Essay The Louvre Palace, Pei's Bank of China Tower in Hong Kong

“Architecture should not be seen as representing a magical transition from the worldly to the heavenly, as had been implied by the Baroque Style, but rather as a medium that told nothing less than the story of the “origins” of mankind.” (Ching 610)

Arthistoryarchive.com (2007) Haussmann's Architectural Paris - Architecture in the Era of Napoleon III - The Art History Archive. [online] Available at: http://www.arthistoryarchive.com/arthistory/architec

The Guggenheim Museum is a form of abstract art which has no separate floor levels but uses a spiral ramp. This was his ideal of continuous space and most significant building. His principles

The Executive Director of the Museum begins to restore this organization with clear point of view, that the

The Loma Prieta earthquake of 1989 damaged the old de Young museum building located in Golden Gate Park and uncovered severe seismic flaws in the building and hence a comprehensive plan to rebuild the building in stages was overtaken to make the de Young museum up to date. In January 1999 the Swiss firm Herzog & de Meuron were chosen to rebuild the De young museum, due to their willingness to engage in an extended process of architectural design and also because their prior work demonstrated a drive to explore new building solutions for each client. Each of Herzog & de Meuron’s prior buildings were known for their strikingly different façade treatments and the use of uncommon

The museum is in a mansion and has been since 1971. The museum use to have meeting and get-togethers. Federico Garcia Lorca, Maria Guerrero, Vicente Blasco Ibanez, Rene Dumesnil, and Eduardo Zamacois went to these. They are all famous artists.

Henri Rousseau, born in May 21, 1844, was a self-taught artist who started his artistic career when he was forty. He began his life working as a clerk, then he joined the French army after being accused of stealing money from his employer. He later moved to Paris and obtained a job working for the French Customs Office, and it was there that he began painting part-time. It was really this background of his that allowed his paintings to be original and uninfluenced by traditional painting techniques. Since he was a self-taught artist and had no significant experience with painting, he had the freedom to paint as he perceived and as he imagined. Henri Rousseau was a man who liked to exaggerate his life to make himself seem adventurous and exciting. He made up stories about his time in the military and overstated his importance in the Customs office where he worked. This was also reflected in his artwork where manipulated the painting to emphasize beauty and excitement.

I had an opportunity to visit the oriental institute museum . During my visit to the museum I was made aware of its location and the importance of it to chicago. The museum housed many exhibits of historical value dating civilization back to the paleolithic period of 2,500,000-100,000 B.C. Below you'll find examples of mans rise through the use of tools and refined skills from cave living to structured living throughout evolution. This is an experience that has grounded me to a new interest in structures that we have devised to become the homes we use today for the rest of my life.

Le Corbusier, inspired by modern painting, the floating floor and transparency in his design is an echo of what was modern painting. In 1915, he drew six reinforced concrete pillars that held three horizontal slabs, which were connected by a staircase (fig.1). Ferroconcrete in his hand was like a sculpture’s clay used to express his ideas. Le Corbusier transmuted the concrete skeleton developed by engineer to a means of architectural expression that no one before him had tried.

A tour through Taliesin West would start at his office. But right before you enter, your attention is interrupted by the vibrant, yet complex Asian sculpture that stood in front of the entryway. The idea of him incorporating Asian art within his structure did not surprise me however. Ever since his visit to the Columbian exhibition in Chicago, Wright was closely influenced by Asian architecture and art, and had symbolized his appreciation for the arts by incorporating them throughout his buildings. The sculpture that lies by the front entrance of Taliesin West is one of many sculptures that’s scattered around the building, and it symbolizes a transition into the following area.

The German architect who designed the building made its structure so large that in scale alone warrants attention. The previous building had been built as a bakery and for a time had served as the corporate offices of Playboy Enterprises, but in 1967 was rebuilt (“History of the MCA”). The museum planned to move its location in 1990, for economical times were rough (Plagens,”Newsweek”). However, the completion of projects and variety of art beginning in the rough years contributed to the heightening attendance over the next few years. (Bader, “Artforum”). Jan

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.

A lot has happened in architecture since Louis Kahn death in 1974, some of it are really good, some are dreadful and we have different preferences about which is which. However, Kahn’s work look better than ever on its own terms. Better in its solidity and gravity. He was an architect of beautiful contradictions and one of the few to create architectural elements out of scale with the human figure. His buildings are very elegantly designed but are constructed of basic, often crude materials. Consisting of

Just imagine you are standing 300 meters that is 984 ft above the ground, looking down at the beautiful city of Paris. The wind is blowing at your face and it is messing up your hair, but you do not care. You are on the top of the highest building in the center of culture, the magnificent Paris and that is all that matters. Yes, you are standing on top of Eiffel Tower. This is the first thing that comes to your mind when you think about Paris, the tall, lean tower. But have you ever wonder what would a symbol of Paris be if Eiffel Tower were never built? When you think about Eiffel Tower you seem to automatically associate it with Paris but that was not always the case.

The Louvre was not founded as a museum, and the road to attaining today’s program expanded across six centuries of monarchies, wars, treaties, and revolution. Dating far back to the 12th century as a fortress for King Phillip II, the Louvre laid foundations with protective walls, and underground crypts to function not as a gallery for the public, but rather a stronghold for the private. As the decades turned, the old Louvre acclimated to the needs of the monarchies, undergoing usage as both a stronghold and a retreat, but entirely defense-based nonetheless (Deitz). Two centuries passed when Charles V altered the program from a bulwark of protection, changing it into a residency. Here the program shifted towards a notion of more public structure. Several French kings after, Francis I decorated the bulky fortress with a French renaissance style, further changing the Louvre’s appearance and adapting the architecture to the art style of the time. This move would be seen again in I. M. Pei’s controversial addition. Under King Henry IV, the Louvre underwent reconstruction (Kostof). During the rise of Versailles, artisans resided within the Louvre’s halls, giving way to the notion of an art influenced program for the building