Relevant bibliographies by topics / Cloisters (Architecture)

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

Academic literature on the topic 'Cloisters (Architecture)'

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

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Journal articles on the topic "Cloisters (Architecture)"

1

Zerlenga, Ornella. "Renewed spirituality in cloistered architecture in Naples." Resourceedings 2, no. 3 (November 27, 2019): 154. http://dx.doi.org/10.21625/resourceedings.v2i3.652.

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The object of study is the cloistered architecture with particular attention to the cloisters of Santa Maria della Sanità and San Severo in Naples. Among the different environments that characterize a convent or monastery, the cloister is the main element of religious life, the central nucleus of the activities carried out collectively. Typologically, the distinctive features of the cloister can be identified in the following: position within the religious complex; presence of porch, garden, well; variety of shape and planimetric dimension. The cloister of Santa Maria della Sanità has an unusual ovate shape. This cloister was severely tampered with by the construction of the bridge of Sanità in the French decade. This intervention brought the cloister into oblivion and decay like that of San Severo. Recently the cloisters have been restored to new social use to promote inclusion and diversity.
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Maffei, Luigi, Massimiliano Masullo, Roxana Adina Toma, and Danila Jacazzi. "The role of cloisters in historical cities." Resourceedings 2, no. 3 (November 12, 2019): 114. http://dx.doi.org/10.21625/resourceedings.v2i3.634.

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Over the centuries religious architecture had a significant role in social and cultural life of people. In the past sacred architectures with their silent spaces were symbolic sites were the “voice” of God was invoked by religious who dedicated most of their life to prayer and spiritual readings.Among them, the cloisters, with their typical architectural conformation of open-air space protected by galleries or corridors, enriched by fountains and gardens had a relevant role also for their restorativeness' capability. They were used as healing places where body, mind and spirit could benefit from the surrounding environment.Nowadays they are still attended by men of faith, pilgrims and religious believers but also, simply, by people in searching of quietness. Their sight on the sky, the greenery and the water, and their cultural elements still affects strongly the physiological and emotional restoration process of the people and, in overcrowded cities where green areas misses, they can represent a new resource. Recent studies highlighted the possibility to use them as pockets of quiet. The paper describes their diffusion in the urban tissue of some cities in Campania and their main characteristics.
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Palmieri, Alice. "The Wheel and the Cloister in the Rule of Seclusion: Architectural Elements or Elements of a Communication System?" Resourceedings 2, no. 3 (November 27, 2019): 171. http://dx.doi.org/10.21625/resourceedings.v2i3.655.

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When Walter Benjamin describes Naples, he defines its architecture ’porous like this stone’ assimilating the structural characteristic of the tuff to an architectural model, characterized by voids and openings that create an interpenetration between interior and exterior. These continuous breakthroughs also characterize the life of Neapolitans who are used to living the street as part of social life. Right in the historical centre, where these dynamics are deeply present, there are some cloistered convents that by definition are closed to the city. This paper investigates sacred architecture not as a celebrative space, but as a place of living for religious communities. The focus is on the monasteries: peculiar structures deeply marked in the architecture by the need for confidentiality and therefore to create filters, physical and visual, with the rest of the urban area. The convents of Naples, through the wheels (intended for the passage of offerings) and through the cloisters, establish a relationship with the city that over the centuries has changed with a progressive opening to the inhabitants who are now allowed to get closer to these realities. The research finally deepens the architecture of the convent of Santa Maria in Gerusalemme, commonly known as the monastery of ‘the Thirty-three’, adjacent to the historical hospital of the Incurabili with which it shares its origins since both were founded by the Venerable Maria Lorenza Longo. Despite the closure and the high fence wall, the presence of the monastery is very strong: it is a reference and a listening point, where the ancient wooden wheel still represents a way of communication between the residents of the district and the nuns. In the same way, the cloister and the refectory have transformed their function over the centuries, becoming spaces for public events, while remaining in line with the rules of the Order.The study of the structure and dynamics of communication from/to the convent proposes a reflection on the transformations of religious architecture in the urban context and on the changes in language and meaning of the architectural elements characterizing the monastery.
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Monckton, Linda. "Experimental Architecture? Vaulting and West Country Cloisters in the Late Middle Ages." Journal of the British Archaeological Association 159, no. 1 (October 2006): 249–83. http://dx.doi.org/10.1179/174767006x133014.

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Neto, Maria João. "A CANOPY FROM THE PORTUGUESE MEDIEVAL MONASTERY OF BATALHA: A SINGULAR EXAMPLE OF MICRO-ARCHITECTURE IN THE CLOISTERS COLLECTION." ARTis ON, no. 9 (December 26, 2019): 181–91. http://dx.doi.org/10.37935/aion.v0i9.250.

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The MET Cloisters acquired a peculiar architectural canopy in 2016 that belonged to the main portal of the medieval monastery of Santa Maria da Vitória in the Portuguese village of Batalha. This piece, now in New York, surmounted one of the twelve statues of the Apostles. In the 19th century, during restoration works, the portal was altered from its initial dimension and many of its original sculptural elements were replaced by copies. This research note intends to trace the current location of all the original elements, in both public and private collections, as well as their path in the art market. It also analyzes how this canopy represents a unique example of micro-architecture, relating its composition to the monastery’s architecture. The canopy seems to allude to the dual function and meaning of the Portuguese medieval monastery: the divine temple is represented by the five small buildings and their tile-roofs, as the church’s chevet with five radiating chapels; and royal funerary place as represented by the vertical segment, a sectioned octagonal volume evoking King John’s funeral chapel. In its simplicity and micro-scale, this canopy displays remarkable artistic quality, constituting an excellent example of the fourteenth-century production led by the master Huguet in the Portuguese construction site of Batalha.
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Zhou, Zhenru. "From Earth to Heaven." Athanor 39 (November 22, 2022): 171–92. http://dx.doi.org/10.33009/fsu_athanor131171.

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This paper investigates the architectural turn of the largest Buddhist cave complex in late-medieval Dunhuang (in Northwest China) with a focus on the contemporaneous exterior structures. The structures include timber facades that cover the caves’ antechambers cut out from the vertical cliff, timber-structured ante-halls on the ground, and earthen shrines and pagodas on the cliff top. These exterior structures, albeit mostly non-extant, constituted the comprehensive built environment of the Mogao cave site. This paper first overviews the diversity of exterior structures through a theoretical reconstruction of several building types including gable-sided facades, eave-sided facades with baosha-dormers, and compound architecture comprising a double-or-triple-level pavilion-like facade and a cliff-top shrine. I then look into one of the three zones where the multiple façade types congregate. The three zones, namely, cave cloisters centered around the Southern and Northern Colossal Buddha Caves and “the Three-Story Pavilion,” defined and redefined the appearance of the mile-long complex by means of vertical extension against the pre-existing horizontal passageways and skylines. As the paper argues, the exterior structures were a collective attempt to transform the cave site into a palatial complex amid mountains, which was motivated by a longing for synchronizing the earthly and the heavenly realms.
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Priester, Ann. "Bell Towers and Building Workshops in Medieval Rome." Journal of the Society of Architectural Historians 52, no. 2 (June 1, 1993): 199–220. http://dx.doi.org/10.2307/990786.

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Thirty-five medieval bell towers, along with dozens of churches such as S. Clemente, S. Crisogono, S. Maria in Trastevere, and S. Lorenzo fuori le mura, survive as testimony to a boom in ecclesiastical construction in Rome during the twelfth and early thirteenth centuries. This article focuses on these bell towers, using computer database analysis of their architectural and decorative features to investigate the nature of building workshops in medieval Rome. A comparison of a number of variable features among the bell towers, such as masonry techniques, cornices, and decorative details, uncovered patterns of similarities and differences which may be attributed to workshop practices. Four distinct groups of bell towers are identified on the basis of these features, which I suggest are evidence of the existence of four workshops of brick masons active in bell tower construction in Rome between the early twelfth and the thirteenth centuries. Finally, the article addresses the question of specialization within medieval Rome's building industry and the circumstances behind a rapid decline around 1200 in bell tower building and the fate of the workshops that built them. I observe that by the early thirteenth century, certain prestigious architectural commissions, such as the cloisters at the Lateran and S. Paolo f.l.m., were not given to workshops of brick masons, but to marble workers.
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Jahnkassim, Puteri Shireen, and Norwina Mohd Nawawi. "ALLUSIONS TO MUGHAL URBAN FORMS IN THE MONUMENTALITY OF CHANDIGARH’S CAPITOL COMPLEX." Journal of Architecture and Urbanism 40, no. 3 (September 25, 2016): 177–90. http://dx.doi.org/10.3846/20297955.2016.1210050.

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The formative influence of the Mughal gardens on the urban spaces of the Capitol Complex, Chandigarh is discussed as part of Le Corbusier’s vision in realising new urban symbols to represent an independent India. Corbusier had not only “regionalised” Modernist elements of architectural design but had “modernised” past urban forms by artfully rejecting the traditional gridded patterns and urban traditions such as the Mughal gardens, and transforming them into a dynamic restructuring and interplay of urban forms and spaces. To disassociate the new capital from its Colonial past and to create a new sense of spatial drama symbolising the nation’s hopes for the future, Fatehpur Sikri’s renowned orthogonal and gridded urban plazas with its interconnected courtyards and cloisters, became part of Corbusier’s arsenal of precedents, and these were abstracted and reworked into a new orchestration of urban spaces; and integrated with Modernised concrete architectural forms. The garden archetype and recurring traditional Mughal devices such as the “chattri” and the trabeated terraces allusions were simplified and synthesised with overlapping “spaces-between-buildings” such as bodies of water, platforms and a series of roofscapes. The influence of the Mughal gardens is again seen in a subsequent project in later years by Corbusier i.e. the unbuilt proposal for the Venice Hospital, whose layout and planning carry similar overtones of overlapping courtyards but fused into a series of outdoor-indoor spaces due to the need to be cognizant of, and sensitive to, the historical fabric and tissue of an existing city.
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Oter Gorenčič, Mija. "The role of the Counts of Cilli in the architectural development of the Jurklošter Carthusian monastery's great cloister and the question of the location of Veronika of Desnice's grave. The archaeological method as an aid to art-historical interpretation." Studia Historica Slovenica 20 (2020), no. 1 (March 30, 2020): 67–117. http://dx.doi.org/10.32874/shs.2020-03.

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The article presents the first attempt at a comprehensive interpretation of the architectural development of the Jurklošter Carthusian monastery's great cloister and its appearance before and after the reconstruction that was financially supported by the Counts of Cilli Frederick II and Ulrich II. The article also refers to several archival sources that have been overlooked to date. These reveal the previously unknown patrocinium of the cemetery chapel in the cloister's atrium as well as, quite reliably, the location of Veronika of Desnice's grave. They also bring new information about the granting of indulgences, permission to erect an altar in the cemetery chapel, and consecrations. Apart from discovering new archival sources and carrying out a comparative analysis with the relevant medieval Carthusian monasteries elsewhere in Europe, the article is methodologically based on the art-historical analysis of two archaeological georadar recordings, of which one has been published for the first time in this very contribution.
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Horste, Kathryn. "A New Plan of the Cloister and Rampart of Saint-Etienne, Toulouse." Journal of the Society of Architectural Historians 45, no. 1 (March 1, 1986): 5–19. http://dx.doi.org/10.2307/990125.

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A newly discovered plan of the medieval rampart of Toulouse in the vicinity of the Cathedral of Saint-Etienne includes a detailed plan of the Romanesque cloister of the Cathedral, which was destroyed in the early years after the Revolution. The plan, an official copy of an original drawn in 1780 by Jacques Paschal Virebent, indicates that the architecture of the cloister was similar to that which has been proposed for the contemporary Cluniac cloister of La Daurade in Toulouse, the model for which was the cloister of the nearby Abbey of Moissac, completed in 1100. Within the limited body of evidence that can be brought to bear on a reconstruction of the sculptural program of the cloister, the new plan is the most concrete and credible document. A much-cited 19th-century lithograph of the cloister and claims made about the provenance of its sculpture by the antiquarian Alexandre Du Mège are, on the other hand, shown to be highly untrustworthy. The plan also provides evidence for the original course of the Gallo-Roman city wall and of the medieval modifications to it in the vicinity of the Cathedral and Gateway of Saint-Etienne.
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Dissertations / Theses on the topic "Cloisters (Architecture)"

1

Jönsson, Fredrik. "Sanctuary of the Man-made." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223410.

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They seek to embrace and understand the complexity of the man-made. They live alongside one another in a cluster - reflecting, synthesizing, producing and celebrating. They created their spaces and hierarchies through the basic principles of the wall and the column. The Sanctuary of the Man-made is an exploration of elements through a narrative that aims for a deeper understanding of human built complexity.
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Brugeat, Céline. "Quand l'Amérique collectionnait des cloîtres gothiques : les ensembles de Trie-sur-Baïse, Bonnefont-en-Comminges et Montréjeau." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20036.

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Trois cloîtres attribués aux couvents de "Trie-sur-Baïse", "Bonnefont-en-Comminges" (aux Cloisters, New York) et "Montréjeau" (Paradise Island, Bahamas) furent remontés outre-Atlantique au cours du XXe siècle. L'installation moderne de tels monuments en Amérique nous incitent à nous intéresser à ce goût, exprimé dés le début du XXe siècle, pour l’architecture médiévale. Selon les premières attributions, les pierres proviendraient d'abbayes des Pyrénées centrales, dont les vestiges furent dispersés au cours de l'Histoire. Les troubles des guerres de Religion, l’abandon progressif des établissements par les communautés religieuses, l’aliénation de leur temporel pendant la Révolution portèrent un coup sévère à l’intégrité des bâtiments monastiques ; mais, de la période post-révolutionnaire jusqu’au début du XXe siècle, ce sont bien les discrètes transactions entre particuliers et antiquaires, qui firent disparaître de la mémoire collective l’origine même des pierres, particulièrement celles des cloîtres en marbre, convoitées pour leur décor. Identifier leur provenance fut l'enjeu majeur de cette étude. Ces marbres sculptés présentent un programme iconographique riche et varié : les ensembles de "Bonnefont-en-Comminges" et de "Montréjeau" proposent un décor de feuillage stylisé tandis que celui de "Trie-sur-Baïse" expose des scènes figurées originales. Mener une analyse de ces sculptures a permis de les restituer dans leur contexte architectural originel
Three cloisters attributed to the monasteries of "Trie-sur-Baise", " Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas) were purchased by American collectors and rebuilt, during the XXth century, in North America. The modern assembly of such monuments generates interest on the taste of these American amateurs, from the beginning of XXth century, for medieval European architecture. While respectively attributed to the monasteries of "Trie-sur-Baise", "Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas), the initial attribution states that the stones were from central Pyrenees monasteries, whose ruins were scattered throughout ancient times : the Hundred-year war as well as the wars of religion, the gradual desertion of religious institutions by their communities during the XVIIth and XVIIIth centuries and, at last, the alienation of their properties during the Revolution seriously damaged the integrity of monastic buildings. However, during the post-revolutionary period until the early XXth century, many discrete transactions between individuals and antique dealers further took away the stones real origin from the collective memory, especially cloisters sculptures coveted for their ornament. Identifying the cloisters provenance was the main subject of this study. The three carved marbles present various iconography ; while the "Bonnefont-en-Comminges" and "Montréjeau" ensembles both show stylized foliage ornaments, the "Trie-sur-Baise" cloister depicts original figurative scenes. Carrying out an in-depth study of these sculptures made it possible to accurately associate the cloisters to their original architectural set and production context
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Brugeat, Céline. "Quand l'Amérique collectionnait des cloîtres gothiques : les ensembles de Trie-sur-Baïse, Bonnefont-en-Comminges et Montréjeau." Electronic Thesis or Diss., Toulouse 2, 2016. http://www.theses.fr/2016TOU20036.

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Trois cloîtres attribués aux couvents de "Trie-sur-Baïse", "Bonnefont-en-Comminges" (aux Cloisters, New York) et "Montréjeau" (Paradise Island, Bahamas) furent remontés outre-Atlantique au cours du XXe siècle. L'installation moderne de tels monuments en Amérique nous incitent à nous intéresser à ce goût, exprimé dés le début du XXe siècle, pour l’architecture médiévale. Selon les premières attributions, les pierres proviendraient d'abbayes des Pyrénées centrales, dont les vestiges furent dispersés au cours de l'Histoire. Les troubles des guerres de Religion, l’abandon progressif des établissements par les communautés religieuses, l’aliénation de leur temporel pendant la Révolution portèrent un coup sévère à l’intégrité des bâtiments monastiques ; mais, de la période post-révolutionnaire jusqu’au début du XXe siècle, ce sont bien les discrètes transactions entre particuliers et antiquaires, qui firent disparaître de la mémoire collective l’origine même des pierres, particulièrement celles des cloîtres en marbre, convoitées pour leur décor. Identifier leur provenance fut l'enjeu majeur de cette étude. Ces marbres sculptés présentent un programme iconographique riche et varié : les ensembles de "Bonnefont-en-Comminges" et de "Montréjeau" proposent un décor de feuillage stylisé tandis que celui de "Trie-sur-Baïse" expose des scènes figurées originales. Mener une analyse de ces sculptures a permis de les restituer dans leur contexte architectural originel
Three cloisters attributed to the monasteries of "Trie-sur-Baise", " Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas) were purchased by American collectors and rebuilt, during the XXth century, in North America. The modern assembly of such monuments generates interest on the taste of these American amateurs, from the beginning of XXth century, for medieval European architecture. While respectively attributed to the monasteries of "Trie-sur-Baise", "Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas), the initial attribution states that the stones were from central Pyrenees monasteries, whose ruins were scattered throughout ancient times : the Hundred-year war as well as the wars of religion, the gradual desertion of religious institutions by their communities during the XVIIth and XVIIIth centuries and, at last, the alienation of their properties during the Revolution seriously damaged the integrity of monastic buildings. However, during the post-revolutionary period until the early XXth century, many discrete transactions between individuals and antique dealers further took away the stones real origin from the collective memory, especially cloisters sculptures coveted for their ornament. Identifying the cloisters provenance was the main subject of this study. The three carved marbles present various iconography ; while the "Bonnefont-en-Comminges" and "Montréjeau" ensembles both show stylized foliage ornaments, the "Trie-sur-Baise" cloister depicts original figurative scenes. Carrying out an in-depth study of these sculptures made it possible to accurately associate the cloisters to their original architectural set and production context
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Rutchick, Leah. "Sculpture programs in the Moissac Cloister Benedictine culture, memory systems and liturgical performance /." 1991. http://catalog.hathitrust.org/api/volumes/oclc/25456106.html.

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Bürger, Stefan. "La Seu Vella Lleida – Kreuzgang oder Investruine?: Beobachtungen an den westlichen Klausurteilen." 2019. https://tud.qucosa.de/id/qucosa%3A35237.

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2011 führte uns eine von Henrik Karge und Susanne Müller‐Bechtel organisierte Katalonien‐Exkursion u. a. nach Lleida, um dort die Kathedrale zu besichtigen. Einige merkwürdige Baubefunde versuchte ich soweit möglich vor Ort zu dokumentieren, fotografisch und in Gedankenskizzen zu erfassen. Nachfolgend fertigte ich diesen Text, der für Jahre unbeachtet auf der Festplatte meines Rechners ruhen sollte. Erst im letzten Jahr entdeckte ich ihn wieder, schickte ihn Henrik zu, der sich interessiert zeigte, die Überlegungen dann sogar aufgriff, um sie auf einer Tagung in London vorzustellen und mit der dort versammelten Kollegenschaft zu diskutieren. Der Text ist vielleicht der Anfang für etwas, was uns künftig noch beschäftigen wird ... In schönster Erinnerung an meine Studien und Arbeitszeiten in Dresden, unsere gemeinsamen Lehrveranstaltungen, Exkursionen und Aktivitäten möchte ich diesen Beitrag mit herzlichstem Dank meinem Doktorvater Henrik Karge zu seinem 60. Geburtstag übereignen.
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Líčeníková, Michaela. "Okruh architektů Albrechta z Valdštejna a počátky raného baroka v Čechách." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-322557.

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The Circle of architects of Albrecht of Wallenstein in early Baroque period. The first rare indications of early Baroque productions/ creations are appearing already in second decade of 17th century, mainly in the work of imperial architect Giovanni Mario Filippi. We can consider his work as a first stage of the architectonical production which was implemented for the one of the most important personality of the Thirty Year War - the duke Albrecht of Walenstein. The circle of Walenstein architects was created by three distinctive representatives, those proved successfully individually but also as a team working above the joint projects. They were able to fulfill the Wallenstein magnificent intentions. These architects were Andrea Spezza, Giovanni Pieroni and Nicola Sebregondi. These three Italians architects and builders were leading figures of the mentioned circle of which part were also Vincenzo Bocacci, Baccio Bianco and Giovanni Marini. Their activities is possible to trace on our territory in the period 1621-1634 except Giovanni Pieroni, who was focused after the duke death to the projects of fortification systems, mainly in Bohemia. Studies showed that the origin of architects, including the places where they have been raised and received the first training, was always important and influenced their...
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Books on the topic "Cloisters (Architecture)"

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Y, Wu Nancy, and Cloisters (Museum), eds. The Cloisters: Medieval art and architecture. 7th ed. New York: The Metropolitan Museum of Art, 2012.

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Peter, Barnet, Wu Nancy Y, and Cloisters (Museum), eds. The Cloisters: Medieval art and architecture. New York: Metropolitan Museum of Art, 2005.

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Brunetti, Markus. Markus Brunetti: Facades : cathedrals, churches, cloisters in Europe. [Germany]: Markus Brunetti, 2016.

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Mamedova, Gi͡ulʹchokhra. Das architektonische Erbe des kaukasischen Albaniens. Baku: Heydär Äliyev Stiftung, 2013.

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Prado, Mercedes Pérez del. La iglesia mínima: El espacio en los templos de las clausuras conventuales sevillanas. Sevilla]: Diputación de Sevilla, 2000.

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coord, Yzquierdo Perrín Ramón, ed. Las Catedrales de Galicia. Trobajo del Camino, León: Edilesa, 2005.

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Gianni, Volpe, ed. Chiostri, cortili e corti delle Marche: L'architettura degli spazi segreti. Jesi (Macerata) [Italy]: Banca delle Marche, 1999.

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1940-, Jarque Francesc, ed. Lugares de la memoria: Claustros de la Comunidad Valenciana. Valencia: Generalitat Valenciana, 2007.

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coord, Yarza Luaces Joaquín, Español Beltrán Francesca aut, and Boto Varela Gerardo coord, eds. Claustros románicos hispanos. León: Edilesa, 2003.

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Farkas, Lisa. Kloster Eberbach: Augenblicke des Unvergänglichen. Mainz: Schmidt, 2005.

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Book chapters on the topic "Cloisters (Architecture)"

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Artmann, Benno. "The Cloisters of Hauterive." In Architecture and Mathematics from Antiquity to the Future, 453–66. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00137-1_31.

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Doe, Norman. "The library and cloister: education – learning and teaching." In The Legal Architecture of English Cathedrals, 156–84. New York : Routledge, 2017. | Series: Law and religion: Routledge, 2017. http://dx.doi.org/10.4324/9781315659268-8.

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Imperiale, Alicia. "Paolo Soleri’s Teilhard De Chardin Cloister at Arcosanti." In Modern Architecture and Religious Communities, 1850–1970, 70–88. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351043724-5.

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Hall, Jackie. "East of the Cloister: Infirmaries, Abbots’ Lodgings and other Chambers." In Perspectives for an Architecture of Solitude, 199–211. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.mcs-eb.3.1854.

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Israel, Jonathan. "Art and Architecture, I 590-1648." In The Dutch Republic, 547–64. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198730729.003.0023.

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Abstract The Dutch Revolt, a revolution in politics and religion, was also a revolution in art and architecture. The fighting devastated hundreds of castles, residences, churches, cloisters, and civic buildings. It involved the suppression of the Catholic Church, which meant confiscation of its buildings, and art treasures, and their reallocation for civic use. The new public Church, the Reformed, adopted a totally different approach to church architecture, and adornment of churches, than its predecessor. The Revolt also led to the expansion, and enhanced status, of the civic militias which became the guardians and standard-bearers of the Revolt. It forged a new political rhetoric which demanded novel forms of civic art replacing what had gone before.
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Robertson, Anne Walters. "Introduction." In The Service-Books of the Royal Abbey of Saint-Denis, 1–3. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780193152540.003.0001.

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Abstract In April 1981 the Metropolitan Museum of Art in New York City mounted a major exhibition at The Cloisters, ‘The Royal Abbey of Saint-Denis in the Time of Abbot Suger (1122–1151)’.1 In conjunction with this, an international symposium on Saint-Denis and Abbot Suger was held at Columbia University. The papers presented there focused upon this brilliant period in the history of the abbey from the vantage points of monastic life, political and social history, art, architecture, and literature.2
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Monckton, Linda. "Experimental Architecture? Vaulting and West Country Cloisters in the Late Middle Ages." In The Medieval Cloister in England and Wales, 249–83. Routledge, 2017. http://dx.doi.org/10.4324/9781351195072-10.

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Hills, Helen. "Introduction :Convents And Conventual Life In Early Modern Italy." In In Visible City, 3–18. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195117745.003.0001.

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Abstract Nowhere is the social significance of female aristocratic convents more evident than in baroque Naples. Shaped and defined by religious institutions and princely palaces, the city is scoured by narrow crevasses of sunless streets, lined with looming convents and monasteries, sealed to the outside world like sheer dark cliffs. From afar, the dominance of religious institutions is immediately evident. From Castel Sant’Elmo, the Angevin castle rebuilt in the sixteenth century, high to the west of Naples, the city cascades dramatically and unevenly down the slopes to the sea like a huge ruptured open-air theater. Conventual belfries and belvederes thrust into the air, jostling to gain advantage in this tilted city; church domes hover with a calm confidence over the chaos of crowded rooftops; and green rectangles in monastic cloisters form oases of disciplined nature amid seething buildings and bustling streets. But at street level, conventual architecture professes little overt interest in the city over which it has such dominance. It is a strangely introverted world, in which these powerful institutions turn their backs on passersby. Dark street frontages of volcanic pozzolana stone are relieved only by occasional grand doorways, rusticated windows, or a fleeting glimpse into a cloister, dappled by the shade of lemon trees. In the seventeenth century those dark walls separated the frenzy, heat, and noise of street life from the cool and protected environment, princely and religious, on the other side. Increasingly, into the urban fabric female convents inserted their massy presence.
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"1.2 Viollet-Le-Duc on the Medieval Cloister." In Architecture and Movement, 23–24. Routledge, 2014. http://dx.doi.org/10.4324/9781315764771-4.

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Hall, Jackie. "Architecture and Meaning in Cistercian Eastern Ranges." In The Medieval Cloister in England and Wales, 208–21. Routledge, 2017. http://dx.doi.org/10.4324/9781351195072-8.

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Conference papers on the topic "Cloisters (Architecture)"

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Rolim, Renan Cornélio Vieira de Souza, Laura Gilabert-Sansalvador, and María José Viñals. "Mosteirinho de São Francisco in Paudalho, Brazil: Building Typology Adaptation in Colonial Architecture." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15185.

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The Mosteirinho de São Francisco, in the city of Paudalho (Brazil), is a unique example of Franciscan religious architecture that reflects a very specific historical context of the area. It was built during the period of Dutch domination of Northeastern Brazil (1630-1654), characterized by territorial disputes and religious persecution between Dutch (Protestants) and Portuguese (Catholics). Designed in this emergency context, the building was conceived with a simple and compact layout, adapting the typology and spaces of a Franciscan convent to the site and specific circumstances. An example of this is the addition of two connected aisles to the nave, providing an architectural promenade around this main space: a modest but ingenious adaptation of the cloister concept. Nowadays the building is completely abandoned, in an advanced state of decay and in a judicial process regarding its property. Even its heritage protection is at risk. This paper presents the results of an architectural research about this building with the aim of claiming the importance of its preservation.
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