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.."
Examines the unintended consequences of urban planning policies and modern architecture. Argues that communities and community spirit is destroyed because no publice gathering spaces are created.
900 words (approx. 3.6 pages), 3 sources, 1997, $ 31.95
From the Paper "Urban planning policies and architectural fashions have contributed to the loss of a sense of place and community in American cities. These policies did not intend that this be the result, and architects also were not trying to shift from the sense of place to a more isolated view of human beings. These results show, however, that planning can be directed too much at efficiency and not enough at either aesthetics or social meaning. The way people live is much affected by the environment in which they live. Left to their own devices, they will also shape that environment around their mode of life. Planners, however, shape cities around their current ideas of efficiency, often serving governmental rather than human needs, and constrained by economics, the interplay of special interests, and many other forces at work in the planning and ..."
Design by Charles Sumner Greene & Henry Mather Greene, construction in 1908, Arts & Crafts features, natural setting, space, balance, lighting and views.
1,575 words (approx. 6.3 pages), 4 sources, 1997, $ 55.95
From the Paper "The Gamble House in Pasadena was designed by the architects Charles Sumner Greene and Henry Mather Greene, and was built in 1908. The large house, which has been described as "the apotheosis of the American Arts and Crafts Movement," combines a number of stylistic influences to produce a truly indigenous vernacular architecture (Steele 38). The house also puts into practice many of the theoretical concepts of early twentieth-century architecture: the integration of interior and exterior space; design for the client's particular requirements; use of natural light; open-plan organization of flowing interior space; and, an organic relationship between house and site. As the crowning achievement of Greene and Greene's very personal style, Gamble House also displays their devotion to craftsmanship as practice and principle. Charles Greene, in particular, held to.."
From the Paper " The VDL Research House, located at 2300 E. Silver Lake in Los Angeles, was built twice. The first version was designed by Richard Neutra and completed in 1933 as a home for his family. After a fire destroyed all of the main building in 1963, Neutra and his son, architect Dion Neutra, rebuilt the house in a somewhat altered form. The current version of the house continued many basic design elements from the first, but was larger and expanded on many of the ideas inherent in the first design.
The house was first designed by Neutra when a Dutch industrialist, C. H. Van Der Leeuw (hence, VDL) visited Los Angeles "especially to see Neutra's work" (Sack 40). According to Neutra, Van Der Leeuw was shocked, after a tour of some of Neutra's projects, to find that Neutra did not have a home of his.."
From the Paper " Gianlorenzo Bernini (1598-1680) did more than any individual to create the appearance of Rome as it exists today. As the leading sculptor and architect of the Baroque era, Bernini's talents and tastes meshed perfectly with the Church's demand for an increased magnificence and intensity in religious art. The Catholic Counter-Reformation called for an image of the Church as a triumphant force, undiminished by the heretical efforts of the Protestant reformers. Throughout the city of Rome, the power of Bernini's papal patrons was reflected in the sumptuous fountains, tombs, and religious sculpture he supplied. At St. Peter's, the very heart of Catholicism, Bernini transformed the church (both inside and out) with designs whose magnificent theatricality was matched by a fervent intensity. Three major examples of Bernini's work demonstrate the nature of his enormous.."
From the Paper "Roman North Africa is one of the richest sources of architectural remains from the empire. This good fortune is largely because of to the climate, the subsequent political history of the region, and the fact that some centers, such as Leptis (or Lepcis) Magna and Sabratha, were abandoned fairly early and were soon covered over with sand. The architectural ruins of Leptis Magna reflect the once-flourishing city's history under Roman domination and fall into two general periods--those of Augustan Rome and of Septimius Severus. The contrasts between the remains of the older part of the city and the unusual monumental quarter built by Septimius tell the viewer a great deal about the history of imperial architecture in the provinces.
The city of Leptis Magna was, with Sabratha and Oea (now.."
From the Paper "The sanctuary of Apollo at Didyma provides an excellent example of an ancient sacred spot on which successive centers of worship were built and rebuilt for centuries. The sanctuary is located approximately ten miles south of the town of Miletus on the Milesian promontory that juts out of the Aegean coast of what is now Turkey. The Didyma site was probably considered sacred prior to the Greeks' first building there (around 700 BC) and even today the local mosque, formerly a Greek Orthodox church, is located near the sanctuary site (Tomlinson 132). The most significant architectural undertakings at the spot were the Archaic Greek temple of Apollo built around 540-520 BC, but destroyed by the Persians in 494, and the Hellenistic temple of Apollo begun in the third century BC but remaining incomplete when work was finally abandoned over three centuries later in the.."
From the Paper "The Parthenon, built atop the Acropolis, was ancient Athens' greatest temple. It was dedicated to the worship of Athena Parthenos (the virgin), and the rich program of sculptural decoration was devoted to the glory of her city and her legend. The principal decorative aspects of the Parthenon are the following: the east and west pediments; the metopes, which are divided panels set below the roofline and pediments on all sides of the building; the frieze, which runs, uninterrupted, around the outside top of the cella, behind the peristyle; and the enormous statue of Athena Parthenos that was housed inside the cella. The statue disappeared long ago, and, since 1687, the Parthenon itself has been a ruin, with many of the surviving sculptural fragments dispersed around the world. But archaeologists and scholars have tried to reconstruct the.."
From the Paper " The Ecole Militaire in Paris was designed by architect Jacques-Ange Gabriel for Louis XV, and the structure was inspired by secular principles and built on a monumental scale. This was in 1750, and the structure incorporated the latest trends in hygiene by providing single rooms instead of dormitories for its aristocratic pupils in order to avoid the spread of infection, such as had happened in other schools before this time. The Ecole Militaire was built in part in order to top the design of the nearby L'h"tel national des Invalides, built by Louis XIV as a military hospital with the latest advances and with a massive design encompassing several buildings in one. The Ecole Militaire and the L'h"tel national des Invalides face one another across what was once an expanse of open land, but urbanization has affected and surrounded both, as have modern roads and a.."
Examines medieval styles as expressed in churches, such as the theological aspects, materials, structures, impact on pilgrims, light, form and technology.
2,250 words (approx. 9 pages), 6 sources, 1999, $ 79.95
From the Paper "Romanesque and Gothic, the great architectural styles of the Middle Ages, evolved in the context of church architecture. Out of the desire to create grander and more beautiful structures that spoke of the glory of God, the resources and skills of the age were heavily devoted to the design and building of these churches. The Romanesque style drew on many sources and reflected enormous advances in building technique. Stone vaulted ceilings, narrower piers, increased width of the naves, and new arrangements of interior space characterized the Romanesque effort. When these technological strands had come together the Gothic manner improved on them. Earlier advances in vaulting were used by the Gothic architects to create thinner piers and lighter walls that could be fitted with numerous windows, thereby producing a wholly new type of interior. Each style had its own..."
From the Paper "Every 20 years, for 1200 years, the fences and main buildings of the Ise Shrine have been completely rebuilt. The shrine, which is the center of Shinto worship in Japan, is of major importance in Japanese history. It represents the continuity and renewal of Shinto, of the authority of the imperial house, and of the traditions underlying Japanese architecture. In a tradition where wood, rather than stone, was always the principal building material, such a form of renewal is the only way that the shrine compound could have survived into the twentieth century. But the renewal means many things and the Ise shrine can only be understood when it is seen as the center of a complex interaction among power, religion, and aesthetics. It can only be fully appreciated, however, as an instance of a perfect blend of materials, forms, and site created as a tribute ..."
Abstract "Greek architecture has long been identified with the creation of the three classic architectural orders, the Doric, Ionic, and Corinthian, though actually the Corinthian is a variation of the Ionic.
From the Paper "Greek architecture has long been identified with the creation of the three classic architectural orders, the Doric, Ionic, and Corinthian, though actually the Corinthian is a variation of the Ionic. Greek temples were not directly linked to the orders but show basic features that are much alike. order and cleanness of lines marks Greek temples and other monumental Greek architecture. Roman architecture reflects a way of public and private life, borrowing elements from the Greeks and the Etruscans. The Pantheon is a large, round temple in Rome which shows the ability of the Romans to create vast interior spaces, perhaps for the first time in the history of architecture. Many Roman works are a mixture of styles, such as the Hagia Sophia, a monumental piece of architecture that links us with the era of Justinian's reign in Constantinople and is an interesting example of a ..."
Abstract The Eleventh Century was the end of one millennium and the beginning of a new one. In many ways, it was a period in which humanity emerged from the Dark Ages that had prevailed throughout Europe through much of the first millennium A.D. even as the Roman Empire changed to the Byzantine empire and others.
From the Paper "The Eleventh Century was the end of one millennium and the beginning of a new one. In many ways, it was a period in which humanity emerged from the Dark Ages that had prevailed throughout Europe through much of the first millennium A.D. even as the Roman Empire changed to the Byzantine empire and others. We call this the Dark Ages today because its history is somewhat obscure and because much of classical learning was temporarily lost. In the Eleventh Century, certain changes came about showing a new relationship between government and governed after the Battle of Hastings and the creation of the Magna Carta in England. In other parts of the world, other civilizations were either winding down are beginning to flower, depending on history and circumstances. It is these other parts of the world where much of my own interest lies, given that we are only beginning to under ..."
Abstract This paper shows how architecture had a profound effect on the development of the Industrial Revolution. This paper explores these effects and displays the ways in wish architecture influenced the industrial age. Ancient civilizations such as Egypt and Rome are analyzed as well as architecture from more "recent" 16th century Rome.
From the Paper "The impact of architecture on the industrial revolution is as old as time. For the purpose of this discussion we will begin with the architecture of the ancient world. In pre-industrial times those who constructed building also lived in them and they were forced to use whatever material was available and they also had to make their own tools. The idea of using cement to build structures dates back to the Roman Empire but waterproof cement was not created until the 1800's during the industrial revolution, this is just one impact that early architecture had on the industrial revolution. ("Architecture")"
