Wednesday, September 22, 2010

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Richard Meier
Richard Meier at the 2009 Tribeca Film Festival.jpg
Richard Meier in New York City, April 2009.
Personal information
Nationality American
Born October 12, 1934

Newark, New Jersey
Work
Practice Richard Meier & Partners
Buildings Barcelona Museum of Contemporary Art
City Hall and Central Library, The Hague
Getty Center, Los Angeles
Awards Pritzker Prize (1984)
For the American urban planner, see Richard L. Meier
Richard Meier (born October 12, 1934) is an American architect, whose rationalist buildings make prominent use of the color white.

Contents

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[edit] Biography

Meier was born in Newark, New Jersey.[1] He earned a Bachelor of Architecture degree from Cornell University in 1957, worked for Skidmore, Owings and Merrill briefly in 1959, and then for Marcel Breuer for three years, prior to starting his own practice in New York in 1963. Identified as one of The New York Five in 1972, his commission of the Getty Center in Los Angeles, California catapulted his popularity among the mainstream. Richard Meier & Partners Architects has offices in New York and Los Angeles with current projects ranging from China and Tel Aviv to Paris and Hamburg.
Much of Meier's work builds on the work of architects of the early to mid-20th century, especially that of Le Corbusier and, in particular, Le Corbusier's early phase. Meier has built more using Corbusier's ideas than anyone, including Le Corbusier himself[citation needed]. Meier expanded many ideas evident in Le Corbusier's work, particularly the Villa Savoye and the Swiss Pavilion.
Getty Center, Los Angeles
His work also reflects the influences of other designers such as Mies Van der Rohe and, in some instances, Frank Lloyd Wright and Luis Barragán (without the colour)[citation needed]. White has been used in many architectural landmark buildings throughout history, including cathedrals and the white-washed villages of the Mediterranean region, in Spain, southern Italy and Greece.
In 1984, Meier was awarded the Pritzker Prize[2]. In 2008, he won the gold medal in architecture from the Academy of Arts and Letters[3] and his work Jesolo Lido Village was awarded the Dedalo Minosse International Prize for commissioning a building[4]. Meier is a Senior Fellow of the Design Futures Council.[5]
The Mayor of Rome Gianni Alemanno included in his campaign platform a promise to tear down the big travertine wall of Meier's Ara Pacis.[citation needed] Mayor Alemmano has since changed his stance on the building and has agreed with Mr. Meier to modifications including drastically reducing the height of the wall between an open-air space outside the museum and a busy road along the Tiber river. The city plans to build a wide pedestrian area along the river and run the road underneath it. "It's an improvement," says Meier, adding that "the reason that wall was there has to do with traffic and noise. Once that is eliminated, the idea of opening the piazza to the river is a good one." The mayor’s office said Alemanno hopes to complete the project before the end of his term in 2013.[6]
Meier is also the second cousin of the architect, theorist, and fellow member of The New York Five, Peter Eisenman.

[edit] Works

Barcelona Museum of Contemporary Art
The Atheneum in New Harmony, Indiana, United States.
Museum of Television and Radio, Beverly Hills, California
Ara Pacis Museum, Rome

[edit] References

  1. ^ Tempest, Rone. "America's Designs on Europe Top quality U.S. architectural firms, feeling the pinch at home, are finding work in Europe-and are snapping up some of the most sought-after projects.", Los Angeles Times, August 25, 1992. Accessed September 19, 2008. "When the Canal Plus building was under construction, Meier said he had 17 American staffers on the ground supervising the work. But the lopsided European proportion of his recent workload has concerned the silver-haired, Newark, N.J.-born architect."
  2. ^ Pritzker Architecture Prize Laureate
  3. ^ "Academy of Arts and Letters Announces Award Winners", Artinfo, April 17, 2008. accessdate=2008-05-19
  4. ^ Dedalo Minosse International Prize 2008
  5. ^ Design Futures Council Senior Fellows http://www.di.net/about/senior_fellows/
  6. ^ http://www.france24.com/en/20100407-modern-scar-housing-roman-altar-be-modified
  7. ^ http://www.e-architect.co.uk/los_angeles/crystal_cathedral.htm
  8. ^ New mayor of Rome threatens to scrap "disfiguring" Richard Meier museum
  9. ^ "Glass Half Empty: Richard Meier’s Brooklyn Tower," New York Times September 25, 2009

[edit] External links

Wikimedia Commons has media related to: Richard Meier
Getty Center.

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An architect is a person trained in the planning, design and oversight of the construction of buildings, and is licensed to practice architecture. To practice architecture means to offer or render services in connection with the design and construction of a building, or group of buildings and the space within the site surrounding the buildings, that have as their principal purpose human occupancy or use.[1] Etymologically, architect derives from the Latin architectus, itself derived from the Greek arkhitekton (arkhi-, chief + tekton, builder), i.e. chief builder.[2]
Professionally, an architect's decisions affect public safety, and thus an architect must undergo specialized training consisting of advanced education and a practicum (or internship) for practical experience to earn a license to practice architecture. The practical, technical, and academic requirements for becoming an architect vary by jurisdiction (see below).
The terms architect and architecture are also used in the disciplines of information technology (for example a software architect). In most of the world's jurisdictions, the professional and commercial uses of the term "architect", outside of the etymological variants noted, is legally protected.
The practice of architecture involves offering or rendering services that include pre-design services, programming, planning, providing designs, drawings, specifications and other technical submissions, the administration of construction contracts and the co-ordination of any elements of technical submissions prepared by others (such as by engineers) and technical designers.[3]
Architecture is a business in which technical knowledge, management, and an understanding of business are as important as design. An architect accepts a commission from a client. The commission might involve preparing feasibility reports, building audits, the design of a building or of several buildings, structures, and the spaces among them. The architect participates in developing the requirements the client wants in the building. Throughout the project (planning to occupancy), the architect co-ordinates a design team. Structural, mechanical, and electrical engineers and other specialists, are hired by the client or the architect, who must ensure that the work is co-ordinated to construct the design.

Design role

The architect hired by a client is responsible for creating a design concept that meets the requirements of that client and provides a facility suitable to the required use. In that effort, the architect must meet with and question the client [extensively] to ascertain all the requirements and nuances of the planned project. This information, called a "program", is essential to producing a project that meets all the needs and desires of the owner—it is a guide for the architect in creating the design concept.
Architects deal with local and federal jurisdictions about regulations and building codes. The architect might need to comply with local planning and zoning laws, such as required setbacks, height limitations, parking requirements, transparency requirements (windows), and land use. Some established jurisdictions require adherence to design and historic preservation guidelines.
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http://upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Vistaescorial.jpg/350px-Vistaescorial.jpg

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http://en.wikipedia.org/wiki/El_Escorial
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From Wikipedia, the free encyclopedia Jump to: navigation, search For other uses, see El Escorial (disambiguation). "El Real Monasterio de El Escorial" A distant view of "El Real Monasterio de El Escorial" A distant view of "El Real Monasterio de El Escorial" Location: San Lorenzo de El Escorial, Spain Coordinates: 40°34′54.3″N 4°07′35.1″W / 40.58175°N 4.126417°W / 40.58175; -4.126417Coordinates: 40°34′54.3″N 4°07′35.1″W / 40.58175°N 4.126417°W / 40.58175; -4.126417 Architect: Juan Bautista de Toledo Governing body: Ministry of the Presidency UNESCO World Heritage Site Official name: Monastery and Site of the Escorial, Madrid Type: Cultural Criteria: i, ii, iv Designated: 1984 (8th session) Reference #: 318 State Party: Spain Region: Europe and North America Spanish Property of Cultural Interest Official name: Monasterio de San Lorenzo Type: Real property Criteria: Monument Designated: 3 June 1931 Reference #: (R.I.) - 51 - 0001064 - 00000 El Escorial is located in Madrid Location of El Escorial within Madrid El Escorial is a historical residence of the king of Spain, in the town of San Lorenzo de El Escorial, about 45 kilometres (28 miles) northwest of the Spanish capital, Madrid. It is one of the Spanish royal sites and functions as a monastery, royal palace, museum, and school. El Escorial comprises two architectural complexes of great historical and cultural significance: El Real Monasterio de El Escorial itself and La Granjilla de La Fresneda, a royal hunting lodge and monastic retreat about five kilometres away. These sites have a dual nature; that is to say, during the 16th and 17th centuries, they were places in which the temporal power of the Spanish monarchy and the ecclesiastical predominance of the Roman Catholic religion in Spain found a common architectural manifestation.[1] El Escorial was, at once, a monastery and a Spanish royal palace. Originally a property of the Hieronymite monks, it is now a monastery of the Order of Saint Augustine. Façade of the Monastery of El Escorial Philip II of Spain, reacting to the Protestant Reformation sweeping through Europe during the 16th century, devoted much of his lengthy reign (1556-1598) and much of his seemingly inexhaustible supply of New World gold to stemming the Protestant tide. His protracted efforts were, in the long run, partly successful; however, the same counter-reformational impulse had a much more benign expression thirty years earlier in Philip's decision to build the complex at El Escorial. Philip engaged the Spanish architect, Juan Bautista de Toledo, to be his collaborator in the design of El Escorial. Juan Bautista had spent the greater part of his career in Rome, where he had worked on the basilica of St. Peter's, and in Naples, where he had served the king's viceroy, whose recommendation brought him to the king's attention. Philip appointed him architect-royal in 1559, and together they designed El Escorial as a monument to Spain's role as a center of the Christian world.[2] On November 2, 1984, UNESCO declared The Royal Site of San Lorenzo of El Escorial a World Heritage Site. It is an extremely popular tourist attraction, often visited by day-trippers from Madrid - more than 500,000 visitors come to El Escorial every year. [edit] Design and conception Contents [hide] * 1 Design and conception * 2 Sections of the building o 2.1 The patio of the kings o 2.2 The basilica o 2.3 Palace of Philip II o 2.4 Hall of Battles o 2.5 Pantheon of the Kings o 2.6 Pantheon of the Princes o 2.7 Art Gallery o 2.8 Architectural Museum o 2.9 Gardens of the Friars o 2.10 Library * 3 The reliquaries * 4 Adjacent buildings * 5 See also * 6 References * 7 External links El Escorial is situated at the foot of Mt. Abantos in the Sierra de Guadarrama. It is a bleak, semi-forested, wind-swept place that owes its name to nearby piles of slag or tailings, called scoria, the detritus of long-played-out iron mines in the Guadarrama. This austere location, hardly an obvious choice for the site of a royal palace, was chosen by King Philip II of Spain, and it was he who ordained the building of a grand edifice here to commemorate the 1557 Spanish victory at the Battle of St. Quentin in Picardy against Henry II, king of France.[3] He also intended the complex to serve as a necropolis for the interment of the remains of his parents, Charles I and Isabella of Portugal, himself, and his descendants.[4] In addition, Philip envisioned El Escorial as a center for studies in aid of the Counter-Reformation cause. The building's cornerstone was laid on April 23, 1563. The design and construction were overseen by Juan Bautista de Toledo, who did not live to see the completion of the project. With Toledo's death in 1567, direction passed to his apprentice, Juan de Herrera, under whom the building was completed in 1584, in less than 21 years. El Escorial: floor plan, based on the floorplan of Solomon's Temple. Since then, El Escorial has been the burial site for most of the Spanish kings of the last five centuries, Bourbons as well as Habsburgs. The Royal Pantheon contains the tombs of the Holy Roman Emperor, Charles V (who ruled Spain as King Charles I), Philip II, Philip III, Philip IV, Charles II, Louis I, Charles III, Charles IV, Ferdinand VII, Isabella II, Alfonso XII, and Alfonso XIII. Two Bourbon kings, Philip V (who reigned from 1700 to 1746) and Ferdinand VI (1746-1759), as well as King Amadeus (1870-1873), are not buried in the monastery. The floor plan of the building is in the form of a gridiron. The traditional belief is that this design was chosen in honor of St. Lawrence, who, in the third century AD, was martyred by being roasted to death on a grill. St. Lawrence’s feast day is August 10, the same date as the 1557 Battle of St. Quentin.[5] In fact, however, the origin of the building's layout is quite controversial. The grill-like shape, which did not fully emerge until Herrera eliminated from the original conception the six interior towers of the facade, was, by no means, unique to El Escorial. Other buildings had been constructed with interior courtyards fronting on churches or chapels; King's College, Cambridge, dating from 1441, is one such example; the old Ospedale Maggiore, Milan's first hospital, begun in 1456 by Antonio Filarete, is another grid-like building with interior courtyards. In fact, palaces of this approximate design were commonplace in the Byzantine and Arab world. Strikingly similar to El Escorial is the layout of the Alcázar of Seville and the design of the Alhambra at Granada where, as at El Escorial, two courtyards in succession separate the main portal of the complex from a fully-enclosed place of worship. El Escorial was constructed from a plan based on the descriptions of Solomon's temple.[6] Nonetheless, the most persuasive theory for the origin of the floor plan is that it is based on descriptions of the Temple of Solomon by the Judeo-Roman historian, Flavius Josephus: a portico followed by a courtyard open to the sky, followed by a second portico and a second courtyard, all flanked by arcades and enclosed passageways, leading to the "holy of holies". Statues of David and Solomon on either side of the entrance to the basilica of El Escorial lend further weight to the theory that this is the true origin of the design. A more personal connection can be drawn between the David-warrior figure, representing Charles V, and his son, the stolid and solomonically prudent Philip II. Echoing the same theme, a fresco in the center of El Escorial's library, a reminder of Solomon’s legendary wisdom, affirms Philip's preoccupation with the great Jewish king, his thoughtful and logical character, and his extraordinary monumental temple.[7] The Temple-of-Solomon design, if indeed it was the basis for El Escorial, was extensively modified to accommodate the additional functions and purposes Philip II intended the building to serve. Beyond being a monastery, El Escorial is also a pantheon, a basilica, a convent, a school, a library, and a royal palace. All these functional demands resulted in a doubling of the building's size from the time of its original conception. Built primarily from locally-quarried gray granite, square and sparsely-ornamented, El Escorial is austere, even forbidding, in its outward appearance, seemingly more like a fortress than a monastery or palace. It takes the form of a gigantic quadrangle, approximately 224 m by 153 m, which encloses a series of intersecting passageways and courtyards and chambers. At each of the four corners is a square tower surmounted by a spire, and, near the center of the complex (and taller than the rest) rise the pointed belfries and round dome of the basilica. Philip's instructions to Toledo were simple and clear, directing that the architects should produce "simplicity in the construction, severity in the whole, nobility without arrogance, majesty without ostentation."[8] Aside from its explicit purposes, the complex is also an enormous storehouse of art. It displays masterworks by Titian, Tintoretto, El Greco, Velázquez, Roger van der Weyden, Paolo Veronese, Alonso Cano, José de Ribera, Claudio Coello and others.[9] The library contains thousands of priceless manuscripts; for example, the collection of the sultan, Zidan Abu Maali, who ruled Morocco from 1603 to 1627, is housed at El Escorial. Giambattista Castello designed the magnificent main staircase. [edit] Sections of the building In order to describe the parts of the great building in a coherent fashion, it may be useful to undertake an imaginary walking tour, beginning with the main entrance at the center of the western facade: [edit] The patio of the kings Patio of the Kings and the Basilica. The first thing you find upon arriving to El Escorial is the main Façade. This has three doors: the middle one leads to the Patio de los Reyes and the side ones lead to a school and the other to a monastery. On the façade there is a niche where the image of a saint has been placed. The Patio de los Reyes is an enclosure that owes its name to the statues of the Kings of Judah that adorn the façade of the Basílica, located at the back, from which you can access from the patio. This spectacular basilica has a floor in the shape of a Greek cross and an enormous cupola inspired by St. Peter's Basilica in Rome. The naves are covered with canyon vaults decorated with frescoes by Lucas Jordán. The large chapel is one of the highlights in the basilica, presided by steps of red marble. Its main altarpiece is 30 meters high and divided in compartments of different sizes where are find bronze sculptures and canvas authored by Tibaldi, Zuccari or Leoni. In the Capitulary and the Sacristy Rooms, painting such as Joseph's Coat by Velázquez, The Last Supper by Titian, or The Adoration of the Sacred Host by Charles II by Claudio Coello are on exhibit. Under the royal chapel of the Basilica is the Royal Pantheon. This is the place of burial for the kings of Spain. It is an octagonal Baroque mausoleum made of marble where all of the Spanish monarchs since Charles I have been buried, with the exception of Philip V, Ferdinand of Savoy, and Amadeus of Savoy. The remains of Juan de Borbon, father of Juan Carlos I (Spain's current king), also rest in this pantheon despite the fact that he never became king himself. The enclosure is presided over by an altar of veined marble, and the sarcaphogi are bronze and marble. also find the Pantheon of the Princes, where the bodies of the queens who did not have a crowned succession and the princes and princesses were laid to rest. This part was built in the nineteenth century. After the Basilica is the Patio of the Evangelists. This is a gardened patio in whose center rises a magnificent pavilion by Juan de Herrera in which you can find sculptures of the Evangelists. Around the patio are the galleries of the main cloister, decorated with frescoes in which scenes from the history of the Redemption are represented. In the East gallery, you find the splendid main stair case with a fresco-decorated vaulted ceiling depicting The glory of the Spanish monarchy. Next is the Palacio de los Austrias, also known as the Casa del Rey (House of the King), which is found behind the presbytery of the basilica. The outbuildings of this palace are distributed around the patio of the Mascarones, of Italian style. Inside the House of the King are the Sala de las Batallas (Hall of Battles), which contains frescoes of the battles of San Quintín and Higueruela, among others. The next building contains the rooms of Philip II and of the Infanta Isabel Clara Eugenia. Another outbuilding is that of Alcoba del Rey, housing the bed in which Philip II died. [edit] The basilica Dome of the Basilica of El Escorial The basilica of San Lorenzo el Real, the central building in the El Escorial complex, was originally designed, like most of the late Gothic cathedrals of western Europe, to take the form of a Latin cross[10]. As such, it has a long nave on the west-east axis intersected by a pair of shorter transepts, one to the north and one directly opposite, to the south, about three-quarters of the way between the west entrance and the high altar. This plan was modified by Juan de Herrera to that of a Greek cross, a form with all four arms of equal length. Coincident with this shift in approach, the bell towers at the western end of the church were somewhat reduced in size and the small half-dome intended to stand over the altar was replaced with a full circular dome over the center of the church, where the four arms of the Greek cross meet. Clearly Juan Bautista de Toledo's experience with the dome of St. Peter's basilica in Rome influenced the design of the dome of San Lorenzo el Real at El Escorial. However, the Roman dome is supported by ranks of tapered Corinthian columns, with their extravagant capitals of acanthus leaves and their elaborately fluted shafts, while the dome at El Escorial, soaring nearly one hundred metres into the air, is supported by four heavy granite piers connected by simple Romanesque arches and decorated by simple Doric pilasters, plain, solid, and largely unprepossessing. It would not be a flight of fancy to interpret St. Peter's as the quintessential expression of Baroque sensuality and the basilica at El Escorial as a statement of the stark rigidity and grim purposefulness of the Inquisition, the two sides of the Counter-Reformation. Pantheon of the Evangelists. The most highly-decorated part of the church is the area surrounding the high altar. Behind the altar is a three-tiered reredos, made of red granite and jasper, nearly twenty-eight metres tall, adorned with gilded bronze statuary by Leone Leoni, and three sets of religious paintings commissioned by Philip II. To either side are gilded life-size bronzes of the kneeling family groups of Charles and Philip, also by Leoni with help from his son Pompeo. In a shallow niche at the center of the lowest level is a repository for the physical elements of the communion ceremony, a so-called "House of the Sacrament", designed by Juan de Herrera in jasper and bronze. To decorate the reredos, or altar screens, the king's preferences were Michelangelo or Titian, but both of these giants were already more than eighty years old and in frail health[11]. Consequently, Philip consulted his foreign ambassadors for recommendations, and the result was a lengthy parade of the lesser European artists of that time, all swanning through the construction site at El Escorial seeking the king's favor. [edit] Palace of Philip II Situated next to the main altar of the Basilica, the residence of King Philip II is made up of a series of austerely decorated rooms. It features a window from which the king could observe mass from his bed when incapacitated by the gout that afflicted him. Wall in the Hall of Battles. [edit] Hall of Battles Fresco paintings here depict the most important Spanish military victories. These include a medieval victory over the Moors, as well as several of Philip's campaigns against the French. [edit] Pantheon of the Kings Pantheon of the Kings This consists of twenty-six marble sepulchers containing the remains of the kings and queens regnant (the only queen regnant since Philip II being Isabella II), of the Habsburg and Bourbon dynasties from Charles I to the present, except for Philip V and Ferdinand VI. The sepulchers also contain the remains of royal consorts who were parents of monarchs. The only king consort is Francis of Asis de Bourbon, husband of queen Isabella II. The most recent remains in the sepulcher are those of King Alfonso XIII. Those of his wife, as well as his son Juan, Count of Barcelona, and daughter-in-law Maria de las Mercedes (the parents of the current king, Juan Carlos I), lie at a prepared place called a pudridero, or decaying chamber. There are two pudrideros at El Escorial, one for the Pantheon of the Kings and the other for that of the Princes, which can only be visited by monks from the Monastery. In these rooms, the remains of the deceased are placed in a small leaden urn, which in turn will be placed in the marble sepulchers of the pantheon after the passage of fifty years, the estimated time necessary for the complete decomposition of the bodies. Detail of the Court of the Kings, in El Escorial When the remains of Juan and Maria Mercedes are deposited in the Royal Pantheon, they will, in a sense, constitute exceptions to tradition. First, the Count Barcelona was never able to reign, due to the institution of the Second Republic and the exile of Alfonso XIII and his entire family, though they are the parents of a King, and their remains are in the Pantheon. Second, the Pantheon also contains the remains of Victoria Eugenie of Battenberg, who, although the wife of a King, was never the mother of a king in the strict sense. Some, however, do consider Juan to have been de jure King of Spain, which in turn would make Queen Victoria Eugenia the mother of a king. With the interment of Juan and Maria's remains, all the sepulchers in the Royal Pantheon will be filled; no decision has yet been announced as to the final resting place of the currently-living members of the Royal Family. There has already been one exception to this old tradition: Elisabeth of Bourbon is for the moment the only queen in the pantheon who has not been mother to a King. That is because her only son, the presumed Heir to the Throne, died after her. The walls of polished Toledo marble are ornamented in gold-plated bronze. All of the wood used in El Escorial comes from the ancient forests of Sagua La Grande, on the so-called Golden Coast of Cuba. Wooden model of the roof [edit] Pantheon of the Princes Completed in 1888, this is the final resting place of princes, princesses and queens who were not mothers of kings. With floors and ceiling of white marble, the tomb of Prince John of Austria is especially notable. Currently, thirty-seven of the sixty available niches are filled. [edit] Art Gallery Consists of works of the German, Flemish, Venetian, Lombard, Ligurian and more Italian and Spanish schools from the fifteenth, sixteenth and seventeenth centuries. [edit] Architectural Museum Its eleven rooms showcase the tools, cranes and other materials used in the construction of the edifice, as well as reproductions of blueprints and documents related to the project, containing some very interesting facts. The Casita del Principe, was built in 1771-75 to designs of Juan de Villanueva, for the Prince of the Asturias, the future Carlos IV [edit] Gardens of the Friars Constructed at the order of Philip II, a great lover of nature, these constitute an ideal place for repose and meditation. Manuel Azaña, who studied in the monastery's Augustinian-run school, mentions them in his Memorias (Memoirs) and his play El jardín de los frailes (The Garden of the Friars). Students at the school still use it today to study and pass the time. [edit] Library Philip II donated his personal collection of documents to the building, and also undertook the acquisition of the finest libraries and works of Spain and foreign countries. It was planned by Juan de Herrera, who also designed the library’s shelves; the frescoes on the vaulted ceilings were painted by Pellegrino Tibaldi. The library’s collection consists of more than 40,000 volumes, located in a great hall fifty-four meters in length, nine meters wide and ten meters tall with marble floors and beautifully carved wood shelves. Benito Arias Montano produced the initial catalog for the library, selecting many of the most important volumes. In 1616 he was granted the privilege of receiving a copy of every published work, though there is no evidence that he ever took advantage of this right. The vault of the library's ceiling is decorated with frescoes depicting the seven liberal arts: Rhetoric, Dialectic, Music, Grammar, Arithmetic, Geometry and Astronomy. [edit] The reliquaries Following a rule approved by the Council of Trent dealing with the veneration of saints, Philip II donated to the monastery one of the largest reliquaries in all of Catholicism. The collection consists of some 7500 relics, which are stored in 570 sculpted reliquaries designed by Juan de Herrera. Most of them were constructed by the artisan, Juan de Arfe Villafañe. These reliquaries are found in highly varied forms (heads, arms, pyramidal cases, coffers, etc.) and are distributed throughout the monastery, with the most important being concentrated in the basilica. [edit] Adjacent buildings

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Her Majesty's Theatre, Sydney Her Majesty's Theatre is a West End theatre, located in the Haymarket, in the City of Westminster. The present building was designed by Charles J. Phipps and was constructed in 1897 for actor-manager Herbert Beerbohm Tree, who established the Royal Academy of Dramatic Art at the theatre. In the early decades of the 20th century, Tree produced spectacular productions of Shakespeare and other classical works, and the theatre hosted premières by major playwrights such as George Bernard Shaw, J. M. Synge, Noel Coward and J. B. Priestley. Since World War I, the wide flat stage has made the theatre suitable for large-scale musical productions, and the theatre has specialised in hosting musicals. The theatre has been home to record-setting musical theatre runs, notably the World War I sensation Chu Chin Chow[1] and the current production, Andrew Lloyd Webber's The Phantom of the Opera, which has played continuously at Her Majesty's since 1986. The theatre was established by architect and playwright John Vanbrugh, in 1705, as the Queen's Theatre. Legally, serious drama unaccompanied by music was forbidden in all but the two London patent theatres, and so this theatre quickly became an opera house. Between 1711 and 1739, more than 25 George Frederick Handel operas premièred here.[2] In the early 19th century, the theatre hosted the opera company that was to move to the Theatre Royal, Covent Garden, in 1847, and presented the first London performances of Mozart's La clemenza di Tito, Così fan tutte and Don Giovanni.[3] It also hosted the Ballet of her Majesty's Theatre in the mid-19th century, before returning to hosting the London premières of such famous operas as Bizet's Carmen and Wagner's Ring Cycle. The name of the theatre changes with the gender of the monarch. It first became the King's Theatre in 1714 on the accession of George I. Most recently, the theatre was known as His Majesty's Theatre from 1901 to 1952, and it became Her Majesty's on the accession of Elizabeth II. The theatre's capacity is 1,216 seats, and the building was Grade II* listed by English Heritage in January 1970. Really Useful Group Theatres has owned the theatre since 2000.Her Majesty's Theatre, Sydney Her Majesty's Theatre is a West End theatre, located in the Haymarket, in the City of Westminster. The present building was designed by Charles J. Phipps and was constructed in 1897 for actor-manager Herbert Beerbohm Tree, who established the Royal Academy of Dramatic Art at the theatre. In the early decades of the 20th century, Tree produced spectacular productions of Shakespeare and other classical works, and the theatre hosted premières by major playwrights such as George Bernard Shaw, J. M. Synge, Noel Coward and J. B. Priestley. Since World War I, the wide flat stage has made the theatre suitable for large-scale musical productions, and the theatre has specialised in hosting musicals. The theatre has been home to record-setting musical theatre runs, notably the World War I sensation Chu Chin Chow[1] and the current production, Andrew Lloyd Webber's The Phantom of the Opera, which has played continuously at Her Majesty's since 1986. The theatre was established by architect and playwright John Vanbrugh, in 1705, as the Queen's Theatre. Legally, serious drama unaccompanied by music was forbidden in all but the two London patent theatres, and so this theatre quickly became an opera house. Between 1711 and 1739, more than 25 George Frederick Handel operas premièred here.[2] In the early 19th century, the theatre hosted the opera company that was to move to the Theatre Royal, Covent Garden, in 1847, and presented the first London performances of Mozart's La clemenza di Tito, Così fan tutte and Don Giovanni.[3] It also hosted the Ballet of her Majesty's Theatre in the mid-19th century, before returning to hosting the London premières of such famous operas as Bizet's Carmen and Wagner's Ring Cycle. The name of the theatre changes with the gender of the monarch. It first became the King's Theatre in 1714 on the accession of George I. Most recently, the theatre was known as His Majesty's Theatre from 1901 to 1952, and it became Her Majesty's on the accession of Elizabeth II. The theatre's capacity is 1,216 seats, and the building was Grade II* listed by English Heritage in January 1970. Really Useful Group Theatres has owned the theatre since 2000.

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