Introduction
Schönbrunn Palace is a political, cultural, and artistic marvel as it stands today and during the period it was made and as it exists today. The building and all surrounding buildings are meant to be taken in as a whole, as if it were four walls of canvases each unique and significant while still being part of the room. Schönbrunn is seen as a Gesamtkunstwerks. It was meant to out shine Versailles Palace in France. (5,6) From the height of the Hapsburg Empire to the present, the Baroque-style Schönbrunn Palace has provided a splendid showcase for Austria’s rich cultural tradition. It is situated on the premises of former hunting grounds, the Baroque palace, completed in 1713 still stand to contest its beauty against other baroque style palaces. While it is a precedent of Versailles its Zoo also became a precedent for future architecture. The typology of this site is one of monarchical power, leisure hunting, and the summer home, as well as heritage.(2, 3, 6) This paper will describe the Schönbrunn Palace and provide a historical exploration of the cultural form. The paper will begin with, a physical description of Palace and surrounding areas, which will explore aspects such as the structure, and decorative aspects, Buildings and other landmarks that are a part of the overall Palace. Following the physical description, the historical context of the site will be analyzed, after which the principles of design will be explained.
1.
Physical
Throughout the history of this nearly century and a half old building many have speculated and debated its former past. This exhibition presents images of the historic Lin Hall
The Editors of Encyclopædia Britannica. "Baroque Architecture." Encyclopædia Britannica. Encyclopædia Britannica, Inc., 23 Nov. 2015. Web. 25 Apr.
Since its construction in 1799, Ash-Lawn Highland underwent constant structural additions, renovations, and modifications for nearly 131 years. It is the scope of my research assignment to identify the various architectural styles and historical changes in the structure from 1799 to 1930.
The public’s perspective of the architectural works in Nuremberg were utterly important to the concept that MacDonald uses called “cosmopolitan memory”. The concept of cosmopolitan memory is the spread of memories to those who were not in direct correlation to the events. The idea of this memory is not contained by the border of a nation, but can now be relevant to all because of the ability of tourists to interpret their sightings as their own. MacDonald’s interviews with tourists while in Nuremberg help attribute to the idea of public memory of Germany’s difficult
An analytical summary of Louis Marin 's "Classical, Baroque: Versailles, or the Architecture of the Prince"
Haussmann's Architectural Paris - Architecture in the Era of Napoleon III - The Art History Archive
From the observation tower the horizontal building’s three parallel bands can be seen that extend into the lush landscape. The architects’ concept was to immerse the museum in nature by creating a set of three bracketed pavilions under one roof surrounded by gardens. The roof can be seen as
The imperial palaces were built on a grand scale, sparing no expense to display the majesty and dignity of the imperial power of the time. Each successive emperor contributed grandeur to the structures, and today, these palaces stand for all to enjoy. Each imperial palace is a testament to the history and glory of Chinese culture. These glorious structures clearly demonstrate the creative essence and imperial traditions of the Chinese
Architectural buildings around the world make up one factor of the beauty and culture of each country. The Winter Palace is an incredibly beautiful architectural building in St. Petersburg, Russia. The Winter Palace consists of great importance politically, culturally, and symbolically in the city’s third century. In 1708, the Winter Palace was first built as a wooden house with a Dutch style to be the Imperial residence of Peter the Great and his family. In 1711, the wood was replaced by a stone building. However, in 1731 Francesco Bartolomeo Rastrelli was assigned to reconstruct the palace into a much larger and newer design. The third reconstruction of the palace was completed in the year of 1735. Nevertheless, it only lasted 17 years before Rastrelli was asked again to expand the building even more. Two years later, he decided to completely rebuild the Winter Palace after the confirmation of the empress. (saint-petersburg.com) Ratrelli’s designs for the exterior were in a Baroque style, which have remained the same till this day. (about-eastern-europe.com)
Castles, palaces, and cathedrals are scattered across Europe. Each one possesses unique characteristics and architecture bearing resemblance of their time. Some castles incorporate Greek influence, roman or gothic influence in design. Other castles and palaces are surrounded by sculptures outside in the courtyard or include sculptures worshiped as an altarpiece. While any one of these things would serve to make an ordinary castle more elaborate there is one palace that possesses all of these: The Palace of Versailles in France. The Palace of Versailles has managed to incorporate classic architecture, exquisite sculptures, and amalgamated the old design with the newer design trends of the day.
This essay will explain the way and ideas of decorating construction that Jacques-Germain Soufflot, Marc-Antoine Lauger, Henri Labrouste and Augustus Pugin had interpreted. Examples of Soufflot’s Parisan Church of St Genevieve, now known as the Pantheon, Labrouste’s Bibliotheque St Genevieve, and Pugin’s St Giles of Cheadle. In Laugier’s (1977) An Essay on Architecture, he talks about the purest form on architecture which is the primitive hut.
The architectural vocabulary of the Colosseum saw the clever use of existing Roman design practices to create a final structure which became a precedent for all Amphitheatres which followed. Thus, highlighting the overriding importance of the aesthetics the ultimate design displayed. The importance of the appearance in the final design’s architecture begins with the conventions which were used for
This remarkable improvement in methods indicates the fresh importation of skills from the East and this applies not merely to England but to all Western Europe at that time (“The Flowering” 88). Into three main phases the development of architecture through the period may be divided. The elements of Gothic style and their gradual elaboration over a period of rather more than a century came first at the opening of the 12th century. After the year 1000 there was a fully coordinated Gothic art particularly marked by the invention of windows with baltracy, Jean d’ Orbais probably used it first at Rheims cathedral during the generation following 1211, why the east end was begun. A century followed with classic poise in which an international architecture reached its peak and produce perfect forms of castle and palace, cathedrals enriched with painting patterned tiles, figure sculpture and stained glass (“The Flowering” 92).
When considering the differences between the Rococo and Neoclassic styles, it is striking how completely different they are from each other. In the area of architecture, it is easy to see how they diverge when looking at examples of the styles. The Ottobeuren Abbey in Bavaria, Germany is a true embodiment of Rococo with its countless gilded, vapor-like coils of plaster and stone, bright, playful colors, and heavily sculpted décor. The United States Supreme Court, a familiar study in Neoclassic architecture, is the polar opposite. Someone viewing its stately, symmetrical shape, understated coloration with an emphasis on natural materials like marble, and towering, stately pillars may wonder if it came from the same planet as the abbey in Germany.
Olympiapark is a Postmodern collection of buildings located in Munich, Germany and was constructed for the 1972 Summer Olympics. Olympiapark consists of 4 main areas: Olympic area, village, media city, and park. The main focus of my paper is on Olympic Stadium which is pictured above. The design for Olympiapark was chosen through a national competition that was won by the German architect Günter Behnisch’s design company Behnisch und Partner. The 1 square mile area where Olympiapark was built at that time was known as Oberwiesenfeld (‘upper meadow-field’). Oberwiesenfeld before that was a dumping area for World War II debris and a landing strip. The area was designed to ‘be green’ and to make use of