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Journal articles on the topic 'Renaissance Architecture'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Abensour, Gérard. "Renaissance et architecture." Modernités Russes 12, no. 1 (2011): 51–55. http://dx.doi.org/10.3406/modru.2011.949.

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La Russie a toujours oscillé entre stagnation et renaissance. L’Église du Christ Sauveur de Moscou en témoigne. 1813 : Manifeste d’Alexandre 1er ordonnant l’édification d’une église pour célébrer la victoire sur Napoléon. Église de style renaissance, ouverte à tous les cultes chrétiens. 1825 : Nicolas Ier fait arrêter les travaux et ordonne la construction d’un nouvel édifice de style néo-byzantin, voué exclusivement au culte orthodoxe. La cathédrale de Jésus Sauveur est dédicacée en 1883 sous le règne d’Alexandre III. En 1931 destruction de fond en comble d’une église considérée comme symbole d’obscurantisme. En 1994 la cathédrale est reconstruite à l’identique, par les effets conjugués du patriarche et du maire de Moscou. Il n’a pas été question de revenir à l’esprit oecuménique et renaissant du projet originel d’Alexandre Ier.

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2

ROBINSON, CRISPIN. "RENAISSANCE ARCHITECTURE." Art Book 1, no. 4 (September 1994): 28. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00215.x.

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3

DANILOVA, Elina V. "THE RENAISSANCE ARCHITECTURAL TREATISES." Urban construction and architecture 7, no. 4 (December 15, 2017): 79–83. http://dx.doi.org/10.17673/vestnik.2017.04.13.

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The article is devoted to the architectural theory created in the Renaissance. During this period, for the fi rst time since Antiquity, a classical theory of architecture was created and developed, which until today largely determines modern theory. In the architectural theory of the Renaissance separate sections were developed, which eventually turned into separate directions, and retain their autonomy today. The article deals with the features of the historical evolution of architectural theory in the 15th-16th centuries, the theoretical contributions of the authors of the theory and topics that are common to all treatises are analyzed. The conclusion is made about the constants of the theory of architecture that determine its meaning and structure, regardless of the features of historical periods.

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4

Carpo, Mario. "Drawing with Numbers: Geometry and Numeracy in Early Modern Architectural Design." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 448–69. http://dx.doi.org/10.2307/3592497.

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Precision in building was pursued and achieved well before the rise of modern science and technology. This fact applies to the classical tradition as well as to medieval architecture, and is particularly evident in architectural drawings and design from the Italian Renaissance onward. In this essay, I trace the shift from geometry-the primary tool for quantification in classical architecture- to numeracy that characterizes Renaissance architectural theory and practice. I also address some more general aspects of the relation between technologies of quantification and the making of architectural forms.

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5

LAWSON, JAMES. "RENAISSANCE ART & ARCHITECTURE." Art Book 12, no. 4 (November 2005): 40–41. http://dx.doi.org/10.1111/j.1467-8357.2005.00605.x.

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6

Devlin, E. L. ":Renaissance Architecture." Sixteenth Century Journal 45, no. 2 (June 1, 2014): 538–40. http://dx.doi.org/10.1086/scj24245844.

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7

Petcu, Elizabeth J. "Amorphous Ornament:." Journal of the Society of Architectural Historians 77, no. 1 (March 1, 2018): 29–55. http://dx.doi.org/10.1525/jsah.2018.77.1.29.

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Leon Battista Alberti famously likened the relationship between architectural structure and superstructure to the dualism of skeleton and skin. In Amorphous Ornament: Wendel Dietterlin and the Dissection of Architecture, Elizabeth J. Petcu scrutinizes how the Architectura treatise (1593–98) of Strasbourg artist Wendel Dietterlin the Elder (ca. 1550–99) subverted Alberti's theory and the aesthetic of stability it promoted by popularizing a style of amorphous architectural motifs that recall bone, cartilage, muscle, and flesh, melding built framework with decorative surface. Drawing these corporeal conceits from contemporary anatomical publications, Dietterlin inspired buildings, architectural prints, and objects that challenged tectonic conventions, upset the traditional split between exterior and interior, and emulated the figural arts’ involvement in representing interior human forms. In assessing how Dietterlin's Architectura turned the proverbial body of architecture inside out, Petcu demonstrates that Renaissance comparisons between body and building did not always project ideals of architectural beauty and reveals overlooked origins of baroque-era fusions of architecture and the figural arts.

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8

Čehovský, Petr. "Význam raně renesanční architektonické skulptury na lombardské a moravské umělecké periferii." Kultúrne dejiny 14, no. 2 (2023): 132–61. http://dx.doi.org/10.54937/kd.2023.14.2.132-161.

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This case study examines the importance of artistic periphery in the field of early Renaissance architectural sculpture in the years circa 1480 – 1550. The Renaissance style spread to Central Europe especially from Italy. In the older historical art literature opinions often emerged that Central European stonemasons did not understand the principles of Italian Renaissance art, and because of this misunderstanding they combined Renaissance style with Gothic. The author has undertaken long-lasting terrain research of early Renaissance architectural sculpture in one Central European and one Italian region of artistic periphery: the Moravian part of the Dyje valley and Val Camonica in Lombardy. In both regions were very elaborately stylistically examined stone decorations of architecture in the years circa 1480 – 1550. When the information about client´s social status, travel itinerary was known, also the influence of client on the style of architectural culpture was researched. On the basis of terrain research, the author comes to the conclusion that stonemasons in the Moravian part of the Dyje valley in the time of early Renaissance created architectural sculptures in the same styles that Italian artists in Val Camonica did: Romanesque Renaissance, a mixed style combining Gothic with Renaissance, early Renaissance architectural sculptures closely following the antique models, early Renaissance architectural sculptures created as an innovative modification of antique models.

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9

Fang, Enze. "Research on the Evolution of the Architectural Style of Catholic Church in Europe from the Middle Ages to the Renaissance." Communications in Humanities Research 3, no. 1 (May 17, 2023): 831–34. http://dx.doi.org/10.54254/2753-7064/3/20221024.

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Architects and artists in the Renaissance believed that Gothic architecture was a symbol of Christian theocracy, while ancient Greek and Roman architecture was non Christian. With the impact of humanism and Protestantism on Catholicism during the Renaissance and Reformation, the architectural style of the Catholic Church changed dramatically. From 1500 to 1700, the style of the church also changed from the original Gothic style and the Latin cross to the Greek cross, and even integrated the Baroque style. From the perspective of the time axis, this paper mainly adopts the method of literature analysis, combined with the social background, the evolution of artistic style and other factors, trying to explain and analyze the changes in the architectural style of the Catholic Church during this period. After analyzing the historical trend of Catholicism and the literature at that time, it is not difficult to find that the pursuit of humanism in the Renaissance, the change in the style of the mainstream of art, and the anti-Renaissance movement directly affected the change in the style of the Catholic Church, becoming more secular and popular; this change also reflected the spirit of Florence and other places where the Renaissance originated at that time.

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10

Burke (book author), Peter, and Barry Torch (review author). "Hybrid Renaissance: Culture, Language, Architecture." Renaissance and Reformation 41, no. 2 (June 21, 2018): 157–59. http://dx.doi.org/10.33137/rr.v41i2.29850.

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11

Sherer, Daniel. "Tafuri's Renaissance: Architecture, Representation, Transgression." Assemblage, no. 28 (December 1995): 34. http://dx.doi.org/10.2307/3171448.

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12

Rinaldi, Pierangela. "The Renaissance, Geometry and Architecture." Nexus Network Journal 2, no. 1-2 (June 2000): 155–58. http://dx.doi.org/10.1007/s00004-999-0017-5.

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13

Efimova, Elena. "“National” and “international” in the architecture of French Renaissance." Исторический журнал: научные исследования, no. 4 (April 2020): 42–53. http://dx.doi.org/10.7256/2454-0609.2020.4.32637.

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This article is dedicated to the problem of formation of national style in the architecture of French Renaissance. The indicated problem is the topic of intense discussion within the historiography of Renaissance. Leaning the concept of J. Burckhardt, who describes Renaissance as a specifically Italian phenomenon, a number of scholars identity French Renaissance with “Italianism”. On the other hand, there is a contradictory historiographical trend that acclaims national medieval tradition that views the revival of classical antiquity as a foreign and shallow phenomenon. An attempt is made to examine the problem from the perspective Renaissance itself, relying on the reasoning and assessments expressed by the three theoreticians of architecture: Sebastian Serlio, Philibert de l'Orme, and Jacques I Androuet du Cerceau. The conclusion is made that the theoreticians of French Renaissance were not prone to contrapose the shapes borrowed from antiquity to national tradition. They perceived antiquity as the common past of the entire contemporary to them culture. They did not see any preponderance of Italian Renaissance over the national culture. The contradiction between antiquity and Gothicism was interpreted as a contradiction between the ancient and the new, rather than foreign and native. In creation of the style of Renaissance architecture they resorted to synthesizing heritage of the antiquity with national medieval tradition.

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14

Sean, Keller. "Architecture after Drafting." Zeitschrift für Medien- und Kulturforschung 3, no. 1 (2012): 119–34. http://dx.doi.org/10.28937/1000106359.

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"In den letzten zwei Jahrzehnten wurde die Dominanz des Zeichnens für die Architektur von einer ganzen Reihe von digitalen Repräsentationstechniken verdrängt. Der Beitrag stellt eine kritische Antwort auf Mario Carpos These dar, dieser Wandel bringe Architektur zu einer »autographischen« Praxis zurück, die noch vor die Renaissance zurückreiche. Demgegenüber argumentiert der Beitrag, dass Architektur nach dem Modell von Rosalind Kraus als post-medium art (»postmediale Kunst«) gedacht werden sollte. </br></br>Over the last two decades drawing has been displaced from its dominant role in architecture by a range of computational representations. This article offers a critical response to Mario Carpo's recent argument that this shift returns architecture to an 〉autographic〈 mode of practice not seen since before the Renaissance. In contrast, I suggest that architecture today should be thought of through Rosalind Krauss's model of a post-medium art. "

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15

Hub, Berthold. "Filarete and the East: The Renaissance of a Prisca Architectura." Journal of the Society of Architectural Historians 70, no. 1 (March 1, 2011): 18–37. http://dx.doi.org/10.1525/jsah.2011.70.1.18.

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Filarete's Libro Architettonico, written in Milan between 1460 and 1464/66, calls for a rebirth of antiquity. This is conventionally interpreted as a appeal for the emulation of Roman (or Greek) architecture, but Berthold Hub shows that Filarete's designs have noticeable elements in common with the architecture of the Near and Far East. The Libro locates the ideal buildings it describes in "India" and repeatedly mentions Egypt as being the place of origin of all architecture and as the model to be imitated. Filarete and the East: The Renaissance of a Prisca Architectura provides evidence of Filarete's familiarity with the Orient and subjects his designs to detailed comparison with buildings from India and Turkey. The author argues that Filarete was aiming to revive a prisca architectura, analogous to the efforts of humanist contemporaries who were searching for ever-older and more venerable evidence of an original truth, a prisca theologia.

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16

Inštitorisová, Dagmar. "Renaissance Motifs in Jozef Ciller’s Shakespearean Scenographies." Slovenske divadlo /The Slovak Theatre 65, no. 1 (March 28, 2017): 22–31. http://dx.doi.org/10.1515/sd-2017-0002.

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Abstract Employing a comparative method, the present study explores the Renaissance expression of Jozef Ciller’s Shakespearean scenographies. Based on an analysis of preserved archival material (scenographic proposals, photographs from productions, video recordings, reviews, etc.) and personal communication with Jozef Ciller, the author examines how he transposed general features of European Renaissance (visual arts, architecture) into individual scenographic solutions. The author’s analysis also aims to identify how Ciller worked with the architecture and scenography of Elizabethan theatre Renaissance and observe his work with Renaissance elements depending on whether a scenography was meant for indoors or outdoors. The author concludes that Jozef Ciller employs Renaissance elements as motifs to preserve the awareness of man’s Renaissance spirit and greatness.

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17

Mukhin, A. S. "Transformation of Renaissance world view on dome architecture of Italy in 15–16st centuries." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 30–37. http://dx.doi.org/10.30725/2619-0303-2017-2-30-37.

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Monuments of the Italian Renaissance are considered as the symbols of cosmological ideas. The space of the temple is likened the universe in categories developed by the intellectuals of the Renaissance, given the astronomical model of AristotlePtolemy. Discoveries in science, the struggle of ideas and worldviews reflected in the church architecture and construction of country houses. The article was proven that the crisis of anthropocentrism caused by the consequences derived from the theory of Copernicus, reflected in the architectural practice of the 16st century.

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18

Linda, Svitlana. "Symbolism of the renaissance sculpture: Aedicule of Sholts-Volfovych townhouse in Lviv." BUILDER 293, no. 12 (November 24, 2021): 23–25. http://dx.doi.org/10.5604/01.3001.0015.5120.

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The specific conditions of architectural development in Lviv promoted the expansion of the Renaissance traditions in the architecture in the XVI century. The local traditions considerably influenced the classical forms as well as techniques suggested by the Italian architects. As a result, the architecture of Lviv had taken the peculiar features that reflected the character of an indigenous revival. A significant feature of a Renaissance townhouse in Lviv lies in its abundant decoration. as it was created according to the symbolic ideas and was filled with the philosophic content. The façade of Sholts-Volfovych apartment house situated in 23, Rynok Square in Lviv deserves special attention. The abundant exterior design includes the composition «Epiphany», located in the aedicule of the second floor. Using the principle of hermeneutics the article presents the author’s interpretation of a symbolic meaning of this sculptural composition, based on the Gospel texts and is connected with the Renaissance meditations about a human place in the world and his/her relationship with God.

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19

Boudon, Françoise. "Architecture de la Renaissance à Angers." Bulletin Monumental 159, no. 4 (2001): 337. http://dx.doi.org/10.3406/bulmo.2001.1070.

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20

Neville, Kristoffer. "Review: Renaissance Architecture by Christy Anderson." Journal of the Society of Architectural Historians 73, no. 3 (September 1, 2014): 427–29. http://dx.doi.org/10.1525/jsah.2014.73.3.427.

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21

Bauer, George C. "Arguing Authority in Late Renaissance Architecture." Art History 19, no. 3 (September 1996): 418–33. http://dx.doi.org/10.1111/j.1467-8365.1996.tb00676.x.

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22

Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (March 2003): 19–33. http://dx.doi.org/10.1177/223386590300600102.

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Prague's main feature is that, out of many cultural treasures, it preserved its architectural culture and put it to practical use to present day. Particularly Prague has embraced a wealth of architectural styles from many ages. From the Romanesque, the Gothic culture of Czech's pinnacle age, Baroque, Neo Classicism, the Art Nouveau style buildings that concentrated in Prague at the end of 19th century and finally to modern structures. As we have studied, Prague is a textbook of historical styles: a Romanesque rotunda, a Gothic cathedral, a constellation of Baroque churches and palaces, a Renaissance summer palace, whole districts with histoicizing ‘neo-styles: neo-Gothic, neo-Renaissance, neo-Baroque, neo-Classic,’ Art Nouveau cafes, unfunctional pebble-stone streets and as yet undigested, isolated postmodern structure such as ‘Dancing Building-Gunger and Fred Building’ by Frank O. Gehry and Vlado Milinic

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23

Rybakova, Daria. "THE ROLE OF CONTEXT IN ARCHITECTURE RENAISSANCE." Innovative Project 1, no. 3 (October 2016): 13–17. http://dx.doi.org/10.17673/ip.2016.1.03.2.

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24

MCKEAN, CHARLES. "The Re-evaluation of Scots Renaissance Architecture." Architectural Heritage 6, no. 1 (November 1995): 1–13. http://dx.doi.org/10.3366/arch.1995.6.1.1.

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25

MCKEAN, CHARLES. "The Re-evaluation of Scots Renaissance Architecture." Architectural Heritage 6, no. 6 (January 1995): 1–13. http://dx.doi.org/10.3366/arch.1995.6.6.np.

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26

Diefendorf, Barbara B., and David Thomson. "Renaissance Paris: Architecture and Growth, 1475-1600." American Historical Review 91, no. 1 (February 1986): 118. http://dx.doi.org/10.2307/1867284.

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27

Payne, A. "Materiality, Crafting, and Scale in Renaissance Architecture." Oxford Art Journal 32, no. 3 (October 1, 2009): 365–86. http://dx.doi.org/10.1093/oxartj/kcp035.

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28

Bigman, Alexander R. "Architecture and Objecthood: Donald Judd’s Renaissance Imaginary." Oxford Art Journal 40, no. 2 (August 1, 2017): 263–86. http://dx.doi.org/10.1093/oxartj/kcx022.

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29

Delman, Rachel M. "Women, art and architecture in Renaissance Europe." Renaissance Studies 34, no. 3 (June 3, 2019): 493–500. http://dx.doi.org/10.1111/rest.12597.

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30

Prinz, Wolfram, and David Thomson. "Renaissance Paris. Architecture and Growth 1475-1600." Zeitschrift für Kunstgeschichte 48, no. 4 (1985): 573. http://dx.doi.org/10.2307/1482260.

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31

Roelker, Nancy L., and David Thomson. "Renaissance Paris: Architecture and Growth, 1475-1600." Sixteenth Century Journal 17, no. 3 (1986): 365. http://dx.doi.org/10.2307/2540329.

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32

Loosen, Sebastiaan, and Hilde Heynen. "Secularized Engagement in Architecture: Sieg Vlaeminck’s Plea for Woonecologie in 1970s Flanders." International Journal for History, Culture and Modernity 6, no. 1 (March 28, 2018): 1–37. http://dx.doi.org/10.18352/hcm.516.

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During the 1970s the intellectual and cultural climate in Flanders increasingly matured, also in the field of architecture. This fledgling cultural renaissance was fed to a remarkable extent by intellectuals with a religious background who chose to reorient their careers outside the Church. This article focuses on one of those clerics-turnedpublic intellectuals: sociologist and former Passionist Sieg Vlaeminck (1933–2011), who during the 1970s advocated a scientifically grounded approach of the built environment, labelled woonecologie. His life trajectory unites (1) a plea for sciences, embodying a trend towards scientification, (2) a public voice acknowledging architecture’s societal relevance and (3) a first-hand witness of and contributor to a growing secularization of religious culture. This paper traces the transfiguration of Vlaeminck’s religious vocation into an architectural engagement, in order to offer one way of grasping how architectural culture of the 1970s benefited from the secularization that affected the Catholic Church.

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33

CHOROWSKA, Małgorzata, and Andrzej LEGENDZIEWICZ. "THE COLORS OF RENAISSANCE ARCHITECTURE IN SILESIA FROM THE 16TH TO THE MID-17TH CENTURY ON THE BASIS OF SELECTED EXAMPLES." International Journal of Conservation Science 14, no. 1 (March 15, 2023): 159–86. http://dx.doi.org/10.36868/ijcs.2023.01.11.

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The article is the first attempt to summarize the issue of color in the Renaissance architecture of Silesia. The introduction outlines the purpose of the article; the architectural context of princely residences, noble and patrician houses, and public utility buildings; and also, the timescale of the Renaissance in Silesia. The basis for examining color schemes was the conducted architectural research, in which, in many cases, the authors participated personally. They included the analysis of technology, building materials, and architectural details, as well as stratigraphic studies of plasterwork and paint layers. As a result of the carried-out analysis, two basic colorschemes were specified. One involves contrasting smoothly painted plaster with brightly painted architectural details, and the other consists in covering the entire surface of walls with a network of thin stripes that imitate squares. Both color schemes were present in two different versions - with the use of either two or three colors, with the most common being: white, red, ocher, black and gray.

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Mukhin, Andrej S. "Palladian landscape as a cultural heritage." Vestnik of Saint Petersburg State University of Culture, no. 3 (56) (2023): 67–72. http://dx.doi.org/10.30725/2619-0303-2023-3-67-72.

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The article is devoted to the formal and semantic unity of architecture and its natural environment. The author considers the Palladian landscape as a harmonious combination of elements dating back to the architecture of the late Renaissance, to the work of Andrea Palladio. The study identifies examples of the use of compositional techniques to create an artistic and symbolic unity of the building and landscape space, natural or man-made. The Italian experience of the Renaissance is projected onto the evolution of the building art of Modern and Contemporary times. The environment of the monument is understood as cultural heritage. The problems of preserving urban clusters, as well as suburban and rural areas of historical and cultural value, are outlined. The utilitarian nature of the use of «free spaces» during compacted development, which destroys the optical connections of historical locations, which must be preserved to achieve visual effects in the process of comprehending the aesthetic and semiotic essence of architectural heritage objects, is revealed.

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35

Tabyisova, Fedosia W. "Trio Texture in Choral Arrangements and Polyclavier Organ of Southern Germany in the First Third of the 16th Century." Contemporary Musicology, no. 2 (2022): 81–106. http://dx.doi.org/10.56620/2587-9731-2022-2-081-106.

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The article is an attempt to establish a relationship between the structure of large South German church organs of the first third of the 16th century and the compositional features of the thencontemporary organ works. The historical boundaries of the Renaissance in German architecture and music do not coincide, while an organ may be viewed as an architectural element. This contradiction presents a certain difficulty. In the indicated period, the late Gothic architectural style, which preceded the Renaissance, played a leading role. As we see it, the organ music of this time, usually attributed to the Renaissance, reflected the transition from the late Gothic to the Renaissance. This complex repertoire is marked by the coexistence and interaction of three general trends. Among them are archaic polymelodic polyphony as well as new techniques: the method of coloring that spread in Southern Germany and imitation borrowed from the European North. A polyclavier organ, which we take as the standard of the South German instrument, is called a late Gothic spaltsatz organ (spätgotische Spaltsatz-Orgel) in German musicology. The trio texture found in choral arrangements, in our opinion, most fully and accurately reflects the polyclavier structure and timbre richness of the large church organs of South Germany.

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36

Gudelj, Jasenka, and Anita Ruso. "Tiskani renesansni traktati o arhitekturi u Dubrovniku." Peristil 56 (2014): 101–12. http://dx.doi.org/10.17685/peristil.56.9.

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37

Lörincz, Simina Anamaria. "»Non è altro lo edificare se none un piacere uolunptario …«." architectura 51, no. 2 (March 1, 2024): 129–41. http://dx.doi.org/10.1515/atc-2021-2002.

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Abstract In a time concerned with the emancipation of architecture from the mechanical arts to the liberal ones, Filarete challenged the mainstream rational-objective approach by proposing a poietic definition of architecture which spanned beyond craft and science. »Non è altro lo edificare se none un piacere volunptario…« is not yet another account of architecture, but it has become its supreme definition, possessing an almost universal value and demonstrating a vision ahead of its time. This paper investigates the multiple facets of this definition by situating it in the context of Renaissance architectural practice and within the framework of Filarete’s architectural treatise. Humanistic to the core, this definition transcends the usual anthropomorphic perspective on architecture (regarding the proportions, styles or expressions derived from the human body) and goes beyond the rational-material approach, addressing the sphere of sensitivity or even the realm of the spiritual. For Filarete, architectural creation is a true poietic act, consecrated to symbolism and emotion, while genuinely rooted in its manual, material dimension.

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38

Bertels, Inge. "Expressing Local Specificity: The Flemish Renaissance Revival in Belgium and the Antwerp City Architect Pieter Jan Auguste Dens." Architectural History 50 (2007): 149–70. http://dx.doi.org/10.1017/s0066622x00002914.

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While globalizing trends stimulate the creation of entirely new regions, established regional and local identities remain. Architectural historians, among others, explore the ways in which regionalism has been — and continues to be — defined and redefined. Current issues in this debate include what regional architectural traditions might be; whether regions can be defined by architecture; and how regional traditions of architecture have been defined and interpreted by artists, authors and scholars. Nineteenth-century Belgian architecture is particularly relevant in this context. The formation of Belgian Art Nouveau’s style and identity have both been the object of numerous studies, but while Art Nouveau is probably the best-known creation of Belgian nineteenth-century architecture, it is hardly the only one, nor indeed the only interesting one. One of the sources identified for Belgian Art Nouveau has been the milieu of the so-called Flemish Renaissance Revival, which produced such architectural gems as Emile Janlet’s (1839–1919) Belgian pavilion at the World Exhibition in Paris (1878) and Jean Winders’ (1849–1936) own house and studio (1882–83) in Antwerp (Fig. 1).

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39

Pankratov, V. M. "FEATURES OF THE EVOLUTION OF THE ARCHITECTURE OF THEATER BUILDINGS." Regional problems of architecture and urban planning, no. 16 (December 23, 2022): 90–98. http://dx.doi.org/10.31650/2707-403x-2022-16-90-98.

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The article is devoted to a thematic study of the history of the emergence and development of the architecture of theater buildings as a specific area of architectural creativity. Theater buildings have always been located, and are located today, in the public centers of large cities and urban agglomerations. These buildings perform an important cultural and educational function and are distinguished by architectural uniqueness and originality. They play an important organizing role in the architectural ensembles of city streets and squares, emphasizing the prospects of avenues and boulevards. The article gives examples of theatrical buildings of antiquity, the Renaissance, the classical period and theatrical buildings of recent years. The image of the theater of Dionysus in Athens, on the slope of the Athenian acropolis, is used as an image of an ancient theatrical building. The most characteristic example of the Italian Renaissance theater is the Teatro Olimpico in Vicenza, designed by Andrea Palladio in 1580. In the interior of the theater, Palladio imitated the open space of Greek amphitheaters and the architectural style of ancient Rome. The Odessa Opera House can serve as an example of the development of the achievements of theatrical architecture of the 19th century. The most achievements of theatrical architecture of the 19th century. The most striking example of the theater of the 20th century is the Sydney Opera House – a symbol of new architecture created based on new building technologies. The 21st century is represented by more modern buildings: the Walt Disney Concert Hall in Los Angeles, the Poly Grand Theater in Shanghai, the New Philharmonic in Paris. Each building is a certain iconic phenomenon in the history of architecture and opens up new perspectives for rethinking the historical experience of the formation of such buildings. The architects made the most of the entire set of expressive means in order to draw the viewer's attention to the external appearance of the theater. Creating a background for the perception of a theatrical production and forming a sense of the continuity of the cultural space of theatrical art.

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Wilkinson, Daniel. "The sculptor-architect: In rêverie." Design Ecologies 10, no. 1 (June 1, 2021): 99–121. http://dx.doi.org/10.1386/des_00012_1.

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As an architectural designer who has also worked as a figurative sculptor, my practice-led research sees the bringing together of sculptural modelling techniques with the sculpting of architectural drawings. Taking a singular reference to a lost architectural treatise by Michelangelo as its prompt, this article considers Renaissance sculptural practice as offering an alternate disciplinary footing to the norms that developed around Alberti; to which the development of contemporary architectural practice can be attributed. Through a process that moves towards drawing by way of a historically informed adoption of clay sketching, which is used to develop and inform an experimental polychromatic ceramic practice and virtual reality modelling techniques, my activities as a sculptor-architect critique the corporeal dismissals that marked the codifications of the Renaissance. Central to this is the capacity of disegno, which as a term was paramount for the era’s repositioning of architecture, painting and sculpture as liberal arts, to suggest broader approaches to design than an immediate reliance on drawing.

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Тарасенко, А. А., and Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА." Art and Design, no. 2 (September 21, 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.

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The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks to which the synthesis of arts is reached. Classical architecture and the original spatial architectonics of the upper temple altar barrier determined the theme and the style of the icon-painting. It was found out that the decoration and the icons in the Transfiguration Cathedral upper and lower churches’ iconostases combine the multi-temporal traditions of Christian art. The upper church central iconostasis reflects the influence of Renaissance architecture and art. The icon painting characteristic feature is a combination of the European art heritage, specifically Italian and Northern Renaissance, classicism, baroque and academicism of the XIX century. A three-dimensional style of painting based on the Western European tradition is observed. The decoration of the lower temple altar barrier contains architectural elements of Byzantium, Ancient Rus and baroque. The icon painting was created in the canonical Byzantine style of the Paleologue Renaissance period. By studying the features of the Transfiguration Cathedral iconostases, the main trends in church art of the second half of the XX–XXI centuries were identified: the application and combination of the renaissance-academic and the Byzantine-Ancient Rus styles. A detailed study of Odessa Cathedral iconostases was conducted for the first time. The features of the icon-painting themes and stylistics in the connection with the architectonics of the iconostases and the temple’s architecture were revealed. Practical significance is due to the possibility of using research materials in monographs on art history of Odessa, in the preparation of textbooks and methodological instructions with an in-depth study of icon-painting, monumental and decorative art, in the working-out of lectures’ and practical classes’ texts.

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Maddaluno, Raffaella. "Faith in the Stars and Architecture: Astrology as an Interpretation of Religious Permanence and the Birth of Modernity." Athens Journal of Architecture 10, no. 1 (February 8, 2024): 9–34. http://dx.doi.org/10.30958/aja.10-1-1.

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In 1912, Aby Warburg presented his interpretation of the frescoes at the Palazzo Schifanoia in Ferrara at the 10th International Congress of Art History in Rome. The decision to expound his theory in an academic setting was no coincidence: Warburg’s work, and the subsequent studies of Fritz Saxl, sought to centre the attention of art history on the complex world of astrological studies. The history of astrology demonstrated—via iconological analysis—the migration of knowledge from East to West. Warburg’s innovation was to superimpose the trauma of historical-artistic paths on this network. Through the Schifanoia frescoes, he could reflect upon how an international comparison with the surviving figurative concepts of Eastern Mediterranean civilisations had generated the stylistic transformation of the human figure in Italian art. Warburg defined astrology as ancient religion’s most tenacious form of hidden survival. He traced a path of continuity through art and its relationship to the architectural space hosting it. Astrological illustrations not only enable us to reconstruct the warp and weft of religious permanence but serve as a tool to explain the procedures of iconographic change that led to the Renaissance. After the collapse of paganism, many astrological images survived into the Middle Ages as symbols associated with the essences appropriated by Christianity as its own. A complex store of astrological iconography that migrated from classical cultures and reappeared during the Renaissance's construction of a universal language. Some foretastes emerge in medieval buildings; after a long period in which Christianity and astrology were considered incompatible, astrological language completed and provided meaning to the architecture that welcomed it. Such is the case of the Palazzo della Ragione in Padua. This paper aims to retrace the most significant paths of this migration of symbols through the analysis of such examples of Renaissance architecture as Villa Farnesina in Rome and the aforementioned Palazzo Schifanoia. It will also reflect on the position and training of the architect during the Renaissance and on how astrology was considered both magical thought and a mathematical description that would lead to the discovery of infinity. It is notable that the Farnesina’s astrological contents were dictated by Baldassarre Peruzzi, the building’s architect.

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Urquízar Herrera, Antonio. "Reseña de: Burke, Peter: Hybrid Renaissance. Culture, Language, Architecture." Espacio Tiempo y Forma. Serie IV, Historia Moderna, no. 32 (July 16, 2019): 345. http://dx.doi.org/10.5944/etfiv.32.2019.25201.

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Silberring, Jerzy. "WOMEN PAINTERS AND ARCHITECTURAL MOTIFS; FROM RENAISSANCE TO MODERN TIMES." Space&FORM 2024, no. 57 (May 13, 2024): 243–60. http://dx.doi.org/10.21005/pif.2024.57.e-01.

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From Villa Benedetti in Rome to the UNESCO headquarters in Paris, architecture created by women is an important contribution to the development of this field. Participation of women in various areas was limited up to the beginning of 20th century, and their works and achievements are still overlooked or attributed to men (Gingeras 2022). This material is dedicated to women painters, with emphasis on architectural motifs in their artwork. The article is a continuation of the earlier paper "Architectural motifs in painting, selected issues" Space and Form (2023) 55, covering period from the Renaissance to modern times.

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Wiroj Sheewasukthaworn. "Palladian Architecture in Thailand : Its meanings and Evolution." Journal of Electrical Systems 20, no. 4s (April 17, 2024): 1668–77. http://dx.doi.org/10.52783/jes.2230.

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This research aims to study Palladian architecture in Thailand focusing on its meaning and evolution Palladian architecture is originated from an Italian architect, Andrea Palladio, in the Renaissance period. The distinctive identity is that it has beautiful proportions that are harmoniously consistent, with the style which unraveled from ancient Greco-Roman architecture. Around the 17th century, Palladian architectural style was popular in Europe. Therefore, It can be clearly reflects as a symbol of Western architecture. In 19th century, Western powers began to gain more influence in Southeast Asia as well as in Thailand. The arrival of Westerners led to the development of western architecture in many cities. The Palladian architectural style was used as a model for the design of many buildings. This study finds that Western architects worked in Thailand had applied their knowledge of classical architecture to design the buildings according to Thai’s cultures. Palladian architecture in Thailand are mostly applied for large buildings. Its layout is outstanding. The main circulation uses the central hall as a link to different functions. Palladian architecture reflected luxury, simply majestic, easy to be applied to suit the terrain and modernity equivalent to the developed western nations.

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Betts, Richard J. "Structural Innovation and Structural Design in Renaissance Architecture." Journal of the Society of Architectural Historians 52, no. 1 (March 1, 1993): 5–25. http://dx.doi.org/10.2307/990755.

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The characteristic structural forms of large Renaissance churches-domes, drums, pendentives, and barrel vaults-were the products of innovation in theory and practice during the later fifteenth century in Italy that culminated in Bramante's projects for the new Saint Peter's. Significant ideas were contributed by Leon Battista Alberti, Francesco di Giorgio, and Leonardo da Vinci. Francesco di Giorgio's geometrical methods of design for churches as described in his second treatise incorporate a procedure for calculating the thickness of walls bearing vaults. Francesco di Giorgio tested the procedure in his own churches, and it was later used by Bramante.

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Joost-Gaugier, Christiane L., and Ross King. "Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture." Sixteenth Century Journal 33, no. 2 (2002): 608. http://dx.doi.org/10.2307/4144005.

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Donougho, Martin, and James S. Ackerman. "Distance Points. Essays in Renaissance Art and Architecture." Journal of Aesthetic Education 27, no. 3 (1993): 110. http://dx.doi.org/10.2307/3333255.

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Curran, Brian. "Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture." Journal of Architectural Engineering 7, no. 2 (June 2001): 57. http://dx.doi.org/10.1061/(asce)1076-0431(2001)7:2(57).

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Banek, Tadeusz, Patryk Krupiński, and Margot Dudkiewicz. "Optimization in landscape architecture." E3S Web of Conferences 49 (2018): 00002. http://dx.doi.org/10.1051/e3sconf/20184900002.

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Contemporary architectural proposals usually have to meet many different criteria. The most important are functionality and aesthetics, as well as rationality understood as a reference to costs. In this approach, the architectural proposal appears as a solution to the typical task considered in the Multi-criteria Decision Theory in the discipline generally referred to as Optimization. The paper presents examples of sixteenthcentury garden compositions, to try to answer the question of what the then residents (aristocrats) and the creators who fulfilled their wishes, were guided by. The homeland of the Renaissance is Italy, and the characteristics of this style were: geometry of space in the form of axial arrangement of rooms, symmetry, sheared forms of evergreen plants, and motifs referring to mythology. The basis of the Renaissance garden composition is a simple network of roads and squares, strongly connected to the main building and the remaining garden architecture. Mathematical principles, such as golden division of the segment and the Fibonacci sequence, were used as a way to bring beauty and balance to a design. This style is characterized by clipped garden ground floors with boxwood and molded vegetation. Roses, tulips, peonies and lavender were planted between shaped hedges. The terrace arrangement of some gardens has forced the creation of additional structures, such as retaining walls, ramps, balustrades and stairs. The paper discusses the subject of the golden division and its share in individual garden compositions. The authors showed many mathematical relationships that architects used when designing the described garden assumptions.

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