| Papers [193-204] of 580 :: [Page 17 of 49] | | Go to page : <— 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 —> | |
|
|
The Guggenheim and Metropolitan Museums of Art, 2002.
A discussion of the Guggenheim and the Met and their success in stimulating and educating museum visitors.
1,395 words (approx. 5.6 pages), 4 sources, MLA, $ 46.95
»
Click here to show/hide summary
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)."
| |
|
Architecture: Modernism, Pre-Modernism and Post-Modernism, 2002.
A discussion of the different movements - pre-modernism, modernism and post-modernism - in architectural history and how each one differs from the other.
2,550 words (approx. 10.2 pages), 10 sources, MLA, $ 77.95
»
Click here to show/hide summary
Abstract
A paper which discusses the different movements in architectural history and compares the differences between them. The paper shows how among these movements, modernism is the most popular and how it has influenced art and architecture in the United States and Europe. It shows, on the other hand, that pre-modernism is a less popular era in which architecture was influenced by the industrial age and its need for order and precision, and that Post-modernism was the movement that followed modernism and contains elements of both classicism and modernism.
From the Paper
"During the modernism movement, architects started using steel and iron more in their designs and they also started focusing on functional designs. Apart from the use of steel and iron, concrete was also brought back to the architectural world. It is important to know here that concrete is one thing that sets late 19th century buildings from pre-modernism architectural designs. While concrete was first used by the Romans in 5 B.C., it was later taken over by other materials such as marble, stone, brick etc. Modernists are responsible for the revival of concrete in architecture."
| |
|
Uses of Public Space at the Athenian Acropolis and Trajan?s Forum, 2002.
An historical look at use of space in two famous arenas: The Athenian Acropolis and Trajan?s Forum.
2,150 words (approx. 8.6 pages), 29 sources, MLA, $ 67.95
»
Click here to show/hide summary
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."
| |
|
"Art and Architecture from Renaissance Milan", 2001.
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, $ 51.95
»
Click here to show/hide summary
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. "
| |
|
Frank Lloyd Wright: Ceramics, Lighting and Design, 2001.
An analysis of this great architect's work and designs.
3,200 words (approx. 12.8 pages), 10 sources, MLA, $ 92.95
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
The Architecture of Consumption, 2001.
An analysis of the consumer and psychological effects of the design in a mall.
1,445 words (approx. 5.8 pages), 0 sources, $ 47.95
»
Click here to show/hide summary
Abstract
This paper looks at the importance of mall architecture vis-a-vis the anchor stores, the effect that these anchor stores have on other stores and several of the ways in which the physical design of malls tends to manipulate the behavior of shoppers in those malls.
From the Paper
"Most of us have probably never thought a great deal about the ways in which the typical shopping mall, such as the Galleria, is laid out. We all know that there are anchor stores that are at the psychological (although not geometric) ?corners? of the mall, and that in between these anchors are smaller, more specialized stores, most of them selling clothes, make-up and jewelry, with the second most important category of merchandise being items that are sold for the purpose of entertainment, including books and CDs and other forms of recorded music. The third most important single category of stores/merchandise at a typical mall (and the Galleria is in no important way substantially atypical in terms of the ways in which architecture is designed to lead to an increased degree of both the desire to consume and the actual process of consumption itself) is that of the restaurant. "
| |
|
Effects of Town Planning, 2005.
This paper discusses the effects of town planning in Britain in particular, and looks at the difficulties in measuring such effects.
1,727 words (approx. 6.9 pages), 7 sources, MLA, $ 55.95
»
Click here to show/hide summary
Abstract
In this article, the writer outlines the effects and impact of town planning on wider concerns. This is achieved by briefly highlighting the basic tenets of town planning and the manner in which differing models understand the issue. This is followed by an assessment of the factors that make the impact of town planning difficult to measure. However, the final section of the piece offers various methods for accurately understanding the impact of town planning by using a wider theoretical foundation for analysis.
From the Paper
"Outside the CBD is what is called the inner city area. Traditionally in Britain, this is where the main industrial complexes were established. Due to the decline in manufacturing and heavy industry in the mid and latter 20th century the majority of these have disappeared, but much of the housing used the provide homes for the workers remains. Next are the suburbs, which are mainly the result of housing programmes from the inter war years, and were a consequence of increased transport and communication links with the CBD. At the extremities of the town are the rural urban fringes, again a consequence of higher quality transport availability to the centre of the town. Built largely in the post 1945 period, space and luxury are often deemed vital considerations in the development process."
| |
|
Shakespeare's Globe, 2007.
A look into one of history's most famous playhouses, Shakespeare's Globe, highlighting its history, design and its influence on modern day.
3,760 words (approx. 15.0 pages), 10 sources, MLA, $ 103.95
»
Click here to show/hide summary
Abstract
This paper analyzes the history, design and impact of one of the world's most famous playhouses, Shakespeare's Globe Theater. It shows how despite many unforeseen setbacks, the Globe quickly rose to become one of the most popular social venues for royalty and commoners alike in London. The paper specifically focuses on the influence that the Globe Theater has had on the modern day.
From the Paper
"On top of all of the stages and galleries is where a part of the Globe called the "superstructure" was located. The superstructure's primary purpose was to allow actors to descend onto stage and rise back up (Smith 146). The superstructure is where the heavens were located, and it consisted of two "huts" where actors would wait for their cues to drop through trap doors and down onto the stage thirty-two feet below (Smith 148). The lowering of actors onto stage was usually accompanied by a noisy distraction of some sort because the winching mechanisms were loud (Smith 149). The superstructure also contained a belfry which contained a bell. The bell was used in certain plays, such as at the beginning of Shakespeare's play Hamlet, in order to give a more dramatic opening to the play (Smith 157). On top of the belfry was the playhouse flag. This flag was used to let citizens know when a play was to be performed, and was situated on a flagpole atop of the bell tower (Smith 159)."
| |
|
Pharaoh Ramses II, 2008.
This paper describes the extraordinary reign of Pharaoh Ramses II of Egypt (c.1279-1212 BC), also known as Ramses the Great.
2,040 words (approx. 8.2 pages), 10 sources, MLA, $ 64.95
»
Click here to show/hide summary
Abstract
This paper explains that Pharaoh Ramses II was a powerful ruler, a successful diplomat, a masterful publicist and prolific builder. The author points out that Ramses II, whose throne name was "Usi-ma-re Setepenre" ("Strong in right is Re, Chosen of Re"), was the third Egyptian pharaoh of the nineteenth dynasty. The paper includes a section of "Epic Poem of Pentaur" in which Ramses II describes the battle as a personal triumph under insurmountable odds against the Hittites. The author describes Ramesseum, a mortuary temple in Thebes, built by Ramses II as a memorial to praise forever his military and diplomatic achievements, and Pi-Ramses, modern Qantir, the great capital city. The paper relates that one of the major discoveries in Pi-Ramses occurred in the early twenty-first century when archaeologists unearthed a glass making workshop.
From the Paper
"Ramses II set out to recapture Kadesh, a strategically located city in Syria. Ramses II took his troops into the area of Kadesh. While traveling toward the city, he and his first two military divisions became separated from the remaining two divisions that lingered behind him. Two men who had met up with the Egyptian army provided intentionally false information to the Egyptians as to the location of the Hittite army. Believing that the Hittite troops were farther off than their actual location (while waiting for his remaining divisions to arrive) he moved his troops near the city and began to set up camp."
| |
|
Virtual Reality Technologies, 2008.
An analysis of some of the uses for and benefits of virtual reality technologies.
2,537 words (approx. 10.1 pages), 8 sources, MLA, $ 76.95
»
Click here to show/hide summary
Abstract
This paper discusses the benefits of virtual reality technologies. It describes how virtual reality can be used to design buildings, cities and elaborate interactive entertainments. It looks at how virtual reality technologies offer the architect greater freedom, both physically and mentally and discusses how the introduction of a new technology into society is strongly tied to the cultural context in which it is introduced.
From the Paper
"Virtual reality is also used to design buildings, cities, and elaborate interactive entertainments. The architect and client go inside the model and make changes they desire. Virtual reality is the most physical computer interface, because it puts your body inside the simulation. Virtual reality provides architects another tool; with it we can directly create experiences for each other to share in imagination, something that could lead to extraordinary outcomes. Jaron Lanier uses the terms "post-symbolic communication" and "reality conversation" to talk about this new potential for communication by building a world together instead of just sharing talk about building the world (picture 6). With virtual reality, architects can directly create experiences for and share experiences with each other. Design is now a more active process for the architect, one that allows freedom from physical and greater reliance on active, intuitive engagement with the designs themselves. Changes do not have to wait for a new model partition or addition. Colors, shapes, details and other design aspects are immediate, providing immediacy and active engagement where before the process was drawn out, costly and far from active or immediate, "Rather than wade through a complex series of menu options or wait for glue to dry, architects can simply reach out and manipulate the virtual world" (Architectural 1)."
| |
|
National Socialist Art and Architecture, 2007.
A look at how the National Socialists in Nazi Germany used art and architecture for political purposes.
2,382 words (approx. 9.5 pages), 10 sources, MLA, $ 73.95
»
Click here to show/hide summary
Abstract
This paper examines how, forming part of the propaganda machine, art and architecture were used largely for the glorification of the Nazi regime and the Aryan race and for the denunciation of Judaism, Bolshevism and what the Nazis thought of as "degeneracy." The paper looks at how, by enforcing changes in the art world and through the use of "new German" architecture, the Nazis sought to cleanse the fatherland of "degenerate art", which was seen as detrimental to the Volk, and to ensure the National Socialist movement's immortality through buildings that would survive to inspire future generations of the thousand year Reich.
From the Paper
"Art held a place of high value in National Socialist ideology. Hitler who was an artist turned politician inspite of himself had said "art is the only truly enduring investment of human labour." Hitler linked artistic styles with race, claiming that the Weimar period's "degenerate art" was a result of "racial decline." The Fuhrer also linked art with politics saying "art has at all times been the expression of an ideological and religious experience and at the same time the expression of political will." According to Nazi ideology, only Aryans were the true bearers of culture, therefore only they could produce true art. The modern styles such as Cubism, Dadaism and Expressionism, which had flourished during the Weimar period were a result of "cultural Bolshevism" and influenced by the Jews. "
|
|
|
