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Form And Function in Architecture, 2004.
An essay using examples of modern technology to argue in favor of function following form in architecture.
678 words (approx. 2.7 pages), 1 source, MLA, $ 23.95
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Abstract
This paper is an essay using examples of modern technology to argue in favor of function following form, even though there can be cases when form and function are one.
From the Paper
"The debate about form and function is an ongoing one. Some argue that form follows function; others like architect Frank Lloyd Wright, believed that form and function are one. However, in contemporary society, there is ample evidence that function follows form, for without an understanding of form, we cannot derive function. Even so, there are some cases when form and function are one. Body In Leach's 'Rethinking Architecture' (Umberto Eco) provides an example of form and function via a story about an elevator."
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Functionality vs. Emotion in Architecture, 2001.
An examination of the use of ornaments from an artistic and sociological angle.
1,200 words (approx. 4.8 pages), 2 sources, MLA, $ 41.95
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Abstract
This paper presents a detailed look at a theoretical discussion about architectural ornaments. Using two published articles, the writer of this paper leads the reader on a journey of exploration about the use of ornaments and the underlying truth and meaning of such a practice.
From the Paper
"Throughout history buildings have evoked emotion in those who observe them. We see a building and we are touched somewhere at the base of our emotional bank to feel something attached to the use of structure and form when observing the architectural work. A building has several uses from an architectural standpoint. It can be viewed as a piece of functional equipment, which of course speaks to the materials and ornamental use or no use within that design. It can also be viewed, as a work of art and this can be a subjective opinion based on the artistic tastes of the observer and the use of materials and design in the building. Many things including one?s past and current life experiences touch the heart, ones reaction to those experiences and ones innate like and dislike of certain forms and functionality."
In an article by Adolf Loos called Ornament and Crime; Loos argues that the use of ornament can actually be traced to symbols of eroticism. Loos discusses the societal belief that a child doing something wrong it should be explored and explained because a child is not yet capable of criminal intent. However, if an adult commits an offensive act that person is a criminal. He explains in his article that the use of ornamental techniques in any form, including architecture actually points to someone using erotic symbols he alludes to the idea that it is a criminal act and the person is a criminal. If he is not a criminal according to the well-known theorist he is most certainly a degenerate. One of the underlying patterns throughout the argument is the fact that numerous uprising have occurred throughout history. Uprisings were most common it seems during times when the use of ornaments were much more prevalent than at the times there were few uprisings. It is another factor used by Loos to indicate the criminal mind of those who believe in and support the use of ornamental design in architecture. In addition to his belief that ornamental design should never be utilized in current and future works of architecture he believes to preserve and restore any historical use of ornaments is the same as preserving trash."
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Architectural Forms, 2002.
A comparison of various architectural forms.
650 words (approx. 2.6 pages), 5 sources, $ 26.95
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Abstract
This paper compares the manifestos on twentieth century architecture. Walter Gropius proposed an architectural form that was purely functional, and based on art and engineering. De Stijl's movement proposed abstraction and simplicity. Kasimir Malevich believed in minimal art in the form based on his ideas. Theo van Doesburg proposed elemental and functional architectural form. Antonio Sant'Elia's architectural form was the only negative and revolutionary one.
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Gothic Architecture and Renaissance Architecture, 2005.
A comparative analysis of Gothic and Renaissance architecture.
675 words (approx. 2.7 pages), 3 sources, $ 26.95
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Abstract
This paper compares Gothic architecture and Renaissance architecture, showing the change that came over architecture with the shift from the more massive and decorated style of the Gothic to the cleaner classical lines of the Renaissance, a period which also borrowed from the Moslem style to make new use of the dome, as in religious buildings by Brunelleschi.
From the Paper
"Gothic architecture developed from the Romanesque style and emerged in the twelfth century. It prevailed until the Renaissance beginning in the fifteenth century. Gothic architecture was marked by size and elaborate decorations. However, Gothic architecture was first defined in terms of a change in Romanesque church architecture diagonal ribs were added to the groin-vault, as was first seen at the Abbey Church of St. Denis near Paris (Frankl 1). In part because of its origins, Gothic architecture has long been associated with France and is considered a French style, though in fact, others used it as well. Gothic architecture is probably represented for many people by Notre-Dame de Paris, a facade known from countless stories and other representations as well as for itself. "
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Functionalism and Neo-Functionalism, 2005.
This paper compares the ideas of functionalism and neo-functionalist schools in international relations.
920 words (approx. 3.7 pages), 6 sources, $ 31.95
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Abstract
This paper defines functionalism and neo-functionalism in international relations. The author includes references to these ideas and the work of David Mitrany and Jean Monnet.
From the Paper
"The political theory known as functionalism refers to that policy of shifting responsibility for resolving problems from the nation-state to international bodies indirectly by ..."
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Timber in Tectonic Architecture, 2006.
An explanation of tectonic architecture and how this form of architecture can make use of timber.
2,245 words (approx. 9.0 pages), 7 sources, MLA, $ 69.95
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Abstract
This paper explains what tectonic architecture is, examines the trend towards this form of architecture, discusses its history, describes the different modes of tectonic architecture and looks at the role that timber can have in tectonic architecture. The paper further explains why a return to tectonic architecture is an environmentally sound move and why timber is an appropriate material to use in tectonic construction.
From the Paper
"There is a growing movement towards tectonics in architecture, a return to the basic form and styles of the old schools of architecture. This movement has occurred as a result of the current tendency to reduce architecture to scenography. Architecture at the end of the 20th century has mostly been treated as a large commodity, with attention to cultural details minimized. Kenneth Frampton says that "among the seductions of the scenographic is the fact that the results are eminently amortizable, with all the deleterious consequences that this attitude entails for the future of the environment." Architecture of this century has been subject to the concept of spatial invention as an end in itself, with abstract art and visual obscurity the high points. The movement back to using the structural unit as the essence of architectural form is gaining strength."
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Egyptian and Greek Architecture.
This paper compares the temple architecture of Egyptians with the Greeks and explores the differences in structure, art, symbolism, and function.
1,235 words (approx. 4.9 pages), 4 sources, APA, $ 42.95
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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.""
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Egyptian and Greek Architecture, 2004.
A comparison of the similarities and differences between Egyptian and Greek architecture.
1,240 words (approx. 5.0 pages), 3 sources, MLA, $ 42.95
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Abstract
This paper compares the temple architecture of Egyptians with that of the Greeks and explores the differences in structure, art and symbolism, and function. It discusses how architecture is more than the design of buildings and how it is the expression of ideas through the creation of structures.
Outline
Abstract and Introduction
Architectural Structure
Temple Function and Purpose
Architectural Art and Symbolism
Bibliography
From the Paper
"Egyptian temple architecture is much larger than that of the Greeks. One reason for this is because the geographical location was abundant with resources and building materials such as limestone cliffs. Another reason is that the Egyptians maintained a highly organized society capable of carrying out such large constructions. The earliest Egyptian pyramid was built for the pharaoh Zoser in Giza around 2700-2600 BC. These pyramids measured 756 feet on the side and 481 feet tall. Egyptian pyramids almost always took the shape of a triangle. The Egyptians worshiped the sun as their main god and it was represented by the Egyptian hieroglyph as a triangle. "
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Weaving and Architecture, 2002.
A look at the relationship between the art forms of weaving and architecture.
1,650 words (approx. 6.6 pages), 7 sources, $ 62.95
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Abstract
This paper examines the relationship between weaving and architecture. It takes a close look at the structural, symbolic, and cultural connections between the two art forms. It concludes that both forms are indeed woven together within the structure of our communities and our history.
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"A History of Architecture" by Spiro Kostof, 2000.
A review of the work on architecture as a reflection and shaper of society through history with a focus on religion in Ancient Greece and Muslim culture.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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Abstract
"Apart from possessing a functional and ornamental value, architecture also tells the story about the character and the culture of the society, thus reflecting the spirit of the people and the age. Even though historians tend to consider only public monuments and majestic buildings as "architecture," the architecture that is most representative of the society consists of ordinary and drab buildings (Kostof 15). Although they cannot be considered esthetically pleasing to the eye, their value rests in their reflection of the reality of the ordinary people. As Spiro Kostof points out in his book, A History of Architecture: Settings and Rituals, the images of the history of the South are incomplete without including the "slave cabins, out houses, herb gardens, and water vats" (15
From the Paper
"Apart from possessing a functional and ornamental value, architecture also tells the story about the character and the culture of the society, thus reflecting the spirit of the people and the age. Even though historians tend to consider only public monuments and majestic buildings as "architecture," the architecture that is most representative of the society consists of ordinary and drab buildings (Kostof 15). Although they cannot be considered esthetically pleasing to the eye, their value rests in their reflection of the reality of the ordinary people. As Spiro Kostof points out in his book, A History of Architecture: Settings and Rituals, the images of the history of the South are incomplete without including the "slave cabins, out houses, herb gardens, and water vats" (15). Although these structures can hardly be considered beautiful, they constitute..."
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A Short History of Architecture, 2007.
This paper traces the history of Western architecture from the Renaissance era to Frank Lloyd Wright.
1,409 words (approx. 5.6 pages), 8 sources, MLA, $ 46.95
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Abstract
In this paper the author presents a brief history of Western architecture, highlighting the major epochs in European architecture, and modern architecture in the US. The paper further discusses the function of architectural space, its use and its aesthetic. Various architectural techniques and their historical development are analyzed. The paper concludes with an an examination of modern architects, including Frank Lloyd Wright, whose designs are considered a culmination of the works that preceded him.
From the Paper
"It would seem logical to start our exploration of the history of architecture with one of the greatest artists of all time--Michelangelo Buonarroti (1475--1564), regarded by many as the "father of architecture in Europe and the greatest designer of the last 500 years" (Lowry, 167). Of all his architectural designs, the vestibule of the Laurentian Library, built to house the immense collections of the Medici family in Florence, Italy, stands out above all others. This vestibule gives the impression of a vertically compressed, shaft-like space which is dominated by a vast, flowing staircase that almost fills the interior, and unlike his contemporaries, Michelangelo ignored classical architectural ideals by placing his columns in pairs which are sunk into the walls; he breaks columns around corners and placed beneath them consoles not meant as support. In essence, Michelangelo "did away with classical architecture so prevalent in the High Renaissance and greatly influenced all architectural designs and forms that followed him" (Copplestone, 178)."
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How Architecture Impacts Society, 2002.
An examination of how architecture impacts both the individual and the local environment.
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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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.
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Islamic Architecture, 2008.
An analysis of the ways in which Islamic architecture has influenced the architectural styles of other religions.
2,936 words (approx. 11.7 pages), 12 sources, MLA, $ 86.95
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Abstract
This paper discusses the origins of the distinctly Islamic architectural style. The paper begins by discussing Islamic history and then goes on to discuss how Islamic architecture has set a standard for religious architecture that has influenced other religious groups and contributed to various architectural styles evident to this day. Additionally, the paper also discusses how Islamic architecture has more recently been influenced by the West, not for religious architecture, but for office buildings and residential units.
From the Paper
"In the Islamic tradition, the idea of the dome was developed with religious connotations. The first centralized Ottoman mosque was created at Diyarbakir in 1521 with four semi-domes and not mere vaults. The four corner areas are surmounted by four small cupolas, while the central dome is supported on four piers. This is the logical conclusion to the mosques of earlier times. The squareness of the mosque at human level represents earthliness, and the domes represent the heavens, much as the square and the circle do in Chinese architecture. The two-centered arch forms a spiritual limbo in the design. The interior is spacious and well-lit, another reference to the heavens (Goodwin 178)."
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Ornament and Architecture, 2001.
This paper discusses the fusion of ornament and architecture.
2,465 words (approx. 9.9 pages), 7 sources, $ 75.95
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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."
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Architecture and Sculpture, 2007.
A comparison of function and construction of Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral."
1,061 words (approx. 4.2 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper compares two famous works of art - one sculpture and one of architecture. It examines Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral." It compares their structure, materials, function, how they were constructed, the type of structure, their purpose and the length of time it took to construct them. The paper also compares them with regard to proportion and their similarities in characteristics of visual and design elements.
From the Paper
"As to function, they provoke the same sentiment: awe. The "David" looks down briefly upon the viewer and one's eyes wander to his hands or arm or slingshot and one marvels at the holiness of God. The same may be said of the cathedral. When one stands in the entrance and views the enormity of the vault, the lights and color of the stained glass windows, and how constructed (Spiro 335), one wants to remain in the atmosphere, All the parts work together to bring about a sensation of holiness and awe. The central nave is in the shape of a cross, with the top of the cross at the altar and the two arms stretched out on either side. The cathedral was assembled from millions of stones, which were then laid, or installed on the site where it was needed. The "David" material (a large piece of marble and a slingshot in his hand,) is simply a single piece of marble."
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