Session 1 - June 7

[Bin He]

After reading this article about the factors that affect architectural form, I would like to share my observations on Chinese architecture: intra-Asian hybridities, cross-cultural currents, and socio-religious transfers from the roof tiles.

One is the small blue tile, which is curved. It may be a bit like a butterfly after being covered. Some people call it a butterfly tile. In order to adapt to the humid climate and prevent the wood from decaying, the butterfly tiles are directly laid between the two flat square rafters, with the concave side facing up and the open side of the cover tile covering the gap between the two rows of bottom tiles to facilitate ventilation. Therefore, the butterfly tile is designed based on practical use, which is very common in civilian buildings.The other tile is the tube tile. Because it looks like a tube, the bottom tile of the tube tile is almost the same as the top. The barrel tiles are connected and more straight because they are very smooth and straight, so it has become a symbol of social status. Therefore, it is mainly used in more solemn places such as temples and official buildings. 

 

Butterfly tile：

 

 

Tube tile

 

 

[Taylor Bub]

Candace, 

I love your idea of creating an inquiry based discussion regarding climate change and Western influences on Asian societies and how they might relate to our own communities.  This could even be the focus of cross curriucular activities where in history courses, students identify the influences and answer the questions you had provided, and then work in math and science classrooms to develop/engineer solutions to those issues that were identified.  We often use inquiry based learning in our science classrooms, so it is really awesome to see ways that it can be utilized in other subject areas.

[Madelyn Masterson]

I found the differing approaches between western and Japanese art fascinating. Japanese meditations tend to center around becoming one with their surroundings or one with nature. Therefore, their art reflects their focus on nature. As mentioned, the protagonists in western art are often human whereas the protagonists are often nature in Japanese art. In Japan, there are many deities of nature. This made me think about how when the Japanese are painting nature, they are painting their gods and the spirits they worship which can be an act of worship itself.

The Yoyogi stadium was a helpful example of how western architecture was rooted in Japanese culture. As mentioned on pg. 9 of the first article, Framing the Asian City, there is resilience in Asia’s indegenous urbanism as it strives to conserve historic traditions. We can push our students to think about the approach to climate change and preserving the historic architecture of east asia. Thinking about water quality in the water town of Wuzhen, are we doing enough to preserve asian culture and heritage in a way that benefits the entire community? 

[Madelyn Masterson]

Hi Miguel, 

I connect with your idea of chrisitan influences to dark versus light. Darkness is often portrayed as a time of hardship or despondency and light is a time of hope renewed. This makes me think of important pieces of western art where light is used to highlight meaning or important features of the art.

[Cleo Lu]

Ancient cities in China were ceremonial centers rather than commercial centers. They were a symbolic representation of the realm (the world). While the Emperor of Heaven ruled from the center of the cosmos, the human emperor or the Son of Heaven ruled from the center of the city, providing a link between the earthly and heavenly worlds. When I read the article "The ancient Chinese city as a cosmological symbol", I found the concept of axis mundi fascinating because it reminds me of Leonardo da Vinci's well known diagram of "Virtuvian Man." 

[clay dube]

Bin - thanks for these images to illustrate these styles and techniques.

[Amy Stamm]

Yes, the idea of micro-cities or multiple centers around which people can walk to find a sense of neighborhood, food, and most of the things they need for daily living - along with designing into cities bike paths, walkways, and renewable energy - seems like a hopeful way of both attending to indigenous histories and their unique expressions (design, daily living habits, lifestyles, language), and addressing climate change through ground-up participation in decision-making. Portland, OR is a U.S. city designed with these ideas in mind. I'm wondering how federal policy decisions to support renewable energy will affect city design over the upcoming years.

[Amy Stamm]

I found our second-week discussion about the intention of the artworks and their purpose in situating and involving the viewer interesting - how the aesthetic decisions of the artists or designers of space can make viewers into outsiders or participants and can evoke specific emotions or experiences as they view/walk through/consume/etc. the art. The discussion made me wonder whether there is some essential difference between carving a piece of stone and rearranging stones or other aspects of the landscape. Both artworks are processes of guiding the viewer into a particular perspective. I'm not sure I agree that one process is more "natural" or highlights "nature," as both manipulate natural elements. At the same time, the Pieta doesn't intentionally set up a relationship with the stone as a natural element. Rather, the stone is kept in the role of medium. The Ryoanji Temple is meant to create an experience and new perspective/interaction with the elements of stone and landscape as themselves, in a way. They are being manipulated, but the manipulation is intended to highlight their qualities as parts of the landscape and to help the participant/viewer/experiencers see themselves in relation to that landscape, which includes time and breath.

[Amy Stamm]

Thanks so much for these images and descriptions. They seem like perfect examples of the indigenous knowledge and relationships to the landscape that we talked about in both the first and second discussions. Their design uses local materials to address an environmental concern - both protecting a building from rain through the top curves and draining the rain through the bottom curves. And, as you wrote, providing ventilation in the process through the spaces. Professor Bharne's description of the thatched roofs that address snowfall in unique ways and the living roofs that are seeing more variety with new attention to climate change makes me think that we could spend a whole week (or a whole course) on roof designs. Thanks. And also, I appreciated all of your contributions in the Asian Foodways course!

[Nia Gipson]

I am thinking about how I can incorporate these different perspectives into my teaching for next year. One of the things that we talk about in environmental science is different worldviews: 1) ecocentric 2) biocentric and 3) anthropocentric. From our discussion, it really seems like the western perspective is focused on what resources we can get from the environment and how it can serve us (an anthropocentric worldview) while the Japanese perspective is more of an eco/biocentric world view, and it would be nice to include images of Japanese and American artwork to reinforce that message.

[Madelyn Masterson]

Hello Nia,

In biology, we have a unit on human impact and its effects on climate change. I was unaware of the 3 different worldviews you mentioned and I definitely want to incorporate that into my lesson. The unit is our closing unit for the fall semester so we will be having a final project. I think it is a fantastic idea to teach my students about the different world views and include both Japanese and American artwork in my teachings. This way, my students can differentiate between the perspectives and gain ideas on what to research for their project.

[Madelyn Masterson]

 Hello Nia,

I found the discussion on technology fascinating as well. We often forget thehinderens technology has placed on us at times. In STEM we have a variety of tools that classify as technology outside of online resources (microscopes, pipettes, Gel electrophoresis). I feel I always have to teach my students how to use technology appropriately in the classroom meaning, how to find and cite credible sources. At the same time, many teachers are working towards moving al class materials online where students only need a device for the class period. A community college by me has a new science center on campus that offers a microbiology course where students only use their ipad. The microscopes have a built in camera so students can record videos or pictures for assignments. I remember having to draw them when I took this course! My students struggle drawing what they see under a microscope so much that I have required them to take pictures. This feels more of a hindrance in ability than a step forward.

[LaurenBullock]

Hi, Miguel! I'm a bit late on the forum due to technical difficulties, but I was also struck by the ideas of light vs dark, especially the way this demonstrates the ways the "West" tries to exude control over nature and the enviroment rather than collaborating with it. As a history and language arts teacher, I'm excited about the intersection between the literal and metaphorical and how my students can apply this when thinking about how they choose to move in the world. 

[Hannah Klein]

It seems from these lectures and my own experiences with urban centers that intentional urban planning cannot often keep up with the pace of urbanization and the need for changes to the built environment to accomodate population, resource, and labor density in urban centers around the globe. We see how some urban planning projects don't often anticipate the growth and change in a city. I think of the BART system in the Bay Area, which was built for a much smaller population and now does not suffice to meet the needs of all of the people who live and work in the area. I was living there when the official twitter account for BART posted this: https://twitter.com/sfbart/status/710274963987570689?lang=en

How do cities across the globe adapt to rapid changes in population and resource demand? How can architecture, public policy, and planning support this process? How can we plan for the future of cities, especially with the looming spectre of climate change in mind?

[Betsy Ures]

In the second lecture, I enjoyed the focus on city planning in terms of reflecting the values and priorities of the society. The Chaghan model has a grid system, which resulted in people forming micro-communities through public spaces and roads between dwellings. The Fujian Hakka Dwellings was also created micro-communities, but through cylindrical dwellings with internal courtyards. The City of Suhou and Wuzhen each have a waterway that is central to transportation of people, goods, and sharing of culture. It is interesting to contrast the designs of these places with some of our major cities designed around interstate systems or roads. I would like to see more public, community spaces in my community that allow for non-retail centered activities! We have privately owned malls and venues, but they reflect the priorities of businesses rather than working people.

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