Modern Er El Paso High School

The building is surmounted with a big cornice, of a size that emphasizes the power the building expresses. The quoins on the side show an ending to the building, which in combination with the cornice form a sort of frame, there can be no mistake made about the independence of the building. The pilasters on the outside are of Ionian order on the first floor, and Corinthian order on the top floor. Around the courtyard, the same orders were used, but with an added Tuscan order for the elements on the ground floor.

I have not had the fortune to travel to many places, but did not really need to in order to write about one of my favorite places. I have chosen to write about Vizcaya, a place in which I have personally been able to experience and enjoy many times throughout my life. Although Vizcaya was constructed in what would be considered modern times, Vizcaya’s Gardens were inspired and designed in a European Renaissance style. Its formal gardens and design are reminiscent of Italian home and garden design of the late 15th to 18th century, influenced by Veneto and Tuscan Italian Renaissance. These splendid gardens are very formal and orderly, created for the environment of the user. They are very symmetrical and include all sorts of fascinating elements

The scale of objects direct the viewer to conventions in order of prestige which resists the passage of time and remains a symbol of magnificence and strength by withstanding the degradation. The time worn ruins impact the painting with its ability to remain erect due to its vastness, for it occupies the majority of the canvas. Its enormous stature and breadth of the columns characterizes the structure as powerful, yet the crumbling regions reveal that its vigor belongs to the past. The degradation and neglect by succeeding societies convey how humans abandoned this empire to proceed with the construction of a new one. Portions of the ceiling sitting upon the columns have crumbled and at the ceiling wooden planks are exposed with plants protruding through the gaps. Although the degradation reduces the ruin’s honor and Roman illusion of immortality, the temple remains an artifact of vanity and majesty. The linear

The Parthenon of Books by Marta Minujin is, probably, one of the most remarkable concepts that the contemporary art has witnessed. However, at first sight, the creation is not as special, since its structure precisely replicates the Parthenon of Athens, an architectural masterpiece built in the fifth century BC. The edifice is essentially built just with thousands of books and steel structures. All the books completing this masterpiece have been inserted into plastic tires/envelopes to protect them from capricious weather conditions, and then fixed with clear foil to the temple’s frame, which is made of steel. The Parthenon (the columns in particular) is artificially enlightened at night, while during the day, the sun powerfully shines upon it, giving the creation an imposing nature.

The building borrowed from mainly large scale ancient Roman buildings. One of the most principle design was the longitudinal axis as the building now had the focus of attention to the opposite end to the entrance. This was because it was a church thus that design enabled number of people to gather for the liturgy with an inward focus on the altar. Another principle design is the series of arches/pillars on both sides, that are continuous throughout the side of the church. The purpose of that is to again lead your eyes into the critical point of the church, the altar. Note that the pillars are in corinthian style. Another notable design is the wooden door in the entrance which it has carved imageries of scenes from the Bible, basically a frieze but on wood. There is also, inside the church one aisle on each side behind the arches/pillars, and the central naive which has a wide open space. Also opposite of the church there is the altar which is in a semi-circular space. Above the altar there is a beautiful painting, probably a frieze, above the altar which is highly polychromed, even using rare colors like blue. Another notable feature was the use of clerestory which lit the church with sunlight softly

The Columns found at 3701 Park Avenue (“CL1”) and 400 NE 36 Street (“CL2”) are of a forth kind of Greek columns, commonly found in America called “Composite order” – A Roman elaboration of the Corinthian order, having the acanthus leaves of its capital combined with the large volutes of the Ionic order and other elaborated details.

Established in1889 by Lloyd Taylor and J. Woods, the marble house is in North Terrace and is one of the state’s heritage spots. It is an example of renaissance architecture with its symmetrical carved round pillars. Several pillars emerge from the floor and support the giant porch. The broad marble stairs, leading to the pillars, not only emphasises the front of the monument but also balances the aesthetics from all corners. The pillars gives a glimpse of the luxuriously decorated entrance that exists along the front wall, with typical Roman arched windows. The platform of the building is raised high like any other classic Greek construction and signifies the supreme authority the monument has on the political centre of

In Rome, the first known Basilica, the Basilica Porcia, was constructed by M. Cato in 184 BC. This construction was of a kind never before seen in Rome. The interior of Basilica consisted of colonnades, which had a functional purpose, but also served as an expression of Roman political clout. On the outside, we see the use of a two-story colossal order. Thomas makes a comparison between this form and a description provided by Vitruvius of the giant order of his supposed basilica in Fanum, which boasts similarities in impact to architectural remains of second-century Pompeian Basilicas (Fig 1). Thomas, however, detracts from this impressive façade by noting that it was all but hidden by tabernae directly in front. This then provides a perfect transition, as just a century later this singular giant order is transformed into a giant order supplemented by grand arches, punctuated with engaged orders to complement the columns. This change in form was accompanied with the removal of the tabernae, providing an unrestricted view, suggesting that the additions to the façade were wholly intended to be seen and

Palazzo Chiericati’s site has a lot to do with the design of the building. The site of the Palazzo Chiercati is in central Vicenza, Italy. The building “was erected on a very shallow site” and has a long frontage lining an open public space. Beyond the canal there was more rural landscape compared to Vicenza’s streets. Palladio did not let the opportunity of designing the building regarding this unique site. To emphasize the difference in landscape or built environment, Palladio makes use of a synthesis between two stark typologies. Palazzo Chiercati is the combination of both the palazzo and the villa.

Pantheon, with its revolutionary design, serves as a premium exemplar of the Roman architecture of Hadrianic times where the grand traditions of trabeated classical architecture are brought together with the more youthful vaulted style. The building, completed in 128 CE, consists of three division of space---the more traditional columnar porch visible to the approaching visitors, the unconventional and innovative huge domed rotunda which most likely would be a surprise to the inspectors of its time, and the rectangular form which have been introduced as a transition from the porch to the rotunda.

This essay will focus on one of Rome’s most well preserved monuments. A monument which stood the test of time, ever since reflecting an important part of Rome’s military history in a well preserved state, the Trajan’s Column.

The two pieces of art that I have chosen to compare are The Luxor Temple located in Luxor, Egypt and Saint Peter’s Basilica located within Vatican City of Rome, Italy. The ancient design has fostered some of its styles and characteristics into future generations, and also upheld the mysteries of phenomenal architecture over the centuries. I believe the Luxor Temple and Saint Peter’s Basilica are good pieces for comparison. The details and the architectural features between both of these great Arts show ingenuity, symmetry, geometry and balance from two very diverse time periods. The aspects of their values, religious beliefs, culture, and mythology play key roles in the beliefs of both timepieces of Art. The architectural medium is not only impressive, but it is captivating to the eye as well. One can only marvel at the unique wonders of ancient civilization.

This essay will mostly outline the main similarities and differences associated with ancient Greek and Roman architecture. This paper will venture to distinguish the physical and integral differences between ancient Roman and Greek architecture. It will also determine the similarities associated with these two variations of ancient architecture. In addition, this paper will explain why and how these forms of architecture are still relevant in today’s society. Ancient architecture is not just a thing of the past; it’s more prevalent in modern day than ever before. We will then analyze how ancient Roman and Greek architecture differ in architectural style, construction methods, time periods they were created, and best of all, overall exterior appearance. At that point, this paper will propose and conclude a deeper meaning to this difference. The ancient Romans and Greeks were in an architectural battle. This was a constant battle to defeat each other in architecture. However, this was not just a battle between two empires in architecture. This paper is not just a compare and contrast essay about ancient architecture. This essay will outline and discover a greater purpose of this constant battle of architecture. There was much more to this rivalry than just to create better, more elegant structures. We will unravel the real purpose about this architectural rivalry that was created many, many centuries ago.

A freestanding object placed on top of a hill, visually the Villa is simple, if not austere, – clear shapes, with minimum decorations, give the impression of wholeness and balance. This positioning creates a relationship between the Villa as an object with the landscape as space, making it part, if not the crown, of the surroundings. The building is raised on a high base, and its frontal orientation is a distinctive feature of the Renaissance architectural style. Superimposed porticos with classical pediments supported by six Ionic columns link onto each of the four façades, giving complete symmetry to the building. The entablature is characteristic of the Ionic order with a three-face architrave, plain undecorated frieze and cornice built up with dentils. The pediments adorn the projecting

However, Bramante designed a lighter structure than the antique model and succeeded in providing one with a building, which suggests more of an ambience of reaching upward. The building is almost like a piece of sculpture because of its little architectonic use. The building has Brunelleschi’s style. It has perfect proportions and is composed of Tuscan columns.