Review: Breakthrough Design And Construction Filippo Brunelleschi

The second half of Grand Design by Donal Stoker continues on with Stoker’s analysis of the war. He seemingly continues his support and provides evidence of the Union’s strategic thinking and analysis before battles. Stoker continues his top down approach of the war that he clearly states in the beginning of the book, which at times can cause some aggression states when analyzing the strategic components of this war. Its interesting and entertaining at points which makes the reader question if some statements are true when Stoker does not provide citations. Stoker’s top down approach also seemed to tarnish some of his analysis of the war because the leadership of the Civil War was not always a hierarchal state of command.

“For the next 35 years, the rest of Güell's life, he employed Gaudí as his personal architect, commissioning a host of projects, from mundane laundry facilities to the elegant and stately Palau Güell, his mansion just off La Rambla” (Meisler, Stanley). In 1883, Gaudi also secured a contract to begin work on the Sagrada Familia, “the project was supported by a group of conservative Catholics who wanted a holy edifice where sinners could atone for succumbing to modern temptations”(Meisler, Stanley). It is the Sagrada Familia, that he is most famous for, a towering Cathedral, the masterpiece stands at 566 feet. “It was started in 1884, and Gaudí worked on it for most of his later life, he became so obsessed with the church that he began living in it” (Lior, Noa and Tara Steele).

In this paper I aim to examine the differences and similarities in the Weimar and Dessau Bauhaus periods by looking at the designs that are specific to the aforementioned movement. I intend to do this through the exploration of the formal and stylistic characteristics of the chosen design examples of the said movements. An analysis and discussion will accompany this paper in which the argument presented in this paper will be validated. The design examples to be discussed are textile pieces by Gunta Stolzl (Untitled, Fig.1) and Anni Albers (Triple, Fig. 2), interior designs by Walter Gropius (Walter Gropius’s Office, Fig. 3) , (Director’s Office, Fig. 4), and Marcel Breuer’s furniture designs (Wassily chair, Fig. 5) and (B33 chair, Fig.6).

One common type of building found in the forum of any Roman city was the basilica, a hall used for transacting business and legal matters. It developed from the Greek stoa, but was usually fully enclosed rather than enclosed on one side. The hall contained colonnades on the inside, which helped to organize and divide the interior space.” This example demonstrates how Greeks always had a strong influence toward Roman designs. Although Romans tried taking their errors to modify now it still had a big aspect on the later designs.

This international styled building supports Mies’s “less is more” approach (Pridmore & Larson 137). This tower made of glass and steel gives off a reflective view of its surrounding city and people. Before walking into the building we noticed a weightless transparency yet mirror-like effect through the exterior glass elements of the building. The surrounding marble floor from the outside of the building continues onto the inside, forming a sense of wholeness and continuity. The interior of the building is made of marble walls and flooring which flow into one, with vertical steel material used as a differentiating component between the glass and marble.

From the protruding stone steps along the piers of the Pont du Gard, it is evident the Romans sacrificed the outlook for future repair consideration needs. This means that their concern would be the strength and durability of the structure. The Pont du Gard was built in immaculate fashion under keen eyes with intricate measurements along the terrain as shown in the piers, with marks of the Romans brilliance and organization skills being found on the soft yellow limestone bricks with a numbering system. Thus, the Romans were driven towards the aqueducts accomplishing its function and serving its primary purpose, than the aesthetics. Regardless, the Pont du Gard is a magnificent structure albeit certain beauty aspects neglected, but to claim the Romans failing aesthetically would be undertaking an extremist standpoint because the Romans did work on the aesthetics, but they did not prioritise

Documents regarding the commissioning and execution of the Retable of Saint Paul have not emerged till the present day, however, a detailed stylistic study corresponds to a report that around the year of 1419 the Mdina cathedral was enlarged eastwards by the construction of a choir and transepts. Such development to the cathedral could have presented the opportunity of a major altarpiece commission. The date of its completion remains problematic as during this period, decades could have elapsed between the commissioning and execution of such an extensive work. There is an abundant amount of evidence of this from Sicily, where patrons were liable to demand richness and grandiosity rather than innovation of style.

Architecture is an art, using familiar shapes and details in unexpected ways. (Hillier and Hanson, 1984) Architecture represents a social art, a cultural idea, and a profession catalyzed by new technologies, innovation, and a strong sense of conviction. Throughout time, architecture has persisted as one of the most profoundly important reflections of culture. (Alexander, Ishikawa and Silverstein, 1977) Building first evolved out of the dynamics between human needs and means.

Introduction Romanesque architecture started around 1000 to 1200 AD around the middle ages, extending from the decline of the Roman Empire until the begging of gothic architecture. It is one of the most influenced styles of architecture but also one of the most hard to characterize. Unlike other styles it developed independently in diverse locations such as Italy, Spain, England and France. Its characteristics come from the ancient roman architecture that developed into bigger prettier and more complex constructions. However, there are different views in where it spread first as well as where it got more influence from.

What was a major innovation of the Gothic cathedral? How did the architecture of the cathedral reflect the prevailing idea of God: One of the biggest innovations in the field of cathedral building was the flying buttress. The problem was that the only building material then was stone and wood, but wood caught fire to easily, it got old, and within a hundred years it would probably fall apart. So Cathedrals were built with stone and had huge vaulted ceilings, but another problem was that stone was very heavy, without the flying buttress there would be these huge columns of stone and it was frankly ugly!

Walking up to the magnificent La Pedrera building the first thing I had to see was the pillar known as the elephant's foot. This pillar is notorious and was mentioned in the reading due it occupying too much space on the sidewalk of Passeig de Gracia. During construction Gaudi was informed of this by the government and told to make modifications, but Gaudi wouldn't budge. He wrote a letter back to the government and stated that if he were to modify the pillar, he would include a mocking inscription that would be-little the government. Fortunately the government rethought their demands and the pillar wasn't changed but this small aspect of the construction process I find awesome.

Henceforth, the four Gothic cathedrals will be discussed

She has completed more than 30 years’ of experience working on almost a thousand projects all over the world, which is a landmark on today’s architecture scene, with imposing projects conveying a sense of lightness, flexibility and simplicity thanks to skilful use of a variety of materials like glass, plastic, titanium plates, steel

First, I will ask two of you to come to the board to participate in an experiment… Here are the materials: use them however you like… When I was a little boy – that is to say not so long ago – I was always drawing, drawing, drawing… all day long – even in class – most of the time, massive churches or elegant castles. Kaplas, Playmobils were invading the living room for months… Construction games were a passion, a unique way of making my dreams concrete. But as I had to clean the rooms – the least fun – I was always inventing a dramatic way of doing it: a cataclysm breaking the monument was by far, my favourite part. «

Leonardo’s notes contain many references to architecture, he liked most the plans for cathedrals. “Although the exteriors of early Christian churches were plain, the interiors were elegant and beautiful”(Mules). His studies in this area took off with the examination of various tools for building. Then this progressed into an area never studied- that of the different strengths of pillars, beams, and arches. Leonardo said “Art is never finished, only abandoned.”