Here are the first two paragraphs of George Orwell's classic essay, "Politics and the English Language" (1946). Which of these sentences would you say is or are the thesis statement of the essay which is to follow? Everything that follows in this essay, then, would have to be something that fits under the "umbrella" of that thesis statement.
Central Idea: "The two major forms of hula that have played an important role in Hawaiian history and have developed into unique dances are the Kahiko and 'Auana."Speech 151 students can find more examples of specific purpose statements and central ideas on pages of 240-251 of our text.
Description of incident: Victim had a great fall from a wall approximately ten feet high. Bystanders called 911 immediately. King’s horses and king’s men arrived within ten minutes. Entire battalion of horses and men worked on the victim for 45 minutes, but could not put him back together again.
Figure 3 Le Corbusier: Villa at Garches North elevation
Roger Herz-Fischler, “Le Corbusier’s ‘Regulating Lines’ for the Villa at Garches (1927) and Other Early Works,” Journal for the Society of Architectural Historians 43, no.1 (March, 1984):54.
Figure 5 Great Pyramid of Cheops
Gyorgy Doczi, The Power of Limits: Proportional Harmonies in Nature, Art & Architecture. (Boston: Shhambhala, 2005): 41.
Figure 8 Villa at Graches Harmonic Ratios
Jeffery Hildner, “Remembering the Mathematics of the Ideal Villa,” Journal of Architectural Education 52, no.3 (February, 1999): 146.
When studying modern architecture of the twentieth century, it is hard not to bring up the works of Le Corbusier. Charles Edouard Jeanneret, (Le Corbusier’s birth name) was born in a Swiss watch making town close to the French boarder named La Chaux-de-Fonds.(1) As a child, Le Corbusier studied as an industrial designer and engraver at the local school.(2) Le Corbusier never formally studied as an architect and began to branch into the field when he was eighteen. His first series of buildings where developed in the tail end of the arts and crafts movement in his home town.(3) It was not until the pre-war era when his Purist Villas began to explore proportional systems.(4)
Figure 9 The Ministry of Public Health, Rio de Janeiro
Henry-Russell Hitchcock, Architecture: Nineteenth and Twentieth Centuries, 4th ed. (New Haven: Yale University Press, 1977), 520
Le Corbusier. The Modulor. New York: Faber and Faber, 1954.
Le Corbusier. Towards a New Architecture. 1986 Reprint. Mineola, NY: Dover, 1931.
Le Corbusier. "Towards a New Architecture: Guiding Principles." In Programs and Manifestos on 20th-century Architecture, by Ulrich Conrads, translated by Michael Bullock, 59-62. Cambridge, Mass.: The MIT Press, 1971.
Curtis, William J.R. Modern Architecture Since 1900. 3rd. New York: Phaidon Press, 1996.
Doczi, Gyorgy. The Power of Limits: Proportional Harmonies in Nature, Art & Architecture. Boston: Shambhala Publications, 2005.
Frampton, Kenneth. "Modern Architecture: A Critical History." 149-160. London: Thames & Hudson, 1992.
Herz-Fischler, Roger. "Le Corbusier's "Regulating Lines" for the Villa Garches (1927) and Other Early Works." Journal of the Society of Architectural Historians 43, no. 1 (March 1984): 53-59.
Hildner, Jeffrey. "Remembering the Mathematics of the ideal Villa." Journal of Architectural Education 52, no. 3 (February 1999): 143.162.
Hitchcock, Henry-Russell. Architecture: Nineteenth and Twentieth Centuries. 4th. New Haven: Yale University Press, 1977.
Loach, Judi. "Le Corbusier and the Creative Use of Mathmatics." The British Journal for the History of Science 31, no. 2 (June 1998): 185-215.
Wittkower, Rudolf. "The Changing Concept of Proportion." Daedalus 89, no. 1 (Winter 1960): 199-215.
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