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1
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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Lawrance, Jeremy. "Architecture in Spanish Baroque Literature." Modern Language Review 116, no. 2 (2021): 316–37. http://dx.doi.org/10.1353/mlr.2021.0086.
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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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Petcu, Elizabeth J. "Amorphous Ornament:." Journal of the Society of Architectural Historians 77, no. 1 (March 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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Montes, Francisco, and Natália Amarante. "Baroque History: The origin, growth and specimens in the district of Vila Real." ERAS | European Review of Artistic Studies 14, no. 4 (December 30, 2023): 78–97. http://dx.doi.org/10.37334/eras.v14i4.306.
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This paper aims to talk about the history of the Baroque, since its appearance in Italy, a brief introduction to the theme, explaining what this architectural style is, what is its definition according to some authors and how is its presence today, specifically in the district of Vila Real. An attempt is made to give a definition of Baroque art according to various authors, and to demonstrate the different strands present. How Baroque art came about and what are the main characteristics that are present in the different art forms. Later on, some of the representations of Baroque art that exist in different types of art such as architecture, sculpture, painting, literature, theater, and music will be discussed. At the end of this work, the Baroque in Portugal will be exposed, as well as some of the representative works of the Baroque style existing in the District of Vila Real.
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Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (March 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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Kolomiiets, Anton. "The Phenomenon of New Spanish Baroque: An Architectural Aspect." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 61–67. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306901.
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The paper provides a brief overview of the academic literature on the New Spanish Baroque architecture history. The genesis and spectrum of the scientific opinion of the leading Mexican researchers in this area have been studied and presented. Sculpture is briefly mentioned as a type of fine art inextricably linked to Baroque architecture. The New Spanish Baroque classification modalities according to Manuel González Galván is also presented. The authors and their works mentioned in the article were previously unknown to the Ukrainian researchers. Unfortunately, none of these studies have been translated into Ukrainian. The article introduces the information about the New Spanish Baroque, its main researchers, architects and monuments into the national scientific circulation, opening up opportunities for further art-historical and cultural studies and a deeper study of the history of architecture and art of New Spain Baroque era.
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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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Kubiak, Ewa. "La iglesia de los Jesuitas en Cusco como un modelo para la arquitectura de la región." Sztuka Ameryki Łacińskiej 2 (2012): 41–72. http://dx.doi.org/10.15804/sal201202.
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At the end of the first half of the 17th century, a “European” character of Peruvian architecture was loosened. In 1650, an earthquake in Cusco destroyed existing buildings and, as the result, proved to be an impetus for building movement intensification. One of a few buildings which were not destroyed was a still unfinished Cusco cathedral, which later played a unique role in baroque architecture development in Peru. The temple was undoubtedly one of the first productions which could be associated with a baroque style. However, without diminishing the significance of the object, it is worth emphasizing other (not less important) sources of baroque architecture in the region. Another temple that undoubtedly influenced the shaping of a new trend in local building was a Jesuit church in Cusco. Mentioned as an important object for Peruvian architecture of the colonial period, it is usually treated as an element in the sequence of baroque architecture development in Peru. It is worth emphasizing the role that the temple played in creation of certain architectural models, which were present in Peruvian building of the late 17th and 18th centuries. Three analysed elements are: a facade composition (influence on the architecture of Cusco: San Pedro, Nuestra Señora de Belén, San Sebastián and the region – temples in Ayaviri, Asillo, Mamara, Huaquira, Puno); a design, a spatial layout and a structural system (similarity to a Jesuit church in Cusco of the temples of San Pedro in Cusco, San Pedro in Juli, Santiago de Pomata, Pisco); decorative-ornamental motifs – towers’ finials (San Pedro in Cusco) or columns’ decoration (Santa Cruz in Juli).
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Goloviznin, Mark. "The Temple Baroque of Totma and Baikal Region at the End of the 18th Century as a Result of the Synthesis of Cultures and the Dividends of “Kyakhta Fair”." Oriental Courier, no. 4 (2022): 68. http://dx.doi.org/10.18254/s268684310023803-1.
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The paper reviews the socio-cultural consequences of the border trade between Russia and China in Kyakhta in 18th century, the formation of two regional architectural schools: the temple baroque style in Totma and the similar one in Baikal region. The development of Russо-Chinese confessional and cultural contacts including the origin of so called Russо-Chinese architectural style, the “cultural dialogue” between Orthodoxy and Buddhism in the Baikal region and its reflection in the architecture of the Siberian Baroque are also discussed in present work. We try to prove the point of view that the expansion of “Kyakhta fair”, the movement of Chinese and Siberian goods (as well as aesthetic influences) to the West, resulted in “re-export” of the architectural techniques of the Siberian Baroque to the Russian North.
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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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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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Scott, John Beldon. "Nicodemus Tessin and Baltic Baroque Architecture." Journal of the Society of Architectural Historians 65, no. 4 (December 1, 2006): 628–32. http://dx.doi.org/10.2307/25068337.
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Dowek, Gilles. "La naissance d’une architecture vraiment baroque." Pour la Science N° 523 - mai, no. 5 (June 5, 2021): 20. http://dx.doi.org/10.3917/pls.523.0020.
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Spallone, Roberta, and Marco Vitali. "Baroque Turin, Between Geometry and Architecture." Mathematical Intelligencer 39, no. 2 (May 9, 2017): 76–84. http://dx.doi.org/10.1007/s00283-017-9725-y.
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Sawkins, Annemarie. ":Baroque Architecture 1600-1750." Sixteenth Century Journal 41, no. 3 (September 1, 2010): 892–94. http://dx.doi.org/10.1086/scj40997412.
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Гарин, V. Garin, Чернышев, Aleksandr Chernyshev, Разиньков, and Egor Razinkov. "History of Baroque Furniture." Forestry Engineering Journal 4, no. 2 (June 10, 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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Puleo, Thomas J. "The Sicilian Baroque: Reconciling Postquake Tensions." Environment and Planning A: Economy and Space 46, no. 11 (January 1, 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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Микиртичан, Галина Львовна, Александр Зиновьевич Лихтшангоф, Любовь Николаевна Лисенкова, Владислава Игоревна Макеева, Полина Александровна Жикоренцева, and Владимир Николаевич Южанинов. "ARCHITECTURE OF HOSPITALS IN ST. PETERSBURG: FROM PETROVSKY BAROQUE TO HI-TECH. PART I. PETER'S BAROQUE." Medicine and health care organization 8, no. 3 (September 11, 2023): 89–101. http://dx.doi.org/10.56871/mhco.2023.87.10.009.
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Санкт- Петербург, история которого насчитывает немногим более 300 лет, воплотил в себе множество достижений человеческого духа, ума и воли. Возникший по замыслу великого Петра, он стал центром культурной и научной жизни нашей страны. Один из красивейших городов мира — Санкт-Петербург — благодаря своим архитектурным ансамблям может служить путеводителем по архитектурным стилям не только дворцов, храмов, административных и промышленных зданий, но и медицинских учреждений, в частности больниц. Эти объекты, отличающиеся разнообразной архитектурной стилистикой, составляют уникальное культурно- историческое наследие России. Планируется цикл статей, посвященных больничной архитектуре Санкт- Петербурга в историческом ракурсе: от ее истоков до современности. Разработана систематизация больничных учреждений города по архитектурным стилям: петровское барокко, классицизм, эклектика, неоклассицизм, модерн, конструктивизм, сталинский ампир, функционализм, хай-тек. Временные рамки в описании играют второстепенную роль, они могут пересекаться — это связано с параллельным существованием в разные периоды нескольких направлений архитектуры в застройке города. Построенные в одном архитектурном стиле, здания в последующие годы могли быть перестроены в другом, целый ряд лечебных заведений первоначально располагался в уже построенных зданиях, не предназначенных для больниц. Представляемая статья посвящена петровскому барокко — первому архитектурному направлению северной столицы, возникшему вначале ХVIII века и связанному с расположенностью Петра I к западноевропейской строительной стилистике. Больничная архитектура города берет свое начало со строительства первых госпиталей. Кратко рассмотрена история создания Адмиралтейского (Морского) и Военно- сухопутного госпиталей на Выборгской стороне, Кронштадтского Морского госпиталя. Затронута дискуссия, связанная с ранним этапом «военно- госпитального дела» в Санкт- Петербурге. Предпринята попытка восстановить внешний облик (экстерьер) Адмиралтейского и Военно- сухопутного госпиталей, опираясь на составленную Д. Трезини «Опись каменному и деревянному строению гошпитали, которая на Выборгской стороне». Saint Petersburg, whose history dates back to a little over 300 years, has embodied many achievements of the human spirit, mind and will. Established according to the plan of Peter the Great, it became the center of the cultural and scientific life of our country. One of the most beautiful cities in the world, thanks to its architectural ensembles, St. Petersburg can serve as a guide to the architectural styles of not only palaces, temples, administrative and industrial buildings, but also medical institutions, in particular hospitals. These objects, distinguished by their diverse architectural styles, constitute the unique cultural and historical heritage of Russia. We are planning series of articles about the hospital architecture of St. Petersburg from a historical perspective: from its construction to the present state. Systematization of the city’s hospital institutions according to architectural styles has been developed: Peter’s baroque, classicism, eclecticism, neoclassicism, modern, constructivism, Stalinist Ampir style, functionalism, high-tech. The time frame in the description plays a secondary role; they can overlap — this is due to the parallel existence in different periods of several directions of architecture in the city’s development. Built in one architectural style, the buildings could have been rebuilt in accordance with a different style in subsequent years; a number of medical institutions were initially located in already constructed buildings that were not intended for hospitals. Presented article is devoted to Peter the Great’s baroque style — the first architectural trend of the northern capital, which arose at the beginning of the 18th century, and is associated with Peter the I’s affinity for Western European building styles. The city’s hospital architecture dates back to the construction of the first hospitals. The history of the creation of the Admiralty (Naval) and Military Land Hospitals on the Vyborg region, and the Kronstadt Naval Hospital is briefly reviewed. The discussion related to the early stage of the “military hospital business” in St. Petersburg is touched upon. An attempt was made to restore the appearance (exterior) of the Admiralty and Military Land Hospitals, based on the “Inventory of the stone and wooden structure of the hospital on the Vyborg side” compiled by D. Trezzini.
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Верховых, Елена Юрьевна. "THE PROCESS OF MASTERING OF THE BAROQUE STYLE IN RUSSIAN CHURCH ARCHITECTURE." Академический вестник УралНИИпроект РААСН, no. 2(49) (June 30, 2021): 26–31. http://dx.doi.org/10.25628/uniip.2021.49.2.005.
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В статье рассмотрен процесс освоения исторического «большого стиля» барокко в русской храмовой архитектуре. Впервые показана количественная динамика и выделены основные периоды строительства храмов в стиле барокко. Проведено сравнение предложенной периодизации их возведения с периодизацией развития стиля барокко в России, введенной в искусствоведении. Показано территориальное распределение барочных храмов по регионам страны, отмечается его повсеместность, но существенная неравномерность. Выявлено, что «староосвоенные» районы страны были наиболее восприимчивыми к усвоению стиля барокко. The article considers the process of mastering of the historical «grand style» of the Baroque in Russian temple architecture. For the first time, the quantitative dynamics is shown and the main periods of the construction of churches in the Baroque style are highlighted. The proposed periodization of their construction is compared with the periodization of the development of the Baroque style in Russia, introduced in art history. The territorial distribution of Baroque churches in the regions of the country is shown, and its ubiquity, but significant unevenness, is noted. It was revealed that the «old-developed» areas of the country were the most susceptible to the assimilation of the Baroque style.
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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 (January 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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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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Dymchenko, Marina. "Versailles: The phenomenology of architectural form." проект байкал, no. 78 (December 17, 2023): 85–89. http://dx.doi.org/10.51461/issn.2309-3072/78.2241.
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The article identifies and describes the evolution of the architectural form of the Versailles Palace and Park Ensemble as a single spatial artistic experience. The change in the layout and structure of the palace is considered from the point of view of the general trend of Western European architecture – the appearance and development of Rococo in the bosom of architectonics and composition created in the Baroque manner, which evolved from classical Baroque in the Italian style to the purely national tradition of Rococo and early classicism. This forms a unique semantic space of the subject’s experience. The author formulates conceptual understanding of the change in the content of architectural form-making as a process of the constitution of the unique spatial structure of the “court” type of society, socio-cultural ties and relations and its gradual evolution from the Baroque mythologized theatricality of absolutism to the private type of structuration of the dwelling of the pre-revolutionary decades.
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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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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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Saunders, Andrew. "Baroque Parameters." Architectural Design 79, no. 1 (January 2009): 132–35. http://dx.doi.org/10.1002/ad.835.
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Sugiarto, Roni. "DINAMIKA KETERHUBUNGAN RUANG ARSITEKTURAL DAN MUSIKAL BAROK." Vitruvian 9, no. 2 (February 26, 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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KIM, Anton Andreevich, and Vera Ivanovna LUCHKOVA. "SINO-WESTERN STYLE OF ARCHITECTURE." Urban construction and architecture 6, no. 1 (March 15, 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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Tretiak, Kyrylo. "On the Question of the Changes in the Architecture of the Church of St. St. Peter and Paul and its Bell Tower in Kyiv on 4 Prytysko-Mykilska Street." Ethnic History of European Nations, no. 63 (2021): 30–38. http://dx.doi.org/10.17721/2518-1270.2021.63.04.
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The article is about the study of the history of one of the unique architectural monuments of Kyiv – Stt. Peter’s and Paul’s Church (early 17th century) and its bell tower (mid-18th century). The church was only one example of the Gothic architecture in Kyiv preserved till 1930s. At the same time, it was only one Kyiv’s Rome-catholic (Dominican) temple which survived through the anti-Polish war in 1648–1654 had being transformed into Orthodox church. The author tries to trace the process of construction and reconstructions of the temple and its bell tower and understand how the buildings looked like during different periods of their existence and which transformations they underwent during 17th – 19th centuries. The author uses rare images of these buildings and descriptions of contemporary witnesses as sources. The analysis of similar buildings of the same time also helped to the author in hypothetically reconstruction of the previous views of the church and the bell tower. As a result of the research, the author concludes that originally the building of the Dominican Church of St. Nicholas (later the Orthodox Stt. Peter’s and Paul’s Church) had the form of late Gothic architecture. In the middle of the 17th century. the building was reconstructed in the forms of European Baroque and in 1744th – 1750th the temple was redesigned in the forms of Ukrainian Baroque style. Analyzing the architecture of the bell tower of Stt. Peter’s and Paul’s Church (as well as the architecture of other baroque bell towers in Kiyv) the author concludes that this building never had three tiers, contrary to popular belief among historians. The author argues that none of the churches in Podil (historian district of Kyiv near the Dnieper river) had no more than two tiers in18th century. This is confirmed by images of this district of Kyiv at that time. The author suggests that the third tier could be mistakenly called a large baroque dome of the bell tower, which burned down during the fire in 1811 and was replaced by a classicism style one.
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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 (September 10, 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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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 (November 5, 2009): 489–91. http://dx.doi.org/10.1007/s00004-009-0009-5.
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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (November 12, 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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Gh. Vlăsceanu, Mihaela. "COORDONATE ALE BAROCULUI SÂRBESC DIN BANAT - TRADIȚII ȘI INFLUENȚE." ИСХОДИШТА 8, no. 1 (August 18, 2022): 43–54. http://dx.doi.org/10.46630/ish.8.2022.4.
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This study proposes a reconceptualization of the so called “Serbijan Baroque” reflected in the creation of eighteenth-century imperial province of the Banat. The corpus of this investigation consists of written sources and works of art, structurally analysed and decoded as traditional versus modern Baroque additions. Aesthetic influences of Byzantine, Russian, Ukrainian, Wallachian and Moldavian tradition were surpassed by the dynamism of the Baroque. The change of ideas led to a synthesis in the province of the Banat where the promoters of Serbijan Baroque, were sometimes mentioned as post-Brancovan style promoters (Wallachian Baroque). Nikola Neșcovici and Nedelcu Popovici are two trend settlers in whose evolution one can identify tradition and the need for modern iconography invested with didactic and moralizing values inculcated by the formation workshops.These vagrant painters settled in the imperial Banat and adopted Western iconographic formulas for the Serbijan Orthodox churches. In the Orthodox tradition there is a close connection between the shape of the monument and its related iconography. Enriched since the fifteenth-sixteenth centuries with spaces of vaulting systems, the eighteenth century Serbijan architecture promoted throughout cultural transfer ideas coming from different centers evolving into a distinctive episode within the Habsburg monarchy. The profile of the synthesis achieved by architecture and its mural and iconostasis decoration, is demonstrated by these interpretations, a perfect illustration of the concept defining the evolution od Serbijan Baroque subsumed under the term of Gesamtkunstwerk.
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Kozlova, Galina, and Lyudmila Kozlova. "Compositional study of the lost temples in instructional design." проект байкал, no. 69 (November 13, 2021): 150–57. http://dx.doi.org/10.51461/projectbaikal.69.1867.
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The article presents the design and research work of the authors and first-year architecture students of Irkutsk National Research Technical University concerning compositional study of lost temples of Irkutsk with the reconstruction of their architectural appearance. The illustrative material was prepared using the students’ works. The complex of Siberian Baroque temples in Irkutsk in the mid-18th – late 19th centuries and various types of church buildings were studied. The work uses modeling as a tool for predicting the architectural appearance of the temple. Sketch drawings and models of the Miracle-Working, Tikhvinsky and Annunciation temples were completed, and the model of the evolution of Siberian Baroque temples was recreated. The main stages of the term project, from building functional, planning and volumetric models to designing image and structural characteristics of the object on the sample board, were presented.
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Robbins, Jeremy. "Baroque Architecture: Góngora and the Folds of Wit." Bulletin of Spanish Studies 90, no. 1 (January 2013): 55–82. http://dx.doi.org/10.1080/14753820.2013.748473.
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Sawkins, Annemarie. ":Baldassare Longhena and Venetian Baroque Architecture." Sixteenth Century Journal 44, no. 3 (September 1, 2013): 929–30. http://dx.doi.org/10.1086/scj24244911.
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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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Vozniak, E. R. "Peculiarities of shaping of architectural moulds and profiles in St. Petersburg architecture of the XVIII century." IOP Conference Series: Materials Science and Engineering 775, no. 1 (March 1, 2020): 012078. http://dx.doi.org/10.1088/1757-899x/775/1/012078.
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Abstract The article discusses the formation of moulds and string cornices in the St. Petersburg architecture of the XVIII century. Significant distinctions of Russian architectural moulds in comparison with their analogues existent in classical orders of Western European architecture are revealed. The causes lying underneath of the regional transformation of architectural elements are analyzed. The examples of designing profiles in each individual style period of the XVIII century are provided. It has been found out that the whole first half of the XVIII century is characterized by seamless profiles without complex intercalated moulds, such as dentils, modillions, and consoles. The inherent features of the Elizabethan Baroque are unique moulds with an upper notch. The period of Early Classicism is characterized with the usage of both Baroque and classical moulds in the style of J. Vignola. Strict classicism was the period when architects used moulds in the style of A. Palladio and the usual practice was application of Greek moulds. On the basis of the analysis carried out in the research, characteristic features and dating elements of each stylistic period are determined, and the elements inherent for the unique style of architects who created their works during the specified period are described.
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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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Tretiak, Kyrylo. "The Lost Elements of Ukrainian Baroque Architectural Monuments of Kyiv." Ethnic History of European Nations, no. 73 (2024): 48–55. http://dx.doi.org/10.17721/2518-1270.2024.73.06.
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The article is dedicated to the research of the loss of important architectural and compositional elements in Kyiv architectural monuments of the Ukrainian Baroque of the XVIIth – XVIIIth centuries. The author analyzes the architectural development of such Kyiv buildings as the Onufriivska Tower and the Church of Conception of Ann of the Kyiv-Pechersk Lavra, the Resurrection Church, the st. Illia Church, the Temple of Nikolas, the Intercession Church, the Old Building of the Kyiv-Mohyla academy, cookhouse and Church of the Holy Spirit of the Brotherly Epiphany Monastery, St. Sophia Cathedral, Church of the Ascension of the Phlor’s Monastery. All these objects have common destiny because of loss of their important Baroque details during XVIII–XIX centuries. Instead, they gained the forms of other styles, which did not detract from the national signs of these monuments. Such changes were made for various reasons: changes in fashion and styles in architecture, functional and utilitarian needs. However, such transformations were often anti-Ukrainian in nature, and they even ended up replacing Ukrainian symbols with Moscow ones. Let us highlight this very incident with the butt of the story: the reconstruction of the St. Sophia Cathedral in 1882. This unique monument and shrine was adorned with characteristic elements of the Ukrainian Baroque – sloping pediments on western and eastern façades. In fact, the temple was redecorated with elements of Byzantine and Russian architecture. During the Soviet time, the practice of replacing Ukrainian architectural symbols with Russian ones continued. Let us illustrate this with the example of the Ascension Cathedral of the Phlor’s Monastery in Podil. For a long time, researches did not pay attention on such a facts, but now it is time to restore justice to our national symbols. In the author’s opinion, today it is necessary to carry out in-depth research on historical monuments with a view to developing a concept and developing large-scale restoration projects that would restore their original beauty and completeness.
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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.
Full textAbstract:
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.