| Papers [419-437] of 580 :: [Page 23 of 31] | | Go to page : <— 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 —> | |
|
|
People and Landscape, 2002.
Questions the relationship between people and landscape.
2,400 words (approx. 9.6 pages), 5 sources, $ 89.95
»
Click here to show/hide summary
Abstract
It is on this second level that this essay will be addressing the question of the relationship between people and landscape. It will be argued that the landscape serves human societies, in a sense, as a mirror that reflects our own values, prejudices and beliefs. As will be seen, this view of the landscape carries significant risks for both humans and the ecosystem as it often obscures our perception of the realities of the environment of which we are a part.
| |
|
Greek Art and Architecture, 2002.
Discusses the changes which took place in funerary art and architecture of the ancient Greeks.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
»
Click here to show/hide summary
Abstract
In funerary art, the Greeks from the Geometric period in the 8th century through Hellenistic times seem to go from the heroic and noble to the sentimental and mawkish. Is funerary art a clue to the emotional development of a people?
| |
|
Frank Stella, 2002.
Defines what makes Frank Stella such a great contemporary artist and architect.
1,150 words (approx. 4.6 pages), 5 sources, $ 44.95
»
Click here to show/hide summary
Abstract
Frank Stella was born in 1936 in Malden, Massachusetts. Since the 1980s, Stella has completed a number of large-scale works for public spaces, confirming Stella's abiding interest in architecture. Change, profound change, has been one of the hallmarks of Stella's work. Stella then began etching and painting brightly patterned metal reliefs. Stella also names his works very carefully. Frank Stella's art is now and will always be a masterpiece.
| |
|
Meditation in Architecture, 2002.
Examines the need for architectural designs to include areas of meditation in their plans.
650 words (approx. 2.6 pages), 7 sources, $ 26.95
»
Click here to show/hide summary
Abstract
If meditation is interpreted as contemplation and the seeking of emotional quietude, the study of architecture should feature some attention to spaces that can be hoped to promote meditation, as meditation is sometimes part of the architect's own creative process. In the post-World War II era, the profession has been increasingly called upon to contribute to planning in buildings which comply with often highly conceptualized designs towards thematic transformations of whole areas.
| |
|
Two Roman Temples, 2002.
This paper compares two Roman temples - the Pantheon and Old St. Peter's.
2,150 words (approx. 8.6 pages), 7 sources, $ 80.95
»
Click here to show/hide summary
Abstract
As will be seen, while the two buildings were projects of Roman emperors designed to serve a spiritual purpose as well as to reflect the values of their respective communities, the buildings are radically different in design and function. It will be argued that these differences are due to both the different architectural periods in which these buildings were constructed, as well as the differences in the functions that they were intended to serve.
| |
|
The Cathedral of Notre Dame, 2002.
Provides a visual, spatial and social interpretation and analysis of the Cathedral of Notre Dame.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
»
Click here to show/hide summary
Abstract
Art has always had a social aspect that is a representation of the inner functions of the culture from which art is created. Formal theories on the social nature of art, however, were not formed until the 16th century when the waxing and waning of artistic movements was seen to be affected by changing tastes in art patrons. In the 17th and 18th centuries, many different and diverse social theories emerged to draw connections between art and society - which created which? French socialist, Pierre-Joseph Proudhon, said that 'art for art's sake' was an impossibility and that art sprung, regardless of the artist's inspiration or motivation from the archetypal (a more modern term) forces that governed the society, often invisibly. Art stands, in many ways, as a social criticism as well as an honoring of the society. Art is a commentary, on some level, about the artist's perception of the world. That perception is shaped by the undercurrents of political, religious and social life of the particular time. Identity, in particular, in art is marked by a defined or hidden connection to the audience with recognizable symbolic language. In the case of architecture, we have the ultimate visual special creation which creates its own distinct sense of identity. The Cathedral of Notre Dame stands as one of the most significant structures embodying both visual and spatial constructs to modify the viewer's and visitor's perception of the self.
| |
|
"The Oresteia" and The Parthenon, 2001.
Examines Greek views and ideals through the play "The Oresteia" and the friezes from the Parthenon.
1,370 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
Using the art of the Parthenon and the play "The Oresteia", written by the Ancient Greek playwright Aeschylus, this paper determines a number of morals and ideals that the Ancient Greeks held in high esteem. In the first few paragraphs, the paper describes the various metopes in the Parthenon. It examines which gods and important Greek characters are depicted, what it is they are doing and how this represents a given Greek ideal. The paper then explores "The Oresteia" and uses important lines to either determine other Greek ideals or uses them to underscore the importance of an ideal already talked about in the segment on the Parthenon. Through comparing the Parthenon and "The Oresteia" the paper determines that the Greeks were a highly civilized people that believed highly in bravery, pride, civic duty, civility, order and justice.
From the Paper
"Greeks were the most civilized peoples in the fifth century BCE as well as the best fighters. This was, of course, according to their standards. Their success as warriors and the importance of the Apollonian way of life is inscribed on the walls of the Parthenon and within the pages of The Oresteia. The Parthenon?s gracefully sculpted friezes unite with ?schylus? trilogy and both are founded on pride and bravery. There is an obvious mindset, almost a moral code among the Athenians. They believed moderation and civility were the keys to success and it was up to them to impose this onto other races. An Athenian who didn?t abide by this code was a pariah of sorts, to say the least, and was portrayed as such through the Parthenon and The Oresteia."
| |
|
Richard Morris Hunt, 2002.
A biography of the life and work of the architect Richard Morris Hunt.
1,922 words (approx. 7.7 pages), 6 sources, APA, $ 61.95
»
Click here to show/hide summary
Abstract
This paper looks at the life of Richard Morris Hunt (1827-1895) who was born in Brattleboro, Vermont and is considered one of the most respected architects of his time. It discusses how he was awarded many professional honors and was one of the most highly acclaimed Americans of the nineteenth-century. It briefly examines Hunt?s education and career and evaluates his work in terms of his contributions to architecture, to New York City and his influence on city architecture. It also looks at some key works he designed and created including his most monumental work, the base of the Statue of Liberty. Pictures of some his works are included.
From the Paper
"The industrial age, however, had produced new methods and materials that opened up novel possibilities. Engineers and industrialists, for example, had perceived the potentialities of cast iron, long before architects began to speculate on its creative applications to their craft. The structural use of iron actually dates form the latter part of the eighteen-century, although at first it was found in bridges, cotton mills, and other functional buildings, where it was usually combined with brick, stone, or timber, or else used as a substitute for one or more of them. With the use of cast iron and steel the nineteenth- century was eventually to see the spanning of broader widths, the enclosure of more cubic space, and projections toward greater heights than had previously been possible. It was in this context that Hunt began his career as an architect, for it was in Europe that he learned to appreciate and respect the history of art in architecture ? and it was this European architectural history that he wanted to reproduce in America."
| |
|
Jail and Prison Design, 2002.
Summarizes two articles on the construction and design of security prisons.
716 words (approx. 2.9 pages), 2 sources, MLA, $ 25.95
»
Click here to show/hide summary
Abstract
The major concerns of jail and prison design and construction are the security issues. Two articles on the subject are summarized and discussed in terms of construction costs as well as design concepts "Accommodating the Unsavory Side of Society, Contemporary Jails and Prisons" (Tom Adams, 1998) deals with the problem of developing secure prisons, away from the general population and yet still keeping the costs low. "Deciding on a New Jail Design" (A.R. Beck, 1999) refers to the fact that staff safety and prisoner rights are issues that are pushed to the background when jails are designed.
From the Paper
"Architect Tom Adams writes that challenges of both jail and prison design include the creation of a secure building, safe for staff and detainee or inmate, that is a place to work and rehabilitate rather than become worse off, and to do all of this within the tightest budget possible. Design needs are different for the jail and the prison. The jail is a starting point for those entering the Criminal Justice System and must therefore handle all levels of security. Prisons are the place where everyone is held at least one year. New inmates usually enter at a medium security risk; maximum security accommodations must be supplied for those who acted out in jail. The prison attempts to offer education, training, and work opportunities and counseling (p. 3)."
| |
|
The Parthenon, 2002.
An overview of the architectural details and history of this great Athenian building.
1,507 words (approx. 6.0 pages), 6 sources, MLA, $ 49.95
»
Click here to show/hide summary
Abstract
The Parthenon (447-32 BCE) was a crowning glory of Athenian civilization of the classical era and, what is more important, it was intended as such at the time. Thus, nearly 2,500 years later, it is possible to view the building as incorporating all of what the Athenians saw as beautiful, sacred and of civic importance in architecture. The paper shows that as its overwhelming position and the nature of its sculptural decoration make clear, it was the focal point of the religious-civic identity of the Athenian polis. The paper describes how the Parthenon housed the great statue of Athena Parthenos, was the main building in the complex of temples dedicated to the gods on the sacred rock of the Acropolis, depicted some version of the most important Athenian religious ceremony (the Panathenaic procession and festival) and loomed over the city as a reminder and a promise of Athenian greatness.
From the Paper
"But there was also a contradiction in being expected to achieve the perfection of the Doric order on a much larger scale, for which adjustments had to be made to the greater number of columns. As Boardman points out, however, the wider fa?ades lent the building a "reassuring breadth which is enhanced by the way its proportions then seem to match those" of the Acropolis on which it stands (112). But this breadth might have been oppressive in its effects if the architects had not devised a means of avoiding too great a visual equivalence between the rock and the temple. Their solution was a very subtle curvature of the stylobate, and the rest of the floor, which is also reflected in the entablature. This also affects the columns which "lean slightly in while the upperworks [that they support] lean slightly out" (Boardman 112). This gives the entire fa?ade a "pyramiding movement" to which all the external lines contribute; ever so subtly, therefore, the columns' inward inclination lends itself to a slight triangular effect that is enhanced by the surmounting pyramid of the pediment (Martin 292)."
| |
|
Construction Projects, 2002.
Compares the Golden Gate Bridge and the Eurotunnel to determine whether they were successful or unsuccessful construction projects.
3,668 words (approx. 14.7 pages), 15 sources, APA, $ 101.95
»
Click here to show/hide summary
Abstract
When considering the variables that influence the outcome of a major construction project, it is important to recognize that a project is nothing more or nothing less than a one-time job that has definite starting and ending points, clearly defined objectives, scope and a budget. In order to determine what distinguishes a successful major construction project from one which fails, two projects are compared in this paper. The first is the Golden Gate Bridge, completed in 1937, under conditions which would try the patience and test the competencies of its designers, builders, and sponsors. The second construction project is the Eurotunnel, also known as the Chunnel, the underwater tunnel linking England and France. Completed in the early 1990s, the Chunnel stands as an excellent example of a major construction project which was ultimately successful in the sense of structural integrity and to an extent, customer satisfaction, but a miserable failure in terms of scheduling and massive budgetary or cost overruns.
From the Paper
"In 1989, Andrew Phillips (1989) reported on major problems which were seriously disrupting the completion of the project. Initially, the engineers and managers faced technical obstacles that delayed start-up and construction of the project. Though these obstacles were overcome, soaring costs had added approximately $1.9 billion to the cost of the tunnel itself. To make matters worse, Phillips (1989) maintains that the estimated costs of a planned high-speed rail link between London and the Chunnel?s English terminal near Folkestone, more than doubled. In 1987, the company building the tunnel put the total cost of the project at $9.1 billion - this was raised to $10.2 billion in 1988, and in 1989, analysts predicted that the cost of the Chunnel would ultimately reach $11 billion."
| |
|
Henry Chapman Mercer, 2002.
An examination of the life and works of Henry Chapman Mercer, designer and architect of the late 19th and early 20th century.
2,031 words (approx. 8.1 pages), 5 sources, MLA, $ 64.95
»
Click here to show/hide summary
Abstract
This paper looks at the personal life and professional achievements of Mercer. It tells how he was founder of the Moravian Pottery and Tile Works (1912), where he was the chief designer for many years. This paper discusses his interests, how they ranged from architecture to archeology and how his work was influenced by various architectural schools, especially the Art and Crafts Movement.
From the Paper
"Mercer was heavily influenced by the Arts and Crafts movement and became an important proponent of its style and ideas in America. The pottery works flourished and Mercer's designs for decorative tiles became popular. They were featured in a number of public buildings but the most notable installations of his tiles are to be found in his castle-like home, Fonthill, in Doylestown in Bucks County, Pennsylvania. This home, Mercer's museum, and his tile works all reflect the eclectic 'medievalism' that characterized much of Arts and Crafts architecture in England and the United States. And, although he drew on many sources of inspiration, his tiles often display themes and stylistic features similar to those of the movement's designers. Mercer's accomplishments in design have never earned him wide fame, yet the work is very fine and an excellent example of how the influence of the Arts and Crafts movement flourished in America."
| |
|
The Notre Dame Cathedral, 2002.
An examination of the architecture of the Notre Dame Cathedral in Paris, France.
2,856 words (approx. 11.4 pages), 11 sources, MLA, $ 84.95
»
Click here to show/hide summary
Abstract
This paper looks at how the Notre Dame Cathedral includes a number of unique elements in Gothic architecture as well as being characteristic of Gothic cathedral architecture in other ways. It discusses how it contains massive sculptures and huge windows with designs suggesting different theological and iconographic references. It analyzes how these iconographic representations demonstrate shifts in the way human being related to the Church and to God at the time the cathedral was built.
Outline
Introduction
Gothic Art and Notre Dame
Windows
Portals
Conclusion
From the Paper
"One of the ornamental types found in Notre Dame is the rayonnant style, or the radiant style, which dominated the second half of the thirteenth century. Among the most prominent examples of this style are the two great rose windows in the north and south transept faHades of Notre Dame. The huge north rose window is the work of the master builder Jean de Chelles, and it is a masterpiece of architectural ingenuity. Nearly the entire mass of wall opens up into stained glass, and this is held in place by an intricate armature of stone tracery that practically has the tensile strength of steel. The Gothic passion for light is seen in a most daring and successful effort to subtract all superfluous material bulk just short of destabilizing the structure and to transform the hard substance into insubstantial, luminous color. This vast and complex structure of stone-set glass has maintained its structural integrity and equilibrium against the disintegrative forces of nature and time for seven hundred years, showing the genius of the builder."
| |
|
New York Yacht Club, 2002.
Examines the architecture of the New York Yacht Club (NYYC) and its special features.
1,059 words (approx. 4.2 pages), 3 sources, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
This paper discusses the New York Yacht Club (NYYC) as a prominent example of Beaux-Arts architecture in New York City. Located at 37 West 44th Street, the building, which opened in 1901, was designed by Whitney Warren and Charles D. Wetmore. It explains how the clubhouse is a historical landmark, and is best known for its Model Room and Library.
From the Paper
"Warren and Wetmore were typical of the leading architects of their time, most of whom established offices in New York after studying at the Ecole des Beaux-Arts in Paris. A They specialized in the design of buildings inspired by historic European and American colonial styles as well as contemporary French Beaux-Arts ideals, setting the stage for an academic revival that had a far-reaching influence on American design, particularly in the 1890s and first decades of the 20th century.@ (Philadelphia Online/Books/Chapter One)"
| |
|
Architecture Within a Societal Context, 2002.
Several buildings and city designs from various ages are evaluated within the context of their society and period.
1,324 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
Apart from possessing a functional and ornamental value, architecture also tells the story about the character and the culture of a society, thus reflecting the spirit of the people and the age. The paper shows that the architecture that is most representative of a society consists of ordinary and drab buildings. Although they cannot be considered esthetically pleasing to the eye, their value rests in their reflection of the reality of the ordinary people. The paper evaluates several buildings and cities such as Ancient Greek cities, the Great Mosque of Kairawan and the city of Chicago. It shows the important role architecture plays in every society, not only because it reflects the society of its time, but also because it has the power to influence the people.
From the Paper
"As a part of the City Beautiful Movement started to commemorate the 400th anniversary of Columbus? discovery of America, Chicago was transformed by Daniel Burnham who was appointed director of the project. The transformation included the creation of a lakefront park system, an inner harbor and a civic center. According to Burnham, the redevelopment of the city served an important purpose in creating uniformity and order against the chaotic development of a city affected by massive immigration of people with different cultures. Thus, to him, the orderly city would reinforce an American order over the diversity of cultures (Kostof 671). However, in this case, the City Beautiful Movement failed because it was more concerned with the aesthetic ideal than the lives of the people in the city. The City Beautiful Movement limited itself to changing public facilities, but did not seek to improve the housing needs of the poor. Therefore, it produced architecture that was divorced from the actual reality of the ordinary people it sought to represent."
| |
|
Art and The Young American Society, 2002.
Examines how the United States used art, sculpture and architecture to develop a new identity after the Revolution.
1,164 words (approx. 4.7 pages), 3 sources, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
The success of the American Revolution meant that the former colonists had to take on the difficult job of building a new kind of nation, with a new style of government, based on ideas about freedoms and rights that had never been tried before. The young country wanted to draw on what was best from its European heritage, but also to distinguish itself from Britain's culture which had been the principal cultural model. The paper shows that in the first century, the United States formally and informally used painting, architecture, and sculpture to carry important messages about the nature of American society and to develop styles that were distinctively American. Examples of two works from each of these branches of the arts demonstrate the variety of ways in which the country's art presented American ideals, promoted American self-confidence and developed an American character.
The works discussed are: Gilbert Stuart's painting "Vaughan Portrait" (1795); Thomas Jefferson's architectural design of the Virginia State Capitol Building (1785-99); the statue "Justice" (1824) by sculptor William Rush; Hiram Powers' bust of General Andrew Jackson (1835); Robert Mills' Treasury Building (1836-42) and Albert Bierstadt's painting "The Oregon Trail" (1869).
From the Paper
"Almost as soon as the Revolution ended painters and engravers began to meet an overwhelming demand for portraits of George Washington and other leaders. In addition to being a major symbol of independence, Washington was also painted as the embodiment of "American virtue, restraint, courage, and strength--in short, of American republicanism" (Baigell 27). Gilbert Stuart, an American who trained in England, produced some of the finest and most popular versions in such paintings as George Washington or the Vaughan Portrait (1795). Stuart showed a rather "patrician and remote" Washington, partly because he trained in the aristocratic portrait tradition in England (Baigell 36). But, as Baigell notes, Stuart was a Federalist who did not approve of the growing popularity of Thomas Jefferson and his more democratic ideals. The Vaughan Portrait also reflects, therefore, "the mood of the Federalist hierarchy, fearful of runaway populism . . . and anxious to fix a national image in the minds of Americans to counter endemic localism" (Baigell 36-37)."
| |
|
The Seven Wonders of the World, 2002.
This paper looks at what has become the accepted list of the "Seven Wonders of the World", highlighting each one for its outstanding characteristics.
1,074 words (approx. 4.3 pages), 5 sources, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
The original list of the Seven Wonders was compiled when the city of Egypt was the center of Western civilization. This paper describes how over time the list of Wonders became regularized, the finalists being the Great Pyramid of Giza, the Hanging Gardens of Babylon, the statue of Zeus at Olympia, the Temple of Artemis at Ephesos, the Mausoleum at Halicamassus, the Colossus of Rhodes and the Pharos at Alexandria. The writer looks in detail at each wonder.
From the Paper
"The first Wonder of the World is the Great Pyramid of Giza in Egypt. The Great Pyramid was built over a twenty year period. The site was first prepared, and then blocks of stone were transported and placed. An outer casing was then used to smooth the surface. Although it is not known how the blocks were put in place, several theories have been proposed. One theory involves the construction of a straight or spiral ramp that was raised as the construction proceeded. A second theory suggests that the blocks were placed using long levers with a short angled foot. The online Wikipedia Encyclopedia says, ?There is enough blocks in the pyramid to build a wall 10 foot tall, all the way
the country of France? (Seven 1). The Great Pyramid is one of the most important because it has withstood weather conditions and aging."
| |
|
Pyramids Of Giza, 2002.
Description of the form of the Egyptian pyramid.
2,250 words (approx. 9.0 pages), 7 sources, $ 79.95
»
Click here to show/hide summary
Abstract
Description of the form of the Egyptian pyramid. Symmetrical perfection. The tomb as the center of a complex of buildings. Purpose of pyramid as a monument to a dead king (Cheops). Construction of the pyramid; materials and equipment used. Stone architectural achievement. Labor of slaves. Cultural, social and religious significance.
From the Paper
THE PYRAMIDS OF GIZA
The pyramids of Egypt are, of course, the best-known and most famous. "They were the tombs of kings, and sometimes queens and other important persons. Most have the perfect symmetrical form of those at Gizeh." (No author 87) Many of the pyramids, or tombs, are over 5,000 years old. However, "the pyramid in its fully developed form was not an isolated structure, but part of a complex of buildings enclosed by a wall which was supposed to be the residence of the deceased king during his life after death." (Goedicke 40)
In looking at this complex, one can see that the center was the tomb itself, the pyramid which served as the monument to the dead king. Of course, pyramids were constructed during the lifetime of many of the Pharaohs (or kings) who planned very ..."
| |
|
Smart Windows, 2002.
A technical discussion of electrochromic windows.
3,150 words (approx. 12.6 pages), 12 sources, $ 111.95
»
Click here to show/hide summary
Abstract
Technical discussion of electrochromic windows. Their solar-optical properties and commercial and residential applications in the U.S. Energy and glare control. Advantages of energy conservation, cost and performance over ordinary windows. Architectural and technical concerns. Manufacture. Suppliers and markets. Installation and maintenance. Technical details; how electrochromic windows work. Diagrams.
From the Paper
"Switchable Windows: The Product
Introduction: Fenestration
Department of Energy (DOE) energy performance simulations revealed that prototype electrochromic windows with solar.optical properties that are achievable today meet cost.effectiveness criteria marginally for commercial and residential applications throughout the U.S [1].
According to the U.S. Department of Energy, needless expenditure on energy costs amounts to more than $20 billion a year. Unfortunately, most people are unaware that they have alternatives, in the form of more energy.efficient windows and other fenestration products. Electrochromic windows can control the amount of daylight and solar heat gain through the windows of buildings and vehicles. The ability to control these parameters using an ..."
|
|
|