Academic literature on the topic 'Neoclassicism (Architecture)'
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Journal articles on the topic "Neoclassicism (Architecture)"
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Chang, Qing. "Architectural Models and Their Contexts in China’s 20th-Century Architectural Heritage: An Overview." Built Heritage 3, no. 4 (December 2019): 1–13. http://dx.doi.org/10.1186/bf03545715.
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AbstractThe article explores the morphological evolution of China’s 20th-century architecture chronologically. Chinese Neoclassicism has played a major role in forming the 20th-century heritage buildings surviving today. The phenomenon of Neoclassicism emerged because of the late arrival of China’s modernisation and industrialisation process compared with the West. In turn, in accepting and contesting Western culture, the Chinese elite have consciously relied upon architecture as a vehicle to uphold visible symbols of national Chinese identity and traditional Chinese culture. Meanwhile, in the foreign settlements of the treaty ports such as Shanghai, the Western Neoclassical style, along with other imported construction trends, also forms part of China’s 20th-century architectural heritage. Western Neoclassicism’s influence on China’s new architecture became even more evident in the mid-20th century, with the modern architectural heritage in Tiananmen Square as its exemplar. Nevertheless, the impact of Western modernist architecture on China’s architecture was minimal. It was not until the 1980s, as China reopened to the world, that various schools of thought from the post-industrial West flowed into China, which significantly enriched the types and sources of China’s 20th-century architectural heritage. Modern Classicism, late Modernism and Postmodernism all found their way into China’s contemporary architecture.
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Bagina, Elena. "The binary star." проект байкал 18, no. 68 (August 8, 2021): 50–55. http://dx.doi.org/10.51461/projectbaikal.68.1802.
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Baroque and classicism were called a binary star. In the national architecture, the avant-garde and neoclassicism can be also called a binary star. The model of succession of styles in architecture does not reflect the real situation in the 1920-1950s. Neoclassicism and different movements of “contemporary architecture” run parallel to each other both in the West and in the USSR. In the 1920s, the avant-garde was brighter, while In the 1930-1950s in the USSR – neoclassicism. “The new world of socialism” was observed in the patterns of “contemporary architecture” by party ideologists headed by Lev Trotsky. In the 1930s, the political situation changed, and the patterns of the “new world” came down to earth and acquired historical roots. The interaction of the avant-garde and neoclassicism produced a unique style of the epoch. Unfortunately, the monuments of that epoch decay very quickly.
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Kruglova, Tatiana A. "The Concept of Time in Soviet Neoclassicism (On the Example of Architectural Discourse)." RUDN Journal of Philosophy 24, no. 4 (December 15, 2020): 681–93. http://dx.doi.org/10.22363/2313-2302-2020-24-4-681-693.
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The article discusses the process of switching temporal regimes in Soviet culture at the turn of the 1920s - and during the 1930s on the material of architecture. The concepts of time in constructivism and neoclassicism are compared since the struggle between them determined the main vectors of artistic development in the reconstruction period. The author analyzes the discourse of the official position in relation to the main trends in the development of architecture in the context of the periodization of socialist construction and elicits the reasons for supporting the reference to the classical heritage. The change of political agenda (the transition from dismantling the old order and the rectification of the consequences of the collapse of the social fabric as a way to build a new social order) set new requirements for architecture as the most important way of social representation. The new society - socialism - was interpreted in constructivism, which was the leading direction of 1920s architecture, in the modus of the future. In the neoclassicism of the 1930s, socialism was placed in the modus of the present. Constructivism was aimed at the pragmatics of restoring social fabric and solving current problems (mass housing, a new social infrastructure), as well as at constructing a future society and human. At the end of the first five-year plan, the authorities set other goals for culture in general and architecture in particular: the representation of achievements and the expression of the greatness of socialist construction. Neoclassicism was called upon to perpetuate the present state of affairs in the modus of real perfection and superiority of Soviet socialism over any other formats of social life. Between the time of creation (constructivism) and the time of completion (neoclassicism), there is formed a gap that must be hidden. As a way of hiding the temporal gap were chosen classical principles of form-making and examples of the Renaissance and Russian classicism, that were designed to convincingly demonstrate, on the one hand, the possibility of accelerating and compressing time, the swiftness of achieving the ideal, and on the other hand, tp depreciate innovations, make the idea of the movement of time into the future unnecessary. The theory of the leading neoclassicist I. Zholtovsky is discussed as an alternative to the utopian interpretation of time in constructivism, as materializing the mythological time, in which the source and end of creation are given simultaneously in the modus of eternity.
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Gaiduk, M. Yu. "Art Nouveau and Neoclassicism of buildings in Tyumen financed by merchants late in the 19th and early 20th centuries." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 23, no. 6 (December 26, 2021): 56–64. http://dx.doi.org/10.31675/1607-1859-2021-23-6-56-64.
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The problem of preservation of the historical and architectural environment in Russian cities is currently rather relevant. Research and popularization of the different architectural styles play an important role in preservation of the unique historical environment of the city. Architectural styles of buildings in Tyumen are from Siberian Baroque to large-scale buildings of neoclassicism, which is characteristic of the architecture of this period.The paper describes the buildings the construction of which is financed by the merchants. The building architecture belongs to a particular stye typical for the period of Art Nouveau and neoclassicism. The architecture of Tyumen buildings is of regional color scheme represented by the decoration of window trimmers and other architectural details.The research implications include a study of historical and modern photographs of buildings of various types, namely from educational institutions to residential buildings. The paper utilizes historical and archival and bibliographic data and field research.Research findings: the significance of the studied buildings is preserved in the modern urban environment and architecture of Tyumen. At the turn of the 19–20th centuries and today, these objects retain their role in urban planning and function.
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Копылова, Лариса. "Neoclassicism in Russian Architecture of the 21st Century." SCIENTIFIC JOURNAL “ACADEMIA. ARCHITECTURE AND CONSTRUCTION, no. 2 (June 18, 2024): 63–70. http://dx.doi.org/10.22337/2077-9038-2024-2-63-70.
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Статья посвящена третьей волне русского неоклассицизма, охватывающей период с 1990-х по 2020-е годы, крупные реализованные проекты которого приходятся на XXI век. Цель статьи – теоретически осмыслить направление, определить генезис, этапы эволюции и формальную концепцию стиля; уточнить круг архитекторов и основных построек; провести сравнение с двумя предшествующими волнами русского неоклассицизма – начала и середины ХХ века.
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Mzhelsky, V. M. "CHANGES IN SOVIET ARCHITECTURAL STYLES IN THE 1930s." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (August 28, 2019): 125–37. http://dx.doi.org/10.31675/1607-1859-2019-21-4-125-137.
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Purpose: The aim of the paper is to study the history of Soviet architecture, associated with changes in its stylistic orientation, when instead of the previously dominant constructivist forms other forms began to prevail, namely Art Deco, neoclassicism and eclecticism. The paper explores the processes in architecture of that time, identifies the main prerequisites for the formation of that architectural style.Methodology/approach: The methodological approach includes a comparative analysis of scientific publications and buildings of Soviet architecture of the 1930s. A comprehensive study is conducted to identify the prerequisites, processes and features of the architecture of this period.Research findings: The main results concern the period under study accompanied by both evolutionary and cardinal changes in architecture associated with the general architectural policy of the government and the creativity of architects. All this determines the peculiarities of the controversial, transitional style of Soviet architecture. The analysis of the controversial architectural style considers the individual genesis. This style is formed under specific conditions and has its own history. Architectural competitions of the 1930s demonstrate the stylistic diversity of architecture and the evolutionary transition from constructivism to Soviet neoclassicism observed in the works of those architects who previously designed the style of constructivism. The term post-constructivism means both a purely chronological concept, that is a period in the history of architecture following the epoch of constructivism and the specific architectural and stylistic phenomenon which still combines constructivism and elements of the subsequent style. A search for individual architects determines the style of the 1930s. In this regard, the term post constructivism best reflects the diversity of architecture of that time, taking into account the historical era and national identity, and the use of elements typical to Art Deco, Neo-Renaissance, or Classicism.Practical implications: The research results can be used to further studying the architecture of this period as well as in the preparation of courses on the history of Soviet architecture of the 1930s. This study makes it possible to realize historical, artistic and cultural value of this style, thereby preserving it in the future.Originality/value: The history of the architecture of that period is still not well understood and is of particular interest for researchers. This study considers both well-known and insufficiently studied buildings of Soviet architecture of the 1930s, compares the obtained facts and opinions of other authors‟. As a result, the paper combines, compares and analyzes interesting information on this topic and investigates concrete facts. Also, a comparison is given to the architecture of the studied and previous periods.
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Brumfield, William C. "Anti-Modernism and the Neoclassical Revival in Russian Architecture, 1906-1916." Journal of the Society of Architectural Historians 48, no. 4 (December 1, 1989): 371–86. http://dx.doi.org/10.2307/990455.
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The appearance of the "style moderne" in Russian architecture at the turn of the century reflected not only the assimilation of the new European architecture (Secession, Art Nouveau), but also the movement toward an urban environment that would accommodate a social order based on private capital and the ascendency of Russia's nascent bourgeoisie. Claims for the democratic basis of the new style acquired distinctly political overtones in critical articles published between 1900 and 1905. After 1905 (a year of widespread revolutionary disorder in Russia), a reaction against the modernist aesthetic can be traced in the work of architects and critics who supported a revival of Neoclassicism. Although the new classicism provided the means to apply technological and design innovations within an established tectonic system, it was also widely interpreted as a rejection of the unstable values of individualism and the bourgeois ethos. Neoclassical architecture became the last hope for a reconciliation of contemporary architecture with cultural values derived from an idealization of imperial Russian grandeur. Yet the revival of Neoclassicism quickly manifested the same lack of aesthetic unity and theoretical direction as had the moderne, thus leading certain critics and architects to question the entire social order within which architecture functioned in the decade before the 1917 Revolution.
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Markovskyi, Andrii. "PARALLELS OF GERMAN AVANT-GARDE ARCHITECTURE AND DEVELOPMENT IN KYIV." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 302–13. http://dx.doi.org/10.32347/2077-3455.2020.58.302-313.
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The article presents a comparative analysis of some key objects of German and Kyiv architecture of the early twentieth century to determine the corresponding trends. Parallels and identities are shown and noted. An analysis of the background and context is given, as well as the author's conclusions of the respective styles. In particular, German Werkbund, international Art Nouveau, Ukrainian architectural Art Nouveau, "New Objectivity", Bauhaus, functionalism, constructivism, post-constructivism, German and Soviet neoclassicism are mentioned.
Were analyzed in detail: The Fagus Factory (1910-1911) by Walter Gropius and Adolf Meyer, Centennial Hall (1911-1913) by the Max Berg, the Kyiv district power plant (named after Stalin), (1926–1930) by Mikhailo Parusnikov with the participation of George Goltz and Andrey Burov, Rolit (1932) by Vasul. Krychesky, Ehrentempel (1933–1936) and The Haus der Kunst in Munich (1933 - 1937) by Paul Ludwig Troost, competitive proposals for the construction of the Government Quarter in Kyiv (1934 - 1935) and the hotel within the Government Quarter (1939). Mentioned Esposizione Universale Roma (EUR) by Marcello Piacentini, projects by Albert Speer and others.
The article summarizes a series of author's researches devoted to a detailed analysis of international context and parallels of Kyiv architecture which is represented in the background of the consistent artistic transitions (from eclecticism and historical reminiscences to modernism, from Art Nouveau to avant-garde, from constructivism to Soviet neoclassicism and, finally, from Stalinist empire to modernism).
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Edakina, Daria A., and Eduard I. Chernyak. "MONUMENTS OF RUSSIAN ARCHITECTURAL HERITAGE: EXPERIENCE OF TYPOLOGICAL CLASSIFICATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 245–56. http://dx.doi.org/10.17223/2220836/42/22.
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The article highlights the almost unexplored issue of the classification of architectural heritage sites. The authors define architectural heritage as a complex of buildings and structures that form the surrounding space and reflect the art of creating these buildings and structures. Pursuing the goal to create a regulating system of Russian architecture monuments, the authors of the article use the architectural style as the main sign of monuments. Reliance on scientific research, written and visual sources allows identifying and characterizing large typological groups of monuments. The first group includes monuments of Russian architectural tradition, created in the period of 11th and 17th centuries on Byzantine and Italian architectural basis. The Baroque style was introduced into Russian architecture in the 18th century. It is characterizes by the magnificence and decorativeness of the details, includes columns, pilasters, sculptural decorations. About a century later, the Baroque was replaced by a style of Classicism. An obligatory element of Classicism monuments is a triangular gable, which rests on columns. Such compositional components as bays, risalitas, and balconies characterize the style. Monuments of classicism form architectural ensembles in Russian cities. The most famous of them is Palace Square in St. Petersburg. Since the mid-19th century, architectural monuments of the Eclectic style have been created. It combines elements of Gothic, Classicism, and folk Russian architecture. Wooden monuments of eclecticism, richly decorated with carvings, make the main pride of Tomsk. At the turn of the 19th and 20th centuries, modern architectural monuments with their characteristic asymmetry of the layout, plant decor in the design of facades are created. Under the influence of the changes brought by the Revolution of 1917, the style of Constructivism spreads in Russian architecture. In the early 1930s, the laconic Constructivism was rejected, the order system returned to the composition of the buildings. They are decorated with stucco moldings and sculptural images. For a long time unnamed, now this style is known as Soviet Neoclassicism. In the late 1950s, monuments of Soviet Neoclassicism were accused of unjustified pomp and parade. In the second half of the 20th century, the trends of Neo-Functionalism and Postmodernism prevail in Russian architecture. The regulating system of architectural monuments proposed in the article allows to characterize objects of architectural heritage, provides continuity of cultural experience.
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Şlapac, Mariana. "Chisinau architecture of the post-soviet period." Akademos, no. 4(67) (March 2023): 142–49. http://dx.doi.org/10.52673/18570461.22.4-67.19.
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The buildings constructed in Chisinau after year 1991 propose a diversified architecture. The stylistic range is quite various: neoclassicism, modernism, postmodernism, high-tech, deconstructivism, neominimalism, brutalism, etc. The influence of neoclassical architecture is felt upon the multistory building of S.A. “ASCOM Group”, and modernism is illustrated by the building of the “Kentford” Business Center, the building of the “Infotag” Information Agency, etc. Among the most illustrative examples of postmodernist architecture is the „Coliseum Palace” residential complex, the “Moldincombank” commercial bank building, Center Branch, etc. High-tech architecture is illustrated by the “SKYTOWER” International Business Center building, the “Shopping MallDova” shopping and entertainment center building, the “Chisinau Arena” multifunctional complex, etc. The buildings of the Business Center “SG Business Centru” and the International Business Center “Le Roi” belong to the architecture of deconstructivism. An architectural premise with elements of brutalism and neominimalism is the Creative Industries Center ARTCOR. The contribution of architects Gh. Telipiz, Gh. Jinkin, I. Apostolov, V. Modârcă, A. Gordeev, M. Calujac and others could be highlighted during the reference period.
Dissertations / Theses on the topic "Neoclassicism (Architecture)"
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Garlick, Anna Gorel Gunvor. "Neoclassicism and English theatre architecture 1775-1843." Thesis, University of Exeter, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337725.
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Morris, Bruce E. "The manifestation of character as a design goal in the work of Sir John Soane." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/21597.
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Harju, Virpi. "Themiksen temppeli vanhan Vaasan hovioikeudentalo Kustaa III:n valistuspyrkimysten monumentti /." Jyväskylä : Jyväskylän yliopisto, 1997. http://catalog.hathitrust.org/api/volumes/oclc/40925767.html.
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Rodrigues, Ana Aparecida Villanueva. "Campinas classica = a Catedral Nossa Senhora da Conceição e o engendramento de uma arquitetura monumental classica urbana no Brasil (1807-1883)." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280268.
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Orientador: Edgar Salvadori De DeccaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-15T16:23:55Z (GMT). No. of bitstreams: 1 Rodrigues_AnaAparecidaVillanueva_D.pdf: 43032794 bytes, checksum: fe63c34e1c5fd9f350e99c6956055490 (MD5) Previous issue date: 2010
Resumo: Esta tese é sobre a linguagem arquitetônica da fachada principal e o retábulo-mor da Catedral Nossa Senhora da Conceição de Campinas a partir da apuração dos processos de levantamento métrico e do seu desenho instrumental da época de sua constituição, fornecendo assim uma reconstituição da sua orientação clássica, estudando-a como fonte e documento histórico, através do seu testemunho material, tornando assim, a Catedral Nossa Senhora da Conceição de Campinas, um objeto paradigmático da arquitetura clássica da cidade dentro de um contexto brasileiro. Esta tese demonstra, portanto, como a Catedral de Campinas foi projetada dentro de preceptivas clássicas com diversas autorias, períodos e vertentes teóricas, tendo como resultado um todo único, híbrido, erudito, recriativo, exemplar, contrariando a historiografia vigente de que a arquitetura do século XIX no Brasil é uma "cópia de modelos importados"
Abstract: The present thesis studies the architecture language of the main façade and the main retable of Nossa Senhora da Conceição Cathedral, in the city of Campinas. Starting from the compilation of metric survey processes, as well as instrumental drawings pertaining to the formation period, this work provides a reconstitution of the classical tendency of such building, investigating it as a historical source and document through its material testimony, rendering the Cathedral into a paradigm of the city classical architecture within a Brazilian context. The present thesis demonstrates therefore how the Cathedral of Campinas has been designed within classical precepts, by different authors, under different periods and theoretical trends, resulting in a unique, hybrid, scholarly, re-creative, exemplary whole, and contradicting the current historiography, which considers the XIX century architecture in Brazil as a "copy of imported standards"
Doutorado
Politica, Memoria e Cidade
Doutor em História
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Müller-Wolff, Susanne. "Ein Landschaftsgarten im Ilmtal : die Geschichte des herzoglichen Parks in Weimar /." Köln [u.a.] : Böhlau, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2958583&prov=M&dok_var=1&dok_ext=htm.
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Martínez, i. Puig Alfons J. "El naixement d'una ciutat: Josep Roca i Bros, o el perfil de una ciutat: Figueres, una imatge urbana a mitjans del segle XIX: el naixement d'una ciutat abans de ser una ciutat." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397667.
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La creació de la ciutat de Figueres, neix urbanísticament parlant durant el segle XIX, concretament durant la segona meitat del XIX gràcies a la feina d’un arquitecte municipal: Josep Roca i Bros. Figueres, venia d’unes èpoques de progrés econòmic i social però no s’havia planejat la seva transformació en ciutat, sinó que havia anat creixent com un poble gran, amb carrers més llargs però estrets, amb un eixample insuficient i amb problemes orogràfics com la Ribera que partia Figueres en dos, o la manca d’espais oberts i carrers amples, així com una planificació que combinés l’estètica, la racionalitat i el creixement a mig i llarg termini.
Roca i Bros aconsegueix nous espais oberts a la ciutat, alguns d’ells venen donats per la cobertura de la riera i l’aparició de la Rambla o la Plaça de la Palmera, la qual cosa permet pensar que aquest arquitecte té una visió social de l’espai públic i una consciència de què la seva obra ha de perdurar. Tot plegat dins l’elegància del neoclassicisme que es manté, trobant-se en mestres d’obres posteriors per conservar una determinada imatge de ciutat pensada per Roca i Bros a mitjans del segle XIX.
Josep Roca i Bros, estarà també dins del Cos d’Enginyers de l’Exèrcit, la qual cosa li dóna un control i coneixement del territori ampli, i contribueix al creixement de Figueres amb la instal·lació de serveis com l’aigua potable. Tanmateix, els nombrosos plànols de població permeten veure l’evolució urbana de Figueres al llarg de més d’una dècada.Figueres emerges, in terms of town planning, in the second half of the nineteenth century thanks to the work of the town's architect: Josep Roca i Bros. The town had experienced periods of economic and social progress but had not considered its transformation into a city, but simply had grown into a large town with long but narrow streets, with insufficient extensions and orographic problems such as the stream that divided the town or the lack of open spaces and wide streets, as well as a planning that would combine aesthetics, rationality and growth in the mediumand long term. Roca i Bros procures new open spaces in Figueres, some of which are the result of the covered stream which turns into the Rambla and the Palmera square, indicating that this architect has a social vision of the public space and is aware that his work has to last. All of this within the elegance of neoclassicism which is maintained and continued by later architects in order to conserve an image of the city first thought by Roca i Bros inmiddle of the nineteenth century. Josep Roca i Bros, was also in the Army Corps of Engineers, which gives a comprehensive control and knowledge of the territory and contributes to the growth of Figueres structure installation services such as drinking water. However, many plans allow people to see the evolution of urban Figueres for over a decade.
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Rosada, Mateus. "Igrejas Paulistas da Colônia e do Império: Arquitetura e Ornamentação." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-30062016-112001/.
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Analisa a arquitetura e a ornamentação de cento e vinte igrejas urbanas remanescentes no Estado de São Paulo, construídas nos períodos colonial e imperial, observando as transformações espaciais e arquitetônicas ocorridas nas mesmas desde a edificação dos primeiros templos católicos no Estado, no século XVI, até o advento da República, no século XIX. Para tanto, aborda os padrões estéticos dos seguintes períodos artísticos: maneirismo, barroco, rococó e a transição para o neoclassicismo. Discorre sobre técnicas e materiais construtivos, a organização espacial das igrejas e sua inserção no tecido urbano. Analisa também os trabalhos de pintura e de entalhe que adornam os interiores das igrejas, evidenciando influências externas e padrões desenvolvidos no Estado de São Paulo. Realiza uma catalogação de arquitetos, artistas, entalhadores, escultores e pintores que atuaram nos templos pesquisados. Avalia a grande importância artística das igrejas e apresenta suas qualidades arquitetônicas, de pintura e de entalhe, evidenciando, em uma visão de conjunto, os elementos caracterizam a arte propriamente paulista desse período. Constata que a arquitetura e as artes religiosas de São Paulo formaram um conjunto expressivo e com influências várias e características únicas, de grande interesse e inestimável valor histórico e cultural.This thesis analyzes the architecture and ornamentation of 120 remaining urban churches in São Paulo, that was built in the colonial and imperial periods, observing the spatial and architectural changes that occurred in that since the building of the first Catholic churches in the state, in the sixteenth century, until the end of the imperial period, in the nineteenth century. Talks about the aesthetic standards of the following artistic periods: Mannerism, Baroque, Rococo and the transition to Neoclassicism. It discusses constructive techniques and building materials, the spatial organization of the churches and their role in the urban space. It also analyzes the works of painting and wood carver that decorate the interiors of churches, showing external influences and standards developed in São Paulo. It catalogs architects, artists, carvers, sculptors and painters who worked in this temples. Evaluates the artistic importance of the churches and presents its architectural, paint and carver qualities, showing, in an overview, the elements that characterizing the own art of São Paulo of this period. Notes that the architecture and religious arts of São Paulo formed a significant group and with various influences and unique features of great interest and inestimable historical and cultural value.
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Le, Doudic Kévin. "L'Inde vécue. De l'objet à la société, les français à Pondichéry (1770-1778)." Thesis, Lorient, 2016. http://www.theses.fr/2016LORIL397.
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Les recherches sur les compagnies françaises des Indes orientales connaissent depuis trois décennies un nouvel élan. Si aujourd’hui les volets économiques, administratifs et politiques du fonctionnement de cette aventure mercantile et de la présence française dans l’océan Indien sont bien connus, le cadre de vie quotidien de ses acteurs dans les comptoirs l’est beaucoup moins. Cette thèse propose de se concentrer sur la société française de Pondichéry et sur son environnement quotidien en prenant comme point de départ sa culture matérielle. À partir des archives notariales françaises de l’Inde au XVIIIe siècle, il est possible de redessiner cette société ultramarine et de saisir bien plus que le simple environnement matériel. Les modalités de l’implantation et de l’adaptation des Européens en Inde, peuvent ainsi être précisées. Ensuite, la structure proprement matérielle est identifiable : les approvisionnements des possessions françaises de l’océan Indien qui définissent la consommation, les choix et les logiques d’aménagement intérieur, etc. Enfin, l’environnement culturel dans lequel les européens évoluent dans les comptoirs de l’Inde est accessible, notamment grâce à l’étude du degré d’ancrage des individus dans la culture de l’océan Indien. Ont-ils cherché à préserver leur culture européenne, ou se sont-ils « indianisés » ? Des différences sont-elles visibles selon les époques, les catégories sociales et professionnelles étudiées ? Pour répondre à ces questions, les collections des musées européens et asiatiques, ainsi que le patrimoine architectural des comptoirs français de l’Inde du XVIIIe siècle, viendront enrichir et compléter les sources d’archivesOver the last three decades research on the French East India Company has seen a new impetus. If today the economic, administrative and political functioning components of this mercantile adventure and the French presence in the Indian Ocean are well known, the milieu quotidian of its players in the trading posts are less such. The present thesis focuses on French society in Pondicherry and on its daily environment, material culture being its starting point. Using the French notarial archives of India in the XVIII century, it is possible to redraw this ultramarine society and to understand much more than the simple material environment. The methods of the establishment and of the European adaptation in India can thus be clarified. Afterwards, the strictly material structure is identifiable: the supply of French possessions of the Indian Ocean, which define the consumption, the logic and choices of internal organization, etc. Finally, the cultural environment in which Europeans evolve in the Indian trading posts is accessible, notably as a result of studying individual’s degree of integration into the Indian Ocean culture. Did they seek to preserve their own European culture or were they ‘indianised”? Are there some differences noticeable according to the period, social categories and professionals studied? To answer these questions, the European and Asian museum’s collections, as well as the French trading posts architectural patrimony of India in the XVIII century, will enhance and complete the archive sources
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Mezinski, Zenon. "Les chemins du paysage : quatre artistes voyageurs autour de la Méditerranée (1780-1840). Jérôme-René Demoulin, Jacques Moulinier, François Liger, Antoine-Laurent Castellan." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30077/document.
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Entre 1780 et 1830, la conception du paysage évolue radicalement. Au tournant des XVIIIème et XIXème siècles, Rome accueille une fraternité d’artistes qui construisent un nouveau regard sur l’architecture et la nature, qui se place aux origines du paysage moderne. Les itinéraires artistiques de quatre paysagistes français, Jérôme-René Demoulin (1758-1799), Jacques Moulinier (1757-1828), François Liger (1757-?) et Antoine-Laurent Castellan (1772-1838) appartenant à cette même génération, constituent le sujet de notre étude. Entretenant tous un lien avec la ville de Montpellier, ces hommes, exerçant la profession de « dessinateurs voyageurs », empruntent des grands itinéraires à travers une Europe en guerre. Engagés au sein de missions scientifiques ou de voyages pittoresques, ces artistes réalisent une moisson de dessins depuis Madrid jusqu’à Constantinople. Cette étude se donne comme objectif premier de (re)constituer le parcours et la production de chacun des artistes afin de nous approcher de leur personnalité artistique. Le musée Fabre de Montpellier conserve, disséminée dans ses collections, une grande partie de ces dessins de voyage. Ainsi, un travail considérable de réattribution fut nécessaire afin d’élaborer quatre catalogues rigoureux et inédits relatifs à chaque artiste (450 dessins au total). Dans un second temps, l’analyse de ces corpus retrouvés et augmentés, donne à voir la place de chacun dans les tendances artistiques contemporaines. Ne formant ni un groupe, ni un échantillon d’étude, ces quatre hommes représentent en fait, par leur parcours et leur production, un fragment des pratiques contemporaines du paysage, depuis les vues pittoresques de Jacques Moulinier, héritières du XVIIIème siècle, jusqu’à l’intuition d’Antoine-Laurent Castellan, qui réalise des études dans la forêt de Fontainebleau dès 1819, préfigurant alors lesdéveloppements futurs du genre du paysageBetween 1780 and 1830 the conception of landscape, changed radically. At the turn of XVIIIth and XIXth centuries a brotherhood of artists were in Rome who had a new concept of the relationship between architecture and nature. The aesthetic journeys undertaken by these four Frenchmen of the same generation, Jérôme-René Demoulin (1758-1799), Jacques Moulinier (1757-1828), François Liger (1757-?) and Antoine-Laurent Castellan (1772-1838) are the subject of this study. Whilst following their profession as artists, travellers and making long journey across Europe in time of war, they maintained their link with the city of Montpellier. Involved at the heart of scientific investigations or making journeys in pursuit of the picturesque, these men made a harvest of designs from Madrid to Constantinople. The object of this study is firstly torediscover the individual journeys and drawings of each one and to come close to their individual aesthetic. The musee Fabre at Montpellier holds a large proportion of the drawings made during their travels within its collections. Thus in order to complete a definitive catalogue for each of these artists, 4 new catalogues from a total of 450 designs, a great deal of exacting research was necessary. Secondly to analyse each body of work to discover the place each one held in contemporary artistic trends more exacting study was required. These men form neither a group or a sample study. By their works and travels they represent a fragment of the landscape work of their time. Inheritors of their ideas in the XIXth century from the picturesque views of Jacques Moulinier, to the intuition of Antoine-Laurent Castellan, who made his studies in the forest of Fontainebleau from 1819, prefigure the future concepts of landscape
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Bagattoni, Emanuela. "Dal neoclassicismo al purismo : Pietro Tomba e l'archietettura a Faenza in et a' rivoluzionaria e napoleonica." Paris 8, 2010. http://www.theses.fr/2010PA084138.
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Après son inclusion dans la légation pontificale de la Romagne, au début du XVIe siècle, la ville de Faenza connaît deux siècles de relative stagnation culturelle. A l’écart des grands courants artistiques qui traversent l’Italie et l’Europe, elle retrouve, au fil des années, un grand élan idéologique et culturel : au cours du XVIIIe siècle, cet essor entraîne un développement exceptionnel de l’architecture et du décor, censé caractériser la ville pendant toute la période révolutionnaire et napoléonienne et la transformer dans l’une des capitales du Néoclassicisme. Grâce à l’action éclairée de quelques maîtres d’ouvrage locaux érudits et très bien renseignés sur les nouveautés internationales, tels que les Comtes Laderchi et Milzetti, les architectes G. Pistocchi, G. A. Antolini, P. Tomba, et le peintre F. Giani, ont la possibilité de réaménager la ville et de lui conférer son aspect néoclassique actuel. L’esprit novateur de Pistocchi, de Antolini et de Tomba, ne se limite cependant pas aux édifices : de nombreux projets nous montrent tout leur talent, leur grande culture et l’interaction entre leur style et les poétiques architecturales les plus avancées d’Europe. Pietro Tomba, en particulier, est négligé – à tort – par les chercheurs et les critiques tout au long du XXe siècle, malgré son rôle primordial dans le développement de l’architecture de la Romagne et dans la promotion de son évolution stylistique du Néoclassicisme au Purisme. En dépit de la similitude avec l’architecture visionnaire française de ses premières œuvres, dont la plupart sont restées à l’état de projet, les travaux réalisés par l’architecte vers la fin du Premier Empire et le début de la Restauration, s’inscrivent dans la continuité classique : caractérisés par une tendance à la sobriété et au « retour à l’ordre », ils semblent témoigner d’une parfaite compréhension des changements idéologiques, politiques et sociaux, qui affermissent les principes conservateurs de l’époqueAfter being included in the Pontifical Legation of Romagna, at the beginning of the 16th century, Faenza went through two centuries of cultural stagnation. Apart from the major Italian and European art movements, the town experienced important ideological and cultural changes. During the 18th century, these changes led to an exceptional architectural and decorative development that marked the local Revolutionary and Napoleonic era and transformed the town into one of the capitals of Neoclassicism. Cultured and modern enlightened customers, such as Count Laderchi and Count Milzetti, allowed the architects G. Pistocchi, G. A. Antolini, and P. Tomba and the painter F. Giani, to modernise the town and to contribute towards its present neoclassical style. But the new buildings are not the only innovation introduced by Pistocchi, Antolini and Tomba: besides being a clear demonstration of how brilliant and learned they were, their projects are an interesting example of interaction with the later European architectural and artistic poetics. During the 20th century, researchers and critics did not pay the due attention to these artists, especially to Pietro Tomba, a key figure in local architecture. Actually, he was one of the most important promoters of the stylistic evolution from Neoclassicism to Purism in the Romagna region. His youthful works – mainly projects dating from the Jacobin era – have many characteristics, which are typical of the French visionary architecture. The works dating from the end of the First Empire and the beginning of the Restoration period still subscribe to Classicism, but show a greater sobriety and sense of order. This tendency has to be seen as a perfect understanding of the ideological, political and social changes that were strengthening the conservative principles underpinning society during those years
Books on the topic "Neoclassicism (Architecture)"
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1728-1792, Adam Robert, ed. The work of Robert Adam. London: Bloomsbury Books, 1987.
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Rolf, Toman, and Bassler Markus, eds. Neoclassicism and Romanticism: Architecture, sculpture, painting, drawings, 1750-1848. Cologne: Könemann, 2000.
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Watkin, David. German architecture and the Classical ideal. Cambridge, Mass: MIT Press, 1986.
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Alessandro, Morandotti, Colle Enrico, and Bianchi Eugenia, eds. Milano neoclassica. Milano: Longanesi, 2001.
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Laudel, Heidrun. Gottfried Semper: Architektur und Stil. Dresden: Verlag der Kunst, 1991.
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McCormick, Thomas. Charles-Louis Clérisseau and the genesis of neoclassicism. New York, N.Y: Architectural History Foundation, 1990.
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Lee, Briant Hamor. European post-Baroque neoclassical theatre architecture. Lewiston: E. Mellen Press, 1996.
Find full textBook chapters on the topic "Neoclassicism (Architecture)"
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Fu, Chao-ching. "“Chinese Cultural Renaissance” and a Chinese Neoclassicism." In Routledge Handbook of Chinese Architecture, 610–22. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315851112-56.
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"Scandinavian Neoclassicism." In Architecture in the Scandinavian Countries. The MIT Press, 1991. http://dx.doi.org/10.7551/mitpress/1352.003.0006.
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James-Chakraborty, Kathleen. "Neoclassicism, the Gothic Revival, and the Civic Realm." In Architecture since 1400, 237–54. University of Minnesota Press, 2014. http://dx.doi.org/10.5749/minnesota/9780816673964.003.0016.
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"Neoclassicism, Gothick and the Picturesque, 1700 to 1799." In The Architecture of Wales, 129–41. University of Wales Press, 2018. http://dx.doi.org/10.2307/jj.14491508.16.
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"3. From Imitation to Abstraction in the Neoclassicism of Boullée, Soane, and Schinkel." In Modern Architecture: Representation & Reality. Yale University Press, 2010. http://dx.doi.org/10.37862/aaeportal.00084.006.
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"Mimesis Recast: Artistic Production in the Aftermath of Neoclassicism." In Function and Fantasy: Iron Architecture in the Long Nineteenth Century, 85–104. Routledge, 2016. http://dx.doi.org/10.4324/9781315583648-11.
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Suba, Zoltán. "Master and Disciple: Bertel Thorvaldsen’s Private Collection and Its Impact on Neoclassicism." In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History, 83–97. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.03.
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At the birth of archeology as a new science, Neoclassicism appeared on the stage of decorative and visual arts as well as that of architecture. The fascination with the rediscovered artifacts of antiquity led artists not to just collect them, but also to utilize them to rethink the legacy of Classical art and create something new out of it. One of the most admired masters of Neoclassicism, the Danish sculptor Bertel Thorvaldsen, had his own collection of antiquities which is now preserved in the Thorvaldsen Museum in Copenhagen. In the following I will attempt to capture the impact that these artifacts and plaster casts had on his work, and also point out how important his role was in the education of apprentices during his Roman period. To demonstrate its significance, I will turn to his Hungarian apprentice, István Ferenczy, and drawings, statues, and letters to connect both the master and the disciple to the ancient past.
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Bargellini, Clara, and Pamela Huckins. "Junípero Serra’s Tastes and the Art and Architecture of the California Missions." In Worlds of Junipero Serra. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520295391.003.0010.
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As art historians Clara Bargellini and Pamela Huckins show in Chapter 9, the missions, at least in Serra’s mind, were to be held together not just by violence but by a common devotion to Catholicism that was reinforced by architecture and art. Bargellini and Huckins show that Serra had a clear sense of how he wanted to adorn the missions in the Sierra Gorda and those of Alta California, and he saw architecture and liturgical art as an important tool in the conversion of Indians. Images of the Virgin, Christ’s Passion, and Franciscan saints all took center stage in the churches of the California missions, and Serra favored an older Baroque style over the emerging Neoclassicism.
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"Italianate Church Facades, Eclecticism, and Neoclassicism from Quebec to Senegal, 1654–1830." In Architecture and Urbanism in the French Atlantic Empire, 412–38. McGill-Queen's University Press, 2018. http://dx.doi.org/10.1515/9780773553767-016.
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Signorile, Nicola. "Pride and Prejudice." In Advances in Civil and Industrial Engineering, 52–77. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3613-0.ch004.
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The first building of the Murattiano district fell in 1954. Since then, a constant devastation, that between 1963 and 1964 alone counts more than 200 building replacements. Maybe the deterioration of the Murattiano district had already been decided in its birth certificate. Still, has the example contained in their best works truly disappeared or can we recognize nowadays its effect in some pieces of architecture that have most recently been built in Bari? Before expressing a judgment about quality, it is necessary to identify a list of all those cases that during the second half of last century and the first years of the new one and therefore in very recent times witness the innovations that were introduced in the local architectural culture. Innovations that concern the culture of the project and the styles of expression. Finally—through the search for the “ordinary” quality to build—the discovery of an unsuspected continuity between the compositional rule of the Murattiano neoclassicism and the experiences of the “Modern Murattiano.”
Conference papers on the topic "Neoclassicism (Architecture)"
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Олейник, Светлана. "Stylistic trends in the development of the architecture of the city of Chisinau in the XX-XXI centuries." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.13.
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Th e architecture of the city of Chisinau has been formed for more than a hundred years in diffi cult historical and socio-economic conditions, being infl uenced by the conceptual transformations of world architecture. During the study period, the architecture of buildings underwent a consistent stylistic transformation from historical to modern trends: eclecticism, neoclassicism, modernism, and postmodernism. In the last two decades, there has been an increase in the infl uence of conceptual direct ions of development of foreign architecture on the creative processes of postmodernist orienta tion taking place in Moldovan architecture. Th e research makes it possible to determine the current trends in the development of architecture in Chisinau, denoting them with the concepts – “Convergence”, “Reminiscence” and “contradiction”, which has a certain architectural and stylistic reference with corresponding compositional techniques that refl ect the polystylism of the development of world architecture.
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URSACHI, Rodica. "The contribution of the architect Alexandru Bernardazzi in the constitution of the constructive-plastic aspect of the city of Chisinau." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p272-277.
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The evolution of the architecture of Chisinau from the end of the 19th century to the beginning of the 20th century was conditioned by different historical, political, economic factors, etc., which imposed a certain stylistic typology of eclectic nature. The conceptual-decorative aesthetics of the buildings generally reflect the synthesis of two basic styles, interpreted in a rich variation of plastic forms - neoclassicism and the "Modern" style. During that period, several architects with training in the field and extensive knowledge in "historical" architecture were active. One of the architects who left his mark on the image of Chisinau is Alexandru Bernardazzi. Among the buildings made in a "classical" language can be named: Rascanu-Derojinschi Palace, etc. The "modern" stylistic peculiarities are visible in: the City Duma Building, etc., which are characterized by a pronounced eclectic aspect.
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Shamets, A. A. "NEOCLASSICS IN THE ARCHITECTURE OF NOVOSIBIRSK 1920s – early 1940s." In Regionalnie arhitekturno-hudogestvennie shkoli. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-281-3-2020-1015.
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Shamets, A. A. "NEOCLASSICS IN THE ARCHITECTURE OF NOVOSIBIRSK 1920s – early 1940s." In Regionalnie arhitekturno-hudogestvennie shkoli. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-275-2-2020-1015.
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Chovniuk, Yurii, Anna Moskvitina, Mariia Shyshyna, Serhii Rybachov, and Olha Mykhailyk. "Optimization of heat transfer processes in enclosing structures of architectural monuments located outside urban agglomeration." In 23rd International Scientific Conference Engineering for Rural Development. Latvia University of Life Sciences and Technologies, Faculty of Engineering and Information Technologies, 2024. http://dx.doi.org/10.22616/erdev.2024.23.tf113.
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Numerous architectural monuments throughout Ukraine were once proud and were the center of historical events. With a glorious and rich history, but forgotten by people because they are located outside the city limits and are not included in well-known tourist routes. Historic buildings are examples of neoclassicism, baroque, neo-gothic and many other styles. During Soviet times, they were turned into barracks, chemical storage facilities, food and weapon warehouses, and now they are empty and collapsing. A correct and calculated approach to reconstruction, restoration and monitoring of their further condition will make it possible to turn such objects into the cultural and historical center of a rural agglomeration. This will help maintain historical memory, preserve culture and heritage, and also give economic impetus to the development of the area where they are located. Leakage of worn-out enclosing structures is the biggest problem of abandoned architectural monuments. This causes uneven wetting of the structures. And then the task is posed of how to properly dry such enclosing structures and not damage them. All these old building envelopes are colloidal capillary porous bodies (CCPB). Drying of such massive structures occurs due to heating. The problem of the optimal heating rate of a massive colloidal capillary-porous body is considered. The restrictions that are imposed on the internal thermal stresses in the specified body are taken into account, especially at the first low-temperature stage when heating the colloidal capillary porous bodies. Due to the temperature distribution over the mass (over the cross-section) of the colloidal capillary porous bodies, compressive and tensile stresses arise inside the body. Colloidal capillary porous bodies can be destroyed by these stresses, leading to the appearance of various microdefects.