Relevant bibliographies by topics / Renaissance Architecture Germany

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Academic literature on the topic 'Renaissance Architecture Germany'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Renaissance Architecture Germany"

1

Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy." AJS Review 37, no. 2 (November 2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.

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The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.
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Fainholtz, Tzafrir. "The Jewish farmer, the village and the world fair: politics, propaganda, and the “Israel in Palestine” pavilion at the Paris International Exhibition of 1937." SHS Web of Conferences 63 (2019): 10004. http://dx.doi.org/10.1051/shsconf/20196310004.

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At the Paris International Exhibition of 1937, a few steps from the Nazi Germany and USSR pavilions theYishuv(Palestine's Jewish Zionist community) had its own presence, the “Israel in Palestine” pavilion. Initiated by the Zionist leadership, the pavilion was a hybrid construct of modernist and traditional architecture; its front was made from concrete and glass, its rear modelled on Palestine's rural vernacular architecture, with arches and terraces. Inside the pavilion, the exhibition depicted the achievements of the Zionist Jewish resettlement project, presenting it as a solution for the so-called “Jewish question”. Conceived as part of an orchestrated effort by the Zionist movement to use the World Fair, the professional architectural media, writers, and architects to gain support for the movement's activities, the pavilion sought to present Palestine's settler society as both modern and well rooted, and to display the renaissance of nationhood through the representation of the Jewish farmer on the international stage.
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Гарин, V. Garin, Чернышев, Aleksandr Chernyshev, Разиньков, and Egor Razinkov. "History of Baroque Furniture." Forestry Engineering Journal 4, no. 2 (June 10, 2014): 145–54. http://dx.doi.org/10.12737/4519.

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The Baroque style is the result of the further evolution of the style of the Renaissance. It began to take its forms from the end of XVI century. Baroque developed in European countries during the first half of the XVII and XVIII century. Germany, Austria and England, which had only some features of this style in the middle of XVII century, occupy a special place. The architecture of Italy Baroque began to take shape in the second half of the XVI century, and the formation of its features was largely due to the work of Michelangelo. Baroque style left its mark not only on the architecture of buildings, but also on the interior of the rooms, furniture design.
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Harasimowicz, Jan. "Longitudinal, Transverse or Centrally Aligned? In the Search for the Correct Layout of the ‘Protesters’ Churches." Periodica Polytechnica Architecture 48, no. 1 (September 7, 2017): 1–16. http://dx.doi.org/10.3311/ppar.11309.

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The article was written within the framework of a research project “Protestant Church Architecture of the 16th -18th centuries in Europe”, conducted by the Department of the Renaissance and Reformation Art History at the University of Wrocław. It is conceived as a preliminary summary of the project’s outcomes. The project’s principal research objective is to develop a synthesis of Protestant church architecture in the countries which accepted, even temporarily, the Reformation: Austria, Czech Republic, Denmark, Estonia, Finland, France, Germany, Great Britain, Hungary, Island, Latvia, Lithuania, Norway, Poland, Romania, Russia, Slovakia, Slovenia, Switzerland, Sweden and The Netherlands. Particular emphasis is placed on the development of spatial and functional solutions (specifically ground plans: longitudinal, transverse rectangular, oval, circular, Latin- and Greek-cross, ground plans similar to the letters “L” and “T”) and the placement of liturgical furnishing elements within the church space (altars, pulpits, baptismal fonts and organs).
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Lewicki, Jakub. "PERSPEKTYWY OCHRONY ŚWIATOWEGO DZIEDZICTWA W POLSCE – CZYLI TENTATIVE LIST I PROPOZYCJE MOŻLIWYCH DO ZGŁOSZENIA KANDYDATUR NA LISTĘ ŚWIATOWEGO DZIEDZICTWA." Protection of Cultural Heritage, no. 4 (November 29, 2017): 129–42. http://dx.doi.org/10.24358/odk_2017_04_13.

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The article discusses Polish suggestions of new inscriptions into the UNESCO World Heritage List. The waiting items mentioned in the Tentative List were presented. Currently the Polish version of the List numbers 5 items. They are: Gdańsk, Town of Memory and Freedom (2005), The Augustów Canal (2006), The Dunajec River Gorge in the Pieniny Mountains (2006), Extension to the Joint World Heritage Property “Primeval Beech Forests of the Carpathians (Slovak Republic and Ukraine) and the Ancient Beech Forests of Germany (Germany)” (2015), “Krzemionki”, prehistoric flint mines (2016). Other offered suggestions were also presented: The Jewish Cemetery in Łodz, the Ponds in Milicz – medieval fishponds in central Europe, Nowa Huta, the paper mill – Duszniki Zdrój, the Elbląg Canal, Nikiszowiec as a factory-related housing complex, the cultural landscape of Żuławy area, wooden mosques in the Podlasie Region – Bohoniki and Kruszyniany, the Valley of Palaces and Gardens – the Jeleniogórska Valley, Żyrardów, Warsaw Water Filters and Księży Młyn in Łodz as industrial heritage, the Citadel in Warsaw, and the Słowiński National Park as natural heritage. Among new suggestions the following were indicated: the collegiate church in Pułtusk as an example of Renaissance solutions of linear perspective applied in architecture, the project of a Gothic vault in the church in Szydłowiec as a unique example of the Gothic construction workmanship, and modern wooden churches (e.g. the church in Boguszyce).
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Tourneur, Francis. "Global Heritage Stone: Belgian black ‘marbles’." Geological Society, London, Special Publications 486, no. 1 (October 15, 2018): 129–47. http://dx.doi.org/10.1144/sp486.5.

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AbstractThe appellation ‘Belgian black “marbles”’ usually designates dark fine-grained limestones present in the Paleozoic substrate of south Belgium. They have been extracted mostly in Frasnian (Upper Devonian) and Viséan (Lower Carboniferous) strata, in various different localities (Namur, Dinant, Theux, Basècles, Mazy-Golzinne among others). Nearly devoid of fossils and veins, they take a mirror-like polished finish, with a pure black colour. These limestones were already known during Antiquity but were only intensively exploited from the Middle Ages. Many different uses were made of these stones, for architecture, decoration or sculpture, in religious or civil contexts, following all the successive styles, Romanesque, Gothic, Renaissance, baroque and so on. All these products, architectural, decorative and sculptural, were probably manufactured close to the quarries and were first exported to neighbouring countries (France and the Netherlands), then to all of Europe (Italy, Germany, Denmark, Poland, Baltic states, etc.) and, by the beginning of the nineteenth century, worldwide. They were always considered as high value-added objects, which allowed them to travel great distances from their origin. Thousands of references document the widespread use of these exceptional natural stones. They were employed, among other famous applications, as the black background of the Pietre dure marquetry of Florence. Some other lesser uses were either for musical instruments or lithographic stones. Today only one underground quarry exploits the black ‘marble’, at Golzinne (close to Namur). This prestigious material, with its dark aura, is suitable for recognition as a Global Heritage Stone Resource.
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Romanova, O. V. "NATIONAL FEATURES OF TRADITIONAL RESIDENTIAL ARCHITECTURE IN THE BUDJAK REGION." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 203–10. http://dx.doi.org/10.31650/2519-4208-2020-20-203-210.

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Most of the homes in the Budzhak region are interesting historical and architectural sites and deserve attention. Considering their current state, one can see the manifestation of a number of architectural features: well-established national traditions, authorship of folk craftsmen, the influence of academic art, historical architectural styles (Romanesque, Gothic, Renaissance, Baroque, Classicism, Modernist), as well as the features of serial time. The unifying factor is, on the one hand, the similarity of ideological and creative thoughts and the desire of folk craftsmen to give a compositional and stylistic integrity to the whole object-space environment of the manor (in particular, in the exterior and interior of a dwelling house), on the other-ethnic identity manifests itself perfectly recognizable through ornamental motifs and forms by elements of certain national symbols. The article deals with the national features of the traditional residential architecture of Budzhak Ukrainians, Russians, Bulgarians, Romanians, Moldavians, Gagauzians, Germans, selected for research as the most numerous in the national composition of Budzhak (southern Bessarabia) according to the population censuses from 1822 to 2001. Budzhak's national composition is presented in pie charts. The national identity of the compositional features and decorative and artistic means of expressing the dwellings of Budzhak, in particular its central regions (Saratov and Tatarbunar regions of Odessa region) of the given ethnic groups of the population is revealed. In general, the main large volumes and forms of traditional residential buildings are the construction of walls and roofs. Picturesque volumetric compositions acquire buildings with a combined type of roof that is used to cover the intersecting several volumes of the building, the kind with roofs with artistically decorated attic windows, located both in the plane of the roof slope and on the pediment of the main front. The subjects of detailed consideration and research are: ornamental-plastic decor made of cement, brick, lime, metal. Artistic carving -on wood and metal. Artistic forging, as a rule, has common compositional features with the architecture of the home and the estate as a whole. The entrance to the apartment house is decidedly representative and colorful enough. Borrowing and imitating natural counterparts (prototypes), folk craftsmen have created unique works that clearly reflect interethnic and religious-everyday contacts, professional borrowings, family traditions and the achievements of modern times.Photographic examples of dwellings typical of nationality (the second half of the XIX –the second half of the twentieth century) are given. The collected photos are dated 2015, 2017, 2018. Numerous photo materials of the respective states were considered by the author for the identification of houses by nationality: Ukraine, Russia, Moldavia, ATO Gagauzia, Romania, Germany, Bulgaria. The resulting comparative tables and schemes of ethnic influences are quite large in volume and can therefore be illustrated and analyzed in the next article by the author. However, the features noted briefly atthis stage made it possible to draw some conclusions, which made it possible to distinguish the typical residential homes of the studied national groups from the vast number of mixed types characteristic of the South of Ukraine as a historical and ethnographic region as a whole. The distinctive features of the dwellings of Budzhak Ukrainians, Russians, Bulgarians, Romanians, Moldavians, Gagauzians, Germans are considered and detailed, places of decorative and color accents in the general composition of estates are revealed. Tradition is a form of translation of social experience in the philosophical sense. This or that type of stage borrowing of any object that evolves, including culture, is possible provided that the old goes into the new and works in it productively. Tradition acquires the features of stability when it becomes flexible, dynamic, able to absorb the best qualities of artistic cultures of other nations and groups, and also as a result of self-development. A comprehensive study of the featuresof traditional residential architecture provides the basis for the scientific substantiation of restoration works and the unveiling of the tourist potential of Budzhak. Taking into account the multifaceted architectural forms of residential objects, both geographical and sociocultural, it is possible to identify not only the visual and morphological features of traditional residential buildings of different ethnic groups, but also the semantic structure of the image of traditional architecture, which meansto develop certain techniques for the use of ethnic styles. houses for the future. The obtained factual material of this scientific article can be implemented in a wide range of architectural and design activities, as well as cultural, ethno-cultural and art-science practices.
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Piluk, Dominika. "Próby uobecniania tradycji w gdańskiej architekturze lat dziewięćdziesiątych XX wieku." Porta Aurea, no. 17 (November 27, 2018): 244–68. http://dx.doi.org/10.26881/porta.2018.17.10.

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Gdansk architecture of last decade of 20th century by all means tried to reconnect to the Gdansk architectural tradition, especially the glorified 19th-century German/ Gdańsk Renaissance. The essay aims to present a preliminary analysis of the phenomenon strongly present in the Gdańsk architectural discussion in the nineties: the phenomenon of reconstruction. The city’s architectural achievements of the 19th-century were reinterpreted. Moreover, not only did architects in democratic Poland have to face a new economic situation, but also the need to emphasize the departure from the visual form imposed by the communist system, which, particularly in Gdańsk, took a form of historicism. The complex history of the city, preserved in its architecture, had a huge impact on the aesthetics of buildings designed during the transformation period. Tis thorough introduction is aimed to show commitment to the great tradition of the harbour city, which often resulted in neglecting innovations and modern architectural standards, these forced by the diffcult times of the economic change, as well as the concept of the city’s identity. The article focuses on the examples of buildings erected after 1989, as well as the public opinion debate, which jointly attempted to emphasise the mythical greatness of old Gdańsk.
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Syrer, Christa. "Friedrich der Weise als Bauherr in Colditz, 1519 – 1525. Architektur, funktionale Struktur und Raumausstattung eines frühen Renaissanceschlosses zwischen »welsch und deutschen Sitten«." Zeitschrift für Kunstgeschichte 82, no. 2 (July 11, 2019): 147–65. http://dx.doi.org/10.1515/zkg-2019-2001.

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Abstract Frederick the Wise (1463– 1525), Elector of Saxony, was the leading cultural figure among the German princes of the early 16th century. He showed a special interest in architecture, but only little remains of his ambitious building projects except for Colditz Castle (rebuilt 1519 – 1525). This paper explores his active role as patron at Colditz focussing on the palace’s spatial structure and interior. Putting the Elector’s ideas into practice, the Saxon court painter Lucas Cranach the Elder was in charge of a uniform design which reflected humanist approaches to classical antiquity and different Renaissance styles. Following the model of Emperor Maximilian I, Frederick the Wise realised a sophisticated architectural concept at his residences that suited his noble status and ceremonial needs.
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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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Dissertations / Theses on the topic "Renaissance Architecture Germany"

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Roy, Francine 1948. ""...Templum nova forma constructum..." : early 17th-century late Gothic churches in Wolfenbüttel and Bückeburg." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31137.

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In the years around 1600, a change was noted in architecture towards a return to Gothic elements in Europe. The Gothic, in contrast to the Classical or Ancient, became a "new manner", a modern style. The residence churches at Wolfenbuttel and Buckeburg, which were erected around 1600 by Lower Saxon territorial princes, are Late Renaissance constructions that were made to look partly Gothic. This was neither a lingering on of Late Gothic design nor a misunderstanding of Renaissance architecture: it was rather a conscious evocation of the past and its merger with contemporary architecture. The forms of the churches recreated thus the sociopolitical reality of both Roman antiquity and the Middle Ages. This architecture was also emblematic in that it used the concrete objects of the churches as a means to convey an abstract content. Indeed, the aim was to provide a powerful political message, the confirmation of princely rule. In the rising absolutism of the beginnings of the 17th century, the builders of the Wolfenbuttel Marienkirche and the Buckeburg Stadtkirche used court architecture to construct their princely image and house mythology.
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Books on the topic "Renaissance Architecture Germany"

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Borggrefe, Heiner. Die Residenz Bückeburg: Architekturgestaltung im frühneuzeitlichen Fürstenstaat. Marburg: Jonas, 1994.

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Kutschbach, Doris. Schloss Schwindegg: Studien zum Schlossbau des Landadels in Bayern im 16. Jahrhundert. München: Tuduv, 1988.

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Albrecht, Thorsten. Die Hämelschenburg: Ein Beispiel adliger Schlossbaukunst des späten 16. und frühen 17. Jahrhunderts im Weserraum. Marburg: Jonas Verlag, 1995.

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Weber-Karge, Ulrike. "-- einem irdischen Paradeiss zu vergleichen--": Das Neue Lusthaus in Stuttgart : Untersuchungen zu einer Bauaufgabe der deutschen Renaissance. Sigmaringen: J. Thorbecke, 1989.

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Kurz, Heidrun. Schloss Dachau. München: Tuduv, 1988.

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Schmid, Elmar D. Schloss Dachau: Amtlicher Führer. München: Bayerische Verwaltung der Staatlichen Schlösser, Gärten und Seen, 1992.

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Johannes, Sommer. Das Renaissance-Rathaus in Gross-Umstadt: Eine Dokumentation zu Entstehung und Bewahrung des Bauwerks 1600-1991. Königstein im Taunus: In Kommission bei Karl Robert Langewiesche Nachfolger Hans Köster, 1993.

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Schloss Bückeburg: Höfischer Glanz, fürstliche Repräsentation. Hannover: Schlütersche Verlagsgesellschaft, 2008.

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Lentz, Christel. Das Idsteiner Schloss: Beiträge zu 300 Jahren Bau- und Kulturgeschichte. Idstein: Schulz-Kirchner, 1994.

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Knape, Wolfgang. Neues Rathaus zu Leipzig: Geschichte und Geschichten eines Traditionsbaus. [Altenburg]: DZA Verlag, 1995.

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Book chapters on the topic "Renaissance Architecture Germany"

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"The Failure of Classical Architecture in Renaissance Germany?" In Die Präsenz der Antike in der Architektur, 79–105. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110458213-005.

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"Allotments and Schrebergärten in Germany." In The Architecture of Western Gardens: A Design History from the Renaissance to the Present Day. MIT Press, 1991. http://dx.doi.org/10.37862/aaeportal.00122.067.

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"The Jugendstil Garden in Germany and Austria." In The Architecture of Western Gardens: A Design History from the Renaissance to the Present Day. MIT Press, 1991. http://dx.doi.org/10.37862/aaeportal.00122.068.

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"The Green Revolution: Leberecht Migge and the Reform of the Garden in Modernist Germany." In The Architecture of Western Gardens: A Design History from the Renaissance to the Present Day. MIT Press, 1991. http://dx.doi.org/10.37862/aaeportal.00122.058.

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"Architecture and Early Humanism at German Princely Courts: Lower Bavaria, Salzburg and Passau and the Romanesque Renaissance (c. 1480–1500)." In Romanesque Renaissance, 306–48. BRILL, 2021. http://dx.doi.org/10.1163/9789004446625_014.

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"German Gardens in the Eighteenth Century: Classicism, Rococo and Neo-Classicism." In The Architecture of Western Gardens: A Design History from the Renaissance to the Present Day. MIT Press, 1991. http://dx.doi.org/10.37862/aaeportal.00122.041.

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