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Essay / Research Paper Abstract
This 3 page paper traced the development of classical architectural traditions after 1750. The styles starts with the adoption some of the gothic revival features and a revival of Greek classicism, the paper includes the work of Karl Friedrich Schinkel and Peter Behrens. The bibliography cites 3 sources.
Page Count:
3 pages (~225 words per page)
File: TS14_TEclasar.rtf
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Unformatted sample text from the term paper:
onwards there were some distinct changes. From abut 1720 there is a revival of the gothic styles, starting in the garden with garden building it spread, facilitated by increased technical
ability to larger buildings and eventually new church architecture. As seen with William Beckfords Fonthill Abbey and even the Houses of Parliament in London.
It may be seen that this gothic revival laid the way for the revival in classical traditions. The work of Karl Friedrich Schinkel is notable of this time,
mixing the gothic with classical styles in a style that rejected the roman classical that was favoured by the Ecole des Beaux Arts. This also reflected the general political environment
against which in Prussian circles there was a strongly anti-French, the classical style adopted by Schinkel was variable, with is gothic mix looking to the neo-Greek designs and elements that
were more symbolic of political and moral freedom of Athenian Greece (Ching, 1998, Carter, 1981). This style in seen in the first major commission taken on by Schinkel; the Schauspielhaus,
which has since been renamed the Konzerthaus. This marked a move away from the importance of churches to the importance of theatres. The commission here was difficult, as the foundations
of the former building and some of its elements had to be incorporated into the new building, this included the feature of six ionic columns (Ching, 1998). This building
has a wealth of features, a sweeping outdoor staircase, and at the top there is a sculpture of Apollo on a chariot pulled by griffins. The building is also place
between two churches which are used as a backdrop for this dramatic building, the feeling of dramatisation is overpowering (Carter, 1981). The architecture was not isolated to the external fa?ade,
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