Environmental Protection Is A Trending Topic

Positioned alongside Central Park in the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museum, especially one as influential as the Met, inherently predisposes its visitors to a certain set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within the museum. Brent Plate in Religion, Art, and Visual Culture argues that “objects obtain different meanings in different locations and historical settings.”An object placed on display behind a glass case inside a museum would hold a vastly different meaning if it was put on sale by a street vendor, like the ones who set up their tables in close proximity to the Met. The different meanings that objects are able to obtain is attributed to the relationships that are established between the object itself and the environment that surrounds it. These relationships often involve the kind of audience that a museum attracts, where the work is exhibited, and how the exhibits within a museum is planned out. Museums subsequently have the ability to control how these relationships are established which influences the way a viewer is able to construct meaning. When a visitor observes an object on display at the Met, they instinctively construct a certain set of

The main building of the Art Institute is constructed mostly of masonry, with few windows, and feels very heavy and overpowering. Grand staircases and large columns dwarf visitors as they move through the galleries. This is similar to the way the art in the space makes you feel: small, unimportant, and sometimes even afraid. The Modern wing in constructed of steel and glass, and is very open and bright (except when intended not to be). The large north wall facing Millenium Park is one large expanse of windows, letting in plenty of indirect sunlight, and opening the gallery to the park. The space feels very light, in both senses of the word. As with the old building, the art feels similar to the space in that it is more open and less opressive.

Being environmentally friendly isn’t merely a trend. After thousands of years of using the earth’s resources, we have finally come to realize that we are destroying this beautiful gift we were honored with. Architects play an influential role in trying to preserve this gift by encouraging a multitude of strategies that can be more cost efficient in the long run, be more comfortable for its users, and most importantly, have a lower carbon footprint. Strategies can include drastic changes to heat and air systems, construction material selections, or even specific design details to the architecture of a building that would reduce the amount of energy it consumes.

“The museum has changed people’s perception of museums, about the connections between art, architecture, and collecting.” (Freshome). Admiring the Architect, Frank O. Gehry, and how he would not just design, but how he would blend previous designs with his own and create a building made his work unforgettable.

The Museum of Fine Art in Houston (MFAH) is the oldest art museum in the state of Texas. The very first museum building opened to the public in 1924, known as The Caroline Wiess Building, which was designed by William Ward Watkin. The building itself represents the neoclassical style that was prominent in the eighteenth and nineteenth centuries. The formation of the building represented the determination of Houstonians to transform their growing city into a rich, cultural center. It’s function is to bring art into the everyday life of the citizens of Houston. These elements are instilled in the architectural design of the building. The setting, space, location, and lighting of the building all play a role in its overall function.

John Volk was the architect that designed The Museum of Fine Arts and explained the structure as such: “a museum should give a feeling of permanence and that is what I have tried to do with this building”. His plan was well executed, when I arrived to the museum I noticed two different designs. The front of the museum reminded me of the Ionic Order, the Volutes and the molded bases became my main focus. The beige paint seemed like a great fit as well, it added to the light and airy flow within the museum and gave me further evidence that the Ionic order outside represented what was displayed inside. However, the actual style of the building was a Palladian Style which originated from Europe in the 1500’s.

The de Young museum seen from a distance is a bold architectural statement, with its sleek horizontal building, indeterminate dark brown color and its massive tower emerging from its slightly bent curving roof. The building is an example of boldness, internationalism and cultural neutrality. Its setting in the Golden Gate Park’s landscape with the topography, vegetation; weather and light are taken advantage of. The significance of nature and the art that is housed in the museum from the Americas, Oceania, and Africa can be seen as having resonance in the architecture. Many of the works of art are sacred in their cultures, are made of natural materials and were never intended to be displayed in formal settings. Post modern theme of ‘context’ comes into expression as Jacques Herzog put it: “These objects belong to nature. We wanted to emphasize that”.

How art is presented in a museum is based off guidelines. The shows cannot be too crowded, there has to be a flow to the pieces, and there has to be a concept behind the curation of the art. This process can take years depending on the size of the show; both floor plans and 3D models are created to curate shows. Shows in other countries and cities will follow similar guidelines. Some exhibits may have more money put into them and more thought about the curation, but generally there will be a concept, and flow to the pieces shown.

Natural light within open interior spaces being illuminated and divisions dependent on light and transparency are vital part of modern architect influence.

There is a growing menace in today’s society known as light pollution. Light pollution is essentially excessive light from outside lighting fixtures that is misused and causes several negative effects. This increasing and perplexing issue is often magnified by industrialization and urban development which often neglects to consider the momentous problems light pollution causes. Despite serious efforts to minimize light pollution, “…light pollution rises about 6% every year” (Parks 30). One should know what light pollution entails, the adverse effects and costs of light pollution, ways it can be minimized, and how to appeal to the general public to help alleviate the problem.

Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.

Global climate change has become a hot topic in recent years. Countries have recently been working together to improve air quality, water systems, and waste management. A large contribution to our climate issue, is how governments and companies release chemicals, and waste into the environment. This law would allow for the people and the government to step in, and make sure companies follow through in keeping the environment safe.

This report will discuss the advantages, disadvantages and details of both natural daylight and artificial lighting systems in terms of developing within a commercial property. The report provides detailed research and analysis concerning the subject topic in order to give a comprehensive view of various lighting types and methods. Light is an electromagnetic radiation visible to the human eye, the wavelengths visible to humans range between 380nm (nanometers) to 740nm. Light behaves as a wave - it undergoes reflection, refraction, and diffraction just like any wave would.

By paying attention to the lighting conditions of the site, the window, a crucial element in architectural expression removes itself from the repetitiveness of the universal styles. These add into the factors of climatic control, bringing up the needlessness of artificial climates which need to be maintained within the buildings, rather than the interior climate maintaining itself.

By making an inaction analysis of the building ,one of the most impressive features are the colors of it ,especially on the external building, and the way that the architects and the artist were collaborated and create a piece of work that makes difficult to the visitor understand where the architecture co-existing at the same building . A characteristic example is a wall inside the building in which is impossible to express the space where the work of the architects stops and where the work of the art begins. The out skin of the building is made of polycarbonate , a material that gives the ability to the architects to compose color and light in an amazing way and also a power glow to the area. The main color of them are magenta, green and turquoise with their three different hue. Therefore those three colors are the signature of Craig-Martin who is also very trained about manipulate and merge two and three dimensions spaces, which make him ,absolutely, the suitable involving person for this concept.