From the Paper "The Religious Background of the Baroque and the Artistic Communication with England
The period which has come to be called the baroque is intriguing because it grew out of a unique set of political, religious and cultural circumstances. Blunt ties the style to origins in Rome for good reason, as the situation surrounding the Catholic church at about 1600 had a lot to do with the origins of the style. The Protestant Reformation of the 16th century had led to deep introspection on the part of the Catholics. The leaders in the church realized that some positive action was necessary in order to avoid further political embarrassment, continued corruption and massive attrition from the church. The Protestants had attacked the church mainly with charges of selling offices of authority, men holding numerous offices simultaneously, and the..."
From the Paper "Throughout his life Frank Lloyd Wright (1869-1959) denied that Japanese architecture had any influence on his own work. He did, however, allow that Japanese prints had exerted an important influence on him. Curiously, Wright has often been taken at his word on this subject, even though there is a great deal of evidence that shows he was, for whatever reason, creating a personal legend in which his creativity owed very little to one of its major sources. The visual evidence of the work itself, scholarly digging into possible influences, and even the nature of the Japanese prints that were admitted to be an influence all demonstrate that Wright was protesting too much. Japanese architecture, whether it was seen in photographs, in person, in the prints, or even seen through the eyes of a mentor, was a major influence on Wright's creation of his theory of organic ..."
Abstract The Parthenon (447-32 BCE) was a crowning glory of Athenian civilization of the classical era and, what is more important, it was intended as such at the time. Thus, nearly 2,500 years later, it is possible to view the building as incorporating all of what the Athenians saw as beautiful, sacred and of civic importance in architecture. The paper shows that as its overwhelming position and the nature of its sculptural decoration make clear, it was the focal point of the religious-civic identity of the Athenian polis. The paper describes how the Parthenon housed the great statue of Athena Parthenos, was the main building in the complex of temples dedicated to the gods on the sacred rock of the Acropolis, depicted some version of the most important Athenian religious ceremony (the Panathenaic procession and festival) and loomed over the city as a reminder and a promise of Athenian greatness.
From the Paper "But there was also a contradiction in being expected to achieve the perfection of the Doric order on a much larger scale, for which adjustments had to be made to the greater number of columns. As Boardman points out, however, the wider fa"ades lent the building a "reassuring breadth which is enhanced by the way its proportions then seem to match those" of the Acropolis on which it stands (112). But this breadth might have been oppressive in its effects if the architects had not devised a means of avoiding too great a visual equivalence between the rock and the temple. Their solution was a very subtle curvature of the stylobate, and the rest of the floor, which is also reflected in the entablature. This also affects the columns which "lean slightly in while the upperworks [that they support] lean slightly out" (Boardman 112). This gives the entire fa"ade a "pyramiding movement" to which all the external lines contribute; ever so subtly, therefore, the columns' inward inclination lends itself to a slight triangular effect that is enhanced by the surmounting pyramid of the pediment (Martin 292)."
Abstract This paper examines how architecture is inseparable from its social purpose and from its environmental setting. This concept is demonstrated through first examining the function of architecture and how the impact of a specific function directly impacts those who come in contact with a given building, and then by describing how the building impacts the local environment.
Abstract This essay will argue that a key point of disagreement, and eventual harmonization, in this "conversation" revolved around the role of nature in the architecture of Japanese temples. While earlier Shinto models reflected a Japanese aesthetic of harmonization with nature, the Buddhist temple architecture imported directly from the Asian mainland emphasized a more abstract and monumental disregard for the natural environment. Through an analysis of the similarities and the differences of Japanese Shinto shrine and Buddhist temple design, this essay will outline the parameters of this conversation between native and foreign forms in Japanese architecture.
Abstract A study of the Chartres Cathedral in France which creates a ideal depiction of the gothic form of architecture and is shown in reference to the same.
Abstract This paper looks at particular Baroque architectural works, and discusses the general characteristics of the style. This paper first sets out to explain what is Baroque? As well it sets the parameters for the study. The paper then looks at style, The Baroque City, St. Peter's Square, Intimate Baroque, and Chimerical Baroque.
Abstract This paper will discuss the Great Mosque of Cordoba, Spain. The Mosque will be described in detail in an architectural sense and will then be evaluated on its importance to Spain in a historical sense to understand the level of pride the people of this country take in this monument to their culture. Also discussed will be the influence of this mosque on architecture in the region and how this building can be differentiated from other religious structures, such a churches and other mosques that are in the area. 8
Abstract What now seems repetitive was once radically innovative when architects, such as Walter Gropius, Ludwig Mies van der Rohe, and Le Corbusier, attempted to reshape the urban metropolis in order to reflect the aesthetic principles of an industrial, democratic age. This paper will examine the achievements of the three architects noted above. Their works will be examined with respect to both theory and practice. It will be argued that, while their legacy in the field of architecture remains controversial to this day, their contributions to the establishment of the International Style fundamentally altered the landscape of the modern city.
Abstract The paper describes the magnificence of the Ancient Greek culture, including the architectural, intellectual, and political development of that great civilization. The countless achievements of the Greeks and their influence on Western civilizations are discussed.
From the Paper "Many are the reasons that helped Ancient Greece become what it was during the Golden Age. Located on the crossroads between Europe, Africa and Asia, Greece managed to take the best of all cultures that passed through its territories and was influenced by cultures as far away as Egypt, Syria, Phoenicia and others. These influences, combined with the rich Mycenaean and Minoan heritage along with a good political system helped Ancient Greece in reaching the Golden Age."
Abstract An analysis of Calatrava's works as an entirety, based on his major ideas, the nature of his works, his clients, culture, origin and development, thematic progression, the values represented, and legacy of the architect to modern architecture. Calatrava is one of Spain's most celebrated architects. The paper includes some pictures of his designs.
From the Paper "Calatrava's implemented his innovative and original ideas through his many works. The major concepts of Calatrava's design are found in his bridges and buildings. His importance in the community of European architects can hardly be overstated, yet he rarely designs a fully enclosed building; his works are generally open structures. Calatrava's dual capacity as an engineer and an architect allows him to capture the creative and structural aspects of both disciplines. His engineering skills enable him to apply his ideas to his architecture with greater ease. The sculptural surfaces and unusual spaces that are born of this marriage of disciplines give Calatrava an unmistakable and easily identifiable style. He dismisses the apathy involved in accepted architectural form."
Tags: europe, building, art, bridge, madrid, barcelona
The history and development of the architecture of the Roman theater building. An in-depth look at how the ancient Romans borrowed heavily from the Greek example, but improved upon it to create a building that was uniquely Roman.
Abstract The paper discusses in great detail the evolution of the Roman theater, beginning from the Greek wooden origins to the stone monuments that became iconic with Roman architecture during the Republic and the Empire. A brief history of theater is discussed in the beginning of the paper, with special attention given to the religious implications of how theaters were originally set up. The importance of the orchestra and "skene" are given historical background, dating back to early Dionysian worship. The layout of the early Greek theaters are discussed, with a complete layout included that describes the circular performance area, the seating arrangements, background adjustments and a rudimentary stage. The rest of the paper deals with how the Romans, eager to take the art of theater from being a religious practice to more of an entertainment value for the masses, incorporated their own unique designs to the Greek theater layout to create a more efficient and clearly Roman design. Heavy attention is give to Vitruvius and his work " De Architectura" which provides a step-by-step process in which Roman theaters were built. Improvements are discussed from eliminating the completely circular stage to a half-circle, as well as creating an official stage that persists in modern theatrical performances. The paper takes each part of the theater and discusses the area extensively in terms of what the Romans did to improve upon or change from the early Greek models.
From the Paper "Ancient Rome's concept of art and architecture was heavily influenced by the cultures that the Romans had conquered, but were in no way identical copies of the art that existed in those subjugated areas. The Romans excelled at taking artistic ideas from other civilizations and molding them into a form that could undoubtedly be identified as uniquely Roman. This technique can easily be seen in practice when one examines the Roman theater building. Roman theaters can be found throughout the area that used to be the Roman Empire, with remnants of theaters all over Europe and the Mediterranean. These theaters have details and building techniques that are exclusive to Roman designs, but when they are viewed in comparison with ancient Greek theaters, one can clearly see where the Romans received their inspiration."
Abstract A look at the nature and changes in the construction of castles. The author looks at the background of castle construction, how they were built during the Medieval period and the insights that this provides about Medieval society and the inner workings of it.
From the Paper "We look at castles today, impressed by their enormous stature and the massive nature of their physical construction. Even today, with the skyscrapers and other marvels of modern construction, castles still imbue awe in the beholder. Imagining how the construction of such masterpieces could have been accomplished with the technology available to the Medieval person is almost incomprehensible. Castles have held this place in the mind from the Romantic period onward, with a revival of the wonder and majesty that such buildings can evoke. The truth of the matter, however, is that castles began as simple wooden structures and palisades, created to defend certain areas from attack by invaders. These simple wooden fortifications gradually evolved into the massive structures that we know and admire today, and the story of that evolution gives us key insights into the way that Medieval society evolved and the inner workings of the society as well."
Abstract This paper discusses the Renaissance specifically comparing the music and architecture of the time. The author specifically looks at the music of Josquin dez Prez, a composer of the Renaissance and compares his music to the architecture of the same time emphasizing their similarities in new styles, ideas and inventions.
From the Paper "The renaissance was a time of rebirth and renewal. All over Europe, people were looking back to times they saw as better, instead of towards the unpredictable future. Specifically, the people looked back to the ancient worlds, and found the humanitarian values of the ancient Greeks and Romans very inviting. The arts were reborn from classical ideas, and a new focus was placed on individuals and the natural world (Wright 80). New inventions and wonders filled Europe. This was the era of both the printing press and telescope's birth. New ideas permeated the world, remolding the way people thought. music and architecture were no exceptions to this rebirthing."
Abstract This report provides the reader with a chronology of the construction of Frank Lloyd Wright's; famous house, "Fallingwater".The author gives a brief overview of the history of the house, as well as Wright himself and describes the uniqueness of the house as a prime example of organic architecture.
Table of Contents
What is Fallingwater?
a. Located in Ohio Pyle, PA
b. Built as a summer home
c. Designed by Frank Lloyd Wright
II. Frank Lloyd Wright
a. Three periods of work- pre WWI, early 1930?s, late 1930"s
b. Invented the Usonian house and Prairie house
c. Died 1959, had designed over 800 buildings
III. What makes Fallingwater unique"
a. Cantilevered terraces
b. Organic Architecture
Fallingwater's future
From the Paper "In the 1930’s Edgar Kaufman, a department store owner, commissioned architect Frank Lloyd Wright to build a summer house for Kaufman’s family on a plot of land in Ohio Pyle, Pa. The land is set in the woods, with a small river running through it, and plenty of rocky ledges, several of which create waterfalls. The Kaufman’s had imagined a house set downstream from the waterfalls, at a point where the falls could be viewed from below. However, their architect was a man of great creativity and genius, and it was his idea to build the house directly above the falls, so that it actually overhung them."
