Our voices begin to emerge in the choice of our precedents, the previous designs that we look at to enhance our own creations. When the early Christians began to design houses of worship they looked towards two major Roman structures, the basilica and the tomb, to use as precedents (Roth, 2007, p.280). The basilica was chosen because it, like the church, was meant for gathering large groups of people for dealing with rules of living. The basilica focused on earthly courts; while the church was designed for imparting gods rule. The Roman underground tombs were used as early Christian place of worship, due to their hidden location from the majority pagan society. The architectural structure of both of these places becomes incorporated in byzantine architecture and the later gothic creations of the middle ages. Through the architecture it inhabited the structure of the religion itself was influenced.
Similarly, when one picks a style of drawing, one is choosing a precedent. The style/s chosen plays an enormous role in the outcome of the drawing. However, that precedent is shaped by the voice of the drawer. Over time, consistent shaping will influence the shaper, just like the use of Roman precedents in Christianity. For example, I did the two drawing below in very different styles. The former drawing utilizes a controlled line, and allows the lines on a given plane to go only in one direction. The latter drawing uses looser lines in multiple directions. Both of these drawings, although different, are clearly by the same artist. My voice is impossible to hide. However, if I continued to emulate one style of drawing my voice would become shaped by that style.
Our voices can also influence the subject that we choose to draw. The following 3 drawings are of different moments in the same building
The moments, or places of value and significance in the drawing above include some chairs, vending machines, and a water fountain. All of these chosen moments reflect my history in studying the mind/body connection. I have chosen places that fulfill a physical need (reliving fatigue or satiating hunger and quenching thirst) as being of mental significance. My experiences and beliefs are part of my voice.
Just as an individual has a voice so too, does a culture. For example, the Romans valued acquisitions, quality of life, luxury and delight. These values, part of their cultural voice is expressed in their architecture, particularly their interiors, which are filled with rich decorative elements on both floor and walls (Blakemore, 2006, pp. 55- 60). Rich mosaics and illusionistic paintings show us that every surface was a potential moment, all of which were centered on enhancing the enjoyment of the space.
A visual moment is defined by visual presence, a noteworthy actual existence, something special which exists in concrete, material form. Interestingly the material often furthers the immaterial and vice versa. For example, Early Christianity gained strength as the first churches were erected and the first churches were erected as early Christianity became a more strongly established religion. With greater acceptance came greater visual presence and vice versa(Roth, 2007, pp. 277-279).
When we design, we often aim for strong visual presence, as an indication of the importance of our work and the ideas behind it. In the models below I attempted to create fantastical structures with a strong visual presence. Certainly, any one of these would be noteworthy should one encounter them in full scale.
The above models were created largely in black and white. This allowed us to focus on the duality, or opposing nature of the two colors. Through this focus we were able to simplify and refine our designs. Our voices are filled with many dualities each with multiple relationships in our mental network of associations. However, isolating two opposing elements can often be an effective strategy for understanding each element. Contrast leads to focused reflection. Such enhancement through simplification is evident in the graphics below, which provoke reflection on positive and negative space.
Similarly, when analyzing the furnishings used by the Romans it can be useful to look for commonalities across all pieces (e.g., weight, ornamentation), but it is also useful to look for dualities, or contrasting qualities. This is evident in the juxtaposition between the uncomfortable throne chair and the couch like lectus; as well as between the throne chair and high backed wicker chair used by women. (Blakemore, 2006, pp. 61-67) By examining these dualities, we begin to understand the nuances of Roman culture, rather than just the overtones. Thus the different roles of formality and leisure, or of men and women can be explored.
Whenever we are analyzing another culture, it is important to be aware of our own metric, or standard of measurement. This metric is part of our voice and is usually embedded within a cultural reference. For example, in western architecture we have a metric for explaining structures that includes plans and sections.
The above plan and section for a piece of furniture is easily understood because it adheres to a certain metric, a certain way of indicating direction, scale, and section cut lines and cut materials.
There are also larger cultural metrics. For example, Roman Villas, country estates for the wealthy, were built according to a system, a key part of which was the construction of an interior courtyard and a perimeter wall . These metrical elements allowed the workers and slaves to be hidden from view and the image of effortless leisure to be projected outward (Blakemore, 2006, pp. 47 – 52). The same ideals were possessed by southern plantation owners, but the metric for accomplishing such goals was different. Slave and workers were hidden by their own housing quarters and by a large separation of spaced between such quarters and the quarters of the wealthy.
In summary, our voices shape the creations that we design. Our voices begin to emerge in the choices of our precedents and vice versa. Our voices also influence our chosen moments, places of value and significance. When we design, we often aim for strong visual presence, as an indication of the importance of our work and the voice behind it. Our voices are filled with many dualities each with multiple relationships in our mental network of associations. However, isolating two opposing elements can often be an effective strategy for understanding each element. So too can decoding the metric, or standard used to funnel a voice. There are many levels through which to explore how a unique voice, a distinctly shaped mentality, is both expressed through and impacted by design.
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Balkemore, R.G.(2006). History of interior design & furniture: From ancient Egypt to nineteenth-century Europe: second edition. Hoboken: John Wiley & Sons Inc.
Roth, L. M. (2007). Understanding architecture: Its elements, history, and meaning: second edition. Cambridge: Westview Press.
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