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Example research essay topic: University Of Wisconsin One Of The Greatest - 2,560 words

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Frank Lloyd Wright The Pioneer of creating Greatness Through Simplicity These ideas proposed by Wright represent a half century of ingenuity and unrivaled creativity. Wright was unquestionably a architectural genius and was years ahead of his time. The biggest obstacle which held Wright back throughout his career was the lack of technogaly that was present during his time. As a architect, Wright accomplished more that any other in history, with the possible exception of DaVincci or Michangelo. His philosophy of Organic Architecture showed the world that form and function could both by achieved to create a house that was both true to nature and affordable. Wrights homes, have today become monuments of greatness and distinction.

Most of them serve as museums, displaying the his ideas and the achievements of a lifetime of innovation. It wasnt until Wright published The Natural House however, that he fully was able to illustrate all of his ideas relating toward housing. In the Natural House wright defines the meaning of Organic Architecture and how it can be applied to creating housing which provides a closeness to nature for the occupants. Wright was undoubtedly a romantic and individualist. His feeling toward nature and self integrity can best be shown by comparing them to those shared by Emerson and Thoreau. Wrights deep love of nature and his individualism were formed from the events which influenced him as a child and up until his days working for Louis Sullivan.

In order to fully understand the ideas which Wright proposed through his philosophy of Organic Architecture, one must first understand the events and influences which led to their creation. As a child, Wrights parents always encouraged him to be a free thinker and individualist. Both of his parents were intelligent and creative people by nature. They, of all people had the greatest influence on Wright. Throughout his life they were extremely supportive of Wrights dream of becoming an architect, and always made sure that he had books and pictures of buildings that he could study and learn from. Wrights parents had little money, but they always found the extra money needed to support their childrens intrusts.

When Wright became old enough to begin learning about working, his parents felt that sending him to his uncles dairy farm during his summer break from school would provide him with the proper work ethics and morals needed to become a responsible adult. The work on the farm was rigorous and seemingly endless to Wright. He despised the chores which he was required to do. Wright attempted to run away almost each summer that he was sent there. However, his kind but stern uncle promised him that all of his hard work would make him a better person and would teach him responsibility. As the years passed, Frank began to dread working on the farm less and less.

He became fascinated with nature and developed a deep respect for it. It was there, on a small Wisconsin dairy farm where Wright began to ponder the theory of integrating architecture with nature. Wright attributed his love toward nature and his respect toward it, to the many summers which he spent on his uncles farm. The other major influence in Wrights life, was the collapsing of the State of Wisconsin Capitol Building.

At the time, Wright was only 13 when he witnessed the building collapse upon itself, killing all 40 workers who were inside it. Severely traumatized and unable to sleep for weeks, Wright kept wondering why the tragic incident occurred. Weeks later, it was revealed that the cause of the buildings collapse was a lack of support from the pilar's which held up the above 3 stories. The architect and the builder both reflected to test the pilar's before they were introduced into the buildings structural design. After Wright learned this, he vowed that if he became a architect, he would throughly test all of the support membranes used in the construction of all the building projects which he oversaw. The greatest factor which Wright put forth in his philosophy of Organic Architecture was that of safety.

Wright felt that all buildings, whether they were commercial or residential should be built and designed so that they were structural sound as well as true to nature. Wright illustrates his feeling toward the importance of safety by saying There is no excuse which I have heard, that can compensate for a poorly designed building. The only thing that I can say about a individual who takes no responsibility for his ideas is either lazy or a truely uncaring person (Wright, The The Natural House, 74). Wright seldom talked about the tragic calamity which he witnessed as youth, but it was clear that the memory left a deep impression upon him. At only 16 years of age, Wright began student Civil Engineering at the University of Wisconsin. Growing board with his clases, Wright left his studies and went to Chicago hoping that he could obtain a job as a architects apprentice.

Fortunately Wright sucessfully managed to secure a apprenticeship job with Louis Sullivan, renowned modern architect. Wright worked with Louis Sullivan and his partner Dankmar Adler, for 6 years. During this time, Wright learned form Sullivan what his studies at the University of Wisconsin lacked: a design concept which was new, and was logical to Wright. Sullivan shared the same feeling toward about Wrights philosophy of Organic Architecture. Sullivan showed Wright how his philosophy could be applied to the housing needs of the late 1800 s. Without Sullivan's direction and guidance, Wright may have never been able to accomplish what he did.

Wright referred to Sullivan as Lieber Master because Wright felt that he was truely a master at his work and should be addressed with the utmost of respect. Unfortunatly, when Sullivan found out that Wright was moonlighting, he was forced to fire him. Sullivan felt betrayed and was left signed by the incident. Wright was so involved with his ideas that he neglected to respect the trust and teachings put forth by his teachings. After Wright first began to recieve praise for his early design work, he felt it necessary to fully communicate and define his philosophy of Organic Architecture, so that everyone could get a clear picture of its ideas. He to accomplished this by expressing his ideas in a book called The Natural House.

Of all books which Wright published, The Natural House had the greatest impact. As Emerson and Thread proposed divine models for behavior and self integrity, In The Natural House Wright proposed a divine model for what he considered to be the perfect house. Wright stated that a house should be as close to nature as possible. He illustrates this by stating A house which is constructed in a manner which is complement ive to nature, rather than insulting, is one that will last the longest and be the most attractive. Home | Free Essays &# 038; Term Papers| Free Stuff | Study Tips | Earn Money | Links Arts Business &# 038; Econ.

College Admissions English History Miscellaneous Science &# 038; Tech. Psychology Shakespeare Social Issues Custom Writing Search For Papers By Keyword @ Paper Store Top Essay Sites Top 50 Top 25 Top 100 Free Newsletter The Avant-Garde Architecture of I. M. Pei The Chinese-American architect Ie Ming Pei (I. M) is known as one of the greatest architects of the Twentieth Century. His long, brilliant career was highlighted by several internationally famous structures.

While many of Pei? s buildings were generally accepted by the public, some of them precipitated fair amounts of controversy. The most notable of these controversial structures is his Glass Pyramid at the entrance of the Louvre in Paris. For these reasons, I. M. Pei seems to be an architect who exhibits interest in the avant-garde through both the creative design and aestheticism of his architecture.

Pei was born in China in 1917 and immigrated to the United States in 1935. He originally attended the University of Pennsylvania but grew un confident in his drawing skills so he dropped out and pursued engineering at MIT. After Pei decided to return to architecture, he earned degrees from both MIT and Harvard. In 1956, after he had taught at Harvard for three years, he established I. M.

Pei &# 038; Partners, an architectural firm that has been known as Pei Cobb Freed &# 038; Partners since 1989. This firm is famous for its successful and rational solutions to a variety of design problems. They are responsible for many of the largest pubic and private construction projects in the second half of this century. Some of these projects include the East Building of the National Gallery of Art in Washington D. C. , the John F. Kennedy Memorial Library in Boston, and the Rock and Roll Hall of Fame in Cleveland.

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. When the pyramid was completed in 1989, Pei? s expression of avant-garde art was not entirely accepted. Many critics praised the aspiration with which the architect designed it, but ridiculed many aspects of its functionality: ?

The practical problem is that the Pyramid, once you get inside, is noisy, hot, and disorienting? (Campbell, 1989). Fortunately, most critics consider it to be? architecture made with passion, architecture as sculpture and as three-dimensional geometry? less then user-friendly, perhaps, but impressive nonetheless? (Campbell, 1989). Many critics, along with the majority of the Parisian public, had much more positive opinions of the pyramid after its completion. For tourists, ?

the days of searching for the Louvre? s entrance are over. It? s hard to miss the 70 -foot transparent pyramid rising gracefully between the museum? s two main wings. ? Also, its functionality is appreciated for?

reducing the distance that visitors once had to walk from one end of the U-shaped Louvre to the other? (Associated Press, 1989). Looking at the example of Pei? s glass pyramid it is evident that his work was influenced by Walter Gropius, one of his teachers at Harvard. In particular, Pei?

s mastery of geometrical shapes and talent in working with steel and glass bears resemblance to Gropius? s vision of? total architecture? that he set forth in the Bauhaus: ? We want to create... an architecture whose function is clearly recognizable in the relation of its form...

At the same time the symmetrical relationship of parts of the building... is being replaced by a new conception of equilibrium which transmutes this dead symmetry of similar parts into an asymmetrical but rhythmical balance? (Gardner 1996, p. 1029). The? new conception of equilibrium? can be considered as the fusion of the Louvre? s old Baroque style and Pei?

s new renovations. At first glance, this fusion may seem? asymmetrical, ? but from Pei?

s artistic point of view, a? rhythmical balance? is ultimately achieved. Another of Pei? s buildings that stirred up local controversy is the Bank of China Building in Hong Kong. While the geometrically beautiful building stands out as the tallest in the area at 70 stories, its design has been criticized by many citizens of Hong Kong: ?

The building? s four right-angled triangular prisms, placed together to form a long, thin square column topped by twin antennas, have been condemned by many of the territory? s superstitious residents? (United Press International, 1990). Though the citizens of Hong Kong may inhabit one of the highest-tech corners of the planet, they? set great store by feng shui, the ancient art, part mysticism, part architecture, of arranging buildings and other objects so that they are in harmony with nature and dictate luck? (Bremner, 1990). Local residents fear that many spirits have been offended by the skyscraper?

s notoriously bad feng shui. It is ironic that I. M. Pei is of Chinese origin yet chose as his motif the triangle, which transforms the building as a whole into the very form that brings bad feng shui.

This shows that Pei is an artist who is not willing to sacrifice his innovative vision in order to conform to society? s or a culture? s traditions. This is one of the main characteristics that make him an avant-garde artist. What is of great interest in I. M.

Pei? s work is the fact that his firm? has been a temple of modernism, an architectural office in which ornament has been scarce, sleekness has remained sacrosanct, and buildings have been seen as isolated, abstract objects? (Goldberger, 1989). Because of their cutting-edge uniqueness, the firm? s projects exhibit qualities of the avant-garde: ? I.

M. Pei &# 038; Partners? distance from the architectural trends of the late 1970? s and early 1980?

s made the firm... something of a rallying point for critics who disliked post-modernism? (Goldberger, 1989). Pei? s masterful implementation of basic geometric form into the design of his buildings is another point of interest that contributes to his originality. Some critics think that the design of many of Pei? s buildings are impractical because they either do not seem to meet or even may exceed the spatial needs of the people who visit and work in them.

In particular, critics have noticed incredible? wasted? space in lobbies that grossly exceed human proportion in addition to inflexible arrangement of rooms. I personally think that when one scrutinizes Pei?

s creations, one should not consider them as merely buildings, but as aesthetically beautiful works of art. Another point of debate among critics, which can be essentially pared down to individual taste, is Pei? s prolific use of geometric shapes. Some feel that he has? an inhumane devotion to geometry. Others have felt that he has diluted his art through service to the rich and powerful...

but there is no question that Pei has emerged as the most durably creative of American architects working at the grand scale? (Wiseman 1990, p. 12). Since creativity is one of the main components of the avant-garde, it is evident that Pei? s work questions what architecture truly is. Upon examining Pei? s pyramidal entrance to the Louvre and design for the Bank of China building, some may argue that his work can be interpreted as fodder for controversy. Perhaps this was Pei?

s intention. Many artists throughout the ages have shown that one of the greatest ways to achieve recognition is to stir up a controversy. However, it seems unlikely that Pei? s plans for his future designs were greatly affected by public reaction to his completed structures. As one of the foremost and successful architectural geniuses of the Twentieth Century, I. M.

Pei has pushed the envelope of what architecture is: a uniquely personal vision of art physically manifested in a building. 32 b


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