LAs Getty Center by Architect Richard Meier

The Getty Center is more than a museum. It is a campus that encompasses research libraries, museum conservation programs, administration offices, and grant institutions as well as an art museum open to the public. As architecture, wrote critic  Nicolai Ouroussoff, its scale and ambition may seem overwhelming, but Richard Meier, the Gettys architect, handled a daunting task admirably. This is the story of an architects project. The Client By the time he was 23, Jean Paul Getty (1892-1976) had made his first million dollars in the oil industry. Throughout his life, he reinvested in oil fields across the globe and also spent much of his Getty Oil wealth on fine art. J. Paul Getty always called California his home, even though he spent his later years in the UK. In 1954 he transformed his Malibu ranch into an art museum for the public. And then, in 1974, he expanded the Getty Museum with a newly built Roman villa on the same property. During his lifetime, Getty was fiscally frugal. Yet after his death, hundreds of millions of dollars were entrusted to properly run a Getty Center. After the estate was settled in 1982, the  J. Paul Getty Trust purchased a hilltop in Southern California. In 1983, 33 invited architects were whittled down to 7, then to 3. By the fall of 1984, architect Richard Meier had been chosen for the massive project on the hill. The Project Location: Just off the San Diego Freeway in the Santa Monica Mountains, overlooking Los Angeles, California and the Pacific Ocean.Size: 110 acresTimeline: 1984-1997 (Inaugurated on December 16, 1997)Architects: Richard Meier, lead architectThierry Despont, museum interiorsLaurie Olin, landscape architect Design Highlights Because of height restrictions, half of the Getty Center is below ground — three stories up and three stories down. The Getty Center is organized around a central arrival plaza. Architect Richard Meier used curvilinear design elements. The Museum Entrance Hall and the canopy over the Harold M. Williams Auditorium are circular. Materials Used: 1.2 million square feet, 16,000 tons, of beige-colored travertine stone from Italy. The stone was split along its natural grain, revealing the texture of fossilized leaves, feathers, and branches. From the beginning, I had thought of stone as a way of grounding the buildings and giving them a sense of permanence, writes Meier.40,000 off-white, enamel-clad aluminum panels. The color was chosen to complement the colors and texture of the stone, but, more importantly, was chosen from among fifty minutely varied shades as the architect negotiated his color scheme with local homeowners associations.Expansive sheets of glass. Inspirations: In choosing how to organize the buildings, landscaping, and open spaces, writes Meier, I deferred to the sites topography. The low, horizontal profile of the Getty Center may have been inspired by the work of other architects who designed buildings in Southern California: Rudolf SchindlerRichard NeutraFrank Lloyd Wright Getty Center Transport: Parking is underground. Two 3-car, computer-operated trams ride on a cushion of air to the hilltop Getty Center, which is 881 feet above sea level. Why Is the Getty Center Important? The New York Times called it a marriage of the austere and the sumptuous, noting Meiers signature crisp lines and a stark geometry. The Los Angeles Times called it a unique package of art, architecture, real estate, and scholarly enterprise — housed in the costliest art institution ever built on American soil. Architecture critic Nicolai Ouroussoff wrote that it is Meiers culmination of a lifelong effort to hone his version of Modernism to perfection. It is his greatest civic work and an important moment in the citys history. Still, writes critic Paul Goldberger, one feels frustrated because the overall effect of the Getty is so corporate and its tone so even. But doesnt that exactly express J. Paul Getty himself? The esteemed architecture critic Ada Louise Huxtable might say thats exactly the point. In her essay in Making Architecture, Huxtable points out how architecture reflects both the client and the architect: It tells us everything we need to know, and more, about those who conceive and build the structures that define our cities and our time....Zoning restrictions, seismic codes, soil conditions, neighborhood concerns, and many invisible factors required constant conceptual and design revisions....What may look like formalism because of the ordered solutions was an organic process, elegantly resolved....Should there be anything to debate about this architecture if its messages of beauty, utility, and suitability are so clear?...Dedicated to excellence, the Getty Center conveys a clear image of excellence.—Ada Louise Huxtable More About the Getty Villa In Malibu, the 64-acre Getty Villa site was for many years the location of the J. Paul Getty Museum. The original villa was based on the Villa dei Papiri, a first-century Roman country house. The Getty Villa closed for renovations in 1996, but is now reopened and serves as an educational center and museum dedicated to the study of the arts and cultures of ancient Greece, Rome, and Etruria. Sources: Making Architecture: The Getty Center, Essays by Richard Meier, Stephen D. Rountree, and Ada Louise Huxtable, J. Paul Getty Trust, 1997, pp. 10-11, 19-21, 33, 35; The Founder and His Vision, The J. Paul Getty Trust; Online Archive of California; The Getty Center, Projects Page, Richard Meier Partners Architects LLP at www.richardmeier.com/?projectsthe-getty-center; Getty Center Inaugurated in Los Angeles by James Sterngold, The New York Times, December 14, 1997; Getty Center Is More Than Sum of Its Parts by Suzanne Muchnic, The Los Angeles Times, November 30, 1997; It Doesnt Get Much Better Than This by Nicolai Ouroussoff, The Los Angeles Times, December 21, 1997; The People’s Getty by Paul Goldberger, The New Yorker, February 23, 1998 [accessed October 13, 2015]

Can Lord of the Flies (William Golding) be Classified as a...

A fable, by strict definition, is a short tale conveying a clear moral lesson in which the characters are animals acting like human beings. A fable is intended to provide moral instruction and its characters and scenes are drawn to suit this purpose. William Golding has referred to his novel, Lord of the Flies, as a fable. This essay will demonstrate that in the moral lessons it offers us and in the symbolic nature of its setting, characters and literary devices, the novel functions as a fable for the inherent tendency in man to revert to primal savagery once he is removed from civilization. We are left with the caution that evil must be acknowledged and consciously opposed. The novels status as a fable is demonstrated strongly through†¦show more content†¦Overall, like a fable, Lord of the Flies enforces a very strong message. Humans as a race have a tendency to revert to their primal, savage instincts and in doing so reveal their true sadistic and evil nature that lies within. This moral message is expressed in several ways by the author, however especially through the boys gradual loss of order, their blood lust and their worship of the devil. The novels symbolic nature further enhances the books status as a fable. The disintegration of civilization is charted through the use of symbols, one of the major tools of the fabulist. Almost every detail in the novel has a meaning of its own and a representational meaning in terms of the theme and the development of evil on the island. The setting of the novel is particularly symbolic. The island functions as a microcosm of the wider world and parallels our society in competitiveness, destructiveness and violence. The island is a perfect place in which Golding can test his theories, as being isolated it lacks society and societal laws and rules, allowing the boys to run wild and show their true inner selves. However, the presence of the wider world is never forgotten, as there are constant mentions to the war occurring outside the island. References such as the boys evacuation, the crashing of the plane and the pod, the dogfight over the island at night and the arrival of the nava l officer on the beach and his warship, show theShow MoreRelatedANALIZ TEXT INTERPRETATION AND ANALYSIS28843 Words   |  116 Pagesidea of the world. The reader’s interpretation is also highly individual and depends to a great extent on his knowledge and personal experience. That’s why one cannot lay down a fixed â€Å"model† for a piece of critical appreciation. Nevertheless, one can give information and suggestions that may prove helpful. PLOT The Elements of Plot When we refer to the plot of a work of fiction, then, we are referring to the deliberately arranged sequence of interrelated events that constitute the basic narrative

A Heavy Metal Retrospective The Top 15 Metallica Songs of All Time by Metallica free essay sample

Metallica was formed in 1981 by the collective genius of James Hetfield (rhythm guitar, lead vocals) and Lars Ulrich (drummer), and the duo has never looked back ever since. Although suffering line-up changes due to the untimely death of Cliff Burton (bass guitar) and the departure of Dave Mustaine and Jason Newsted (lead guitar and bass guitar respectively) the band has prospered through these past three decades to bring the world some of the greatest music, spanning genres from thrash metal to hard rock. With the release of their ninth studio album, Death Magnetic in September of 2008, the band has proven their ability to stay relevant in the face of a rapidly changing musical audience while still bringing hardcore fans the heavy metal nostalgia that they crave. So without further ado, I countdown the fifteen greatest Metallica songs of all time†¦ 15) â€Å"Sweet Amber† – This is probably the most controversial song to appear on my list. Coming off of the St. Anger album, most fans probably won’t even recognize this song by name due to the fact that the St. Anger album in its entirety was chastised for its departure from the sound of previous albums. However, after having given the album time to grow on me, I can honestly say that this track in particular deserves its spot at number fifteen. That having been said, St. Anger is definitely one of Metallica’s weaker installments, bearing only a handful of even semi-notable tracks. 14) â€Å"Fuel† – Used as the intro song for NASCAR televised broadcasts from 2001 till 2003, this track earn its place at number fourteen due to the adrenaline rush it instills in the listener. 13) â€Å"Leper Messiah† – Not quite as swift and frantic as other early Metallica tracks, â€Å"Leper Messiah† still retains the same original Metallica feel through impressive vocals and a powerful rhythm guitar section. Even listening to it now, I still get chills during some of the chorus lines: â€Å"time for lust, time for lie†¦time to kiss your life goodbye.† Something about the grit in Hetfield’s voice is just particularly well displayed in this song. â€Å"Bow to Leper Messiah.† 12) â€Å"The Four Horsemen† – The original songwriting credits of this track are still disputed. Dane Mustaine (former lead guitarist of Metallica) has made the assertion that he in fact wrote the song, going so far as to rerecord it with his band, Megadeth, giving the song new lyrics and entitling it â€Å"Mechanix†. Despite this bit of controversy, â€Å"The Four Horsemen† is still a superb song in all respects, and easily earns a spot at number twelve. 11) â€Å"No Leaf Clover (SM)† – In 1999, Metallica collaborated with the San Francisco Symphony Orchestra to perform renditions of their hit songs that had been fused with an orchestral backing. Along with their original songs, the two groups also created two original songs to be played exclusively at their SM gigs. One of these tracks, â€Å"No Leaf Clover†, is a testament to the beautiful union of heavy metal and classical orchestra. 10) â€Å"That Was Just Your Life† – With the release of Death Magnetic in 2008, Metallica showed that they still had the ability to put out fantastic music. â€Å"That Was Just Your Life† is easily the sickest track off of that album with one of the catchiest choruses of any Metallica song to date, putting it at number ten. 9) â€Å"No Remorse† – Number nine on this list is a throwback to the Kill ‘Em All album, Metallica’s first official studio release (which also featured â€Å"The Four Horsemen†). Raw and incredibly edgy, this album set the tone for all consecutive releases by establishing Metallica as a heavy hitter in the Bay Area metal scene. 8) â€Å"Damage Inc.† – As the embodiment of thrash metal, this track signifies all that was right with the 80’s metal scene. Nobody knew exactly what the fabled Damage Incorporated did, but it didn’t matter: it was quick, it was brutal, and it was perfect for headbanging. What more could you ask for? 7) â€Å"Frayed Ends of Sanity† – Although the entire †¦And Justice For All album is infamous for the lack of a prominent bass guitar sound (supposedly due to Metallica hazing their new bass player at the time, Jason Newsted), â€Å"Frayed Ends of Sanity† can still be called a magnificent track. The song touches on the subject of being driven into irrational insanity, and the mental struggle of coping with one’s own delusions. 6) â€Å"Battery† – This song is one of the most frequently covered Metallica tracks, and for good reason. â€Å"Battery† needs little explanation of why it’s great; suffice to say that if you haven’t heard it yet, you’re really missing out. It features not only one of the most amazing Metallica solos in their repertoire, but a mind blowing acoustic intro as well. Interestingly enough, German a capella group, Van Canto has done a rather amusing rendition of â€Å"Battery† (available for viewing on YouTube). Definitely worth checking out if you’re already familiar with the song. 5) â€Å"Ride The Lightning† – The title track off of Metallica’s second studio album, â€Å"Ride The Lightning† is the final Metallica song to feature Dave Mustaine in the songwriting credits. Despite his many problems with drug addiction and alcoholism during his time in Metallica, it’s quite clear that Mustaine had no issue writing grade-A quality metal. â€Å"Ride The Lightning† is a masterpiece from start to finish, putting it at number five. 4) â€Å"One† – Achieving quite a bit of notoriety through the video game medium of Guitar Hero 3, â€Å"One† has been placed with the unfortunate stigma of being â€Å"that Metallica song†. The song that if you say you really enjoy, you are immediately questioned to determine if you really like Metallica, or if you only like them because they have a cool song featured on a well known video game. While this can be somewhat annoying at times, â€Å"One† is a phenomenal part of the †¦And Justice For All album, and is well deserving of being the fourth greatest Metallica song of all time. 3) â€Å"The Call of Ktulu† – Who would have thought that Metallica was capable of writing a stunning instrumental? While the presence of James Hetfield’s vocals are sorely missed, the instrumental work on â€Å"The Call of Ktulu† is absolutely stupendous, and that’s what earns it the right to be in the number three spot. 2) â€Å"Master of Puppets† – It is extremely difficult for me to put this song at number two. Perhaps it’s my awareness of the cliche of this song ending up as number one on a lot of â€Å"best of Metallica† lists, but something is restraining me from giving it the number one spot. But don’t let that detract at all from this song; this track is, unquestionably, the anthem of any heavy metal enthusiast. I listen to this song when I wake up in the morning, I listen to it during car rides, I even try to listen to it during boring class lectures if my teacher is particularly unobservant. This song is engrained into the blood of the metal community, and although it isn’t quite number one, it’s a darn close second. 1) â€Å"Enter Sandman† †¦I only jest. While Enter Sandman (off of The Black Album) is often herald as representing the band’s most significant mainstream success, it is far from being their number one track. The true greatest Metallica song of all time is†¦ 1) â€Å"Fade To Black† – This song came as a shock to many early Metallica fans, as it sounded nothing like anything they had ever written beforehand. It did away with the fast-passed riffs and harsh vocals, substituting them with something a lot softer by Metallica standards. This resulted in a song that alienated quite a bit of their hardcore fanbase. It’s my firm belief that those hardcore fans are blind to the heart behind this song, especially considering it’s significance following the passing of former bassist, Cliff Burton. Admittedly it’s not the ruthless escapade to be expected from the same people who gave us tracks like â€Å"Hit The Lights† and â€Å" Fight Fire With Fire†, but that’s fine in my eyes. It doesn’t try to replicate the sound of its predecessors, it stands on it’s own as the greatest Metallica song of all time, and possibly even the greatest song to come out of the entire metal genre.