Portfolio

The major objective of the paper is to show how factory as a place is related to people and environment. A factory also referred to as a manufacturing plant is a building in which industrial works take place. Workers manufacture goods through operation of machines or manual processes. Factories are run under the supervision of individuals who offers work force through out the process of manufacturing.
Modern factories have large warehouses that hold heavy equipments used for production of goods. For goods to be manufactured by workers, there is need of raw materials usually obtained from the surrounding environment or other places. The bottom line is that a factory cannot run without the support of human work force and environment. The resources used in factory include workers, plant, raw materials and capital (Jim, 2004).
   
The environment in which a factory is established should be conserved and protected so as to safeguard the health of workers, individuals in the surrounding and other living organisms. There are different types of factories in the world such as manufacturing, processing, packaging and distribution. All these are categorized as per the goods being produced, for instance vehicle manufacturing plant deals with manufacture of different parts of motor vehicle.
                                              
A Volkswagen factory in Germany
A food processing factory employs experts in food and drinks production process like bread, beer, chocolate, fish processing and other types of foodstuffs.      
       
Fish processing factory
During the ancient period at the time of British colonies in the 20th century, factories were considered as mere buildings. Large number of workers gathered in such factories to perform their duties without protective clothes. In the modern world, every work is supposed to wear protective clothes while carrying on with factory duties.
                
A worker in a factory
Factory safety
Manufacturing environment is the most hazardous place in the work place and this call for incorporation of safety and health measures. Employees should not risk their health or life through exposing them into bad working conditions. Hazards in a manufacturing plant are usually many and differ from industry to industry. Workers in a factory are exposed into various hazards such as fire, injuries, cold, noise pollution and respiratory problems (Moses, Smith, 2007). The employees are supposed to undergo safety training so as to enlighten them on what to do incase such instances occur.

Fire is the most and common hazard that often occurs in many factories as a result of electricity fault.  Manny workers have sustained injuries and others died as a result of fire accident in factory. Each manufacturing factory should have spacious exit doors, fire extinguishers and fire drills should be performed more often. The health and safety of workers is the most important aspect in any manufacturing plant and should be protected.

A fire extinguisher
Protection of environment through proper means of waste disposal is another basic element of employees in a factory. Disposal of waste from the factory should be done in the right manner so as to avoid pollution of environment. Many factories produce carbon dioxide through smoke which is dissolved in the atmosphere hence global warming. This has had an adverse impact in the lives of many living organisms including the health of human beings. Protection of environment is the role of each individual within the factory irrespective of the position each person holds (George, 2005). A common way of reducing emission of gases from factory is through use of wind as source of energy. This will help to reduce carbon emission which has been a challenge in many developing nations.
                                
Gas emission from a factory
Relationship of factory to people, places and environment
Every country, nation or state has manufacturing plant known as factory to produce, package and distribute consumer goods in the market. The factories within a given location depend on the raw materials available, level of technology and target customers. Three basic elements are required to make a factory complete and this include labor provided through human work force, good and conducive surrounding environment, and locality the place within which the factory is established (Lai, Jeung, 2008). All these are basic factors of production and a factory cannot be complete without any of the three elements.
                
Employees at work in a textile factory
People provide labor that converts raw materials into finished goods and the same individuals purchase such products once they reach in the market. Human expertise in form of labor is needed in various factory departments.

Factory and environment are related in the aspect of work place that is to mean the surrounding in which the factory is established. The working environment should be conducive so as to provide good working conditions. When a factory has no ventilation or enough light, workers produce less that is expected. Ventilation makes employees to work without strain and in an environment of fresh and clean air. The factory should be spacious enough to create a good working environment (Rolin, 2001).
 Lighting is another aspect of working environment that should be considered. There should be no dark corners in a factory because this risks the health and safety of workers. Location or place of the factory is another basic that connects environment and people. The location of factory should be in a strategic place within market reach, close to raw materials and other amenities.

Calling all architects. I am a prominent business owner from London in search of the services of a fine architect. I will be commissioning the construction of a country weekend house for me and my family in the near future. The following is a description of my expectations for this residence.

After spending the better part of a lifetime in the busy city of London, I long for the peace and quite of the country. I have therefore purchased a large piece of land overlooking a slow flowing river. I am a simple man with high moral standards and I expect my new house to reflect this. I am not interested in the excesses of the Rococo style which I consider frivolous. Nor am I searching for the ribbed vault and pointed arch look of the neo-gothic trend which is now so popular with some of my more conservative acquaintances as well as our beloved monarchy, as the choice of architectural style for the Palace of Westminster is now proving.
I am very interested in the neoclassical architectural style. I appreciate the exploitation of symmetrical, geometrical shapes used for this style. This seems to express a level of high moral standards which appeal to my liberal personality. Though there are many characteristics pertaining to this style that attract me, I am rather partial to the full height, massive columns. These clearing indicate the high social standings of the inhabitants. After years of hard work to provide my family with higher standards of living, I expect our weekend home to reflect this, though without being over exuberant. 

As for the interior, I expect it to be conform with the grandeur of the house s exterior. I envision a classic, yet simple decor, with a tendency toward graceful curves rather than strict linear details. Finally, the only frivolous technological accessory I would be interested in is the new hand-turned dishwasher invented by Joel Houghton as asked for specifically by our cook.
All architects who feel they can achieve such standards should apply to me directly.

The British Museum in London, the Altes Museum in Berlin, and the Natural History Museum, again in London, all share at least one commonality, and that is their architecture. Those three museums all have prominent pillars surrounding the structure and if one looks at them from the outside, they appear identical, especially the British Museum and the Altes Museum. The Natural History Museum on the other hand is more like a castle with its two identical towers in the middle. It doesnt look like a public figure because of its size, style, and structural design.

The British Museum was designed by the architect Sir Robert Smirke in 1823 and just like the Altes Museum, it was inspired by Greek architecture, particularly the Greek Revival Style. This is very evident in the columns of the building. Also in 1823, Karl Friedrich Schinkel, a Prussian architect, designed and developed the Altes Museum. Altes in German means old and therefore is just appropriate for what it is already now. It was inspired by Durand which later became a favorite motif of museums. The long colonnades motif, which was also found in Robert Smirkes British Museum is said to have originated from Schinkels idea. Some of the items exhibited on the Altes Museum were antiques, on the ground floor, and paintings on the first floor.

As early as the later part of 1790s, elite members of the Prussian government thought of having a secured place where they can deposit their most precious collections. Furthermore, they believed that with a museum, a large value will be contributed to the states cultural mission. However, there were struggles and issues which delayed the commencement of the project. It was in 1882 when Schinkel took over the project and began to make realizations to the dreams of the Prussian people. Schinkel purposely located the museum on axis with the palace and adjacent to the Cathedral and arsenal, making it the center of the three pillars of the Prussian state. It is also remarkable that the architectural forms used in the museum are normally found in religious buildings where they are reserved. Years after, in 1871, the biggest London museum building came into being in the form of the Natural History Museum. It was designed by Alfred Waterhouse and it housed the appropriate collections of the British Museum.

The structure was symmetrical, Romanesque with much terracotta and a magnificent flying staircase inside. The idea of the grand staircase must also have been taken from Schinkels Altes Museum. Originally, as previously mentioned, the collections being housed by the Natural History Museum were those of Sir Hans Sloane, a physician and a natural collector, and are part of the British Museum. But as the years pass, the collections grew and required a much larger space, thus the need to create another museum. The location was in South Kensington, the previous location of what was considered as the ugliest building in London, the International Exhibition building. Amazingly, the architect of that building was the same architect who won the design competition for the Natural History Museum. As fate would have it, Francis Fowke, the architect died even before the project was started and so it was passed on to Alfred Waterhouse. Fowkes original design was Renaissance but Waterhouse altered it to German Romanesque.

The three museums namely the British Museum, the Altes Museum, and the Natural History Museum all had a touch of Romanesque architecture characterized by arches and are mostly used in religious buildings such as cathedrals. The reason being probably is because the architects of these buildings believed that art in itself is religion.

Futurists Manifesto Relates to Todays Architecture

Architecture itself is the art and science of designing and constructing physical structures for human use. The meaning itself illustrates that function and aesthetics are inseparable. Throughout the years people continually grow and innovate architectural designs. Buildings are not just there for function but they are also there to illustrate human creativity. The standard of architecture has undergone fundamental change over the past decades. If the old architecture was often simple and well bounded with a handful of bodies, the architecture now celebrates speed, machinery and technology.

There is now an apparent cultural evolution that motivates intellectual avant-garde. Contemporary architects with the help of technology are more experimental and innovative. The novel Futurist Manifesto,  written by the Itallian poet Filippo Tommaso Marineti  introduced an art movement that apparently rejects the past as he seeks to modernize and rejuvenate Italian culture. The vision of this book illustrates the contemporary architecture since it celebrates technology, machineries, speed and aggression. Futurist Manifestos vision is to break the old tradition of style where architecture is decorative, solemn and monumental. It says that architecture must perform a new start where calculation, simplicity and durability of materials are more significant than decoration.
   
In the contemporary architecture, I observed how style meets the avant-garde of Futurist Manifesto. If classical architecture is often pretty and pleasing, I can now see buildings that are simpler. Perhaps that what makes historical buildings a tourist spot because its style are often pretty and emotional. In terms of materials, contemporary architecture are now often made of concrete steel, glass and textile fiber instead of old wood, stone and brick.  The construction nowadays are smarter in terms of aesthetics, usefulness and simplicity. From the classic perpendiculars and horizontals, the oblique and elliptic lines of contemporary architecture are a hundred times more emotional and creative. In addition, the decorative value I observed depends whether it complements the buildings function and original arrangement. Instead of using immediate elements of nature, futurist architects often based on mechanical elements. 
   
Apparently, Futurist Manifesto wants to fulfill its vision that mans creation must endure. To ensure its longer mortality, the Futurist Manifesto aims to celebrates technology. The constant renewal and innovation  will contribute to the victory of Futurism which has already been continually affirmed today. Man according to futurism must be in harmony with freedom of expression through continually experimenting.

Art Nouveau is a style in the field of architecture that greatly influenced architectural work in entire Europe. The style is popular in many regions including New York City, Vienna, Munich, Turin Paris and France. In my opinion, the technique has greatly affected the quality in decoration. Ideas on how to apply the style are well explained in books, articles or beautiful designs that are designed in unique wonderful shapes. The style is mostly used to decorate buildings, walls, streets, furniture, textiles, clothes, jewelry and other land marks such as museums.

Art Nouveau as a style
Art Nouveau is commonly used by building designers who are specialized in decoration and beautification of buildings. The decoration styles are not similar in most cases and the quality of the decoration depends on how a person apply the skills and therefore require training and practice in order to be perfect. In Europe, many institutions have been developed to train people on the style. The style is common as a result of expansion of institutions to train people on arts and decoration.

Benefit of Art Nouveau to architects
It has enabled many architects to earn their living and expanded trade within the cities in Europe as a whole. Most of the modern buildings have adopted the style in such a way that there is minimal difference with the original style. I also believe that, apart from encouraging innovation in Europe, the style applied most especially during the civilization period in Europe and industrial revolution in Northern Europe, most buildings were built and decorated using Art Nouveau style. This resulted to the spread and the use of the idea positively and many architects adopted the style to decorate buildings and walls.Eventhough most of the people valued nature art nouveau was leading in most cities, streets, attires and walls (Chilvers, pp 171).

Cities that adopted the Art Nouveau
In most cities in Europe, the style was common though it was dominant in Paris due to the fact that artistic work was appreciated by many people who lived in the city. Paris is a major city in relation to art work and even hosted Art Nouveau in 1900. However, other cities such as Brussels, which was considered to be the center for development of art work and beautification, the style was popularly used in Brussels especially in major buildings and walls. Brussels city underwent many changes in design work and many architects acquired new skills for instance, Henry van de Velde expanded the style by decorating Tassel house in Brussels making it a more attractive place in the city, though the style was also popular in other cities including Glascow in England. Charles Rennie Mackintosh did a great work in decorating several buildings in Europe.  In most cases, he applied the style in his work However, Illinois, Chicago, New York and Denver were not left out as the cities that adopted the style (Chilvers, pp 121).

The pictures and the designers
Even though most buildings, items and structures were decorated using the style, few were recognized and categorized as attractive. The first picture represents a well decorated chair by Henry van de Velde who was born in 1863 and died in 1957. He was a painter, architect and was also good in interior designer. He spent most of his time in decoration and painting. The picture of the chair represents the use of Art Nouveau style in decoration he designed the chair not for sale but for his own use in his house in Brussels.
In 1906, the family of Victor Eugene Feller by the help of imperial royal architects contributed to the decoration of the house using the style (picture 2). The house was well advertised and was located at Zagreb which is today European house. The picture further portrays the fine art and proper application of the style.

The last picture (3) symbolizes a human face designed on the wall of a house it was designed in 1911 by Mathias Feller, an architect from Munich and Eugene Viktor, his half brother. Even though most houses and structures were built and decorated using different artistic works few could be noted and grouped as modern attractive buildings. In Europe for instance, Empire State building, is one of the buildings that was well decorated and furnished to the standard. It became one of the most expensive buildings and the most attractive of all. Finally, it is worth noting that Art Nouveau has led to an increase in employment, trade, attracted tourists and made many cities look more attractive and modern

The Portals of the Chartres Cathedral

In the medieval times, incredibly beautiful and awe-inspiring cathedrals were built in Europe as vast monuments dedicated to the glory of God. Notre Dame of Paris and Notre Dame of Chartres (the Chartres Cathedral) are among the most famous cathedrals, both these magnificent constructions are also among the earliest and the finest examples of Gothic architecture. 

Gothic architecture was first worked out and defined in France in the first quarter the twelfth century. It is a grand and imposing style of architecture prominently characterized by such features as pointed arches, flying buttresses, ribbed vaults, the use of stained glass (especially in large windows), and lavish artistic detail. Although palaces, castles, town halls and universities employed Gothic architecture, this religiously-inspired architectural style is particularly suitable for ecclesiastical edifices since it is an artistic approach that seeks to invoke the power of the divine in stone and glass. It is in cathedrals that Gothic architecture fully blossomed and reached it highest potential. Today, gothic architecture is readily associated mostly with cathedrals, and a study of gothic architecture largely amounts to a study of cathedrals.

Chartres is located about 80 km southwest of Paris. The Cathedral of Notre Dame, built in the 12th and 13th centuries, is the epicenter of this town. The Chartres Cathedral is celebrated as the high point in Gothic architecture and also as a testament to the artistic creativity and engineering ingenuity of the Middle Ages.

History of the cathedral and some of its salient features
The humble beginnings of the Chartres Cathedral date back to the fourth century when the first Christian church was built on a druidic site. In 743, the original church was razed down by an invading duke. A new Church of St. Mary was then built on this spot. In the ninth century, this church acquired a holy relic, a tunic supposedly worn by St. Mary when she gave birth to Jesus. It is preserved to this day in the cathedral treasury. This church was destroyed by Danish Vikings, but was rebuilt soon thereafter. However this too was destroyed in two major fires. In 1020, there was a massive initiative to build the church again and on a larger scale. It was commissioned by Bishop Fulbert, and was built in the Romanesque style. Some parts of the present-day structure date back to this period before the first crusade (Adams 62).

Around the 11th and 12th centuries, the town of Chartres developed into a hub of learning and thought. It became one of the active centers of the phenomenon known today as twelfth-century renaissance. This cultural efflorescence forms the backdrop from which the great cathedral came to be. 

In 1134, a conflagration ravaged the whole town, and a considerable part of the cathedral too was devoured in the flames. Rebuilding began in 1145. Many extant structures of the cathedral date back to this period. In 1194, the cathedral was once again subjected to devastation by fire. But once again it rose from the ashes. The work on it was almost completed by 1235. The cathedral was consecrated in 1260. The Chartres Cathedral as we know it today essentially belongs to the 12th and 13th centuries, even though minor work continued on it sporadically until as late as 16th century.

Among other things, the Cathedral of Chartres is noted for its iconography as seen in its imagery-laden windows and the porches adorned with fine sculptures. It has to be noted though that the vast iconography embedded in stained glass and sculpture was meant to be much more than an embellishment. In general, medieval church art had the purpose of instructing people in religious matters. 

There are three large rose windows, the one in the west is dedicated to the theme of the apocalypse and the Last Judgment, the one on the north-side portrays Virgin Mary and the Old Testament prophets, and the south window is devoted to Jesus Christ and the stories of the New Testament.

A plethora of statues populate the portals and the porches. The most prominent of these portals is the Royal Portal on the west faade. It has sculptures that depict New Testament stories and various motifs from them such as infant Jesus in Marys lap and Christs ascension to heaven. Below these statues based on religious themes are the statues of various historical kings and queens, which is what gives the portal its name. The implication of placing the royal statues below the religious statues is that there is a divine connection between the Ruler of the world and its rulers. 

History and the layout of the portals
Chartres has three triple portals or totally nine portals in all, a triple portal on the western facade, a triple portal on each of the northern and the southern transepts. The three portals of the west front, which constitute the Royal Portal or Portals, are the most famous. The transepts have three sculptured portals each along with large rose windows and flanking towers. The triple-portal layout is unique to Chartres, although the design of the rose-windowed transepts as well as some of the iconography at the Royal Portal was based on the cathedral of St. Denis built earlier at Laon which was mostly destroyed during the reformation.

The 1134 fire destroyed the town and the west front of the then existing cathedral. When reconstruction on it began over a decade later, a new west faade was raised. The design of two flanking towers along with a tri-partite portal zone full of beautiful sculptures and a rose window above it is based on the model of an earlier church elsewhere but whereas the three portals were distinctly separated from one another in the earlier model, in Chartres the three doorways can be considered to form a unified structure, being connected by a frieze of sculptures and reliefs running across all the portals. The work on the west faade and its sculptures was most probably carried out between 1145 and 1150.

The fire of 1194 destroyed most of the town and the cathedral, but it almost miraculously spared the recently erected west faade. Although at first the citizens of Chartres considered the repeated fires that were destroying their cathedral as a sign of the divine wrath, the majestically standing west faade inspired them to look at the issue in a positive light, and they then thought they received a divine message in the form of the fire to build a bigger and better cathedral that matches the grandness of the west faade (Kleiner 343). Within the next 25 to 30 years, most of the new cathedral was completed. The magnificent new structure included the 3-aisled nave, the 5-aisled choir and its adjacent chapels and the transepts. The porches of the twin transepts were furnished with lavish friezes and sculptures. The high nave is supported by three-tier flying buttresses on the outside.


A closer look at the portals
The north portal is mostly dedicated to themes from the Old Testament, the south portal is dedicated to themes from the New Testament, and the Royal Portal is dedicated to the glorification of Christ and Mary.

North Portal This was constructed in the third decade of the 13th century. Christians view the prophets of the Old Testament to be precursors of the Christ and many of the happenings in OT to be preparations to lay the groundwork for the coming of the Christ. This is the view that is conveyed in the sculptures of the north portal. Here, Virgin Mary also features prominently (Janson  Janson). The central portal has the statue of St. Anne with infant Mary in her hands. The central statue was probably a token of honor to a relic of St. Anne received by Chartres from Constantinople.   

Some of the statues in the north porch are those of Isaiah, Jeremiah, Elijah, Simeon, John the Baptist and St. Peter. Moses and other figures from the Pentateuch do not feature, though there are a few statues depicting Adam and the story of creation.

Isaiah is the most famous of the prophets of Israel. He declared that there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots (Isaiah 111). Here he is shown as holding the flowering stem, although the actual flowering stem has disappeared. There is also a small figure of Jesse below him.

Jeremiah spoke about things which could be interpreted to be references to the Passion of Christ. Here he is depicted as holding a Greek cross and has listener beneath his feet.

Simeon is not a character from the Old Testament but a priest in the temple to whom infant Jesus was presented. He is depicted as holding the infant in his arms.

John the Baptist of the New Testament forms the immediate background from which Christ arose. He consciously paved the way for Christ to come. He is depicted as a thin figure, presumably emaciated from fasting and practicing asceticism, with a camel hair tunic. He is pointing in the direction of a medallion which is engraved with the Lamb of God. There is a dragon beneath his feet.

Then there is Peter the apostle, but dressed as a pope. He is supposed to be holding a chalice and a set of keys, but this part of the imagery is lost.

Elijah is one of the most interesting characters of the Old Testament. Reportedly he was abducted to heavens in a fiery chariot. Some researchers believe that this is a veiled reference to a UFO encounter. Here he is shown standing on the wheels of his chariot with his disciple, Elisha, catching his mantle from below.

Among the other statues are those of King Solomon, appearing corpulent, and Holy Modesta, a smiling female figure. Also, a conceptual depiction of the origin of mankind, which shows Adam emerging from behind the head of God  the divine idea and the image of God molding Adams head into shape as a sculptor moulds clay.

South Portal The south portal was carved between 1224 and 1250. It is based on the themes of the New Testament, with a focus on the Last Judgment. There is the central image of Christ which has come to be known as the Beau-Dieu, the beautiful God, because Jesus appears mild and charming. There are the sculptures of the martyrs on the left bay, and images of other saints known as confessors (implying those saints who were not martyred) on the right side.

Royal Portal The Royal Portal on the west front was carved by 1150, it is the earliest and the most intricate of the Chartres portals (Hearn 197). The central theme is Mary and Jesus, but the recesses of the portal are adorned with statues of kings, queens and figures from the Old Testament. These statues have expressive faces, their attitude could be interpreted as a form of condescension for the visitor. At some places here one can also clearly discern the transition from Romanesque architecture to Gothic. For example, the emotive faces belong more to the latter tradition, while some kind of elongation of the figures is part of the earlier style.

The central Royal Portal presents the theme of the Last Judgment.  The Christ in the tympanum is surrounded by the four beasts of the Apocalypse. There is an almond-shaped halo (known as a mandorla) around the Christ, his right hand is raised in blessing, and in his left hand there is the the Book of Life. The image of the Christ here stands out of the rest of the cathedral sculpture for its central position and intrinsic beauty. It is especially known for subtly bringing together the divine (Christ) and the human (Jesus) in Jesus Christ.

To the left of the central portal, friezes on the capitals reflect the life of Mary. There are also the images of Anne and Joachim, Marys parents. To the right, scenes depict the life of Christ.

The left doorway features the Ascension of the Christ. The Christ is standing on a cloud, flanked by two angels. There are four more angles below and further below are ten seated men, the apostles, with scrolls in their hands and looking up at Christ. The archivolts present signs of the zodiac.  

The right-hand portal depicting the descent of Christ unto the earth complements the Ascension on the other side. The bottom register shows scenes from Marys life, including the Annunciation, the Visitation, the Nativity, and the Annunciation to the Shepherds. The middle register depicts Presentation at the Temple. The upper one has the Virgin and the Child seated between two angels. The inner archivolt contains angels, and the outer archivolt has two signs from the zodiac and some other secular symbols.
 
The Cathedral of Chartres is one of the foremost architectural wonders of the world. It perfectly captures splendor and sublimity of the Gothic style. But it is more than a work of art and a marvel of engineering. Being the epitome of the Gothic cathedrals, Notre Dame de Chartres
encodes a far-reaching shift in the way medieval thinkers perceived their relationship with their world. For the first time, they began to believe in an orderly, rational world could be investigated and understood. This change marked the beginning of Western science and also the start of a long and, indeed, unfinished struggle to reconcile faith and reason. (Ball, front flap)

In other words, the entire Cathedral of Chartres can be seen as a grand ancient portal to the Age of Enlightenment and the modern times.  

Art Nouveau is the name of a style in the field of architecture that originated from Europe and most parts of Northern Europe. The style emerged at the eve of World war One, it was the style that was mostly preferred by majority living in different states such as New York City, Paris and France. The idea was further developed in different books, articles, beautiful designs and wonderful shapes that attracted many of the viewers. The Art and Craft movement was pioneered by an English man known as John Ruskin who published many books on Art Nouveau. This influenced the spread of the idea positively and many cities adopted the style to decorate buildings and walls.Eventhough most of the people in 19th century appreciated nature, the style Art Nouveau was predominant in most cities, streets and walls although the style was not similar to each other regarding the citiesurban centers (Strieter, pp 21).

Which cities were decorated using the style
In Europe, the style was dominant in Paris where most of the artistic work was the order of the day. Paris acted as a host for world fair in 1900 to demonstrate Art Nouveau and this led to commissioning of Parisian art designer to design entrances for the subway system. In Brussels, which was also known as the center for development of art work, the style was commonly used in major buildings and walls. The city underwent many changes in design and Belgian designers such as Henry van de Velde and Gustave Bovy expanded the style by decorating Tassel house in Brussels making it a major town.

The style was also common in small cities such as Glascow in England through the work of Charles Rennie Mackintosh and other designers and consequently adopted in cities like Vienna, Munich, Turin, Chicago and New York. In Chicago for instance, Louis Sullivan did a great work in exposing the style by building sky scrappers that symbolized advancement in technology and modernity (Strieter, pp 44).

How is the style embraced in America
The style was highly welcomed in America even in times of economic depression and times policy modifications such as prohibitions. It was used to decorate bars, restaurants, ships, palaces, streets and amusement centers. The style is common in most cities such as Illinois, Chicago and Denver. On the positive side of the style, it has created job for most people who are interested in art work especially in Europe, North America and the rest of the world. It has increased tourism and advanced decoration of structures hence increased beautification of modern cities and structures (Strieter, pp 66).

Most noted buildings that are decorated using the style
Even though most buildings are decorated using different artistic works, few can be noted and grouped as modern attractive buildings. In Europe for instance, Empire State building, is one of the buildings that was well decorated and furnished to standard. It became one of the most expensive buildings and the most attractive of all in 19th century. Manhattan located along Lexington Avenue, was also well designed by William Van Alen in 1928 and hosts one of the best companies such as Chrysler motor company and major automobile companies hence making it an expensive place and a centre for trade. The style is even used in New York at One Wall Street the home of the Bank of New York. It is therefore evident that the style has expanded greatly and added great value to different buildings and structures allover Europe and America. It has also improved tourism sector in Europe, expanded trade and created employment through development of art work.