About the Anstey’s building
According to UNESCO, heritage is considered to be our legacy from the past, what we live with today and what we pass on to future generations. This extract will specifically examine the cultural heritage site of the Anstey’s building, but prior to that, one must first define what cultural heritage is or is conceived to be. Cultural heritage is an embodiment of sites or people, particular to this investigation, cultural heritage sites are portrayed through architectural designs which display a certain uniqueness of that particular building. What is significant about the Anstey’s building is that it is a tangible site, its existence is still prevalent in this day and age, despite that its function have been altered to suit the usage of the time
According to the (heritage portal), The Anstey’s building was originally built as a department store in 1935, which was housed by Norman Anstey. The building was said to have “right-angle apartment blocks with cylindrical glazed windows…rising off a four story podium, with a rounded corner” (artefacts). What make...
Monuments and museums are arenas of public history and for the formation and articulation of identities and narratives.[1] Decisions taken as to the formation of museums and the selection, display and organisation of exhibits are influenced by criteria which are not necessarily politically neutral; these may especially involve devices of political elites to emphasise aspects of communal togetherness and thus exert control over communities.[2] Memory and commemoration of past events and generations is by its nature a political and contested act, especially in sharply divided societies.[3] It is no surprise that recently established governments and states should particularly concern themselves with the production of such forms of festivities, commemorations, and monuments.[4] As rulers of a sharply divided society, unionist elites in Northern Ireland in the aftermath of its eventful creation in 1920-1 had particular reasons to concern themselves, and did concern themselves, with such strategies of power.[5] The integration of the province's Catholic minority may have been, or may have been felt to be, beyond the rulers of Northern Ireland;[6] but this very fact heightened the importance of preserving the highest possible degree of political unity under unionist hegemony among the Protestant majority.[7]
Each ethnicity has its own unique characteristics and knowledge from religion, language, food, art, music, and social traits; this is their cultural make- up. This Heritage tool is used to obtain a small fragment of family history, to help analyses their culture. The three people interviewed with the Heritage tool are from three distinctively different backgrounds. The first is from the rural Midwest, second is from Barbados and the third is from.
A monument is used to memorialize events or people, whether it is used to honor moments of great achievement or to pay tribute to deep sacrifice. Several factors are considered when creating a monument or a memorial; materials, design, and location. Each factor needs to be carefully considered to make a monument memorable and intriguing.
The Elizabethan era was an era of art above all else. Elegance reflected in all areas of the peoples’ lives. From the entertainment and language to the churches and castles, beauty shone bright.There were many vents for artistic creativity during the Elizabethan era; countless instruments, painting, books, playwright, and last but not by any stretch the least, architecture. Elizabethan architecture has a vast amount of variety and personality, the buildings reflected the pride of both the inhabitants and the builders.
In the article of “Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects”, the author, Michael Baxandall mainly discussed interrelationship within the group of three agents upon their influence and reflect of the artifacts in the museum, and the understanding of culture elements behind the display. In the first part of this paper, I will identify the points of view of the author. In the second part, I will analyze the layout of the gallery, “Imagining the Underground” in Earth Matters in Fowler Museum in UCLA. Several discussion related to the settings of the museum and the article will be discussed interactively. In general, this paper tries to show the robustness and the weakness of Baxandall’s model, which will specified.
I’ve decided to write my paper on a building that I feel is aesthetically pleasing. The building I chose is the Castle museum in downtown Saginaw, Mi. The Castle Museum was a building that was originally constructed to be a post office. It has French Renaissance Revival architecture and was dedicated on July 3, 1898. The architect behind this building was William Martin Aitken and he proclaimed that his design for this building was to have been inspired by the early French settlement of the Saginaw Valley. It is said that once the city of Saginaw started to expand so did the Post Office.
Duncan’s (1991) analysis of western museums is defined through the theme of “durable objects” as a criterion to judge the heritage of American and European art as a ritual of the modern state. In this manner western art museums are built like “temples” as a symbolic and figurative representation of greatness of western culture throughout the world: “[They] are more like the traditional ceremonial monuments that museum buildings often emulate—classical temples” (Duncan 90). This interpretation of American/European museums defines a dominant source of cultural heritage that ritualizes
It challenges my mind to think of how these great buildings were constructed by the Egyptians so long ago. The use of precise measurements and careful architecture is outstanding for a civilization to practice in that period of time. I felt that I needed to look into these ancient landmarks more deeply and research as much is I could about them. Writing this paper is a good way for me to better appreciate and understan...
Items displayed in museums hold historical significance and are representative of society’s culture. Preserving valuable collections for education and enjoyment is a primary role of museums. While fulfilling this role, the architecture of the museum is also an important factor. Historical buildings are converted into museums and architects must consider the use of the space and the museum’s purpose during their initial design. Other museums are built with a clear purpose in mind. As museums are designed, many characteristics are determined. Display and storage spaces as well as visitor services impacts museum’s functionality. Based on the function of a museum, architectural requirements are different.
Renaissance architecture can be classified by Classical Roman, or Greco Roman, elements and was followed by the Baroque architecture, and Gothic architectural styles. Examples of Classical Roman elements would be basilicas, columns, domes, as well as the accentuation placed of balance, proportion, and geometry. The Palazzo Farnese interior shows a significant amount of arches and Renaissance paintings on the inside. On the exterior of the Palazzo Farnese a large number of columns are visible, as well as the geometry of the windows located above the columns. Carnegie Hall, in New York City, New York was opened in 1891 and shows drastic similarities with the Palazzo Farnese. With the architectural details of Carnegie Hall it can be shown that
Stonehenge is located near Salisbury, England and according to an archaeologist who has investigated Stonehenge close up, Mike Parker Pearson (2010) “...the new date for the raising of the sarsens [the large stones]...[is] between 2600 and 2480 B.C….” (p. 47). It consists of the large sarsen stones which are the ones that are in pictures and on postcards. Then there are smaller bluestones that are mixed in with the sarsens, Y and Z holes that form full circles around the sarsen stones, and Aubrey holes which form a circle around the entire structure. There is a large stone outside and a ways away from the circle called the heel stone. There are two station stones that stand to the side of the of the circle and over the Aubrey holes. They form a perfect rectangle with two barrows, or burial mounds, that are there.
...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.
In the process of development of human society, architecture and culture are inseparable. Cuthbert (1985) indicates that architecture, with its unique art form, expresses the level of human culture in different historical stages, as well as the yearning towards the future. According to his article, it can be said that architecture has become one of the physical means for human to change the world and to conquer the nature. Consequently, architecture has been an important component of human civilization. Since 1980s when China started the opening and reforming policy, a variety of architectural ideas, schools and styles have sprung up. Accompanying with a momentum of...
The pavilion is significant figure in the history of modern architecture, regarded to be influential with its open plan and use of exotic material. There is a blurred spatial demarcation where the interior becomes an exterior and exterior becomes the interior. The structure constantly offers new perspectives and experiences, as visitors discover and rediscover in the progress of moving throughout the in’s and out’s, a non directional conforming circulating movement pattern. To facilitate this movement, even though it is a visually simplistic plan, its complexity is derived from the strategic layout of walls with its intimation of an infinite freedom of
However, architecture is not just the future, after all, buildings are intended to be viewed, traversed and lived by us, people. Despite this, many architects today rarely think deeply about human nature, disregarding their main subject matter in favour for efficiency and an architecture of spectacle. In this there seems to be a misconception that underlies much of architecture, that is, human’s relationship with the city, the building and nature. In much of today’s architecture, people are treated with as much concern much as we treat cars, purely mechanically. The post-modern search for the ‘new’ and ‘novel’ has come to disregard the profound affect design has on our lives, impacting our senses, shaping our psyche and disposition.