On the exterior of the building, Trost decided on a buff terracotta façade that helps to blend the building in with the surrounding scenery.2 The Tuscan-styled Roman hexastyle portico sits on a podium, located in center of the building with rectangular block wings on each side of it.3 The portico is surrounded with six Corinthian styled polylithic columns.4 The columns and most of the façade is pieced together, and is not made of solid concrete.5 The capitals are adorned with helix, acanthus leaves, and a fleuron.6 Past the astragal, we see the shaft is fluted down to the filet, with a torus, scotia, torus, and plinth making up the base.…
Ancient World Civilizations – Ancient and Modern Architecture Assignment: The Pantheon Porch in Rome and the Wentworth Hall Entrance…
The Music Center was well lit, and very inviting. The outer walls of the center are made of glass and add to its remarkable appearance. Its free-flowing roofline caters to the acoustics of the concert hall while maintaining its beauty on the outside. Just as elegant as it is from the outside, the Concert Hall at the Music Center is even more aesthetically pleasing to the eye, an architectural wonder; small, yet…
The Auditorium opera was placed in the inner court and simply took more than half of the structure. No signs symbolized the opera, as its only indicator was the tower which marked its entrance. The incredibly large auditorium consisted of more than four-thousand seats, which had been raised up to ten-thousand later on. This dramatic change of capacity made The Auditorium suitable for all kinds of events such as great political conventions. Technically, Sullivan had beaten the majestic traditional European style by designing an auditorium with no side seats. Moreover, he created a new concept in theater, he designed the auditorium in a circular shape that made it look like a stadium. This extremely smart and creative couple ,architecture and engineering, delivered the perfect appearance in the new type of ceiling work that was designed by the their perfect unity. The ceiling was designed as a conical tunnel that looked like a speaking trump. Furthermore, it increased in height and width the farther or closer you moved away from or upon the stage. Believe it or not, this incredible work that was done on the ceiling was not for attracting peoples attentions on its beautiful details, rather it was all about designing a tunnel based on scientific facts for the graduation and diffusion of sounds. Regardless of all the mind-blowing aspects of this art, the auditorium had a small stage making it a major negative feature, since…
Upon finishing the circuitous walk, we continue to the apse. Since the cathedral is laid out in a cruciform shape, we pass by the two transepts (right and left rectangular shapes of a cross). Pillars line the aisle stretching a magnificant18 m to the ceiling. Once in the nave, we can observe the vaulted ceiling, which is 36 m high, and stained glass windows on either side. Prior to entering the Cathedral, we had noticed the unusual flying buttresses (the supporting arches over the windows) on the outside walls of the nave, created to support the extra tall vaulted ceiling. The extraordinary stained glass windows are dark, but still light enough to allow us to view “biblical stories, legends of the saints, the lives of heroes like Roland and Charlemagne, and scenes of everyday medieval life”.…
The plan is simple enough: a circular enclosure aside a rectangular entrance. The entrance sports a classic Greek portico of granite columns topped by a triangular pediment. There are three ranks of the 39 ft Corinthian supports, eight in front and two sets of four further in leading to the main rotunda. A rectangular section joins the portico to the rotunda.…
It was a building of the ordinary classical type. It is rectangular with a gabled roof which is supported by a colonnade on all sides. There were eight columns in the first rank and two pairs of four behind. The building was rebuilt completely with a few alterations made in the early 3rd century. The building is circular and constructed of concrete which is faced with bricks and has a great concrete dome (or roof), rising from the walls. At the front there is a porch of Corinthian columns supporting a gabled roof with a triangular pediment.…
The most impressive part of the design is in its dome, where the complex corners and curves of the plan are pulled upwards like a tent. Standing at the center of the church and looking upwards, it’s beautiful shape is revealed, and the pronounced entablature makes the visitor want to flow around the space, following its shape. The dome is filled with natural light, which elevates the space into a spiritual…
Contrasting the outside with the inside we can say that the inside takes a more Roman swing and portrays itself as less idealised than the classical greek architecture of the exterior. The exterior is a lost more basic and unadorned with that much detail contrasted with the inside, inside we see an embellishment of decorations including a dome using the so called honeycombing effect also called coffers which allows the building to appear larger than it actually is. The eight niches to the side indicate where the statues would have gone but have since been lost to history. The marble floors contributing to this idea of simple geometry as they are inlaid with coloured granite making circles and rectangles however sadly much of the original marble and bronze which would have been on the originally has been removed particularly due to Pope Urban VII's who ordered the bronze to be melted to help with…
Entering the villa the first room I walk into is the atrium. The atrium is the main public room in a Roman house. In the middle of the atrium is an impluvium, which is like a small pool. And it has an open ceiling above it so it can catch rain water. This room leads me out to the Inner Peristyle. Rows of columns surround this beautiful garden. The columns are modeled after those in the House of the Colored Capitals in Pompeii. In the corners are marble fountains that are re-creations from the Villa dei Papri. And a narrow pool is in the center and is lined with replicas of bronze statues that resemble women that would have once been found at the Villa dei Papiri. As I walk around the colonnade I notice the coffered ceiling. This ceiling imitates stone ceilings found on the Street of the Tombs in Pompeii. The colonnades floor is paved with terrazzo.…
Since the early twentieth century, Australian architects started to abandon the impacts of British colonialism, followed with a consideration of new Australian national identity. The concepts of nationalism and regionalism emerged from numerous modern architecture, Sydney Ancher and Richard Leplastrier were the representatives, who practiced with pragmatic response to the vernacular climate and geographic conditions of the Australian landscape. However, their works had alike implication of foreign movements, particularly the influence from Ludwig Mies van der Rohe, Jørn Utzon and traditional Japanese architecture.…
Our Enterprise Strategy sets out our vision for the Opera House as a dynamic and evolving organisation now and into the future. Our mission and values lie at the heart of our Enterprise Strategy, guiding our plans to ensure the Opera House retains its essential role in Australia’s life and identity.…
Museums act as a place’s collective memory, often reinforcing sense of place, being and community. The Museum of Sydney is famous for its award winning ‘Edge of the Trees’ sculpture that was created to mark the first site of contact between the Aboriginal Peoples and those arriving on the First Fleet. Furthermore, it holds remains of the first Government House built for Governor Arthur Philip, as well as the Gadigal Place exhibition which celebrates the history, culture and survival of the Gadigal tribe, who were the original inhabitants of the land the museum is built upon. Zeppels (1999, p.183) work mentions that the Museum of Sydney was built upon the site of the First Government House, where Bennelong was held as a mediator; and therefore it acts a symbol of the turning point in Aboriginal Sydney’s history. It is a representation of the…
The center of the stage is where I am. I am surrounded by a thousand or so people. The sound of the organ blasts through my ears. The lights leave a warm feeling over my body but all I can see around me is the darkness of the walls. I am standing in the Sydney Opera House. (BEGIN SLIDE) The Sydney Opera House, located in Sydney, Australia, is one of the most majestic buildings in the world. In its short time, the Sydney Opera House has earned the reputation of a world-class performing arts center & has become a symbol of the Sydney & Australian nation. (END SLIDE) An expert evaluation reported to the World Heritage Committee stating: “…it stands by itself as one of the indisputable masterpieces of human creativity, not only in the 20th century but in the history of humankind.” Today, I am going to inform you about the three theatres inside the Sydney Opera House; the Drama theatre, the Joan Sutherland theatre & the Concert theatre.…
The Seagram Building is prime example of the international style of design in the 20th century. The building is a true landmark of the city having an open plaza at the base of the building with high ceilings, floor to ceiling tinted windows and bronze mullions. Its imperious design, set in a plaza with fountain, was imitated many times and became an icon of North American corporate design. Mies is known as the father of the steel and glass structure. Mies designed many buildings during his life however none of the would be as popular and famous as the Seagram Building.…