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1
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.
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Kostova, E. V. "THE MAIN TRENDS IN STALINIST EMPIRE STYLE IN WESTERN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 1 (February 27, 2019): 9–17. http://dx.doi.org/10.31675/1607-1859-2019-21-1-9-17.
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Understanding of the Stalinist Empire style allows finding an alternative to postmodernism architecture in the conditions of the current crisis of the Russian civilization. The aim of this work is to characterize the architectural style of the Western Siberian cities and show the general and particular character in its consecutive development. Theoretical prerequisites for this work lie in the fact that the general paradigm of Stalinist Empire style was formed during the proletarian cultural revolution, i.e. realization of the collectivism principle and associated creative remaking of the architectural heritage. Stalinist Empire style in the Western Siberia represents the economic regional analogue of such a collectivist architectural synthesis of traditions and innovations.The architectural genesis of the Stalinist Empire style is considered by means of the systems and sociogenetic approaches. The genetic approach to the Stalinist Empire style is used to describe three stages: genesis, differentiation and integration. This triad expresses the main tendencies in the development of the Stalinist Empire style in Western Siberia with a gradual approximation to the increasingly rigid type of the architectural environment. It is concluded that the Stalinist Empire style represents a polystylistic synthesis of traditions and innovations, such as neoclassicism and constructivism, order and extraorder forms, collectivism and statehood based on the conceptual continuity of the world, national and regional style directions. The internal and external forms of the Stalinist Empire style are functionalism, neoclassicism and art deco.The Stalinist Empire style is aesthetic, expressive and consecutive in all its analogues. It is characterized by a clearly defined trend to beauty, dynamic stability and architectural organization. This relates also to the Western Siberian variant that achieves a stronger artistic effect in the paper architecture. The pedagogical socially-organizational function of the Stalinist Empire style is upbringing of new personality. The specific character of the Stalinist Empire style in Western Siberia is greater combination, rigidity and structuredness of the architectural environment as a result of negative system selection from unfavorable conditions. The Stalinist Empire style of metropolitan is a discrete system, while that of Western Siberia is a rigid system.
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Jakti, Jalung Wirangga. "Lahirnya Kembali Neoklasikisme melalui Bangunan di Yogyakarta." INVENSI 5, no. 2 (November 27, 2020): 101–12. http://dx.doi.org/10.24821/invensi.v5i2.3859.
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Neoklasik adalah gerakan utama selama pertengahan abad ke-18 hingga akhir abad ke19 dalam seni dan arsitektur Eropa. Karya dengan gaya ini berfokus pada bentuk seni klasik barat Yunani Kuno dan Roma. Penelitian ini bertujuan untuk memahami Seni Neoklasik dalam arsitektur di Kota Yogyakarta. Penelitian ini menjadi menarik karena belum ada yang mengkaji bangunan neoklasik yang hadir di tengah keramaian Yogyakarta. Seni neoklasik dapat menjadi sarana hidupnya kembali zaman pencerahan Eropa dalam bentuk bangunan. Kita bisa melihat bentuk ideal dari arsitektur neoklasik dengan kekhasan kolom yang digunakan untuk menahan beban berat dari struktur bangunan. Dan atap yang biasanya memiliki bentuk pokok datar dengan bentuk minor yang lain. Gaya arsitektur neoklasik tidak memiliki kubah atau menara. Eksterior tersebut dibangun sedemikian rupa untuk menciptakan gaya klasik yang sempurna, seperti pada pintu dan jendela. Pada bagian eksterior penggunaan dekorasi sangat minimalis namun dengan penekanan geometris. Penelitian ini menghasilkan sebuah konklusi yaitu pembangunan berbagai lokasi dengan gaya neoklasik di Yogyakarta, membawa kembali semangat neoklasik sebagai pendorong kelahiran kembali gaya seni dengan kemurnian. Selain itu peraturan daerah dan kecenderungan komunitas membuat gaya ini semakin diminati.The Revival of Neoclassicism through Building in Yogyakarta ABSTRACT Neoclassicism was a major movement during the mid-18th century and continued into the early 19th century in European art and architecture. The creation of this style focuses on classical western art from Ancient Greece and Rome. This research aims to understand neoclassical art in Yogyakarta architecture. This research is interesting because there is no study yet of neoclassical buildings in Yogyakarta. Neoclassical art can be a way to relive the European Enlightenment in the form of buildings. We can see the ideal form of neoclassical architecture with unique columns that can withstand the heavy loads of standard building and roof structures with the main flat and other minor shapes. Neoclassical architectural styles have no domes or towers - the exterior is built to create the perfect classic style, especially for doors and windows. On the exterior, the use of decoration is very minimalist with geometric emphasis. These results suggest that the neoclassical style construction in several locations in Yogyakarta has revived the spirit of neoclassicism as the driving force for the revival of the pure art style. Moreover, local regulations and community tendencies make this style even more desirable.
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Shabiev, Salavat G., Ekaterina G. Prilukova, Viktoria G. Chudinova, and Olga R. Bokova. "Tectonic “interpretation” of neoclassicism in the evening and nighttime (on the example of Chelyabinsk)." Journal «Izvestiya vuzov. Investitsiyi. Stroyitelstvo. Nedvizhimost» 11, no. 2 (2021): 398–407. http://dx.doi.org/10.21285/2227-2917-2021-2-398-407.
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The aim was to analyse the architectural concept of neoclassicism, formed by the evening and night illumination in Chelyabinsk. The use of light compositions imparts artistic expression to the forms of architecture according to the requirements of ecologisation of the living environment. The knowledge in composition theory is combined with various fields of scientific knowledge, including a study of regulatory documentation and an analysis of existing architectural structures and those implemented based on a new ideology of form-making using modern technologies. This work studies domestic and foreign sources on the characteristics of tectonics, which is manifected in a new interpretation of archi-tectural structures and allowing new visualisation. We analysed the architectural-tectonic light systems formed in the city. A review of the existing concepts in architectural lighting is presented, which pro-vides complete identification and artistic comprehension of the uniqueness associated with urban her-itage. The collected theoretical material was assessed, and possible application of the research results was identified for developing the light master plan of Chelyabinsk following the international best prac-tice in designing the architectural and light environment of a megapolis.
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Lico, Gerard. "Rising from of the Ashes: post-war Philippines Architecture." Modern Southeast Asia, no. 57 (2017): 46–55. http://dx.doi.org/10.52200/57.a.up2jbxrh.
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The 1945 battle for liberation witnessed the massive decimation of Manila’s urban built-heritage and the irreplaceable treasures of colonial architecture. Despite the seemingly impossible task to resuscitate war ravaged Manila, it rose again. Out of the ashes, modernism provided the opportunity to craft a new architecture for a newly independent nation. Modernism emerged as the period’s architectural symbol of survival and optimism. In a post-colonial cultural milieu, Filipino architects pursued the iconography of national mythology channeled through the pure surfaces and unadorned geometries of modern architecture. They found in modernism a convenient aesthetic modus to denounce the colonial vestiges embodied in the infrastructure of American neoclassicism in pre-war Manila and sought to create new-built environments that conveyed emancipation from the colonial past and celebrate the vernacular forms processed through modernist geometric simplification. Modernism, therefore, was a logical choice, for it provided a progressive image. The Philippines post-independence architecture endeavored to dispense an image that stimulated a national spirit, inspired patriotism, and invoked faith in the unknown future of the national imagination.
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Tsvetkova, Polina O. "On the History of the Palladian Architecture in British Colonies. On the Example of the Singapore Architecture in the First Half of the 19th Century." Scientific and analytical journal Burganov House. The space of culture 18, no. 5 (October 10, 2022): 22–28. http://dx.doi.org/10.36340/2071-6818-2022-18-5-22-28.
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The article deals with the history of the spread of the Palladian tradition in the architecture of the British colonies. The reasons why the spread of the architectural style was not ubiquitous are revealed in detail. A list of English colonial possessions and a brief description of the specific policy conditions that influenced the architecture development in each of the regions are given. Specific examples demonstrate the change processes in the Singapore architecture. The selfless activity of F.Raffles, the Governor of Singapore, who was passionate about A.Palladio’s ideas in architecture, is described. Examples of projects of public buildings and private mansions are considered. Different periods of style transformation are highlighted; certain examples demonstrate the specific influence of local building materials, climate, public sentiment and social order on architecture. The question of the neoclassicism influence on Palladian architecture and the emergence of neo-Palladian design during the eclectic period is raised. Also, the description contains examples of architectural projects from other countries in the region, in particular Sri Lanka and Burma. Some of the examples go beyond the chronological period of the first half of the 19th century in order to demonstrate the establishment of the Palladian tradition in some countries of Southeast Asia. Colonial Palladianism is evaluated on the example of the architecture of Singapore and India.
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Kim, Anton. "Formation and development of the architecture of the Central Bank of Manchukuo." проект байкал 19, no. 72 (July 31, 2022): 134–39. http://dx.doi.org/10.51461/projectbaikal.72.1994.
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The article is devoted to the analysis of the development of the architecture of the Central Bank of Manchukuo in 1932–1945. The prerequisites for the development of the architecture of banking institutions in the region are considered. The key influence of the Japanese architectural school, which manifested itself to the greatest extent in the 1930s after the formation of Manchukuo, is revealed. The building of the head office of the Central Bank in Changchun, which incorporated the most advanced developments and approaches to the construction of such facilities, is described in detail. In addition, the variations of numerous branches located in other cities of the country are reviewed and the use of a single corporate style and stylistic ranking of objects depending on the location is revealed. The article analyzes the change of stylistic preferences from neoclassicism to functionalism, in which the compositional and planning structure remained unchanged, while the decoration underwent changes depending on the place and time of construction.
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Михайлова, Людмила Гавриловна. "ARCHITECTURE of the city of LESNOY in the 1950S." Академический вестник УралНИИпроект РААСН, no. 4(47) (December 29, 2020): 34–38. http://dx.doi.org/10.25628/uniip.2020.47.4.006.
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Предметом рассмотрения является начальный период формирования архитектурно-пространственной структуры закрытого города Лесной (Свердловск-45), построенного в Свердловской области в рамках реализации в стране атомного проекта СССР. Исследование проводится с целью изучения архитектурного и градостроительного наследия города периода 1950-х гг. до появления блочного домостроения. Исследования направлены на определение основных тенденций, легших в основу строительства Лесного, его архитектурно-градостроительных решений, ценностных характеристик ансамблевой архитектуры, типовой и повторной архитектуры, выполненной с использованием приемов и форм, присущих архитектуре советского неоклассицизма. В статье рассматривается первый «старый» район города, строительство которого относится к 1950-м гг. The subject of consideration is the initial period of formation of the architectural and spatial structure of the closed city of Lesnoy (Sverdlovsk-45), built in the Sverdlovsk region as part of the implementation of the USSR nuclear project in the country. The research is aimed at studying the architectural and urban heritage of the city during the 1950s before the advent of block housing construction. The research is aimed at determining the main trends that formed the basis for the construction of the Forest, its architectural and urban planning solutions, the value characteristics of ensemble architecture, typical and repeated architecture made using techniques and forms inherent in the architecture of Soviet Neoclassicism. The article deals with the first " old " district of the city, the construction of which dates back to the 1950s.
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Pechenkin, Il'ya E. ""THE ENGLISHNESS" IN I.V. ZHOLTOVSKY'S ARCHITECTURE. HORSERACING SOCIETY HOUSE." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 111–37. http://dx.doi.org/10.28995/2073-6401-2020-2-111-137.
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I.V. Zholtovsky’s name as well as his architecture are imagined as fully associated with Italian influences. Meanwhile, by the beginning of the 20th century, Italy was by no means the most significant country of palladianism: this stylistic movement had been developed much more in England, in addition the first monograph on Palladio was published in London (1902). Having studied the biographical documents of Zholtovsky, one can conclude that the “English theme” in his life was no less significant than the “Italian”. Moreover, this relation was not limited to the sphere of political or cultural preferences, but strongly affected the architect professional activities. By the example of Zholtovsky’s first independent work, the Horseracing Society house in Moscow, one can trace how the creative credo of Zholtovsky-neoclassicism was formed; how from imitation of the British Victorian style, through the study of English architectural books, he came to his own version of neoclassic style (that was so far from the patriotic-nostalgic features of the pre-revolutionary decades of Russian architecture).
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Михайлова, Людмила Гавриловна. "ARCHITECTURE OF NOVOURALSK IN THE 1940S AND 1950S." Академический вестник УралНИИпроект РААСН, no. 3(46) (September 30, 2019): 53–58. http://dx.doi.org/10.25628/uniip.2020.46.3.009.
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Предметом исследования является начальный период формирования архитектурно-пространственной структуры закрытого города Новоуральска (Свердловск-44), построенного в Свердловской области в рамках реализации в СССР атомного проекта. Целью является изучение архитектурного и градостроительного наследия послевоенного периода, определение его ценностных характеристик и основных тенденций. Рассматривается планировочная структура и архитектура центрального исторического района города 1940-1950 гг., показано использование принципов и приемов советского неоклассицизма. Работа выполнена по плану ФНИ на 2020 г. при поддержке РААСН и Минстроя России в соответствии с Государственной программой Российской Федерации «Развитие науки и технологий» на 2013-2020 гг., Программой фундаментальных научных исследований государственных академий наук на 2013-2020 гг. The subject of this research is the initial period of the formation of the architectural and spatial structure of the closed city of Novouralsk (Sverdlovsk-44), built in the Sverdlovsk region as part of the implementation of the atomic project in the USSR. The aim is to study the architectural and urban planning heritage of the post-war period, to determine its value characteristics and main trends. The planning structure and architecture of the central historical district of the city of 1940-1950 are considered, the use of the principles and techniques of Soviet neoclassicism is shown.
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Stevanović, Vladimir. "Racionalizam u arhitekturi: nekoliko modela instrumentalizacije / Rationalism in Architecture: Several Models of Instrumentalization." AM Journal of Art and Media Studies, no. 6 (October 15, 2014): 114–24. http://dx.doi.org/10.25038/am.v0i6.80.
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Rationalism in architecture is a European concept which, from Enlightment to postmodern era, advocates values of order, clarity and logic, represented through primary geometrism, functionalism, profitability and absence of ornament. The text connects and analyzes (1) formal-stilistic manifestations of rationalism in architecture: French neoclassicism; Soviet constructivism, German new objectivity, Italian rationalism; postmodern Italian neorationalism in the context of (2) dominant paradigms which directs them: divine nature; technological-utilitarian; autonomus-selfreferent, and (3) social, economic, ideological and cultural activities around which they are organized, such as: French bourgeois revolution; proleterian-communist, socialdemocratic and faschist ideas beteween two World wars; critical procession of populist values in mass consumer society and global capitalist economy at the threshold of postmodern era.
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Getka-Kenig, Mikołaj. "Chrystian Piotr Aigner, ancient monuments, and the architectural discourse of Polish resurrection in the Age of Revolution." Classical Receptions Journal 12, no. 2 (October 26, 2019): 175–99. http://dx.doi.org/10.1093/crj/clz019.
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Abstract The role of ancient classical monuments in the history of Polish neoclassicism at the turn of the nineteenth century may seem to be insignificant. However, among many building types, there was one in the case of which ancient classical monuments served as an important source of inspiration for contemporary building practice. It was the architecture of public commemoration that engaged in the discourse of national resurrection after the late-eighteenth-century partitions of the Polish state. Apart from their general associations with natural order and permanent stability, classical architectural models could directly invoke historical or mythological precedents which helped clarify the ambiguities of the resurrection. However, it is notable that such memorials did not only share the propagation of the idea of national resurrection. They also had the same designer, Chrystian Piotr Aigner (1756–1841), who showed an exceptional interest in ancient architecture. This article argues that not only the direct engagement of those commemorative structures in the discourse of national resurrection, but also the choice of the designer with a special penchant for classical antiquity accounted for the unusual use of classical models as design templates in those specific architectural undertakings.
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Salmon, Frank. "‘Our Great Master Kent’ and the Design of Holkham Hall: A Reassessment." Architectural History 56 (2013): 63–96. http://dx.doi.org/10.1017/s0066622x00002458.
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Few questions have more exercised historians of eighteenth-century British architecture over several generations than that of the authorship of the design of Holkham Hall in Norfolk. The house, built between 1734 and 1765, is the quintessential domestic example of English Palladianism at its most Neoclassically extreme. Almost every feature of Holkham's exterior elevations replicates motifs to be found in Antiquity, transmitted through Andrea Palladio or other sixteenth- and seventeenth-century sources, whilst inside not a single painted god, hero or saint complicates the clearly defined surfaces of the damasked walls or coffered ceilings. As a result, Holkham is a building of high international importance since, as John Summerson put it in describing the roots of later eighteenth-century Neoclassicism, it was in earlier eighteenth-century England that ‘the first categorical revolt against the Baroque and the first architectural statements of the new attitude are to be observed’.
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URSACHI, Rodica. "Stylistic way of Chisinau archtecture from the end of the XIX to the beginning of XX centuries." Arta 31, no. 1 (September 2022): 45–51. http://dx.doi.org/10.52603/arta.2022.31-1.06.
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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-stylistic and typological character of the architectural monuments in Chisinau was determined by the regulations imposed by the new authorities based on the observance of urban projects specific to the Russian Empire, the preferences and aesthetic taste of architects and, to some extent, the wishes of sponsors. 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. The architects who have left their mark on the image of Chisinau are: Alexandru Bernardazzi, Henrich von Lonsky, Mitrofan Elladi, Vladimir Țiganco, Alexei Sciusev and others. Among the buildings made in a “classical” language can be named: the the Girls’ Gymnasium of Bessarabian Zemstvo, Rascanu-Derojinschi House, etc. The modern stylistic peculiarities are visible in the City Duma Building, the Girls’ Gymnasium “Princess Natalia Dadiani”, Vladimir Herța’s House, etc., which are characterized by a pronounced eclectic aspect.
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Babadzhan, Svetlana G. "Neoclassicism in Architecture and Poetry of the 1910s and 1910s: The Commonality of the Problem Field." Actual Problems of Theory and History of Art 12 (2022): 414–25. http://dx.doi.org/10.18688/aa2212-05-31.
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Chesné, Amaury, and Romanos Ioannidis. "An Investigation of the Perception of Neoclassical, Eclectic, Modernist, and Postmodern Architecture within Different Urban Landscapes: Athens vs. Paris." Land 13, no. 3 (March 7, 2024): 340. http://dx.doi.org/10.3390/land13030340.
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The public perception of buildings belonging to different architectural movements is a largely unexplored area from a quantitative scientific perspective. However, a better scientific understanding of perceptions of architectural movements is important for the formation of improved planning and design policies. In this work, we carry out an initial exploration of the public preferences of the architectural movements of Neoclassicism, Eclecticism, Modernism, and Postmodernism. To this aim, a total of 103 citizens from Athens (Greece) and Paris (France) were presented with the same questions regarding their opinions on buildings belonging to those movements. In the analysis and interpretation of the collected data, the different cultural, professional, and demographic characteristics of participants were then considered, as well as the role of the urban landscapes of Athens and Paris as the historical, societal, and aesthetic contexts that influence and shape perceptions. The results demonstrated a clear and uniform prevalence of Neoclassical architecture in terms of positive public perception in both cities. Similarly, in both cities, Eclecticism followed with a relatively more positive perception than Modern and Postmodern architectural styles, which were rated the lowest. However, a significant difference between the two cities was that when participants singled out their primary favorite style, Modernism enjoyed higher favorability in Athens than in Paris. These findings and their theoretical exploration provide inferences into the complexities of public perceptions of architectural styles, with potential implications for the integration of citizen preferences into future research on architectural/urban design and planning.
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KOTENKO, Irina A. "THE SINGULARITY OF THE DOME’S FORMS OF SAMARA’S ART NOUVEAU ARCHITECTURE AND ECLECTICISM OF THE EARLY 20TH CENTURY." Urban construction and architecture 8, no. 2 (June 15, 2018): 122–29. http://dx.doi.org/10.17673/vestnik.2018.02.21.
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The paper examines one of the characteristic fi nishing elements of the roofs of buildings - the dome. The originality of forms and varieties of their application is noted, fi rst of all in the Аrt Nouveau architecture, as well as in neoclassicism and various stylizations in the provincial city of Samara of the beginning of the 20th century. The author emphasizes the special signifi cance of the peculiar form in the composition of the building and the town-planning application. The widespread varieties of domes in the considered period of town-planning development are investigated and classifi ed. Due to its infl uence on the surrounding area, panoramas and silhouett es of the city, the domes retain their special town-planning signifi - cance. In the modern architecture of Samara, there has been an interest in this composite element, which is a kind of code of a historical city. The article considers modern examples of dome completions in Samara buildings.
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Lisitsin, Vasily. "Classics with a constructivist past." проект байкал, no. 79 (April 6, 2024): 134–39. http://dx.doi.org/10.51461/issn.2309-3072/77.2300.
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The article traces the change in the style approach during the Stalin era, taking as an example the building of the East Siberian Railway Administration (7 Karl Marx St., Irkutsk). The author considers the stages of construction and reconstruction of this object, from the initial project in the style of constructivism by K. V. Mital to the project by D. M. Goldstein in the style of Soviet neoclassicism.
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Schmidt, Freek H. "Expose Ignorance and Revive the "Bon Goût": Foreign Architects at Jacques-François Blondel's École des Arts." Journal of the Society of Architectural Historians 61, no. 1 (March 1, 2002): 4–29. http://dx.doi.org/10.2307/991809.
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This article focuses on four foreign architects who attended Blondel's school during the 1740s and 1750s: the Dutch architect Pieter de Swart, Sir William Chambers, and German architects Simon Louis du Ry and Karl Philipp Christian von Gontard. Through analysis of relatively unknown documentary evidence, the author reconstructs the actual content of Blondel's teachings. These sources underline Blondel's importance as a promoter of the study of architecture at all levels of society, a principal teacher of both theory and design, a master of spatial organization, a critic of contemporary architectural taste (Rococo and early neoclassicism), and an enthusiastic advocate of the interests of the architect as a professional in control of the entire building process. On the whole Blondel's views were heartily embraced by his foreign students. These facts suggest that, from an international perspective, Blondel should be regarded as a major propagator of the renewal and revival of the language of classicism and not merely as a traditionalist or as the last great theoretician of the Renaissance. Designs completed by his foreign students in their subsequent careers illustrate Blondel's efficacy in changing attitudes to classical architecture and theory, particularly outside France. After their schooling at Blondel's École des Arts, Chambers, de Swart, du Ry, and Gontard all rose to important positions in their homelands and, thanks to their acquired skills, used their education to redirect the practice of architecture. Moreover, their approaches to architectural education, theory, design, history, and contemporary taste clearly distinguished them as disciples of Blondel. To a large extent, they personified Blondel's new professionalism and were responsible for spreading his doctrine and renewed classicism throughout Europe during the second half of the eighteenth century and, at least in part, for carrying it well into the nineteenth century.
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Penyaz, Tatyana. "STAGES OF STYLISH DEVELOPMENT OF THE ARCHITECTURE OF ELIZABETHGRAD AT THE SECOND HALF OF THE 19TH – BEGINNING OF THE 20TH CENTURY." Urban development and spatial planning, no. 82 (February 3, 2023): 309–23. http://dx.doi.org/10.32347/2076-815x.2023.82.309-323.
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The article is devoted to the architecture of Yelysavetgrad at the second half of the 19th century and the beginning of the 20th century, that forms a large part of the historical center of the city and contains information about the development of medium-sized cities in southern Ukraine. The article presentes a classification of stylistic features and stages of the development of the Yelisavetgrad architecture of the period under study. On the basis of field surveys, studses of literary and archival sources, patterns of stylistic development, depending on the preferences of the time and the functional purpose of the buildings were revealed.
In the development of Yelisavetgrad architecture of the studied period, four stages are distinguished: two stages of the development of eclecticism and two stages of the development of modernism. The first stage is characterized by a close connection with the classical heritage of the previous period and the influence of romanticism. It was called retrospective, because historical prototypes were used in the creative search for new forms. At the second stage, eclectic combinations of forms and decor were developing.
The third stage is the most innovative. It is characterized by the development of international trends of modernism (decorative and rational) in combination with forms and directions of eclecticism. A combination of modern and ancient is observed in modern architecture. At the final stage, neoclassicism is more pronounced and complete than in previous periods. The article analyzes the connections between stylistic directions at each stage and their genesis during the studied period.
Stages in the architecture of the studied period differ in the quality of changes in the stylistic development of the research objects. The results of the study represent the classification of objects according to the period of construction, of the stylistic direction and typology. This work can be used in further studies of the features of the architectural and planning development of Yelisavetgrad architecture in the second half of the 19th and the beginning of 20th centuries.
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Hafertepe, Kenneth. "An Inquiry into Thomas Jefferson's Ideas of Beauty." Journal of the Society of Architectural Historians 59, no. 2 (June 1, 2000): 216–31. http://dx.doi.org/10.2307/991591.
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A careful reading of eighteenth-century aesthetics provides a view of Thomas Jefferson's thinking about art and architecture quite different from the existing scholarly paradigm. Jefferson owned, read, and quoted Enlightenment philosophy and criticism, most notably that of Henry Home, known as Lord Kames. Far from privileging reason over emotion, these philosophers held that all people are created with innate senses of beauty and morality, as well as a rational faculty. Because of the sense of beauty, certain qualities in objects can inspire the idea of beauty in the mind; other ideas of beauty are comparative, requiring use of the rational faculty. Jefferson's aesthetic theory was informed by his understanding of the human mind, which led to an architecture rooted in good proportion and to didactic paintings rooted in history ancient and modern. As with other Enlightenment thinkers, Jefferson endorsed the entire classical tradition, admiring not only the architecture of ancient Rome and modern Paris but also of Palladio and the French Baroque. Similarly, he admired the work of minor Baroque painters as well as the neoclassicism of Jacques-Louis David. Nor was Jeffersonian classicism nationalistic; rather, he endorsed the Enlightenment concept of a universal and uniform standard of taste.
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Bertash, Alexander V. "A. Poleshchuk: Creative Biography of the Russian-Estonian Architect and a Retrospective Direction in Russian Church Architecture of the Early 20th Century." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 647–65. http://dx.doi.org/10.21638/spbu15.2022.405.
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This article is devoted to the creative biography of the largest Russian-Estonian architect at the turn of the 19th–20th centuries A. Poleshchuk and retrospectivism in Russian church architecture at the beginning of the twentieth century, which was his main creative method. The works and biography of the great master are still poorly studied, scientific publications are practically not devoted to him. At the same time, being a pupil of the St Petersburg Academy of Arts, the architect was awarded the title of architecture academic, the position of professor, proved himself in the capital as the author of such monumental structures as the Geological Committee and the Church of St Isidor with the house of the St Petersburg Orthodox Estonian brotherhood. He owns the project of the most monumental Orthodox church in the Baltics of the twentieth century — the Assumption Cathedral of the Pyukhtitsa Monastery, where he worked from his student years under the guidance of his teacher prof. M. Preobrazhensky. A native of Estonia and an Estonian himself on the maternal side, the architect made an invaluable contribution to the formation of a professional architectural school in the country. He was the chairman of the Estland Engineering Society and the Estland Technical Society in Petrograd, then was actively involved in teaching in Tallinn as professor of architecture at Tallinn Polytechnic College and chief architect and educational adviser to the Construction Board. A. Poleshchuk is known as an architectural theorist, a specialist in the theory of vaults, the author of the fundamental courses “Lectures on the art of building” in 10 volumes, and a two-volume guide to bridge construction. The article examines in detail the main milestones in the creative path of A. Poleshchuk in the context of the history of architecture at the beginning of the 20th century, mainly, church retrospectivism. The features of his work, diverse in typology and stylistics (Russian style, neoclassicism, neo-Renaissance, neo-baroque), are analyzed. In conclusion, a stylistic classification of the retrospective directions of church architecture of the late 19th — early 20th centuries with examples of relevant monuments is proposed. The article is based both on little-known published materials and, mainly, on newly discovered archival documents from the depositories of St Petersburg, Tartu, Tallinn.
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Senkiv, Z. "DECORATIVE ELEMENTS OF THE POSTMODERNIST BUILDINGS OF THE LVIV SCHOOL OF ARCHITECTURE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 5, no. 2 (November 9, 2023): 160–65. http://dx.doi.org/10.23939/sa2023.02.160.
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This study summarizes the results of the analysis of three dozen architectural objects in Lviv based on which presents architectural school in Lviv and its transition towards postmodern stylistics. The article considers the analysis of the phenomenon of postmodern architecture, in particular one of the key issues of the discussion with modernism - the possibility and nature of decorating the facades of buildings. Firstly, the role of geometric-decorative ornamentation as an indicator of the emergence of the so-called "Carpathian style," considered a proto-postmodernism, into a full-fledged postmodern architectural language was identified. Subsequently, the gradual disappearance of this ornamentation served as an indicator of the return to modernist paradigms, albeit in a significantly distinct form from the late Soviet neoclassicism. Additionally, the presence of such decorative elements in the Lviv context suggests that the same fundamental factors contributing to the development of postmodernism in North America and Europe were at play in this region. Secondly, the artistic and compositional peculiarities of postmodern decorative motifs in the Lviv architectural school were investigated. It was found that the architects from Lviv occupied a complex and ambivalent position concerning their search for alternatives to modernism. While their fundamental design principles and concepts displayed clear contrasts, on the level of details, particularly in decorative elements, they actively drew from modernist culture, specifically abstract art. Finally, potential directions for further research on the phenomenon of postmodernism in Lviv were outlined, with a specific focus on evaluating the decorative language of buildings from that era. The study proposes the hypothesis that during the 1990s to the early 2010s, a distinct system of geometric-decorative ornamentation might have begun to take shape within the Lviv architectural school. However, this development did not progress further due to the shift in design approaches and the adoption of neo-modernist architectural language. Further exploration of this aspect may shed light on the unique architectural developments in Lviv during that period.
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Markovskyi, Andrii. "LOCAL IDENTITY AND FEATURES OF THE ARCHITECTURE OF KYIV IN THE FIRST HALF OF THE TWENTIETH CENTURY." Urban development and spatial planning, no. 76 (March 1, 2021): 150–59. http://dx.doi.org/10.32347/2076-815x.2021.76.150-159.
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The article presents an analysis of the compilation of local and regional features of the development of Kyiv at the beginning of the last century, which arose as a reflection on global socio-political, economic and cultural transformations. In particular, successive iterations of the main city-forming function, "invented traditions" in their local manifestation, local decorative techniques ("brick style") and terrain subordination are studied. Mentioned as domestic (J. Yu. Karakis, P. F. Alyoshin, V. G. Krychevsky, V. G. Zabolotny, D. M. Dyachenko, and others) as all- Soviet architects (J. G. Langbard, I. O. Fomin and others).
The concept of invented traditions according to E. Hobsbawm is extrapolated to the field of architecture through the prism of artistic and cultural context. The localization of traditions and the corresponding separation are presented in the concept of T. Eriksen: as a means of self-identification and response to the need to create an internal coordinate system for representatives of individual groups.
The article summarizes a series of author's researches devoted to a detailed analysis of each of the mentioned artistic transitions in Kyiv architecture (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), being part of a global analysis of the genesis of city architecture in a global context. A detailed analysis of the objects identified in the article is presented in other works of the author.
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Yıldız Kuyrukçu, Emine, and Hatice Ülkü Ünal. "Examining “Eclektic”, “Kitch” “Neoclasic” and “Orientalist” architectural production methods on university structures." Journal of Human Sciences 18, no. 1 (March 31, 2021): 108–30. http://dx.doi.org/10.14687/jhs.v18i1.6143.
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Postmodern architectural products that can be described as kitsch have become rapidly consumed objects because they have appealed to the whole society. As a demand stimulating, easily comprehensible, and rapidly consumable product, kitsch has gained an important place in postmodern culture and architecture. These features of kitsch have easily made it a paradoxical part of consumption culture. After the Neoclassical boom in the 18th century, architectural movements such as Eclecticism, Orientalism, and Historicism became widespread in the 19th century. Towards the end of the 20th century, these tendencies came to the fore again within the Postmodern paradigm, and new kitsch architectural structures have begun to be produced in these undertakings in accordance with the spirit of the period. Eclecticism which has become prominent again in postmodern architecture has been referred to as neo-eclecticism or eclectic populism and has been defined as a style that ‘complexity, uncertainty and contradictions’ are expressed, ‘references from history and symbolic elements are used. Together with various historical forms in the postmodern period, orientalist images have been also used. Images consisting of stylized views of the Western culture on the Orient and that are not based on an authentic eastern depiction have been used in the production of orientalist architectural form. In recent years, eclectic, kitsch, orientalist, neoclassical forms that are independent of context and time have been frequently encountered in architectural applications in also Turkey. On one hand, elements from Turkish culture have been used and on the other hand, architectural elements from foreign cultures have been preferred. It is seen that there have been contradictions between form and meaning in educational structures built in Turkey during the period that the paradigms of the Postmodern era have been dominant. In this study, it is aimed to read and analyze the concepts of kitsch, eclecticism, neoclassicism, orientalism in the postmodern paradigm on recent university buildings and campus portals. In line with this purpose, an extensive literature research was conducted within the scope of the study; in the case study, recent university buildings and portals were analyzed in terms of postmodernism, the historical periods and architectural elements they derived were determined.
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Sansieva, Anna V. "Ferdinando Fuga and Nicola Salvi: “Contro il Barocco” Architecture and the Threshold of Neoclassicism in the Italian Architecture in the First Half of the 18th Century." Actual Problems of Theory and History of Art 10 (2020): 133–41. http://dx.doi.org/10.18688/aa200-1-12.
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Bazilevich, Mikhail E., and Anton A. Kim. "STYLISTIC FEATURES OF THE EUROPEAN ARCHITECTURE OF BANKING INSTITUTIONS IN GUANGZHOU LATE 19TH – EARLY 20TH CENTURY ON THE EXAMPLE OF SHAMYAN ISLAND." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 5–17. http://dx.doi.org/10.17223/22220836/41/1.
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The article is devoted to the architecture of European banking institutions in Guangzhou, built on the territory of Shamyan island in the late 19th – early 20th century. A brief historical excursion into the history of the formation of the British and French concessions is given. This publication examines the stylistic and compositional features of the architecture of such banking institutions as: Hong Kong and Shanghai Banking Corporation; The Chartered Bank of India, Australia and China; International banking corporation (City Bank); Bank of Taiwan; Commercial Corporation of Mitsubishi; Yokogama Specie Bank; The E.D.Sassoon & Co.Ltd. и D. Sassoon Sons Co. Ltd; Bank of Indochina; China & France Industry Bank. A composite and stylistic analysis was conducted, an iconographic description of the buildings of the main banks located within the boundaries of the former European concessions on Shamyan Island is given The study reveals the general principles of the development of the architecture of banking institutions in Guangzhou. The materials and results of the research carried out by the authors of this article allowed us to formulate the following conclusions: 1. The territorial isolation of the Shamyan island from the Chinese part of Guangzhou, as well as the operation within the concessions of British and French laws, contributed to the fact that the development of the architectural ensemble of the island as a whole was carried out in line with the advanced West European architectural and urban trends. 2. Most of the banking buildings here are built in the eclectic style with the predominance of neoclassicism features, of course, this fact is connected with the desire of the owners of bank corporations to demonstrate to the clients and competitors the financial strength of their organizations. 3. In the architecture of the considered banking institutions there is an active use of tectonics and elements of the order system, colonnades, arcades, the allocation of the first floor in the form of a rustic plinth. The motifs of Renaissance architecture, Baroque and Art Nouveau are also traced. 4. The formation of the appearance of banking buildings in Shamyan was strongly influenced by local conditions. The hot and humid subtropical climate of the south of China contributed to the spread in the architecture of the structures of this type of order colonnades, forming deep open verandas, as well as the use of X-shaped creaks-elements to ensure the natural ventilation of buildings, which, in addition, became an expressive element of the facade decoration
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Tsvetkova, Polina O. "PALLADIAN ARCHITECTURAL UTOPIA OF HAGA PALACE." Scientific and analytical journal Burganov House. The space of culture 19, no. 1 (February 10, 2023): 32–40. http://dx.doi.org/10.36340/2071-6818-2023-19-1-32-40.
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The article considers the architecture of Swedish classicism on the example of the history of the project creation of the Haga Palace near Stockholm, the most grandiose Palladian ensemble of the 18th century in Sweden. The description of the project’s specific features is made against the background of an analysis of the general historical and cultural background of the era. The role and influence of the personality of the customer and practical co-author of the palace project, King Gustav III, an enlightened Voltairian monarch, is revealed in particular detail. The characteristic features of the Swedish line of the Palladian movement and their manifestation in the Haga ensemble are analysed. The definition of the national style of Gustavian classicism, the actual synonym of the Palladian style in Sweden, is given, and, at the same time, its differences from other branches of the development of Palladianism are highlighted. The article tells in detail about the stages of creating the Grand Palace project. The chronology of the work on the project of various architects, in particular O.S.Tempelman and L.J.Desprez, their contribution to the planning solution of the ensemble, the development of the facade and the specifics of interior decoration are described. In addition, the experience of creating an English landscape park in the royal estate of Haga, designed by court gardener F.M.Piper, is shown. The connections between the architectural style of the project and French classicism and neoclassicism are revealed. Analogies with A.Palladio’s project of the Doge's Palace in Venice and the ideas of the late Renaissance are drawn. Similar features of the megalithic scope of the Haga Palace complex and the project of the ensemble of the Grand Kremlin Palace by V.Bazhenov are pointed out. An assessment of the practical significance of this colossal construction project for the development of architecture in Sweden is given.
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Fleming, Patrick, Petronella Mill, Marcelo Rovira Torres, and Anders Bergström. "Recovering the Historical Construction and Materials of Erik Gunnar Asplund’s Stockholm Public Library." Docomomo Journal, no. 71 (July 1, 2024): 13–23. http://dx.doi.org/10.52200/docomomo.71.03.
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This work presents the first detailed study of the construction and materials of the Stockholm Public Library. As the building undergoes a rare period of maintenance and renovation, the floors and walls of the library are examined from three perspectives. First, using available but limited archival documents and plans; second, with non-destructive ground-penetrating radar measurements; and finally, through on-site surveys during local interventions for the maintenance and renovation process. The ensuing results emphasize the complementary nature of this combined research approach in recovering lost or forgotten construction details and further reveal several important findings. In the case of the unique wall finishing of the library’s rotunda, multiple layers of lime mortar, each varying in thickness and coarseness, were used to build up and craft the relief-like interior wall surface. With the use of in-situ aerated concrete and prefabricated Solomite panels in the library’s 1931–32 floor construction, a material connection between Asplund and the broader modern movement in architecture is further highlighted. At first glance, these construction-related findings seem to reinforce the common architectural narrative of the library as a transitional project between neoclassicism and modernism. At the same time, however, the library’s separate periods of construction of 1925–28 and 1931–32 and their distinct materials can be seen as a continuity of construction culture, with the innovative use of local raw materials related to the Swedish landscape.
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Makała, Rafał. "Nawiązania do tradycji nowożytnej w ceglanej architekturze wczesnomodernistycznej północnych Niemiec." Porta Aurea, no. 17 (November 27, 2018): 94–111. http://dx.doi.org/10.26881/porta.2018.17.04.
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One of the manifestations of the so called ‘conservative modernism’ was the reference to the brick building tradition in Northern Germany. The trend was primarily associated with the activities of Fritz Schumacher and Fritz Höger in Hamburg and Bremen in the 1920s and 1930s, but the genesis of this architecture dates back to the first decade of the 20th century and is associated with the attempts to shape North German patriotism. Just as in the art of neo-Gothic, brick architecture of ‘conservative modernism’ was meant to express the ‘North German Identity’, and in fact help in the creation of identities of the Bismarck Germany. Like the late neo-Gothic architecture, this architecture was perceived as a kind of ‘Hanseatic style’, reflecting the specificity (perceived in a mythologized way) of the Hanseatic League as a prefiguration of the New Germany and their power in maritime trade. Early-modern architecture continued to refer to the art of the past. However, the way of referring to the past changed: with only few quotes from the old art, with a considerable simplification of historical styles’ and so did the historical point of reference. In addition, the modernists became more interested in the brick building of the 17th and 18th centuries, the times of the Baroque and early Neoclassicism. Tis is evident in the works of the most important architects of North German modernism, including Fritz Höger, Fritz Schumacher, or Bruno Möhring but also works of lesser-known, though certainly interesting artists like Johann Garlef, Erich Blunck or Eugen Prinz. The interest of the North German architects of early modernism in brick construction is an element of a wider process that had been thriving in Northern Germany since the early 1900s. Interestingly enough, this process was equally intense in great artistic centres (Hamburg and Bremen) as well as in less-significant cities which were looking for their identity or tried to recreate it, as was the case in Kiel, Lubec or Szczecin. Tis paper is an attempt to show the evolution of this architecture and its most important features. The examples have been selected to show the most important characteristics of this architecture and its geographical range.
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Barraclough, Rosanna. "Reassessing Joseph Bonomi the Elder: The Hawksmoor Prize Essay 2021." Architectural History 65 (2022): 195–226. http://dx.doi.org/10.1017/arh.2022.10.
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ABSTRACTIn the early nineteenth century, Joseph Bonomi the Elder (1739–1808) was one of the best-known architects in Britain — so much so that he figured in Jane Austen’s Sense and Sensibility (1811) — but his reputation subsequently declined and diminished to the extent that, in the current literature on British architecture of the late eighteenth and early nineteenth century, he is little more than a footnote. In a circular process, this excision directly contributed to the demolition of some of his most important work — above all, Rosneath House in Dunbartonshire — on the grounds that it was designed by an architect of little importance, which in turn makes it all the harder to recapture and appraise his architecture. The article explores both the reasons for the excision and the nature of Bonomi’s work. Drawing on the limited available evidence as well as hitherto unused construction drawings of Rosneath, the article repositions Bonomi as an Italian architect working in London — first for the Adam brothers and then on his own account — and examines the qualities of his designs and the factors that led to him being excluded from the inner circle of the artistic establishment, most notably the Royal Academy. In doing so, it sheds new light both on developments in neoclassicism in the period, specifically the ‘stripped down’ style that Bonomi espoused, and on the xenophobic and anti-Catholic currents in London at the time, which appear to have continued to influence his posthumous reputation.
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Bagina, Elena. "There is a Prussian spirit here, but it smells of Russia..." проект байкал 19, no. 74 (January 5, 2023): 86–95. http://dx.doi.org/10.51461/pb.74.16.
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After the Great Patriotic War, the Russian settlers were going to build their own world on the ruins of Königsberg and other cities in East Prussia, from where the Germans were deported in 1947. Architects designed neoclassical ensembles, but those plans were not realised. The Soviet towns of East Prussia were built up in the 60s and 70s with five-storey panel blocks and faceless modernist public buildings. The Kaliningrad region did not receive the Soviet identity associated with constructivism and neoclassicism, nor did it ever have a Russian identity. Today people discuss a diffusion of German and Russian cultures, but in reality it comes down to a call to restore the remaining German pre-war buildings and to bring the new buildings in line with them, using explicit and implicit quotations. There are no bearers of German culture in the Kaliningrad region.
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Roark, Ryan. "“Stonehenge in the Mind” and “Stonehenge on the Ground”:." Journal of the Society of Architectural Historians 77, no. 3 (September 1, 2018): 285–99. http://dx.doi.org/10.1525/jsah.2018.77.3.285.
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In Stone-Heng Restored (1655), Inigo Jones, the father of English neoclassicism, used drawings, histories, and questionable logic to argue that Stonehenge was built by the ancient Romans and that it originally exhibited perfect Platonic geometries. This argument was never given much credence, but by 1725 the subject matter and the architect had received enough attention that two book-length responses (a challenge and a defense) were published, and both were then republished in a single volume alongside Jones's original text. While most Jones scholars have neglected this work because of its logical and historical shortcomings, Ryan Roark argues in “Stonehenge in the Mind” and “Stonehenge on the Ground”: Reader, Viewer, and Object in Inigo Jones's Stone-Heng Restored (1655) that it was in fact exemplary of what made Jones, for many, a protomodern architect and scholar. Rather than viewing Jones's book as an earnest attempt to prove a historical inaccuracy, Roark considers it as an exercise in formal analysis, one that set the precedent for the contemporary pedagogical trend of using geometric simplifications of existing structures as a first step in new design. Jones's idiosyncratic reading of Stonehenge belied the idea that such analysis could be anything but intensely reliant on the subjectivity of both architect and viewer.
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Suhrcke-Caballero, Gunther, and Katherine Gondeck-Cepeda. "Las intervenciones en el Palacio de La Moneda de los siglos XIX, XX y XXI. Los proyectos y sus arquitectos." Arquitecturas del Sur 40, no. 62 (July 31, 2022): 40–61. http://dx.doi.org/10.22320/07196466.2022.40.062.03.
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The Palacio de La Moneda, or La Moneda Palace, is the seat of the Presidency and the Executive Power of Chile, the Ministry of the Interior and Public Security, the General Secretariat of the Presidency, and the General Secretariat of the Government. It is one of the main historical and most important buildings in Chile in terms of its current representative function, as the Government Palace. Since its construction, in 1786, it has been the witness and star of the historical-political and social-urban evolution of the nation, of events that have been expressed in its own architectural metamorphosis and the evolution of the urban fabric. Designed by architect Joaquín Toesca, a disciple of Francesco Sabatini, a professional of the court of Carlos III, King of Spain (1759-1788), the Palace is the main example of Neoclassicism in Chile. It was inaugurated in 1805 as the Royal Mint of Santiago, to mint the kingdom's currency. After the independence of Chile, in 1845, the Seat of Government and Presidential Residence moved to the building. It is on this date that it adopts its representative function, and therefore, the moment where the first important modification of its floorplan took place, beginning a process of continuous evolution characterized by the dynamic transformation and permanent adaptation of its architecture, through successive interventions, functional updates, and its reconstruction after the 1973 air raid. The lack of an organized and detailed record of its permanent alterations makes it difficult to understand them from their current state and for possible future interventions. As a result, this article presents the most important and significant changes on the perception of the building, thus becoming the first organized record of contemporary interventions of La Moneda Palace.
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Tsyshchuk, Svetlana E. "Domenico Gilardi’s Sketch of a Park Pavilion: Aspects of Attribution." Observatory of Culture 20, no. 3 (July 14, 2023): 280–90. http://dx.doi.org/10.25281/2072-3156-2023-20-3-280-290.
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This article is devoted to the problem of the attribution of architectural graphics, the identification and analysis of the individual graphic style of Domenico (Dementi Ivanovich) Gilardi, a master of Swiss origin, the chief architect of post-fire Moscow. In spite of the formal, stylistic and iconographic knowledge of the Moscow Empire style, the issue of attribution of architectural graphics to the period remains open. The work of Gilardi is no exception in this respect.The objective of this research is to use stylistic and iconographic analysis of his most outstanding works to form an idea of the nature of his graphic style and its peculiarities. The relevance of the topic is dictated by the need to distinguish the graphic works of Gilardi himself from the sheets created by his pupil — the architect A. Grigoriev (and in the longer term — to identify the “hand” of A. Grigoriev).The method of formal and stylistic analysis and iconographic comparison was chosen. Artistic sources are the most striking architectural and graphic works by Gilardi, which have not yet been studied in detail: several signed drawings, as well as a draft design of a park pavilion from the collection of the Shchusev State Museum of Architecture (the latter was introduced into academic circles by the author and is central in terms of representation). The style of the unrealised design of the park pavilion reflects the historical perspective of birth, development and decline of the Moscow Empire style in one of its variants. The style distinctly refers to the antique, Renaissance and classic monuments.The following complex of problems is being solved within the framework of the research: the genesis of the post-fire Moscow style is presented, the specific features of the architectural graphics of the first quarter of the 19th century are evaluated; the sketch of the park pavilion and the series of several drawings (so called master’s exemplary graphics) are described and analyzed as the basis for the attribution; the work of Gilardi is examined in the context of the global neoclassicism style development.The conducted study, in which the relationship between architectural and graphic style plays a key role, allows us to form an idea of Gilardi’s individual style and approach a more complex issue of attribution, chronology and style in his constructions. The unity of harmony, beauty and technicality of Gilardi’s works is expressed in the juxtaposition of his manner with the ideal of timeless classicism.
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Микиртичан, Галина Львовна, Александр Зиновьевич Лихтшангоф, Любовь Николаевна Лисенкова, Владислава Игоревна Макеева, Полина Александровна Жикоренцева, and Владимир Николаевич Южанинов. "ARCHITECTURE OF HOSPITALS IN ST. PETERSBURG: FROM PETROVSKY BAROQUE TO HI-TECH. PART I. PETER'S BAROQUE." Medicine and health care organization 8, no. 3 (September 11, 2023): 89–101. http://dx.doi.org/10.56871/mhco.2023.87.10.009.
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Санкт- Петербург, история которого насчитывает немногим более 300 лет, воплотил в себе множество достижений человеческого духа, ума и воли. Возникший по замыслу великого Петра, он стал центром культурной и научной жизни нашей страны. Один из красивейших городов мира — Санкт-Петербург — благодаря своим архитектурным ансамблям может служить путеводителем по архитектурным стилям не только дворцов, храмов, административных и промышленных зданий, но и медицинских учреждений, в частности больниц. Эти объекты, отличающиеся разнообразной архитектурной стилистикой, составляют уникальное культурно- историческое наследие России. Планируется цикл статей, посвященных больничной архитектуре Санкт- Петербурга в историческом ракурсе: от ее истоков до современности. Разработана систематизация больничных учреждений города по архитектурным стилям: петровское барокко, классицизм, эклектика, неоклассицизм, модерн, конструктивизм, сталинский ампир, функционализм, хай-тек. Временные рамки в описании играют второстепенную роль, они могут пересекаться — это связано с параллельным существованием в разные периоды нескольких направлений архитектуры в застройке города. Построенные в одном архитектурном стиле, здания в последующие годы могли быть перестроены в другом, целый ряд лечебных заведений первоначально располагался в уже построенных зданиях, не предназначенных для больниц. Представляемая статья посвящена петровскому барокко — первому архитектурному направлению северной столицы, возникшему вначале ХVIII века и связанному с расположенностью Петра I к западноевропейской строительной стилистике. Больничная архитектура города берет свое начало со строительства первых госпиталей. Кратко рассмотрена история создания Адмиралтейского (Морского) и Военно- сухопутного госпиталей на Выборгской стороне, Кронштадтского Морского госпиталя. Затронута дискуссия, связанная с ранним этапом «военно- госпитального дела» в Санкт- Петербурге. Предпринята попытка восстановить внешний облик (экстерьер) Адмиралтейского и Военно- сухопутного госпиталей, опираясь на составленную Д. Трезини «Опись каменному и деревянному строению гошпитали, которая на Выборгской стороне». Saint Petersburg, whose history dates back to a little over 300 years, has embodied many achievements of the human spirit, mind and will. Established according to the plan of Peter the Great, it became the center of the cultural and scientific life of our country. One of the most beautiful cities in the world, thanks to its architectural ensembles, St. Petersburg can serve as a guide to the architectural styles of not only palaces, temples, administrative and industrial buildings, but also medical institutions, in particular hospitals. These objects, distinguished by their diverse architectural styles, constitute the unique cultural and historical heritage of Russia. We are planning series of articles about the hospital architecture of St. Petersburg from a historical perspective: from its construction to the present state. Systematization of the city’s hospital institutions according to architectural styles has been developed: Peter’s baroque, classicism, eclecticism, neoclassicism, modern, constructivism, Stalinist Ampir style, functionalism, high-tech. The time frame in the description plays a secondary role; they can overlap — this is due to the parallel existence in different periods of several directions of architecture in the city’s development. Built in one architectural style, the buildings could have been rebuilt in accordance with a different style in subsequent years; a number of medical institutions were initially located in already constructed buildings that were not intended for hospitals. Presented article is devoted to Peter the Great’s baroque style — the first architectural trend of the northern capital, which arose at the beginning of the 18th century, and is associated with Peter the I’s affinity for Western European building styles. The city’s hospital architecture dates back to the construction of the first hospitals. The history of the creation of the Admiralty (Naval) and Military Land Hospitals on the Vyborg region, and the Kronstadt Naval Hospital is briefly reviewed. The discussion related to the early stage of the “military hospital business” in St. Petersburg is touched upon. An attempt was made to restore the appearance (exterior) of the Admiralty and Military Land Hospitals, based on the “Inventory of the stone and wooden structure of the hospital on the Vyborg side” compiled by D. Trezzini.
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Davydich, Tatyana F. "Architect A.N.Beketov. Life and Creative Work." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 2 (July 11, 2018): 27–34. http://dx.doi.org/10.22337/2077-9038-2018-2-27-34.
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In the article the features of creativity of the Kharkov architect A.N. Beketov were considered, who had graduated from the Imperial Academy of Arts in St. Petersburg (with a Big Golden Medal, 1888). The very first of his works gave the new development of the central streets and squares of Kharkiv (in enlarged, really capital scale). He came to work in Kharkov at his own request, and in 1889 he won a competition for the project of Commercial School building, which was realised. In the 1890-s and the 1910-s, A.N. Beketov supervised his own design bureau, which dealt not only with the design, but with the organization of construction works. In 1894, for a library project for one and a half million volumes, he received the title of academician of architecture. In accordance with the obtained education, A.N. Beketov freely operated with forms of various historical styles and because this he was a typical for his time architect- eclecticist. In total, A.N. Beketov built more than 40 public and residential buildings in Kharkov and about 60 in other cities of the Russian Empire and in the USSR. The main buildings on Beketov's projects in Kharkov are concentrated in the area between Pushkinskaya and Sumskaya streets. Particularly interesting are the buildings of mansions, built on his projects, including three of his own. He designed public buildings in Neo-Renaissance, «Beaux-Arts» and Neoclassicism styles, and his projects of the mansions had more diverse stylistic solutions, taking into account their perception in the urban environment and the relations with surrounding buildings adjacent areas. On the street of Myrrhbearers was formed an interesting kind of ensemble of Beketov's mansions, which are now usedas the professional clubs and the central city's art museum.
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Sechin, Alexander G. "The Sources and Meaning of the Term Decency in the Writings of Prince Dmitry Golitsyn on Fine Arts." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 682–707. http://dx.doi.org/10.21638/spbu15.2022.407.
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The author focuses on one of the most important terms of normative aesthetics and art, decency, which occupies a prominent place in the writings of Prince Dmitry Golitsyn (1734–1803), devoted to the issues of architecture and fine arts. A detailed study of the origins of decency and the meaning of this concept leads to the identification of three stages in its development, consistently considered with the involvement of both source texts and the works of modern scholars. The first stage was the flourishing of classical ancient Greek art, which corresponds to the concept of τὸ πρέπον, formed in the consciousness and rhetorical culture of Athens. In relation to the fine arts, its importance cannot be overestimated, since decency was not conceived without an adequate and eye-catching external expression of typical images, including their social status and ethical content. Under its influence, a system of canons of European art was born in ancient Greece. The second stage is associated with the Renaissance, when the idea of convenevolezza arises. It was focused on the Classical Antiquity and the appropriate iconographic tradition and therefore had a pronounced retrospective character. Finally, the classicism of the Enlightenment era, or neoclassicism, the time of Golitsyn’s life and work, picks up the baton of the norm in art and the deviations from it made by nature itself. Golitsyn’s interpretation of decency in his treatises and its correct understanding by art historians are important, since these works formed the basis of the Russian doctrine of normative, primarily academic art. Decency in the understanding of the ancient Greeks, Italians of the Renaissance and enlighteners of the 18th century did not completely dissolve in the works of the great and ordinary masters of those distant times. It is invariably revived when it comes to the visualization of traditions, proprieties and various norms within artistic culture, about the artist’s service to the model, the canon.
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Shukl, Vaissnavi, and Sukumar P. Desai. "Bulfinch and the Massachusetts General Hospital: History at the Intersection of Architecture and Medicine." Journal of Surgery & Transplantation Science 10, no. 1 (November 30, 2023): 1–5. http://dx.doi.org/10.47739/2379-0911.surgery.1089.
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Albeit never trained in architectural design, Charles Bulfinch (1763-1844) is widely recollected as the first native-born American to practice architecture professionally. Inspired by continental influences, Bulfinch developed the neoclassicist style reflected in major private and public structures in Boston and Washington D.C. Although we have numerous studies of Bulfinch’s fascinating and pioneering architectural career, less is known about his intimate relationship to the medical field. Bulfinch was the chief designer of Massachusetts General Hospital, America’s third-oldest general hospital and Harvard Medical School’s first teaching hospital. Drawing on a wide range of underexplored primary and secondary sources, this article offers a historical recounting of Bulfinch’s life and architectural trajectory up to the conception and design of Massachusetts General Hospital. Then, it draws attention to the structure and organization of the Hospital, its position within the historical context of the time, and its lasting impact on the history of American medicine. In so doing, this article provides a fresh perspective into Boston’s healthcare architecture, the history of its preeminent hospital, and the legendary personality that made it what it is today
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Wharton, Alyson. "Tbilisi, Baku, and Yerevan: Neoclassicism and Imperial Signification in the Caucasus." Urban History Review 52, no. 1 (March 1, 2024): 106–44. http://dx.doi.org/10.3138/uhr-2022-0037.
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Contrary to urban histories of the Caucasus that have tended to take an individual capital city and chart urban development from the Persian imprint and the Russian imperial legacy to the Soviet reconstruction, this article takes a comparative look at three national capitals, Baku, Yerevan, and Tbilisi, in order to argue for their similarities as well as their distinctness. It puts forth that the markers of the “national monumentality” and “capitality” of these three cities were set in place in the period of Russian imperial rule and that the central cores of Yerevan, Baku, and Tbilisi remained relatively unchanged into the Soviet era. This argument stresses that the impact of both the historiography of the Soviet urban revolution and the nationalizing historiography that continues to idolize genius figures like Armenian–Soviet architect Alexandr Tamanyan has led to an under-appreciation of the many imperial traces remaining in the Soviet-era cities. The article proceeds by using the architectural evidence, alongside travel accounts authored by those very familiar with imperial urban settings that describe Baku, Tbilisi, and Yerevan in some detail in these periods, to shed light on the changing dynamics of these locations (or lack thereof) into the Soviet era. Imperial travelers are supplemented by literary sources, as well as a spotlight on the example of Tamanyan and his centrality to movements like the World of Art group of neoclassicist architects in St. Petersburg. It is argued that it was neoclassicism that united the urban approaches in Baku, Tbilisi, and Yerevan under the Russian and Soviet periods of rule and that this violent rupture from the Persianate past continues to dominate these cities today.
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Torbus, Tomasz. "Krössinsee (zachodniopomorski Złocieniec-Budowo) i inne narodowosocjalistyczne „zamki zakonne”. Budowa – funkcja – kostium stylowy." Porta Aurea, no. 17 (November 27, 2018): 112–32. http://dx.doi.org/10.26881/porta.2018.17.05.
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In 1934, construction began on training centers for the upper echelons of future NS leadership: the Vogelsang in the Eifel, Krössinsee (Polish Złocieniec-Budowo) in western Pomerania, and Sonthofen in Allgäu. Through the enormous efforts of the German Labor Front (DAF) the training centres, called Ordensburgen (literally: ‘castles of the orders’), were completed in 1936. In the meantime, much literature has been published on all of the NS Ordenburgen, yet an investigation of the genesis and analysis of their form is still lacking, which this essay partially attempts to address.
The intention was undoubtedly to build Ordensburgen on the southern, western and eastern fringes of the Reich distanced less than 60 kilometres from the border. Rosenberg, who had made a statement to this effect in a speech in 1934, coined the name ‘Ordensburg’ in connection with the Teutonic Order – the proud champion of ‘Germanness’. The name evoked other echoes from history: young men who were trained for warfare and administration and who lived a life closed of from outside influences. The name also recalled the medieval orders of knights who exercised their power as a military authority along the frontiers of Christianity from Spain to Palestine.
If we go beyond a formal interpretation of the Ordensburgen, what can be seen in all the three structures is the important symbolic function of towers (two rectangular brick towers were erected in Kroessinsee in 1939). In all of them so-called Tingplätze were built, a kind of open-air theatre for political rallies. Moreover, the architect Clemens Klotz embraced the modern age. In adhering to contemporary thought, he blended the cosiness of the Heimatstil with the monumentality and pathos of Neoclassicism. Other forms are also found, such as oval risalites derived from ‘Neues Bauen’ or the protruding window reveal, or the use of unworked stone blocks, something that was particularly characteristic of NS architecture. Yet despite the name ’Ordensburg’, formal references to medieval architecture are sparse. The most apparent examples are seen in the Sonthofen architecture of Herman Giesler in the proportions of the main tower or the vaulted ceilings of the tavern (the so-called Fuchsbau).
After 1945, the Ordensburgen became the military barracks of the victors: Vogelsang was British until 1950, then Belgian; Sonthofen was American until 1956 and then turned over to the German Bundeswehr; Krössinsee was used by the Soviet army from 1947 or 1948, and afterward became the Polish Budowo. Vogelsang was opened to the public in 2006. Today, we face ongoing questions about the preservation and new uses of the Ordensburg structures and facilities. The designation of the former NS training centres as memorial sites, in which the juncture between Ordensburgen and the NS crimes finds physical expression, will presumably be the sole way to ensure their continued existence. Between 1939 and 1940, approximately 260 Ordensjunkers (the name derived from ‘Junker’: a nobleman from the landed class) were sent from Krössinsee on military assignment to the area of Poznań (‘Warthegau’), from where up to a half a million Poles and Jews were expelled to the Government General. Further documentation shows the involvement of the Ordensjunkers in the Holocaust during 1941 in the occupied Soviet territories. In making the buildings of the Ordensburgen accessible to the public, while at the same time laying bare the reality behind the mystique, it seems necessary to proceed on a different path than that which has been taken up to now. ‘Domesticating’ the testimonies of a terror regime has been expressed in ways such as the oversized colourful pillows for visitor seating at the Wewelsburg Castle or the garish plastic forms in Vogelsang. Tus, in addition to taking stock of the buildings and making a case for their preservation, the serious question that must be asked is how to deal with this kind of legacy.
(translated by Sharon Nemeth)