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Guo, Weiru. „Qingdao Modern Church Contrast and Analyzing Based on Religious Influences Perspective: Examples from Qingdao Catholic Church and Qingdao Christian Church“. Highlights in Science, Engineering and Technology 86 (27.03.2024): 54–58. http://dx.doi.org/10.54097/3g980w98.
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Qingdao, as a city with a colonial history, has numerous architectures that combine traditional Chinese architectural style and Western architectural style. One of the most distinctive types of architecture is the church. Churches have significant mental support functions as well as their function as shelters. They are symbols of the city, and valuable for the city to present its architectural scene. This article wishes to state the backgrounds and history of Catholicism and Protestantism; compare the differences in external spaces, internal spaces, decorations, and volume of Qingdao catholic church and Qingdao Christian church to analyze the architectural differences based on different religious backgrounds; emphasize the characteristics and connotations for churches. Studying church architecture can reveal the creativity and technical proficiency of ancient architects and craftsmen. Church architecture encompasses knowledge and skills from various fields, including structural engineering, sculpture, painting, and decoration. Such research contributes to the advancement of architectural design and engineering technology. Church architecture is a reflection of human creativity and cultural traditions, and it holds significant importance for the study and preservation of cultural heritage.
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Silapacharanan, Siriwan. „Conservation of Saint Paul Church, Thailand“. Asian Journal of Behavioural Studies 2, Nr. 8 (23.10.2017): 33. http://dx.doi.org/10.21834/ajbes.v2i8.52.
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There are very few Catholic churches in Thailand that conserve wooden structures. The first church of St. Paul was made of bamboo and the other timber on the Bang Pakong River. In 1873, Father Schmidt Francois-Joseph built the third one with concrete including wooden structures such as priest quarters, a bell tower, a rest pavilion, a granary, a school building, all of which were designed by French priests in colonial architecture and constructed by Chinese workers. As present, these buildings have been deteriorating. However, their conservation plans have been launched, recently.Keywords: conservation; Catholic Church; colonial architecture; timbereISSN 2398-4295 © 2017 The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, UniversitiTeknologi MARA, Malaysia.
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Tsvetkova, Polina. „The оrigin of the palladian tradition in the early church architecture of North America of the 17–18th centuries“. St. Tikhons' University Review. Series V. Christian Art 49 (31.03.2023): 42–49. http://dx.doi.org/10.15382/sturv202349.42-49.
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The article discusses the stage of formation and development of classical architectural traditions in the United States of America in the 17th-18th centuries on the example of the church architecture of Swedish settlers. The main direction in which both foreign architects and later national American masters worked was classicism, often manifested in the forms of Palladianism. The article describes the degree of influence of A. Palladio's architectural treatise on colonial building practice. Church buildings were built in the settlements the very first and best preserved, for this reason, it is precisely by examining examples of such that we can conclude that the early stage in the development of the classical architectural tradition in the United States. On the basis of local specific building and cultural features, under the influence of the religious institutions of church architecture in Sweden and Northern Europe, this direction received a new reading. The article provides a brief overview of the three oldest churches of the Swedish Christian community, on the example of which the author seeks to trace the history of the origin and development of the national interpretation of the Palladian system. The question is raised about the purity of the application of order architectural solutions in the early cult architecture of North America and the degree of fundamentality of the interpretation of the ideas of classicism and Palladianism. The specific national features of architectural solutions, which manifested themselves in the early church architecture of the colony, are revealed.
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Pandey Sharma, Jyoti. „Architectural Adventurism in Nineteenth-Century Colonial India: Begum Samru and Her Sardhana Church“. International Journal of Islamic Architecture 9, Nr. 1 (01.03.2020): 61–89. http://dx.doi.org/10.1386/ijia_00004_1.
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Abstract This article explores the politically fluid and culturally hybrid environment of the Indian subcontinent during the late eighteenth and nineteenth centuries. Interaction between European mercenaries and their Indian patrons led to acculturation of both sides. This cultural affinity also extended into the realm of architecture and building patronage, resulting in a stylistic hybridity that drew upon both Indian and European traditions. This article examines the building projects of Begum Samru, bibi (consort) of a German mercenary and ruler of Sardhana near Delhi. The Begum, born a Muslim, converted to Christianity, but nonetheless still valued her roots, creating a syncretic identity that was reflected in her architectural patronage. The scope of her patronage went beyond domestic architecture to serve the cause of her adopted religion as well. While she donated generously to Catholic institutions, it was in the building of churches that the Begum resorted to what one may call architectural adventurism to mark her identity as a devout Catholic. Transcending the prevalent notions of space and aesthetics, the Begum's architectural trajectory was unconventional due to her gender, social status, faith, and patronage of churches. Commissioned in 1821, Sardhana's Catholic Church became a symbol of her architectural adventurism: it epitomized Begum Samru's feisty spirit and her quest to champion Catholicism in the subcontinent.
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Fiutak, Marcin, Dariusz Bajno und Agnieszka Grzybowska. „The colonial village of Radomierowice and its sacral buildings as an example of typical rural architecture during the Frederick colonization“. MATEC Web of Conferences 396 (2024): 12003. http://dx.doi.org/10.1051/matecconf/202439612003.
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The article presents an overview of half-timbered construction in Opole Silesia (south Poland). Its unique forms on the example of the church of N.M.P. in Radomierowice. It shows the genesis of the Prussian colonial style (log construction). Influence of colonial settlements and types of wooden folk architecture in Opole Silesia from the 17th century. The article presents an analysis of frame structures on the example of the church of N.M.P. in Radomierowice by architect Christian Isemer. Which were used in religious architecture during the Friderite colonization (the turn of the 18th and 19th centuries). Was presented a result of the analysis, the problem of the disappearance of the historical substance of monuments from the landscape of the Silesian countryside.
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José, Regalado Trota, und Cheek Fadriquela. „An 18th Century Manual on Architecture: Fray Juan Albarrán’s Barias Reglas de Arquitectura, 1735 (Part Two)“. Philippiniana Sacra 57, Nr. 174 (01.09.2022): 529–64. http://dx.doi.org/10.55997/3005pslvii174pr1.
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The building of the Santo Niño church is a benchmark event for the study of Philippine architectural history. Apart from the happy fact that this building still stands, are two narratives written by its builder, Fray Juan Albarrán. This Augustinian was assigned as prior to the Cebu convent for two terms, 1735-1737, and 1737-1740. During this time, he planned, oversaw, and completed the rebuilding of the Santo Niño church. His narratives, “Advertencias para obras que se puedan ofrecer en este Convento” (Words of advice for projects that can be offered in this convento”) and “Barias Reglas de Arquitectura” (Various Rules for Architecture) were written between 1735 and the first half of 1736. These texts, which document Albarrán’s experiences in the very early building stages of the church, are perhaps the earliest materials we have to a manual for construction in Spanish colonial Philippines.
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Ellis, James. „Anglican Indigenization and Contextualization in Colonial Hong Kong: Comparative Case Studies of St. John’s Cathedral and St. Mary’s Church“. Mission Studies 36, Nr. 2 (10.07.2019): 219–46. http://dx.doi.org/10.1163/15733831-12341650.
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Abstract The British Empire expanded into East Asia during the early years of the Protestant Mission Movement in China, one of history’s greatest cross-cultural encounters. Anglicans, however, did not accommodate local Chinese culture when they built St. John’s Cathedral in the British Crown Colony of Hong Kong. St. John’s had a prototypical English style and was a gathering place for the colony’s political and social elites, strengthening the new social order. The Cathedral spoke a Western architectural language that local residents could not understand and many saw Christianity as a strange, imposing, foreign religion. As indigenous Chinese Christians assumed leadership of Hong Kong’s Anglican Church, ecclesial architecture took on more Chinese elements, a transition epitomized by St. Mary’s Church, a Chinese Renaissance masterpiece featuring symbols from Taoism, Buddhism, and Chinese folk religions. This essay analyzes the contextualization of Hong Kong’s Anglican architecture, which made Christian concepts more relevant to the indigenous community.
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Lara, M. Lenin, David Sanz-Arauz, Sol López-Andrés und Inés del Pino. „Characterization and Analysis of the Mortars in the Church of the Company of Jesus—Quito (Ecuador)“. Minerals 11, Nr. 7 (19.07.2021): 781. http://dx.doi.org/10.3390/min11070781.
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The Church of the Company of Jesus in Quito (1605–1765) is one of the most remarkable examples of colonial religious architecture on the World Heritage List. This church has multiple constructive phases and several interventions with no clear record of the entire architectural site, including the historical mortars. A total of 14 samples of coating mortars inside the central nave were taken, with the protocols suggested by the research team and a comparative sample of the architectural group that does not have intervention. The analysis presented in this paper focuses on mineralogical characterization, semi-quantitative analysis by X-ray diffraction and scanning electron microscopy with microanalysis of the samples. The results showed the presence of volcanic aggregate lime and gypsum, used in lining mortars and joint mortars. Mineralogical and textural composition data have allowed the mortar samples to be relatively dated.
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Silapacharanan, Siriwan. „The Creation and Conservation of Saint Paul Church, Thailand“. Environment-Behaviour Proceedings Journal 1, Nr. 3 (03.08.2016): 217. http://dx.doi.org/10.21834/e-bpj.v1i3.366.
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There are very few Catholic churches in Thailand that conserve wooden structures.Take St.Paul in Muang District, Chachoengsao Province located on the east of Bangkok as an example, it was built by Bishop Pallegoix Jean-Baptise the Vicar Apostolic of Siam in 1840. The first church was made of bamboo and the other wood. In 1873, Father Schmidt Francois-Joseph bought a piece of land and built the third one with concrete including wooden structures such as priest quarters, a bell tower, a rest pavilion on the Bang Pakong River, a granary, a school building, all of which were designed by a French priest in colonial architecture and constructed by Chinese workers. As the time passes, heritage buildings have been deteriorating. However, their conservation plans have been launched, and most of them have been implemented. Most of the structures were constructed of teak that can adapt itself to the weather. Another property of wood is that it can be deconstructed and reconstructed with or without changing its former architectural style.© 2016. The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/).Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.Keywords: conservation; cultural heritage; architecture; community
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Kubiak, Ewa. „La iglesia de los Jesuitas en Cusco como un modelo para la arquitectura de la región“. Sztuka Ameryki Łacińskiej 2 (2012): 41–72. http://dx.doi.org/10.15804/sal201202.
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At the end of the first half of the 17th century, a “European” character of Peruvian architecture was loosened. In 1650, an earthquake in Cusco destroyed existing buildings and, as the result, proved to be an impetus for building movement intensification. One of a few buildings which were not destroyed was a still unfinished Cusco cathedral, which later played a unique role in baroque architecture development in Peru. The temple was undoubtedly one of the first productions which could be associated with a baroque style. However, without diminishing the significance of the object, it is worth emphasizing other (not less important) sources of baroque architecture in the region. Another temple that undoubtedly influenced the shaping of a new trend in local building was a Jesuit church in Cusco. Mentioned as an important object for Peruvian architecture of the colonial period, it is usually treated as an element in the sequence of baroque architecture development in Peru. It is worth emphasizing the role that the temple played in creation of certain architectural models, which were present in Peruvian building of the late 17th and 18th centuries. Three analysed elements are: a facade composition (influence on the architecture of Cusco: San Pedro, Nuestra Señora de Belén, San Sebastián and the region – temples in Ayaviri, Asillo, Mamara, Huaquira, Puno); a design, a spatial layout and a structural system (similarity to a Jesuit church in Cusco of the temples of San Pedro in Cusco, San Pedro in Juli, Santiago de Pomata, Pisco); decorative-ornamental motifs – towers’ finials (San Pedro in Cusco) or columns’ decoration (Santa Cruz in Juli).
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Pinzón Rivera, José Alexander. „Instauración y construcción del colegio e iglesia del Corazón de Jesús en la villa de San Bartolomé de Honda (1745 - 1805).“ Procesos Urbanos 2 (01.01.2015): 07–25. http://dx.doi.org/10.21892/2422085x.80.
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Resumen: El presente artículo tiene por objeto estudiar desde el punto de vista histórico y arquitectónico el proceso de construcción de las primeras sedes para el colegio e iglesia de la orden de la Compañía de Jesús en la antigua Villa de San Bartolomé de Honda. Se responde a tres aspectos en concreto, el lugar que ocuparon inicialmente estas dos edilicias, su posterior traslado a un espacio más dinámico a orillas del río Gualí en 1746. Al final, se presentan los sucesos que dieron pie al cambio de uso de este complejo arquitectónico por Fábrica de Aguardientes; primero a partir de la expulsión de la orden religiosa del territorio de la Nueva Granada y luego por la desaparición física de la edificación por causas naturales en 1805.
___Palabras clave: Honda, colegio, iglesia, jesuitas, arquitectura colonial, fabrica de aguardientes.
___Abstract: This article aims to study from the historical and architectural point of view the historical and architectural point of view the construction process of the first venues for the school and the church of the Order of the Society of Jesus in the old town of San Bartolome de Honda. It addresses three aspects in particular, the place originally occupied by these two buildings, then transferred to a more dynamic bank of the Gualí river in 1746. In the end, the events that gave rise to the change of use of this architectural complex by the Aguardiente Factory are shown. First, from the expulsion of the religious order of the territory of Nueva Granada and then by the physical disappearance of the building due to natural causes in 1805.
___Keywords: Honda, school, church, Jesuits, colonial architecture, aguardiente factory.
___Recibido: 06 de septiembre de 2015. Aceptado: 28 de octubre de 2015.
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Subanar, Gregorius Budi. „Christian Art and Architecture in Indonesia in the Twentieth Century: Rooted in Local Images and Buildings“. Retorik: Jurnal Ilmu Humaniora 10, Nr. 2 (31.03.2023): 184–214. http://dx.doi.org/10.24071/ret.v10i2.5752.
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In this global era, identity has become an important topic. This research presents the identity of Christian art in Indonesia as represented in visual art and the architecture of church buildings. Catholic missionaries introduced Christian visual arts through education in schools, boarding houses, and religious instructions. Thereafter, the perceptions of the Indonesian faithful were expressed through paintings and sculptures. There are three periods of the development of such expressions: (1) during the colonial era, (2) after the formations of the local artists who were sent to study abroad, and (3) the modern era. Each of these periods has its own expression.
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Kaunang, Alvita Melina Surtania. „IDENTIFIKASI UNSUR-UNSUR PEMBENTUK KARAKTER ARSITEKTURAL BANGUNAN GEREJA KRISTEN JAWA KLASIS YOGYAKARTA UTARA“. Jurnal Arsitektur KOMPOSISI 10, Nr. 2 (01.05.2017): 87. http://dx.doi.org/10.24002/jars.v10i2.1043.
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Abstract: In Indonesia there are several church fellowships. Design of their buildings is influenced by the location, ideology, or ordinances of worship. Synod Javanese Christian Church was first established by local residents since the Dutch colonial period. The synod is divided into 32 clusters based on the distribution area of Java. Each of these clusters is called “Klasis”, The purpose of this research was to explore elements which are significant to the architectural character of Java Christian Church referring to the implementation of Christian symbols and characteristics of traditional architecture of Javanese on building elements of Java Christian Church in “Klasis Yogyakarta Utara”. Research method includes data collection method, data processing method, and the method of making conclusions. The method of data collection consists of literature study, survey— that includes observation, documentation of the building physical data in the form of sketches of floor plan and building facade, including photographs—, and distributing questionnaires. Methods of processing and analyzing data in the form of questionnaire conducted by tabulating data and calculating the percentage of the dominant variable elements of the building which are considered using Christian symbols and characteristics of traditional Javanese architecture. Meanwhile, sketches of the floor plan and building facade, analyzed by the Ordering Principles stated by Ching (2007). The result indicates that Javanese Christian Church building implements the Christian symbols more significantly rather than characteristics of traditional Javanese architecture. Dominant variables which are applying the Christian symbols are ornaments, windows, and furniture.Keywords: Java Christian Church, architectural character, Christian symbol, traditional architecture of JavaneseAbstrak: Di Indonesia terdapat beberapa persekutuan gereja yang rancangan bangunan gerejanya dipengaruhi oleh faktor lokasi, ideologi, atau tata cara ibadah. Sinode Gereja Kristen Jawa didirikan pertama kali oleh penduduk lokal sejak masa kolonial Belanda. Sinode tersebut terdiri dari 32 Klasis yang terbagi menurut persebaran wilayah di Pulau Jawa. Tujuan penelitian ini adalah untuk menelusuri unsur-unsur pembentuk karakter arsitektural bangunan Gereja Kristen Jawa dengan mengacu pada penerapan simbol Kristiani dan ciri khas arsitektur tradisional Jawa pada unsur-unsur bangunan Gereja Kristen Jawa Klasis Yogyakarta Utara. Metode penelitian yang digunakan, meliputi metode pengumpulan data, pengolahan data, serta penarikan kesimpulan. Metode pengumpulan data dilakukan dengan studi literatur, survei, yang meliputi pengamatan, pendokumentasian data fisik bangunan berupa gambar denah, tampak serta foto, dan menyebarkan kuesioner. Metode pengolahan dan analisis data yang berbentuk kuesioner dilakukan dengan cara tabulasi data dan menghitung persentase variabel yang dominan dari unsur-unsur bangunan yang dianggap menerapkan simbol Kristiani dan ciri khas arsitektur tradisional Jawa, sedangkan untuk data yang berbentuk sketsa, yaitu denah dan tampak, dianalisis dengan prinsip penataan Ching (2007). Hasil penelitian menunjukkan bahwa bangunan Gereja Kristen Jawa secara signifikan lebih menerapkan simbol Kristiani dibandingkan dengan menerapkan ciri khas arsitektur tradisional Jawa. Variabel yang dominan menerapkan simbol Kristiani adalah ornamen/ragam hias, jendela, dan perabotan.Kata kunci: Gereja Kristen Jawa, karakter arsitektural, simbol Kristiani, arsitektural tradisional Jawa
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Yunani, Ahmad. „Gereja Hati Yesus Yang maha Kudus - Katedral (sejarah Gereja Katolik di Sulawesi Selatan dan Tenggara)“. Jurnal Lektur Keagamaan 15, Nr. 1 (10.05.2018): 125. http://dx.doi.org/10.31291/jlk.v15i1.518.
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The Hati Yesus yang Maha Kudus Church is the oldest Catholic church in Makassar. Built in 1898, the church later became the cathedral church in Makassar. In this paper, the author makes the church as the object of research using the method of archaeological descriptions. This study aims to find out how the application of building styles in gothic churches and its changes to date. Through the embodiment of the visual elements of the oldest Catholic church in Makassar, the gothic style and other artistic styles of the buildings the church shows an interesting and unique blend of architecture. The shape of windows, doors, and curved roofs is part of the Gothic style that was the influence of the Dutch colonial period. Although the style and forms of this church have a resemblance of form with the later Christian church, the Christian church of Immanuel Makassar, the Hati Yesus yang Maha Kudus Church has become part of the Roman Catholic church structure which has many historical values, both in Makassar's local history, as well as Indonesian national history.
Keywords: Church of the Most Sacred Heart of Jesus, Catholic, history, Architecture, Makassar.
Gereja Hati Yesus yang Maha Kudus merupakan gereja Katolik tertua di Makassar. Dibangun pada tahun 1898, gereja ini kemudian men-jadi gereja Katedral di Makassar. Dalam tulisan ini, penulis menjadi¬kan gereja Hati Yesus yang Maha Kudus sebagai objek penelitian dengan menggunakan metode deskripsi arkeologis. Penelitian ini bertujuan untuk mengetahui bagaimana penerapan gaya bangunan pada gereja gotik dan perubahannya hingga saat ini. Melalui perwujudan unsur-unsur visual pada gereja Katolik tertua di Makassar tersebut, gaya gotik dan gaya artistik lainnya dari bangunan memperlihatkan perpaduan arsitektur yang menarik dan unik. Bentuk jendela, pintu, dan atap melengkung adalah bagian dari corak gotik yang merupakan pengaruh dari masa kolonial Belanda. Meskipun gaya dan bentuk gereja ini memiliki kemiripan bentuk dengan gereja Kristen yang muncul kemudian, yaitu gereja Kristen Immanuel Makassar, Gereja Hati Yesus yang Maha Kudus, menjadi bagian dari struktur gereja Katolik Roma yang memiliki banyak nilai-nilai sejarah, baik sejarah lokal Makassar, bahkan sejarah nasional Indonesia umumnya.
Kata Kunci: Gereja Hati Yesus yang Maha Kudus, Katolik, sejarah, Arsitektur, Makassar.
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Turner, Emily. „The Church Missionary Society and Architecture in the Mission Field: Evangelical Anglican Perspectives on Church Building Abroad, c. 1850-1900“. Architectural History 58 (2015): 197–228. http://dx.doi.org/10.1017/s0066622x0000263x.
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The Gothic Revival occupies a central place in the architectural development of the Church of England in the nineteenth century, both at home and abroad. Within the expanding British colonial world, in particular, the neo-Gothic church became a centrally important expression of both faith and identity throughout the second half of the nineteenth century. From a symbolic and communicative perspective, the style represented not only a visual link to Britain, but also the fundamental expression of the Church of England as an institution and of the culture of Englishness. As such, it carried with it a wide range of cultural implications that suited the needs of settler communities wishing to re-established their identity abroad. Expansion during this period, however, was not only limited to the growth of settler communities but was also reflected in growing Anglican missions to the non-Christian peoples of annexed territories. The two primary organs of the Church of England in the field, the Society for the Propagation of the Gospel (SPG) and the Church Missionary Society (CMS), actively employed the revived medieval style throughout the Empire as missions were solidified through infrastructure development. As a popular style with direct connotations to the Christian faith, revived medieval design became increasingly popular with Anglican missionaries abroad in the period between the early 1840s and the end of the century. Not only did its origins in ecclesiastical buildings make it attractive, but it was also stylistically distinctive, and set apart as a sacred style from both secular and ‘heathen’ structures.
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Weiher, Emma Charlotte. „“Catherine Tekakwitha, who are you?” — The Indigenous Female Body in the Colonial and Post-Colonial“. Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 11 (21.10.2022): 53–75. http://dx.doi.org/10.14201/candb.v11i53-75.
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In 2012, the Mohawk saint Catherine Tekakwitha was finally canonized by the Catholic church. She has been the subject of many accounts and narratives —both historical and fictional—and figures as the main subject of Leonard Cohen’s 1966 novel Beautiful Losers. While having been lauded for its post-modernist and presumably postcolonialism stance on Tekakwitha’s figure, Cohen’s novel remains controversial in its depiction and appropriation of Indigenous womanhood. Beautiful Losers relies heavily on missionaries’ accounts of Tekakwitha and is entrenched in the male protagonist’s sexual claim and fixation on her character. Given the significant status of women in Indigenous communities, I argue that Cohen’s novel not only participates in an ongoing violation of the Indigenous female body but also denies the integrity of Indigenous family structures and their social as well as narrative authority. It hinders, rather than encourages, a shift in narrative authority pertaining to Canada’s colonial heritage. While Cohen’s text remains a necessary testament to the shortcomings and failures of history and its criticism, what is required in forthcoming scholarship and narratives dealing with Tekakwitha and figures similar to her is a narration originating in Indigenous communities. An emergence of such narratives requires a definite reckoning with Canada’s violent history of mistreating Indigenous womanhood that continues to this day.
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Putra, Yohanes Khrisna Hadi. „Nilai Penting Atap Kubah dan Denah Oktagonal pada Gereja Blenduk“. Jurnal Konservasi Cagar Budaya 13, Nr. 1 (30.06.2019): 41–54. http://dx.doi.org/10.33374/jurnalkonservasicagarbudaya.v13i1.196.
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Bangunan G.P.I.B. Semarang yang lebih dikenal dengan Gereja Blenduk memiliki dua elemen penting pembentuk karakter bangunan, yakni atap kubah dan denah oktagonal. Atap dan denah adalah karakter penting pembentuk arsitektur bangunan. Perubahan bentuk dan bahan dua elemen tersebut pada Gereja Blenduk telah mengindikasikan adanya proses memahami lingkungan tropis pada era kolonial (abad ke-18 sampai ke-19), secara spesifik di Kota Lama Semarang. Melalui pendekatan arkeologi bangunan, penulis hendak mengungkap asal-usul bentuk dua elemen tersebut dan kontribusinya terhadap nilai penting Gereja Blenduk. The G.P.I.B. Semarang building, better known as the Blenduk Church, has two important elements that defining building character, a dome roof and octagonal plan. Roof and plan are important character shaped building architecture, The changes in shape and material of the two elements at Blenduk Church, have indicated the process of understanding tropical environment in the colonial era (18th -19th century), specifically on Semarang old town. Through the building archeology approach, the author wants to reveal the origin of the two elements form, and their contribution to the significant value of Blenduk Church.
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Coslett, Daniel E. „Monuments, Memories, and Conversion: Commemorating Saint Louis of France in Colonial Carthage“. Journal of the Society of Architectural Historians 82, Nr. 4 (01.12.2023): 420–48. http://dx.doi.org/10.1525/jsah.2023.82.4.420.
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Abstract Although scholars have explored the colonialist nature of archaeology and the importance of antiquity in the legitimation of modern empires, accounts of French-occupied North Africa have largely overlooked the place of medievalism in the nineteenth- and twentieth-century French colonial project. Illustrating the strategic importance of references to the crusader-king Louis IX, whose short stay in Tunisia culminated in his death in 1270, this article explores a dynamic ensemble of commemorative structures and spaces built by France and the Catholic Church on the Byrsa Hill, Carthage’s ancient acropolis. It considers a Gothic Revival chapel (1841), a scholasticate and antiquities museum (1879), an eclectic cathedral (1894), and an archaeological garden (1950–56) before concluding with a brief account of the site’s postcolonial development and current state. The conversion of the Byrsa by Catholic officials demonstrates the multifaceted nature of colonial mythologizing and architecture, where both antiquity and medievalism played critical sociopolitical roles.
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Moser, Giancarlo, Thiago Henrique Almino Francisco, Rosa Beatriz Madruga Pinheiro und Nei Antonio Nunes. „Education in the construction of national identity: a historical and theoretical analysis“. Concilium 24, Nr. 13 (09.07.2024): 427–39. http://dx.doi.org/10.53660/clm-3697-24n32.
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The article investigates how education has been crucial in the formation and consolidation of national identity since the Modern Era. Using an exploratory research methodology, the study analyzes historical, theoretical, and empirical sources to understand the relationship between education and state-building. Initially dominated by the Church, education was centralized by the State from the 18th century onwards to promote national identity and social cohesion. In colonial contexts, modern schooling was used to shape the workforce and disseminate colonial values. With the emergence of nation-states, public education became a tool for modernization, development, and globalization. The study concludes that public schooling was fundamental for the construction of state sovereignty and the formation of citizens aligned with state ideals. Curriculum standardization and teacher training ensured social cohesion and the integration of the popular masses into the social structure. Public education emerged as a central institution in the architecture of the modern state, playing a multifaceted role in the formation of citizens and the consolidation of social order. Schooling not only transmitted knowledge but also functioned as a strategic instrument of social control, essential for the stability and progress of modern nations.
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Colleoni, Paola. „A Gothic Vision: James Goold, William Wardell and the Building of St Patrick’s Cathedral, Melbourne, 1850–97“. Architectural History 65 (2022): 227–60. http://dx.doi.org/10.1017/arh.2022.11.
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ABSTRACTSt Patrick’s Cathedral in Melbourne is among the largest Gothic revival churches built in the nineteenth century, matching in size the medieval cathedrals that inspired its design. The history of the commission reveals the role played by the first Roman Catholic bishop of Melbourne, James Alipius Goold, who was acquainted with A. W. N. Pugin’s theories of the Gothic revival and who promoted the construction of churches true to Pugin’s principles. After two failed attempts at smaller structures, and in the wake of the gold rush in Victoria, Goold in 1858 commissioned the newly arrived architect William Wilkinson Wardell to design a cathedral of unprecedented monumental proportions. Wardell’s design, rooted in an archaeologically correct approach to medieval precedent, was widely praised by colonial society, which favoured massive buildings reminiscent of those found in Europe. Furthermore, with its French-inspired apse and radiating chapels, St Patrick’s highlighted a connection to Catholic religious tradition particularly resonant for its largely Irish congregation. The design stands apart from High Victorian developments in the Gothic revival seen in England in the 1850s, as colonial patrons favoured a more conservative approach. St Patrick’s exemplifies several of the trends that influenced the revival of Gothic architecture in the Australian colonies, while also representing the desire of the Catholic Church to establish its position throughout the wider British empire.
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Moss, Rachel. „Appropriating the Past: Romanesque Spolia in Seventeenth-Century Ireland“. Architectural History 51 (2008): 63–86. http://dx.doi.org/10.1017/s0066622x00003026.
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Although a relatively young subject, the historiography of Irish architecture has had a remarkably significant impact on the manner in which particular styles have been interpreted and valued. Since the genesis of the topic in the mid-eighteenth century, specific styles of architecture have been inextricably connected with the political history of the country, and each has been associated with the political and religious affiliations of its patrons. From the mid-nineteenth century, the focus on identifying an Irish ‘national’ architecture became particularly strong, with Early Christian and Romanesque architecture firmly believed to imbue ‘the spirit of native genius’, while Gothic, viewed as the introduction of the Anglo-Norman invader, was seen as marking the end of ‘Irish’ art. Inevitably, with such a strong motivation behind them, early texts were keen to find structures that were untouched by the hand of the colonizer as exemplars of the ‘national architecture’. Scholars, including the pioneering George Petrie (1790–1866) in works such as his 1845 study of the round towers of Ireland, believed that through historical research he and others were the first to understand the ‘true value’ of these buildings and that any former interest in them had been purely in their destruction, rather than in their restoration or reconstruction. It was believed that such examples of early medieval architecture and sculpture as had survived had done so despite, rather than because of, the efforts of former ages, and, although often in ruins, the remains could be interpreted purely in terms of the date of their original, medieval, creation.Informed by such studies, from the mid-nineteenth century a movement grew to preserve and consolidate a number of threatened Romanesque buildings with the guiding philosophy of preserving the monuments as close to their original ‘pre-colonial’ form as possible. Consolidation of the ruins of the Nuns’ Church at Clonmacnoise (Co. Offaly) is traditionally amongst the earliest and most celebrated of these endeavours, undertaken by the Kilkenny and Southeast Ireland Archaeological Society in the 1860s, setting a precedent for both the type of monument and method of preservation that was to become the focus of activity from the 1870s, and thus for the first State initiatives in architectural conservation.
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Findlay, Michael. „William Henry Dunning: The Quiet Man“. Architectural History Aotearoa 1 (05.12.2004): 7–15. http://dx.doi.org/10.26686/aha.v1i0.7889.
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Tasmanian-born architect William Henry Dunning (1872-1933) commenced his New Zealand practice in Timaru in 1907. Initially trained in Hobart, under the notable church designer Alexander North, Dunning's experience as a colonial architect was further extended in Cape Town. His association with fellow Tasmanians Alfred and Sidney Luttrell drew him to Dunedin where he supervised the construction of the New Zealand Express Company Building.
Dunning was an ambitious architect. His competition entries included designs for the New Zealand Parliament Buildings (1911) and the Auckland War Memorial Museum (1922). Despite the quality of his work, and efforts towards self-promotion, Dunning's most significant contribution to the city's architecture, the National Bank (1911) has been frequently attributed to another designer. The remainder of his work is also little known. This paper seeks to explore the ways in which architects asserted authorship during the period and will attempt to map the shifting responsibilities between architects and builders that allowed Dunning's contribution to the National Bank project to become obscured.
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Humphris, Adrian, und Geoff Mew. „ARCHITECT ‐ or Painter, Politician, Forger, Farmer: Multiple careers a necessity in 1840s New Zealand“. Architectural History Aotearoa 11 (01.10.2014): 28–34. http://dx.doi.org/10.26686/aha.v11i.7413.
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Emigrants arriving in New Zealand in the 1840s who had some architectural training were rarely able to find full‐time employment in that profession. Some sought to make a living in related fields where their drafting skills could be used (as artists or surveyors); others changed completely to become farmers or real estate agents. A few sought civil service positions or moved into politics. The most persistent bided their time in other employment but moved back to architecture when conditions became more favourable.
Here we describe a number of examples of these categories. Edward Ashworth arrived in Auckland in 1842. Unable to find architectural work, he taught drawing to the Governorʹs children and also produced several paintings of early Auckland. Henry St Hill arrived in Wellington as the New Zealand Companyʹs Architect ‐ but followed a career as magistrate and sheriff. W Robertson practised as an architect in Auckland from 1847 ‐ but also advertised as a real estate agent. S Kempthorne arrived in 1842 as a church architect but did not adapt well to New Zealand conditions and fell out of favour with Bishop Selwyn. By 1864 he was Secretary of a Public Buildings Commission. Reader Gillson Wood, famous or infamous for New Zealandʹs first parliament building, the "Shedifice" in Auckland, became a well‐known politician ‐ but returned to practising as an architect several times during a long career. William Mason thought he was coming to New Zealand as Colonial Architect in 1840. Downgraded to Superintendent of Public Works, he resigned after two years. Mason then moved into auctioneering and farming for the next ten years before returning to architecture and, later, a highly successful career in Dunedin. T O'Meara of Wellington claimed to be an architect but was probably a builder. Either way his drafting ability was found to be wanting when he forged a series of government debentures and tried to pass them for payment. (This resulted in a ten‐year jail sentence, with transportation to Tasmania).
We also explore some of the social reasons for the apparent lack of work for early skilled architects, including the slow‐growing economy, immediate needs for basic shelter/food production and major differences in building material resources compared with settlersʹ countries of origin.
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Skinner, Robin. „Drawing from an Indigenous Tradition? George Gilbert Scott’s First Design for Christchurch Cathedral, 1861-62“. Architectural History 53 (2010): 245–70. http://dx.doi.org/10.1017/s0066622x00003932.
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In 1861 Scott designed an innovative hybrid for Christchurch Cathedral, New Zealand, combining a stone exterior with an independent wooden interior, at once expression of the primitive ruggedness of what he imagined to be the Maori wood tradition and an experimental response for this earthquake-prone colony.Commissioning George Gilbert Scott (1811-78) to design a cathedral for the relatively new settlement at Christchurch, in the province of Canterbury, New Zealand, was an ambitious undertaking by a predominantly Anglican community that had been established only eleven years earlier. The cathedral, which was constructed between late 1864 and 1904, was a conventional stone building, designed by Scott and executed locally by B. W. Mountfort. However, in an unusually experimental move, Scott had earlier proposed a structure that incorporated a stone exterior with an interior frame made of a series of high piers of New Zealand native timber, each almost 50 feet tall. The dramatic interior of this proposal referenced a wide variety of timber- and church-building traditions; had it been constructed, its tall wooden structure would have been ‘unique amongst colonial cathedrals’. After examining previously discussed sources for his design, this paper speculates upon further influences, testing — in particular — Barry Bergdoll’s assertion that the design was an expression of the ‘primitive ruggedness’ that Scott imagined derived from Maori work in wood, examples of which had been known in Europe since the 1770s.
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Nicholas, Nicholas, und Maria Veronica Gandha. „MUSEUM ARSITEKTUR JAKARTA DI KAWASAN MEDAN MERDEKA TIMUR“. Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, Nr. 2 (26.01.2020): 1303. http://dx.doi.org/10.24912/stupa.v1i2.4405.
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As time went on, the Museum in the city of Jakarta was still limited. The works exhibited remain the same and tend not to be interactive. Most museums in Jakarta try to show the historical side of Dutch colonialism and their heritage. but there is no museum that discusses how architecture in the city of Jakarta has developed rapidly until now and left its story or history. In the historical exposures of its growth, where the city government alternates and the conditions of its society are very diverse. But in its journey to a more modern era, there needs to be a change to the concept of the museum. The decline in the number of visits to the museum should be a concern that the millennial generation has begun to abandon the trend of traveling to museums because the museum is considered too old and undeveloped. The presence of the Jakarta architecture museum tells the story of the architectural journey of the city of Jakarta which has developed since the Dutch colonial era to the present. The design of the Museum which is located in the East Merdeka area is directly adjacent to the old building which has historical value, the Immannuel Church and the National Gallery; In addition, this region is connected in one tourism path that is being developed, from the Istiqlal Mosque and the Cathedral Church (which has historical architectural value) to the Proclamation Monument on the Proclamation Road. With a relationship between two destination points. The project also interacts with its surroundings as a comfortable place with open space for the surrounding community. The general program is supported by space 3.0 in the form of amphitheater, which can be accessed by various groups both horizontally and vertically. This project is expected to increase the insight and interest of visitors to study architecture and its role in building cities. AbstrakSeiring berjalanya waktu, Museum di kota Jakarta masih tetap terbatas. Karya karya yang dipamerkan tetap sama dan cenderung tidak interaktif. Kebanyakan museum di Jakarta mencoba menampilkan sisi historis dari penjajahan Belanda dan peninggalannya. namun belum ada museum yang membahas bagaimana arsitektur di kota Jakarta berkembang pesat sampai sekarang dan meninggalkan cerita atau sejarahnya. Dalam paparan sejarah pertumbuhannya, dimana pemerintah kotanya silih berganti dan kondisi masyarakatnya sangat majemuk. Namun dalam perjalanannya menuju era yang lebih modern, perlu adanya sebuah perubahan terhadap konsep museum. Menurunya angka kunjungan ke museum harus menjadi perhatian bahwasanya generasi milenial mulai meninggalkan tren berwisata ke museum karena museum dinilai terlalu tua dan tidak berkembang. Hadirnya museum arsitektur Jakarta bercerita gambaran perjalanan arsitektur kota Jakarta yang berkembang sejak zaman penjajahan Belanda hingga saat ini. Perancangan Museum yang terletak di kawasan Merdeka Timur berbatasan langsung dengan bangunan tua yang memiliki nilai sejarah, Gereja Immannuel dan Galeri Nasional; Selain itu kawasan ini terhubung dalam satu jalur pariwisata yang sedang di kembangkan, dari Masjid Istiqlal dan Gereja katedral (yang mana memiliki nilai historis arsitektur) hingga Tugu Proklamasi di jalan Proklamasi. Dengan adanya satu hubungan lingkage antar dua titik tujuan. Proyek ini juga berinteraksi dengan sekitarnya sebagai tempat yang nyaman dengan ruang terbuka untuk masyarakat sekitar. Program kemduian didukung dengan ruang 3.0 yang berupa amphiteather, dimana dapat di akses oleh berbagai kalangan baik secara kelas horizontal maupun vertikal. Proyek ini diharapkan dapat menambah wawasan maupun minat pengunjung untuk mempelajari arsitektur dan peranannya dalam membangun kota.
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Turkan, Zihni. „Sustainability in the Formation and Development of Historical Cities: “Nicosia Historical City Texture”“. European Journal of Sustainable Development 9, Nr. 2 (01.06.2020): 250–62. http://dx.doi.org/10.14207/ejsd.2020.v9n2p250.
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The formation of the historical city texture of Nicosia, the capital of Cyprus, began during the Lusignan Period. St. Sophia Cathedral and St. Catherine Church, which have an important place in the formation of the texture, are two of the few works of art still surviving today. Being a period of destruction for the city, in general, The Venetian Period provided the city walls to Nicosia which still surround the historical texture. The Ottoman Period brought a change to the historical city texture and Islamic culture and Turkish Architectural construction style replaced the Christian cultures. A number of architectural works from this period, still existing within the walled city of Nicosia, provided a great contribution to the formation and development of the present day texture, as well as for its sustainability. The British Period is one which brought novelty to the city texture of Nicosia. With demolition of historical works and changes in the street and square dimensions, British Colonial Architecture displays the traces of the recent past. The administrative buildings constructed in place of the demolished Lusignan Palace, still serve at present. With the beginning of the Period of the Republic in 1960, Nicosia underwent a fast process of development as an important capital in the Middle East. The traditional visuality in the city texture left its place to contemporary constructions and formations. The inter-communal conflicts, which started in 1964 on the other hand, negatively affected the formation and development of the city texture, and there was a period of stagnation until the 70s. The new developments observed since the 70s and the insufficiency of precautions to protect historical texture, caused a deterioration the city texture. With the position of an open-air museum, Nicosia with its history of over twenty-five centuries has a very rich historical city texture with the legacies of various cultures which reigned over Cyprus and is sustainable in the present, and is therefore an important cultural and touristic center Keywords: Cyprus, Nicosia, Historical City Texture, Walled City, Sustainability.
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MacKenzie, John M. „The Scottish Deathscape in South Asia: Madras and Ceylon“. Journal of Indian Ocean World Studies 5, Nr. 2 (20.01.2022): 215–42. http://dx.doi.org/10.26443/jiows.v5i2.116.
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Imperial deaths were given the status of martyrdoms in the cause of what European contemporaries considered the advance of civilisation. In many cases burials stimulated the overblown architecture of commemoration discovered in many places in the Indian Ocean world. There could well have been at least 1,000 cemeteries and church graveyards in South Asia, as well as grandiloquent memorials in cathedrals and churches throughout the region. While there are many examples from the eighteenth century, these practices became particularly striking in the nineteenth, which was an era in which the obsession with data produced a plethora of directories of memorial inscriptions and related lives. Some of these were officially inspired while others were produced by undertakers and those fascinated by documentation. From these we learn about imperial lives, careers, localised origins, and social and familial contexts. However, both these directories and the memorials which they documented were much more than the sentimental appropriation of colonial space. They also reflected ethnic and religious diversity, becoming indicators of the ‘four nations’ as well as of the contrasting Christian denominations of the United Kingdom. This was perhaps particularly true of Scots, whose geographical, social and religious affiliations can be charted through many examples in the Madras Presidency of South India and of the colony of Ceylon. They help to demonstrate that a full understanding of ethnic diversities can be derived from the study of the ‘deathscape’ of the imperial world.
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Williams-Beck, Lorraine A. „THE PENINSULAR MAYA’S UNFINISHED SPIRITUAL CONQUEST“. Contributions in New World Archaeology 14 (30.06.2020): 201–34. http://dx.doi.org/10.33547/cnwa.14.06.
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Do Maya sacred artistic manifestations in sixteenth to eighteenth-century Franciscan convents, churches, and chapels reflect native ideological persistence, a Maya and Christian amalgamation, or a European Catholic subsumed spiritual meld? This study explores the sculptural and painted expressions that adorn Colonial religious architecture found in the Yucatan Peninsula. Ethnohistoric sources, historic documents, physical geographical location, and spatial layout for these buildings, their sculptural programs and mural painting iconographic motifs, and spiritual spaces surrounding those edifices erected by natives subsequent to European contact, conquest, and colonization provide a more complete basis from which to address such philosophical and anthropological concepts of religious permanence, syncretism, and/or fusion. These particular evidentiary aspects assess Maya sacred built space environments found in the Cehpech, Cochuah, Cupul, and Tases provinces prior to European contact and conquest. This paper will focus on twospecific areas: the municipal seat church and convent complex in one autonomous political jurisdiction near the Spanish viceregal administrative seat in Mérida, and will then compare/contrast those area-specific religious representations with built spaces and interior/exterior embellishments near the Spanish viceregal enclave at Valladolid, Yucatan, as well as in other indigenous community visita churches under this and Tizimin’s Missions ecclesiastical jurisdiction in the northeastern rural peninsular Maya hinterlands. Combined data sets from both regions suggest a more autonomously derived divine substrate to characterize viceroyalty period Maya religious practice, rather than a Roman Catholic and Maya syncretism or Catholic synthesis of autonomous ideological philosophy, and point to an unfinished evangelical conquest that flew under the ecclesiastical and Spanish administrative radar at that time. In some select cases these same hallowed essence and practices continue to present. Those spiritual expressions that embellish built environments with autonomous religious undercurrents also help to explain the repeated yet unsuccessful Franciscan endeavors to ultimately quash idolatry in the peninsular region.
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Pynkyawati, Theresia, und Chandra Yuli K. „STUDY OF VARIOUS TYPES OF AESTHETIC ELEMENTS ON ARCHITECTURAL STYLES FACADE OF CHURCH ST. YUSUF CIREBON“. International Journal of Built Environment and Scientific Research 6, Nr. 2 (19.12.2022): 83. http://dx.doi.org/10.24853/ijbesr.6.2.83-96.
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St. Yusuf 's Church located in Cirebon City is included in one of the oldest catholic church colonial buildings in West Java with a function as a gathering place and a place of worship for Christians. The church has an interesting facade in every part, starting from the roof, walls, columns and not too much use of such complicated ornaments. The facade of St. Yusuf 's Church certainly has a variety of types that affect the appearance of the facade in terms of aesthetic elements used as supporting elements and characteristics of a facade which is usually found in all colonial buildings in Indonesia. The various types of aesthetic elements on the facade of St. Yusuf 's Church are categorized into three parts, namely the head, body, and legs which are then influenced by architectural styles. This research was conducted using a qualitative descriptive analysis method by tracing the aesthetic elements on the facade of the building against the theory of architectural style. The results of the study showed that several types of aesthetic elements on the facades of Church buildings were included in colonial styles, indische empires, Romanesque with gothic and art deco touches.
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Melisa Anggraeni, Susi, I. Wayan Srijaya und Kristiawan . „Arsitektur Kolonial di Heerenstraat dalam Upaya Pelestarian Warisan Budaya Kota Probolinggo, Jawa Timur“. Humanis 24, Nr. 2 (28.05.2020): 200. http://dx.doi.org/10.24843/jh.2020.v24.i02.p12.
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Probolinggo is the one of cities in East Java that has many cultural heritages, especially in colonial architectural. There are many colonial architectural heritages in Probolinggo, especially in the center of city Heerenstraat area (Jalan Suroyo). This study aimed to determine the style, past and present functions, and the efforts in preserving colonial architectural in Heerenstraat Probolinggo. There are five places were used as objects of study, they are basecamp of Kodim 0820, Museum of Probolinggo, GPIB "Immanuel Church", Alun-alun or city center, and Probolinggo Train Station. Nowadays, each of these objects is still functioning and has a unique arsitectural style that representing the developed architectural in Probolinggo. This study used architectural, functional, and conservation theories. Furthermore, the stylistic, contextual, and architectural analysis method were applied in this study. The results of this study are knowing about the architectural style, the functions from the past and present of each research object, and the efforts in preserving colonial architectural that have been done and need to be done.
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Stanfield-Mazzi, Maya. „Weaving and Tailoring the Andean Church: Textile Ornaments and Their Makers in Colonial Peru“. Americas 72, Nr. 1 (Januar 2015): 77–102. http://dx.doi.org/10.1017/tam.2014.6.
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The first Christian churches were built in the Andes soon after Spaniards arrived. Initially simple structures, they were later remodeled into large stone monuments. Aside from their architectural construction, the furnishing and decoration of these churches was an ongoing project that involved many participants, often under the watchful eye of a parish priest. Art historians have uncovered fascinating cases in which native artists exercised agency in creating works to be displayed in church interiors, many of which expressed Andean as well as Christian beliefs. This scholarship has focused primarily on the art forms of painting and sculpture, which were very visible within the church, especially in cases such as the baptism murals discussed by Ananda Cohen Suarez in this issue. An underappreciated yet equally notable aspect of church decoration was textiles. Throughout the colonial period churches were abundantly adorned with “church clothing,” textile ornaments meant to cover floors, walls, and altars as well as clothe church functionaries and religious statuary. The purchase and maintenance of church textiles consumed the lion's share of annual church budgets.
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Ferrão, R. Benedito. „(Un)Seeing Goa’s Bom Jesus in Vishvesh Prabhakar Kandolkar’s This is Not the Basilica!“ Imaginations: Journal of Cross-Cultural Image Studies 14, Nr. 1 (31.03.2023): 5–35. http://dx.doi.org/10.17742/image29666.
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This article examines the interrogation of visual history associated with Goan church architectural legacies offered by Vishvesh Prabhakar Kandolkar’s installation series, This is Not the Basilica! (2021). The artist’s subject is the 16th-century Basilica of Bom Jesus, which was built in locally domesticated Baroque style during Goa’s Portuguese colonial era and which houses the remains of the Spanish saint, Francis Xavier. Kandolkar’s work makes viewers intimate with the Basilica’s history, I contend, so as to posit the need for conservation efforts that will save the deteriorating church while also revealing its unseen aesthetic past as a symbol of still-unfolding Goan identity.
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Tippey, Brett. „‘Genuine Invariants’: The Origins of Regional Modernity in Twentieth-Century Spain“. Architectural History 56 (2013): 299–342. http://dx.doi.org/10.1017/s0066622x00002525.
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During the decades that followed the loss in 1898 of Spain's last colony, Spanish architecture languished in a turbulent search for identity. In this search, some architects argued for a return to the historic architecture of the Spanish colonial empire, while others followed the progressive ideas of the Congrès Internationaux d'Architecture Moderne (CIAM). Finally, in the mid-1940s, Spain's architects began to progress towards a successful reconciliation of these two seemingly opposed camps. A critical moment occurred in 1947 with the publication of Fernando Chueca Goitia's watershed textInvariantes Castizos de la Arquitectura Española (Genuine Invariants of Spanish Architecture).In this text, which Chueca conceived as a pocket reference for Spain's Modern architects, he described Spain as a unique place where the diverse architecture of Christian Europe and Islamic North Africa coalesced into a new — and essentially Spanish — whole. In it, he called on Spain's architects to move beyond superficial considerations of both history and modernity, and to arrive at a genuine, self-critical identity for Spanish architecture.
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Kubiak, Ewa. „Colegios Jesuitas en Cusco: San Bernardo y San Francisco Borja. Arte y arquitectura a la luz de los inventarios de 1768“. Sztuka Ameryki Łacińskiej 11, Nr. 1 (31.01.2021): 43–78. http://dx.doi.org/10.15804/sal202102.
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The most famous architectural complex associated with the Jesuit order in colonial Cusco, was the college and church of the Transfiguration, located in the main square of the city. Monks of the Society of Jesus focused on evangelisation and teaching, which led to creation of subsequent monastic foundations. There were two schools in Cusco: one of them was intended for descendants of conquistadors (Colegio de San Bernardo), and the other one for sons of Andean caciques (Colegio de San Francisco Borja). Each of them was located in its own architectural complex, and one of the necessary conceptual elements of the complexes was a chapel intended for students. There are quite a few sources and studies concerning the history of both schools, and the interior decoration of the chapels located at the colleges has been reconstructed on the basis of the preserved inventories, drawn up at the time of expulsion of Jesuits and takeover of their property. The author of the article concentrates on reconstruction of the decoration, showing it in the cultural and artistic context of the region.
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Dewi, Sinta, Sushardjanti Felasari, Yoseph Duna Sihesa und Samsul Hasibuan. „PENDEKATAN DESAIN ARSITEKTUR INDISCHE DALAM PERANCANGAN PASTORAN GEREJA SANTO ANTONIUS KOTABARU DI YOGYAKARTA“. Jurnal Arsitektur ARCADE 6, Nr. 2 (16.07.2022): 239. http://dx.doi.org/10.31848/arcade.v6i2.689.
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Abstract: Being located in the centre of cultural heritage area of Kotabaru, city of Yogyakarta, the Saint Anthony Catholic Church then is known as Kotabaru Church (Dutch: Nieuw Wijk Katholieke Kerk). The church is located in Abu Bakar Ali street (Boulevard Jonquiere) and I Dewa Nyoman Oka street (Sultansboulevard). As one of the eldest churches in the city, the church was built during the colonial time and inaugurated in 1926 by Mgr. A. Van Velsen SJ, the Bishop of Jakarta. In 2014 The Saint Anthony Church was stated as a cultural heritage building. In October 2016 the Church bought a piece of land with a building on it, adjacent to its parish house. The two story building was half constructed, developed from a single story Indische architectural style building which unfortunately was already destroyed, leaving only a small part of its original building entrance. The building was planned to be functioned as the new parish house with a spatial connection to the old parish house. Despite the strong recommendation to reduce the expenses by making minimum physical changes, the building especially the façade should be redesigned as far as possible to be restored to its original façade and according to the requirements as an Indische architectural style building. As a part of the cultural heritage buildings in the area of Kotabaru, the new parish house should perform contextual architectural style and elements. Furthermore, the design results are proposed three alternatives and presented in the form of floorplans and elevations.Abstrak: Terletak di tengah kawasan cagar budaya Kotabaru, Kota Yogyakarta, Gereja Katolik Santo Antonius kemudian dikenal dengan nama Gereja Kotabaru (Bahasa Belanda: Nieuw Wijk Katholieke Kerk). Gereja tersebut terletak di Jalan Abu Bakar Ali (Boulevard Jonquiere) dan Jalan I Dewa Nyoman Oka (Sultansboulevard). Sebagai salah satu gereja tertua di kota Yogyakarta, gereja ini dibangun pada masa kolonial dan diresmikan pada tahun 1926 oleh Mgr. A. Van Velsen SJ, Uskup Jakarta. Pada tahun 2014 Gereja Santo Antonius ditetapkan sebagai bangunan cagar budaya. Pada bulan Oktober 2016 Gereja membeli sebidang tanah dengan sebuah bangunan di atasnya, bersebelahan dengan rumah parokinya. Bangunan berlantai dua ini setengah dibangun, dikembangkan dari bangunan bergaya arsitektur Indische berlantai satu yang sayangnya sudah hancur, hanya menyisakan sebagian kecil dari entrance bangunan aslinya. Gedung tersebut rencananya akan difungsikan sebagai rumah paroki baru dengan keterkaitan spasial dengan rumah paroki lama. Meskipun ada rekomendasi kuat untuk mengurangi biaya dengan melakukan perubahan fisik seminimal mungkin, bangunan terutama fasad harus didesain ulang sejauh mungkin untuk dikembalikan ke fasad aslinya dan sesuai dengan persyaratan sebagai bangunan bergaya arsitektur Indische. Sebagai bagian dari bangunan cagar budaya di wilayah Kotabaru, rumah paroki baru hendaknya menampilkan gaya dan elemen arsitektur yang kontekstual. Selanjutnya, hasil rancangan diusulkan 3 alternatif dan disajikan dalam bentuk denah dan tampak bangunan.
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Sanabria, Sergio L. „A Late Gothic Drawing of San Juan de los Reyes in Toledo at the Prado Museum in Madrid“. Journal of the Society of Architectural Historians 51, Nr. 2 (01.06.1992): 161–73. http://dx.doi.org/10.2307/990712.
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A presentation drawing of the interior of the church of San Juan de los Reyes in Toledo, intended for the Catholic Monarchs Ferdinand and Isabella, reveals aspects of the design procedures followed by Late Gothic master masons. Its unusual optical structure is designed to permit accurate representation of a dense collection of details to be executed by masters from various trades. The Toledan architect and sculptor Juan Guas has been believed to be the sole designer of the drawing. The Burgalese Simón de Colonia may have intervened in the design of the crossing, and a court blazoner must have provided the heraldic and religious program.
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Gómez Gil, Antonio Miguel. „Una mezquita en Valencia: capilla del Grupo Benéfico San Francisco Javier, A. Gómez Davó“. VLC arquitectura. Research Journal 5, Nr. 2 (31.10.2018): 127. http://dx.doi.org/10.4995/vlc.2018.8940.
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In Valencia there was a large building complex, the Grupo Benéfico San Francisco Javier in the district of Campanar, built in Spanish neo-colonial style, now disappeared. Among many of its endowments was a chapel designed in Maghrebi style (1941), which, of the entire ensemble, is the only construction currently left standing. The article, written with unpublished material, reveals the building and analyses the author, the Valencian architect Antonio Gómez Davó, to verify whether or not he acted with archaeological rigor in its design. For this, its building elements and parameters have been compared with other existing religious buildings in North Africa. This analysis shows efficiency in the floor plan and other parameters, for its use as a Catholic church. There is, on the other hand, a Maghrebi archaeological project rigor; in terms of its construction system, its forms and its decoration. We must also highlight the wise decision of including in the chapel a missing Spanish historical architectural element, such as the roof of the convent of San Juan de la Penitencia de Toledo. This non-Islamic element was skillfully integrated into the Maghreb environment of the Campanar chapel.
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Cingolani, Elisa, und Gabriele Fangi. „Spherical Panoramas, and non Metric Images for Long Range Survey, the San Barnaba Spire, Sagrada Familia, Barcelona, Spain“. Geoinformatics FCE CTU 6 (21.12.2011): 109–17. http://dx.doi.org/10.14311/gi.6.15.
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The Sagrada Familia by Gaudi in Barcelona about 80 years after the death of its creator is going quickly to take its final shape as well as, maintain its original form as Gaudi would have wanted, the actual builders say. Complicated and elaborated forms, following the construction layout of the Chapel of Colonia Guell in Santa Coloma, tend to reproduce, on a gigantic scale, the organic forms of trees going to draw the charming and attractive complex of the small church derived from the model of wires used by Gaudi for its design. It has been long debated, and still it is debated on this approach as "camouflage", how it is consistent with the attitude of Gaudi architecture in the sense that he saw a sort of self-generating form of architecture during its own construction gradually responding to the stress placed by the same growth of structures, shapes, and materials. ("We do not reproduce the forms but we are able to reproduce a character owing its spirit,” A. Gaudi). But beyond this, the reality remains of the gradual suppression of what Gaudi realized until his death. Basically the sole facade of the Nativity, with its striking features and ending with four original towers as hyperboloids pinnacles with glittering glazed mosaics, is the only one that was finished by Gaudi himself, in particular the San Barnaba’s spire. In this action of progressive “destruction”, it is very important to analyze, survey and plot what realized by Gaudi for recovering the original forms and keeping them in their Gaudian formal and constructive features. The spire of St. Barnabas is one of the most architecturally significant occurrence of the whole building and its survey poses major technical problems: their possible solution represented by the experience here shown, has been already experimented in the previous 90 years as one of the first applications of expeditious photogrammetric techniques of survey (Clini, Fangi,1990). The technical problems consist basically in the difficulty given by its height above the street level, about 100 meters. Long focal lenses have to be used to get a suitable resolution and accuracy. We wanted to repeat now the survey using a different photogrammetric technique from the old one, that was DLT algorithm for non-metric images. The new technique is the Spherical Photogrammetry. Multi-image Spherical Photogrammetry makes use as sensor of a pseudo-image that is the spherical panorama, composed by the images taken from the same station point. For details of Spherical Photogrammetry see (Fangi, 2,3,4,9). A particular procedure appropriate for the orientation of very narrow field of view lenses panorama has been already set up and used for the orientation and plotting of the three minarets of the Great Mosque of Omayyad’s in Damascus, Syria. Their heights range from 60 to 80 meters above the courtyard pavement of the mosque. The technique consists in taking different focal lengths panorama from the same station point (Fangi, New Castle, 2010), one with WA wide angle and another one with NA Narrow Angle, adding to the stability of WA panorama the resolution of NA panorama. The same approach has been used in the Sagrada Familia, for the survey of San Barnaba’s spire. In 1990 the A. made a survey of the same spire. But in comparison to the years 90, there is one difficulty more: now the rear of the spire is not visible because of the construction of the roof of the church, while it was visible in 1990. The solution has been then to use the original images taken in the years 90 for the rear of the spire and the spherical panoramas for the rest, i.e. the part toward the façade, using the original control points. Then we had to make a combined adjustment of non metric images using DLT approach and spherical photogrammetry algorithms. The restitution has been indeed carried out using both type of imagery, spherical panorama and non metric images. The results are satisfactory in the sense that the principles of quick photogrammetry have been respected: short surveying times, simple and inexpensive tools, reaching in a ny case suitable outcome.
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Silapacharanan, Siriwan. „The Creation and Conservation of Saint Paul Church, Thailand“. Environment-Behaviour Proceedings Journal 1, Nr. 3 (06.07.2016). http://dx.doi.org/10.21834/e-bpj.v1i3.309.
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There are very few Catholic churches in Thailand that conserve wooden structures.Take St.Paul in Muang District, Chachoengsao Province located on the east of Bangkok as an example, it was built by Bishop Pallegoix Jean-Baptise the Vicar Apostolic of Siam in 1840. The first church was made of bamboo and the other wood. In 1873, Father Schmidt Francois-Joseph bought a piece of land and built the third one with concrete including wooden structures such as priest quarters, a bell tower, a rest pavilion on the Bang Pakong River, a granary, a school building, all of which were designed by a French priest in colonial architecture and constructed by Chinese workers. As the time passes, heritage buildings have been deteriorating. However, their conservation plans have been launched, and most of them have been implemented. Most of the structures were constructed of teak that can adapt itself to the weather. Another property of wood is that it can be deconstructed and reconstructed with or without changing its former architectural style.© 2016. The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK. Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies, Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.Keywords: conservation; cultural heritage; architecture; community
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Pynkyawati, Theresia, Azibanyu Tresna, M. Fajari und Indra Pratama. „Konsep Bentuk Dasar Arsitektural Pada Gereja St. Yusuf Cirebon“. Jurnal Arsitektur TERRACOTTA 2, Nr. 3 (09.06.2021). http://dx.doi.org/10.26760/terracotta.v2i3.4735.
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ABSTRAKGereja merupakan salah satu bangunan peribadatan yang dapat dijumpai di Indonesia. Bangunan ini merupakan wadah kegiatan spiritual umat kristiani yang mulai didirikan pada era pemerintah kolonial Belanda. Gereja mudah dikenali dari keberadaan menara dan bentuk geometri bangunannya. Sejalan dengan perkembangan zaman, berbagai bentuk gereja bermunculan sehingga bentuk gereja menjadi makin variatif. Gereja St. Yusuf Cirebon merupakan salah satu Gereja Katolik tertua di Jawa Barat yang didirikan pada era kolonial Belanda. Bangunan ini telah mengalami perubahan; ada tambahan massa bangunan untuk menampung lebih banyak jemaat meskipun demikian bentuk asli bangunan tidak berubahan. Oleh karenanya menarik untuk diteliti lebih dalam mengenai konsep bentuk dasar arsitektural dan elemen-elemen dasar yang diterapkan pada Gereja St. Yusuf Cirebon. Penelitian ini bertujuan untuk memahami konsep dasar bangunan secara arsitektural dan bagaimana Gereja St. Yusuf Cirebon menambah kapasitas ruang ibadah tanpa merubah tampilan fisik bangunannnya. Analisis dilakukan dengan menggunakan pendekatan deskriptif kualitatif dan kuantitatif dengan cara mengumpulkan data hasil survey lapangan yang meliputi kondisi gereja sebelum dan setelah pengembangan sampai kondisi saat ini. Hasil analisa menunjukkan bahwa Gereja St. Yusuf Cirebon sebagai bangunan cagar budaya, mengalami berbagai perubahan baik pada ruang-luar maupun ruang-dalam, proporsi fasad bangunan tetapi tetap mempertahankan bentuk dan elemen-elemen dasar sebuah gereja eks kolonial. Kata kunci: Konsep Dasar Arsitektur, Bangunan Peribadatan, Ruang-luar dan Ruang-dalam.ABSTRACTThe Church is one of the religious buildings that can be found in Indonesia. This building is a spiritual activity place for Christians that began to established in the era of Dutch colonial goverment. The church is easily recognized by the existence of minaret and the geometric shape of the building. In line with the times, various design of church have emerged so that the shape of church has become more and more varied. The St Yusuf Cirebon church is the oldest Catholic church in West Java that was established in Dutch colonial era. This building had been changed, there is an additional building mass to accommodate more congregations, although the original building shape has not changed. Therefore it is interesting to study more deeply about the architectural basic concept and basic elements that are applied to the St Yusuf Cirebon church. This study aims to understand the architectural building concept and how the St Yusuf Cirebon church increases the capacity of prayer room without changing the physical appearance of the building. The analysis was conducted using qualitative and quantitative descriptive approach by collecting field survey’s data covering the condition of the church before and after the development to its current condition. The analysist shows that the St Yusuf Cirebon church as a cultural heritage building, has esperienced various changes both in the outer and inner room, the proportions of building facades but still maintains the shape and basic elements of an ex-colonial church.Keyword: Basic Architecture Concepts, Religious Building, Outer and Inner room.
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Núñez Collado, José R., und Joanna Merwood-Salisbury. „Stones and slaves: labour, race and spatial exclusion in colonial Santo Domingo“. Urban History, 02.06.2021, 1–25. http://dx.doi.org/10.1017/s0963926821000456.
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Abstract Santo Domingo in the Dominican Republic, the oldest continuously inhabited European settlement in what was later called the ‘New World’, was a centre of the Atlantic slave trade. While it has been called the ‘cradle of blackness in the Americas’, discussion of racial exclusion and marginalization is mostly absent in the city's architecture and urban history. This article investigates how architecture and urban design helped reinforce the colonizers’ control over enslaved peoples. Specifically, we explore the Santa Bárbara neighbourhood, its church and the slave warehouse known as La Negreta. Drawing on historical maps and archival documents, we draw attention to how the spatial and material construction of Santa Bárbara constituted and maintained social and racial structures of oppression.
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Michieletto, Manlio, und Alexis Tshiunza. „Le prochain patrimoine. L’architecture tropicale à Kinshasa“. Restauro Archeologico 30, Nr. 1 (03.02.2023). http://dx.doi.org/10.36253/rar-14277.
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Heritage is generally understood as the legacy from the ancestors to the descendants over time. But when this heritage is part of a colonial city, Kinshasa (Leopoldville), that is the result of the work of Western architects, the question of the story that would carry its heritage becomes crucial. The article first shows, through a few selected case studies - the BCB Bank (1949), the Sabena Towers (1952) and the Saint Antoine Church (1961)- that the modernism that characterizes downtown Kinshasa, carries the DNA of local identity cleverly expressed by the tropical architecture. The aim of this paper is to examine part of this African modern heritage that has to be studied, classified and protected, the sustaina- bility already embedded in that architectural language and its application in the design process analyzing quintessential artifacts in order to adequately tackle the further sustainable steps without losing the fundamental teachings of this next World Heritage.
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Gertrudes C. Cabebe, Concepcion B. Azares, Mateo L. Cabanting, Jr. und Fatima F. Rocamora. „Literature of Churches in Ilocos Sur“. Vector: International Journal of Emerging Science, Technology and Management (IJESTM) 6, Nr. 1 (30.12.1997). http://dx.doi.org/10.69566/ijestm.v6i1.112.
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Phase II ofthe study presents the colonial churches in the first district of Ilocos Sur and those located in the interior municipalities of the province. The history of these churches tells us that the first diocese of Nueva Segovia was established in Lallo, Cagayan but the inconvenience of long travel necessitated most of the bishops to stay and administer in Vigan and this finally transferred the diocese to the capital town of Ilocos Sur in 1758. Since then, the diocese covered the entire Northern Luzon. This elevated Vigan to a status ofa city and was renamed "Ciudad Fernandina". Vigan then became the most important city north ofManila for almost two centuries. The colonial churches are the most conspicuous reminder of the Spanish heritage in our countrytoday. Most of the church architecture was an influence of religious groups, which commissioned the actual builders who based the designs in Europe and Latin America. Most of these churches were built fur performance with inspiring designs to attract more natives to the Christian faith. We can notice other structures like monasteries, the convento (parish) belfry/belltower, seminary, chapels and the cemetery. A close look at these churches will make us believe in theirstructures as Latin American and European Art, but actually they are not, for there is indigenousness of the foreign influence to prove the strong Filipino cultural identity. Aside fromthis, our region lies on an earthquake belt; modifications were made detaching belltowers giving rise to what we call now "Ilocano Baroque." The following colonial churches were described by UNP researchers who went from town to town with documentation instruments and interviewschedule.
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Ukabi, Ejeng B., und Huriye Gurdalli. „Implications of ideology on school buildings and cultural pluralistic context of Gazimağusa, North Cyprus“. Humanities and Social Sciences Communications 10, Nr. 1 (25.10.2023). http://dx.doi.org/10.1057/s41599-023-02220-w.
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AbstractThis paper aims to answer the pertinent question: What are the implications of ideology on school buildings and the culturally pluralistic context of Gazimağusa in Northern Cyprus? It traces the social and communication qualities of architecture to restructure the architectural identity of schools and the cultural patterns of this city during the British Period (1878–1960). The colonialists relied on education as an ideological tool for perceiving social and economic stability through training a new, educated middle class to replace the existing traditional authorities: Ottoman leaders and Church structures. Their failure to recognize the diverse cultural layers of the context led to unsustainable outcomes. An interpretative case research approach that involved descriptive and historical techniques was utilized to investigate this situation. Ideology had two separate but related consequences in the context chosen at both urban and architectural scales. Resulting in a cultural shift from intrinsic to extrinsic living that contradicts previous cultural alignments of the place. The urban syntax for communal life shifted to exclusivity, and cultural coexistence was divided between Turkish and Greek Cypriots on the one side; on the other, schools copied a globalized character of transformation. Based on contextual perceptions, the study advocates for a creative cultural mix of local and global concepts. The island went through modernization, hosting the two communities under British Colonial Rule who were both struggling with the colonizers on one hand and experiencing ethnic and political clashes on the other; they formed the conditions for a wide variety of school buildings. Within this context, the paper highlights school buildings as an ideological space, symbol, and tool of nationalism and colonization/decolonization.
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Honarmand Ebrahimi, Sara. „Medical Missionaries and the Invention of the “Serai Hospital” in North-western British India“. European Journal for the History of Medicine and Health, 01.02.2022, 1–27. http://dx.doi.org/10.1163/26667711-bja10013.
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Abstract This article sets out to challenge the assumption that the pavilion plan hospital became an international standard by the late nineteenth century. This assumption is based on evidence of just a few, mainly British, state and military hospitals. Hospitals constructed by non-British European empires and those by North Americans in the colonised world have been excluded. Moreover, indigenous people in many parts of colonial territories encountered so-called Western biomedical services for the first time in Protestant mission hospitals rather than in state or military hospitals. The article examines several case hospitals built by the Church Missionary Society (cms) in north-western British India and offers a framework for analysing the architecture of Protestant mission hospitals that goes “beyond” a postcolonial approach. Drawing on conceptual tools offered by the field of the history of emotions, the article argues that the missionaries remade the pavilion plan and invented a new form, namely the Serai hospital, to gain local people’s “trust” and “affection”. This strategy was less about “pacifying” the patients and more about increasing their numbers. Indeed, medical missions were “emotional set-ups” that served to change the sensory relationship between missionaries and local people.
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González Moreno-Navarro, José Luis, Antoni González Moreno-Navarro und Albert Casals. „Restoring the Colonia Güell church. The roof“. Informes de la Construcción 54, Nr. 481-482 (30.12.2002). http://dx.doi.org/10.3989/ic.2002.v54.i481-482.600.
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González Moreno-Navarro, Antoni. „Restoring the Colonia Güell church. Façades and surroundings“. Informes de la Construcción 54, Nr. 481-482 (30.12.2002). http://dx.doi.org/10.3989/ic.2002.v54.i481-482.601.
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González Moreno-Navarro, Antoni. „Restoring the Colonia Güell church. Work schedule for the interior“. Informes de la Construcción 54, Nr. 481-482 (30.12.2002). http://dx.doi.org/10.3989/ic.2002.v54.i481-482.602.
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González Moreno-Navarro, Antoni. „The unfinished church of the Colonia Güell. What had to be done“. Informes de la Construcción 54, Nr. 481-482 (30.12.2002). http://dx.doi.org/10.3989/ic.2002.v54.i481-482.599.
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Ding, Ying Yong, Sam McKinstry und Peiran Su. „Organizational Improvisation, Architectural “Piggybacking,” and Masonic Networking in the International Settlement, Shanghai: Building an Anglican Cathedral, 1864–1869“. Enterprise & Society, 06.03.2024, 1–23. http://dx.doi.org/10.1017/eso.2024.5.
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Abstract This study provides a business history of the construction project to build a large Anglican church in colonial Shanghai in the 1860s. Employing three theoretical lenses, it focusses on the project’s management, setting it in its social, political, economic and architectural contexts. As well as analysing the project’s progress in detail, the paper discloses circumstances that were being faced more generally by resident British and international traders in Shanghai at this unsettled time. It also identifies forces which would in due course influence the long process of change leading to the eventual transformation both of Shanghai and of China itself, enhancing our understanding of the region’s economic history.