Academic literature on the topic 'Neo-gothic architecture'

En mettant fin aux privilèges et à une société d’ordres, la Révolution aurait dû vouer le château à la ruine, ne le laissant subsister dans le paysage que comme les vestiges d’un temps révolu. Mais au contraire, le XIXe siècle devient un véritable âge d’or des châteaux, en France comme dans toute une partie de l’Europe. À travers la France, les constructions, les restaurations et les remaniements de châteaux se comptent par milliers, sous le double effet du repli de la noblesse sur ses terres et de l’essor et de l’enrichissement de la bourgeoisie. Dans l’Allier, le Cantal et le Puy-de-Dôme 464 chantiers et projets voient le jour sous l’impulsion de familles de la vieille noblesse désireuses de réparer sur leur demeure les outrages du temps et de la Révolution et de bourgeois fortunés soucieux d’avoir une résidence prestigieuse, témoin de leur ascension sociale. Au XIXe siècle, on pose un nouveau regard sur le Moyen Âge et le château des siècles passés fait rêver. L’architecture doit s’inspirer des styles historicistes, parfois d’origine lointaine, tout en offrant un intérieur adapté au mode de vie et aux aspirations au confort des châtelains. Certains architectes se spécialisent pour satisfaire ces commandes entre historicisme et modernité<br>As the French Revolution put an end to privileges and the hierarchical division of society, castles seemed meant to disappear or survive only as remains of a bygone era. But the 19th century actually turned out to be a golden age for them – both in France and in many countries in Europe. In France, countless castles were built or overhauled, as the nobility returned to their lands and the bourgeoisie grew in power and wealth. In the three French départements of Allier, Cantal and Puy-de-Dôme, no less then 464 projects or actual construction works were launched. They originated either from ancient noble families wishing to erase the damages of time and History on their properties or from wealthy bourgeois willing to own high-profile mansions that would be of testimony of their social uplift. The 19th century was also a period where the Middle Ages was re-discovered and ancient castles became attractive again. Architectural trends were influenced by historicism, sometimes exotic styles, while interior design had to suit the lifestyle and need for comfort of the landlords. Some architects specialised in such projects, both historicist and modern

Este trabalho busca identificar os edifícios religiosos desenvolvidos entre os anos de 1880 e 1930 na cidade de Curitiba. O estudo parte do aparecimento do gótico e neogótico na Europa e, consequentemente, considera a influência do imigrante europeu na arquitetura religiosa neogótica desenvolvida em Curitiba da virada do século XIX para o XX. Para exemplificar a pesquisa foram selecionadas cinco igrejas que são, a nossos olhos, relevantes para a demonstração da adoção do estilo arquitetônico neogótico. Sendo assim, os cinco exemplares demonstram características particulares, porém inserem-se em um mesmo contexto histórico de caráter neogótico, marcando a influência do imigrante europeu em terras curitibanas.<br>This study aims at identifying the religious buildings developed between 1880 and 1930 in Curitiba. The study begins with the appearing of the gothic and neo-gothic in Europe and, consequently, it considers the influence of the European immigrant in the neo-gothic religious architecture developed in Curitiba in the turn of the nineteenth to the twentieth century. To exemplify the research, five churches were selected, which are, in our opinion, relevant to demonstrate the adoption of the neo-gothic architectural style. So, the five examples show peculiar characteristics, but are part of the same historical context of neo-gothic character, pointing out the influence of the European immigrant in the lands of the city of Curitiba.

Thesis (MA)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: During the 12th century the Ab Suger, a church leader from near Paris in France, initiated a new approach to church architecture, the Gothic style. He diverted from the existing traditions and utilized pointed arches as one of the basic components of the new style. Pointed arches, unlike normal arches, distribute load-carrying weight not only downwards, as normal arches do, but also sideways. Strategically placed flying buttresses can help neutralize the thrust to the sides and reduce the weight on walls. Walls no longer had to be massive and it became possible to utilize big parts of the walls for windows, which were filled with brightly coloured glass. The style deliberately made use of height and enclosed spaces as a design element, to an extent unknown until that time. For some four centuries cathedrals in this style were built all over Europe, before the style was replaced with the coming of the Renaissance. The 19th century saw the coming of a style of Gothic Revival. New building materials had become available and there were fundamental differences between the original Gothic style and the Neo-Gothic (or Gothic Revival) style. In some instances elements of the original style lost their functions and were applied in a purely decorative function in the Gothic Revival style. With the colonization of Africa, the Neo-Gothic style came to South Africa. It took root locally and became part of South African church architecture. Local conditions required that some adaptations be made and several varieties of the Neo-Gothic style became part of the South African architectural landscape. Many church buildings were constructed in South Africa in this style during the last century and a half. The ones older than sixty years enjoy some measure of protection under current legislation relating to heritage conservation. It became evident that within the variety of Neo-Gothic idioms a number of churches have become so simplified that only some characteristics of the style have remained. Throughout the study it was indicated how the significance of a building and its architectural style also impact on the non-material culture of a community.<br>AFRIKAANSE OPSOMMING: Gedurende die 12de eeu het ab Suger, ‘n kerkleier van naby Parys in Frankryk, met ‘n nuwe benadering tot kerkargitektuur na vore gekom wat later as die Gotiese styl sou bekend staan. Hy het afgewyk van bestaande tradisies en gebruike in verband met kerkargitektuur. Deur die aanwending van spitsboë is die afwaartse druk van ‘n kerk se dak gedeeltelik na buite verplaas, in plek van alles na onder. Strategies geplaasde boogstutte het die sywaartse druk geneutraliseer. Hierdie boumetode is saam met die gebruik van geribde gewelwe gebruik om die druk in so ‘n mate van symure af te haal dat die mure nie meer dik en sterk moes wees nie en dit moontlik was om groot dele van die mure met vensters van gekleurde glas te vul. Die nuwe styl het ingeslote ruimtes en hoë gewelwe gehad soos die Middeleeuse mens nog nie vantevore geken het nie. Vir sowat vier eeue lank het katedrale in dié styl oral oor Europa opgeskiet, totdat dit met die koms van die Renaissance deur ander style vervang is. In die 19de eeu het daar ‘n herlewing in die Gotiese styl gekom. Beter boumateriale was beskikbaar en die Gotiese Herlewingstyl het in sommige opsigte groot verskille met die oorspronklike getoon. Van die Gotiese boustyl se komponente is aangepas om totaal ander funksies te vervul. Verskeie aspekte van die Gotiese styl is slegs behou as versiering. Met die kolonisasie van Afrika het die Gotiese Herlewingstyl na Suid-Afrika gekom. Die styl het posgevat en versprei in Suid-Afrika maar plaaslike omstandighede het aanpassings daarvan genoodsaak en etlike variasies op die Neo-Gotiese tema het na vore gekom. ‘n Groot aantal kerke is in die afgelope anderhalf eeu in Suid-Afrika in hierdie styl gebou. Sommiges daarvan geniet ‘n mate van beskerming ingevolge Suid-Afrika se bewaringswetgewing. Hierdie studie fokus op kerkgeboue met Neo-Gotiese stylkenmerke in ‘n bepaalde geografiese gebied in Suid-Afrika. Daar is bevind dat van die variasies op die Neo-Gotiese styl so vereenvoudig het, dat daar slegs enkele stylkenmerke by hulle oorgebly het. Deurgaans is aangedui op watter wyse die betekenis van die kerkgebou en die styl daarvan ook die nie-tasbare kultuur van ‘n gemeenskap geraak het.

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....