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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, £ 23.95
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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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Vitruvius and his Historical Relevance, 2005.
An exploration of the composition, content, reception and influence of Vitruvius's "Ten Books on Architecture," from antiquity to today, with special attention on the Middle Ages and Renaissance.
1,916 words (approx. 7.7 pages), 4 sources, MLA, £ 34.95
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Abstract
This paper examines the first and most influential treatise on architecture, Vitruvius's "Ten Books on Architecture." First the content is considered, including Vitruvius's account of architecture as the mother of all arts followed by his outline of the ideal education for architects and his theory of architecture. It also discusses the transmission and reception of Vitruvius in the Middle Ages and the Renaissance. Particular attention is paid to Alberti and his reaction to Vitruvius in his own "Ten Books" on architecture. Finally, the historical significance of Vitruvius's treatise is examined-both from the point of view of today and of when the treatise was composed.
From the Paper
"In the first chapter of Book II, Vitruvius gives his account of architecture, or rather, the story of civilization as the history of architecture. His synopsis is certainly simplistic, and at times humourously so, but on the whole it accords with common sense. To his mind, architecture, born of necessity, is mother to all the arts, and though he is not as explicit on this issue as later writers would be, he clearly holds the field in the highest regard. He sets out his ambitious "Education of the Architect" in the first chapter of the treatise, and explains the necessity of each branch of study-drawing, geometry, history, philosophy, music, medicine, law, astronomy. The application to any of these fields to architecture is obvious enough, but Vitruvius defends the others. History, for example, is useful in understanding the origin of particular styles. He uses the famous example of caryatides and the Persian porch."
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How Did Rome Get Water, 2005.
A brief discussion of the methods used in ancient Rome to provide water to its population.
814 words (approx. 3.3 pages), 4 sources, MLA, £ 15.95
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Abstract
This paper briefly explains how the old water system worked in the Roman Empire. It looks at the different water sources and rivers, which were prominent at the time, and the architectural uses of aqueducts.
From the Paper
"The aqueducts that Rome used for its water supply came from sources above or around the Tiber River or the Anio Valley. The first aqueduct was built in 312 B.C.E. and named in honor of its originator, Appius Claudius. It marked a major milestone because the previous water supply only came from wells, cisterns, springs, or the Tiber River itself. As the city became more populated, the demand for water grew, and thus more aqueducts were created."
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The Tugendhat House, 2005.
An overview of the architecture of Tugendhat House in the Czech Republic.
1,673 words (approx. 6.7 pages), 4 sources, APA, £ 30.95
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Abstract
This paper examines the design and layout of the Tugendhat House, built by Ludwig Mies van der Rohe for Grete and Fritz Tugendhat in the 1920's. It looks at how some of the structure's themes may be found in works done by Le Corbusier, Schinkel and Mies himself and how, throughout the building, it is evident that great stress and preparation went into project, whether it be the location, the facade, the plan, or the material. It explores how the Tugendhat House a revolutionary concept that rejects traditional arrangements of the interior and promotes simplicity throughout.
From the Paper
"The centre stage of the main floor is occupied by an enormous open space that contains the living and dining room. Though a semi-circular wood veneer wall pronounced the dining area, the general space is open and not or-ganized or categorized by the use of dividing walls, but more by the placement of the furniture, which Mies himself designed specifically for the residence. In accordance with so many of Mies' works, such as the Barcelona Pavilion and the Toronto Dominion Centre, a single spot from which an ob-server may embrace the structures and dimensions does not exist. For that reason, the house begs you to wander through it, to discover it and its se-crets."
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The Tugendhat House, 2004.
An overview of the architectural features and style of Mies van der Rohe's Tugendhat House.
1,670 words (approx. 6.7 pages), 2 sources, MLA, £ 30.95
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Abstract
This paper examines the various aspects of the Tugendhat House, designed by Ludwig Mies van der Rohe and compares them to Mies' other works. The house's architecture, layout, location and materials are analyzed and evaluated against the architect's style and not against the style of others. The paper offers pictures of the Tugendhat House to illustrate the architecture.
From the Paper
"Ludwig Mies van der Rohe has created numerous buildings with his own unique and distinct styles; the Tugendhat House is one of these buildings. Grete and Fritz Tugendhat, descendents of wealthy Jewish industrialists in Brno, Germany (now, Brno, Czech Republic), commissioned the construction of the building in the late 1920s. Some of the structureis themes may be found in works done by Le Corbusier, Schinkel, and Mies himself. Throughout the building, it is evident that great stress and preparation went into project, whether it be the location, the facade, the plan, or the material the Tugendhat House a revolutionary concept that rejects traditional arrangements of the interior and promotes simplicity throughout."
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Churches at Mystras, 2003.
An examination of monasteries and churches at Mystras (Mistra), Greece.
759 words (approx. 3.0 pages), 5 sources, MLA, £ 15.95
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Abstract
During its two centuries of existence as the Byzantine capital of the Peloponnese, a number of churches and monasteries with domes and chapels were erected at Mistras. These structures played an important role in terms of promoting the religious function in the region, as well as providing a centralized focus for the ruling elite. This paper provides an examination of these monasteries and churches at Mistras, followed by a summary of the research in the conclusion.
From the Paper
"In his essay, "The impact of Frankish architecture on Thirteenth-Century Byzantine Architecture," Charalambos Bouras writes: "In the eleventh and twelfth centuries, Byzantine ecclesiastical architecture in both the capital and the provinces was mature and self-contained, meeting to the full the church building's liturgical needs and dogmatic symbolism, as well as realizing possibilities in the development of other art forms such as sculpture and monumental painting" (2002:247). In the Peloponnenos in particular, where the principality of the Morea had been established, there are not only the most important monuments of Gothic architecture, but also the most characteristic examples of Western influence on embellished Byzantine church buildings (2002:248). The Crusaders were also responsible, according to Bouras, for building a number of strong fortresses in the areas, perhaps even a part of the palace at Mistras, and certain other new settlements. The buildings of the 13th century at Peloponnesos are numerous and were usually smaller than their forerunners (such as the Hagia Sophia), and were frequently included in monastic complexes (Bouras 2002)."
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Bartolomeo Francesco Rastrelli, 2004.
An examination of the life and work of the artist and architect, Bartolomeo Francesco Rastrelli, and his contribution to Russian cities.
2,759 words (approx. 11.0 pages), 10 sources, MLA, £ 45.95
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Abstract
Before the end of Elizabeth's reign, St. Petersburg had become Russia's capital in a much larger sense than in Peter the Great's time. This paper discusses how palaces built by Rastrelli gave the city an aura of aristocratic elegance, while the great public buildings created by the Russian followers of Peter's foreign architects emphasized its importance as the center of a new empire.
From the Paper
"Born just a few months after his sculptor father, Carlo, who had migrated from Florence to Paris, Rastrelli grew up in the dynamic world of art that had shaped the court of Louis XIV until the death of the Sun King in 1715 deprived France's artists of their greatest patron. Rather than join a legion of artists struggling to find new backers in the West, the Rastrellis set out for St. Petersburg, where the demand for men who could paint, draw, design, and carve all but guaranteed them work. From the moment the pair arrived, the elder Rastrelli was flooded with commissions. Russians still remember him as the sculptor whose full-length likeness of the Empress Anna blended "blowsy flamboyance" and "portly vulgarity" into "a bronze portrait of imposing majesty", (Marsden, p. 108) but their appreciation for his modest talent as an architect has long since faded."
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"La Segrada Familia", 2003.
An examination of Antonio Gaudi's structure, "La Segrada Familia".
1,240 words (approx. 5.0 pages), 3 sources, MLA, £ 23.95
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Abstract
A paper that briefly explains how Gaudi's work of art is an example of Gothic architecture. The paper provides a systematic study of the way in which Gothic architecture generally influenced the aesthetic principles of the modernist architect, Antonio Gaudi, specifically in his construction of the church, "La Segrada Familia".
From the Paper
"Antonio Gaudi's architecture reflects many elements of Gothic architecture in its design and construction and certainly one of the best examples of exactly this sort of connection can be viewed in his monumental ecclesiastical structure, Le Segrada Familia, which is in Barcelona. Gaudi's structure reflects the Gothic ideals on creating structures that ignore more specific formal concerns in an attempt to focus on appearing monumental and infusing the viewer with a sense of sublimity and awe. "
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Office Ergonomics, 2004.
Research paper on ergonomic design of an office cubicle.
2,700 words (approx. 10.8 pages), 13 sources, APA, £ 44.95
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Abstract
Ergonomics is matching the job to the worker and the product to the user. This research paper provides the reader with an understanding of office ergonomics and how complicated just one cubicle can be. The paper also stresses the importance of ergonomics in the office and all the hazards that it can prevent. Much can be gained from the proper use of office ergonomics, including higher productivity and fewer safety injuries. Many different organizations are referenced in this paper to give the reader the most accurate information regarding office ergonomics.
From the Paper
"The cubicle, in all its glory, represents the modern day workspace for many workers and creates many frustrations. Technology has had an overpowering effect on the way we work today. As a result, we are spending more time at our desks and using a computer, leading to an increased number of ergonomic related issues. In this section, the author will discuss the hazards, dangers, and risks associated with poor office ergonomics. These include musculoskeletal disorders, sharp edges, pinch points, eye strain, poor posture, fatigue, noise pollution and emotional stress cause by working in a cubicle."
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Ludwig Mies van der Rohe, 2004.
Examines two works by minimalist architect, Ludwig Mies van der Rohe.
1,871 words (approx. 7.5 pages), 4 sources, MLA, £ 32.95
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Abstract
More than any other architect of the 20th century, Ludwig Mies van der Rohe represents the ascendancy of Modernism in its most Minimalist incarnation. While this emphasis on the importance of spare lines and lack of fussiness is understandable, given what had come before in terms of both architecture and decorative arts, this does not necessarily make it more palatable from the perspective of the 21st century. This essay focuses on two specific buildings by Van Der Rohe: the 1930 Tugendhat house in Moravia and the 1929 German Pavilion that he designed for the International Convention in Barcelona, Spain, as a way of delineating the strengths of his work, as well as serving as a reminder of the distinct limitations of Minimalism within the realm of architecture.
From the Paper
"When we look at Tugendhat House what we see is a building that rather aggressively protrudes from the hill to which it is anchored. Mies set the building apart from the hill both in terms of color - it is gray and black, entirely lacking in the greens and earth-tones of the surrounding hillside - and in terms of form. The hill is rounded, gently sloping, its curve emblematic of the ways in which water and geological stratigraphy and wind shape the earth. The building's exterior is none of these things: It is not only rectilinear (as are most structures in the modern world) but it flaunts this rectilinearity. Its solidity emphasis the human-constructed nature of the structure: We would never (no matter from what distance we viewed this building or from what angle) confuse this with something created by nature."
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Structural Failure Due to Fire, 2004.
Explains the process by which a structure collapses from fire and talks about what can be done to slow the collapse.
2,057 words (approx. 8.2 pages), 14 sources, APA, £ 35.95
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Abstract
This paper gives a complete explanation of structural failure caused by fire. The paper provides statistics about fires, describes current fireproofing and fire retardant technology, and flame retardant materials. In addition, the paper focuses on the individual measures and technological advancements made to the individual structural members, which can extend their life when exposed to heat and flame.
From the Paper
"The rate at which a structure experiences deformation and loss of structural integrity leading to building collapse does not proceed along a straight line. The Figure 1 below illustrates that during the three stages of a fire, 1) ignition and growth, 2) full development, and 3) decay, the rate at which the building will sustain loss increases as time increases. The longer a building is exposed to the fire, the more rapidly the structure moves from the stable, static system toward the dynamic state in which member failure, and structural collapse if imminent. For this reason, the technology of fire prevention focuses on prolonging the stable period of the individual members by reducing the effects of the fire on each individual member."
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Gothic Cathedrals, 2004.
This paper discusses and analyzes the topic of Gothic cathedrals.
1,958 words (approx. 7.8 pages), 3 sources, MLA, £ 34.95
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Abstract
The writer of this paper identifies the key aspects of Gothic cathedrals with a few examples and comparisons of the cathedrals. The paper explains how Gothic cathedrals are some of the most beautiful and enduring buildings in Europe. It looks at how they have survived for centuries as testaments to the workmen who created them and the architects who designed them. The ornate buildings are as impressive today as when they first grew on the skyline, and they represent a high point in the culture and society of the Middle Ages.
From the Paper
"Gothic architecture, perhaps one of the most famous and ornate forms of architecture of any period, began in northern Europe as early as the twelfth century, and spread throughout Europe. It gradually replaced the Romanesque Style of architecture, which had grown in popularity throughout Europe beginning at about the millennium year of 1000. Romanesque buildings offered many of the same intricate details as the Gothic cathedrals, because building practices had evolved, and better tools, such as the stone saw (Calikins 100). Romanesque buildings incorporated intricate arches and vaulting, along with repetitive bay systems, flat and round ribs, but they did have their limitations. One architect historian wrote, "Reliant on the sheer power of mass to abut and restrain the tremendous outward thrust of thick nave barrel vaults, Romanesque architecture could not open up to the light" (Roth 288)."
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Boston Architecture, 2004.
This paper discusses two Boston architecture sites: Trinity Church and the John Hancock skyscraper in Copley Square.
1,305 words (approx. 5.2 pages), 8 sources, MLA, £ 24.95
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Abstract
The paper explains that Trinity Church (1876) remains a historical wonder of religion and beauty, but the John Hancock skyscraper is both aesthetically unpleasant and structurally unsound. The author points out that the Trinity Church heralded the signature "Richardsonian Romanesque" style of its celebrated designer, H. H. Richardson, and presented a bold, fresh, new face and feeling for ecclesiastical architecture in America. The paper relates that neighboring the Trinity Church is the modern minimalist John Hancock skyscraper (1976), by far the tallest building in all of Boston, with a facade of blue reflective glass that makes it look like a giant test tube, a bizarre juxtaposition in style and purpose.
From the Paper
"The original Trinity Church in Boston was built by John Indicott in the 1700's. However, in 1860 the Vestry voted to move the church to a new location. In January of 1872, a 24,800 square foot plot of land was purchased in Boston, having been carefully chosen as the site for the church, and soon after committee meetings began to review architectural plans for the building. Gambrill and Richardson, a firm of H. H. Richardson, was commissioned to design the church. Additional funds were set aside for the building, allowing an additional plot of land to be purchased, adding nearly 15,000 feet to the original plan. The church is surrounded on all sides by streets, not other buildings that would restrict the view of the church. In April of 1873, engineers began driving wooden pilings, most of which were completed from July to September of this year. However, the Vestry became discouraged by the building cost estimates -- ranging from a soaring $355,000 to $640,000 -- and they halted work on the building until Richardson revised his plans, capping off the new estimates around $400,000. In November of 1876, the building was finally complete, and it was paid in full by February of 1877."
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Egyptian Art, 2004.
Architectural and artistic description of the Temple of Luxor and the Temple of Amon Re.
1,496 words (approx. 6.0 pages), 3 sources, MLA, £ 27.95
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Abstract
This paper provides a detailed description of two Egyptian temples at Karnak, the Temple of Luxor and the Temple of Amon Re. The paper describes the two temples as the earliest and most elegant examples of Egyptian architecture representing the Old and New Kingdoms. The height and length of the temples are described, their columns, the history of their construction, the architectural and artistic renderings of the temples, and the great halls of the temples are all described in this paper.
From the Paper
"The Temple complex at Karnak serves today as a reminder of the stately Pharaonic governments and the humble yet dedicated civilization that once thrived on the fertile banks of the Nile River some three thousand years ago. And it was at Karnak, the most important political and religious center as part of the ancient city of Thebes, that "the great temples were erected and dedicated to the veneration of the god Amon with the blue waters of the Nile close at hand" (Harris 157)."
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