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Lancaster, CA, 2002.
A discussion of the history and urbanization of the Californian suburban city Lancaster.
873 words (approx. 3.5 pages), 2 sources, MLA, £ 17.95
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Abstract
This paper looks at Lancaster, CA , one of the greatest success stories of Los Angeles County which grew from a non-existent area to a busy suburb in less than a century. It evaluates its history from its discovery in 1876 through the major building projects that were undertaken during the economic boom of 1920s to receiving city status in 1977 and examines its development with services such as post offices, schools and hotels over the years. Today Lancaster is a highly urbanized city and it boasts of a very well educated community. With a land area of close to 229.975 square kilometers, this city is quite self-sufficient as people have easy access to all modern facilities and well-known supermarket chains.
From the Paper
"It is amazing that by 1930s, there were literally no medical clinics in the area. Lyle Sadler in his early recollections of Palmdale and Lancaster confirms the lack of medical facilities in this area. He writes, ?For many years there were no doctors in Palmdale and a good part of the time none in Lancaster either--people took care of themselves and each other or went for Mom Everett, a midwife who delivered most of the babies, scarcely ever lost one either. She was a pretty good substitute for a doctor.? (See reference 2) Therefore the opening of its first big hospital in 1963 was a grand occasion for people here."
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15th Century Spanish Art, 2002.
An exploration of the art of 15th Century Spain.
2,000 words (approx. 8.0 pages), 3 sources, MLA, £ 35.95
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Abstract
This paper takes the reader on an exploratory journey through 15th century Spanish art. The writer examines different works of art from the time period and relates them to styles that were used by the artists of that time.
From the Paper
"Art has been a part of mankind since the beginning of time. Throughout the centuries and the cultures there have been eras in art that have affected what was popular and what was not. Art styles have been individual to the artist who created the work, however there have been definite ideas and preferences that have been heavily influenced by the era in which the patrons reside. Spanish art has been particularly interesting because of the metamorphis it has experienced throughout its history. Parts of the changes were triggered by political changes as well as religious surges. Spanish art in the 15th century was also heavily influenced by the Gothic era."
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Kimball Courthouse, 2002.
A study of the architecture of the Kimball, Minnesota courthouse.
1,070 words (approx. 4.3 pages), 5 sources, APA, £ 21.95
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Abstract
This paper examines the historic architecture of the Kimball, Minnesota courthouse building. It describes the sense of history through the preservation of historical features such as the stage, the bell tower, tin ceilings and carriage door bricks. The paper provides a description of the exterior and interior of the building and provides the social purpose for this site.
From the Paper
"Settled long ago by courageous pioneers, Kimball, Minnesota still maintains its small town feel. Today courageous pioneers are fighting to preserve a historic showpiece, the traditional City Hall. The 92-year old City Hall stands proudly in the middle of downtown representing Kimball?s heritage. Many small towns are losing their historic buildings to age and lack of the building?s ability to meet the community?s needs. In fact, the Kimball building is starting to deteriorate and its fate lies in the hands of the people. Following is an analysis of the exterior and interior of the building."
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"Le Corbusier" and "Master Builders", 2002.
A paper which reviews and analyzes the architecture books "Le Corbusier" and "Master Builders".
1,690 words (approx. 6.8 pages), 4 sources, MLA, £ 30.95
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Abstract
The paper explores and compares two books on architecture, "Le Corbusier" by Kenneth Frampton and "Master Builders" by Peter Blake. The paper shows that both books discuss the life and works of architect Le Corbusier, although they differ in that Frampton's book focuses mainly on Le Corbusier while Blake studies equally the works of Le Corbusier, Ludwig Mies van der Rohe and Frank Lloyd Wright.
From the Paper
"According to Frampton, Corbusier was most likely the most famous and certainly the most controversial architect of the twentieth century. His impact on the urban fabric and the way all have lived has been enormous due to the richness and diversity of his work as well as his fervently expressed philosophy of architecture. Thus, the author weaved through his long and prolific life that was recurrent themes, his permanent drive towards new types of dwelling, from the early white villas to the U'it? d'Habitation at Marseille. Furthermore, he detailed his evolving concepts of urban form, which included the Plan Vision of 1925 along with its cruciform towers that were imposed on the city of Paris and finally his work at Chandigarh in India; and his belief in a new technocratic order (Barnes and Noble)."
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Michelangelo's Architecture, 2002.
An essay written in letter form commissioning Michelangelo to build a house.
990 words (approx. 4.0 pages), 6 sources, £ 19.95
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Abstract
By creatively setting this paper out in letter form written to Michelangelo by an admiring potential customer commissioning him to build a house, the author of the paper examines the great artist's work and rich and successful career in post-Renaissance Italy.
From the Paper
"Your architectural style is unique in its own way. You have developed a style for others to follow. Each one of your works marks the inventiveness and unique signature style. You are known as the innovator of the 16th century in the architectural arena. You dare to deter from the Renaissance style of work. And have invented a work direction that deviates from the classical design theory. You have become an inspiration for the post-Renaissance architects. You have marked the beginning of the Baroque and the fall of the Renaissance style of work. Your work is the foundation of a new era and new horizon of when a plan has diverse parts, all those parts a true artistic inspirational work. Then also you modestly say that ?I am not an architect.? "
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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, £ 26.95
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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)."
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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, £ 43.95
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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."
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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, £ 38.95
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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."
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"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, £ 28.95
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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. "
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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, £ 52.95
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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."
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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, £ 23.95
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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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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, £ 26.95
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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. "
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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, £ 58.95
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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)."
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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, £ 36.95
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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."
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