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Pages:
2 pages/≈550 words
Sources:
3 Sources
Style:
Chicago
Subject:
Visual & Performing Arts
Type:
Essay
Language:
English (U.S.)
Document:
MS Word
Date:
Total cost:
$ 7.2
Topic:

Works and Position of Architect Giancarlo De Carlo

Essay Instructions:

Select a single architect covered in the lecture and/or the readings from lectures #22, 23, 24, 25. Discuss their work and their position within the history of modern architecture. Do they belong to a school? Is their work associated with an artistic movement? What is the social context in which they are working? How do they relate to larger themes of the course?
Please refer to two architectural examples (buildings, structures, architectural drawings) to make your case, providing the name of the architect and the date of its construction. Also incorporate direct citations from three different sources from the readings listed in the syllabus. Citations, like architectural examples, should be used to bolster your argument, not stand in for it.
Your paper should be a well thought-out presentation and analysis of a single architect and two of his/her works–NOT a collection of disparate facts and quotations.

Essay Sample Content Preview:

EXPRESSIVE CULTURE: GIANCARLO DE CARLO
Student's Name
Subject
Date
Giancarlo De Carlo
Giancarlo De Carlo was born in 1919 in Genoa whereby he is of Italian origin. He was not known as an architect until the 1940s but was known as a writer and teacher. He studied to be an architect in the 1940s during the Second World War, but he started building in the 1950s. The Second World War generated his philosophy toward life and architecture, whereby libertarian socialism inspired his planning and design (Bouman et al., 2005). Together with Franco Albini, they were under the proletarian unity movement that took part in Italian resistance. De Carlo and Giuseppe Pagano later organized an anarchist libertarian group in Milan. After working with Albini, De Carlo began his career in the 1950s. He later established a friendship with Carlo Bo, the rector of the University of Urbino, who got him involved in restructuring the city of Urbino and the university complex.
De Carlo later opened his studio, where he organized a gallery exhibition of architectural works and presented films by Eli Vittorini three years later to denounce a drift toward modern architecture run by technicians and bureaucrats. He later secured a professorship position in urban planning, where he came into contact with prominent architects and urbanites such as Paolo Portoghesi, Giuseppe Samonia, and Bruno Zevi. In this essence, Ernesto Nathan Rogers introduced De Carlo to Congres Internationaux dArchiture Moderne (CIAM) as part of a generation emphasizing modern architecture. Ernesto also invited him to the Editorial Staff of Casabella Continuity. He later showcased his project for a housing project in Matera to CIAM, whereby the project emphasized the area's social, geographical, and climatic context. For the project, De Carlo ignored all the architectural techniques and designs of Le Corbusier, a prominent architect.
De Carlo's unique international ...
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