Relevant bibliographies by topics / Baroque architecture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Baroque architecture'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Baroque architecture"

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Del Sole, Francesco. "Neo-Baroque Flowers in Contemporary Architecture." Athens Journal of Architecture 10, no. 3 (July 1, 2024): 223–38. http://dx.doi.org/10.30958/aja.10-3-1.

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Many historians have attempted to define Neo-Baroque in contemporary architecture. Yet, leafing through the manuals, it is not possible to find a definition of this phenomenon, described as “a hypothesis waiting to be developed”. This paper attempts to enter the debate, defining Neo-Baroque not as a mere citation practice, but as a cultural style that identifies today’s society, made of instability and restless expectations. To better understand the contemporary Neo-Baroque soul, the architectural historian must move using those same tools that animate Baroque aesthetics, trying to connect different times and concepts in order to realize relational subtleties that, in Baroque treatises, “are called flowers”. The formal value of Baroque architecture was rehabilitated in the 20th century by architects such as Paolo Portoghesi who, in parallel with the writing of the first manuals on the Baroque, intrinsically re-proposed neo-Baroque forms in his projects, making his architecture “blossom” through that dynamic of folds that is well described by the philosophy of Gilles Deleuze. This folding will become a real working method for architects of the caliber of Frank Gehry who stretch and distend forms to replace the lost center with the fragmentation of viewpoints. Through an excursus of the most important “neo-Baroque flowers” of contemporary architecture, the contribution is an invitation to reflect on that aesthetic in which fold upon fold, fold within the fold, the neo-Baroque flowers express the same qualities as the flowers present in 17th-century architecture in plan and ornament: ephemeral, precarious, but also cultured citations and, in the words of Eugene D'Ors, “forms that fly”.
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Kotliar, Elena Romanovna, and Vladimir Aleksandrovich Khlevnoi. "Representation of the Baroque Style in the Decor of the Crimean Architecture of the Art Nouveau Period." Человек и культура, no. 1 (January 2023): 33–45. http://dx.doi.org/10.25136/2409-8744.2023.1.39804.

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The subject of the study is the characteristic of the Baroque style and the integration of its elements into the decor of the architecture of the Crimea of the Art Nouveau period. The object of the study is the architecture of the Crimea and its decor of the period of the late XIX – first third of the XX century. The research uses the methods of art criticism analysis of Baroque visual forms and their integration into modernity, the method of analysis of previous studies, the method of synthesis in conclusions regarding the connotations of Baroque symbolism. The author considers such aspects of the topic as: a general overview of the origin of the Baroque style; features of the architecture of the Crimean Art Nouveau; integration of Baroque elements into the decor of the Art Nouveau of the Crimea. The main conclusions of the study are: 1. The appearance of the Baroque style in architecture and decor is attributed by architectural historians to the XVII century. However, its origins should be sought in the Middle Ages, since many Baroque elements repeat Arabesques brought by the Crusaders to Europe. Baroque has established itself as a church and palace style. In turn, the Asia Minor (Turkish) Baroque was a synthesis of traditional Arab elements and Western European influence in the XVIII century. 2. The Art Nouveau style in architecture and its decor is a synthesis of various elements of previous styles, arbitrarily used by architects in accordance with their personal tastes, as well as with the wishes of customers. The basis of the Crimean Art Nouveau, represented in country villas, mansions, palaces, apartment buildings, is classicism, Renaissance and Mudekhar style, with the introduction of individual features into them with the help of decor. The use of Baroque elements enlivened the buildings, giving them an elegant, southern flavor. A special contribution of the author to the study of the topic is to clarify the periodization and origin of the Baroque style. The scientific novelty of the research lies in the fact that the author for the first time analyzed the decor of the architecture of the Crimea of the modern period, identified and analyzed the elements of the Baroque, their origin and role in the style of modernity.
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Kemperl, Metoda. "Parish church in Ljutomer and Early Baroque sacral architecture in Prlekija." Kronika 70, no. 3 (November 10, 2022): 765–82. http://dx.doi.org/10.56420/kronika.70.3.09.

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The article presents the Baroque architectural phase of the parish church in Ljutomer, the nave of which was constructed between 1688 and 1690 by the very prolific master mason from Leibniz (Lipnica), Jakob Schmerleib. The church has a three-nave structure, with its origins in Late Gothic architecture. The master mason was probably sent to Ljutomer by the owner of the seigniory Branek, Thomas Ignaz Maurer von Mauerburg, a member of the highest elite in Graz. Although the church is not the first Early Baroque sacral building in Prlekija, it boasts the most complex architecture amidst the predominantly single-nave, multi-bay counterparts. Early Baroque sacral architecture in the area emerged at a relatively late stage, about 1674 (churches in Cezanjevci, Velika Nedelja, and Stara Gora at Sveti Jurij ob Ščavnici). By the end of the seventeenth century, nearly all of the important sacral buildings in Prlekija were rebuilt or newly constructed in the Baroque style.
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Kemperl, Metoda. "Parish church in Ljutomer and Early Baroque sacral architecture in Prlekija." Kronika 70, no. 3 (November 10, 2022): 765–82. http://dx.doi.org/10.56420/https://doi.org/10.56420/kronika.70.3.09.

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The article presents the Baroque architectural phase of the parish church in Ljutomer, the nave of which was constructed between 1688 and 1690 by the very prolific master mason from Leibniz (Lipnica), Jakob Schmerleib. The church has a three-nave structure, with its origins in Late Gothic architecture. The master mason was probably sent to Ljutomer by the owner of the seigniory Branek, Thomas Ignaz Maurer von Mauerburg, a member of the highest elite in Graz. Although the church is not the first Early Baroque sacral building in Prlekija, it boasts the most complex architecture amidst the predominantly single-nave, multi-bay counterparts. Early Baroque sacral architecture in the area emerged at a relatively late stage, about 1674 (churches in Cezanjevci, Velika Nedelja, and Stara Gora at Sveti Jurij ob Ščavnici). By the end of the seventeenth century, nearly all of the important sacral buildings in Prlekija were rebuilt or newly constructed in the Baroque style.
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Ludwig, Bogna. "The Polychrome in Expression of Baroque Façade Architecture." Arts 11, no. 6 (November 3, 2022): 113. http://dx.doi.org/10.3390/arts11060113.

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The article is dedicated to the role of polychrome solutions of the architectonic order in shaping the mode of expression of Baroque façades. The ancient principles of designing architectural structures, inherited from the Renaissance, were subjected to reinterpretations in order to impart different expressive values. Vertical layouts began to dominate in the Baroque. Appropriately selected polychrome of the elements of the order could emphasize the compositional expression. The relationship between the layout of the polychrome in a given architectural order and the expression of a work of art has been established for some time. However, the generally available data on color schemes of architectural structures in Baroque buildings are still not fully organized. The paper analyzes examples of Baroque façades preserved in their original state and revalorized in recent years after thorough research by conservators in the field of architecture and color. The examples are mainly designed in the so-called great order, i.e., pertaining largely to church façades. The decisive field of change became the shaping of the coloristic decoration of the entablature.
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Wang, Ying. "Various and Flexible Catholic Churches of Baroque Style in Shanxi Province." Advanced Materials Research 368-373 (October 2011): 3539–44. http://dx.doi.org/10.4028/www.scientific.net/amr.368-373.3539.

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This paper is to analyze the feature of combination of foreign and local elements in architecture and summarize the creative methods applied in the baroque catholic churches in Shanxi based on the related surveys and researches. It’s a good example explaining that the process of the gradual recognition of foreign architecture forms is also a process of localization. During this process, the local craftsmen have gradually created new and localized architectural forms based on their combination of traditional aesthetics and local techniques, which is significantly enlightening on the localized design of contemporary architectures.
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Oržikauskas, Gytis. "ST. PETER AND ST. PAUL’S CHURCH IN VILNIUS: A STUDY IN META-CODAL SYMBOLISM OF CHRISTIAN ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 234–46. http://dx.doi.org/10.3846/20297955.2014.994809.

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The paper examines Christian architecture from the perspective of “meta-codal function”, i.e. through examination of architectural symbolism expressed solely by architectural means. Emphasizing symbolic and semantic content of architecture, the paper offers a broader research field of architectural artistry by using a wider iconographic comparison. As a representative of baroque architecture and the most prominent example of architectural symbolism, St. Peter and St. Paul’s Church in Vilnius (1668–1702) has been selected for the research. The iconographic programme of this church is compared to most distinct iconographic themes identified through the analysis of some examples of historic Christian architecture. By this method, the research detaches from the usual stylistic analysis and poses the most basic question in architectural artistry: is architecture capable of expressing the independent artistic content which can translate more than architecture’s general appearance.
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Buržinskas, Žygimantas. "Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture." Art History & Criticism 17, no. 1 (November 15, 2021): 43–58. http://dx.doi.org/10.2478/mik-2021-0004.

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Summary The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.
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Lawrance. "Architecture in Spanish Baroque Literature." Modern Language Review 116, no. 2 (2021): 316. http://dx.doi.org/10.5699/modelangrevi.116.2.0316.

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Ostrow, Steven F., and John Varriano. "Italian Baroque and Rococo Architecture." Art Bulletin 70, no. 3 (September 1988): 528. http://dx.doi.org/10.2307/3051184.

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Dissertations / Theses on the topic "Baroque architecture"

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Jeffery, Sally. "English Baroque architecture : the work of John James." Thesis, Birkbeck (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289107.

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de, Paiva José Manuel Ferreira. "The continuity of divine presence in Baroque architecture." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610444.

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Fürst, Ulrich. "Die lebendige und sichtbahre Histori : programmatische Themen in der Sakralarchitektur des Barock : Fischer von Erlach, Hildebrandt, Santini /." Regensburg : Schnell + Steiner, 2002. http://catalogue.bnf.fr/ark:/12148/cb39986077v.

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Angelov, Borislav(Borislav L. ). "Ornament because of crime : learning from Mafia Baroque." Thesis, Massachusetts Institute of Technology, 2019. https://dspace.mit.edu/handle/1721.1/121811.

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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2019
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 99-101).
The thesis looks at the very specific economic and political circumstances in post-Communist Bulgaria that led to the emergence of Mafia Baroque as a distinct architectural style and an instrument for communicating power. Building on the context of the economic meltdown of the mid-1990s, the urban development out-pacing the changing regulatory environment due to corruption, , and the unclear laws relating to land restitution and private development- it seeks to understand how these mafia individuals exploited the construction industry and architecture, and what the future manifestations of these mechanisms could be. A new wave of rural migration to the cities and the current construction boom, present an opportunity for these macho nationalist "businessmen" to establish themselves as "righteous members and builders of society". The thesis will neither seek to create a dialectical- "cleaned up" version of Mafia Baroque nor will it just serve as a cautionary tale projecting a bleak future. If ornament used to be a direct product of crime, could it now express its patron's ulterior motive for an improved urban environment as it takes on additional collective functions besides communicating power? The previous flat kit bashing of parts will be replaced with new programmatic and spatial explorations that seek to project a new synthetic urban condition replacing the individualized enclaves of the present.
by Borislav Angelov.
M. Arch.
M.Arch. Massachusetts Institute of Technology, Department of Architecture
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Legard, James A. "Vanbrugh, Blenheim Palace, and the meanings of Baroque architecture." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/6326/.

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Blenheim Palace, designed for the 1st Duke of Marlborough by Sir John Vanbrugh and Nicholas Hawksmoor, is not only an outstanding exemplar of English baroque architecture, and also one of the best documented; yet it has not been the subject of focussed monographic study since the 1950s. In this thesis I reconsider the design and construction of Blenheim between 1705 and 1712, in an attempt to shed light on its historical meanings that it was originally intended to embody. In my first chapter, I introduce Marlborough and Vanbrugh, arguing that both built careers by exploiting the implicit exchange between service and reward at the heart of early modern court life. In my second chapter, I explore how Vanbrugh, with Hawksmoor’s increasingly important assistance, set about designing Marlborough a ‘martial’ and ‘magnificent’ residence suited to his roles as Queen Anne’s leading courtier and most successful general. In my third chapter I argue that the standard accounts misrepresent the chronology of important aspects of Blenheim’s design and construction, obscuring the existence of a highly cohesive phase of enlargement and aggrandisement in 1707. In my fourth chapter, I suggest that this transformation can be linked, circumstantially and chronologically, to the effects of Marlborough’s military victories of 1706 and, especially, to his elevation to the rank of sovereign prince of the Holy Roman Empire. Offering an alternative to some recent iconographic approaches to the palace, I show how the palace’s sculptural programme was designed to reflect and consolidate this exceptional status. Taken together, these findings significantly refine, and in some respects revise, our basic knowledge of the design and construction of Blenheim, and also reveal with new clarity the extent to which English ‘baroque’ architecture must be understood in the context of early modern English—indeed, European—court culture.
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McQuillan, James Patrick. "Geometry and light in the architecture of Guarino Guarini." Thesis, University of Cambridge, 1992. https://www.repository.cam.ac.uk/handle/1810/256464.

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Guarino Guarini C.R., (1624-1683) is now recognised as one of the great architects of the High Baroque. Author of imposing works on natural philosophy, mathematics and astronomy, plus a posthumous architectural 'trattato', the nature of his thought and its relation to his architecture is still unresolved. My enquiry is to investigate this legacy under the themes of geometry and light. In the 12th century Robert Grosseteste proposed that light was the substantial form of all things, and both he and his followers united spiritual and corporeal light through geometry, thus founding a lightmetaphysic, which flourished in Dante, and was augmented by the Platonism of the Florentine School. In the 16th century, printing had strengthened the spread of these doctrines. With the sixteenth-century recovery of Greek geometry 'Perspectiva', i.e. optics, was recognised as the eighth Liberal Art, and among the schoolmen, light was treated in the First Day of the Hexaemeron. Francesco Maurolyco (1494-1577) is the first modern scientist of light, and with the Galilean observations, optics moved to the forefront of European debate, as Johannes Kepler founded the theories of the lens and illumination, still inside the metaphysical tradition. Meanwhile the Neoplatonism of Francesco Patrizi da Cherso (1529-1597), undermined the philosophy of both light and ancient cosmology, a rupture of the great significance. My enquiry, guided by Guarini's references, starts with Patrizi, and examines the traditional formulations of Fortunio Liceti, Marin Cureau de la Chambre and Ismael Boulliau/Bullialdus. The new 'mechanisme' of Paris is represented by the Minim Father Marin Mersenne who depended on his friends Descartes and Hobbes. The light-encylopaedia and geometry of Father Athanasius Kircher S.J. is a vital component, complemented by the remarkable mathematical imagery of Mario Bettini S.J., a key authority for Guarini. On this foundation, Guarini's mathematics and complex light-theory is studied, and his overall philosophy is related to the symbolism of his Royal Chapel of the Holy Shroud, Turin, as an achievement of Baroque architecture, paradoxically in the context of the seventeenth-century scientific crisis.
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Pejkovic, Jelena. "Awakening Perast : interconnecting past and present architecture in a baroque town." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36190.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.
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Includes bibliographical references (p. 95-97).
Perast, a baroque town on the Montenegrin coast, and a UNESCO protected site, is an amalgam of nearly three hundred buildings that capture the region's unique history. A vibrant regional center in the XVII and XVIII centuries, Perast today is a dormant town in danger of suffocating under the burden of its own past. My architectural intervention, a conservation school dispersed in five locations around strategically selected ruins in Perast, seeks to reconcile the competing claims of preservation and development: it offers heritage-related vocational training as an economic as well as cultural benefit to the local population. In its architectural ambition to interconnect the historic architecture with the contemporary addition in an innovative way, the conservation school becomes a criticism of the overly sentimental approaches to building in protected historic cities in favor of more invigorating ones.
by Jelena Pejkovic.
M.Arch.
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Marshall, David Ryley. "Viviano and Niccolò Codazzi and the baroque architectural fantasy /." Roma : Jandi Sapi, 1993. http://catalogue.bnf.fr/ark:/12148/cb35618390v.

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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.

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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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Silva, José Enrique. "The art of the theatrical fountain in the Italian Baroque : Rome and her surroundings." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23919.

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Books on the topic "Baroque architecture"

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Norberg-Schulz, Christian. Baroque architecture. London: Faber and Faber, 1986.

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Norberg-Schulz, Christian. Baroque architecture. Milano: Electa Architecture, 2003.

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Norberg-Schulz, Christian. Baroque architecture. Milan: Electa, 1986.

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Pavlík, Milan. Prague baroque architecture. Amsterdam: Pepin Press, 1998.

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Charpentrat, Pierre. Baroque. [Köln]: Benedikt Taschen, 1990.

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Andrew (Associate professor of architecture) Saunders. Baroque topologies. Modena: Palombi editori, 2018.

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Yves, Pauwels, ed. Baroque architecture 1600-1750. Paris: Flammarion, 2008.

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Lorgues-Lapouge, Christiane. Corse baroque. Nice: Editions Serre, 1988.

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Bottineau, Yves. Iberian-American baroque. [Köln]: Benedikt Taschen, 1990.

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Correa, Antonio Bonet. Art baroque. Barcelona: Ediciones Polígrafa, 1985.

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Book chapters on the topic "Baroque architecture"

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Duvernoy, Sylvie. "Baroque Architecture." In Handbook of the Mathematics of the Arts and Sciences, 1–16. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70658-0_9-1.

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Duvernoy, Sylvie. "Baroque Architecture." In Handbook of the Mathematics of the Arts and Sciences, 1261–76. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-57072-3_9.

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Hartoonian, Gevork. "On baroque." In Time, History and Architecture, 66–90. New York : Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315270210-5.

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Dimmig, Ashley. "A Tented Baroque." In Textile in Architecture, 194–212. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003281276-15.

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Roth, Leland M., and Amanda C. Roth Clark. "Baroque and Rococo Architecture." In Understanding Architecture, 364–95. 4th ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003143956-22.

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Balchin, Paul N. "Private Patronage and Baroque Architecture." In The Development of Cities in Northern and Central Italy, 411–20. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003271901-21.

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Temple, Nicholas. "Universal language in the Baroque (ethnography)." In Architecture and the Language Debate, 127–88. Abingdon, Oxon ; New York : Routledge, 2020. | Series: Routledge research in architectural history: Routledge, 2020. http://dx.doi.org/10.4324/9781315638492-3.

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Clagett, John. "Transformational Geometry and the Central European Baroque Church." In Architecture and Mathematics from Antiquity to the Future, 231–42. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00143-2_15.

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Williams, Kim. "Michael Ostwald The Architecture of the New Baroque: A Comparative Study of the Historic and the New Baroque Movements in Architecture." In Nexus Network Journal, 489–91. Basel: Birkhäuser Basel, 2009. http://dx.doi.org/10.1007/978-3-7643-8978-9_11.

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Balchin, Paul N. "Public Patronage: The Emergence of Baroque Architecture and Town Planning." In The Development of Cities in Northern and Central Italy, 383–94. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003271901-19.

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Conference papers on the topic "Baroque architecture"

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Del Sole, Francesco. "Hints for a Neo-Baroque Aesthetic in Contemporary Architecture." In 6th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2023, 14-16 June 2023. Alanya University, 2023. http://dx.doi.org/10.38027/iccaua2023en0061.

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The 17th century has always been called 'the century of flowers'. Apart from the invasion of exotic plants from the New World, the birth of the Flower Garden as a new type of exposition and the evolution of the art of gardening, the flower is a symbol of an era. Baroque architecture is defined precisely by the 'witty shapes' of the curved lines and the impressive 'decorative efflorescence'. This paper intends to highlight the neo-Baroque character intrinsically present in some of the greatest contemporary architects such as Paolo Portoghesi, Frank Gehry and Jean Nouvel who, in parallel with the rediscovery of the value of the Baroque period in the 20th century, have re-proposed neo-Baroque aesthetics and forms in their architecture, making their architecture "bloom" by proposing that dynamic of folds well described by Deleuze's philosophy. It is possible to reflect on a widespread contemporary aesthetic among the most important contemporary architects in which neo-Baroque flowers express the same qualities as the flowers found in 17th-century architecture: ephemerality and precariousness. Keywords: Neo-Baroque;
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Chatterjee, Prerana. "Bengal Baroque: An Expression of Palladianism in Heritage Architecture of Kolkata." In Annual International Conference on Architecture and Civil Engineering. Global Science & Technology Forum (GSTF), 2013. http://dx.doi.org/10.5176/2301-394x_ace13.103.

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Royo Naranjo, Lourdes. "Conservation and dissemination of painted architecture: Technological challenges in the city of Malaga (Spain)." In HEDIT 2024 - International Congress for Heritage Digital Technologies and Tourism Management. Valencia: Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/hedit2024.2024.17485.

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The painted architectures constitute an urban landscape that has been altered over time and the successive accumulation of planning and management instruments that have addressed them, be they General Urban Planning Plans or Special Protection Plans, which, although they have made possible the guarantee for prolong their existence, they have not always the capacity to make this valuable heritage known. The research we present lies in the inclusion of New Technologies inin the baroque-painted architecture of Malaga to publicise the cultural heritage in an applied way, qualify urban environments, and promote recognition of the cultural value of the city. The conservation of the mural paintings, their influence on colour plans, and the didactics and new technologies incorporated into the discourse of cultural tourism are the elements that constitute the axes on which our work is based. We propose to create a transversal discourse encompassing the cultural legacy of baroque-painted architecture in a highly modified urban landscape subject to the demands that mark contemporary dynamics. On the other hand, it is evident that the planning of a quality cultural tourism development model must keep in mind the principles of quality and sustainability, contributing to the maintenance and conservation of cultural heritage, avoiding the deterioration of cultural assets, and respecting conditions of habitability. Our case study and project apply to the painted architecture of Malaga. They are the result of the project awarded to the HUM1050 research group of the University of Seville in collaboration with the architecture studio 360BIM in 2022.
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Goloviznin, Mark Vasilievich. "EASTERN MOTIVES IN REGIONAL BAROQUE ARCHITECTURE OF BAIKAL REGION AND TOTMA." In Международная научная конференция "Мир Центральной Азии-V", посвященная 100-летию Института монголоведения,буддологии и тибетологии Сибирского отделения Российской академии наук. Новосибирск: Сибирское отделение РАН, 2022. http://dx.doi.org/10.53954/9785604788981_539.

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Meng, Fanwei, and Joaquín Ángel Martínez Moya. "The architecture of the early 20th century in the cities of Harbin (China) and Castelló (Spain)." In HEDIT 2024 - International Congress for Heritage Digital Technologies and Tourism Management. Valencia: Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/hedit2024.2024.17523.

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This research focuses on the historical and architectural analysis of Harbin City, especially on the interpretation of this urban space through historical traces, taking Lao Ding Feng architecture as an example. Much of the history of the city focuses on the Russian and Japanese invasions, so such aspects as architectural styles and the construction of the railway are attributed to the occupation of these countries, more especially to the Russian occupation. The research presents a qualitative methodology and bibliographic review of the baroque-style buildings found in Harbin, which reveals that many buildings today have endured over time and become one of the historical monuments of the city.
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Liu, Zhi-yong, and zhen Li. "Notice of Retraction: From Baroque to Post-modernism—The innovating spirit in contemporary architecture design." In 2011 International Conference on Electric Technology and Civil Engineering (ICETCE). IEEE, 2011. http://dx.doi.org/10.1109/icetce.2011.5776469.

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Coll-Pla, Sergio, Tatiana Medina-Sánchez, Denis Mayta-Ponce, Daniel Málaga-Montoya, Fernando Cuzziramos-Gutiérrez, and Agustí Costa-Jover. "Qualitative, historical, spatial, stylistic, and social assessment of heritage buildings in Arequipa for Cultural Heritage teaching in Schools of Architecture." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15255.

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The old town of Arequipa - Peru was declared a World Heritage Site by UNESCO in 2000. The architectural style of the buildings in the city of Arequipa has evolved, adapting to the prevailing architectural trends over time, and to the constant earthquakes that have marked the pattern of its transformation through history. Some of the main identified styles are Andean baroque, neo-colonial, historicist, modernist, and postmodernist. This project proposes a qualitative, historical, spatial, and stylistic analysis of the buildings built in the city according to academic criteria and the collective memory of the inhabitants of Arequipa. The applied method consists of a stage-by-stage evaluation of the main representative buildings in the city using mapping and matrix tabulations from graphic documentation, in situ surveys, academic criteria according to the categories of antiquity, historicity, instrumentality and artistic value. In addition, the study aims to reflect the point of view of the buildings’ inhabitants, whilst becoming a useful tool for them. It will result in the development of a catalog of relevant buildings that will help to understand their representativeness in society.
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Lakićević, Milena, Ivona Simić, and Radenka Kolarov. "Designing parterres on the main city squares." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p66.

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A “parterre” is a word originating from the French, with the meaning interpreted as “on the ground”. Nowadays, this term is widely used in landscape architecture terminology and depicts a groundlevel space covered by ornamental plant material. The designing parterres are generally limited to the central city zones and entrances to the valuable architectonic objects, such as government buildings, courts, museums, castles, villas, etc. There are several main types of parterres set up in France, during the period of baroque, and the most famous one is the parterre type “broderie” with the most advanced styling pattern. Nowadays, French baroque parterres are adapted and communicate with contemporary landscape design styles, but some traits and characteristics of originals are still easily recognizable. In this paper, apart from presenting a short overview of designing parterres in general, the main focus is based on designing a new parterre on the main city square in the city of Bijeljina in the Republic of Srpska. The design concept relies on principles known in the history of landscape art but is, at the same time, adjusted to local conditions and space purposes. The paper presents the current design of the selected zone – parterre on the main city square in Bijeljina and proposes a new design strongly influenced by the “broderie” type of parterre. For creating a new design proposal we have used the following software AutoCad (for 2D drawings) and Realtime Landscaping Architect (for more advanced presentations and 3D previews). The paper provides detailed graphical representations for a new design proposal and explains the main design ideas and guidelines which can be applied even when designing parterres in the other urban space. Besides that, the paper lists the plant material that is suitable for establishing and maintaining parterres in the urban environment.
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Franchini, Ado, and Carlo Alberto Maggiore. "The fragile heart of the city: the case of Ragusa, Sicily." In Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8162.

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The conference introduces one of the international workshops we organized in 2014-15 about urban regeneration. The selected theme for the Ragusa Workshop concerned the regeneration of the historic centre of Ragusa Superiore, the “new town” built on a higher plateau after the earthquake which destroyed the old city in 1693. The historic centre, shaped with a compact gridiron plan, embeds several late-baroque monuments for which was declared an UNESCO World Heritage Site in 2002. The denser part of this fabric, made of an extensive grid of small blocks, each composed by tiny lots, has gradually proved inadequate to accommodate the new housing needs, forcing residents to look elsewhere for more sustainable conditions. The strict regulation imposed on the whole historic centre has strongly contributed to freeze this condition, by preventing the necessary renewal process. The consequence has been a gradual depopulation of the old town that led to a large urban and social decay. Using a multidisciplinary approach, the Workshop aimed to test “on-site” strategies for urban renewal that could suggest integrated solutions, to these several issues: preservation of architectural and urban character of the site, building and public space renovation, upgrading to current housing and circulation needs, creation of safety areas for both seismic and hydrogeological risks. In the conference we shall also introduce 3 Diploma Projects presented by our students in 2015 and 2016 in our school of Architecture in Milan Polytechnic University.
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Nicolini, Elvira, Antonella Mamì, and Eleonora Caleca. "Favignana bio-calcarenite: technological culture, knowledge and recovery." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14854.

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Favignana Island, the biggest one among Egadi islands, is well known for its deposits of calcarenite, which has been extracted and used since ancient times. The landscape of the Island is shaped by the widespread presence of quarries that mark the seaside as well. Furthermore, the constant presence of dry-stone walls, made of calcarenite, and of the characteristic architecture of buildings, represents a hallmark for the rest of Egadi islands as well, making it clear how important the presence of this material has been for the architectural and technological culture of these places.Calcarenite itself, exported by this island, is still a constituent material of many buildings in the western part of Sicily, in particular the prestigious buildings of the Baroque period. The presence of calcarenite, while notably all other construction materials, including timber, are absent, has meant that all the construction elements, indoor and outdoor, as well as all settlement types, have been affected by the almost exclusive use of calcarenite, the quarrying methods and the craftsmen’s skills that inevitably derived from this context. Today, masonries, vaults, floors, roofs and all other elements show specific solutions that strongly characterize the buildings and the urban and rural landscape of the island.However, despite the constructive relevance of any elements or entire buildings, the touristic exploitation of the Egadi archipelago has brought to the replacement of buildings, or elements, as well as to a wrong and weak activity of building recovery. The reinterpretation of claddings and exposed masonry, and the replacement of original floors with concrete floors are just some of the many inappropriate interventions. In terms of typologies and morphological models, the study that we present has also dealt with the development of more adequate and relevant intervention techniques and repairs.
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Reports on the topic "Baroque architecture"

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Hallmark, Jordan. ?L?Affaire des Princes?: Baroque architecture and Factional Politics in Regency Paris, 1715-1723. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.94.

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