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Barcelona Pavilion, 1997.
Examines German architect Mies van der Rohe's 1929 edifice. Looking at his views on the spatial concept, lighting, commission, site, construction and materials.
2,250 words (approx. 9.0 pages), 13 sources, $ 79.95
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From the Paper
"INTRODUCTION
Studies of Mies van der Rohe's Barcelona Pavilion concentrate on the architect's innovative spatial concept. The fluid, continuous space and the carefully considered reduction of the interior-exterior distinction made the Pavilion a landmark in architectural history. Less attention has been paid to the vital role that natural illumination plays in Mies' concept. Working with very little electrical light and with reflections from water and the varied materials of the walls and windows, Mies created a refuge from the blistering Spanish sun that is, paradoxically, lit primarily by sunlight.
COMMISSION, SITE, CONSTRUCTION, AND MATERIALS
The German Pavilion at the Barcelona International Exposition of 1929 was designed by Ludwig Mies van der Rohe. The.."
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The Uffizi, 1997.
Background, historical & cultural contexts & significance of 16th Cent. public building in Florence commissioned by Cosimo I & created by Giorgio Vasari.
2,250 words (approx. 9.0 pages), 5 sources, $ 79.95
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"The Uffizi, in Florence, was a culmination in the long tradition of public architecture in the Italian city-states. In communes, republics, or princely states, the citizens or rulers of these towns and cities had patronized the design and construction of public buildings and spaces that directly reflected the nature of the polity. With the violent end of the Florentine Republic and the return of the Medici family as hereditary rulers of an expanding state, a new variant was needed to describe the novel state of affairs. Cosimo I, the second Medici duke, and his son Francesco I, required public architecture that would simultaneously detach the Florentines from their republican past and legitimate the rule of the Medici. Cosimo's commission to Giorgio Vasari to build the Uffizi, in which various state functions would be centralized, and..."
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Roman Architecture, 1997.
Evolution of 1st and 2nd Century works. Looks at influences and styles, and presents examples (Praeneste complex, monuments & temples).
2,475 words (approx. 9.9 pages), 7 sources, $ 87.95
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"The great revolution in Roman architecture is generally dated from the time of Nero's Domus Aurea (64-69 AD). But the expanded repertory of architectural shapes and procedures that was the foundation of that revolution first began to come together in the time of the Republic. Increased wealth and important political changes created a growing demand for architectural projects of all sorts. Simultaneously, the expansion of Roman power brought more Greek influences directly to Rome. Then, when the development of the potential of concrete construction made Roman innovations in vaulting and domes possible, architecture sped forward. The decades prior to Sulla's brief reign as dictator were particularly productive ones for architecture. But the subsequent periods of civil war and the emergence of an old-fashioned official taste under the..."
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Temple at Didyma, 1997.
Examines ancient Greek sanctuary of Apollo as representative of culture's architecture, art, society, gods and history.
2,250 words (approx. 9.0 pages), 8 sources, $ 79.95
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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.."
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Leptis Magna, 1997.
Architectural history of ancient ruined city of Roman North Africa.
2,250 words (approx. 9.0 pages), 8 sources, $ 79.95
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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.."
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Gianlorenzo Bernini, 1997.
Life & career of 17th Cent. Italian sculptor/architect. Training, style, major works, influences and religious themes.
1,350 words (approx. 5.4 pages), 7 sources, $ 47.95
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" 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.."
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Architecture of Weimar Era, 1997.
Major modernist architects, works, styles, aesthetics of 1920s in Germany.
1,350 words (approx. 5.4 pages), 6 sources, $ 47.95
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"The Weimar era provided a vital opportunity for the development of modernist architecture. The short-lived Weimar Republic (1919-1933) was Germany's first attempt at democratic governance. Prior to the First World War German architects had been leaders in the development of both the expressionist and the rationalist trends in architectural modernism. The end of the war produced an outpouring of pent-up talent as older architects, such as Bruno Taut and Ernst May, and younger men, such as Walter Gropius and Ludwig Mies van der Rohe, created a new, rationalist architecture that was to have a lasting impact on this century. Among the expressionist architects, however, only Eric Mendelsohn met with significant success and his designs stressed a union of functionalism and expression. When the Nazis finally drove out most modernist architects in the early 1930s, these men took.."
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Parthenons In Athens & Rome, 1997.
Compares ancient monuments' histories, cultural, architectural & political significance, styles, space and features.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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" The Parthenon in Athens and the Pantheon in Rome are two of the greatest surviving monuments of ancient civilizations. Though they came from very different cultures, the two buildings have a great deal in common. Both monuments were symbols of the political goals of the rulers who built them. Each building is also considered the ultimate achievement of a period in architectural history. But, the two monuments also demonstrate differences between Greek and Roman ideas about architecture and the state.
The two monuments have similar recent histories. Both are so well preserved because they were adapted by later cultures. The Parthenon was the only temple ever to be used by four different religions (ancient Greek, Catholic, Greek Orthodox, and Islam). The survival of the Pantheon was due to its use by the.."
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Van Der Leuw House In LA, 1997.
Design, construction (1933), materials, destruction & rebuilding (1963), interior & exterior, location of house built by Richard & Dion Neutra.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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" 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.."
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Gamble House In Pasadena, Ca, 1997.
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, $ 55.95
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"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.."
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Leon Battista Alberti & Victor Marie Hugo, 1997.
Compares critical & aesthetic philosophies of architecture of 15th Cent. Renaissance Italian architect & 19th Cent. Romantic French novelist.
1,800 words (approx. 7.2 pages), 4 sources, $ 63.95
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" Though both Leon Battista Alberti (1404-1472) and Victor Marie Hugo (1802-1885) looked to the past for examples for contemporary architecture, they approached the problem in a completely different spirit. Where Alberti, the Renaissance architect and theorist, wished to impose greater rationality on architecture, and on the disorder of the Medieval city, Hugo, the Romantic novelist, saw a need to remain true to the organic, homogeneous nature of the city of the Middle Ages. The two men were similar in their perception of the Medieval city as an example of uncontrolled growth. But they placed an entirely different value on this fact. Anthony Blunt's remark about Renaissance classicism sums up this difference: "in architecture the revival of Roman forms was used to create a style which answered to the demands of human reason rather than to the more.."
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Urban Planning Policies, 1997.
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, $ 31.95
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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 ..."
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