Patchwork 3 †Analysis and Comparison of Both Pre-Existing

The Musee du louver and its profit, and St capital of Minnesotas duomo with the weedyby 30 St bloody shame axe were the chosen topics by twain appendages of our group. ein truth last(predicate) of these readyings are iconic twist indoors their cities, and al unmatchable were figure of speeched and construct with vastly diverse stage setting of uses and figures in mind. In this assay we testament compare and contrast the different constructions in a manner that will help us understand the apposition of old and cutting creates.We will similarly investigate what made the contemporary buildings in question switch status from debatable to widely accepted as al genius(predicate) and brilliant pieces of architecture. After considering the different circumstance(s) and modal value(s) of the building we will present our informed person-to-person opinions based upon our research, to reach a inference in accordance with the research question. surface front we undertake an analysis we will quickly summarise what has been aforementi sensationd in Patchworks 1 & 2. The two buildings that ace of the members of the group researched were the Musee du louver and the pyramide du pentad.The Musee as it stands now, was numbered by capital of South Dakota Lescot for the King of France (at the time Francis I), however the designed and context of the building was radical and exclusively out of context with the western europiuman stylus of its time (THOMPSON, spiritual rebirth genus Paris computer architecture & growth 1475-1600, p183). The style of architecture that the Louvre is of Renaissance origin, the architect capital of South Dakota Lescot was said to put superstar across never visited Italy, and analyze Italian Renaissance architecture l isome(prenominal) from third parties.Meaning his point of reference was unaccompanied that of textbooks, sketches and other architects (HANSER, computer architecture of France, 2006, p116). Ho wever this does non mean he didnt oversee to create a Renaissance style building, the design and style of the Louvre is veritable(prenominal) of the Renaissance, with the over-ornamentation and relief, and not plain surfaces. These are examples of natural French Renaissance over-decoration (MOORE, region of Renaissance Architecture, 1905, p200). In patchwork 2 the boil downward was on the Pyramide du Louvre (a. k. a.The Louvre Pyramid), the design of which was done by I M Pei (as part of a commission by the president Francois Mitterrand). The need for a response/ welcome area for the museum was urgent, alone office was scarce. Pei constructed an idea to go underground, topped with a profit made of glass and steel. A somewhat radical idea when considering a soaring-tech architectural construction would be positioned next to the Renaissance era architecture of the Louvre Museum (PIMLOTT, Without and Within Essays on grease and the Interior, 2007, p255 HEYER.American Archi tecture Ideas and Ideologies in the Late 20th Century, 1993, p275-278). Of course placing a pyramid (organism a symbol of burial, and of an entirely different culture) in front of The Louvre did not go too smoothly with the public, and many criticised both Pei and Mitterrands intentions. However the pyramid was not a direct connotation to superannuated Egypt, but rather a freshly approach to a classical design.Mitterrand was to a fault criticised for blocking the view of the historical buildings by putting the pyramid in the midpoint of the courtyard, but due to its semi-transparent nature the pyramid juxtaposes The Louvre perfectly with the contrast of transparence and opaqueness (RUSTOW, Transparent Contradictions Peis Pyramid at The Louvre, 2006, p6). The two buildings that the other member of the group researched were St capital of Minnesotas cathedral designed by Christopher Wren, (construction finished in 1677), and 30 St bloody shames axe designed by Norman raise and p artners, (construction finished in 2003).Both these buildings were reinforced to alternate antecedently undone buildings. St capital of Minnesotas was built to re seat old St capital of Minnesotas which was one of the biggest buildings in Europe at the time. Most of the building was unmake by the corking Fire of capital of the United Kingdom and in 1668 a Royal case was issued for the complete demolition of old St Pauls (GERAGHTY bbc. co. uk). Also in the time period between 1540 and 1650 the population grew by five or six fold. (ALLISON Architects and architecture of capital of the United Kingdom rogue 48) Ken ALLINSON notes, it is against this orbit that Wren set about creating St Pauls cathedral.Wren chose white Portland stone which had been employ to majuscule success by architects before him, one example being Nicholas HAWKSMOORs St bloody shames Church (GLANCY- The story of architecture rascal 84-85). 30 St Mary hack was designed by Norman sustain and Partners an d AUP Engineers and was built for the restitution company Swiss RE. Swiss Re had been working out of a number of buildings in capital of the United Kingdom and the company was looking to build one building that would replace all previous buildings to help unify the company.The purpose of this center on one building was getting people to interact, exchange ideas, sire a creative community in the words of John COOMBER the then chief executive officer of Swiss Re when they planned to build 30 St Mary Axe. Many views were considered for the building but in 1992 a dud with 100lbs of Semtex destroyed the Baltic Exchange (POWELL, 30 St Mary Axe A tug for capital of the United Kingdom, 2006, page 14). This presented the ideal location for 30 St Mary Axe to be built. The initial plans for 30 St Mary Axe were for a much bigger building than the one finally constructed.To gain planning consent Norman Foster and partners had to scale down the design. The design was described by London advisory committee as being unduly dominant and assertive by reason of its height, form, bulk, massing and kinship to nearby high buildings. (POWELL, 30 St Mary Axe A tower for London, 2006, page 19) One par to be made between St Pauls Cathedral and the 30 St Mary Axe, and The Louvre and its Pyramid is that of context at the time of design and construction. The London buildings were both designed and created within the context of their era.St Pauls was designed at the produce of an English-Baroque movement (similar to that of other European movements, but much more than conservative). (WHINNEY, Wren, 1971, p81 GLANCY, The Story of Architecture, 2000, p84), It act ons very baroque traits, which would take on appeared on other buildings built before it. The Cathedral was built in the context of its purlieu. The same could likewise be said about the 30 St Mary Axe. It was built in a very modern era where the style of high tech/modern architecture is very common. Therefore relat ing to the quote at hand, we believe that the London buildings are grow in the context of their surroundings.On the other hand, this evidence cannot be said for The Louvre, and especially not for The Pyramid. The Musee du Louvre, (at the time, Palais du Louvre) was built as a one of a kind building, it did not follow a style that was already crowing in Paris, or indeed some parts of France at time of design and construction. We did agree that following completion The Louvre did fit the style more virtually when the renaissance and baroque movement move through France, therefore more buildings of a similar style/context appeared.Thus creating relevance to the Louvres style. As for the Pyramid, although it is an fire juxtaposition with the fourth-year style Louvre its context is not root with The Louvre. Had it been constructed near lArche de la Defense, in the more industrial part of Paris, then yes it would have context within its surrounding(s). This is believably the rea son that it caused so much enmity upon completion, and seen as such an out of place building.Another comparison that we made is that the London buildings were used to replace buildings that had been pre-existent and consequently destroyed (Old St Pauls by the Great Fire of 1666, and The Baltic Exchange by an IRA terrorist attack). This means that the context of which the new buildings are built upon is relevant to their purpose now. Old St Pauls and the previous buildings before it had always been that of a spectral context Roman temple, Saxon church and a Norman church (ALLINSON, Architects and Architecture of London, 2006, p49).The Baltic Exchange being the antecedent of the St Mary Axe means that the pecuniary context of the building has remained, being in the heart of Londons pecuniary district brings this truth home, along with the congruity of all five Swiss Re buildings into one, again follows the financial context of the building (Swiss Re is a major insurance company ). The difference between them and The Louvre and The Pyramid is that both Louvre and Pyramid were built for purpose and not to replace older buildings.The Louvre, veritablely a fortress-turned-palace was stripped of its existing necessities and turned into a museum, no building was required. The Pyramid was designed and built because of a lack of reception and link to all wings of the museum. Both are original builds and as a result have created their own context within their surroundings as opposed to relying on the context of its surroundings to make the style. To conclude, as a group we believe that the context of a building is not simply rooted in the setting, and building can determine the context of a setting salutary as much as a setting can determine the context of a building.We were given two examples, one in London where the setting has determined the context, and the other in Paris where a new style had changed the context. So to carry on to the original quote by D alibor Vesely, the relationship between buildings and intervening spaces is formal, but where the context is rooted is a chicken-or-egg question one will govern the other, but this is likely to change based of multiple factors including location and the purpose of the building. Word account with references 1619 Word count without references 1512 Bibliography Renaissance Paris Architecture and Growth 1475-1600, David THOMPSON, University of California Press, Los Angeles 1984 remove paraphrased, page 183 Architecture of France, David A. HANSER, Greenwood Publishing Group, 2006 Extract paraphrased, page 116 Character of Renaissance Architecture, Charles Herbert Moore, The Macmillan Company, New York, 1905 Extract paraphrased, page 200 Without and Within Essays on dominion and the Interior, Mark PIMLOTT, 2007, Episode Publishers.Extract paraphrased, page 255 American Architecture Ideas and Ideologies in the Late twentieth Century, Paul HEYER, 1993, John Wiley and Sons. Extract parap hrased, page 275 278 Transparent Contradictions Peis Pyramid at The Louvre, Stephen L. RUSTOW, 2006 Paper given at the one-year Meeting of the Society of Architectural Historians Extract paraphrased, page 6 30 St Mary Axe A tower for London Kenneth POWELL, print by Merrell 2006 Page 13 15 2000+ London Sam LUBELL, promulgated by Maconcelli press 2008Page 164 -165 Article produce by Dr Anthony GERAGHTY 17-02-2011 http//www. bbc. co. uk/history/british/civil_war_revolution/gallery_st_pauls_01. shtml(Referenced on the 19-11-2011) Margret WHINNEY Wren, Published by Hudson 1971 Page 81 84 Christian NORBERG-SCHULZ Baroque Architecture, print by Electra architecture, 2000 Page 194 195 Jonathan GLANCY The Story of Architecture, published by DK, 2000 Page 84 85 Ken ALLINSON Architects and Architecture of London, published by Architectural Press, 2008