I.M.Pei is a Chinese American architect who born in April 26th in 1917 .his style was described as modernist with significant cubist theme He is known for combining traditional architecture elements with progressive designs based on simple geometric patterns. He sprouted the idea of learning architecture by watching the Park hotel rise slowly day by day.1935,Pei enrolled in university of Pennsylvania's architecture school and then transferred to
Massachusetts mstitute onechnology .Pei didn't like Beaus-Arts architecture so he spent his free time researching emerging architect. In the early Eighties, President in France wanted to reconstruct the Louvre,. The goverment collected designs and most of the candidates are famous architect from France. Mr,Pei said that Parisians scolded him a year and half and they even described his design like a fake diamond) thecer-werkinety percent of Parisians don't like his idea. Mr. Pei spent four months there to see how they, allocated the collections and learn the history, then he figured out after enter; the gate there is no directions and if you want to see Mona lisa you should pass a long dark path to reach there, and they were only two bathrooms inside, so he came up the idea oflpyramid,,he thought that the size of glass pry mid is small but the area it included is huge, the lighting is also good and glass can reflect the color of Louvre easily which also showed his respect for the history r.:}he also designed four hundreds auditorium ,bookstores ,restaurant and also shopping mall underground. Thirteen curators chose MrsPei's .design at last but people thought that his design destroyed both the Louvre and the pyramid they can't accept a Chinese American architect do the design either....
... middle of paper ...
...rfect use of it, the trifle rood of the Suzhou museum exactly showed the traditional features of architecture in Suzhou. He told people that architecture is not only a building, you can choose not to see it but its always there. Some people may not like it so there is criticism, architects should be brazen. His assistant said that he did not remember any moment that Mr. Pei was said, he is a calm person and every time he saw Mr. Pei, he is with that unique charming smile. Mr. Pei did not enrolled in the design for Olympic in Beijing, he said that Suzhou museum will be his last work and it's important to know that you have a limit.
Works Cited
landscape. Ed. ying yang. N.p., n.d. Web. 21 May 2011. arch info. Ed. ling z. jian. N.p., 3 Oct. 2009. Web. 15 Nov. 2013. jodidio, Philip, and janet a. strong. I.M.PEI complete works. First ed. N.p.: Rizzoli, 2008. Print.
Gehry draws his inspiration from famous paintings such as the Madonna and Child which he qualifies as a “strategy for architecture” (Friedman M. , 2003, p. 42) and which he used as an inspiration for a project in Mexico . Through his interpretation of the paintings and artwork, Gehry looked for a new kind of architecture. His search for a new type of architecture culminated in 1978 with his own house in Santa Monica. What was once a traditional Californian house would be redesigned to become one of the most important and revolutionary designs of the 20th century, giving Gehry international prestige and fame. Frank Gehry’s “Own House” uses a mixture of corrugated metal, plywood, chain link and asphalt to construct a new envelope for an existing typical Californian house. This house has been inspired by Joseph Cornell, Ed Moses and Bob Rauschenberg. Gehry comments on his house by saying that there was something “magical” (Friedman M. , 2003, p. 54) about it. He admits having “followed the end of his [my] nose” (Friedman M. , 2003, p. 54) when it came to constructing the “new” house, which led Arthur Drexler, former Director...
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
...’s book accomplishes a lot in its timid three hundred pages, it lacks more examples of modern architecture and historical landmarks such as the ones discussed above. Also, the lack of chronological order is a new approach, but it might not appeal to all readers.
It is the new decade after the end of world war two and modernism is a well-established practice. Its pioneers and spearheads are prevalent figures looming over the new architects and designers who are trying to make their mark in the shadows of such historically influential people. With new technologies and materials emerging from the world wars the next era of modernism had started to evolved, bringing with it philosophies and ideas which seemed far removed from those of the pioneers of modernism “What emerged in the late 1940s and 1950s was an expanding synthesis of questions utterly removed from the confident statements of the pioneers.”(Spade 1971,10) Two significant buildings were designed in the 50's, both of them for educational institutes and to house students of architecture, there were both designed in completely different styles and methods. The first is Ludwig Mies van der Rohes' Crown Hall, finished in 1956 and designed as a part of a campus master plan for the Illinois Institute of technology in Chicago. Mies' design for Crown Hall is one of his most realised expressio...
The fact that Thomas Jefferson was an untrained designer with what seems to be architectural genius would give reason enough to study and research his works. Jefferson said, “Architecture is my delight.” Monticello, the Virginia Capital, and the University of Virginia being Jefferson’s most well known architectural feats. His French style architecture can be seen all over the state of Virginia and the world.
We do however possess a handful of engravings in scholarly books that describe his earlier inspirations and career successes. Although Le Vau never visited Italy, he was increasingly affected throughout his mid-career by the contemporary Italian trends. Le Vau, “collected and carefully studied through prints, books, and drawings the works of classical Roman and Renaissance Italian architects and builders, such as Vitruvius, Andrea Palladio, and Sebastiano Serlio” (Byme, 2005). Through the mixture of these classic roman and renaissance Italian architect styles, Le Vau developed a repertoire of design elements that he would utilize in the structure and ornamentation for his own works. In his earlier collection of work, Le Vau designed grand structures, retaining the French tradition of assembling various building units opposed to establishing a single uniform, unified whole. The classical elements surrounding the building’s interior and façade, such as the pilasters, columns, and pediments, appeared out of place, sporadic even, forcing the whole effect of the building to be more provincial than monumental. This effect that Le Vau crafted was not that of traditional classical French architecture, rather the beginning of the Italian influence seeping into his design
It appears that from the very beginning, Frank Lloyd Wright was destined by fate or determination to be one of the most celebrated architects of the twentieth century. Not only did Wright possess genius skills in the spatial cognition, his approach to architecture through geometric manipulation demonstrates one aspect of his creativeness. Forever a great businessman, Wright seemed to know how to please his clients and still produce some of the most innovative and ridiculed buildings of the early century. While the United States appeared to be caught up in the Victorian style, Frank Lloyd Wright stepped out in front to face the challenge of creating "American architecture" which would reflect the lives of the rapidly growing population of the Midwest United States. Howard Gardner in his book "Creating Minds" does not make any mention of Frank Lloyd Wright, an innovator who drastically influenced architecture of the twentieth century around the world.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
Frank Lloyd Wright, American architect, who was a pioneer in the modern style, is considered one of the greatest figures in 20th-century architecture. Wright was born June 8, 1867, in Richland Center, Wisconsin. When he entered the University of Wisconsin in 1884 his interest in architecture had already acknowledged itself. The university offered no courses in his chosen field; however, he enrolled in civil engineering and gained some practical experience by working part time on a construction project at the university. In 1887 he left school and went to Chicago where he became a designer for the firm of Adler and Sullivan with a pay of twenty-five dollars a week. Soon Wright became Louis Sullivan’s chief assistant. Louis Sullivan, Chicago based architect, one of America’s advanced designers. Louis had a profound influence on Frank Lloyd Wright. Wright was assigned most of the firm’s home projects, but to pay his many debts he designed ‘Bootlegged Houses’ for private clients in his spare time. Sullivan disapproved, resulting in Wright leaving the firm in 1893 to establish his own office in Chicago.
Born in a cold winter day of 1841, in Lomoges, France, Pierre Augustine Renoir lived a long and happy life of more than eight decades. Being one of the six children in the poor family of a tailor and seamstress, Renoir from childhood understood what he is up to in his future life. From early age he was drawing and self studied art in free time. Renoir’s parents arranged him to work in a Porcelain Factory, where he was working as a decorator of plates and other objects. The fortune came up in such a way that when Renoir was five his family moved to Paris and lived in a house right by the famous French Louvre. Most of his free time, Renoir spent in Louvre trying to copy the famous works from the walls of the museum. As the time passed more and more people started recognising his talent which made him many wealthy friends. His talent of great drawing allowed him to enter the famous during
... artist/designer, so this makes it impossible for me to discuss the person or people who put this idea to life but the building itself is what attracted me to perform my research and base my essay on.
On the 8th of November 1792, the French Revolutionary government decided to reverse the ‘Grande Galerie’ of the Louvre into a museum of arts which exhibited the royal collection and a wide range of artifacts.
The Eiffel Tower has become associated with Paris; a symbol. It is an icon for France, travel and romance, among others. What made this Tower vastly popular is the cause of copious reasons. The most prominent reason is that it was a major point of controversy between Gustave Eiffel and the artists of Paris. Parisians opposed the construction of this atrocity. In a manifesto signed in 1887, two years before the Tower was built, artists of Paris claimed that the beauty of Paris will be debased by the repulsiveness of the edifice. They stated that artists from around the world would have the right to openly mock Paris. They opposed it remarkably so, that, quoting from the signed proposal, they insisted for twenty years “we will see stretching out over the entire city, still quivering with genius from so many centuries, we will see stretching out like a growing ink spot, the hateful shadow of the hateful column of bolted iron”. Gustave Eiffel responds eloquently with the promise that the building is stable and that there is a certain attraction to structures as immense as the Eiffel Tower. He compares his design to the pyramids in Egypt. His comparison is that if the pyra...
Workshops designed by Gropius in 1925. The incredible, intricate design of the opera house is a wonderful illustration of everything that the modernist wanted to stray away from; the gold statues and carefully carved stone existed as nothing more than beauty for the sake of being beautiful. However, working in an era still feeling the staggering tolls of the Great War, Gropius designed his workshops to be very straightforward. Not only was there no need for these superfluous adornments, there was also a scarcity of resources, which lead Gropius to use cost-effective materials such as glass and concrete for the majority of his buildings. However, there was still beauty in such a simplified work. From the shine of the glass to the sharp and precise geometry, there was still art to be found for everyone wh...
Philip Cortelyou Johnson (July 8, 1906-January 25, 2005) was an influential American architect who played a significant role in both understanding and creating recognizable landmarks and buildings internationally and throughout the country. With his influence as a historical architect, he has had a tremendous effect on today’s generations of architects and his legacy will live on through his inspirational buildings and works. Johnson was born in Cleveland, Ohio to a well known Dutch family who is recognized for laying out the first town plan of the Dutch settlement, known as New Amsterdam. Born in New York, Johnson often took time off of school for extended trips to Europe, causing his love and fascination with architecture. In 1928, he met Ludwig Mies van der Rohe, who at the time was designing the German Pavilion, and had also joined forces with the architectural historian Henry Russell Hitchcock, forming a lifelong competitive and collaborative relationship that inspired Johnson to discover his new profound love for architecture. Johnson was an influential individual within pop culture, not only with his modern buildings, but also was mentioned in David Bowie’s, “Thru These Architect’s Eyes” and appeared in Nathaniel Kahn’s 2003 documentary, “My Architect”, which highlighted Louis Kahn’s legacy of being one of the most influential architects of the 20th century. “Johnson the hedonist had little truck with the view that architecture could be a force for social good but viewed it as an aesthetic experience, a triumph of style that would dominate the skylines of corporate America. Not surprisingly, he was viewed as morally suspect by many of the austerely ascetic founders of Modernism” (The Times). Philip Johnson played a signific...