Dissertations / Theses on the topic 'Gothic revival (Architecture)'

Informed by the methodology utilized in Peter Williams's Houses of God: Region, Religion, and Architecture in the United States (1997), the thesis examines Mark Lemmon's Gothic Revival design for the Highland Park Presbyterian Church (1941) with special attention to the denomination and social class of the congregation and the architectural style of the church. Beginning with the notion that Lemmon's church is more complex than an expression of the Southern cultural region defined by Williams, the thesis presents the opportunity to examine the church in the context of the unique cultural region of the city of Dallas. Church archival material supports the argument that the congregation deliberately sought to identify with both the forms and ideology of the late nineteenth-century Gothic Revival in the northeastern United States, a result of the influence of Dallas's cultural region.

Collegiate Gothic architecture can be found on many American campuses, yet its beginnings in nineteenth-century United States are something of a mystery. As the nation’s colleges and universities grew more innovative in their modernized curricula and research, strangely, their architecture became more anachronistic with Collegiate Gothic being the most popular. Around the greens of their campuses, Americans built quadrangles of crenellated buildings and monumental gate towers with stained-glass windows, gargoyles, pointed arches, turrets, and spires, thus transforming their collegiate grounds into likenesses of the Universities of Oxford and Cambridge. Why medievalizing buildings came to represent the archetypal college experience has confounded many educators, scientists, and industrialists, who wondered why some of America’s most revolutionary institutions built libraries and academic halls in a style that seemed to oppose everything that was modern. Scholarship has not fully addressed the reasons why Collegiate Gothic buildings came to occupy so many American college campuses. Authors have not regarded the style in its own right, having its own history within the nineteenth-century’s dynamic developments in higher education, religion, politics, urban planning, and architecture. My dissertation evaluates these relationships by addressing the Collegiate Gothic’s first one hundred years on American campuses from 1806 to 1906.

Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on 'mainstream' Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin's 'Reformed Gothic'. Neither have furniture historians been willing to explore the aesthetic's connection with the intellectual and sentimental position of 'the Gothic' in the period. This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.

The St. Johns Bridge is a 1,207 foot span suspension bridge crossing the Willamette River in Portland, Oregon, connecting the Portland communities of St. Johns and Linnton on the eastern and western banks, respectively. Commissioned in 1928, the bridge was completed in 1931, with much fanfare in the local community. The two neighborhoods are some distance from downtown Portland, and the bridge brought prestige to an otherwise nondescript locale. It was designed by the New York-based firm of Steinman & Robinson. David Barnard Steinman (1886-1960) acted as the public face for the firm, however, and the design of the bridge has traditionally been ascribed to him in the literature. Steinman was one of the most prominent bridge engineers of the twentieth century, and is recognized today, as he was even within his lifetime, as such. It was a position which he worked fervently to attain. Steinman wrote extensively concerning the St. Johns Bridge and spoke of it as his own; his extensive use of the St. Johns Bridge as an example of aesthetics in bridge engineering is related to the early twentieth-century debate between engineers and architects regarding the role of each in bridge design. As an engineer who sought, without the aid of the architect, to build bridges which were objects of beauty, he asserted the role of the engineer as artist. The predisposition toward the engineered machine aesthetic in the intellectual climate of the avant-garde in the early twentieth century enabled Steinman to style himself as such an artist--even though the St. Johns Bridge, which he frequently employed in this regard, was not a work of functionalist aesthetics. While the architectural avant-garde was borrowing from the engineer for artistic rejuvenation, Steinman was in an advantageous position to argue for the engineer-artist, thereby casting the engineer as an individual sui generis, equal to and without need of the architect.

Cette recherche consacrée au Père Eugène Jean Coste suivra trois orientations. La première est historique : la diffusion du catholicisme en Extrême-Orient menée par les missionnaires occidentaux à la fin du XIXe siècle. Malgré deux grandes persécutions, grâce au traité de 1886 la situation a complétement changé. L’Eglise reprend vie, et la paroisse épiscopale de Myeongdong croît rapidement. Les activités architecturales des missionnaires qui ont commencé à cette période ont par ailleurs révélé la culture européenne aux coréens. La cathédrale de style européen a inspiré une esthétique nouvelle dans la paroisse. La seconde orientation est architecturale. Les études portant sur les réalisations architecturales qui, dès 1896, permirent la modernisation de l’architecture coréenne font considérablement défaut. Coste, qui était procureur des Missions étrangères de Paris, avait assimilé les principes de l’architecture néo-gothique et les a incorporés à de nombreux bâtiments religieux, notamment lorsqu’il a dirigé la construction de la plus grande église de Corée, la cathédrale de Myeongdong à Séoul. Cette recherche sur les églises conçues initialement par ce missionnaire français permet alors de déchiffrer l’architecture moderne coréenne. De plus, on peut y découvrir des variantes du style néo-gothique français dans un pays de mission. Ces mouvements ont été réalisés en relation intime entre la Corée, la Chine et le Japon. L’architecture des Missions étrangère de Paris témoigne donc de l’histoire des échanges avec la culture occidentale, en prenant en compte les factures économiques et pratiques. Les réalisations du Père Coste ont influencé la conception d’autres églises coréennes des Missions étrangères de Paris conçues en style européen. Avec l’archétype de l’architecture du Père Coste pour modèle, ses confrères, prêtres-constructeurs ont bâti des églises dans les différentes régions avec des résultats variables selon la compétence de chacun et les choix des communautés. En dernier lieu, nous étudions la conception du patrimoine religieux et la procédure de patrimonialisation de l’architecture des Missions étrangères de Paris pour valoriser leurs édifices. Concernant son authenticité, leur architecture en style européen est une reproduction ou une imitation des églises du XIXe siècle en France. Mais à cause du caractère de la maison coréenne et du style éclectique, cette architecture s’est transformée et a évolué. L’adaptation au contexte et l’emploi des matériaux régionaux, surtout les briques en couleur et diverses, révèle un caractère de l’architecture vernaculaire. Le problème patrimonial demeure entier, étant donné la faiblesse des connaissances historiques et les techniques limitées. Cependant, la restauration de l’église Saint-Joseph à Yakhyeon en 2000 s’est inspiré des idées et des techniques nouvelles. Elle est un premier pas vers les restaurations suivantes. A ce jour nous envisageons la mise en valeur des édifices des Missions étrangères de Paris en considérant que le patrimoine religieux doit être conservé dans sa globalité si l’on veut faire vivre des lieux symboliques
This research devoted to Father Eugene Jean Coste follows three orientations. The first aspect is associated to historical circumstance: the diffusion of Catholicism of the Far-East Asia, which was conducted by the western missionaries at the end of XIX century. In spite of two merciless persecutions, the treaty signed in 1886 completely changed the situation. The Catholic Church in Korea was re-established and the Catholic Parish of Myeongdong expanded its community rapidly. Missionaries’ architectural activities that commenced in this period, otherwise, introduced the European culture to Korea. The European-style cathedrals inspired a new aesthetic in the Parish. The second orientation is an architectural perspective: these studies considerably are related to their architectural realizations in the year of 1896 which drew the modernization of Korea. Coste, who was a prosecutor of Paris Foreign Missions Society, assimilated into the principles of the Neo-Gothic architectures and incorporated them in the religious buildings, especially when he supervised the construction of the biggest church in Korea, Seoul Myeongdong Cathedral. The research on the churches initially designed by this French catholic missionary, accordingly, tries to identify modern Korean architectures. In addition, the research could allow readers to discover the various French Neo-Gothic styles in the mission country. Such architectural movements were launched in the intimate relations among Korea, Japan and China. Therefore, Paris Foreign Missions Society’s architectures testify to the history of exchanges with the western culture, taking the economical and practical factors into consideration. The realizations of Father Coste have influenced the concepts of other Korean European-style churches designed by Paris Foreign Missions Society. With the archetype of Father Coste’s architectures, his colleagues, priest-constructors built the churches in the region with the various results of both individual competences and other church communities. In the end, the dissertation studies the conception of religious heritages and the procedure that the architectures of Paris Foreign Missions became heritages in Korea. The concern about heritages remains entirely showing the weakness of historical knowledge and technical limitation. But new idea and technology of the conservation were introduced. The first step was the restoration of Yakhyeon Saint-Joseph Church in 2000. Finally, we will contemplate the applications of Paris Foreign Missions Society’s edifices and the conservations of religious heritages in the same protection zone for the survival of these historical architectures

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
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

L'originalitat de l'arquitectura d'Antoni Gaudí (Reus 1852- Barcelona 1926) ha sorprès des de la primeria del segle XX diverses generacions de crítics i historiadors. Aquest estudi intenta situar-la ideològicament. Per això partim d'una crítica del concepte de Modernisme, tot analitzant les diverses ideologies que s'integraren en aquest moviment. Això ens portava a recercar les arrels romàntiques de la ideologia de Gaudí, l'idealisme alemany i l'arquitectura neogòtica europea, especialment en les figures de Pugin i Ruskin.
De la filosofia alemanya es dedueix el concepte d'arquitectura cristiana identificada amb el gòtic; dels dos teòrics anglesos una sèrie de preceptes morals que havien de caracteritzar aquesta arquitectura. Alhora es justifica com es transmeté el pensament romàntic a Catalunya a través de Piferrer i Rogent.
Una anàlisi del Park Güell com a símbol de la dialèctica entre naturalesa i cultura ens condueix al temple de Delfos i als plantejaments de l'Estètica de Hegel i d'El Naixement de la Tragèdia de Nietzsche,
A la Sagrada Família, en canvi, ens enfrontem a dos misticismes. D'una banda a l'arquitectura de l'espai concebut com a buit, com a esperit; de l'altra a l'arquitectura simbòlica del material, dos conceptes que procedien de Hegel.
Finalment, a la cripta de l'església de la Colònia Güell, Gaudí portarà a terme la síntesi d'aquests dos misticismes, tot recercant l'espiritualitat del material.
The originality of Antoni's Gaudí (1852- 1926) architecture has amazed several generations of critics and historians from the early 20th century onwards. This thesis tries to place it ideologically. This is the reason why we set up from a criticism of the concept of Catalan Modernist Movement, with an analysis of the ideologies that composed this movement. This takes us to the romantic roots of Gaudí's ideology, the German idealism, and European gothic revival, specially focusing on Pugin and Ruskin.
From German philosophy we deduce the concept of Christian architecture identified with gothic and from the English thinkers some moral precepts that gave character to this architecture. We also justify how this romantic architectonic thought was transferred to Catalonia along the 19th century by Piferrer and Rogent.
The analysis of the Park Güell as a symbol of the dialectic between nature and culture leads us to the temple of Delphi and to the thesis of Hegel's Aesthetics and Nietzsche's The Birth of the Tragedy.
Moreover, we find two mysticisms in the Sagrada Família. First, we stand up to the architecture of the space, as vacuum, as spirit. Likewise, we challenge with symbolic architecture of material; two concepts that came from Hegel.
Finally, in the crypt of the church of Colònia Güell, Gaudí will achieve the synthesis of these two mysticisms, searching for the spirituality of material.

Research Doctorate - Doctor of Philosphy (PhD)
Christ Church Cathedral, Newcastle, is the largest Anglican cathedral in New South Wales, and the third largest in Australia. It is a State heritage-listed building and has national significance. The cathedral is relevant in the history of Newcastle and is an important example of Australia’s architectural and cultural heritage. Canadian born, American-trained architect John Horbury Hunt was the first of eight architects/architectural practices involved in the cathedral’s design over almost 130 years. Despite its significance, the architecture of the cathedral remains under-examined, and Hunt’s designs for it minimally explored. This thesis investigates Hunt’s adaptation of Gothic Revival ecclesiastical architecture to Newcastle cathedral. The research will investigate the current literature and the primary source material available on the cathedral and on Hunt, to identify their present positioning and the gaps in knowledge for both. From these sources, it will explore and evaluate the critical influences on Hunt and the development of his architectural design principles. The validation of these principles will be determined through a critical examination and analysis of Hunt’s two designs for this cathedral. In doing so, this thesis evaluates Hunt’s stylistic progression towards a cathedral design suitable for Australia in the nineteenth century. The research will therefore provide a new and expanded understanding of the cathedral and its primary architect, and reposition both in the context of Australian architectural history.

Diploma thesis "Neo-Gothic rebuilding of chateau Hluboká nad Vltavou" first provides a brief summary of basic literary and archival sources, followed by description of terminology in the field of 19th century architecture together with the explanation used by the author. After that there is mentioned a situation in Czech architecture at the end of 18th and in the 19th century. Next point is the Gothic Revival phenomenon - its establishment, ways of its spreading and its influence in middle Europe including Czech countries. Own topic of this thesis is introduced by a general and building history of chateau Hluboká nad Vltavou. After that there are introduced prince Jan Adolf II. of Schwarzenberg and his wife, who managed the rebuilding of the chateau. There is also a description of their personal contacts with British culture and architecture. Main part of the thesis is dedicated to Neo-Gothic rebuilding of chateau Hluboká nad Vltavou. This chapter is divided into several subchapters, where are described changes in the chateau interior and exterior including the effort of document the direct influence of Gothic Revival, and also the adaptation of the close surroundings of the chateau. Keywords Neo-Gothic architecture, Great Britain, Gothic Revival, chateau Hluboká nad Vltavou, prince Jan Adolf II....