Abstract This paper looks at the Globe Theater, where most of William Shakespeare's major works, ,including his famous four tragedies, were first staged. It shows how, although the original building was destroyed in the mid-17th century, a new "Globe Theater" has been built near the site of the old theater in London and replicates many of the original features of the original theater and still stages some of the bard's plays. It traces the history of the Globe Theater, describes the original building's main features, and covers the recent rebuilding of the new Globe.
Outline
Origins
Main Features
A "Microcosm" of the Times
Destruction
The "New" Globe
Conclusion
From the Paper "The stage of the Globe was a five feet high level platform of about 43 X 28 feet size. The stage was fitted with mechanisms such as trap doors in its floor that were creatively utilized by Shakespeare in his plays. It was surrounded on three sides by the "pit" in which the general audience (known as "groundlings" or the "one penny" audience) stood to watch the performances. The fourth side of the stage had a room for the actors where costumes changes were made. Around the pit were three galleries (balconies) one above the other that had seating for "two-penny" theatergoers. The topmost gallery was roofed with thatch and had a small turret structure, from which a trumpeter announced the day's performances. Since no artificial lighting was available, plays were usually scheduled for the afternoons."
Abstract This paper examines the design and layout of the Tugendhat House, built by Ludwig Mies van der Rohe for Grete and Fritz Tugendhat in the 1920's. It looks at how some of the structure's themes may be found in works done by Le Corbusier, Schinkel and Mies himself and how, throughout the building, it is evident that great stress and preparation went into project, whether it be the location, the facade, the plan, or the material. It explores how the Tugendhat House a revolutionary concept that rejects traditional arrangements of the interior and promotes simplicity throughout.
From the Paper "The centre stage of the main floor is occupied by an enormous open space that contains the living and dining room. Though a semi-circular wood veneer wall pronounced the dining area, the general space is open and not or-ganized or categorized by the use of dividing walls, but more by the placement of the furniture, which Mies himself designed specifically for the residence. In accordance with so many of Mies' works, such as the Barcelona Pavilion and the Toronto Dominion Centre, a single spot from which an ob-server may embrace the structures and dimensions does not exist. For that reason, the house begs you to wander through it, to discover it and its se-crets."
Abstract This paper explains that architecture is more than the design of buildings because it incorporates the thought of the person building the structure; the architecture of Egyptian and Greek temples differs in function, structure, and symbolism. The author points out that Egyptian temple architecture is much larger than the Greeks because the geographical location was abundant with resources and building materials, such as limestone, and the Egyptians maintained a highly organized society capable of carrying out such large constructions. The paper explains that another main difference between the Egyptian and the Greek temples is that architects, not priests, directed the design of the Greek temple, which distinguished the Greek temples from those of the Egyptians because they made conscious choices in design for aesthetic reasons, not just function.
Table of Contents
Introduction
Architectural Structure
Function
Architectural Art and Symbolism
From the Paper "The earliest Greek temples were small and gradually became larger and grander. The first temples were similar to small huts and were long and narrow. These early temples were about 25 by 18 feet and were built using stone and unbaked mud brick. As the wealth of the Greek people grew and the geographical locations became more abundant with resources, temples began to take a much more sophisticated style. "There was a compelling need, given the dominant role of the gods in society, to pay at least some benefits thus received to them.""
Abstract This paper discusses the main reason why, in the early 1700s, British town planning seemed to diverge from that on the continent, even though a common heritage was present. The conclusion is a surprising amount of politics, national rivalry and religious differences that altered British building environment.
From the Paper "Baroque design flourished on the continent between 1600 and 1750, particularly in Catholic countries. It tended to be expressive, flamboyant and encouraged by the Roman Catholic church (Hutchinson:2005). A Baroque designer would usually have had the support of a ruler and would therefore expect his development to be completed in its entirety, in contrast to events at the Royal Crescent in Bath, for example. The emergence of Baroque town planning in continental Europe is tied to the Renaissance, Reformation and subsequently the Counter-Reformation. Advances in science and the discovery of the New World provided the context for the creation of towns and cities that came to reflect the new wealth of the major European powers as well as the new cosmopolitanism of the ruling classes. "
Abstract This paper explains how Wright was a highly innovative influence on modern architecture. It examines how his designs were influenced by current day events as well as by his travels to Europe and Japan. In particular, it describes the Robie House, Prairie style homes, Taliesin, Imperial Hotel, Hollyhock House, Fallingwater, Marin County Civic Center, and Guggenheim Museum.
From the Paper "In 1911, Wright moved to Wisconsin and built a home for himself and his mistress that he named Taliesin. In the architectural design for Taliesin, Wright included concepts from organic architecture. Organic architecture is a type of architecture that promotes harmony between man and nature through design. Organic architectural designs integrate the building and its furnishings into its surroundings. Wright accomplished this at Taliesin by constructing the chimneys and stone piers out of a local limestone which was laid by stonemasons in the house in a way that reflected the outcroppings of Wisconsin's landscape. Wright also used sand from the Wisconsin River in the house's stucco walls to bring to mind the river's sandbars."
Abstract This paper describes the work of 16th century Italian artist and architect Filippo Brunelleschi and how the innovation and brilliance of his work prepared the Florentine art community for Leonardo da Vinci's reception. The paper focuses specifically on the design and construction of the Cathedral of Santa Maria del Fiore and how this structure emphasizes most explicitly Brunelleschi's collaboration between science, technology and art. The paper further discusses Brunelleschi's spirit of rivalry and competition that was characteristic of his career and his reputation and the lasting impact these qualities had on the Florentine art community.
From the Paper "The inscription on his simple, marble tomb slab reads, "here lies the body of the great ingenious man Filippo Brunelleschi of Florence." Though laid under the south aisle of the Cathedral of Santa Maria del Fiore, the epitaph makes no explicit reference to Brunelleschi's role as its architect. Perhaps the Florentines thought that such information belonged elsewhere, or that it would be obvious to the millions of tourists who stream into the cathedral each year. More likely, the Florentines recognized Brunelleschi as a man who transcended simple vocational categorization, a man who could not be pinned down by a title like "architect" or even "artist," because his work was so manifold."
Abstract This paper is an analysis of the Hagia Sofia as a masterpiece of Byzantine architecture. The paper discusses the split between the East and the West of the Roman Empire. The paper examines unique architectural features of the Church that combine elements of both the East and West.
From the Paper "The Hagia Sophia located in Istanbul, Turkey is a masterpiece of Byzantine architecture and perhaps the most significant example of Byzantine art during its Golden era, combining Greek, Roman and Oriental influences. Aside from its beauty, Hagia Sophia, Greek for Church of the Holy Wisdom, is important for its artistic and architectural uniqueness as well as its religious and political significance. With the Roman Empire in severe economic and political decline, in 330 A D Emperor Constantine established the trading city of Byzantium as his new Eastern capital, renaming it Constantinople."
Abstract This paper looks closely at the emergence of sustainable architecture and its function in the 21st century. The paper is broken down into three parts: the philosophy, the materials utilized and the importance of the design of sustainable architecture. To aid in this analysis, three central sustainable architects are also included in this research.
From the Paper "Sustainable architecture has become a movement within architecture in this last century. In accordance with recent environmental movements, sustainable architecture attempts to save and share resources, to save and spare economically. King writes that the "shift to a sustainable, ecologically restorative way of life in city and countryside, guaranteeing fair shares of resources and opportunities across space and time, will involve the bitterest struggles over material interests" (9). This mentality is fundamental to the conservation and continuation of our species. It incorporates a new element of creativity into the work of an architect, which can be a rejuvenating element, as the art of architecture is as old as they come. The use of such designs into the 21st century shows a respect for our children and an equal respect for our earth, and, as our materials begin to ..."
From the Paper "Architecture has always been a reflection of the significant influences and objectives of a society at a given time. The development of the gothic cathedral manifests the changes in creative thought and techniques of the medieval architect. "
Abstract The following essay describes the memorable and culture enriched journey one experiences when entering the Pantheon in Rome.It discusses amongst other things the way in which the Pantheon still manages to communicate with us so vividly across such a vast expanse of time.
From the paper:
"As Stendhal wrote, "It requires only a few moments to be penetrated by its beauty. You stop before the portico; you take a few steps, you see the church, and the whole thing is over." Stendhal also claimed that he had never met any person who was unmoved by this sublime experience. "
Abstract This paper examines architecture with all its elements and styles. It examines how some structures are strictly utilitarian whilst other structures are designed to commemorate historic or mythological persons or events, and/or inspire feelings of awe, pride, sadness, or even anger. The writer focuses monumental structures and responses they evoke.
From the paper:
?These structures are monumental. According to "A Dictionary of Architecture", a monumental is ?a building intended as a monument or looking like one; or a building that is formal, impressive, very large, and permanent, probably intended to overawe.? This monumentality, seen so clearly in the architecture of ancient Rome, is also a vital element of the Thomas Jefferson Memorial in Washington, D.C.?
The following paper looks at Michelangelo's contributions to art and architecture and shows how he has exerted an unparalleled influence on the development of Western art.
Abstract This paper examines Michelangelo's contributions as a sculptor and painter as well as his work as an architect -- which remains well known -- and as a poet, which is much less well known today.
From the Paper "Unlike many artists who are not recognized until the very end of their careers -- or perhaps decades or centuries after their deaths -- Michelangelo was considered by his contemporaries to be the greatest living artist in his lifetime, and his reputation has been maintained ever since. There has never been a time when he was not held to be one of the greatest artists of all times and a number of his works in painting, sculpture, and architecture rank among the most famous in existence (Paoletti, 1997, p. 38). "
Abstract This paper examines the origins of skyscrapers. Factors that made the building of skyscrapers possible, such as technological advancement, and advancements in manufacturing and architecture are outlined. Advantages to the building of skyscrapers over smaller buildings are discussed.
From the Paper "Skyscrapers flourished in Chicago for a variety of reasons. "The main technological advancement that made skyscrapers possible was the development of mass iron and steel production. New manufacturing processes made it possible to produce long beams of solid iron. Essentially, this gave architects a whole new set of building blocks to work with" (Harris). The development of elevators also played in the development of skyscrapers, because people could move more quickly and efficiently between floors, which is why skyscrapers are sometimes called ?elevator buildings.?"
Tags: iron, steel, manufacturing, architecture, elevator, Holabird, Roche, Chrysler
From the Paper "The achievement of the Bauhaus school of architecture and design consisted of its novel pedagogical approach and its distinctive modernist style of design. While both of these aspects of the Bauhaus movement originated in its innovative aesthetic and were intrinsically linked while the movement flourished, the style was to be replaced by different design ideas that sometimes derived from aesthetics similar to that of the Bauhaus and, very often, from training based on Bauhaus methods. There was no necessary connection between Bauhaus style, which might have developed in various directions, and Bauhaus educational principles, which eventually supported the teaching of many kinds of design. These achievements were, therefore, of different kinds. On the one hand, the style developed by the teachers and students was enormously influential..."
From the Paper "Cities change all the time, growing larger, replacing old buildings, redesigning roadways and connections between buildings and regions, and similar changes as the population shifts, uses change, political leadership is replaced, and other forces are brought to bear. Numerous changes were made in the overall design of the city of Paris after the nineteenth century, absorbing and in some ways altering the original plan for the city and many of the shifts that had taken place since that time.
Paris was a medieval city that grew around the river Seine, and this capital city of France remained much as it had been in the medieval period into the nineteenth century. The Revolution in 1789 had changed this city very little except for the razing of the Bastille. The city at that time was considered an ..."
