Dissertations / Theses on the topic 'Eclecticism in architecture'

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.

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.

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

Made available in DSpace on 2016-04-18T12:12:40Z (GMT). No. of bitstreams: 3 Alexandre Franco Martins1.pdf: 3983085 bytes, checksum: bf9d95eec4bf9817f70298b1731bb9c2 (MD5) Alexandre Franco Martins2.pdf: 2031047 bytes, checksum: ee37da27cac14621119dd36bd75a14c4 (MD5) Alexandre Franco Martins3.pdf: 2061722 bytes, checksum: dc78588ce63cc5154dc4fb04ff98421c (MD5) 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.

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.

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.

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.

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

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.

La evolución de los planteamientos arquitectónicos tras el Barroco derivó, tras un complejo periodo de análisis, en una nueva arquitectura apoyada en unos condicionantes absolutamente nuevos. Criterios revisionistas, historicistas, técnicos o simplemente apoyados en la intencionalidad estética o expresiva dieron lugar a un nuevo estilo de difícil y, desde luego, amplia definición. A finales del XIX, también como respuesta a un largo periodo de indefinición y dogmatismos, surge el Art Nouveau.La ciudad de Cartagena presenta algunas notables singularidades en este último periodo que la hacen especialmente interesante en el campo de la ornamentación y estética arquitectónica. Sus condiciones económicas, geográficas y la personalidad de algunos de los arquitectos afincados, determinaron el desarrollo de un eclecticismo y modernismo singulares que acabaron por fundirse, generando a partir de los primeros años del siglo XX, un panorama estético digno de análisis.<br>The evolution of architectural approaches after the Baroque period resulted, after a complex period of analysis, in a new architecture supported by some entirely new constrains. Revisionism, historicist, technical or simply based on a aesthetic or expressive intentions criteria led to a new kind of style which was difficult to define. In the late nineteenth century, partly in response to a long period of uncertainty and dogmatism, emerged the Art Nouveau.In this period, the city of Cartagena presents some remarkable peculiarities which makes especially interesting in the field of aesthetic and architectural ornamentation. Its economic and geographic conditions, together with the personality of some of the architects settled, determined the development of a unique eclecticism and modernism that eventually merged, resulting, from the early twentieth century, in an aesthetic landscape worthy of analysis.

De retour de ses voyages en Ethiopie, l’explorateur scientifique basco-irlandais, Antoine d’Abbadie, fit appel, en 1864, à l’architecte Eugène-E. Viollet-le-Duc pour édifier sa demeure. Le restaurateur de Notre-Dame de Paris et son collaborateur, Edmond Duthoit, qui fut en charge du suivi du chantier et de la décoration, proposèrent une œuvre originale, voire délirante, rare par son homogénéité stylistique et à l’image des goûts éclectiques de son commanditaire et de son épouse. Pour la construction du château d’Abbadia, ils puisèrent dans des sources d’inspiration associant le Moyen Age, la science, la religion, l’Orient et l’Ethiopie, composant dès lors un véritable métissage artistique. Cette thèse s’intéresse non seulement aux modes d’expression de ces influences, mais elle tente également d’explorer les motivations, les significations et la raison d’être d’une telle mixité sur le plan historique et social. La masse des archives permit, enfin, de mettre en lumière l’important réseau des acteurs, notamment des artistes et artisans renommés, qui participèrent à la construction d’Abbadia. L’étude de cette singulière demeure s’articule donc autour des personnalités affirmées de ses commanditaires tout en resituant le château au sein de l’histoire de l’art et de l’architecture du XIXe siècle<br>When he came back from his travel in Ethiopia, the bask-irish scientist explorer, Antoine d’Abbadie, appealed in the architect Eugène-E. Viollet-le-Duc in 1864 in order to build his castle. Notre-Dame de Paris’ restaurator and his associate, Edmond Duthoit, in charge of the construction site and decoration, proponed an original and delirious work, rare from its stylistic homogeneity and in the image of its owner’s and his wife’s eclectic tastes. As for the château d’Abbadia’s building, they drew in several inspirations which associated Middle Ages, science, religion, Orient and Ethiopia, which therefore composed a true artistic interbreeding. This thesis consists in studying these influences’ modes of expression, and besides, it tries to explore the motivations and the meanings of such a mixity on historical and social viewpoint. At last, the massive archives permitted to highlight the important web of the actors, in particular well-known craftsmen and artists, who participated to Abbadia’s building. So the study of this singular home is built around its owner’s assertive personalities while setting the castle in 19th century’s history of art and architecture

Lördagen den 26:e maj år 2018 sätts första spaden i marken för ett av vår tids största bostadsprojekt. Årstafältet, en i dag lantlig lunga i närmaste Söderort, skall under de nästkommande tolv åren bebyggas till två femtedelar med bostäder och i en avsevärt mer urban kontext erbjuda boende till 15 000 nya stockholmare – ett bostadsprojekt vars omfattning motsvarar hela Nynäshamns befolkning, eller en femtedel av Kungsholmens. Den nya detaljplanen, vars motto är "en plats för möten" och vars ledord är "variation", förordar att den nya bebyggelsen skall präglas av variation i höjder, former och stilar. I enlighet med detaljplanens ledord och kandidatarbetets program har vi gestaltat en skolbyggnad för 540 elever i åldrarna 10 till 16 år, som med en postmodern, eklektisk ansats förenat element och inspiration från många olika stilbildningar, och där de varierande miljöernas utformning ej underordnar sig någon enskild arkitektonisk princip, utan också i sig utgör en plats för möten – mellan tider, stilar, material och element. Esplanadskolan har utformats som ett postmodernt skolpalats, där kunskapens enastående värde och institutionens oerhörda vikt befästs i sin monumentalitet. Esplanadskolan riktar sig utåt till såväl den nya som befintliga stadsdelar som ett landmärke och symbolbyggnad, där en stor del av lokalerna är öppna för allmänheten utanför skoltid, och avser i sina inre rumsligheter att erbjuda skolungdomen intresseväckande och varierande lokaler, med ett vinterträdgårdsatrium, en monumental spiraltrappa och en fresnelprismatisk ljusobelisk som sammanbindande nav.<br>On Saturday May 26th, A.D. 2018, the ground work is initiated for one of our time’s most expansive housing projects. Årstafältet, a predominately natural park in southern Stockholm, will during the next twelve years be urbanized to two fifths of its total area, giving context for an entirely new urban quarter, accomodating 15 000 new Stockholmers. The scale of the housing project is comparable to the whole population of Nynäshamn, or one fifth of Kungsholmen’s. The new zoning plan has the motto “a place for meetings”, and its main principle is “variation”. The zoning plan requests that the new buildings should be characterized by a variation in different heights, forms and styles. In accordance with the main principle of the zoning plan, and with the program of the degree project, we have designed a school building for 540 pupils in the ages of 10 to 16 years, which embodies a postmodern, eclectical approach, in uniting diverse architectural elements and inspiration from many different historical styles, and in the standpoint that the diversity of elements and physical environments is not subordinated to any one architectural principle. The school is in itself a place of meetings – between epochs, styles, materials and elements. Esplanade Elementary School has been designed as a postmodern, monumental school, where the awesome dignity of knowledge, as well as the massive importance of the school as a societal institution, is fortified in the architecture’s monumentality. Esplanade Elementary School directs itself as a landmark and symbol to both old and new contexts in its urban vicinity, opening up its doors for the public in many aspects outside of school hours. It also aspires to offer its pupils physical environments which evoke their immersive interest and in its diversity allow for the phenomenological compatibility of equally diverse environmental preferences. The main elements which make up the directional essence of the interior environments are the Botanical atrium, the monumental spiral staircase and the Obelisk of Light, composed of hundreds of naturally and artificially lighted fresnel prisms.

Elève à l’école des Beaux-arts de Paris, premier prix de Rome à l’âge de 23 ans, Théodore Ballu (1817-1885) prolonge sa formation à l’Ecole française de Rome, et en Grèce, avant même l’ouverture de l’Ecole française d’Athènes. Sa carrière d’architecte, longue d’une trentaine d’années, est exceptionnelle. Auteur d’un quart des églises parisiennes construites sous le Second Empire, de l’Hôtel de Ville de Paris en collaboration avec Deperthes, et de plusieurs édifices ou monuments civils, il est un représentant majeur de l’éclectisme architectural. Ses édifices religieux auront une influence sur ses contemporains et sur la jeune génération d’architectes. Formé par son père et par Auguste Magne, Albert Ballu (1849-1939) a une carrière multiple et internationale : auteur du palais de justice néo-classique de Charleroi et de celui plus éclectique de Bucarest, il adapte ses autres productions aux techniques architecturales du tournant du XXe siècle. Architecte diocésain et architecte en chef des monuments historiques, il s’investit beaucoup en Algérie, jusqu’aux années 1920, où il fouille les grands sites romains, restaure les édifices religieux et construit des édifices variés. Chef de file de la valorisation de l’Algérie romaine et musulmane, il est l’architecte restaurateur de très nombreux édifices diocésains et monuments historiques, spécialement dans les départements des Charentes, en Bretagne et en Corse. Il se spécialise, aussi, dès 1889, dans la construction de pavillons d’expositions universelles. Résultant d’une étude détaillée de la vie et de l’oeuvre de ces architectes, cette thèse évalue leur importance dans la mise en place de modèles architecturaux et dans l’orientation des restaurations architecturales des années 1850 à 1920<br>Théodore Ballu (1817-1885) was a pupil at the Ecole des Beaux-arts in Paris who won the Prix de Rome at the age of 23. He continued his studies at the French Academy in Rome and then in Greece, even before the opening of the French Academy in Athens. His thirty year career as an architect was exceptional. He designed a quarter of the Parisian churches constructed during the Second Empire. He was a major representative of architectural eclecticism, collaborating with Deperthes on the Hotel de Ville in Paris and working on several other public buildings and monuments. His religious constructions would influence his contemporaries and the next generation of architects. Albert Ballu (1849-1939) was trained by his father and by Magne. He had a varied international career, including designing the neo-classical Charleroi courthouse as well as the more eclectic one in Bucharest. He adapted his other productions to the architectural techniques at the turn of the twentieth century. As a diocesan architect and chief architect for historic monuments, he was heavily involved in Algeria until the 1920’s. Here he explored the great Roman archaeological sites, restored religious buildings and constructed various others. A leader in the movement to increase the status of Roman and Muslim Algeria, he was the restoring architect of large numbers of diocesan buildings and historic monuments, especially in the Charentes departments, as well as in Brittany and in Corsica. As early as 1889 he also specialised in the construction of pavilions for great exhibitions. The result of a detailed study of the lives and works of these architects, this thesis evaluates their importance in establishing architectural models and the direction of architectural restorations between 1850 and 1920

Ankara, being the capital, has been the most important city for the New Modern Turkish State on its way of establishing the modernity project of Turkey. The development of the urban planning projects proceeded on the basis of this aimed concept of the new society, carrying the privilege of being the symbol of the modern republic, prosperity and wealth. Ke&ccedil<br>i&ouml<br>ren is one of the main districts of Ankara. The main aim of this study is to analyze and describe the ideological departure of Ke&ccedil<br>i&ouml<br>ren from the concept of the &ldquo<br>modern&rdquo<br>Ankara, within the last ten years. Here the attitude of the municipality and its role as the agent of civil power leading the architectural and urban transformation of Ke&ccedil<br>i&ouml<br>ren from a district full of gecekondu to one full of &ldquo<br>decorated sheds&rdquo<br>will be discussed. Here, the term &ldquo<br>decorated shed&rdquo<br>, introduced by Robert Venturi, will be used for the explanation of the new architectural and urban elements Furthermore, the attitude of the society and the architects and contractors who are responsible for the actual case will be brought into argumentation. In this sense, other subsidiary terms will be used to explain the process of the case are<br>populism and politics, nationalism, the ideology of the Turkish nation (T&uuml<br>rkl&uuml<br>k), Turanism, Islamism and orientalism. Additionally, an important building in the district, the Estergon Castle, which has different characteristics from the other parts of the district, will be explained with the terms &ldquo<br>hyper-reality&rdquo<br>and &ldquo<br>kitsch&rdquo<br>by the explanations of Umberto Eco and Dorfles.

This dissertation traces the career of Simon-Claude Constant-Dufeux (1801-1871), an important, yet little-studied, architect and educator who played a central role in mid- nineteenth-century architectural culture and pedagogy in France. In his writings, his designs, and his teachings at the École des Beaux-Arts and in the private atelier established in 1836, Constant-Dufeux presented architecture as a discipline primarily concerned with symbolic expression and communication. Constant-Dufeux played a key role in determining what would later be called, the Néo-Grec façade. Moreover, his influential teachings on the unity of the arts, his attention to the burgeoning field of aesthetics, and his interest in ornamental design, left a lasting imprint on the subsequent generation of architects and decorative artists. The dissertation is organized in two parts. Structured as an intellectual history, the first part charts the discourse on symbolic representation as developed by philologists, philosophers, archeologists and architects in the late eighteenth and early nineteenth century. Here, I explore two parallel developments that were consequential in the way the symbol was understood by Constant-Dufeux: the migration of German Romantic theories of the symbol into France, and the emergence of a "symbolic interpretation" of origins in the architectural discourse of the late eighteen and early nineteenth centuries that challenged neoclassical accounts based on imitation. The second part traces the social, political and aesthetic philosophy of Constant- Dufeux from his early formation in the administration of the Ponts et Chaussée and in the atelier of François Debret at the École des Beaux-Arts, through his decisive experience in Italy as a recipient of the Grand Prix in 1829, to his professional career in Paris. I provide close readings of the architect's chief works: the fifth-year envoi from Rome for a Chamber of Deputies, the façade for the École Gratuite de Dessin de Paris on the rue Racine, the design of a medal for the Société Centrale des Architectes, and his most ambitious and multi- layered work: the tomb for the rear-admiral Dumont d'Urville in the Montparnasse Cemetery. In addition, I assess more fully the architect's larger vision and theory in light of the reigning eclecticism of the epoch. The architect's eclecticism is read through the lens of Ludovic Vitet, César Daly and Victor Cousin, and I demonstrate that far from being a undirected mélange of competing historical styles, it was intended as a purposeful, even utopian strategy of provoking a yet unseen modern architectural form.

碩士<br>國立成功大學<br>建築(工程)學系<br>85<br>Modern EclecticismThe Study of the Form of Ho Chen-Tsu*s ArchitecturebyWen-Shen ChaoThesis AdvisorProfessor Chao-Ching FuSubmitted to the Graduate School of Architecture,National Cheng-Kung University, Tainan, Taiwan1997 in partial fulfillment of the requirement for the degree of Master of ArchitectureKey Words: Modern Architecture, Eclecticism, Modern Eclecticism, Ho Chen-TsuAbstractBased on the position of modern architecture, and approached with architectonics, the study is aimed at the form of architecture designed by Ho Chen-Tsu, who devoted to creating the modern architecture with Chinese characteristics in Taiwan, in order to realize the features of form of his architecture and their sources.The thesis is divided into two parts. The first part (chapter 1 & 2) is mainly prosecuting a virtual analysis of the architectonic form designed by Ho Chen- Tsu, and supported by architectural ethos and the thoughts of social culture, in order to establish the non-International and eclectic distinction of the form of his architecture. The second part of the study (chapter 3 to 5) explores and interprets each eclectic feature contained in his form ofarchitecture and their sources. The abstracts of each chapter are as follows:Chapter 1 IntroductionBy explaining documentary retracing and study method, this chapter establishes a comprehensive foundation of the form of Ho Chen-Tsu''''s architecture with the background of the architectural ethos and the thoughts of social culture. Chapter 2 The Non-International Distinction of Ho Chen-Tsu''''s ArchitectureFrom the view of architectonics, this chapter prosecutes the sweeping analysis and classification in order to establish the non-International and eclectic distinction of his architectural form. Chapter 3 The Follow-up Influence of Beaux- ArtsThe feature of Beaux-Arts contained in the form of Ho Chen- Tsu''''s architecture and its source are interpreted in this chapter.Chapter 4 The Influence of Modern Architecture and MiesHo Chen-Tsu''''s idea of modern architecture is explained, and the modern feature contained in the form of his architecture is also interpreted in this chapter.Chapter 5 The New Alterations to Traditional ArchitectureIn this chapter, Ho Chen-Tsu''''s attitude toward traditional architecture is explicated, and the traditional feature in the form of his architecture and its source are also interpreted.Chapter 6 ConclusionAfter summarizing each research of the above chapters, to appraise the status of Ho Chen-Tsu and his architecture in the development of modern architecture in Taiwan is the final goal of this chapter.

Серед актуальних проблем сучасного українського мистецтвознавства - дослідження історичної спадщини, культурного потенціалу та перспектив розвитку національної архітектури. Поміж означених питань, фундаментальним для виявлення української ідентичності та самовизначення, є дослідження історико-культурного спадщини країни. Мета і задачі дослідження: Мета: Визначити основні стильові тенденції в архітектурі України першої половини XIX століття. Задачі: проаналізувати наукову літературу за темою дослідження, визначити специфіку і фактори формування архітектури України в першій половині XIX століття, дослідити класицизм.<br>The relevance of the research topic is that to find out the ways of formation of Ukrainian architecture of the first half of the XIX century, its originality and contribution to the treasury of world culture, it is necessary to objectively study the architectural process within the territory of Ukraine. At the moment becomes an important study that focuses on the clarification of the unknown and clarifies various facts about the processes of the formation and development of Ukrainian architecture, its relationship with the architecture of the world. Among the current problems of modern Ukrainian art history is the study of historical heritage, cultural potential and prospects for the development of national architecture. Among these issues, fundamental to the identification of Ukrainian identity and self-determination is the study of the historical and cultural heritage of the country. The relevance of the study of Ukrainian architectural monuments of the XIX century demonstrates the rich history of the country and forms the foundation for further development of this industry in terms of global trends and in the direction of forming the national character of architectural objects. The purpose of the study is to identify the main stylistic tendencies in the architecture of Ukraine in the first half of the XIX century. According to the purpose of the thesis, the following tasks are: - to analyze the scientific literature on the research topic; - to consider the genesis of the stylistic direction of architecture and its ideological basis; - to determine the specifics and factors of formation of Ukrainian architecture in the first half of the XIX century; - to study classicism as a special direction in the development of architecture; - to review the specifics of the Empire style in the Ukrainian architecture of the first half of the XIX century; - to analyze the traditions and features of eclecticism in the sacred Ukrainian architecture of the XIX century.

The thesis deals with the life and work of an eminent architect of the late 19th and early 20th century, a native of Horní Branná near Jilemnice, Jan Vejrych. Forty years of his extensive and diverse project and construction activity has left its mark both in Prague and in many places in Bohemia and, by implementation of a project of the National House in Maribor, Slovenia, it has also acquired an international dimension. The aim of the text is to offer a comprehensive view of Vejrych's life and professional activities and thus fill one of the gaps in the knowledge of architecture of the late 19th and early 20th century in the Czech lands. The thesis primarily focuses on the analysis of Vejrych's architectural work. When mapping his projects the aim was to place them consistently in the broader art-historical and socio- political context. The works are not only analyzed within each creative period, the evolution of selected building types is traced over time as well. Attention is paid to interior designs, which were an integral part of major projects, as well as to sketches and studies created for architect's own use where his general observations and comments on various aspects of architectural work can be found. Opinions on Vejrych's projects and professional activities and their transformation...

O património edificado dos brasileiros, no apogeu do século XIX e no alvor do século XX, tem despertado interesse por parte de investigadores que, através dos seus trabalhos, têm contribuído para o despertar de novos estudos. Nesse sentido, debruçamo-nos sobre as Casas de brasileiros do Concelho de Paços de Ferreira. Para compreender a sua génese, recorremos à investigação histórica e sociológica da emigração oitocentista de Portugal para o Brasil e da influência que o seu retorno teve no património arquitetónico. Conscientes da influência que os brasileiros exerceram no património do Concelho, analisamos as alterações introduzidas na arquitetura Civil e os novos elementos estruturais na edificação das suas habitações. Deparámo-nos com um património arquitetónico que urge descobrir o seu significado na História da Arte e da Cultura, só assim, conseguiremos que esta valiosa herança não desapareça.<br>Brazilian built heritage, in the peak of the nineteenth century and start of the twentieth century, began to increase the level of interest on investigators which, through their work, contributed to new studies on this matter. In this sense, we address the study of the brazilian houses in Paços de Ferreira. To understand its genesis, we relied on sociological and historical investigation of the eighteen-hundreds emigration from Portugal to Brazil and the influence that their return had on the country’s architectural heritage. Aware of the influence the brazilians exerted on Paços de Ferreira’s patrimony, we analyzed the alterations introduced into the civil architecture and the new structural elements featured in their building’s edification. We came across an architectural heritage that urges to reach its significance in the History of Art and Culture, only thus, we will be able to stop this valuable inheritance from vanishing.