Abstract This paper addresses the body of work that is now known as Modernism, including an examination of how it developed and what has succeeded it. It gives examples from the world of art, music and architecture - Mark Chagall, Frank Lloyd Wright, Gustave Courbet and others.
From the paper:
"Modernism is a much harder artistic style to define than either Romanticism or Realism ? although not as difficult as Postmodernism. This probably results in part from the fact that the closer a style is to one's own moment in history the more difficult it is to assess, but it also has to do with the fact that Modernism is itself a complex movement. It is not the relatively straightforward reaction against the movement before it that Realism was, nor is it a reaction against a single historical change in the way that Romanticism was primarily a response to industrialization."
Abstract This paper presents a detailed examination of women in the field of architecture. The writer uses history and current events to depict the trends of females in architecture and looks at various aspects including promotion, acceptance and growth for women in the field.
From the paper:
" A young woman is interested in architecture. She has heard things about architecture that makes it seem like it is a perfect career for her. But others say, "Women are too pretty. They just can"t grasp the bigger picture. They"re fine for other professions, but not for architecture" This has been the attitude among males in the profession for the past thirty years. The overwhelmingly male profession was and is still not making women feel wanted, welcome, or even competent. If men have the "qualifications" of which architects are made, then women have it too. There are many fine male architects, but there are also some mediocre ones. Women have the right and now have the opportunities to get the education, and succeed in this profession."
Abstract This paper looks at the differing opinions with regards to the J.Paul Getty Museum and the way it was built. Reviews from the Los Angeles Times and the Atlanta Constitution Journal contend that a building is not just a building. The two critics from the above newspapers agree and disagree with regards to certain points about the building.
From the Paper "Ouroussoff writes in the Times:
But although these public areas are thoughtfully balanced, the complex as a whole does not cohere. The more private structures (aside from the auditorium) seem isolated on the wrong side of the trackless-tramway. A palm-lined garden, submerged three stories below plaza level--is the area's central event. Around it, cloistered walkways and metal bridges connect the various buildings. Meier skewed placement of these buildings slightly to line them up with the freeway rambling by below. But the shift is imperceptible, and you never feel its weight. Instead, the buildings simply seem detached, their function hidden behind slick metal and glass facades (p. A1)"
Abstract This paper explores the works of Leon Battista Alberti, Adolf Loos, and Jennifer Bloome and compares and contrasts their opinions on combining different forms of art and architecture. It also examines why it is important for architecture to be aesthetic and practical.
From the paper:
"According to the AOL World Book Encyclopedia's definition of
architecture, architecture is an art form like painting or poetry writing. However, architecture is not entirely like these arts in its practice. The World Book states one of the essential differences between architects and other artists is the fact that while other artists have a certain amount of creative control in the fashioning of "rough drafts" of their work, architects face additional constraints because their work costs so much money to fashion."
Abstract This paper looks at the differing opinions with regards to the J. Paul Getty Museum and the way it was built. Reviews from the Los Angeles Times and the Atlanta Constitution Journal contend that a building is not just a building. The two critics from the above newspapers agree and disagree with regards to certain points about the building.
From the paper:
"Ouroussoff writes in the Times:
"Of the two assessments, Ouroussoff's seems by far the more accurate. From my own visit to the museum I must say that it seemed very much a premodern structure resting like a fortress on a hill from a time long, long before Frank Lloyd Wright would make so many people believe that glass was an acceptable material for walls and that white was the only color that one needed."
Abstract This paper describes Chicago and New York City's revolutionary skyscraper architecture. It explains the history of each city and emphasizes their development and planning. The paper illustrates each city's history relating to its grid and individual events and explains how the skyscraper came into existence in each city and changed our urban world. The paper use historical illustrations and maps along with the written essay to describe the growth of skyscrapers in both cities
Table of Contents
I. Introduction
II. City Planning
III. Chicago's Early City Planning
IV. New York City's Early City Planning
V. How Skyscraper Height Evolved
VI. Skyscrapers in Chicago
VII. Skyscrapers in New York City
VIII. Skyscrapers Take Form
IX. Chicago's Interior Form
X. New York City's Interior Form
XI. A Final Thought
XII. Bibliography
XIII. Picture References
From the Paper "Architecture is an interesting art form due to its strong ties with the construction industry, which in turn a product of the socioeconomic behavior of a society. One of the grandest architectural accomplishments is the design and completion of a superstructure, known as the skyscraper. Since the turn of the century, the city fabric of two American cities, Chicago and New York City, have been involved in a heated race towards the sky. These superstructures continue to grow in size and in number due to advances in materials, structural designs, and technology. The function of the skyscraper is to serve as a commercial purpose. As these buildings cast heavy shadows over the busy city landscape, people notice their dominance and power. To the general public, big is good; in terms of building, the taller the better. Many people agree, as well as deny, that the skylines of Chicago and New York City are similar. To expose which acquisition is true, one first needs to discover how the skylines of these two cities have developed."
Tags: building, chicago, cities, city, construction, design, elevator, evolution, frame, general, grid, height, history, layout, materials, modern, new, religion, skyline, skyscraper, steel, structure, superstructure, support, technology, york
Abstract This paper describes the history and significance St. Mark's Basilica. This church is a major architectural and historical "anchor" of Venice, Italy. It details the church's unique architecture, and gives an historical account of how it was built and by whom. It provides an in-depth description of the church, interior and exterior, and also provides excerpts from stories and myths concerning the church.
From the Paper "It's a given fact that countless great cathedrals, monasteries, and other holy places have been built over the ages as a testament to man's devotion to God. In point of even more practical fact, that devotion was often tempered and blended with a generous portion of servitude to one's feudal lord as well, with the unspoken incentive that one got to keep one's property, position, or even one's life if one gave good service . . . and if one did not, well, things may not go as well as one would hope! But St. Mark's Basilica in Venice, Italy, may well have an additional distinction of its own?not only as a sign of devotion to God, but as an edifice that stands uniquely in itself as a visual means of atonement for sin, an effort at retribution for what might well be termed a "divine crime " . . ."
Abstract The paper discusses the works of Frank Lloyd Wright, the greatest and most influential architect in the history of American art and design who gave us some of the most beautiful and dazzling structures. The author explains how he is remembered mainly for his residential houses as he was the first architect to change the design of American houses to make them suitable for modern living although he gained fame international fame with his design of Imperial Hotel in Tokyo.
From the Paper "American should be proud of those who have given it the reputation of being the country with most talented people. It should praise those who have added a new dimension to its art, literature and architecture. The reason being that a country is known by the people who belong to it and some of these people by the power of sheer genius can take their country to new heights of fame and pride. America boasts of numerous highly talented people in various fields, but it has only very few well-known personalities in the field of architecture and design. This is not because the country does not provide encouraging and conducive environment, but it is because of the nature of the work itself. Ceramics, Architecture and lighting may appear to be rigid fields, which allow introduction of new techniques, and style only rarely but it all depends on the magnitude of creative genius residing within the one who enters this area. Very few people in these fields art, design and ceramic work can bring dramatic changes to previous styles and design and introduce better techniques and give the country its own architectural identity. One such person was the American architect and artist, Frank Lloyd Wright."
The paper discusses Evelyn Welch's illustration of the history of art and architecture during the rule of the two dynasties, the Visconti and Sforza, in her book, "Art and Authority in Renaissance Milan."
1,560 words (approx. 6.2 pages), 0 sources, 2001, $ 51.95
Abstract This paper examines the tensions and arrangements between the city government and the court in Evelyn Welch's "Art and Authority in Renaissance Milan." Images are used to legitimize the authority of the dukes as well as the details of the multitude of problems that occurred during the constructions of the monumental cathedral of Santa Maria Maggiore, the Ospedale Maggiore, and the Castello di Porta Giovia along with the grievances that the artists and architects had with the Milanese court and government.
From the Paper "In the first chapter, Welch discusses the images that were used to claim authority in Milan. Unlike the King of France, the signori of Milan in the fourteenth and fifteenth-century could not declare their authority as God-given. The Milan rulers, from the first duke (Gian Galeazzo Visconti) to the last (Ludovico Maria Sforza), used various sources of confirmation of their position from distant papal or imperial investitures. But the most effective means of imposing authority over the Milanese citizens and residents of the surrounding countryside was to produce countless images that asserted ducal ownership of buildings, works of art, and people. Some of these images took the form of family arms, portraits, and color codes. Bridges and towers were branded with a coat of arms when absorbed under new dominions. Some signori asserted their authority with equestrian portraits. Images were represented differently in art and literature depending on the audience and the time. Art was used as a collaborator for political control (which was not uncommon). There was a constant transition in leadership. Two dynasties controlled Milan - the Visconti and the Sforza. The Viscontis, native Milanese, were based in the surrounding countryside. The Sforzas, originally mercenary soldiers, were from the Romagna and acquired their rights over Milan through a marriage to the daughter of the last Visconti duke. In art, historical armed conflict was disguised. Successive rulers changed ancestral histories. A leader that became powerful through tyranny was transformed as reverent. But regardless of even great court commissions, the images of authority were only effective if their audiences were predisposed to accept the court's authority. There was a reciprocal relationship between the art and the audience. "
Tags: photographs, buildings, paintings, sculptures, other, items, greatly, enhances, story
Abstract An analysis of the ritualistic, religious and practical uses of public space at the Athenian Acropolis and Trajan's Forum. Part II considers the movement of people through the space, especially in ritualistic contexts and how the Athenians related the religious functions of the Acropolis to its layout is examined. Part III outlines what political functions, if any, took place at the Acropolis. In Part IV, the various social, business, religious, and civic uses of the different spaces at Trajan's Forum and Markets, and how these uses related to the physical layout of space are reviewed.
From the Paper "Acropolis is renowned as a fortified natural stronghold or citadel in ancient Greece. Greeks built their towns in plains near or around a rocky hill that could easily be fortified and defended. Nearly every Greek city had its acropolis, which provided a safe place of refuge for townspeople during times of turmoil or war. Rulers of the town often lived within the walls of this stronghold. In many cases the acropolis became the site of temples and public buildings and thus served as the town's religious center, focal point of its public life, and as a place of refuge."
Abstract This paper discusses the Guggenheim and Metropolitan Museums of Art, describing and contrasting the two museums in the context of bringing art, culture and architecture to the public. Modern thought regarding museum architecture is also discussed. It also discusses the history of art museums in the past century. It examines the level of interaction between the art admirer and the art itself in several museums and accordingly judges their success.
From the Paper "Art museums have been through multiple metamorphoses in the last 100-plus years, from ornate Victorian cathedrals stuffed with artifacts, to flexible modernist boxes and vast salvaged industrial buildings. A museum building is often thought of as monumental sculpture, and is itself potentially the most important work in an institution's collection. How paintings and sculpture actually fit into it is, typically somewhat controversial. Museum founders realize that the public can best appreciate and become engaged in art when the level of interaction and personal participation is high. Mimi Gaudieri, the executive director of the Association of Art Museum Directors, and other enthusiasts among professionals in the field insist that there's no conflict between a museum's mission and high-profile architecture. "On the contrary, an exciting building lends itself to art," Gaudieri says. "It's part of the growth of the whole museum field. Years ago we were just sleepy institutions with no profile, and all of a sudden things have changed. Museums have woken up. We are much more aware of the community and are working more closely with it." Current museums incorporate inviting lobbies, lecture halls, libraries, cafes and shops, recognizing that while they display art, they also must draw the interest of the public (and potential donors) with a holistic appeal (Lloyd 2001)."
Abstract By creatively setting this paper out in letter form written to Michelangelo by an admiring potential customer commissioning him to build a house, the author of the paper examines the great artist's work and rich and successful career in post-Renaissance Italy.
From the Paper "Your architectural style is unique in its own way. You have developed a style for others to follow. Each one of your works marks the inventiveness and unique signature style. You are known as the innovator of the 16th century in the architectural arena. You dare to deter from the Renaissance style of work. And have invented a work direction that deviates from the classical design theory. You have become an inspiration for the post-Renaissance architects. You have marked the beginning of the Baroque and the fall of the Renaissance style of work. Your work is the foundation of a new era and new horizon of when a plan has diverse parts, all those parts a true artistic inspirational work. Then also you modestly say that ?I am not an architect.? "
From the Paper "In the course of the twentieth century architecture, like most aspects of culture, has been marked by increasing homogeneity across national lines. As Ricoeur points out, the universalizing of culture is in some ways an advance for humanity but it also constitutes "a sort of subtle destruction" in which local sources of stylistic innovation are gradually repressed as universal styles of architecture, art, food and just about every aspect of culture take over. There is a tension between local culture and this universalizing trend that cannot be resolved in favor of one side or the other. The tendency of styles and forms to spread quickly from one area to another will only increase and regional culture has become "something which [must] be self-consciously cultivated." Regional architects must, therefore, strive to combine the assimilation of international styles with..."
Compares 19th Cent. British & 1920s German art schools. Looks at the origins, critiques of society & modernization, leadership, love of beauty & utility.
1,350 words (approx. 5.4 pages), 5 sources, 1996, $ 47.95
From the Paper "The Arts and Crafts Movement, that began in nineteenth-century Britain, and the Bauhaus movement, that started in Germany in the 1920s, had many goals in common. Both movements were interested in uniting all the arts and crafts and giving them equal dignity. Both movements were also deeply concerned with the role of the artist as worker and with the nature of work in general. Most importantly, both movements believed in beautiful design and well-made work as an enhancement of life. The importance of industrialized production and its aesthetic effects was a central question for both movements, but this was also the main point on which they disagreed. Both movements held that the industrialized production of goods had transformed the world. But, while the original Arts and Crafts movement largely rejected the machine age and all its productions, the Bauhaus.."
From the Paper "Architecture that was distinctively Roman did not begin to emerge until the first century BC and only reached full development at the time of Augustus one century later. Because Rome was formed from interactions with many different Italian groups and because the Roman Empire took in so much area and so many different peoples, Roman culture was not homogeneous. Nearly every aspect of its culture was heavily influenced by other Italians (particularly the Etruscans), Greeks, and peoples of the Near East and Europe. Pollitt divides the long developmental period of Roman art and architecture into three phases. The first two were the Etruscan phase (seventh and sixth centuries BC) and the Italic phase (which corresponded with the beginning of the Republic and occupied the next two centuries). The third period was the Greek phase "dating to the third and.."
