Academic literature on the topic 'Eclecticism in architecture'
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Journal articles on the topic "Eclecticism in architecture"
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Enab, Mohamed. "Eclecticism Style in the Architecture of Khedivian Cairo." Journal of Islamic Architecture 5, no. 2 (2018): 77–82. http://dx.doi.org/10.18860/jia.v5i2.4747.
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Eclecticism style is one of the European architectural styles that have appeared in the buildings of Cairo in 13-14 A.H / 19-20A.D, which means the trend toward consolidation of various models and buildings in the previous civilizations and merge them and out in one building. This style has known as quoted-style or trend in architecture or eclectic architecture. The research is an attempt to Inventory these buildings that are built on this architectural style. This research follows the historical approach to knowing the origin of this architectural style and how it moved and spread in Cairo architecture in 1314 A.H / 1920 A.D. Then follows a descriptive and analytical approach of examples of these buildings built on this style, and analysis its architectural and artistic elements. In the end, the research has reached some critical results. For example, the primary purpose of this quotation and transportation is to give historical and technical value to these monuments. But unfortunately, the method of this quotation came in the wrong way. Thus losing the principle of unity and harmony that characterized the Islamic architecture, they unwittingly distorted the heritage value. These buildings became a collection of models that are not harmonious.
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Carpo, Mario. "Architecture: Theory, Interdisciplinarity, and Methodological Eclecticism." Journal of the Society of Architectural Historians 64, no. 4 (2005): 425–27. http://dx.doi.org/10.2307/25068195.
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Steen, Andrew P. "Radical Eclecticism and Post-Modern Architecture." Fabrications 25, no. 1 (2015): 130–45. http://dx.doi.org/10.1080/10331867.2015.1006762.
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He, Gary Huafan. "The Organic and the Eclectic in César Daly’s “De l’architecture de l’avenir”." Journal of the Society of Architectural Historians 81, no. 4 (2022): 456–75. http://dx.doi.org/10.1525/jsah.2022.81.4.456.
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Abstract In The Organic and the Eclectic in César Daly’s “De l’architecture de l’avenir,” Gary Huafan He explores Daly’s concept of eclecticism as a critical discourse in the context of nineteenth-century ideas about naturalism and architectural style. In the 1869 essay that is the focus of this article, Daly narrated the “social evolution” of architecture as a process oscillating between organic and eclectic phases and mapped the history of style onto a parallel movement of French political regimes from antiquity to the Second Empire. Written after the fierce academic debates that took place in Paris in the 1860s and immediately prior to the tumultuous events of 1870–71, “De l’architecture de l’avenir” demonstrates the critical intersection between the romantic theory of architecture and nineteenth-century French politics. This key text in Daly’s oeuvre challenges contemporary understandings by demonstrating the vital role of eclecticism in the development of a modern architectural style.
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Bazarova, Eteri, and Vladimir Shipkov. "I.E. BONDARENKO'S CRITICISM OF ARCHITECTURAL PRACTICE THE ECLECTIC PERIOD." Construction and Architecture 10, no. 4 (2022): 76–80. http://dx.doi.org/10.29039/2308-0191-2022-10-4-71-75.
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The formation of a bright representative of the neo-Russian style of architect, architectural historian and art critic I.E. Bondarenko partially coincided with the period of mature eclecticism. Of interest is his attitude to the work of his contemporaries, recorded in the "Notes of the artist-architect" written by him in 1939-1940, which were published only in 2018. A separate theme of the memoirs is the evaluation of the period of eclecticism in the architecture of Russia. Together with the comments on the notes, plans and exhibition programs stored in the Russian State Archive of Literature and Arts (RGALI), they demonstrate the wide scope of his criticism.
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Yıldız Kuyrukçu, Emine, and Hatice Ülkü Ünal. "Examining “Eclektic”, “Kitch” “Neoclasic” and “Orientalist” architectural production methods on university structures." Journal of Human Sciences 18, no. 1 (2021): 108–30. http://dx.doi.org/10.14687/jhs.v18i1.6143.
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Postmodern architectural products that can be described as kitsch have become rapidly consumed objects because they have appealed to the whole society. As a demand stimulating, easily comprehensible, and rapidly consumable product, kitsch has gained an important place in postmodern culture and architecture. These features of kitsch have easily made it a paradoxical part of consumption culture. After the Neoclassical boom in the 18th century, architectural movements such as Eclecticism, Orientalism, and Historicism became widespread in the 19th century. Towards the end of the 20th century, these tendencies came to the fore again within the Postmodern paradigm, and new kitsch architectural structures have begun to be produced in these undertakings in accordance with the spirit of the period. Eclecticism which has become prominent again in postmodern architecture has been referred to as neo-eclecticism or eclectic populism and has been defined as a style that ‘complexity, uncertainty and contradictions’ are expressed, ‘references from history and symbolic elements are used. Together with various historical forms in the postmodern period, orientalist images have been also used. Images consisting of stylized views of the Western culture on the Orient and that are not based on an authentic eastern depiction have been used in the production of orientalist architectural form. In recent years, eclectic, kitsch, orientalist, neoclassical forms that are independent of context and time have been frequently encountered in architectural applications in also Turkey. On one hand, elements from Turkish culture have been used and on the other hand, architectural elements from foreign cultures have been preferred. It is seen that there have been contradictions between form and meaning in educational structures built in Turkey during the period that the paradigms of the Postmodern era have been dominant. In this study, it is aimed to read and analyze the concepts of kitsch, eclecticism, neoclassicism, orientalism in the postmodern paradigm on recent university buildings and campus portals. In line with this purpose, an extensive literature research was conducted within the scope of the study; in the case study, recent university buildings and portals were analyzed in terms of postmodernism, the historical periods and architectural elements they derived were determined.
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Starodubtscev, Oleg V. "Philosophical Ideas of the Romanticism and Russian Ecclesiastical Architecture of the 19th Century." Observatory of Culture, no. 5 (October 28, 2015): 49–51. http://dx.doi.org/10.25281/2072-3156-2015-0-5-49-51.
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The article considers philosophical views of the Romanticism regarding the Russian ecclesiastical architecture of the 19th century. Resting upon some paradigmatic architectural research, the author demonstrates principal features of the ecclesiastical architecture evolution in particular, to which it is sometimes impossible to apply common for the architecture of the 19th century in general rules and regularities. Among other things, the following thesis is proposed: the Romanticism is not the first stage of the Eclecticism but a natural continuation of the Classicism. Moreover, in the ecclesiastical architecture, unlike in the secular one, the ideas of Romanticism were relevant in quite different historical periods.
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Karsono, B., D. R. Koesmeri, J. Wahid, and B. M. Saleh. "Eclecticism in Architecture of Masjid Bandaraya Kuching, Malaysia." IOP Conference Series: Materials Science and Engineering 1101, no. 1 (2021): 012027. http://dx.doi.org/10.1088/1757-899x/1101/1/012027.
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Fanggidae, Dodi Eduard, and Yudi Nugraha Bahar. "Eklektisisme pada Fasad Bangunan sebagai Ekspresi Identitas Kelokalan (Kasus: Kantor Bupati Rote Ndao)." Review of Urbanism and Architectural Studies 21, no. 2 (2023): 71–80. http://dx.doi.org/10.21776/ub.ruas.2023.021.02.8.
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Problems that arise in a time when it is easy to obtain information and references result in the emergence of a tendency to use various architectural styles, resulting in problems where the use of these styles is different from the local context in the area. Eclecticism in architectural design can be one method to produce local identity in new buildings. This can be achieved if the references used in the design come from the right sources. The method of analysis of the composition of the façade is used to understand the visual expression of the façade. This research reveals the expression of Rote Ndao's local identity through eclecticism on the architectural façade of the Regent's Office. The results showed that the Regent Office presented local identity through four eclecticism approaches. Ti'i langga and bohani elements are ornaments on the roof (art and decoration), so it is interpreted as a symbol of the highest government in this region (symbol). The combination of Rote Ndao, Ti'i Langga traditional roofs, and designs with modern materials becomes a pluralism concept on the façade of the building, namely historical references and present-day architecture. This study is relevant to understanding and safeguarding cultural heritage. The integration of local elements in architectural design allows development that fulfills functions and respects cultural heritage.
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He, Gary Huafan. "Three myths about eclecticism." Journal of Architecture 26, no. 8 (2021): 1146–62. http://dx.doi.org/10.1080/13602365.2021.1980420.
Full textDissertations / Theses on the topic "Eclecticism in architecture"
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Schwartz, Janet Elizabeth. "The city as theater / by Janet Elizabeth Schwartz." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/23441.
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Fuentes, Milà Sergio. "José Doménech y Estapá (1858-1917). Eclecticismo, arquitectura y modernidad." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/394084.
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Los discursos de la modernidad arquitectónica a finales del siglo XIX en España fundamentados en el Eclecticismo como tendencia internacional han sido poco analizados hasta la fecha. Las tensiones entre propuestas continuistas y la irrupción de estilos como el Modernisme en el panorama barcelonés no han focalizado los estudios debido a la importancia, originalidad y ruptura que supuso el segundo, que ha protagonizado una gran profusión de estudios monográficos eludiendo un contexto creativo más complejo y amplio.
Precisamente en ese contexto de cambio, tensión y estilo en la Barcelona finisecular se centra esta tesis doctoral, con el objetivo último de aportar nuevos datos y conocer en profundidad subtendencias y creadores que hasta la fecha habían permanecido a la sombra de autores como Antoni Gaudí o Lluís Domènech i Montaner. La investigación focaliza un caso de estudio muy particular y desconocido, el del arquitecto José Doménech y Estapá y su producción arquitectónica. A partir de documentación inédita exhumada de diversos archivos, sus posicionamientos político y artístico son abordados al detalle, así como su doctrina arquitectónica y su corpus productivo. En este sentido, se ha realizado el primer catálogo de obras completas de este autor con un total de 106 casos. La importancia de Doménech y Estapá radica en, además de encargarse de obras de gran relevancia en el núcleo barcelonés como el Palacio de Justicia y la Prisión Modelo entre otros, que se trata de un personaje paradigmático como representante del antimodernismo de algunos actores del panorama arquitectónico español de finales del siglo XIX y principios del XX. Su propuesta intelectual y artística, sustentada en el Eclecticismo decimonónico junto al interés de afrontar la modernidad de un modo más racional y fuera del pintoresquismo modernista, derivará en una estética y discurso proyectivo muy particular, un estilo unipersonal de gran complejidad conceptual que hemos denominado Estapismo y que desarrollamos en los diferentes bloques de la investigación.<br>The researches of the architectural modernity at the end of the 19th century in Spain based on the Eclecticism like international style have been little analysed up to the date. The tensions between the tradition and the irruption of styles like the Modernisme in the Barcelonian panorama, they have not focused the studies due to the importance, originality and break that there supposed the second one, which has led a great profusion of monographic studies eluding a more complex creative and wide context.
Precisely in this context of change, tension and style on Barcelona at the end of the 19th century, it’s the center of this doctoral thesis, with the last aim to contribute new information and to know more about other styles and creators who up to the date had remained in the shade of authors like Antoni Gaudí or Lluís Domènech i Montaner. The research focuses a very particular and unknown case : the architect José Doménech y Estapá and his architectural production. From unpublished documentation exhumed of diverse files, his political and artistic positions are approached to the detail, as well as his architectural doctrine and his productive corpus. In this sense, there has been realized the first catalogue of complete works of this author by a total of 106 cases. Doménech y Estapá was the author of notable works in Barcelona as the Courthouse Palace or the new Prison and he was a paradigmatic personage as representative of the antimodernism of some Spanish architects of the end of the 19th century and beginning of the XXth. His intellectual and artistic offer sustained in the nineteenth-century Eclecticism close to the interest to confront the modernity of a most rational way and out of the picturesque Modernisme, will derive in an aesthetics and architectural design very particularly, an individual style of great conceptual complexity that we have named Estapismo and that we develop in the different blocks of the research.
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CATTAN, ROBERTO CORREIA DE MELLO. "THE GUINLE FAMILY AND THE ARCHITECTURE OF RIO DE JANEIRO: AN EPISODE OF CARIOCA ECLECTICISM IN THE FIRST TWO DECADES OF THE 20TH CENTURY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5103@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>A dissertação A Família Guinle e a Arquitetura do Rio de
Janeiro: Um Capítulo do Ecletismo Carioca nas duas
primeiras décadas do Novecentos tem como objetivo,
descrever, organizar e analisar histórica e
arquitetonicamente um grupo de arquiteturas da cidade do
Rio, construídas no âmbito de uma mesma família, que mesmo
em parte reconhecidas publicamente como de valor
sóciocultural através do instrumento do tombamento
patrimonial, ainda não haviam sido visualizadas como
conjunto em si, seja por suas afinidades ecléticas comuns,
seja em relação aos acontecimentos históricos que as
aproximam e ensejam, nem na relação com outras arquiteturas
a elas contemporâneas. O trabalho focaliza especialmente o
momento das reformas urbanas do período Pereira Passos e o
sucessivo espraiamento da cidade na direção da zona sul até
a orla oceânica de Copacabana, nas duas primeiras décadas
de 1900, conduzidas sob a ótica particular da operosidade
arquitetônica dos Guinle. Desta forma a pesquisa e análise
empreendidas visam organizar e problematizar alguns dos
dados referentes à arquitetura eclética da cidade,
contribuir na identificação e organização de fatos e
imagens que explicitem sua expressão visual eclética e
relevar de permeio a importância da família Guinle na
constituição desta visualidade.<br>The object of this thesis is to describe, organize and
analyze, from the historical and architectural viewpoints,
a group of architectural works in Rio de Janeiro built by a
single family, which - although landmarked in acknowledgment
of their social cultural significance - had not yet been
seen as making up a set, defined by their common eclectic
affinities, the historical events that originated them and
their relation to other contemporary architectural works.
Emphasis is given to the period of urban reform during the
Pereira Passos administration and the city s continuous
expansion into the South Zone towards Copacabana Beach in
the first two decades of the 20th century, which took place
under the influence of the Guinles architectural verve.
The research and the analysis attempt to order and call
into question some of the data concerning Rio s eclectic
architecture, to contribute to the identification and
organization of facts and images that express this visual
eclecticism, and to highlight the importance of the Guinle
family in the making of the city s visuality.
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Tenreiro, José Pedro de Galhardo. "O limiar do moderno." Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2020. http://hdl.handle.net/10400.5/20171.
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Tese de Doutoramento em Arquitetura, com a especialização em Teoria e História apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Doutor.<br>A presente tese tem como objecto o estudo da produção arquitectónica projectada e edificada sensivelmente entre 1895 e 1925 no Porto e na região Norte de Portugal. Trata-se de uma época de profundas mudanças no panorama da arquitectura portuguesa na qual são definidas as diferentes correntes ideológico-disciplinares que têm determinado as diversas questões que marcaram os séculos XIX e XX.
Até hoje a arquitectura portuense e nortenha deste período tem sido reduzida na historiografia arquitectónica portuguesa à obra de alguns arquitectos, verificando-se a ausência de estudos transversais à produção arquitectónica e à cultura disciplinar deste período que estabeleçam uma leitura contextual e não objectual da produção arquitectónica visada. Por este motivo, estabelece-se nesta tese um reenquadramento da arquitectura portuense e nortenha do Eclectismo no panorama cultural e profissional da arquitectura dos séculos XIX e XX, elencando os diversos projectistas activos no contexto local e situando-os no seio das correntes disciplinares internacionais e das questões que marcam o debate arquitectónico português. Da mesma forma, é identificado o contributo da arquitectura do Eclectismo para a definição contemporânea da imagem da cidade. Propõe-se uma análise da produção arquitectónica erudita realizada no Porto e na sua região de influência baseada numa inventariação extensiva da arquitectura do ecletismo no território em estudo, documentando a actividade dos agentes nela envolvidos, identificando a sua produção arquitectónica e as características das suas obras. A investigação é feita seja através do estudo de fontes primárias auxiliado pelo cruzamento de informações recolhidas em fontes impressas da época, seja através da análise da bibliografia que recentemente tem vindo a trazer algumas luzes sobre temas específicos, seja através da inventariação e observação dos imóveis ainda existentes. Neste âmbito, é de sublinhar a relevância da identificação de autorias dos diversos projectos e obras pela comparação de elementos gráficos e arquitectónicos.
A organização interna deste trabalho permite identificar os momentos e questões que definem a arquitectura do Eclectismo no território em análise, os principais arquitectos que marcam o seu panorama profissional e as diferentes correntes ideológico-disciplinares que caracterizam o debate em torno da arquitectura e da cidade. O estudo da arquitectura edificada ao longo de dois dos principais eixos urbanos que marcam o desenvolvimento da cidade do Porto durante o período em estudo permite identificar o modo como diferentes projectistas e clientelas se confrontam com contextos urbanos e programáticos semelhantes.<br>ABSTRACT: The object of the present thesis is the architectural production designed and built between 1895 and 1925 in Porto and the North of Portugal. This is a time of profound changes in the panorama of Portuguese architecture in which the different ideological/disciplinary trends that determine the various issues that mark the twentieth century are defined.
To date, the architecture of Porto and Northern Portugal of this period has been reduced in Portuguese architectural historiography to the work of some architects who, by the absence of transversal studies to the architectural production and the disciplinary culture of this period, are commonly considered as isolated paradigmatic figures. For this reason, this thesis establishes a re-framing of the eclectic architecture of Porto and Northern Portugal in the cultural and professional panorama of twentieth century architecture, listing the various architectural designers active in the local context and placing them within the international disciplinary trends and the issues that mark the Portuguese architectural debate. Likewise, in this thesis we identify the contribution of the architecture of eclecticism to the contemporary definition of today's urban image. We propose an analysis of the erudite architectural production carried out in Porto and its region of influence based on an extensive inventory of the eclectic architecture in the territory under study, documenting the activity of the agents involved in it, identifying their architectural production and its characteristics. The research is done either through the study of primary sources cross-referenced with information sourced in printed sources of the time, or through the analysis of the bibliography that has recently brought some light on specific themes, as well as through inventory and observation of the buildings that still exist today. In this context, it is worth highlighting the relevance of the identification of authorships to the several projects and works by comparing graphic and architectural elements.
The internal organization of this work allows us to identify the moments and issues that define the architecture of eclecticism in the territory under analysis, the main architects that mark their professional panorama and the different ideological/disciplinary trends that characterize the debate around architecture and the city. The study of the architecture built along two of the main urban axes that mark the development of the city of Porto throughout the period under study allows us to identify how different architectural designers and clienteles are confronted with similar urban and programmatic contexts.<br>N/A
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Martins, Alexandre Franco. "Domenico Delpiano (1883-1920): apontamentos sobre a trajetória de um arquiteto salesiano no Brasil." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2653.
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Previous issue date: 2010-02-05<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>By bringing to light the figure, the designs and works of architect and assistant salesian (religious layman) Domenico Delpiano (1844-1920), this research aims to contribute to the knowledge and understanding of the architecture of the late nineteenth century and early twentieth centuries in South America, specifically the period of the years 1883 and 1920, respectively, the date of arrival of the professional in Brazil and his death in Sao Paulo. An examination of his work, all
designed and built for the Society of Saint Francis de Sales and the Institute of the Daughters of Mary Help of Christians, will be based on knowledge gained from each chapter of this study. The understanding of salesian pedagogy and its repercussion on the spatial structure of school buildings, the identification and characterization of the architecture of eclecticism and the presentation of Domenico Delpiano and his compositional method and projectual allow the construction of analytical criteria for the critical review of two of his works the city of Sao Paulo.<br>Ao trazer a luz a figura, os projetos e as obras do arquiteto e coadjutor salesiano (religioso leigo) Domenico Delpiano (1844-1920), a presente pesquisa tem como objetivo contribuir para o conhecimento e para a compreensão da arquitetura do final do século XIX e início do século XX na América do Sul, mais precisamente no período compreendido pelos anos de 1883 e 1920, respectivamente, data da chegada do profissional no Brasil e de sua morte em São Paulo. O exame de suas obra, todas projetadas e construídas para a Pia Sociedade de São Francisco de Sales e para o Instituto das Filhas de Maria Auxiliadora, será feito a partir dos conhecimentos adquiridos em cada um dos capítulos deste estudo. A compreensão da pedagogia salesiana e o seu rebatimento na estrutura espacial dos edifícios escolares, a identificação e caracterização das
Arquiteturas do Ecletismo e a apresentação de Domenico Delpiano e de seu método compositivo e projetual permitirão a construção de critérios analíticos para o exame crítico de duas de suas obras na cidade de São Paulo.
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Lopes, Maurício Maiolo. "As faces da modernidade: arquitetura religiosa na reforma urbana de Itú ( 1873-1916)." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-26032010-151700/.
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Analise da arquitetura religiosa na cidade de Itu e suas relações com as reformas urbanas ocorridas no período de 1873 a 1916. Enfatizamos nosso estudo nas reformas ocorridas em antigos templos coloniais que nesse período passaram por significativas transformações. O estudo dos ideais de modernização da época e das diretrizes da Igreja Católica é peça-chave para a revisão historiográfica da chamada arquitetura eclética. Analisamos alguns dos principais agentes dessas transformações: suas ideologias, as novas modalidades de projetação e seus vínculos com as transformações tecnológicas. Todos estes fatores influenciaram de diferentes modos na reforma dessas igrejas. Nesse contexto, pesquisamos o vínculo das reformas nas igrejas com as transformações que Itu vivenciou nesse período, como a chegada da ferrovia, as transformações das praças em jardins, a construção do novo cemitério, o novo matadouro municipal, o novo mercado municipal e a implantação da iluminação pública. Como recorte de pesquisa, foram selecionadas algumas igrejas representativas do passado colonial, que na virada do século tiveram suas fachadas completamente modificadas: a igreja Matriz de Nossa Senhora da Candelária, a igreja de Nossa Senhora do Patrocínio e as igrejas administradas pela Companhia de Jesus na cidade: a igreja de São Luis do Gonzaga, a igreja do Bom Jesus e, finalmente, a igreja de Nossa Senhora da Boa Morte.<br>This research analyzes the religious architecture of Itu city and its relationships with the urban reform which occurred from 1873 to 1916. Our study is emphasized in the reforms occurred in ancient colonial temples which had significant changes at that time. The study of the ideals of modernization and of the Catholic Church guidelines at that time is the main point for a historiographic review of the eclectic architecture. We analyzed one of the main agents of these changes: their ideologies, the new modalities of the design process and their links with the technological changes. All these factors influenced in different ways in the reforms of these churches. In this context, it was researched the link in the church reforms with the changes that Itu had at that time like the arrival of railroads, the squares which became into gardens, the construction of a new cemetery, the new municipal slaughterhouse, the new municipal market and the implementation of the public lighting. As a clipping of the research, it was selected some representative churches of the past colonial which had their façades completely changed in the Passage of Century: The Nossa Senhora da Candelária Church, Nossa Senhora do Patrocínio Church and the ones administrated by the Companhia de Jesus in the city: The São Luis do Gonzaga Church, The Bom Jesus Church and, finally, The Nossa Senhora da Boa Morte Church.
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Franco, Sérgio Miguel Gouveia. "A obra de Edmundo Tavares no Funchal." Master's thesis, [s.n.], 2012. http://hdl.handle.net/10284/3732.
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Dissertação apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Arquitetura e Urbanismo<br>A presente dissertação é resultado duma investigação sobre a obra do arquiteto
Edmundo Tavares no Funchal. O trabalho realizado tem como intuito a conclusão do
Mestrado Integrado em Arquitetura e Urbanismo, pela Universidade Fernando Pessoa.
A obra deste arquiteto na cidade do Funchal é de importância maior, e pouco
divulgada, nomeadamente face ao legado que esta constitui, e do corolário do mesmo,
no progresso da arquitetura moderna na Ilha da Madeira.
O primordial objetivo desta dissertação é levantar e analisar a produção arquitetónica do
autor nos anos em que viveu no Funchal - 1932 a 1939 - particularmente através do
levantamento arquivístico, tão exaustivo quanto possível, da documentação
administrativa e da produção escrita com ela relacionada, sustentando essa análise numa
contextualização histórica alargada.
Esta investigação permitiu perceber e precisar documentalmente um percurso estilístico
próprio, e uma produção grandemente ignorada. Numa fase de mudança de tendências
arquitetónicas, Edmundo Tavares consegue ser um caso típico e ao mesmo tempo único
da arquitetura portuguesa na década de 30 do século XX. The following dissertation is the result of the study of the work of the architect
Edmundo Tavares in Funchal. The research conducted concludes my integrated master's
degree program in Architecture and Urban Planning, followed at Fernando Pessoa
University.
The legacy left by this architect on Funchal is often underestimated and is poorly
known, all the more so in face of the bulk of his production, and its consequences,
bearing a substantial value on the evolution of the modern architecture on Madeira
island.
The foremost goal of this thesis is to list and analyze the architectural production of the
architect in the years that he lived in Funchal - from 1932 to 1939 - particularly through
archive survey, as thorough as possible, of administrative documentation related to his
works, as well as his written testimony on architecture, and to ground an analysis on a
broad historical context.
The research allowed an understanding of a personal stylistic path and a largely ignored
architectural heritage, and provided objective information about it. In a moment of
changing architectural trends, Edmundo Tavares manages to be simultaneously a typical
and a unique case within Portuguese architecture of the 1930's.
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Ferreira, Camila Corsi. "Arquitetura residencial urbana: Espírito Santo do Pinhal, 1880-1930." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-19032011-215746/.
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Estuda a arquitetura residencial urbana em Espírito Santo do Pinhal, região paulista de economia cafeeira. Insere-se no contexto de produção de casarões urbanos patrocinados pela riqueza acumulada pelo café, edificados no final do século XIX e início do século XX, constituindo importante acervo arquitetônico do ecletismo e da história do ciclo cafeeiro no estado de São Paulo. A abordagem teórica apóia-se especialmente em autores como Maria Cecília N. Homem; Nestor Goulart Reis Filho; Carlos Lemos; Maria Ângela Bortolucci. Documenta e analisa 34 casarões representativos desse período. Destaca a importância do estudo da arquitetura da burguesia cafeeira, e aponta para necessidade de conscientização e preservação deste patrimônio como documento histórico e arquitetônico.<br>Studies the urban residential architecture in Espírito Santo do Pinhal, São Paulos region of coffee economy. It is inserted in the context of the production of urban houses sponsored by the wealth accumulated with coffee, built in the late nineteenth and early twentieth centuries, constituting important architectural collection of the ecleticism and the history of the coffee cycle in the state of São Paulo. The theoretical approach is based especially on authors such as Maria Cecília N. Homem; Nestor Goulart Reis Filho; Carlos Lemos; Maria Ângela Bortolucci. Documents and analyzes 34 representative houses of this period. Stresses the importance of studying the architecture of the coffee bourgeoisie, and points to the need for awareness and preservation of this heritage as historical and architectural document.
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Ducos, Laure. "Alfred-Nicolas Normand (1822-1909) Ou les leçons de Rome." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2002/document.
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L'architecte Alfred-Nicolas Normand est un oublié de l'histoire. Après quatre années d'études aux Beaux-Arts, il obtient le Grand Prix de Rome en 1846. Pensionnaire à la Villa Médicis durant les cinq années suivantes, il se confronte aux canons de l'Antiquité. Il réalise cinq Envois d'une grande qualité, parmi lesquels une étude de la maison du faune à Pompéi, et la restauration du Forum romain en un travail mêlant art, érudition et archéologie. Il sillonne l'Italie et la Grèce, constituant un portefeuille de modèles qui nourrira sa pratique architecturale. S'y ajoute un beau corpus de calotypes influencé par les modalités du dessin. De retour en France, Normand réalise un hötel pompéien pour le prince Jérôme Napoléon. Il y voit l'occasion d'appliquer les leçons reçues de Rome, élaborant une juste synthèse entre archéologie, modèles canoniques et vie moderne. Puis il se verra confié la réedification de la Colonne Vendôme, effaçant ainsi le traumatisme mal assumé de la Commune. Sa carrière se diversifie, entre architecture privée et construction édilitaire : chäteaux, hötels particulier, halle métallique, maison centrale de Rennes. Il représente ces générations brillantes mais sans relief qui répondent aux exigences institutionnellles; Alfred Normand, en tant que banal modèle de l'excellence, incarne une histoire des strates, une figure du transitoire<br>The architect Alfred-Nicolas Normand is forgotten by the history. After four year at the Beaux-Arts, he obtains the Grand Prix de Rome in 1846. He is student at the villa Medici for the five next years. He makes five Envois in high quality. One of them is the house of the Faun in Pompeii. He realizes a great Restoration of the Roman Forum. His works proposes a synthesis of art, erudition and archaeology. During his pension he is travelling acrosss Italy and is given a recent authorization to reach Greece. the boarding school is opportunity for Normand to find out and to experience all the forms of his art which are well abovethe competences taught by the Institute. He will feed upon all these influences his architectural skills. In 1851, he discovers the calotype process, and after that he is taking photographs of the monuments in their context. The observer would remark a relative ressemblance between his practice as drawer and as a photographer. As he wants the process to be clearly documentary, the shooting process is drastically influenced by the drawing codes and method standards. Back in France he realizes a antique style Villa for the Prince Jérôme Napoléon. Normand finds here the opportunity to apply the lessons learned from Roma : monumentality and sense of decor. He does a good mix between archaeology, canonical models and modern lifestyle. A few years after, he is been given the maintenance of the Colonne Vendôme. As this monument has been thrown down during the Commune events, the State puts him in charge of its restoration in order to erase this painful episode from the popular memory. Throughout his career he will be required to build private prestigious residences (castles and private mansions) for which he will request a varied vocabulary : medieval, neo-Renaissance or XVIIIth century. He also achivied numbers of tombs and honorific monuments. Thereafter he turns to work on the penal institution architecture. He is appointed to be responsible for the conception of the Maison Centrale of Rennes, a prison for a thousand women serving a long sentence. He turns the panoptical system into a wide central courtyard to which converge all the windows of the prison building. Alfred Normand, as recognized as he could be in his time, is one of the history's forgotten people. He is a good representative of these generations : brilliant, but whitout relief, that could fit perfectly the institutional needs. He personifies the inertia of a professional corps facing the modern societies' individualistic conception
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Mattos, Maria de Fátima da Silva Costa Garcia de. "O Neomanuelino no Brasil: a identificação de um estilo através das suas instituições. Os gabinetes portugueses de leitura." Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-23012015-130358/.
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Intimamente ligado ao Romantismo, o surto de revivalismos que se alastrou por quase todos os países da Europa, na segunda metade do século XIX, criou um estilo diferente e emblemático em Portugal, o Neomanuelino, cujo rebatimento no Brasil, nas ultimas três décadas desse mesmo século, teve uma leitura simbólica, como imagem de um poder aqui representado e que, no bojo da celebração nacional, encerrava o carisma filosófico e político da sua representação. Esse estilo, ao retomar as características do Manuelino (século XVI), retomava também uma simbologia importante do passado nacional, a qual se buscava reafirmar no final do século XIX, dado o espírito nacionalista que a todos envolvia. Nesse cenário vivo, a arquitetura foi, então, a linguagem que melhor representou as marcas desse passado, tornando-se um referencial balizador dos sentimentos de liberdade e euforia desses novos tempos. Testemunhos disso, Os Gabinetes Portugueses de Leitura no Brasil foram referenciais urbanos conformados às aspirações sociais da época, que, resgatando por meio de seus edifícios a memória lusitana na formação da identidade nacional, se apoiaram na história como arquivos de memória urbana. Nosso objetivo foi a identificação desse estilo, o Neomanuelino no Brasil, considerando a tipologia e a inserção de seus edifícios no espaço urbano, sua justificativa social e sua identidade nacional, presentes no panorama das manifestações Ecléticas que caracterizaram a passagem do século. Definimos como parâmetro para pesquisa, cidades portuárias, nas quais se observa a identificação com a imigração portuguesa, abordando, assim, quatro edifícios para a sua compreensão: o Real Gabinete Português de Leitura do Rio de Janeiro (RJ), o Gabinete Português de Leitura de Recife (PE), o Gabinete Português de Leitura de Salvador (BA) e o Centro Português de Santos (SP).<br>Closely linked to the Romanticism, the outbreak of the revivalism that was spread for almost all the countries of Europe in the second half of the nineteenth century created a different and emblematic style in Portugal, the Neomanuelino. This style had a symbolic reading in Brazil in the last three decades as an image of a power here represented, which core of National celebration concluded the philosophic and politic charism of its representation. This style, when retook Manuelino\'s characteristics (sixteenth century), was also retaking an important symbology of the National past, in which it looked for reaffirmation at the end of the nineteenth century because of the Nationalist spirit that involved everybody. Then, in this living scene, the architecture was the language that better represented the signs of the past, becoming a signing reference for the feelings of freedom and euphoria of the new time. Witnesses of this, the Portuguese Cabinets of Reading in Brazil, were urban references accorded to the social aspirations of the epoch, ransoming with it building the lusitanian memories in the formation of the National identity, which the history was its support as files of the urban memories. Our goal was the identification of this style, the Neomanuelino in Brazil, its social justification and its National identity present in the panorama of the Eclectic manifestations that characterized the passage of the century, considering the typology and the insertion of the building in the urban space. We defined as panorama for the research the port towns in which it can be observed the identification with the Portuguese immigration, approaching four buildings for its comprehension: The Real Portuguese Cabinet of Reading of Rio de Janeiro, The Portuguese Cabinet of Reading of Recife, The Portuguese Cabinet of Reading of Salvador and The Portuguese Center of Santos.
Books on the topic "Eclecticism in architecture"
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ed, López Machado Roberto, and Soraluce Blond, José Roberto, ed., eds. La Casa cubana: Colonia y eclecticismo. Universidade da Coruña, Servizo de Publicacións, 2005.
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János, Bakos, and Bene Gábor, eds. Post architecture in Hungary. Hungarian Telecommunications Co., 1992.
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Palmaerts, Geert. Eclecticisme: Over moderne architectuur in de negentiende eeuw. Uitgeverij 010, 2005.
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Loretta, Mozzoni, and Santini Stefano, eds. Architettura dell'eclettismo: Il rapporto con le arti. Liguori, 2007.
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Eliash, Humberto. La arquitectura de Cristián Boza: Un eclecticismo apasionado. Pontificia Universidad Católica de Chile, 1993.
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Gauthier, Raymonde. La traditon en architecture québécoise: Le XXe siècle. Méridien, 1989.
Find full textBook chapters on the topic "Eclecticism in architecture"
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Marri, Sohrab Ahmed. "Architecture of Eclecticism: China’s Architectural Projects in Pakistan (2001–2019)." In Exporting Chinese Architecture. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2786-7_10.
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Mohd Nawawi, Norwina, Shireen Jahn Kassim, and Mansor Ibrahim. "The Mosque in a Multicultural Context: Modernity, Hybridity and Eclecticism." In Modernity, Nation and Urban-Architectural Form. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66131-5_2.
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"Eclecticism." In Changing Ideals in Modern Architecture 1750–1950. McGill-Queen's University Press, 1998. http://dx.doi.org/10.1515/9780773567054-018.
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Hatcher, Brian A. "My Own Private Bungalow The Dynamics of Eclectic Home-Building." In Eclecticism and Modern Hindu Discourse. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195125382.003.0006.
Full textAbstract:
Abstract I would like to begin this chapter with an exercise in visualization. I ask the reader to form a mental image of a typical bourgeois homeowner from the recent American past. To assist us in our endeavor we might invoke the following suggestive passage from Walter Kidney’s study of eclecticism in American architecture:
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"Nineteenth-Century Ottoman Funerary Architecture: From Innovation to Eclecticism." In Islamic Art in the 19th Century. BRILL, 2006. http://dx.doi.org/10.1163/9789047417279_006.
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Kartal, Semiha. "The Journey Of Love(Before Sunrise/Before Sunset/Before Midnight)." In Architecture in Cinema. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010020.
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In the Richard Linklater film series, one of the examples of independent cinema, the journeys of two American and French young people who met on the train during their European trips are described with architectural details. In the film series featuring the same director and actors, the architectural identities of Vienna, Paris, and Greece are presented with their natural and built environments. The intensity of emotion that can be called “First Love” in this work was experienced in Vienna. It is possible to see the relationship established by culture, art, and architecture with its buildings, avenues, streets, palaces, squares, cemeteries, fountains, and sculptures in this city. Various styles of the history of art and architecture, ranging from a Gothic cathedral to Baroque buildings, have been visualized through this film. It is possible to say that these styles differ from each other in terms of form and content, as well as the aesthetic values they add to the city. In the city, traces of eclecticism can be seen, reflecting the complexity of the intellectual environment, which is the subject of criticism by architects. In this context, the story of two young people presenting the history and texture of the city with a visual feast on the streets of Vienna also showed the relationship established by architecture and cinema. While describing 'Love', the frames in which the unique architectural beauties of the city are exhibited have presented how the art of cinema uses the architectural elements that are the language of the city in a visual dimension. In this context, it is possible to say that the art of cinema, which visualizes the stories of cities as living organisms, effectively uses architecture to contribute to its memory.
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Keeling, Kara K., and Scott T. Pollard. "Dangerous Angels: The Weetzie Bat Books." In Table Lands. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828347.003.0007.
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In Dangerous Angels, Francesca Lia Block uses food to intersect the regionalism, history, and physical and cultural geographies of Los Angeles in the1980s. To explore the links among food, setting, and culture, the chapter looks at the particularities of Los Angeles, considering its geography, architecture, the urban histories of Hollywood and the foothills (especially Laurel Canyon), along with the well-documented food culture (restaurant histories, farmers markets, journalism) that marks the region. Block links knowledge, taste, and place as central to the narrative arc of the series. For all the wild eclecticism of Block’s world, the primary food signifier—that also dominates the value of place—is vegetarian home-cooking, providing physical, emotional, ethical, and intellectual support for the series’ heterogeneous community. A comfortable home with a well-stocked kitchen full of healthy vegetarian ingredients—where knowledgeable cooks happily work together making meals—makes the series’ eclecticism possible and sustainable.
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"Italianate Church Facades, Eclecticism, and Neoclassicism from Quebec to Senegal, 1654–1830." In Architecture and Urbanism in the French Atlantic Empire. McGill-Queen's University Press, 2018. http://dx.doi.org/10.1515/9780773553767-016.
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"5. Traces of the Past ■ Reevaluating Eclecticism in Nineteenth-Century Mexican Architecture." In Cosmopolitanism in Mexican Visual Culture. University of Texas Press, 2013. http://dx.doi.org/10.7560/745353-007.
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Quesada, Fernando, and Andrés Carretero. "Architecture and Nostalgia: The End of History, the End of the Future and the Prospect of Nostalgia." In Intimations of Nostalgia. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529214765.003.0011.
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Our time is openly nostalgic because the idea of progress for a better future has been in a systemic crisis for several decades. Despite constant technological innovations in communication, digitization and automation, our values, civil institutions and governance systems are progressively losing all credibility. This situation produces a slippery nostalgia without ideology of an ephemeral, consumerist and objectified nature, which contrasts with other moments in history in which nostalgia had clear disruptive purposes aimed to the renewal of social praxis. Architecture has experienced this phenomenon in a special way since, being a material discipline, architecture has great capacities for transforming the scenarios of social life. This chapter proposes a narration of this phenomenon in reverse, from today-to-yesterday, to conclude with a proposal for the practice of memory without nostalgia. In this story, we will give preponderance to three very specific historical moments of epistemological rupture rather than a panorama of continuity: the present historicist postmodernism, 19<sup>th</sup> century eclecticism, and the Renaissance as key moments in the problematic relationship between architecture and nostalgia.
Conference papers on the topic "Eclecticism in architecture"
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Leserri, Massimo, Gabriele Rossi, Merwan Chaverra Suárez, and Sergio Gómez Mejía. "Vernacular Features in Eclectic Architecture from the Tropics. An Analysis by means of Architectural Survey." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15639.
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This study is focused on vernacular features from eclectic architecture from the Colombian tropics, particularly on the San Jeronimo de Monteria Cathedral, one of the most important architectural symbols from this Colombian city. During the 19th and early 20th centuries, architecture in Europe and America was characterized by a resumption of historical styles, generally called ‘revivals’, and the blend of these, ‘eclecticism’. Montería was no stranger to this situation, also assisted by national and international migrations into the territory and the adaptation of local vernacular techniques. This cathedral is explored as an example where elements from vernacular tradition are recognized, which guaranteed the operation of foreign models, especially in the bioclimatic functioning of this tropical region.
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Олейник, Светлана. "Stylistic trends in the development of the architecture of the city of Chisinau in the XX-XXI centuries." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.13.
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Th e architecture of the city of Chisinau has been formed for more than a hundred years in diffi cult historical and socio-economic conditions, being infl uenced by the conceptual transformations of world architecture. During the study period, the architecture of buildings underwent a consistent stylistic transformation from historical to modern trends: eclecticism, neoclassicism, modernism, and postmodernism. In the last two decades, there has been an increase in the infl uence of conceptual direct ions of development of foreign architecture on the creative processes of postmodernist orienta tion taking place in Moldovan architecture. Th e research makes it possible to determine the current trends in the development of architecture in Chisinau, denoting them with the concepts – “Convergence”, “Reminiscence” and “contradiction”, which has a certain architectural and stylistic reference with corresponding compositional techniques that refl ect the polystylism of the development of world architecture.
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Lauritano, Steven. "The Case for Survey Eclecticism." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.95.
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Imagine an architectural history survey course in which the diversity of interpretive approaches takes precedence over any attempted comprehensiveness of content. This paper examines the merits, and possible pitfalls, of such a class. Instead of asking students to work through a single textbook, an “eclectic survey” presents a chapter from a different book every week with each chapter carefully selected to highlight a distinctive interpretive tradition: Sigfried Giedion on Paleolithic Europe, Vibhuti Sachdev on Ancient South Asia, George Kubler on Ancient America . . . and so on. Together with the relevant details of buildings and artifacts, lectures in an “eclectic survey” course unpack the contexts and strategies that shaped each author’s approach to history. Working through such historiographical variety poses challenges for students and instructors alike, but the difficulties created by this “eclectic” approach are worth embracing – or so this paper argues – to the extent that they escape the expansionist mode of today’s global surveys, many of which are fueled by the misguided belief that an ever-more-granular expertise will one day deliver an all-encompassing picture of historical reality. If history has taught us anything, it is that its own interpretation remains perpetually in flux. Historians’ methodologies shift, often seismically, from one generation to the next. Why not equip architectural students to understand such changes and their motivations? Ultimately, an architectural survey guided by an ethos of eclecticism creates a better framework to discuss the consequences of choices historians have made and are still making.
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Portnova, Tatiana Vasilievna. "MIXING OF ARCHITECTURAL STYLES IN THE PRACTICE OF RESTORATION OF HISTORICAL BUILDINGS." In Themed collection of papers from Foreign International Scientific Conference «Trends in the development of science and Global challenges» by HNRI «National development» in cooperation with AFP. December 2021. Crossref, 2022. http://dx.doi.org/10.37539/man1.2021.82.37.008.
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The article is devoted to the study of the features of mixing architectural styles in the practice of restoration of historical buildings. The author substantiates the relevance and significance of the research topic in the context of the problems of the history of the formation of eclecticism as a separate architectural direction - its peak period, various variations of terminology in connection with the vector of use of this technique and how architectural styles that already existed at a particular time were transformed with the help of eclecticism.
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Panchenko, Svetlana. "Mental Map of Yekaterinburg in the Book 'The Drawn City' By A. Ryzhkov: Linguistic Analysis." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-42.
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The article contains a linguistic analysis of the book ‘The Drawn City’ by A. Ryzhkov; the book comprises reproductions of pictures and respective text in the context of a mental map of the city of Yekaterinburg. In approaching the mental map as spatial information in people’s minds, reflecting the image of the city, the goals of linguistic analysis are to show the vision of the metropolis and the linguistic ways of verbally expressing the thoughts and feelings of the landscape artist; to determine the value to society of the private perception of the city through artistic representation and textual expression. Stylistic analysis of the text reveals the dominant features regarding the lexical, morphological and syntactic levels, while the pragmatics of the text consider its social relevance. Peculiar traits of the author’s style of the artist and the writer, as perceived by readers, have been listed; important points of the mental map of the city have been defined accounting for the book’s content: architecture, dominant idea, eclectics. The perception of time in synchronicity and diachronicity in the narrative regarding Yekaterinburg is considered, the motif of transition from reality to imagery is shown. Examples are given of positive, negative and contradictory evaluations of architectural objects, verbally influencing readers through the creation of visual images. There are linguistic tricks listed which were used in the book by A. Ryzhkov uses language techniques that hold the attention of the recipient of the text: comparison, personification, the use of colloquial language, humour and wordplay, and dialogisation. Methods of the creation of an imagery-geographic map of urban space have been shown in the author’s iconic-symbolic form. A conclusion was made on the significance of the book of A. Ryzhkov having used a visual-verbal method for the creation of a sustainable and replicable image of the city in the human mind. The artist’s civic stance on city protection has been set forth.