The Committee on Design (COD) was founded to promote design excellence among members of the AIA, the broader design community, and the public at large, both nationally and internationally.
Due to the COVID-19 outbreak, the AIA Committee on Design leadership voted to cancel the 2021 Denver conference and postpone the international conference to 2022. Next year's conference dates will be posted once available.
We at the Committee on Design have attempted to "keep it real", that is, we are generally devoted to the importance experiencing architecture in situ, as an old fashioned three dimensional object. That said, we do also celebrate architecture as photograph, though I think almost all of us do not think of it as the real thing. The attached link seems to revel in the reality of architecture as movie.
"TikTok-itecture": Is This the New Digital Media for Architecture and Design?
Mike Mense FAIA
Hamilton Heights NYC
Diagramming the flow of style through Europe has a unique dynamic of Italian and French confluence. The most direct flow of style came from the Roman conquest across Europe, however, the French developed a new language of Architecture that influenced Italian regions in the second millennium. Further confluence can be observed through the Italian Renaissance, a foundational shift of rediscovery that eventually started Neoclassicism through Baroque. The work of Michelangelo and Bernini was sought by the French for iconic masterworks, both indirectly and directly; as an example, the work of Michelangelo can be observed in the French Baroque design for Louis XIV's military invalid home by Jules Hardouin-Mansart, the relative of Francois Mansart (1, p. 143); directly, Bernini was invited to Paris to design an expansion of the Louvre Palace for Louis XIV (2, p. 130). The source of style, as observed in French Baroque Architecture, established hope and value for people (1, p. 143).
Reference: (1) Ayers, A. (2004). The Architecture of Paris. London: Edition Axel Menges. (2) Pevsner, N. (2009). An Outline of European Architecture. Layton, Utah: Gibbs Smith.
Excellent summation of the Deca: Italy, French.
Lest we not forget Borromini as well !
Travis Price, FAIA
Travis Price Architects
2805 Chesterfield Place NW
Washington, DC 20008
202 . 965 . 7000
BEST MODERN AMERICA 2020
How would you classify the new Cathedral, Christ of the Light by SOM in Oakland, CA?
Seth, I am sorry but I understand very little of what you write.
Nonetheless, I think I recognize that you are one who considers architecture primarily a form of art. As such, you can apply art history logic to your contributions. I, on the other hand, think architecture is the practice of creating built environments that work for people. The products of that practice can also be called architecture. I understand "working for people" in its widest sense, which is to say that both practical and emotional aspects matter entirely. Some of the principles of classical architecture of course continue to work. Most of the details of classical architecture do not work and are thus inappropriate. Classical details arose from various specific taste, skill and material cultures. As we would not demand that a writer use cuneiform, so we will not ask architects to speak in Greek or Roman.
Meanwhile, have fun with the distinctions of art history (as I do).
ps, There are those who think I am hijacking the term "architecture", that what I am talking about is something else, something we might call the art and science of building. OK, but if we are going to license professionals like me, we can only justify licensing those who practice under my definition. The public has no interest in licensing artists.
Or maybe you are just trying to pull our leg?
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Good try Seth, however I concur with where Mike is heeding. You can't easily lock the definitions of architecture up in those of the other arts.
""Music is liquid architecture; Architecture is frozen music"― Johann Wolfgang von Goethe. This well-known phrase is just the beginning of the joy the arts can share. Indeed there is no end to such allegories in poetry, philosophy, dance, and all the arts that we could line up. Thus the merry go round goes round....However,
As Mother of the Arts, Architecture like all the arts has its similarities but most importantly to me, it has its very distinct differences, it's essences, its own language. The Socratic question is always more exciting when I find out what I didn't know that I didn't know. To discover new languages in the history of architecture is the eureka moment as well as in the other arts. Thus moments of real change are glorious. The expansion/rebellion of the new languages of Architecture need not depend on being subjugated to one period of time, say Classicism.
However, Architecture does and always will take a bow to its history, the same as Copernicus did to Ptolemy. As we stare up to the ceiling of the Pantheon, are we seeing the universe through an opening or rather the universe as the sphere itself and infinity of light beyond? We might find out when we land on Mars.
I have no idea why you mention LEED, it's the 3rd waive of green it seems. I started the first wave in 1973. Ed Mazria's drawings are actually sketches of my earliest works as the trailblazer for passive solar design. To be sure however, LEED, is simply one of hundreds of functional checklist items these days that codify us away from beauty. Counting BTU's on the head of a pin is almost as important as a weld joint.
As to your last sentences, I'm completely lost on what island you are on Seth. I'm signing out, thank you. Travis Price FAIA
Excellent critique, thanks. I particularly admire and love the large translucent Christ that shifts between real and spiritual as the daylight shimmers. It gives that sacred shiver similar to Dali's painting of the Christ on the cross in the heavens. There were some superb moves in their project with simple form, yet luminous messages and vast sound-full and soundless infinites.