From the Paper
"Germany - Architecture
Architecture in the nineteenth century was not stylistically unified. There was a nostalgia for the past which resulted in a revival of a number of styles, another link with the Renaissance period. Karl Freidrich Schinkel was the most important early Romantic architect. There was a Gothic revival in this era that was seen by critic John Ruskin as opposed to the evils of capitalism and as symbolic of the freedom allowed to medieval artisans (Lucie-Smith 375). After 1830 European design and fashion had imitated historical styles in an archaeological, patriotic, and bourgeois manner. In Germany, new ideas derived from engineering, and a revolutionary industrial aesthetic were introduced around 1900. Yet these ideas were only hesitantly accepted. Jugendstil was the German version of Art Nouveau..."

From the Paper
"The purpose of this research is to examine the influence of the work of Philip C. Johnson on the architecture of today. The plan of the research will be to set forth the context in which Johnson's architectural designs emerged in the twentieth century, and then to discuss the elements of Johnson's approach that may be said to reach importance vis-a-vis the general scheme of architectural development in the contemporary period.


Johnson's work is widely acknowledged to be firmly modernist in character. His initial ten years of work in the architectural field saw him function as a commentator and architectural curator at the Museum of Modern Art in New York, a strong advocate of the shift toward modern, simple, cool architectural lines and materials such as glass and steel. This embrace of the modern style in architectural projects persisted from 1942, the year of..."

From the Paper
"This paper will be concerned with the Glass Pyramid, which is located at the entrance to the Louvre Museum in Paris. Unveiled in 1988, the Glass Pyramid was designed by the esteemed Chinese-American architect I. M. Pei. This structure is an important work because it provides an example of the introduction of modern architecture into a historic context. The Louvre has existed since the late 12th century A.D., and it has undergone many architectural changes over the course of the years. As a result of these changes, the buildings of the Louvre complex show a variety of different architectural styles. Pei's Glass Pyramid adds an element of modernism to this conglomeration of historical styles. As such, it helps to bring the Louvre up to date. An important feature of the Glass Pyramid is that it modernizes the Louvre without detracting from the beauty of the historic..."

From the Paper
"The purpose of this research is to examine the Oriental influences on the development of Greek temple architecture. The plan of the research will be to set forth the context in which Greek temple architecture attained its highest form, and then to explore the scholarly debate on the origins of such architecture in a manner that has the effect of showing the extent and kind of influence upon the perfection of geometric and monumental structures that may have come from more archaic civilizations in Persia and Crete, but especially from Egypt.

To understand the extent of Oriental influences on the emergence of Greek temple architecture, it is important to realize what any such influences might have wrought. In this connection, an important term that is used repeatedly throughout the literature of classical Greek architecture is Doric Order. An ..."

From the Paper
"This study will examine the ways in which the religion of Islam is clearly reflected in its arts.
At the heart of Islam is the same monotheism which marks Judaism, and it is no surprise to discover that, as Pal writes, there are important parallels between Islam and Judaism with respect to their views on art. Pal writes that "As a religion Islam did not develop an artistic or iconographic tradition as Christianity or Buddhism did, but rather remained closer to Judaism in its emphasis upon the abstract" (Pal, 1973, p. 9).

There has been some misunderstanding with respect to the Islamic attitude toward imagery in art. Richardson writes that "Decorations in mosques such as the Islamic Center are confined to calligraphy and geometric designs. Islam forbids any art that depicts the human figure including that of Prophet Muhammad. Any ..."

From the Paper
"A present Fellow of Trinity once observed that the architecture of the College reminded him of the music of Handel. One sees this at once .. the beautiful West Front, the porticos of Sir William Chambers in the Front Square, the gracious lines of classical architecture (Maxwell, 1956, p. 1).

Professor Constantia Maxwell, professor at and historian of Trinity College Dublin, chose to begin her history of the College with a reference to its stately architecture, with its eighteenth.century neoclassical restraint, which she goes on to contrast to the turbulent late sixteenth century, in which the College was founded.

Indeed, the architecture of the College is what first and most directly impresses the visitor. Its academic tradition is ..."

From the Paper
"This paper will be concerned with the evolution of the dome in the medieval period. The medieval dome first rose to prominence during the sixth century A.D. in the Byzantine Empire. At that time, the Byzantine Emperor Justinian ordered the construction of Hagia Sophia. Domes had existed before that time, as can be seen in the second-century design of the Pantheon in Rome (Janson 258). With Hagia Sophia, however, the dome was given greater importance than ever before. The dome of Hagia Sophia was certainly the largest and most impressive one yet. Its architects, Anthemius of Tralles and Isidorus of Miletus, achieved a remarkable effect through their innovative use of structure and space. As claimed by the Byzantine historian Procopius, the structure of Hagia Sophia "seems not to rest upon solid masonry, but to cover the space with its golden dome ..."

From the Paper
"Byzantine Influences: Church Decorations in Areas Outside Byzantine Control


Among the churches outside the territories of Byzantine political control, many show some degree of the Byzantine style of church decoration, as well as some alterations due to local influence. It is the purpose of this paper to discuss in detail six works of art from outside of the areas of Byzantine rule and the degree of Byzantine influence and departure from it.


St. Mark's in Venice dates from the years of 1063 to 1095. Its architectural plan is that of the cruciform--one dome at the crossing and one on each of the arms of the cross, one of the most important plans for churches developed by the architects of Justinian (Rice 98). The St. Mark's is the most important surviving example of this cruciform type of architectural design."

From the Paper
"Architecture and Morality


Architects Auguste Welby Pugin, John Ruskin, Louis Sullivan, and the protagonists of the Arts and Crafts Movement would have disagreed with the statement, "Architecture and morality have nothing in common." It is the purpose of this paper to explore the philosophies associated with these architects and the Arts and Crafts Movement and their relationship to the above statement.


The Arts and Crafts movement began as a mid-Victorian reaction to the ugliness and inequality caused by industrialization. It was a sacred search, a quest for a return to quiet beauty, simplicity, and honest craftsmanship (Anscombe, 1981, p. 7). Architecture was seen as a reflection of the health of the society. In the 1880s the designers who chose to..."

From the Paper
" The Great Mosque of Baybars

The mosque of Baybars is the earliest remaining royal mosque of the Mamluks near Cairo, Egypt. It is situated outside the gates of Fatimid city, which was a suburb of Cairo. This mosque was commissioned by Baybars I, the fourth Mamluk sultan of the Bahrid dynasty. It is the purpose of this paper to describe the building and to place the structure and its creation within a historical context.

Baybars is said to have been born in 1233, one of a group of Turk slaves who were purchased by a sultan, Malik Salih. He became active in military conquests and gained the throne in 1260, apparently after murdering at least two political figures who were obstacles to his ambition.. He reigned for seventeen.."

From the Paper
" Charles Rennie Mackintosh

Charles Rennie Mackintosh was the second son in a family of eleven children. His father was William Mackintosh, a superintendent of police in the city of Glasgow. The elder Mackintosh loved to garden, and Charles was greatly influenced by the presence of flowers in his environment. He acquired a profound regard for growing, living things which endured throughout his life and found expression in much of his artistic work (Howarth 2).

Charles decided at a young age that he wanted to be an architect. His father attempted to dissuade him, but Charles' strong personality prevailed. The Mackintosh household took numerous family holidays, and during these adventuresome trips.."

From the Paper
"This paper is a study of a house designed by one of the leading postmodernist architects in America, Charles W. Moore. Moore established his reputation with striking and fanciful designs that both blend his constructions into the landscape and separate them out in astonishing ways. His designs for the Sea Ranch condominium remain among the most interesting uses of space and structure, but his conception for a single-family dwelling best personifies Moore's contributions to the direction of American architecture in the latter half of the 20th century. With the Klotz House, designed and built between 1967 and 1970 in Westerley, Rhode Island, Moore offered his own distinctively arresting answers to some of modern architecture's most intriguing questions. The Klotz House stands as a fascinating example of late 1960s postmodernist architectural thinking, yet.."

From the Paper
" The purpose of this research is to examine the east wing of the National Gallery in Washington, D.C., designed by architect I.M. Pei in the late 1970s. The plan of the research will be to set forth a description of the life and career of Pei and of the National Gallery itself, and then to discuss reasons for the new addition, how the commission to design the east wing of the structure came about, and details of the project itself, from an architectural standpoint. As well, reference will be made to the relationship between the "container," or structure, and the "contents," or works of art that it houses.

To discuss a principal work of Ieoh Ming Pei, usually referred to as I.M. Pei, it is useful to place that work in the context of life. Pei was born into a financier's family in 1917 in Canton, China, and stayed in the United States from 1935.."

From the Paper
"Architect O'Neil Ford lived from 1905 through 1982, and is considered one of the best known architects in the nation. He created designs in a vernacular style, and because they lacked a certain cutting-edge innovation, they did not give him the international reputation achieved by others. However, his unpretentious style and desire to achieve the best total design gave him a following and a good reputation in America.
Ford was born in Pink Hill, Texas. He studied at the North Texas State University in Denton, then worked as a draftsman for David Williams in Dallas. He entered into private practice in 1934 and worked with a series of partners within the state of Texas from 1936. His principal building materials have been bricks, glass, wood, and stone, and most of his designs were governed by the climatic conditions in the area. Preservation would.."

From the Paper
"Introduction
The Memphis design studio in Milan was started in 1979. As with many European design studios and movements, the Memphis design group appeared to have a greater tolerance for abstract design than did American groups of the time, but in fact the European groups generally looked to American style of the 1950s for inspiration.. Ettore Sottsass was the leading figure of the Memphis design group, and much of what he embodied in that group derived from his earlier experiences as a designer. The ideas he implemented in the design group were ambitious and adventurous. The designs produced were highly successful, but for Sottsass this success was itself only a beginning. While the public clamored for more, he was already looking to the next mode of expression. The Memphis design group had a considerable..."