even though they appear to be built in a way that does not attempt to hide its construction. The “unconnection” in the white piece continues in the indention between its upper and lower half. It echoes that illusion of emptiness. The end result is that the since of airy lightness and flow that hallmarks the building is preserved even while using heavy materials, even while highlighting construction. When the staircase final reaches the floor, the iron plunges into it emphasizing the heaviness of material and giving the rail support while the white structure simple sits on top. At first glance, this tells of their distinctiveness, but a look at the floor says something different. The tile reveal little spattering’s of matching grey and white. The materials do not just come together, they become one, part of a whole. There is a distinct sense of careful fluidic flow and, yet, a reluctance to combine. This is a material joint, it combines distinct elements, but is somehow an immaterial joint. It has a whiff of the transcendent, of the immaterial. Frascari writes, “The art of detailing is really joining the materials, elements, components, and building parts in a functional and aesthetic manner” and this accomplishes that beautifully, but it does something more (501). It combines the ideas of building.
Mario Frascati discusses detail as an incredibly important aspect of conveying the meaning attributed to buildings and what we as viewers take away from it. To quote the old truism, the devil is in the details. What makes this so important to realize is that what we experience is not just a single detail or a single monolithic structure, but from a combination of small details that combine to create a specific meaning. Our specific joint, where the staircase molding meets the floor of the basement of UMMA, is rather subdued, lacking in attention grabbing features such as bright color or elaborate elements. It is subdued, much like the rest of the new Frankel wing of the Museum, which has a quiet, peaceful atmosphere. It is designed to allow the contents inside to be the focus of attention, and not the building itself. In the case of this joint, the main features are the iron rail, and the drywall below it. They are joined together to create a simple, functional piece of architecture that supports the stairwell. But by themselves, each has a different contribution to the whole and the perception of the space. The iron railing is sturdy and straight, and is painted in a subtle color, similar to rock, making the element seem strong and natural. It also contributes to the overall clean feeling that the building exudes. It looks simple an unadorned, and for the most part, it is. However, the intricate details of the joint, where the iron and drywall meet, consists of a braided metal material that is only visible upon close inspection. This detail is like many of the other details in the building, simple upon first glance, but much more complex and interesting upon closer examination. The drywall itself has a separation or joint in it, that emphasizes its presence and creates a clear boundary between itself and the iron railing. The line itself is clean and uncomplicated, like the building it is in. The whole section of drywall is painted white, and completely undecorated, even when it meets the busy floor that contains a combination of colors and sizes of pieces. It is the background of a much more complex display, something that the museum itself is designed to be. The design of this particular element is based upon the idea that the building itself is not and cannot be the star of the show and is instead the backdrop. Where both the iron and the drywall meet the floor is a clean, unembellished ending of both pieces, creating a smooth transition from one element to another. This is a progression that follows the layout of the building, one that is full of relatively seamless transitions from one section to another and is designed to be almost unnoticeable. By following this joint you have reached a new section, but it feels like you never left the old section, an important aspect of the design of the museum.
Frascari states that the joint is where “the construction and the construing of architecture” happen (Frascari 511). In other words, nestled in the detail is the art and science of architecture. To paraphrase van der Rohe that is where the architect finds God (501). No more is this simple importance found than in this material joint at the University of Michigan’s Museum of Art’s Frankel Wing. What could be the simple end of a staircase instead combines elements of the larger structure and seemingly distinct materials into a cohesive, binding work of architectural art that transcends simple ornamentation as is fitting for a world renowned art museum.
ReplyDeleteFirst consider the grey iron stair rail. Its formal upright, heaviness, at first glance, echoes just the exposed elements of construction found in building such as its heavy iron columns and grey steel beams, but a closer inspection reveals a more complex moment. This element does not just reveal its construction, it manages to reveal and conceal. It plays off the dichotomy found in the Frankel Wing that presents itself in everything from heavy metal beams that support massive beams and visible bolts and hinges to floating floors that are attached by nothing more than air and a few spindly brackets and staircases that seem to simply rise from the floor, uninterrupted. The stair rail seems to be hewn from a solid piece of iron with few visible welds or supports. Its elements flow into each other and, then, quietly slip into the floor. All this is accomplished will it gently floats above the white element it surrounds.
A thin line of matching grey paint on the outline of that white completes the uncanny unconnected connection. They are not disconnected properly, but they are never actually connected. The stabilizing connection is hidden away in the initial indention and thus made less important, less evident. It completely vanishes as they approach the floor. These elements never seem to meet by appearance even though they appear to be built in a way that does not attempt to hide its construction. The “unconnection” in the white piece continues in the indention between its upper and lower half. It echoes that illusion of emptiness. The end result is that the since of airy lightness and flow that hallmarks the building is preserved even while using heavy materials, even while highlighting construction.
When the staircase final reaches the floor, the iron plunges into it emphasizing the heaviness of material and giving the rail support while the white structure simple sits on top. At first glance, this tells of their distinctiveness, but a look at the floor says something different. The tile reveal little spattering’s of matching grey and white. The materials do not just come together, they become one, part of a whole. There is a distinct sense of careful fluidic flow and, yet, a reluctance to combine. This is a material joint, it combines distinct elements, but is somehow an immaterial joint. It has a whiff of the transcendent, of the immaterial. Frascari writes, “The art of detailing is really joining the materials, elements, components, and building parts in a functional and aesthetic manner” and this accomplishes that beautifully, but it does something more (501). It combines the ideas of building.
Mario Frascati discusses detail as an incredibly important aspect of conveying the meaning attributed to buildings and what we as viewers take away from it. To quote the old truism, the devil is in the details. What makes this so important to realize is that what we experience is not just a single detail or a single monolithic structure, but from a combination of small details that combine to create a specific meaning.
ReplyDeleteOur specific joint, where the staircase molding meets the floor of the basement of UMMA, is rather subdued, lacking in attention grabbing features such as bright color or elaborate elements. It is subdued, much like the rest of the new Frankel wing of the Museum, which has a quiet, peaceful atmosphere. It is designed to allow the contents inside to be the focus of attention, and not the building itself. In the case of this joint, the main features are the iron rail, and the drywall below it. They are joined together to create a simple, functional piece of architecture that supports the stairwell. But by themselves, each has a different contribution to the whole and the perception of the space.
The iron railing is sturdy and straight, and is painted in a subtle color, similar to rock, making the element seem strong and natural. It also contributes to the overall clean feeling that the building exudes. It looks simple an unadorned, and for the most part, it is. However, the intricate details of the joint, where the iron and drywall meet, consists of a braided metal material that is only visible upon close inspection. This detail is like many of the other details in the building, simple upon first glance, but much more complex and interesting upon closer examination.
The drywall itself has a separation or joint in it, that emphasizes its presence and creates a clear boundary between itself and the iron railing. The line itself is clean and uncomplicated, like the building it is in. The whole section of drywall is painted white, and completely undecorated, even when it meets the busy floor that contains a combination of colors and sizes of pieces. It is the background of a much more complex display, something that the museum itself is designed to be. The design of this particular element is based upon the idea that the building itself is not and cannot be the star of the show and is instead the backdrop.
Where both the iron and the drywall meet the floor is a clean, unembellished ending of both pieces, creating a smooth transition from one element to another. This is a progression that follows the layout of the building, one that is full of relatively seamless transitions from one section to another and is designed to be almost unnoticeable. By following this joint you have reached a new section, but it feels like you never left the old section, an important aspect of the design of the museum.