As soon as you walk into the Metropolitan Museum of Art, there is an overpowering sense of culture and aesthetics. One work you’ll notice as soon as you enter the museum is the Great Hall, which is both grand and visually attractive. It contains intricate moldings on the surface of the walls, with a ceiling height comparable to an ancient Catholic church. The Great Hall isn’t the only visually appealing work; the Moroccan Courtyard is as well. The courtyard leaves you mesmerized by sheer beauty and openness of the courtyard. The hand-crafted patterns and shapes crafted on the wall are similar to those visible on linen clothing. Both the Great Hall and Moroccan Courtyard are architectural examples that not are only works of art but in fact differentiate in their composition as well as serve varying structural purposes, for the museum.
The Great Hall, constructed by architect Richard Hunt, serves as the lobby of the museum. It is one of the first pieces of artwork that visitors of the museum come across. The work presents a spacious atmosphere, not only on the ground floor but in the ceiling, through its usage of a dome-shaped glass ceiling. This in turn helps radiate natural-light throughout its lobby floor, which is important because it is the location of the information/welcome desk and is the first thing visitors see upon entrance. Furthermore, the artwork contains floral decoration pieces, ancient pillars and moldings, which are located throughout the walls. The Hall is mostly comprised of gray-color space which allows for the colorful floral decorations and other objections, become more noticeable. Ancient Pillars that are present throughout the floor serve not only an artistic-purpose but a structural purpose, in that they s...
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...the surface area, the size of the arches and the columns of the Great Hall are exponentially bigger than those of the Courtyards. The two areas are also different in color. The Moroccan Courtyard is richer in color than the Great Hall. The Great Hall is mostly comprised of four to five colors. On the contrary, the Moroccan Courtyard is decorated with much more different colors. The function of the Moroccan Courtyard differs from the function of the Great Hall. The Courtyard focuses mainly on Moroccan Art. The main purpose of it is to show what Moroccan Art looks like. The Great Hall is supposed to function as a lobby. There is no exhibits located in the Great Hall. The whole idea behind it is to present that more art lies ahead.
Both the Great Hall and the Moroccan Courtyard are excellent things to see. They really demonstrate both good art and good architecture.
The interior (as stated above) is certainly just as awe inspiring as the exterior, notably that of the Hall of Mirrors. The main feature of the hall is the seventeen mirrored arches that reflect the seventeen arcaded windows which look out onto Versailles equally- magnificent garden. Each arch contains twenty-one mirrors, for a total of 357 in all. This magnificent hall measures 73 meters long, 10.5 meters wide, and 12.3 meters high (240x34x40ft). Statues and busts line the walls. Other areas of note are the Versailles Gardens, and the Royal Chapel, both of which echo the palace itself in regards to the beauty and grace of their appearance. As mentioned earlier, Versailles is a key example of baroque palace architecture, and many of the finest craftsmen in Europe worked it for many years.
The court surrounds an artificial lake measuring 400 by 100 feet and crossed in the middle by an ornamental bridge. Various small pavilions protrude into the water, each with an octagonal plan and topped with a dome. These wooden framed structures are covered in layers of canvas and plaster. Artists molded the delicate lattice work, sculpture, and detail with additional plaster. The bridge and pavilions of the Court are influenced by Oriental architecture, an oddity for a Franco-British Exhibition. Matching buildings surround the lake on four sides. The large structure toward the upper right-hand corner of the postcard is mirrored by a pendant building on the opposite side of the lake. These were the Palaces of French and British Industries. At the far end of the lake and obstructed from view in the postc...
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
In this project, we going to compare two historical building, the Roman Pantheon (c.AD 125) and the Macon Auditorium completed in 1925 (“Macon City Auditorium”). Although very recent in historical perspective, we did find fewer information about the latest building compare to the Roman Pantheon. In this project, we did find a striking resemblance between these two building, starting from the idea behind the project, the architectural concept and it evolution and finally how these respective building fit within the time frame of their creator.
Bihzad has placed strong emphasis on the complexity of the palace’s architecture which he has adorned with colorful ornaments and emblazoned with gold. Each room is decorated with rugs and tiles featuring complex floral and asymmetrical patterns that cover each chamber from floor to ceiling. The palace appears to be three stories tall and features a balcony on the left and a zigzagging staircase on the right. The asymmetrical style of these two architectural features gives the impression of the work being 3-dimensional ...
The St. Louis Art Museum is one of the United States most renowned art museums that is located in our very own St. Louis. It has over 30,000 pieces of exquisite art that I had the privilege to witness. While there, I mainly examined the art pieces that were modern art, since that is of what I have a good working knowledge. There is a wide range of art that I also got to witness including the sculptures and the museum itself. In the past year, they have recently installed a new sector of their establishment that has done nothing less than enhance the entire museum’s overall beauty. The St. Louis Art Museum, there are many beautiful works, but there were three special projects that caught my eye while I was there. The Contemporary art periods, Modern art periods, the American art periods, and the museum itself.
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
When French President Francois Mitterand “personally selected Mr. Pei in 1983 to design the Grand Louvre to give air, space, and light to one of the world’s most congested museums,” (Markham, 1989) there were many critics. The press “lambasted the idea of shattering the harmony of the Louvre’s courtyard with a glass iceberg” (Markham, 1989). But Pei proceeded as planned, taking a major risk in creating a glass pyramid structure at the entrance. He did not focus on what the critics would say about his plans, but hoped that the world would see, upon completion, that his vision of a contemporary, functional entrance would not clash with the Baroque style of the Louvre itself.
To fully understand the painting, you first got to take a look at some of the background of the painting. The painting is depicted by Julius Bloch in 1927. It is an oil base painting. The painting is somewhat large in size, but there is certainly large paintings in the museum and it that hall particular. The frame seems to be gold in color, but is hard to tell since no detail is given on the information plate to the right of the picture about the frame. This particular oil base painting of Julius Bloch is incredibly unique and stands out from the other paintings in the hall.
...f structure, a museum. The one contradiction in the contemporary design theory that Libeskind dares to fight is that to work in the upcoming century means to work with reduced means. His works pose optimism in the sense that architecture, if filled with a satisfactory amount of reasoning, and justification with the help of the advancement in material technology, and the foremost, creativity, will be able to address the profound of any project seeking for poetic embodiment. While modern architects have tried hard to eradicate the traces of history from the forms, postmodern architects like Liberskind would embody the traces of history in between the forms. In Lisbeskind’s Jewish Museum, the invisibility, the implication, and the embodiment come first, then the advancement of material methodology assists the build of the visibility, and the physical infrastructure.
The building’s main purpose is to display exhibitions in the Netherlands. The building was built by OMA and consists of a large space approximately 3,300 square meters. The large space gives the gallery the ability to host multiple exhibitions at the same time and therefore attract more viewers. Many people view this gallery as a museum; however it is not necessarily just that. Unlike other museums, Kunsthal’s goal is to combine the art and exhibitions with education. It offers high-quality showings and is closely intertwined with institutions nearby. The Kunsthal offers learning programs as well as research opportunities. The most incredible thing about the building is how it was built. Koolhaas stayed loyal to the materials he finds interesting especially when combined together into one space. The walls are made from “unfinished concrete and corrugated, or ridged, plastic; metal grids serve as the floor; and tree trunk are used as pillars.” Koolhaas enjoys using inexpensive materials and resources that would not commonly be used when creating a larger gallery such as this one. His desire to use materials such as tree trunks, plastic, and concrete is similar to the techniques and fundamentals of the Bauhaus. The Bauhaus’s main goal is to stick to simplicity and use common fundamentals to create something more than what is seen at first glance. The school
The German Pavilion, more commonly known as the Barcelona Pavilion, is one of the most recognizable buildings of the modern period during the early 20th century. It encapsulates every element of modern architecture in one structure. Ludwig Mies van der Rohe, one of the fathers of modern architecture, was the architect of this beautiful building. In this essay I will explore how Mies impacted the modern movement in architecture through his groundbreaking ideas using the Barcelona Pavilion as a case study.
Paris today is known as a center of arts and rich culture both acclaimed and original. Famous moments pop up through the history of France’s art, such as the impressionistic artworks by Monet, the École des Beaux-Arts teachings of classicism, and the iconic Eiffel Tower by Stephen Sauvestre. Paris augments itself with numerous museums to catalog countless masterpieces and sculptures throughout France’s enduring, yet sometimes gritty, history. As a whole, Paris comprises of a mixture between historic architectural themes like rusticated brick clad, mansard roofs, striated columns, and a modern day architectural themes like engineered metalwork, and external program support machinery. The notion of classic French architecture, juxtaposed to modern French architecture, creates unsettled opinions about the urban fabric. Among controversial architecture, the Louvre stands a testament to the evolution of art and architecture from the structure’s foundational roots built several centuries back to the modernistic steel and glass geometric surfaces today. Touring the building today offers the sight of blue mansard rooftops, ornate rhythm in the façade, exorbitant stonework detail, and one obtrusive glass pyramid. The Louvre was not founded as a museum, but rather a fortress of defense whose program changed as the centuries turned. The history of the building’s program, in addition to the architecture styles fabricated through the centuries, convey the Louvre as a piece of art still a work in progress by an artist. In fact, much like I. M. Pei’s controversial installation of a glass pyramid into the courtyard, a new out-of-place architectural element sets itself in the Louvre’s domain within the past 18 months as a new stroke on th...
Choga Zambil and Djeser-Djeseru are not as well known today as buildings such as the Empire State Building or St. Peter’s Basilica, but when they were originally constructed each was respectively possibly the greatest monument of its time. While the structures may have had formal differences, both were meant to show the power and strength of their creators. They both do this through their size and the architectural choices made in their construction which reference the past while pointing towards the future and innovation.
As Nuttgens eloquently expressed, architecture is a “vital…expression of the experience of mankind.” It is more than just buildings used for storage, housing, religious purposes, simple functionality; it is a great manifestation of the commonality of man, the great connecting factor of humankind. However, it can be argued that the ancient and classic forms or architecture are in essence more “profound…lasting… [and] inexhaustible” than those of their modern counterparts, because of some key differences in the ways ancient and modern architecture are practiced.