Sample Essay paragraphs from previous years (not perfect, but good solid examples). Please note that these examples are referenced using Harvard. Your essay must be referenced using APA 6th because the University has now adopted this system of referencing for the School. You can find the new referencing system guidelines here, http://www.hud.ac.uk/library/finding-info/apa-referencing/ Sample Introduction This essay explores and examines the Museum of Modern Literature by Sir David Chipperfield; a museum created in 2007 to hold the twentieth century archive of German Literature in Marbach, Germany. The museum could be classed as a Postmodern building with “heady eclecticism, the breadth of reference, the willingness to embrace symbolism” (Allen, The Architects Journal). Chipperfield’s design is strongly intertextual, merging many different periods of architecture including classicism through his overuse of columns and structure; as seen in Ancient Greek temples like the Temple of Hephaestus in Athens, and Modernism with his simple, minimalist lines influenced by Mies van der Rohe. However, it is a reserved building, with restrained theology and learning, and in this sense is very different to the Postmodern style, reflecting back to the modern era with a lack of ornamentation and a theory of ‘form ever follows function’ (Sullivan 1896). I will address the significance behind the concepts, form, materiality and structure of Chipperfield’s design, influenced by his deep knowledge of contextual and historical issues in Germany, particularly around the use of classicism and the intertextuality with monumental Nazi architecture favoured by Hitler to show power, strength and intellectuality by using authoritve markers of intertextuality (C, Benincasa). He creates an interesting debate in his building between the tension of Modernism used in a Postmodern building. Can Modernism sit within Postmodernism when the two theologies and the influences behind these movements oppose each other or does this just create a paradox? A question which Clement Greenburg discusses at the time when Postmodernism was just coming to the front in a lecture on Modern and Post-Modern in 1980. …………………………………………………………………. Sample Argumentation Reading this piece of architecture is complex, and in attempting to consider its influences, there are a number of layers of understanding, not least from the architect themselves.Adam Caruso has himself cited that inspiration for the design comes from a variety of sources; including the artist-led spaces of New York (Moore, R. 2010) and Berlin (Author unknown, 2009), and Louis Sullivan’s Guaranty Building (also known as the Prudential Building 1894). The influence of Louis Sullivan’s own battle-cry ‘Form follows function’ (The Art Institute of Chicago, n.d) is clearly evident in the architecture of the Nottingham Contemporary, with Caruso divulging his favourite aspect of the project being the; “…closeness in ambition between the institution and the architecture…and an ethos that is shared between the architecture, art and even the shop.” (Caruso St John's Nottingham Contemporary Arts Centre, November 2009, transcribed from film). In this statement, the architect highlights that whilst there is a ‘closeness’ in ambition, it is still the institution that comes first, dictating the functions for the form (architecture) to follow. One such example of this is the 132 roof lights based on those of Malmö’s Konsthall (Nottingham Contemporary, 2009), which provide natural light which artists and visitors crave in gallery spaces, opposed to electric powered light, but which also, in an increasingly austere economic climate, will no doubt reduce the running costs of the building, currently estimated at £1.8m a year (This iNottingham 2011). Caterina Benincasa-Sharman