Research paper using attached documents and guidance
, Kraft is in an ideal position to take advantage of the developed world's view on health, nutrition and childhood obesity. Kraft could partner with schools and provide a nutritional curriculum, complete with DVD, handouts; experiments, a teaching guide, and even coordinate to have a healthy lunch catered. This would also increase public relations; generate interest from Health America, First-Lady Michelle Obama, the American Medical Association, and others.
Fine Arts Los Angeles Fine Arts Building
"Form follows function" may be a cliché nowadays, one that's parroted in chic commercials for high-end, luxury sedans, but at some point, before the phrase devolved into a catchphrase for Cadillacs, it had real meaning. The architects who designed and built the Los Angeles Fine Arts Building knew what it meant, and they applied that philosophy to their stunning 12-story masterpiece in the city of angels. That issay, the design of the Fine Arts Building not only enriches the architecture, but it gives voice to the activities of the building's original tenants (Several, 1999). It is the purpose of this paper to discuss the elements of architectural style in the Los Angeles Fine Arts Building.
But first, here is a brief history of the men behind the masterpiece. The Los Angeles Fine Arts Building was designed by the acclaimed duo of Walker & Eisen; that is Albert R. Walker and Percy A. Eisen. It was built in 1925, during the roaring twenties, a time of unprecedented urban growth and construction, and is located at 811 West 7th Street in downtown Los Angeles. The Building was designed to be more than just a building, but a cultural Mecca for artists, bohemians, and other visionaries of Los Angeles (Several, 1999). The ultimate goal of Walker & Eisen was to create an ideal place (one that was a work of art in and of itself) where people could create, showcase and enjoy art.
The first thing one notices about the Fine Arts Building is its Romanesque style. Even if one doesn't know the term "Romanesque" he/she knows that this building is different. This building is not created equal. It's clear, given its context, that this building is different than the other non-descript buildings that surround it. The carefully wrought, semi-circular, two-story arch of the façade tell the visitor that he/she is about to experience something special.
Upon closer inspection, this sensation is only accented by the present but not imposing architectural sculptures on the building's exterior. On the terracotta arch itself the visitor is confronted by an array of different stylized birds, griffins, gargoyles, and flowers. On other parts of the façade there are sculptures of flute players and other assorted fantastic creatures (Several 1999). It can be argued that this attention to detail is not something a resident of Los Angeles is used to seeing manifested in local architecture.
These details continue on. Both as one looks up the towering edifice and as one prepares to enter its mouth. There are two large terracotta figures representing "Architecture" on the viewer's left and "Sculpture" on the viewer's right, both of these sculptures lean into the ledges on the third story. The inimitable Burt Johnson was commissioned to create these beauties. As one's eyes continue up, there are two nude figures perched on 9th story ledges and two 12' high panels titled "Inspiration" mark the 12th story (LA Conservatory).
As one enters the Fine Arts Building, there are more touches of Burt Johnson. That is, seventeen bronze figures line the foyer and the corridor, which eventually leads to, as it's been described, a "Spanish Renaissance ‘courtyard' lobby with a galleried mezzanine" and fountain (Several, 1999).
To say that the lobby is spectacular would be an understatement. However, before one goes on to detail the less quantifiable aspects of the Building (traffic flow, appeal to the senses, aesthetics, etc.) a quick point should be made about the materials used to create this awe-inspiring aggregate effect. As mentioned, much of the façade is created from tile and terracotta block to give the effect of stone. Initially, Walker & Eisen wanted to use stone, but opted for terracotta because it was more malleable and would allow for the detailed ornamentation they had envisioned (SOURCE). The large front doors are bronze, which carries on or, depending on one's perspective, initiates the bronze theme throughout the Building.
Despite these rather "heavy" medieval or church-like materials, the building has weightlessness to it. That is to say one doesn't feel cloistered in its environs, like the way one does when attending a Catholic Mass. The lobby's high, two-story ceilings uplift one's spirit while shifting focus to the artwork displayed around the capacious room. The colored tiles are rich, but not overbearing on the senses. The fountain in the center of the room, with its purling waters also gives the place a vitality lacking in other Romanesque buildings (consider the staid and placid stoups filled with holy water at a different churches vs. the fountain in the Fine Arts Building with the bronze figures dancing about its circumference).
The lines in the Building are symmetrical, but not stifling. In other words, the hard angles do not emphasize conformity over creativity. Instead they show a structure that is arguably sensitive to the soul of an artist. The beautiful columns draw the outward and up, not inward and down. Again, the intent of the building is vocalized by way of its care and attention to detail. This is a place for artists. This is a climate for creative people. This is a destination for deliverance.
What's ironic though, is shortly after the building was constructed it was converted to an office building. After the market crashed in 1929, the Great Depression sunk in and monetary concerns became a priority. A malaise of pedestrian worries clouded the cultural milieu. Art took a back seat to business and commerce. The Fine Arts building was renamed by each of its successive owners: The Signal Oil Building, the Havenstrite Building, and Global Marine House. Thankfully though, in 1983 it was purchased by Ratkovich Bowers and Perez and completely restored to its original beauty (Vincent, 2008).
Today, when one looks at the Fine Arts Building, he/she knows that it was constructed with a purpose in mind, and that purpose was painstakingly incorporated into every square inch of the building's design, from the materials, to layout, to the ornamentation, to the sensory appeal, etc. The Fine Arts Building is a treasure to behold and a testament do architecture that embraces the notion that form should always follow function.
Works Cited
Several, M. (1999, November). Fine arts building background information . Retrieved
from http://www.publicartinla.com/Downtown/FineArts/background.html
Los Angeles Conservancy Tours. (n.d). Los Angeles Fine Arts Building. Retrieved from
http://www.laconservancy.org/tours/downtown/finearts.php4.
Vincent, R. (2008, May 27). Fine Arts Building Los Angeles Attorneys to Do Justice to
Fine Arts Building. Los Angeles Times. Retrieved from
http://articles.latimes.com/2008/may/27/business/fi-attorneys27.