1. Critique the logo
Does the logo relate to the architecture, galleries, and collections?
Describe the overall essence/energy?
The logo uses a serif type font which gets bolder in the lines of the V and the A and the first letters of the names of the title (shortened from Victoria and Albert Museum to V&A) are connected by an ampersand character. The logo is simple but bold enough for this museum. Is looks very elegant due to clean but flowing lines of the font and the ampersand as well as the strategic bolding. The ampersand goes perfectly into the A representing the missing crossbar of the letter. The logo is distinct and easy to recognize for a passerby. The style and classic font seems to match the museum perfectly, reflecting its historical and cultural emphasis. Although the design itself is solid, the colors on the banners were often muted and dull. It is not appealing to the eye nor does it reflect all the wonderful varieties of vivid colors and patterns that can be found within the museum. There is too much mention of 'free admission' posted on every sign. This should be replaced with pictures or at least elaborate deigns which hint to the exhibits in display. If I had just walked by I would have taken little notice or been drawn into want to see it based on those muted banners of blue and red. I'm so glad I did because inside has such a impressive, awe inspiring collection that it would be a shame to have missed if I had just gone by the signs.
2. Cast Courts
Describe your immediate impression(s) of walking into the Cast Courts (Gallery 46a / 46 / 46b) Gallery 46 possible closure. What educational purpose do these collections provide to visitors?
When I first entered the Cast Courts my eyes were immediately drawn to the huge statue of David as well as the gigantic looming pillars. I couldn't imagine how an artist could carve something at such a large scale, or even simpler, how they were able to get it in to the museum at all. I was in impressed that there was such a diverse (Celtic crosses, the Statue of David - medieval to renaissance art - pillars to statues) and interesting collection of items to see in the room, it was almost difficult to focus on just one.
In an educational sense, this provided visitors with It was able to provide a wide range of cultures (Northern Europe, Spain, Italy, etc) and time periods, as well as an extensive combination of architectural pieces and statues. One is able to see the David without going all the way to Italy, and although it is not in its native culture, you are still able to appreciate its historical significance and contrast it with the tombs it is placed near or the Celtic crosses. In particular it was very interesting to see the tombs and examining the elaborate carvings that covered them. I have always been interesting in tombs, why owned them, and why certain things were carved and what they stood for.
3. Isotype
Do the icons/symbols represented in the Isotype exhibition have greater personality than the international system of signs? Elements to consider: legibility, color, dimension, mood, etc. Does this method of information graphics (image + text rather than text exclusively) communicate with a broader range of individuals? Exhibition location: Gallery 17a / 18a
The icons and symbols in the Isotype exhibit definitely have more personality then the international system of signs because there was a lot more color, elaborate designs, and covered a larger number of topics and objects (people and inanimate object such as tractors). One major benefit of isotypes is their ability to use pictures as well as text
to clarify the charts or what was being represented. This increased an outsiders ability to read and understand what the symbol stood represented. It tackled a number of topics from illness to unemployment and there were even symbol of different sports players. The latter I found very interesting because they had a light mood, were in red, the characters although simple seemed to be in motion, and overall they were just a lot of fun. Although they had more character I can understand why people would have preferred a more straightforward system like the one we use today. The isotypes could be a little confusing at times and a bit too elaborate when trying to convey a simple topic.
4. Pattern
Compare and contrast a pattern from the Ironwork collections (Galleries 113-114) with a pattern from the Islamic Middle East collections (Gallery 42) textile, vase, tiles, etc. Elements to consider: figure/ground, color, repetition, scale, rhythm, mood, etc.
I chose two items which are both related to marking a tomb or grave. The first is a tomb-marker from Uzbekistan, 1536. It is carved limestone and is covered in detailed, elaborate carvings, which according to the museum maybe have been inspired by Chinese carved lacquer brought as diplomatic gifts during the period. The other piece I looked at was the reproduction of a grille from Westminster Abby that was placed around Queen Eleanor of Castille's tomb. Both have detailed imagery of nature, such as flower patterns leaves, and vines. These are presented in very different ways on both of the items . On the tomb-marker the whole thing is tinged blue and brown, with an elaborate border carving all along the edges of the sides, with an even more in-depth pattern running down the thick part of the middle. Although there is a discernible pattern it doesn't repeat frequently, the shapes and flowers are similar but they change direction often. There is literally no part of the tomb that is not covered in design. For a tomb marker is it very beautiful and it seems to evoke more feeling of calm appreciation and celebration of the deceased because of the color and the lively design. The grill has very contrasting shapes. and the patterns repeat within the different column but each column itself seems to have a slight variation on the one before it. The flowery curved shapes of the flowery vines in the columns are contrasted with the sharp spikes on the top of the grill. This contrast doesn't provide the same calm that the other one did. It seems to be there to be admired for the beautiful spirals but it has a warning and a dangerous edge implied by the spikes. Look but keep away. The grille curves out also conveying this intimidating tone, making the spikes stick out even further.
5. Underground
How do elements of the Underground (identity/architecture) contrast to the Metro transportation in Madison? Feel free to discuss logo, color, bus stops, signage, mapping, etc. Exhibition location: Gallery Architecture Room 12a
The london underground is a much more powerful logo then the Madison Metro. The bold red circle is striking and catches your eye, the circle itself is always a powerful shape which stand out, and the navy blue underground contrasts nicely against the red. Every aspect of the design has a personality, its clear, legible, recognizable and eye catching. It is one of the most attractive, straight forward, clean logos I've seen for public transportation. This goes along with the fact that public transportation is the most popular means of transportation in the city of London, whereas in the US, public transport is reserved for the lower, poorer citizens. This clean logo for the underground was clearly well thought out, as it is an important and prominent symbol around the city. The Madison Metro logo is easily forgotten and very dull in comparison. Not many people ride is aside for poorer people and students, so I feel like not as much care was put into its creation. The M in metro matched the Metro underneath in its font, and both blend into the background not making much of an impact. This type of impact is true of the buses in Madison. They are very clunky, bulbous and unattractive in appearance. The buses in London have a much more designed elegant style and a lovely bold red color- these are eye catching and appealing, whereas the buses in Madison are a dull blue and seem almost sad.
6. Object of appreciation
Provide a short description of your favorite object from the collections? Please provide label information such as name, date, origin, etc. Why would you return to this object for greater contemplation?
This statue is "Surya" from Eastern India, the Pala period, during the 12th century. This is a representation of the sun god who is presented riding his chariot drawn by several horses, these can be seen in great detail coming out from the base of the statue. At his feet there are his charioteers, symbolic lotus flowers, and other elaborately carved designs. The sign described that worship of the sun in an anthropormorphic form like this was probably introduced into India from Ancient Iran. I was drawn to this because of the elaborate, intricate detail on the statue. Although it is not brightly colored it is extremely interesting to me because of how much detail is rendered in the space provided. I think it is beautiful and I am also interested in the religious aspects as well as the cultural ones surrounding objects like this. I would love to go back and inspect the design further, as well as the other Buddhist and Hindu statues.
