ID125: History of Interior Design 1 PDF

# ID125: HISTORY OF INTERIOR DESIGN 1 ## TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 ## A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN ## MODULE 2.1: AN INTRODUCTION TO DESIGN HISTORY ### 1.0 INTRODUCTION - This course offers a historical overview of the development of art, architecture,...

# ID125: HISTORY OF INTERIOR DESIGN 1 ## TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 ## A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN ## MODULE 2.1: AN INTRODUCTION TO DESIGN HISTORY ### 1.0 INTRODUCTION - This course offers a historical overview of the development of art, architecture, design, and visual and material culture from prehistoric times to the present. - It is recommended to study chronologically, examining important civilizations and periods, analyzing their significant artifacts, and exploring how they have influenced the global art and design landscape. - By understanding the past, we can move forward, improve upon it, or move away from it, enabling a better understanding of the evolution of art and design as a whole. ### 1.1 The Importance of History and Culture in Studying Interior Design - “It is essential that interior design students know about (the) culture and (the) history of place and people as well as the architecture itself. They should know the variety of world cultures and be able to apply this knowledge at the various phases of a design project. Interior designers should understand history and geography and have some confidence in their knowledge that will help in the development of design concepts, & in historic restorations and rehabilitations. Understanding diverse cultures will also help the designer understand our contemporary ethnic diversity, a reality on which we shall dwell and prosper. - In 21st-century interior design, culture and history are crucial. Students pursuing A.A.S. or Bachelor's degrees often feel history classes are irrelevant, but in reality, understanding culture and history is essential and highly applicable to their professional lives. to - “It's critical to mention some of the reasons students don't feel that studying history, art, and culture is important their professional development. Thousands of students think studying history is a waste of their time and have little or no relevance to interior designers.” - “I believe that studying history, art, and culture teaches a student how to live a better life by being more aware of the social and civil aspects of society. This allows our minds to practice a more critical sense and free judgment of our architectural environment as well as our social and political structure.” - History helps us understand our origins, with art being the first activity that set humans apart from animals. Early drawings, used for visual communication before writing, are a fundamental aspect of human nature. Culture and history also enhance students' social skills and help them navigate diversities. Creativity fosters global integration by using a universal language, serving as a therapeutic means to overcome communication barriers and apply creative solutions to life situations. (Alfonso Torino, Interior Design Chair, Berkley College, 2017) - Studying interior design is like learning a new language, with its own vocabulary and context reflecting different lifestyles and philosophies. Students must master this "language" to express themselves effectively. They also need judgment, creativity, and analytical skills to create tangible designs. Learning from the past involves understanding principles and limitations to explore new design possibilities, rather than merely imitating. ### 2.0 ARCHITECTURE AND INTERIORS - Although the primary focus of this course is interior design, interior design and architecture go hand in hand. Frank Lloyd Wright said, "The mother art is architecture. Without an architecture of our own, we have no soul of our own civilization." Architecture, evolving from primitive shelters, reflects a civilization's essence. Lao Tze noted that the true value of a building lies in the space within it. Early humans not only used caves for protection but also enhanced them for better living. - Studying architectural forms helps us understand how we manipulate space, while interior design parallels this evolution by focusing on how interior elements enhance human activity. Interior decoration, furnishings, and the fine arts evolved from the need to make shelters livable. Understanding architectural principles is crucial as most interior spaces are structured around them. ### 2.1 ROOF FORMS - Simple houses are surmounted by a roof for shade and protection from the elements. Walls at the edges support them but would also need additional supports to hold up its span. The three most common roof forms are: - Post and Lintel ## MODULE 2.2: DESIGN ANALYSIS IN DESIGN HISTORY ### 1.0 INTRODUCTION - Before we can dive into the study of interior design, it is imperative that we first have a clear understanding of what Interior Design as a practice is and why interior design is important. ### 1.1 According to Republic Act 10350 (The Philippine Interior Design Act of 2012) - Interior design refers to the science and art of planning, specifying, selecting and organizing the surface finishes and materials including furniture, furnishings and fixtures and other interior design elements for the purpose of interior space allocations to suit, enhance and meet the intended function, movement, and character for which the interior of the building is designed." ### 1.2 According to the Declaration of The International Federation of Interior Architects and Interior Designers, or IFI - Humans not only use spaces but also fill them with beauty and meaning. Well-designed spaces can inspire purpose and a sense of identity. They help us learn, reflect, and connect with people and ideas, fostering great creative cultures. Great spaces are indispensable for great creative cultures. - As design professionals, we create spaces that meet human needs, using our knowledge to engage responsibly with economic and natural resources. We design for health, safety, and well-being, ultimately shaping the human experience. Our work is crucial for our clients, societies, and ourselves, reflecting our commitment to this noble profession. ### VALUE - The profession provides leadership and utilizes an iterative and interactive process that includes discovery, translation and validation, producing measurable outcomes and improvements in interior spaces and in the lives of the people who use them. - This process delivers economic, functional, aesthetic and social advantage that helps clients understand the value of their decisions and enables better decisions that are beneficial to users and to society. - It is recommended that the profession become a trusted voice and develop multiple research models in the context of physical, emotional and behavioural patterns of users. ### RELEVANCE - The profession defines projects at their commencement, and champions human experience at all levels. Interior designers and interior architects synthesize human and environmental ecologies and translate science to beauty addressing all the senses. - The practitioner listens, observes, analyzes, improves and creates original ideas, visions and spaces that have measurable value. ### RESPONSIBILITY - The responsibility of interior designers and interior architects is to define the practice and the required expertise, educate ourselves and the public, and to position ourselves in the public realm as experts in the built environment. - The responsibility of interior designers and interior architects is to advance the profession and advocate for social well-being. ### CULTURE - As a creative enterprise, interior design and interior architecture are a imode of cultural production. In a global world, interior design and interior architecture must play a role in facilitating the retention of cultural diversity. ### BUSINESS - The profession of interior design and interior architecture provides value to the stakeholders. - It improves well-being as a factor of economic development. - It provides strategic thought leadership resulting in multifaceted return on investment. - Interior designers and interior architects advocate education for the ongoing benefit and awareness of the profession. ### KNOWLEDGE - Theoretical, applied, and innate knowledge are fundamental to the practice of interior design and interior architecture. The confluence of environmental psychology and the science of anthropometrics are critical to the quantitative and qualitative knowledge that form the practice of interior design and interior architecture. ### IDENTITY - Interior designers and interior architects determine the relationship of people to spaces based on psychological and physical parameters, to improve the quality of life. ## 2.0 IMPORTANCE OF A HISTORICAL OVERVIEW - Humans have been on Earth for about 1.7 million years, but recorded history spans only 6,000 to 7,000 years. Archaeological artifacts and remnants are crucial for understanding early human life and their vastly different lifestyles. Buildings and interiors from the past continue to influence our lives. Studying interior design's evolution helps us explore the past and better understand our current spaces. ## 3.0 IMPORTANCE OF ANALYZING DESIGN - Interiors exist within structures like huts, buildings, ships, or airplanes, filled with objects such as furniture, lighting, textiles, and art. They are integral to the structures that contain them. Design history collaborates with sociocultural studies, archaeology, anthropology, and philosophy. Understanding design history requires knowledge from these fields and defining cultural identities in social, technical, and aesthetic contexts for a more intellectual perspective. ### 4.0 USING DESIGN ANALYSIS - An important skill for designers is to be able to understand existing works, particularly in evaluating their visual elements. This design literacy can help inform future aesthetic and functional decisions and determine possible important design directions. Design analysis integrates the elements and principles of design and applies that to the overall understanding and critique of an artistic work. ### 5.0 ELEMENTS OF DESIGN - **Line** The line is the most basic visual element, the connection of 2 points in space. Lines can be used to define shapes and figures but also to indicate motion, emotion, and other elements. - **Color** When we use the term "color" casually, we usually mean hue. Hues appear on the visible spectrum. On the spectrum, we see pure hues. These can be divided into primary, secondary, and tertiary colors. - *Primary Colors -* Red, Yellow, and Blue. - *Secondary Colors -* produced by mixing 2 primary colors. - *Tertiary Colors* - produced by mixing a primary with a secondary color. - *Complimentary Colors -* these are the colors opposite one another in the color wheel, which tend to stand out boldly when next to one another. - *Analogous Colors* - these colors are next to one another in the color wheel. These colors tend to blend together more smoothly. -*Temperature* - the colors on the left of this wheel are called cool colors, and those to the right are warm colors. Using cool or warm colors in an image can create moods. - *Value (tint and shade)* - is the degree of lightness or darkness of a color. If we add white to a hue, we get a tint. If we add black, we get shade. - *Saturation* - Saturation is how bright or dull a color is. -*Contrast* - Contrast is the amount of variation between the highest and lowest values in a work. Low contrast conveys a soft and gentle feeling as opposed to high contrast which feels sharper, and crisper. - **Shape and Form** Shape builds on line and color. It is the property of a two-dimensional form, usually defined by a line around it or a color change. - The form is an actual, three-dimensional shape, often used to describe the illusion of three-dimensionality. - **Space** Space refers to an area & a period in time where objects and people exist, move, and interact. - used to refer to depth- both real or represented- within a work of art. In paintings, an illusion of space is achieved with the use of Linear and Atmospheric perspective. - *Linear perspective* is based on the optical illusion that parallel lines seem to converge as they recede into the distance. - *Atmospheric perspective* is based on the optical effect that makes objects in the distance appear paler, bluer, and less detailed than objects that are close to us. - **Texture** is the feeling of a surface, real or represented. roughness or smoothness of actual objects and art media or to the illusion of these properties. - **Proportion** the relationship of parts of a body or form to one another and of the parts to the whole. ex: the size of the head of a figure in relation to the entire body. - **Scale** relationship of parts of an image to the image as whole or to something outside the image. - The hierarchical scale is often found in many forms of ancient art. It is a scale based on relative importance. That is, the more important a figure, the larger he or she is in relation to the figures around him or her. - **Repitition and Rhythm, Variety and Unity** Replicating a motif, with or without order, within a work can be called repetition. - The visual tempo of this repeated work is referred to as rhythm. - Variety is the use of different visual elements throughout a work. - Unity is a feeling that all the parts of the work fit together well. ### 6.0 PRINCIPLES OF DESIGN - Principles of Design are the vocabulary used to measure and define design and are often described using the elements of design. - **Balance and Symmetry** is the even use of elements throughout a work of art. Symmetry is a very formal type of balance consisting of mirroring portions of an image. -*Bilateral Symmetry* -*Radial Symmetry* -*Asymmetrical balance* is created when two sides of an image do not mirror each other but still have approximately the same visual weight, the same amount of detail or shapes or color, and so on. - **Emphasis** to draw attention to one or more points in a work that can be accomplished through any of the visual elements. - **Movement** refers to a sense of motion as the eye is guided through a work of art that can be accomplished by showing figures in motion or simply through visual elements. ### 6.4 Proportion - the relationship of parts of a body or form to one another and of the parts to the whole. - ex: the size of the head of a figure in relation to the entire body. ### 6.5 Scale - relationship of parts of an image to the image as whole or to something outside the image. - The hierarchical scale is often found in many forms of ancient art. It is a scale based on relative importance. That is, the more important a figure, the larger he or she is in relation to the figures around him or her. ### 6.6 Repitition and Rhythm, Variety and Unity - Replicating a motif, with or without order, within a work can be called repetition. - The visual tempo of this repeated work is referred to as rhythm. - Variety is the use of different visual elements throughout a work. - Unity is a feeling that all the parts of the work fit together well. ### 7.0 THE STUDY OF DESIGN HISTORY - Design History encompasses a multitude of disciplines, such as art, architecture, interior design, furniture, and decoration. Various approaches can be used in analyzing artifacts in a methodical manner to understand their meaning and value, & how they fit in the context of the history of human civilization. ### 8.0 THE FORMAL APPROACH - Formal Analysis states that everything necessary to comprehend a work of design is already contained within the work. A Formal (visual) analysis emphasizes the description of the visual features of a work and an analysis of their effects. - Historians describe visual properties systematically that include characteristics such as format, scale, composition, and viewpoint; treatment of the human figure and space; and the use of form, line, color, light, and texture. ### 9.0 UNDERSTANDING ART STYLES - Formal analysis of style-shared visual properties of artwork by individual artists or those from the same period and place is crucial for understanding art, particularly historically. A stylistic approach suggests that preferred forms and motifs reflect cultural, social, or design theories. As styles evolve with social, cultural, economic, and political factors, this analysis provides insight into a society's values and beliefs. Historians use stylistic analysis to categorize art by attributes such as race, epoch, authorship, and character. - *Race* pertains to the people who created the artwork. (eg. Italians, Greek, Roman, etc.) - *Epoch* pertains to the age or period the style is associated with. (eg. Gothic, romanesque, early Christian, etc.) - *Authorship* refers to a specific individual creator/artist. (eg. By Leonardo da Vinci) - *Character* relating to a particular look, nature, or appeal. (eg., Classic, Islamic) ### 10.0 CLASSIFICATION OF ART STYLES - The most customary method of dividing art styles is according to chronological sequence. - Art styles, however, can also be classified in other ways. ### 10.1 Character of Structure - Architectural and decorative styles are always related. Art styles can, therefore, be defined based on structural methods on how their buildings were supported and built. ### 10.2 Character of Line - *Classic, Severe, or Rectilinear* - have predominant straight lines. - *Romantic, Curvilinear, and Rococo* - have compositions of curved or irregular lines. - *Direction of Line* - Are the lines vertical or horizontal? - This is the analysis of the most basic element of forms, defining the outlines of every man-made object, be they straight, curved, irregular, or a combination of types. ### 10.3 Character of Ornament - Ornaments are produced by treating a portion of a surface to create a contrast with the surface itself. This can be in terms of: - *Color Contrasts* such as in paint, inlays, marquetry, etc. - *Textural Contrasts* as seen in metals, textiles, and woodwork - *Height Contrasts* be they INCISED (the pattern is below the field), or in RELIEF (the pattern is above the field). ### 10.4 Classification of Ornament - *Naturalistic/Realistic* - when forms are copied and reproduced as close to nature as possible. - *Conventional/Idealistic* - when forms are copied and interpreted as inspirations or simplified due to material limitations (conventionalization). - *Abstractions* - when forms may have no natural inspiration at all and are from pure imagination or of geometric composition. - Ornamentation can be classified based on its character and inspiration. They can be: ### 10.5 The Character of Patterns and Design - *Borders/Running Patterns* - of definite width but of indefinite length, often formed by a repetition of one or more motifs. - *Diaper or Over-all Patterns* - are formed by repeating motifs in two directions, length, and width. They are used to cover surfaces of any size. - *Panel Patterns* - are non-repeating patterns meant to only cover a fixed area, having definite limits bound by their motifs and general composition. - Interest and order in design and pattern are also obtained by REPETITION, RHYTHM, CONTRAST, PARALLELISM, PROPORTION, ALTERNATION, BALANCE, SYMMETRY, RADIATION, AND REPRESENTATION. - Designs are "an arrangement of lines, forms, mass, and space in a pattern to produce an effect pleasing to the eye." An orderly arrangement of these elements produces a pattern. Patterns can be in the form of: ### 11.0 INTENTIONALISM - Intentionalism asserts that authorial intent is crucial in determining a work's meaning, while other interpretations can be disregarded. Historically, art and architecture often served purposes beyond aesthetics. Understanding intention and function is key to analyzing features like iconography, materials, and style. This analysis is further complicated by considering the personal motivations of artists, patrons, and advisors. ### 11.0 THE HISTORICAL APPROACH - Historical analysis is based on context, taking into account possible influences that may have led to the development and/or evolution of a particular work, such as: - Religion - Geography (climate and land) - Government/reigning monarch - Availability of materials - Trade routes/commerce - Migration of peoples and craftsmen - Preceding styles - Culture - Economy - Technology - Iconography - the images as the subject matter in art and their underlying interpretations or symbolism. ### 12.0 POST-STRUCTURALISM - Post-structuralism studies a work's significance in a cultural context, such as the ideas, emotions, and reactions prompted by a work. - Today, most art historical research focuses on the significance of works as cultural artifacts, not only to know why and by whom it was made and how it originally functioned but also to study a work's cultural significance at later historical moments since works of art and architecture often survive for centuries. ### 13.0 HOW ART CAN HELP YOU ANALYZE - How art can help you analyze - Amy E. Herman ## MODULE 2.3: DESIGN ANALYSIS IN DESIGN HISTORY ### 1.0 INTRODUCTION - The original historical, classical definition - derived from the Latin word "ars" (meaning "skill" or "craft") - states as art is defined as: "the product of a body of knowledge, most often using a set of skills." thus pre-renaissance painters and sculptors were viewed merely as highly skilled artisans. ### 2.0 THE CASE OF ART VERSUS CRAFT - The traditional theory of art differentiates 'art' from 'craft' by suggesting art involves greater intellectual engagement, while craft is seen as repetitive or functional. Despite this, many crafts are akin to true art. Until the early 15th century, artists were considered craftsmen, gaining professional status by the mid-1500s. - Renaissance artists defined art as an intellectual pursuit, with fine art maintaining a perceived superiority over applied and decorative arts. - Art stands out for its ability to captivate and evoke deep emotional or intellectual responses, making it a special class of craft. ### 3.0 CLASSIFICATIONS OF ART (6) - **Fine Art** This category includes artworks created primarily for aesthetic reasons ('art for art's sake') rather than for commercial or functional use. Designed for its uplifting, life-enhancing qualities, fine art typically denotes the traditional, Western European high arts. - Drawing, Painting, Printmaking, Sculpture - **Visual Art** Visual art includes all the fine arts, new media, and contemporary forms of expression. - **Decorative Art** This category traditionally denotes functional but ornamental art forms, such as works in glass, clay, wood, metal, or textile fabric. This includes all jewelry, mosaic art forms, ceramics, furniture, furnishings, stained glass, and tapestry art. - **Applied Art** This category encompasses all activities involving the application of aesthetic designs to everyday functional objects - Architecture, Interior Design - **Performance Art** This type refers to public performance events. - **Plastic Art** The term plastic art typically denotes three-dimensional works employing materials that can be molded, shaped, or manipulated (plasticized) in some way, such as clay, plaster, stone, metals, wood (sculpture), paper (origami), and so on. ### 4.0 WHAT IS ART FOR? - **Existence, Expression, and Experience** Ever since Homo Sapiens developed the facility of contemplation, he has expressed his thoughts in pictorial form. At the same time, he has continued to appreciate beauty whether in the form of human faces or bodies, sunsets, animal skin colors, cathedrals, or sculptures. - **Communication and Advertisement** In its most basic form, art is used for communication - to propagate ideas, information, and emotion through visual representations. - **Propaganda** Art can be used to influence how one thinks and feels, subtly manipulating the viewer into a particular response toward a particular idea or object. - **Freedom** Having the ability to defy and not be limited by norms, art offers "socio-cultural" liberation. - **Magic and Symbols** Anthropologically, art is imbued with mystic, cosmic significance rich in meaning when taken in its cultural context. - **"Barometer"** Art allows us to learn about the "fitness" of a society at a given period. ### 4.2 Its Value - To create art is to be human. To appreciate art is also to appreciate the handiwork of humanity. Art teaches us about ourselves, our thoughts, our desires, our value systems, our biases, and basically everything else that makes us unique, at the same time everything that defines use as creatures of cultures, societies, and norms. - Learning about art and understanding it helps train us to critically look at the world around us, fine-tune our powers of observation, and deepen our insight into our environment. ### 4.2 Its Value - To create art is to be human. To appreciate art is also to appreciate the handiwork of humanity. Art teaches us about ourselves, our thoughts, our desires, our value systems, our biases, and basically everything else that makes us unique, at the same time everything that defines use as creatures of cultures, societies, and norms. - Learning about art and understanding it helps train us to critically look at the world around us, fine-tune our powers of observation, and deepen our insight into our environment. - First to experience fire. - First to build shelters and developed them - First evidence of religion and burial - First evidence of art and painting - Tools represented the earliest “art” of this period, major art form - Root word for art “ars” - means craft - First started using tools: homohabilis habilis (hands) - Humans were a hunter-gatherer society - They moved a lot and followed where animals went ## MODULE 3.1: PREHISTORY - THE PALEOLITHIC CULTURE ### 1.0 THE STONE AGE - Based on the tradition of the "Three Age System" - Earliest and longest spanning period among the ages (2.5million - 7,000 BCE) - Tracks the evolution of modern humans. - Divided into 3 sub-sections, based on advances in lithic tool technology: - The Paleolithic (Old) - The Mesolithic (Middle) - The Neolithic (New) ### 2.0 THE PALEOLITHIC - is the earliest and longest period - emergence of the first bipedal mammalian cultural* milestones: - *Culture* - Learned "survival" behavior patterns (improved even) communicated thru generations. - Passing down of knowledge to generation in terms of survival - Significant technological advances - First tool-making culture (vs animals) ### 3.0 CULTURES (6: OA M'AMP) ### 3.1 Oldowan Culture - chipped stones to create a chopping or cutting edge as tools used for hunting and most important, scraping the meat found in the Olduvai gorge in East Africa ### 3.2 Acheulean Culture - most critical and dominant tool-making culture - homoerectus - made pear-shaped (teardrop), oval hand axes. - To hold in a certain way to make it fit in their hands - Likely experience fire from lightning - To cook food, scare predators, source of heat, gather (like marites) - Made the first form of "art" called Cupules (uka-ukas): - Involved massive physical effort (practiced on hard rock) - Don’t know what it's used for, but not used for survival - Found first in India, Daraki - Chataan Cave. - History of Interior Design is purely eurocentric. ### 3.3 Mousterian Culture - Associated with Neanderthal Man and Early Modern Man. - Not too much technological advancements. - Created a variety of tools, such as composite tools. - Combined tools together - standardized tool-making by chipping flint (Levallois Technique). - Look for a igneous/obsidian volcanic source. - Evidence of social organization and cognitive ability (hunted large mammoths). - They took care of their dead and buried them with rocks and pollen. ### 3.4 Aurignacian Culture - Made tools from bone. - Created the first cave paintings (e.g. El Castillo Cave Paintings), monochrome murals, engravings, rock art, and Venus figures. - Venus figures - statuettes depicting obese women. ### 3.5 Magdalenian Culture - Made the most sophisticated tools from flint and bone. - Made spearheads, needles, jewelry, accessories, clothing. - Made the first ceramics: Clay or mud thrown into fire which vitrifies served as an efficient container. - Made cave paintings and relief sculptures. ### 3.6 Paleolithic Culture - Main hominids were h. erectus and h. sapiens. - Societies were nomadic, hunter-gatherers. - Incidental cave-dwellers, start of domestic construction. - Huts (oval, used least materials) - Lean-tos (against wall of cave) - Tents (covered w/ skins & weighed down w/ pebbles) - Pit Houses (in the ground) - Produced petroglyphs, pictographs, sculpture, cave paintings, relief sculpture, and pottery. ## MODULE 3.2: PREHISTORY-PALEOLITHIC ART ### 1.0 PALEOLITHIC ART - **Petroglyphs** - excised images by chipping on surface of rock/cave (petro means rock, glyphs means pictures) - **Pictographs** - used pigments; from soil/ground up stone - **Mobility art** - small scale transportable figurines - *Venus Figurines* - (very common characteristics) - Sculpture that they can carry around - Fat-bellied tapering to head or legs. - No arms, feet, or any facial detail. - Exaggerated reproductive features. - Used as fertility symbols or for religious worship. ### 1.1 Types of Mobility Art ## MODULE 3.3: PREHISTORY - THE MESOLITHIC CULTURE ### 1.0 MESOLITHIC PERIOD - Most useless (daw) - Transitional period between Paleolithic and Neolithic periods. - Climate change saw the beginnings of forests. - Humans were semi-hunter-gatherers-fishers, and began farming and animal husbandry. - Some areas “skipped” the Mesolithic Period. - Mesolithic tools were composite devices w/ small chipped stone tools called microliths & retouched bladelets. - H. s. sapiens dominated, Neanderthals disappeared. - Humans were still nomadic, they lived in: - Huts (trapezoidal, stones over limestone floors, wide entrances) - Pit Houses (roofed w/ light timber structure) ### 2.0 MESOLITHIC ART - Traits of Mesolithic paintings (IID): - Imitative or Naturalistic Likeness - Informative or Pictographic Signs - Decorative or Abstract Ornamentation - **Rock Paintings** - Paintings outside caves - It wasn’t that cold to stay inside - Themes depicted people in activity - More sophisticated - **Cave Paintings** - The Cueva de las Manos (c. 7,300 BCE) hand paintings in Brazil - **Sculpture** - Stone carving eventually disappeared except for relief sculptures. - Seated Woman of Çatalhöyük (c. 9,000 BCE) - Wood Carving emerged. - Shigir Idol (c. 7,500 BCE) - Only sculpture made of wood because it decays - Found in the swamp because it was buried, no oxygen - 12 meters tall - **Birth of agriculture**; humans farmed and herded animals. - **The beginning of civilization,** established settlements and cities. - **New activities:** trade, constructions, social organizations, religious growth. - **Polished and ground stone tools,** a material culture; most were for farming, not hunting. - **Made vehicles.** - **Substantial wood and stone dwellings** - *Timber-framed roundhouses* - Secured by timber frames - Raised platform - **Longhouses** - 1. Tripartite Plan - entrance facing SE, central living area, deep storage area - 2. Bipartite Plan - combined entrance & living area - 3. Single Plan - only living area - **Drystones Houses** ### 2.0 NEOLITHIC ART - Cave art began to disappear. - **Pottery** - the most prevalent artform - Containers - Figure wares - Decorations - **Weaving Cultures** - Baskets, nets - Clothes - **Portable Carvings** - The Kneeling Bull with vessel (c. 3000 BCE) made of metal - Ram in a Thicket (c. 2,500 BCE) made of gold, copper alloy, ivory, lapis lazuli (found only in modern day Afghanistan) - **Architecture** - Jericho (Tell Es-Sultan) (c. 10,000-9,000 BCE) - The oldest continuously lived city in the world. - Had a very strong wall. - Reyham saved from the redemption. - Çatalhüyük (c. 7,100 BCE) - Megalithic Structures (or petroforms, undressed stones): - Menhir (monolith) - Individual stones - Capstones (monolith) - Horizontal stone on top - Top cover of cist - Dolmen (polylith) - Legs of capstone of top - Cist (polylith) - In the ground - Used for burial - Cromlech (polylith) - Menhir arranged in a circle - exact purpose unknown but used to mark sacred spaces - Stonehenge, England (c. 3,000 BCE) ### 3.0 PREHISTORIC COLOR PALETTE - Colors used are founded on minerals/charcoal - Three primary colors: Red, black, yellow. - Mineral-based pigments: - Ochre - Red, yellow, and brown ochre - Umber - Raw, Burnt Umber - Sienna - Raw, Burnt Sienna - Manganese Jet Black, Brownish-black, Steel Grey - Kaolin - white pigment ## MODULE 3.5: THE BRONZE AGE: MESOPOTΑΜΙΑ - A CRADLE OF CIVILIZATION ### 1.0 "BRONZE AGE - CIVILIZATIONS" - Metallurgy and Trade - Writing, Potter's Wheel, Wheel - Governments, Laws, Cities, Nations, Empires - Architectural Projects - Slavery and War - Organized Religion - Medicine, Astrology, Mathematics ### MESOPOTΑΜΙΑ - "Mesos"; middle - "Potamos"; river horse - The Land between rivers - The fertile creseant: A cradle of civilization ### 2.0 WHO WERE THE MESOPOTAMIANS? (SAKA SB) - Sumerians of Sumer (c. 3500 BCE) - Akkadians of Akkad (c. 2300 BCE) - Assyrians of Assur and Nineveh (c. 1700 BCE) - Babylonians of Babylon (c. 1700 BCE) ### 3.0 SUMERIANS - C. 3500 BCE - One of the earliest known civilizations. - Evidence of First Theocracy, lived and divided into independent city-states with a temple and ruled by a priest as god's representatives. - The rulers (priest) directed all communal activities. - Developed agriculture, invented writing, developed metallurgy, potter's wheel, the wheel, and civic organization. - Uruk was the first "true" city. - The origin of writing ### 3.1 Cuneiform - meaning "wedge-shaped", is the oldest form of writing, used by the Mesopotamians. - write around 15 different languages ### 3.2 Epic of Gilgamesh - oldest surviving poem and longest literature written in cuneiform. - similar to the biblical story of Noah ### 3.3 Sumerian Art - Stele of Vultures - Earliest story told in pictures; a story of war (also kings, gods & hunting). - Stone tablet sculpted. - **The Standard of Ur** - The monument is dedicated to the moon goddess Nanna, the patron deity of Ur. - The "present" ruins was reconstructed by Haddam Hussein. - Bore mosaic panels of war and peace, split into registers (upper, middle, bottom) - Expensive because of lapis lazuli. - **Mask of Warka** - The Lady of Uruk, most likely that of Inanna made of marble. - **Tell Asmar Figures** - Magically-associated figures with magical powers found in the Temple of Abu. - **Warka Vase** ### 3.4 Sumerian Architecture - Used **mud-brick**. - Was used for buildings; palaces and temples were lined with glazed tiles and precious stones built. - Treated with colored tiles and precious stones. - Palaces or "Big House" and temples. - Temple plans were often of two types: - Tripartite with 3 parallel halls and T-shaped - also with three halls. ### 3.5 The Ziggurat of Ur - Dedicated to the chief Babylonian god, Marduk. - rebuilt the ziggurat as the centerpiece of Babylon. - the possible inspiration for the biblical story of the Tower of Babel. ### The Hanging Gardens of Nebuchadnezzar - Allegedly built by Nebuchadnezzar II for his Median wife, Queen Amytis. - The garden was supposedly constructed to remedy the queen's homesickness. - A.K.A. Hanging Gardens of Semiramis ### 5.2 Neo-Babylonian Domestic Architecture - characteristic form for their house design, perfectly suited to the regional conditions of the Mesopotamian plains. - Houses were **mud-brick**, some larger houses contained **2 or 3 courtyards**. - Had a central door leading into the main room, accessible to the other smaller rooms of the houses. - Most houses oriented from the SE to the NW, with the main