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Journal articles on the topic 'Baroque architecture in the'

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Published: 4 June 2021
Last updated: 5 February 2022

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1

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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2

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

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3

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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4

Cabeleira, João. "Experiencing Architecture through Baroque Image: Gonçalves Sena, Painted Architecture as Architectural Space." International Journal of the Image 1, no. 2 (2011): 119–34. http://dx.doi.org/10.18848/2154-8560/cgp/v01i02/44183.

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5

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 (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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6

Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (2003): 19–33. http://dx.doi.org/10.1177/223386590300600102.

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Prague's main feature is that, out of many cultural treasures, it preserved its architectural culture and put it to practical use to present day. Particularly Prague has embraced a wealth of architectural styles from many ages. From the Romanesque, the Gothic culture of Czech's pinnacle age, Baroque, Neo Classicism, the Art Nouveau style buildings that concentrated in Prague at the end of 19th century and finally to modern structures. As we have studied, Prague is a textbook of historical styles: a Romanesque rotunda, a Gothic cathedral, a constellation of Baroque churches and palaces, a Renaissance summer palace, whole districts with histoicizing ‘neo-styles: neo-Gothic, neo-Renaissance, neo-Baroque, neo-Classic,’ Art Nouveau cafes, unfunctional pebble-stone streets and as yet undigested, isolated postmodern structure such as ‘Dancing Building-Gunger and Fred Building’ by Frank O. Gehry and Vlado Milinic
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7

Petcu, Elizabeth J. "Amorphous Ornament:." Journal of the Society of Architectural Historians 77, no. 1 (2018): 29–55. http://dx.doi.org/10.1525/jsah.2018.77.1.29.

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Leon Battista Alberti famously likened the relationship between architectural structure and superstructure to the dualism of skeleton and skin. In Amorphous Ornament: Wendel Dietterlin and the Dissection of Architecture, Elizabeth J. Petcu scrutinizes how the Architectura treatise (1593–98) of Strasbourg artist Wendel Dietterlin the Elder (ca. 1550–99) subverted Alberti's theory and the aesthetic of stability it promoted by popularizing a style of amorphous architectural motifs that recall bone, cartilage, muscle, and flesh, melding built framework with decorative surface. Drawing these corporeal conceits from contemporary anatomical publications, Dietterlin inspired buildings, architectural prints, and objects that challenged tectonic conventions, upset the traditional split between exterior and interior, and emulated the figural arts’ involvement in representing interior human forms. In assessing how Dietterlin's Architectura turned the proverbial body of architecture inside out, Petcu demonstrates that Renaissance comparisons between body and building did not always project ideals of architectural beauty and reveals overlooked origins of baroque-era fusions of architecture and the figural arts.
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8

Koleva, Donka. "The Architectural Cultural Values of Veliko Tarnovo - A Window to History." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 199–208. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_015.

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Old Capital Veliko Tarnovo - the historical and spiritual capital of Bulgaria has preserved extremely valuable evidence of its history, architecture and arts. Tarnovo architecture reveals the spiritual development and masterful genius of the Bulgarians, interesting facts, continuity and creative development in the construction of temples, schools, community centers and other civic buildings over the centuries, as well as the formation of two architectural schools: medieval Tarnovo architecture with picturesque style and Tarnovo Revival architecture in baroque style by master Nikola Fichev. Keywords: Tarnovo Architecture, Master Nikola Fichev, Architectural Schools, Architectural Value
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9

YASUMATSU, Miyuki. "OTTO WAGNER'S VIEW ABOUT BAROQUE ARCHITECTURE." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 452 (1993): 213–21. http://dx.doi.org/10.3130/aijax.452.0_213.

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10

Scott, John Beldon. "Nicodemus Tessin and Baltic Baroque Architecture." Journal of the Society of Architectural Historians 65, no. 4 (2006): 628–32. http://dx.doi.org/10.2307/25068337.

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11

Spallone, Roberta, and Marco Vitali. "Baroque Turin, Between Geometry and Architecture." Mathematical Intelligencer 39, no. 2 (2017): 76–84. http://dx.doi.org/10.1007/s00283-017-9725-y.

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12

Vozniak, Ekaterina, Tatyana Slavina, and Anna Kopytova. "Transformation of the column order in the Baroque architecture in St. Petersburg of the XVIII century." MATEC Web of Conferences 193 (2018): 04020. http://dx.doi.org/10.1051/matecconf/201819304020.

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The forms and proportions of the Baroque column order of the buildings in St. Petersburg of the XVIII century differ substantially from the Western European canonical designs. The independent order system was created in each historical period under the influence of European architectural concepts, local style preferences, and creative choice of architects, and is of undoubted interest to both historians of architecture and restorers of historic buildings. The authors made a comparative analysis of the construction and drawing of architectural orders of buildings in St. Petersburg with architectural orders of classical works of the Renaissance, architectural works of the XVII - XVIII century. The process of gradual formation and modification of the column order in the architecture of St. Petersburg in the first half of the XVIII century is expounded. The main features of the construction of architectural orders during the Peter’s, Ann’s, and Elizabethan Baroque periods are revealed.
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13

Гарин, V. Garin, Чернышев, Aleksandr Chernyshev, Разиньков, and Egor Razinkov. "History of Baroque Furniture." Forestry Engineering Journal 4, no. 2 (2014): 145–54. http://dx.doi.org/10.12737/4519.

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The Baroque style is the result of the further evolution of the style of the Renaissance. It began to take its forms from the end of XVI century. Baroque developed in European countries during the first half of the XVII and XVIII century. Germany, Austria and England, which had only some features of this style in the middle of XVII century, occupy a special place. The architecture of Italy Baroque began to take shape in the second half of the XVI century, and the formation of its features was largely due to the work of Michelangelo. Baroque style left its mark not only on the architecture of buildings, but also on the interior of the rooms, furniture design.
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14

Puleo, Thomas J. "The Sicilian Baroque: Reconciling Postquake Tensions." Environment and Planning A: Economy and Space 46, no. 11 (2014): 2552–68. http://dx.doi.org/10.1068/a46295.

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Building upon discourses on trauma, art, and architecture, this work examines how the design and construction of buildings mediate the cultural, social, and political changes that occur after a catastrophe. It takes as its case study the reconstruction of Sicily's Val di Noto following an earthquake in 1693 and the role that the Baroque architectural style played in it. In this study, Sicilian Baroque building decoration emerges as a medium that facilitated the reconciliation of tensions that inhered among survivors of the earthquake and their social and material milieus.
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15

Vlasov, Viktor G. "ARRHYTHMIA OF COLONNADES IN ROMAN BAROQUE ARCHITECTURE." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 5. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-5.

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The article considers the special rhythmic structure inherent in the facades of Roman baroque churches of the late 16th – 17th centuries. Select examples illustrate the relations typical of such architecture between the bottom diameter of columns (embates), intercolumniation, and column height. These relations include the classical ones, which are consistent with the theory of proportions of Pythagoras and the rules of Vitruvius, but the unusual arrhythmic techniques of the composition create a special dissonant resonance with human biorhythms and mental states within the space of Baroque architecture.
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16

Kaup, Monika. "“¡Vaya Papaya!”: Cuban Baroque and Visual Culture in Alejo Carpentier, Ricardo Porro, and Ramón Alejandro." PMLA/Publications of the Modern Language Association of America 124, no. 1 (2009): 156–71. http://dx.doi.org/10.1632/pmla.2009.124.1.156.

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Cuba assumes a special place in the genealogy of the latin American Baroque and its twentieth-century recuperation, ongoing in our twenty-first century—the neobaroque. As Alejo Carpentier has pointed out (and as architectural critics confirm), the Caribbean lacks a monumental architectural baroque heritage comparable with that of the mainland, such as the hyperornate Churrigueresque ultrabaroque of central Mexico and Peru (fig. 1). Nevertheless, it was two Cuban intellectuals, Alejo Carpentier and José Lezama Lima, who spearheaded a new turn in neobaroque discourse after World War II by popularizing the notion of an insurgent, mestizo New World baroque unique to the Americas. Carpentier and Lezama Lima are the key authors of the notion of a decolonizing American baroque, a baroque that expressed contraconquista (counterconquest), as Lezama punned, countering the familiar identification of the baroque with the repressive ideology of the Counter-Reformation and its allies, the imperial Catholic Iberian states (80). Lezama and Carpentier argue that the imported Iberian state baroque was transformed into the transculturated, syncretic New World baroque at the hands of the (often anonymous) native artisans who continued to work under the Europeans, grafting their own indigenous traditions onto the iconography of the Catholic baroque style. The New World baroque is a product of the confluence (however unequal) of Iberian, pre-Columbian, and African cultures during the peaceful seventeenth century and into the eighteenth in Spain's and Portugal's territories in the New World. The examples studied by Lezama and Carpentier are all from the monumental baroque sculpture and architecture of Mexico, the Andes, and Brazil's Minas Gerais province: the work of the Brazilian mulatto artist O Aleijadinho (Antônio Francisco Lisboa [1738–1814]; see fig. 2 in Zamora in this issue) and the indigenous Andean artist José Kondori (dates unknown; see fig. 1 in Zamora), central Mexico's Church of San Francisco Xavier Tepotzotlán (fig. 1), and the folk baroque Church of Santa María Tonantzintla (see fig. 3 in Zamora), to mention a few landmarks and names.
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17

Connors, Joseph. "Ars Tornandi: Baroque Architecture and the Lathe." Journal of the Warburg and Courtauld Institutes 53 (1990): 217. http://dx.doi.org/10.2307/751348.

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18

Kilicaslan, Hare, and Isik Ece Tezgel. "Architecture and Music in the Baroque Period." Procedia - Social and Behavioral Sciences 51 (2012): 635–40. http://dx.doi.org/10.1016/j.sbspro.2012.08.215.

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19

Saunders, Andrew. "Baroque Parameters." Architectural Design 79, no. 1 (2009): 132–35. http://dx.doi.org/10.1002/ad.835.

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20

KIM, Anton Andreevich, and Vera Ivanovna LUCHKOVA. "SINO-WESTERN STYLE OF ARCHITECTURE." Urban construction and architecture 6, no. 1 (2016): 75–79. http://dx.doi.org/10.17673/vestnik.2016.01.12.

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The article discusses the penetration of Europeans into the territory of China and the impact of their sett lement on the development of traditional culture of the border areas in the period of XVI-XX centuries, the Result of a synthesis of Western and Eastern architecture was a series of architectural styles, formed independently in diff erent regions of the country. In the Northern provinces developed Chinese Baroque, in Central - shikumen, in South - qilou, diaolou, weilou.
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21

Williams, Kim. "The Architecture of the New Baroque: A Comparative Study of the Historic and the New Baroque Movements in Architecture." Nexus Network Journal 11, no. 3 (2009): 489–91. http://dx.doi.org/10.1007/s00004-009-0009-5.

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22

Shvidkovsky, Dmitry. "The Architecture of the Enlightenment and the Birth of Modernity: from the High Baroque to Late Classicism." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (2020): 21–46. http://dx.doi.org/10.36340/2071-6818-2020-16-3-47-60.

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The article is devoted to the architecture of the Enlightenment in a broad sense. The author is convinced that this period is the time of the beginning of Modernity, the birth of the Early Modern Times architecture. He thinks that the cycle of the development of humanity, which architecture has been expressing most clearly of all other arts since the 17th century - the epoch of the English Revolution, has not ended yet. The ideas developed at that time continue to exist in our minds. They are still actual for contemporary architecture, developing it and solving the problems established at our civilization’s birth. The most contemporary ideas: of the sustainable architecture, natural, biologically orientated, friendly to the environment, which create the world of the perfect natural man preserving the ideals of the Ancients and the Moderns, creativity, and technologies – they are all directly linked to the ideas which were on the agenda of the architectural theory of England, France, Russia, Italy, Germany of the Age of Enlightenment. They were put into practice in the implemented designs of those times. The panorama of the European art of building, including Russian as one of the central laboratories of the Enlightenment during which the vast country’s territory underwent reforms, is truly gigantic. The author cites the main theories of the period in question. He shows one of the main qualities of the art of architecture from the High Baroque style to the Late Classicism, and further – up to postmodernism and even sustainable architecture: the attempt to create the environment, in which architecture would emphasize different aspects of meaning, would become architecture parlante as Claude Ledoux said. The interaction of several stylistic trends took place during the implementation of the stated process. In this process, the author underlines the importance of the Baroque’s universal character and the ideology of the Enlightenment, which gave birth to the “clever choice” of architectural forms.
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23

Sugiarto, Roni. "DINAMIKA KETERHUBUNGAN RUANG ARSITEKTURAL DAN MUSIKAL BAROK." Vitruvian 9, no. 2 (2020): 99. http://dx.doi.org/10.22441/vitruvian.2020.v9i2.004.

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ABSTRAKKetika kita mendengar suara (audial, akustikal) kitapun dapat melihat ruang (spatial). Di samping dapat melihat bentuk dan mendengar bunyi, kita dapat juga mendengar bentuk dan melihat bunyi. Meskipun bahasa yang dipergunakan arsitektur dan musik berbeda, namun kedua bidang ini memiliki karakter berkesenian yang sama yaitu pencarian makna keindahan yang tiada akhir. Arsitektur dan musik berbagi tujuan yang sama dalam hal estetika, namun keduanya memiliki perbedaan wujud. Melalui penjelajahan imajinatif dan perseptif karya seni Barok, tulisan ini mencoba mencari hubungan yang analogis antara sensasi auditory berupa tatanan melodi dan irama dengan manifestasi ruang arsitektural. Dengan menerapkan pendekatan yang bersifat kualitatif dengan teknik penarikan sampel yang sesuai dengan ruang lingkup pembahasan, dan menelusuran hubungan yang analogis (yang atributif) dicapai juga dengan kajian komparatif tatanan/ruang antara arsitektur dengan musik Barok. Dengan Sistem representasi yang menjadi kunci dalam menghantarkan visi tatanan/ruang arsitektural serta musikal Barok, maka diharapkan secara imajinatif dan ekspresif perwujudan dinamika hubungan antara ruang arsitektural dan musikal Barok dapat ditemukan. Di lain hal, penelusuran keterhubungan antara arsitektur dan musik terbuka bagi berbagai kekuatan seni, dapat berkomunikasi dengan aspek arsitektur dan dapat dicari kedekatan hubungan antar masing-masing kekuatan seni. ABSTRACTWhen we hear the sound (audial, acoustical) we can see the space (spatial). In addition to being able to see the shapes and hear the sound, we can also hear the shapes and see the sound. Although the language used by architecture and music s different, but these two fields have the same artistic character that is the exploration for the endless beauty of the end. Through the imaginative and perseptive exploration of Baroque artwork, it seeks to find an analogic relationship between the auditory sensation of melody and rhythm with the manifestation of architectural space. By using a qualitative approach with sampling techniques that fit the scope of the discussion, and tracking analogical (attributive) relationships is also achieved by a comparative study of the order / space between Baroque architecture and music. With the representation system, the key of delivering the vision of Baroque architectural / space order and musicals, it is hoped that imaginatively and expressively the realization of the dynamics of the relationship between architectural space and Baroque music can be found. On the other hand, the research for the connection between architecture and music is open to various artistic, possible to communicate with aspects of architecture and to find the closeness of the relationship between each art.
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24

Robbins, Jeremy. "Baroque Architecture: Góngora and the Folds of Wit." Bulletin of Spanish Studies 90, no. 1 (2013): 55–82. http://dx.doi.org/10.1080/14753820.2013.748473.

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25

Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.

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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.
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Leach, Andrew. "Considering the Baroque." Journal of the Society of Architectural Historians 74, no. 3 (2015): 285–88. http://dx.doi.org/10.1525/jsah.2015.74.3.285.

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27

Grúňová, Zuzana, and Michaela Holešová. "Ellipse and Oval in Baroque Sacral Architecture in Slovakia." Civil and Environmental Engineering 13, no. 1 (2017): 30–41. http://dx.doi.org/10.1515/cee-2017-0004.

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AbstractOval, circular and elliptic forms appear in the architecture from the very beginning. The basic problem of the geometric analysis of the spaces with an elliptic or oval ground plan is a great sensitivity of the outcome calculations to the plan's precision, mainly to distinguish between oval and ellipse. Sebastiano Serlio and Guarino Guarini belong to those architects, theoreticians, who analysed the potential of circular or oval forms and some of their ideas are analysed in the paper. Elliptical or oval plans were used also in Slovak baroque architecture or interior elements and the paper introduce some of the most known examples as a connection to the world architecture ideas.
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28

Khazova, Natalia V. "Formation of Alexandre Benois’s Views on Saint Petersburg Architecture of the 18th and the Early 19th Centuries." Observatory of Culture, no. 5 (October 28, 2014): 72–78. http://dx.doi.org/10.25281/2072-3156-2014-0-5-72-78.

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Traces the emergence of Alexandre Benois as a theorist of Saint Petersburg Baroque and Classicism architecture. The author analyses the role of the artist’s family and the impact of theatre and music on elaboration of Benois’s approaches to architecture.
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Berkowski, Piotr, Grzegorz Dmochowski, Maciej Yan Minch, and Jerzy Szołomicki. "Structural Restoration and Adaptation to Modern Architecture of the Baroque Oppersdorf Palace, Wrocław, Poland." Advanced Materials Research 133-134 (October 2010): 1003–7. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.1003.

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This paper is an overview of structural interventions which should be made to the Baroque Oppersdorf Palace during its renovation. All main technical problems were analyzed and proper constructional solutions were presented. Several characteristic types of destruction were detected, caused by natural deterioration and also by mechanical influences (war destruction, lack of conservation etc.). The main building structure has survived from the Baroque period, except for the wooden roof. Some of the cellar vaults and some of them over the first floor were also not destroyed. However, some main reconstruction work was done, probably in the last few years of the 19th century. For example, a break with a new staircase and some masonry vaults over the cellar were changed to ones of Klein type on steel beams. The main aim of the reconstruction was to strengthen the historical structure of the building and adapt it to the modern architecture and to reorganize the buildings inner space, but keeping the external proportions, architectural details and ornaments unchanged.
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Marin, Louis, and Anna Lehman. "Classical, Baroque: Versailles, or the Architecture of the Prince." Yale French Studies, no. 80 (1991): 167. http://dx.doi.org/10.2307/2930266.

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31

Bondi, Concetta Mariella Li. "Shaping an Identity: Cultural Hybridity in Mexican Baroque Architecture." Design Principles and Practices: An International Journal—Annual Review 5, no. 5 (2011): 447–70. http://dx.doi.org/10.18848/1833-1874/cgp/v05i05/38213.

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32

Bauer, George C. "Review: Italian Baroque and Rococo Architecture by John Varriano." Journal of the Society of Architectural Historians 46, no. 2 (1987): 183–84. http://dx.doi.org/10.2307/990189.

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33

Leone, Stephanie C., and Paul A. Vierthaler. "Innocent X Pamphilj's Architectural Network in Rome." Renaissance Quarterly 73, no. 3 (2020): 897–952. http://dx.doi.org/10.1017/rqx.2020.122.

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This study employs network analysis and microhistory to challenge the standard narrative about architecture and patronage in Baroque Rome, that of celebrity patron-artist relationships. It investigates the artists and artisans below this elite team and the plurality of relationships that developed among them. The subject is Innocent X Pamphilj's monumental works of art and architecture, at the Vatican, Piazza Navona, Campidoglio, Lateran, and Janiculum Hill, commissioned for the 1650 Holy Year. It argues that competent artisans and their relationships influenced the operation of building sites and presents Innocent X as the patron of an industrious architectural enterprise.
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Zavada, Viktor. "INFLUENCE OF BAROQUE STYLE ON THE ARCHITECTURE OF WOODEN TEMPLES OF POHORYNYA." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 84–94. http://dx.doi.org/10.32347/2077-3455.2020.58.84-94.

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In the complex process of formation, flourishing and decline of various artistic and stylistic trends in the centuries-old history of national architecture, a special place belongs to the Baroque, which has left a noticeable mark in most historical regions of Ukraine. Despite more than a century of research into this unique phenomenon, there are still many gaps in the identification of its impact on the architecture of various localities and historical types of buildings. These include, for example, the absence in the literature of any mention of Pohorynya - a kind of historical area in northwestern Ukraine, which was formed in the early Middle Ages on the basis of several separate principalities along the ancient Pohoryn path. The significance of this unique union of medieval city-states grows even more in view of the fact that in subsequent historical periods it also played an important role in the trade, economic and cultural life of Ukraine and the surrounding areas of Belarus. Nevertheless, any purposeful studies of the peculiar building culture of Pohorin and, in particular, the identification of its inherent manifestations of the Baroque style are still missing. Based on this, as well as the special role of traditional temple building in ensuring the historical integrity and originality of national architecture, the study of this phenomenon should be limited to a comparative analysis of wooden temples of the eighteenth century in the region. The main difficulty of such research is the significant influence on the formation of building art. The burning of artistic and stylistic ideas and compositional techniques of the European Renaissance, which inevitably affected the architecture of the most common in the traditional cult construction of this region Volyn type of wooden temples. Nevertheless, it was in the architecture of these Renaissance buildings that, according to their original artistic and stylistic features, the influence of the Baroque style differed by perhaps the most consistent character and variety of forms. Particularly significant in this regard was the gradual formation on the basis of older temples with one centrally located top, much more complex in its compositional and structural solution of three-story buildings of the Volyn type. No less important in strengthening the Baroque features in the architecture of wooden temples Pohorynya was also the arrangement of additional folds in the structure of their chopped tops, which combined with increasing their height and increasing vertical proportions gave these buildings inherent in this style harmony and plastic expressiveness. And, finally, the last, perhaps the brightest, touch of the studied artistic and stylistic tendencies in the development of the Pohorin school of domestic temple building became characteristic of the monuments of the XVIII century baroque orientation of all, without exception, elements of interior and exterior decor from the complex shape and location of window openings to exquisite carved iconostasis. Summarizing the observations presented in the article, it can be noted that the appeal to the historical Pohorin in the context of studying the features of the Baroque style in the architecture of different regions of Ukraine allows to obtain a much broader and more holistic picture of the successive evolution of this extraordinary phenomenon.
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Payne, Alina A. "Architectural Criticism, Science, and Visual Eloquence: Teofilo Gallaccini in Seventeenth-Century Siena." Journal of the Society of Architectural Historians 58, no. 2 (1999): 146–69. http://dx.doi.org/10.2307/991482.

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This article examines the transition from a mimetic conception of architecture as proposed by the great treatise writers of the Renaissance, to the modern, science- and engineering-oriented one that began to supplant it in the eighteenth century. The focus of the investigation is the textual culture of Italian Baroque theory and its vehicle, the till now largely unknown corpus of the Sienese scientist Teofilo Gallaccini. It is argued that alongside the traditional path of architectural theory produced by architects, which evolved in the grooves set in the Vitruvian Renaissance, there existed a parallel path driven by scientists. Absorbing the imitatio practices of visual artists into their own inquiries, scientists provided other outlets for their use and in so doing also provided other directions for architectural discourse. By locating Gallaccini's work in the scientific and architectural culture of his own time, and by exploring its appeal to exponents of the Enlightenment who held widely divergent views on the means of achieving architectural reform, this article argues that-far from proceeding by watersheds and paradigm revolutions, as modernist history writing has held-modern theory owes much to both the scientific and mimetic approaches that not only co-existed but also intertwined in the Baroque.
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Nagy, Gergely Domonkos. "Gothicized buildings and the role of symbols in Baroque architecture." Periodica Polytechnica Architecture 44, no. 2 (2013): 69–76. http://dx.doi.org/10.3311/ppar.7396.

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37

DeTurk, Sabrina, and Andrew Hopkins. "Santa Maria Della Salute: Architecture and Ceremony in Baroque Venice." Sixteenth Century Journal 32, no. 3 (2001): 818. http://dx.doi.org/10.2307/2671538.

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38

Vondráčková, Terezie, Vladimír Nývlt, and Jan Plachý. "The Significance of Baroque Gothic Architecture in the Czech Republic." Procedia Engineering 161 (2016): 1757–62. http://dx.doi.org/10.1016/j.proeng.2016.08.772.

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39

Yablonska, Hanna. "ARCHITECTURE OF UKRAINIAN BAROQUE: WATERCOLORS, DRAWINGS, DRAFTS BY DMITRY YABLONSKY." Current problems of architecture and urban planning, no. 56 (February 21, 2020): 127–36. http://dx.doi.org/10.32347/2077-3455.2020.56.127-136.

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40

Sanabria, Sergio. "Architecture and Geometry in the Age of the Baroque (review)." Technology and Culture 43, no. 4 (2002): 785–87. http://dx.doi.org/10.1353/tech.2002.0181.

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41

McReynolds, Daniel. "Review: Baldassare Longhena and Venetian Baroque Architecture by Andrew Hopkins." Journal of the Society of Architectural Historians 72, no. 3 (2013): 416–17. http://dx.doi.org/10.1525/jsah.2013.72.3.416.

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42

Holleran, Max. "‘Mafia Baroque’: post-socialist architecture and urban planning in Bulgaria." British Journal of Sociology 65, no. 1 (2014): 21–42. http://dx.doi.org/10.1111/1468-4446.12052.

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43

Yakovlev, Alexey N. "Typology of a Tetraconch in the Russian Baroque Church Architecture." Actual Problems of Theory and History of Art 10 (2020): 182–96. http://dx.doi.org/10.18688/aa200-2-17.

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44

Harbison, Robert. "Baroque Exuberance: Frivolity or Disquiet." Architectural Design 80, no. 2 (2010): 44–49. http://dx.doi.org/10.1002/ad.1041.

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45

Szilágyi, Kinga, Chaima Lahmer, and Krisztina Szabó. "Allées in Landscape Architecture and Garden Art—Types, Preservation, and Renewal of the Living Heritage of Baroque Allées in Hungary." Land 9, no. 9 (2020): 283. http://dx.doi.org/10.3390/land9090283.

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Examining the history of garden art since ancient times, we find many examples of linear tree layouts supporting orientation or being used for the purpose of composition. Allées gained special significance during the Baroque as dynamic and grandiose space-forming garden design elements. They mostly consist of trees of taxonomically similar species planted along a regular line equidistant from each other in single or multiple rows. The two-dimensional compositional elements of the layout form three-dimensional longitudinal space forms. During their evolution, both their proportions and openness constantly change. Analyses of the compositional role and functions of allées of exemplary Hungarian Baroque garden complexes in the 18th century provided a basis for setting up a novel typology. Five compositional types have been defined as the primary result of archival research. The significance of the still-subsisting historic Hungarian allées calls for unique protection similar to European heritage protection. Taking a summary of significant, surviving examples of Hungarian Baroque allées into account, methods for allée renewal are defined along with the core question of whether allées are natural landscape elements or strict architectural compositions where authenticity may be an important criterion. The methodological research is partially based on three plans for the renewal of Baroque allées in Hungary that have been worked out by the Author as the chief landscape architect of the projects.
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Pabich, Marek, and Marta Piórkowska. "The evolution of the undulating wall." BUILDER 291, no. 10 (2021): 16–22. http://dx.doi.org/10.5604/01.3001.0015.2628.

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Expressive buildings based on curvilinear geometry became one of many characteristic elements of contemporary architecture. A fascination with irregular, undulating forms has already been visible in the 20th century. However, the sources of the undulating motifs go back to the Baroque period, when buildings with curved façades were one of the best examples of the natural development of architectural thought. The evolution of this idea took place at the beginning of the 20th century. In the following years, the motif of the undulating lines was used by many architects who draw upon its regular or free character. The Authors using the analytical and interpretative method show the evolution of the undulating wall. The Authors use the terms of curved lines defined by Kandinsky. The analysis of selected examples shows the ideological, material, and constructional evolution of the undulating wall, as well as the way of transforming the idea of the undulating line, which returns to its baroque roots, but in a more modern version.
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Dolskaya-Ackerly, Olga. "Vasilii Titov and the ‘Moscow’ Baroque." Journal of the Royal Musical Association 118, no. 2 (1993): 203–22. http://dx.doi.org/10.1093/jrma/118.2.203.

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The Baroque, which manifested itself in Muscovy during the course of the seventeenth century, has been recognized as one of the most dynamic and influential eras of Russian musical and artistic creativity. When looking at the history of Russian music one has a tendency to equate the new stylistic trends of the second half of the seventeenth century with those of the highly westernized eighteenth, and to dismiss both merely as periods of Western imitation. In reality music manuscripts reveal otherwise, and now that compositions are finally becoming available in transcription we realize that an entire era remains to be recognized and re-evaluated. In art and architecture, that era, known as the ‘Moscow’ or the ‘Naryshkin’ Baroque, is distinguished by a blend of Italian, Dutch, Russian, Ukrainian and Bielorussian features in a style that, although influenced by foreign elements, was none the less distinct from any in existence at the time. The Moscow Baroque embraced many aspects of the arts, from iconography, architecture and the applied arts to literature and music. Endorsed by Tsar Alexei Mikhailovich (1645–76), foreign influence began to penetrate Muscovy, ushering in a cognizance of Western concepts that began to clash with the rich and long-established spiritual and cultural traditions. In fact Muscovy was just emerging from an aesthetic explosion known as the Golden Age of national artistic expression. Familiar are the magnificent onion-dome churches that were created during the sixteenth century and the flourishing musical centres in Novgorod and Moscow, where composers and singers developed an intrinsically Russian musical style. This was also the age of indigenous Russian polyphony (e.g. strochnoe moskovskoe, strochnoe novgorodskoe, znamennoe and demestvennoe mnogogolosie) which preceded the wave of Western infiltration that inadvertently led to an untimely halt of the evolutionary process of national awakening. Prior to that halt, the Moscow Baroque stands as a brief but unique chapter in the development of the Russian choral tradition.
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Bellone, T., F. Fiermonte, and L. Mussio. "THE COMMON EVOLUTION OF GEOMETRY AND ARCHITECTURE FROM A GEODETIC POINT OF VIEW." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (May 16, 2017): 623–30. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-623-2017.

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Throughout history the link between geometry and architecture has been strong and while architects have used mathematics to construct their buildings, geometry has always been the essential tool allowing them to choose spatial shapes which are aesthetically appropriate. Sometimes it is geometry which drives architectural choices, but at other times it is architectural innovation which facilitates the emergence of new ideas in geometry. <br><br> Among the best known types of geometry (Euclidean, projective, analytical, Topology, descriptive, fractal,…) those most frequently employed in architectural design are: <br> – Euclidean Geometry <br> – Projective Geometry <br> – The non-Euclidean geometries. <br><br> Entire architectural periods are linked to specific types of geometry. <br><br> Euclidean geometry, for example, was the basis for architectural styles from Antiquity through to the Romanesque period. Perspective and Projective geometry, for their part, were important from the Gothic period through the Renaissance and into the Baroque and Neo-classical eras, while non-Euclidean geometries characterize modern architecture.
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Hopkins, Andrew. "Review: The Triumph of the Baroque: Architecture in Europe 1600-1750." Journal of the Society of Architectural Historians 59, no. 2 (2000): 232–34. http://dx.doi.org/10.2307/991592.

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50

Ratti, Cristiano, Christopher Ridgway, and Robert Williams. "Sir John Vanbrugh and Landscape Architecture in Baroque England 1690-1730." Garden History 28, no. 2 (2000): 287. http://dx.doi.org/10.2307/1587280.

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