Goldsbrough House

The architecture in Melbourne is characterised by a substantial juxtaposition of old and new architecture. Where there are old architectural buildings that are an icon of Melbourne, there are also more recent buildings that have built a reputation of a Melbourne Icon. These more recent icons are known as The Melbourne Museum and Federation Square.

The Manchester Unity Building, built in 1932 and designed by Marcus Barlow, was the tallest building in Melbourne in 1932. This building was built between and brings a cosmopolitan style of building to

The house is architecturally significant because it is one of the last examples of a simple, two- storey stone house on the gold fields. It was built in two sections, the single storey being built in 1856 had a symmetrical front facade of local coursed sandstone rubble and dressings to openings. The second section being built in 1861 was built to match the earlier part of the house with the same materials being used. Across the first floor there is an elegantly detailed cantilevered timber balcony with a hipped concave roof and with two French windows opening into it. Cantilevered balconies used to be common in Bendigo, but they are now rare, thus giving the people of Bendigo a visual of how buildings have changed throughout the years, making it a significant part of history. Along with the architectural significance is the historical significance, as it is among the few that was documented as being run as a brothel in the nineteenth century. Again this building is not an Antique or a Shrine as it is a piece of vital evidence about the past, and how houses were built and what materials were mainly used in past times which also demonstrates the evolution of Australia’s

The man who designed the home above was the owner as well, Thomas Jefferson was fascinated with architecture and heavily influenced by the neo-classic era in his endeavors. After the american revolution Thomas Jefferson was appointed to be the American ambassador to France, during his time abroad where he was inspired by the classical buildings and architecture of Europe. When he returned to America Thomas Jefferson brought back ideas that would remodel and bring his home into the mode of the day, Neo-classical. Neo classical architecture is not that much different than classical architecture, because there were not any new architectural innovations. Greek columns and pediments as well as roman arches were used quite liberally. Seen in the

At this point in time no one has had any reason to believe the necromancer and Sauron are one and the same. We know it, of course, but to them it would be absolutely logical to assume some idiot wants to revive Sauron through necromancy.

Most famously recognized as “the father of the National Architecture” in America, Thomas Jefferson sought to make American ideals and its culture unique from that of Europe, from where they had their origins (“Architecture is My Delight” n.p). At the time Jefferson was developing his architectural skills, America was undergoing its revolution and therefore it needed an identity of its own, something that made it standout; and that is what Jefferson had set out to achieve. In a letter he wrote to James Madison regarding the project of the Virginia State Capitol while on a tour of Europe (Paris, France), Jefferson states, “I am an enthusiast on the subject of

Unconventional design concepts and material use that incorporate the use of science, technology and nature were a key development during this time period. “In Hitchcock's words, Paxton's scheme ‘owed its aesthetic qualities to factors hitherto unrecognised — the repetition of units manufactured in series, the functional lace-like patterns of criss-cross trusses, the transparent definition of space, the total elimination of mass and the sense of tensile, almost live, strength as opposed to the solid and gravitational quality of previous masonry architecture’” (Mordant Crook 1987, p.107). This suggests Paxton was challenging traditional architecture of the period, offering a fresh perspective. The

Since the dawn of Modern Architecture, the use of ornamentations on structures has been questioned for its purpose. Many buildings, from Greek or Roman temples, to our modern-day skyscraper can be recognized as having ornamentation. Mass and proportion have been cited as being the priority of a design. Architect Louis Sullivan believes ornamentation should have a purpose and be integrated the relationship of the building’s structure. The Hollyhock House’s harmonious use of ornamentation does not distract from the mass and proportions of the building and therefore aligns with Architect Louis Sullivan’s views on ornaments in architecture.

Throughout history, great leaders have used the power of architecture to convey the fundamental ideas that formed the base of their societies. Immense amounts of money, power and time have been poured into monumental buildings over the centuries; testament to the importance humanity places on grand symbols. Classical architecture is some of the most timeless and long lasting architecture the world has ever seen. It has been the inspiration of thousands of buildings, long after the original creators and civilizations passed..The practice of using classical architecture to reference the values that classical architects used their buildings to represent several hundreds of years before was first practiced by leaders such as the monarchy of Great Britain. At the height of their empire they borrowed symbols from the emperors of ancient Rome; symbols to represent the glory of an Imperial hand stretching over a collection of colonies. A contrasting example is Thomas Jefferson, an aspiring architect who not only designed buildings for the new America, but the American democracy with it. His architecture was representative of a collection of intellectual individuals working together to create a just system of government. The classical buildings that symbolize these styles of architecture, linked by the similar architectural features, are the Maison Carrée, Pantheon and the Parthenon. Features that make the Maison Carrée distinctive include a deep portico, a hexastyle design on

Dr. O’Rourke began her presentation by telling us that “To understand what a building is communicating we also must look at it like we look at a painting.” This presents an initial point of view that differs from the normal perspectives from which buildings are viewed, such as the utilitarian or the engineering

“Architecture should speak of its time and place, but yearn for timelessness.” (Gehry, 2012). What Frank Gehry was trying to say in simple terms was our culture cannot do without proper appreciation of its classical roots and it goes without saying that the Romans and Greeks have influenced art and architecture with its classical style in a number of different ways. Allow me to give a definition for the word classical. “Classical” refers to any art or architecture modelled after ancient Roman or Greek styles. In this essay I will be discussing what the word architecture means in architecture, tracing its origins through Greek and Roman civilisation and comparing the key similarities of these two different but similar influential cultures. I will also be referring to a few examples of past and present examples of classical styles and scrutinizing from these examples why and how the style of classical architecture has evolved and still stayed appropriate in our very different contemporary cultures.

As Australia well into the twentieth century, an interest in international ideas are engendered when the young nation of 1901 was searching a level of self-definition. To provide the interest of a distinct Australian identity, the federation movement that gained momentum has expressed the national sentiment in art and architecture. It instigated the architecture in Australia to encounter a significant change in taste from the often ponderous Victorian to the aesthetic Edwardian. One of the most influential sources of architectural ideas came through United States, where both of them shared the major feature of developing sense of their own ‘nationality’, differentiating themselves from Britain where they had sprung. New world optimism and technological availability transpiring from America became a constant stimulant tempering perceived obeisance to the Britain. The Australian architects came in contact with the new architectural ideas through various channels including the immigrant architects; imported journals, local

David Watkin, in his Book ‘Morality and Architecture’ (1977), maintains that some architecture is being formed from the social, moral, and philosophical beliefs of a period. For Augustus Welby Northmore Pugin, he saw Regency and Georgian architecture as an abomination. This was a period of great civil unrest and inequality. The French Revolution had occurred not long ago (1789-1799) and with a government that represented corruption and disparity, this seemed like a reasonable step forward.

‘Ponnumpurackal’ literally means ‘The Gold House’ because of two reasons. One theory was that the Ponnumpurackal house had a strong room packed with gold and the other theory was that the house got its name from the golden colour of its womenfolk. The women were admired for their inner purity and their faces shone like gold because of their virtues. Both versions suggest the richness, glamour and family purity associated with this prosperous family. The general belief that it is women’s good conduct that brings reputation to the family is clear from the myth associated with the Ponnumpurackal family.

‘Classical’ architecture is a language that speaks to us with antiquity. The Exam Hall, once Theatre, on the campus of Trinity College Dublin can be viewed as a neo-classical building, built during the Georgian era. Neo-classical architecture is the revival of Greek and Roman classicism that took place in the eighteenth and nineteenth centuries. This revival of architecture as James Adams, a famous English architect said, “was ready to seize with some degree of success, the beautiful spirit of antiquity,” which is quintessentially seen in the Exam Hall. The exterior of the Exam Hall displays classical semblances of the Roman Corinthian Order while the interior is decorated using a classical color pallet and style. This paper will