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Relevant bibliographies by topics / Historiography of architecture

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Academic literature on the topic 'Historiography of architecture'

Author: Grafiati

Published: 8 June 2024

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Journal articles on the topic "Historiography of architecture"

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Gohardani, Navid. "ARCHITECTURE IN EFFECT: A Glance at Critical Historiography." International Journal of Architectural Research: ArchNet-IJAR 8, no. 1 (2014): 184. http://dx.doi.org/10.26687/archnet-ijar.v8i1.335.

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Historiography marks a relatively unexplored research domain in architecture. Despite the obscure nature of this subject matter, architectural historiography equally illuminates a hidden pathway to the historical interaction of architecture with art or literature. Critical historiography adds another dimension to this emerging research topic that further encapsulates multiple levels of criticism. In recognition of a growing interest for historiography, it can be argued that the critical aspects of historiography may serve as crucial instruments for an enhanced understanding of architectural historiography. In this article, the realm of architectural historiography is investigated through a multidisciplinary perspective that revisits architectural criticism, critical historiography, modern architecture, phenomenology, and a number of aspects of architectural historiography in the Swedish Million Homes Program.

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Caldenby, Claes, and Britt-Inger Johansson. "Historiography of Swedish Architecture." Konsthistorisk tidskrift/Journal of Art History 85, no. 1 (2016): 1–7. http://dx.doi.org/10.1080/00233609.2016.1144691.

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Pollak, Martha. "Historiography and Architecture I." Journal of Architectural Education 44, no. 3 (1991): 130. http://dx.doi.org/10.1080/10464883.1991.11102681.

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Anderson, Stanford. "Historiography and Architecture II." Journal of Architectural Education 44, no. 4 (1991): 194. http://dx.doi.org/10.1080/10464883.1991.11102693.

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García-Ramirez, Wiliam. "Revisionismo histórico en arquitectura, en el intersticio de los siglos XX y XXI: reivindicar, rescatar o negar una memoria." Arquitecturas del Sur 38, no. 59 (2021): 06–27. http://dx.doi.org/10.22320/07196466.2021.39.059.01.

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Historical revisionism, a phenomenon typical of social and political sciences, has been consolidated at the start of the 21st century as one of the paradigmatic strategies in architecture, with the purpose of rewriting -or erasing- historical memories of the city. In this context, the objective of the research presented here was to investigate the relationship between different convergent social and political situations on the issue of memory and the demolition/construction of architectures, as a strategy to question events from the past and the official narratives. As this is a historiographic research, the methodology used a cross analysis between the discourses on which several socio-political issues around memory, that occurred in different countries, have been based, and the architectural projects built or demolished because of these issues. The conclusions, insofar as a research contribution, allowed detecting three lines of historical revisionism in architecture, starting from its use -and abuse- regarding the historiography of the facts: vindication, rescue, and denial of memory.

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MARANCI, Ch. "The Historiography of Armenian Architecture." Revue des Études Arméniennes 28 (January 1, 2002): 287–308. http://dx.doi.org/10.2143/rea.28.0.505084.

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Lozanovska, Mirjana, Vladimir Kulić, Alicja Gzowska, et al. "Forum: Cold War Architecture Historiography." Fabrications 31, no. 2 (2021): 279–94. http://dx.doi.org/10.1080/10331867.2021.1938816.

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Tostões, Ana. "Towards a fresh reading of MoMo historiography." An Eastern Europe Vision, no. 59 (2018): 2–3. http://dx.doi.org/10.52200/59.a.vhvqpxas.

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While visiting the MAO (Museum of Architecture and Design) in Ljubljana one can appreciate the architectural power of Stanko Kristl’s work. The impressive buildings of this Slovenian architect revealed through the exhibition "Humanity and Space", illuminate the beauty of the museum space with some astonishing works and show why Eastern Europe deserves to be included in the historiography of the Modern Movement, to clearly demonstrate the contribution of Iron Curtain countries to the modern avant-garde. As Matevz Celik recognizes, “through his architecture he worked to provide responses to the needs of the people — for whom it was intended. This basic premise served as a guiding principle in experiments and his search for spatial and social innovation in architecture."

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Kavas, Kemal Reha. "Environmental representation: Bridging the drawings and historiography of Mediterranean vernacular architecture." Journal of Human Sciences 14, no. 4 (2017): 3472. http://dx.doi.org/10.14687/jhs.v14i4.4758.

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Architectural drawings, which are projections of spaces on a paper surface, can be categorized according to the projections’ directional and temporal relation with the represented space. A projection becomes a documentation when it departs from an existing spatial organization for recording it on paper. The projection serves the design process when it departs from the present to foresee a spatial proposal in the future. While the former records the present within limited interpretive range, the latter is more constructive. While these two types of projections are known widely, there is another highly interpretive type of projection, the potentials of which, are generally underestimated. As the architectural historian’s tool, this third projection type represents bygone architecture. The task of this drawing, which is one of the least questioned issues of architectural history, is to restore an incomplete image by referring to material and textual sources. This drawing type contributes to the methodology of architectural historiography while conceiving, explaining and representing space.For illustrating this situation, this study analyzes the vernacular settlements and their environmental integration because this selected context reveals the interpretive nature of the third type of projection in a successful way. In this framework, the cut-away axonometric is considered as an appropriate drawing method for uncovering the integrity between architecture and its site or culture and nature. The outcome of this theoretical insight into the prolific relations between drawing and architectural history is coined as “environmental representation.”In history architectural products have been integral components of the environment. Then, the architectural representation of historical buildings through drawings becomes critical since the majority of architectural drawings tend to isolate buildings from their environment. This conventional representation of historical architecture has been the dominant tool of typological analysis. Typology, which is intertwined with plan drawings, categorizes historical buildings according to their spatial, structural and material organizations and disengages the buildings from their socio-cultural and environmental context. If this methodological problem of typology is regarded as a problem of drawing, a new mode of “environmental representation” can be proposed.This study proposes “environmental representation” of architecture through cut-away axonometric. This graphic proposal is based upon the theoretical references of “environmental aesthetics”, which is an interdisciplinary field analyzing the participatory human engagement in environment. “Aesthetics,” as a term, defines this bodily engagement into environment through the use of all human senses. In this theoretical framework this study challenges the assumptions of scientific theory for architectural representation of the “abstracted object” and proposes an alternative method of “environmental representation” on the basis of “aesthetics”. Within this scope, the proposed cut-away axonometric drawings produced by the author is analyzed in order to represent exemplary historical contexts of architecture selected through the vernacular settlements of the Anatolian Mediterranean.

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Akboy-İlk, Serra. "Ali Saim Ülgen: Building a Historiography of Turkish Architecture." Turkish Historical Review 10, no. 1 (2019): 71–97. http://dx.doi.org/10.1163/18775462-01001001.

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Ali Saim Ülgen (1913–63), a preservation architect, architectural historian, author, bureaucrat and educator, was a leading figure in the nascent field of heritage conservation during the early decades of the Republic of Turkey. This was a time when the Republican leaders sought to establish the national character of art and architecture by interpreting the “Turkishness” and uniqueness of the Ottoman heritage through the tenets of the Modern Movement. The reconciliation of the modernist rationale with nationalist historiography created contested paradigms in a nation searching for its cultural roots. Ülgen considerably contributed to the nationalist appropriation of the Ottoman heritage, but his taxonomical gaze stands out for its focus on contextual analysis. This essay addresses the dichotomy of documenting the Ottoman architectural patrimony through the lens of modernism, which is visible in Ülgen’s work, a remarkably understudied Republican intellectual.

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Dissertations / Theses on the topic "Historiography of architecture"

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Roberts, G. "Inigo Jones : the architectural historiography." Thesis, University of Essex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387414.

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SANCHES, MARIA LIGIA FORTES. "PAULO SANTOSNULL CONSTRUCTIONS: THE FOUNDATION OF AN ARCHITECTURE AND URBANISM HISTORIOGRAPHY IN BRAZIL." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7179@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>Construções de Paulo Santos apresenta a tese de que em sua obra de história - reflexo das formações em arquitetura e em história - estão implícitas duas intenções primordiais: estabelecer novo modo de escrever e de ensinar a história da arquitetura no Brasil e fundar uma historiografia brasileira da disciplina, vinculando o ensino da arquitetura ao seu projeto historiográfico. O fio condutor do processo de formação de Paulo Santos como historiador da arquitetura foi a docência na FNA/UB, pois, professor catedrático da cadeira Arquitetura no Brasil, consolidaria a articulação entre aqueles campos do conhecimento, estabelecendo, assim, o traço singular e marcante de sua trajetória profissional. O trabalho segue eixo temporal entre 1946 e 1985, referente à época de produção dos estudos históricos por ele realizado. O tema é tratado tendo em vista a formação de Paulo Santos como engenheiro-arquiteto e, mais tarde, como docente em sua relação com os contemporâneos; o texto analisa a estruturação de seu pensamento histórico a partir do diálogo com autores da historiografia brasileira e do estabelecimento de sua visão de historiador da arquitetura, fomentada pela interlocução com o arquiteto Lucio Costa.<br>Paulo Santos´ constructions presents the thesis in which his history works is based on - reflex of the formations in architecture and in history - are implicit two intentions: to settle a new way to write and to teach the history of architecture in Brazil and to found a brazilian historiography of the subject, linking the teaching of architecture to his historiography project. The conductor line of the formation process of Paulo Santos as an historician of architecture was teaching at FNA/UB, because, as the cathedratic professor of Arquitetura no Brasil subject, he would consolidate the articulation between those knowledge fields, creating, that way, a singular and a brilliant trace of his professional trajetory. This work follows the time line between 1946 and 1985, according to the time production of the historic studies made by him. The subject is treated pointed to the formation as an engineer-architect and, later, as a professor in his relation with the contemporaneous; the text analyzes the structuration of the historic thought based on the dialog with brazilian historiography´s authors and establishing the his vision of architecture historician, stimulated by the interlocution with the architect Lucio Costa.

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Ruivo, Pereira Ricardo. "Architecture and counter-revolution : the ideology of the historiography of the Soviet "avant-garde"." Thesis, Open University, 2018. http://oro.open.ac.uk/53798/.

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The thesis produces a history of the Western historiography of Soviet architecture, looking at its trends and the evolution of its narratives. It focuses on the development of historiographical categories and their transformations, as an exercise of what Reinhart Koselleck calls conceptual history, framed as a Marxist critique of ideology. While the Soviet “avant-garde” has seen growing popularity since the 1960s in the West, it has been systematically presented as precedent to politically charged present practices and discourses. This thesis frames this link to the present as a “historiographical link”, an ideological projection of meanings the Western historiography of Soviet architecture produces over its own geo-political reality. “The avant-garde” as a meta-category is itself constructed in this context as a means of legitimation of Western presents, where the relationship between history, design and politics is articulated through the category of what Tafuri calls “the project”, in a process that depoliticises the very idea of the politicisation of architecture itself.

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Guerrettaz, Jean Ellen. "Song of Athens." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997988928.

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Ben, Jemâa Hadhami. "L'invention de l'architecture de la Renaissance française au XIXè siècle : le regard de Léon Palustre." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2025.

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La littérature artistique française du XIXe siècle est bipolaire dans sa représentation de l’introduction de l’italianisme en France. Entre décadence du génie français et célébration de la rénovation architecturale opérée par des agents de la Péninsule, rares se font les positions nuancées. La figure de Léon Palustre marque le paysage historiographique de l’époque par une approche dialectique aboutissant à une synthèse réconciliant les styles. Le présent travail analyse les topoï d’une historiographie où le récit événementiel, la rhétorique et l’attributionnisme postulent une symbiose entre Renaissance et génie national<br>Nineteenth century’s French artistic literature states a dualism in its representation of Italian forms’ appearance in France. Nuanced opinions were rare in between those who pretended the decadence of French genius and those who, contrariwise, extolled the architectural renovation carried out by agents of the Peninsula. Léon Palustre distinguished himself in the historiographical landscape by a dialectical approach generating a reconciling synthesis of styles. This work analyses the topos of a dissertation where history, rhetoric and attributionnism postulate a symbiosis between Renaissance and national genius

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CABALFIN, EDSON ROY GREGORIO. "ART DECO FILIPINO: POWER, POLITICS AND IDEOLOGY IN PHILIPPINE ART DECO ARCHITECTURES (1928-1941)." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054760324.

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Chewning, John Andrew. "William Robert Ware and the beginnings of architectural education in the United States, 1861-1881." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/14983.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING.<br>Bibliography: leaves 482-490.<br>William Robert Ware (1832- 1915) planned and directed the first collegiate program in architectural education i n the United States. He was educated in the liberal arts and civil engineering at Harvard University and received further training in architects' offices before entering into practice with Henry Van Brunt (1832-1903). In 1865 Ware was appointed to the newly established Massachusetts Institute of Technology. He remained on the faculty until 1881, when he was called to Columbia University to organize still another collegiate program in architecture. During 1866-67, Ware traveled in Europe, paying particular attention to the role of national schools and professional organizations in the teaching of architecture in Britain and France. Formal instruction in architecture at M.I.T. began in the fall of 1868. Ware devised a curriculum, which he adjusted throughout the 1870s, including drawing and design, architectural history, and construction and practice (i . e., building materials and components, specifications, and contracts). In the spring of 1872, he recruited Eugene Letang (1842-1892), an alumnus of the Ecole des Beaux-Arts, to teach design. From this time on, the routine studio problems at M.I.T. began to emulate those of the Ecole, and the eclectic neoclassicism of the Beaux-Arts began to predominate in students' drawings. The Department of Architecture at M.I.T. in these earliest years functioned best in providing a one- or two-year course of special study for persons who were graduates of four-year colleges or who had some experience in architects' offices. It also served to prepare Americans for the formal or informal study they intended to pursue in Paris. Ware's department offered, in effect, a postgraduate program, a program in continuing education, and a preparatory program for advanced study at the Ecole des Beaux-Arts. By virtue of its location in cosmopolitan Boston, the M.I.T. Department of Architecture emerged in the 1870s as the preeminent American collegiate program, attracting more students from more diverse parts of the country than the other important early programs at Cornell University and the University of Illinois. Ware trained some 235 students at M.I.T., and many of them became the leaders in architecture and architectural education in the late nineteenth and early twentieth century.<br>by John Andrew Chewning.<br>Ph.D.

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Masseran, Paulo Roberto [UNESP]. "Diálogo atrevido entre a pedra e o tijolo, ou popular e nacional na arquitetura brasileira, por Luiz Saia e Mário de Andrade." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/103138.

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Made available in DSpace on 2014-06-11T19:32:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-03-03Bitstream added on 2014-06-13T20:48:12Z : No. of bitstreams: 1 masseran_pr_dr_assis.pdf: 56709155 bytes, checksum: c91679715a4edef92623bab594a1a170 (MD5)<br>O trabalho trata da relação intelectual e de amizade entre o escritor Mário de Andrade e o arquiteto Luiz Saia. O estreito convívio de dez anos, entre 1935 e 1945, realizado no respeito mútuo e no diálogo sincero, promoveu uma influência recíproca, no trabalho teórico e no posicionamento artístico que professaram. Os desdobramentos dessa relação se apresentam na obra do arquiteto, veemente batalhador por uma arquitetura brasileira fundada na racionalidade e no utilitarismo necessário, da cultura popular. Tal construção teórica se desvela em suas obras teóricas, dedicadas ao estudo dos procedimentos metodológicos da arquitetura e do urbanismo, na produção historiográfica da arquitetura no Brasil e, notadamente, paulista, instrumentalizada no processo conceptivo da arquitetura e do urbanismo, e nas suas obras de restauração do patrimônio histórico paulista, durante os trinta e sete anos em que esteve à frente da regional do SPHAN, em São Paulo. Desse modo, o objetivo do trabalho é a investigação da construção teórica de uma idéia de arquitetura moderna brasileira, de raízes populares, instigada pela relação intelectual do escritor e do arquiteto<br>The work deals with the intellectual relation and friendship between the writer Mário de Andrade and the architect Luiz Saia. The strait convivial of ten years, between 1935 and 1945, carried out in the mutual respect and in the sincere dialogue, promoted a reciprocal influence, in the theoretical work and in the artistic position that they professed. The developments of this relationship are presented in the work of the architect, a passionate campaigner for a Brazilian architecture founded on rationality and on the necessary utilitarianism, of the popular culture. Such intellectual construction is revealed in his theoretical works, devoted to the study of the methodological proceedings of the architecture and town planning, in the historiographic production of the architecture in Brazil and, especially, the Sao Paulo’s architecture, used in the conceptive process of architecture and town planning, and in his works of restoration of the historical inheritance of Sao Paulo, throughout the thirty-seven years that he headed the regional SPHAN in Sao Paulo. In this way, the objective of the work is the investigation of the theoretical construction of an idea of modern Brazilian architecture, from popular roots, instigated by the intellectual relationship between the writer and the architect

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Amraoui, Touatia. "L’artisanat dans les cités antiques de l’Algérie." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20110.

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Cette étude analyse la place de l’artisanat et des artisans dans les villes antiques de l’Algérie en faisant le point sur la documentation disponible – archives, rapports de fouilles, plans, photos et publications. S’appuyant sur un travail de terrain, les données mises à jour ont apporté des précisions ou des éléments nouveaux sur les ateliers urbains découverts entre le XIXe s. et la seconde moitié du XXe s. : les vestiges de chaque installation sont localisés, décrits et documentés ; une datation est proposée quand cela est possible. Ce travail conduit à nuancer ou à réfuter plusieurs interprétations de nos prédécesseurs puisqu’après examen, des vestiges signalés comme des ateliers s’avèrent finalement avoir eu une autre fonction. En revanche, les installations artisanales identifiées avec certitude permettent d’étudier plus en détail les caractéristiques typologiques et techniques propres à chaque spécialité attestée : les artisanats alimentaires, la production et le traitement des textiles, la production de céramique, d’objets en verre et en métal, et les métiers de la construction. La comparaison entre les spécificités techniques des ateliers antiques algériens et celles des ateliers d’époque romaine découverts ailleurs en Méditerranée permettent de reconnaître des similitudes très fortes mais également quelques différences locales, africaines. Dans un second temps, l’étude de la répartition et de la localisation des ateliers dans le tissu urbain conduit à préciser les raisons de l’implantation des lieux de métier dans un lieu donné notamment selon leur spécialité. Il apparaît que les choix de l’implantation étaient davantage guidés par les besoins d’approvisionnement en matières premières que par les nuisances que ces activités pouvaient éventuellement occasionner : les ateliers étaient localisés aussi bien dans les quartiers périphériques que dans les quartiers résidentiels. D’autre part, l’analyse des inscriptions permet de faire le point sur les informations qu’elles transmettent au sujet des artisans et de leur statut social<br>This study analyzes the place of crafts and the craftsmen in the antique cities of Algeria by reviewing the available documentation - archival, reports of excavations, plans, photos and publications. Leaning on a field work, the updated data brought precision or new elements on the urban workshops discovered between 19th and second half of 20th centuries: the remains of each installation are located, described and documented; a dating is proposed when it is possible. This work of analysis leads to qualify or to refute several interpretations of our predecessors because after consideration, vestiges indicated as workshops finally appear to have not been correctly identified. On the other hand, the craft installations identified with certainty allow studying more in detail the typological and technical characteristics of every attested speciality: the food crafts, the production and the processing of textile industries, the production of ceramic, glass and metal objects, and the crafts of building. The comparison between the technical specificities of the antique algerian workshops and those roman workshops discovered somewhere else in the Empire bring us to recognize very strong similarities but also some local, african differences. Secondly, the study of the distribution and the location of workshops in the city leads to specify the reasons of the presence of the officinae in a specific place according to their speciality. It seems that the choices of establishment were more guided by the needs for supply of raw materials and not by the nuisances which these activities could possibly cause: workshops were located as well in the suburbs as in the residential districts. To finish, the analysis of the inscriptions brings some information about craftsmen and about their social status

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Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.

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Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photography<br>the second to theinteraction between architectural photography and architectural theory/practice<br>and the third to the relation between architectural photography and architectural historiography.

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Books on the topic "Historiography of architecture"

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Florita Z. Louis de Malave. Architecture--historiography: A general bibliography. Vance Bibliography, 1990.

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The historiography of modern architecture. MIT Press, 1999.

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Memories of architecture: Architectural heritage and historiography in the distant past. Spinhuis, 2009.

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Frank, Salmon, Paul Mellon Centre for Studies in British Art, and Society of Architectural Historians, eds. Summerson and Hitchcock: Centenary essays on architectural historiography. Published for the Paul Mellon Centre for Studies in British Art [and] the Yale Center for British Art [by] Yale University Press, 2006.

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Aalto University School of Arts, Design and Architecture. Department of Architecture, ed. What is going on in Moscow? Historiography. Aalto University School of Arts, Design and Architecture, 2012.

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Ursprung, Philip. Philip Ursprung : representacion del trabajo: Representation of labor : historiografía performativa = performative historiography. Ediciones ARQ, Escuela de Arquitectura Pontificia Universidad Católica de Chile, 2018.

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Mental life of the architectural historian: Re-opening the early historiography of modern architecture. Cambridge Scholars, 2011.

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Kleinbauer, W. Eugene. Early Christian and Byzantine architecture: An annotated bibliography and historiography. G.K. Hall, 1992.

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Elisabeth, Tostrup, Hermansen Christian, and Nordic Association of Architectural Research., eds. (Theorising) history in architecture. Arkitekthøgskolen i Oslo, 2003.

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Leach, Andrew. Manfredo Tafuri: Choosing history. A&S Books, 2007.

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Book chapters on the topic "Historiography of architecture"

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Akcan, Esra. "Partitions and an Anti-Xenophobic Architectural Historiography." In Art and Architecture of Migration and Discrimination. Routledge, 2023. http://dx.doi.org/10.4324/9781003410010-3.

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Akcan, Esra. "Kreuzberg and an Anti-Discriminatory Architectural Historiography." In Art and Architecture of Migration and Discrimination. Routledge, 2023. http://dx.doi.org/10.4324/9781003410010-14.

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Engel, Ute. "Imperial Style and the Content of Architecture." In Art Historiography and Iconologies Between West and East. Routledge, 2024. http://dx.doi.org/10.4324/9781003137528-8.

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Norton, Christopher. "Richard of Fountains and the Letter of Thurstan: History and Historiography of a Monastic Controversy, St Mary’s Abbey, York, 1132." In Perspectives for an Architecture of Solitude. Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.mcs-eb.3.1838.

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Donabédian, Patrick. "Culmination of a Late Antique Legacy? The Golden Age of Armenian Architecture in the Seventh Century." In Re-Thinking Late Antique Armenia: Historiography, Material Culture, and Heritage. Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.convisup-eb.5.135374.

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Spampinato, Beatrice. "A Theoretical Topography of Architecture. On the Problematic Connections between Rome, Byzantium, and Armenia in Italian Historiography (1914–1945)." In Re-Thinking Late Antique Armenia: Historiography, Material Culture, and Heritage. Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.convisup-eb.5.135380.

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Pisano, Raffaele, and Julie Robarts. "A Short Comparative Historiography of Science & Technology of Mechanics into Engineering—and—Architecture Literatures During the Renaissance." In Explorations in the History and Heritage of Machines and Mechanisms. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98499-1_19.

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Van de Vijver, Dirk, and Krista De Jonge. "1.3: 'Ces fleurons lointains à notre splendide diadème artistique’. The Historiography of the Influence of Netherlandish Architecture in Europe." In The Low Countries at the Crossroads. Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.archmod-eb.4.00134.

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Botti, Giaime. "Towards a Quantitative Turn: Frontiers of Architectural Historiography." In Designing Emerging Markets. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-1552-1_2.

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Lours, Mathieu. "Architecture XVIe-XIXe siècles." In Historiographie de l'histoire de l'art religieux en France à l'époque moderne et contemporaine. Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.behe-eb.4.00813.

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Conference papers on the topic "Historiography of architecture"

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Guo, Wenbo, and George B. Johnston. "Revisionist Approaches to the Historiography of Chinese Architecture." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.84.

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The study of Chinese architectural history by Chinese scholars started quite late as compared to the study of Western architectural history by Western scholars. Influenced by the philosophy of Confucianism, which devalued material artifacts, architecture was not considered to be a scholarly field in pre-Modern China.1 Chinese scholars treated architecture as a technique mastered by craftsmen and excluded it from the domain of fine arts such as painting, calligraphy, sculpture and inscription. The Western idea of architecture as a respected gentleman’s career was not introduced into China until the end of the Qing Dynasty (1644-1911) with the increas¬ing presence of foreign populations. Once Chinese scholars accepted the idea that architecture was a scholarly discipline, they commenced the study of Chinese architecture through the application of historiographical approaches adapted from non-Chinese sources. Contemporary Chinese scholars are now pursuing revisionist approaches to Chinese architectural historiography that takes account of these complicated lines of influence. In light of these complex cultural genealogies, the objective of this paper is to chart some of the methodological questions to be considered in the development of a critical approach to the historiography of Chinese architecture.

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Lu, Duanfang. "A Conceptual Framework for Architectural Historiography." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2022. http://dx.doi.org/10.55939/a4005p6e3c.

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Architectural history used to be part of art history, but has been gradually distanced from the latter as architecture develops as an independent modern discipline. Despite debates on architectural historiography in recent decades, architecture as a unique type of historically situated aesthetic objects and design products has not been adequately addressed. To further an independence from art history, and to re-center architecture itself in historical analysis, this article highlights three essential natures of architecture which differentiate it from other types of aesthetic objects (such as painting and sculpture) and design products (such as cars and furniture), while asserting its situated materiality: architecture orders bodily activities and conditions human existence; it necessitates the integration of techne, technology, materials, and labor in construction; and it is a collective expressive medium which is shaped by and contributes to the interaction between different social forces. Based on the above propositions, this article provides an upgraded version of the Vitruvian Triad, with the existential replacing utilitatis (utility), the constructive replacing firmitatis (stability), and the interactive replacing venustatis (beauty).

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Livesey, Graham, and Antony Moulis. "From Impact to Legacy: Interpreting Critical Writing on Le Corbusier from the 1920s to the Present." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.712.

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Abstract: As a major figure of international modernism, Le Corbusier’s work has been subject to extensive critique and review both during his lifetime and since, to the extent that he has become the world’s most studied 20th century architect. While numerous attempts have been made to assess Le Corbusier’s works and ideas in their meaning and influence, little attention has been given to understanding the phenomena of critical writing and research that continues to surround the architect. Drawing upon research by the authors in preparing a 4-volume anthology of writings on Le Corbusier’s work for a major British publisher in 2016, the paper will trace critical reaction to the architect’s practice through a survey investigation of research and writing produced mainly in English from the 1920s to the present. The paper will give a chronological account of the issues, ideas and approaches that have emerged in critical writings on Le Corbusier and his architecture, reporting on the historiographic questions that have presented themselves in undertaking such a large-scale survey work. Reviewing the work of well-known critics the survey has also sought out lesser-known voices whose presence reflects Le Corbusier’s impact around the world, providing new interpretations through fresh perspectives on his work. Keywords: Architectural criticism; Architectural historiography; 20th century architecture, Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.712

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Aladro-Prieto, José-Manuel, Francisco Javier Ostos-Prieto, and María Murillo-Romero. "The standardisation of vernacular architecture. Wine buildings in Andalusia." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15136.

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Production buildings constitute a specific section of vernacular architecture, with distinct characteristics. In Andalusia, within this group, the architecture of wine, acquires an important relevancne, the wine cellars. They are a large number of buildings, which were built in the 18th, and 19th centuries. This happened when traditional Andalusian wine production was transformed into a modern wine industry. An industrial development generated a vast architectural ensemble of unique characteristics. This has been studied especially in the Sherry wine region, but it is also present in other regions such as Montilla-Moriles or El Condado de Huelva. The architectural, and industrial wine development in the 19th century was fundamentally based on the repetition of a specific model: the basilica cellar. A simplified formal, and constructive system that comes from the standardisation of the vernacular cellar, and that establishes early points of convergence with the industrial building. A model that continues the tradition in terms of construction, and structure, but conceptually modern in its modular, and repeatable condition. Its reiteration, and extreme simplification made possible the construction of large industrial complexes, and the city transformation. The industrial importance achieved by the wine agro-industry, and the vernacular quality of its architecture introduce different references in Spanish industrial historiography.

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Mollo, Giuseppe, and Giuseppe Piccolo. "La trasformazione dell’impianto fortificato della città di Nola tra Quattrocento e Cinquecento." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11416.

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The transformation of the walls in the city of Nola between the fifteenth and sixteenth centuriesThe study relating to the town walls of Nola (a city near Naples) is one of the most interesting among those about the Neapolitan military architecture between the fifteenth and sixteenth centuries. The building phases of the defensive walls allow us to retrace two main moments of the Renaissance military architecture. It is to say, from the original and most ancient example of a puntoni struts fortifications, about which we can relate thanks to the precious and detailed Ambrogio Leone de Nola’s description made at the beginning of 1500, to the renewed defensive rampart body designed by el comendador Luis Escrivà during the Toledian period. A thorough recon of the iconographic sources, the regarding of the specialistic historiography, the contemporary theoretical assumptions and, most of all, a thorough recon of the still visible traces in the urban fabric and those emerged during the recent archeological investigations enable us to propose a structured theory about the building of the walls of Nola.

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Fondevilla Aparicio, Juan José. "La Banda Gallega: vertebración defensiva de un espacio de frontera en el límite noroccidental del alfoz hispalense en la Baja Edad Media." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11485.

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The Galician Band: defensive vertebration of a frontier space in the Northwestern limit of the domains of Seville in the Late Middle AgesThe northwestern limit of the Seville domains constituted a complex frontier space of high potencial tension throughout the Late Middle Ages. Once the conquest of this historical territory was over, the council of Seville promotes the definition of a castral system destined to guarantee the guard and defense of its extensive territory. The Galician Band constituted a large network of fortifications who knew how to incorporate the existing ones and build new castles, which responded to an adaptive logic based on the poliorcetic and geopolitical requirements. The geospacial analysis carried out in this research, implemented through GIS, allowed contrasting certain hypotheses sustained from historiography regarding the territorial implementation strategy of these passive defenses. The detailed analysis of the intervisibility relations between the fortifications of the Galician Band, allowed to define its spatial link. The analyzed castramental spaces are hierarchized, presenting a progressive stratification from the border spaces into the deep lands of the Council, following a spatial pattern that allows the strategic control of the main paths of territorial penetration.

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Quesada-García, Santiago, and María Lozano-Gómez. "Levantamiento y análisis espacial de la presa de Garganta del Ciervo y el paisaje regado por el embalse andalusí Albuhera (s. XII)." In FORTMED2024 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.18104.

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The study of historic dams and water reservoirs is a little-explored field, unevenly addressed by historiography, architecture, and civil engineering, possibly because most of these remains are isolated and dispersed in rural areas and places that are difficult to access. This circumstance, among others, makes it difficult for them to be adequately known and leads to a lack of graphic analysis of these types of hydraulic infrastructures and the landscapes associated with them. This work presents one of the few known examples of Andalusi storage dams or reservoirs. Its survey is approached not as an isolated object or remain but as an inseparable part of the landscape it is part of. To this end, a specific methodology is designed that geo-references the data, constructs a digital terrain model and topographical surveys with use of UAV, and ends with a 3D reconstruction of the preserved remains, characterising them with a dense point cloud. The results obtained shed light on a mediaeval landscape irrigated by an Albuhera, or “small sea” of water, dammed by the Garganta del Ciervo dam, a river barrier built with stone edges and lime in the mid-12th century in the Sierra de Segura de Jaén (Spain).

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Baeva, Olga. "Studying the Traditional Architecture of Ingushetia in the Late 19th to First Decades of the 20th Century: Aspects of Historiography." In 4th International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2022). Athena International Publishing B.V., 2023. http://dx.doi.org/10.55060/s.atssh.221230.006.

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Katrib, Leen. "Excavating the University Campus: A Pedagogy of Deconstructing Architecture’s Myths." In 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.64.

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This paper seeks to offer an interdisciplinary and collaborative model for design seminars to examine the very conditions that have guided the practice, pedagogy, and historiography of architecture. Excavating the University Campus is a research- integrative design seminar that positions students to uncover comprehensive, untold histories of destructions in the wake of postwar and ongoing urban university campus expansions across the United States. Through campus case studies spanning chronologies and geographies across the United States, students critically examine official campus histories by deconstructing their design tactics, linguistic nuances, alliances, and the architect/planner’s design tools and methods. The seminar challenges students to source interdisciplinary knowledge and tools in order to map, spatialize, and metricize the extents of erasures through two-dimensional, three- dimensional, image-, audio-, and text-based translations. The research process parallels with—and is theoretically grounded in—a curated selection of interdisciplinary foundational texts by scholars who interrogate the material afterlife of destruction in the built environment. Ultimately, students design multimedia animations and short films that contribute to a counter-historiography on each case study by juxtaposing, superimposing, and clustering layers of retrieved materials and produced visualizations to create new assemblages that subvert official narratives.

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Matchegora, A. V., and I. I. Orlov. "Briff historiography of the Cult Gothic architecture of the South France in the context of general trends in the development of Medievistics." In Scientific achievements of the third millennium. Scientific achievements of the third millennium, 2022. http://dx.doi.org/10.18411/satm-08-2022-02.

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Now in Russia new rise in temple architecture is observed. In this regard it would be interesting to address to cult architecture of the early and medieval period of Christianity. The author analyzed the theoretical concepts of Gothic churched in South France (Occitany) XIII-XIV. In rich amendments to the article the author describes social-ideological context of the period of church construction and its character

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