Academic literature on the topic 'Architecture Victoria History 19th century'
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Journal articles on the topic "Architecture Victoria History 19th century"
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Kukil, Lidiia. "Semantics of figurative and plastic solutions of Green Man mascarons in the Lviv architecture of the 19th century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 301–16. http://dx.doi.org/10.37131/2524-0943-2019-39-21.
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Background. The image of Green Man (Green Man — “the spirit of the forest”), which embodies a mythological forest deity, undoubtedly entered the city's architecture along with new Western stylistic tendencies and immediately gained popularity among the Lviv architects of that time. Mythological images, which were formed during the ancient history of mankind, have often remained topical for subsequent epochs, but it should be noted that in the 19th century these mask-images acquired exclusively a decorative function and canonicity of their depiction was altered by interpretations of the author's vision. Despite the fact that Lviv architectural decor of the 19th century is a rather studied topic, so far Lviv Green Man mascarons of the 19th century have not been the subject of a special study, which predetermines the scientific novelty of the chosen topic. Objectives. The purpose of the article is to analyze the main theories of the origin of the Green Man image in the architecture of Western Europe, to reveal its symbolic meaning, to highlight the main typological groups of green man masks in Lviv architecture of the 19th century, to reveal and analyze their figurative and plastic solutions. Methods. The article applies the general scientific methods of research: method of analysis is used in the study and systematization of scientific literature in terms of the subject of research; comparative method is used for the analysis of stylistic features of 19th century Lviv Green Man mascarons in comparison with Western European tendencies; method of synthesis is used in the development of typology of Lviv Green Man mascarons of the period in question; method of art analysis is used in the analysis of stylistic and plastic features of Green Man masks on Lviv facades of 19th century. Results. Green Man is a fiction image that combines human appearance and the flora. In the ancient world cultures, Green Man sometimes was identified as the vegetative deity of the nature. First of all, it is interpreted as a pagan spirit of forest and the symbol of nature revival. It is rather paradoxical that most depictions of this pagan symbol of nature are in the interiors and exteriors of temple architecture of medieval Europe. Pre-Christian pagan traditions were closely associated with nature. Worshipping sacred trees was intrinsic for many ancient cultures that directly influenced artistic culture of Christian Europe. Accordingly, the masks of “green men” were, perhaps, only one of the pagan symbolic images, which gained the right to exist in the space of medieval ecclesiastical architecture. A new wave of interest in Green Man's image dates back to the 19th century. The reason for its revival could be an environmental crisis, and in this respect the image of Green Man present in architecture can be regarded as the archetype of “nature guardian”, whose role is to remind people of their responsibilities to nature. During this period various Green Man mascarons, deprived of symbolism, again started to be used by architects as decorative elements of secular buildings. Undoubtedly, such popularity of the “green man” masks in Victorian architecture has influenced the use of this image in European eclecticism, from where it came to Lviv architecture. Motive of the green man has many variations, which, depending on the author's conception, can be either interpreted as naturalistic or stylized. The authors of Green Man mascarons placed great importance on specific species of plants. To a large extent their choice depended on the local flora and symbolic associations they caused. Among Lviv Green Man mascarons, one can distinguish certain common features characteristic for certain types of face reliefs of the green man. Most often the authors of Lviv mascarons portrayed Green Man's face, hair, mustache and beard turning into leaves. Particular importance was attached to the mood of this bizarre creature. A deep, pensive look and a half-open mouth convey specific facial expression reflecting a special meditative condition that forces these masks to “speak”. A wide spectrum of moods of forest deity mascarons is conveyed by means of facial expressions. Some faces are friendly and smiling, others look sad, fierce, and at times even threatening, approaching theatrical feelings and emotions, thereby turning into “leafy grotesque”. Individual masks have more in common with demons or beasts than with humans. Horny faces of the “green man”, which are close to the image of an ancient god Pan, can be referred to a separate typological group of masks. Sometimes these masks stand out with an ominous look and a wry smile that bring them closer to the image of demonic forest deity, wild spirit of forest. Less often in Lviv architecture one can see the relief heads of Green Man dressed in stylized leaf crowns or from the mouth of which plant sprouts are growing. The last type of masks usually serves as an ornamental motive in the exterior decor and is characterized by small size. On the facades of many Lviv eclectic buildings, the mascarons of the green man can be complemented with ornamental compositions of plant sprouts, flowers and fruits, garlands or fruit bundles hanging on the lace out of Green Man's mouth. Similar to European art, there are Green Man mascarons in Lviv architecture depicting a human face decorated with separate leaves or surrounded by a leaf wreath. The atypical attribute of Lviv masks of nature deity are wings. In addition to all the above-mentioned images in Lviv architecture, there are also mascarons of green lions whose symbolic significance is associated with force and power. Conclusions. Consequently, Green Man mascaron is a strange symbiosis of a human face and flora, a pagan spirit of nature, the guard of forests, embodiment of the connection between the world of plants and the world of people. Together with its mysterious roots the “Green man” also entered the facade decoration of Lviv architecture of the 19th century. Analyzing the typology of Lviv mascarons images of the 19th century, we make certain that the image of Green Man was one of the most popular in the toolkit of architects and sculptors of that time. Variation of “neo” Green Man's masks is characteristic for Lviv architecture of the late the 19th century. The authors of Lviv masks attached a great importance to the facial expressions of forest deity. Its attributes can be horns, wings, sprouts growing from the mouth of Green Man or garlands of fruits and flowers, which compositionally complement the image. The choice of plant-like forms was equally important. Performing an exclusively decorative function on the facades of Lviv buildings, this image remains a mystery up to now.
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Bremner, G. Alex, and David P. Y. Lung. "Spaces of Exclusion: The Significance of Cultural Identity in the Formation of European Residential Districts in British Hong Kong, 1877–1904." Environment and Planning D: Society and Space 21, no. 2 (April 2003): 223–52. http://dx.doi.org/10.1068/d310.
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In this paper we discuss the role and significance of European cultural identity in the formation of the urban environment in 19th-century and early-20th-century British Hong Kong. Our purpose is to offer an alternative reading of the social history of Hong Kong-the orthodox accounts of which remain largely predominant in the general historical understanding of that society-by examining the machinations that surrounded attempts by the European colonial elite to control the production of urban form and space in the capital city of Hong Kong, Victoria. Here the European Residential District ordinance of 1888 (along with other related ordinances) is considered in detail. An examination of European cultural self-perception and the construction of colonial identity is made by considering not only the actual ways in which urban form and space were manipulated through these ordinances but also the visual representation of the city in art. Here the intersection between ideas and images concerning civil society, cultural identity, architecture, and the official practices of colonial urban planning is demonstrated. It is argued that this coalescing of ideas, images, and practices in the colonial environment of British Hong Kong not only led to the racialisation of urban form and space there but also contributed to the apparent anxiety exhibited by the European population over the preservation of their own identity through the immediacy of the built environment.
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Gella, Tamara. "Russia and Japan as an Image of the “Other” on the Pages of British Periodicals of the Early 60s of the 19th Century." ISTORIYA 13, no. 7 (117) (2022): 0. http://dx.doi.org/10.18254/s207987840022001-0.
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The article is devoted to the analysis of the socio-cultural perception of Russia and Japan as an image of the “other” in British society in the early 60s of the 19th century. Unlike previous studies of this problem, the source base was the publications of a number of British periodical journals. The choice of Russia and Japan as objects of study is due to the fact that both countries were perceived by English contemporaries as Asian countries with an Asian mentality of their population. However, Russia was also perceived as a Slavic country. In this regard, conducting a fragmentary cross-section of country studies within the framework of the British socio-cultural perception of Japan and Russia may be of interest both for understanding the relationship of Great Britain with these states, and for clarifying the Middle Victorian mentality as such. The article emphasizes that the criteria for the authors’ coverage of the events in Japan and Russia and the life of their peoples were different. With regard to Japan, the articles described not only its state system and the political situation in the country, but considerable attention was paid to Japanese nature, architecture, commerce, everyday life and culture of the Japanese. As for the Russian subjects, the materials were mainly devoted to the domestic and foreign policy of Russia since the beginning of the reign of Alexander II with a constant excursion into the history of the country. In this article, conclusions were drawn that British magazines, creating “Russian” and “Japanese” images, proceeded from the presence of the so-called “Japanese myth”, on the one hand, and on the other hand, from the prevailing stereotypical perception of the Russian people, thereby distorting the real picture of Russia and Japan in the early 60s of the 19th century.
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Apostol, Virgil, and Ștefan Bîlici. "Structuri architectural-arheologice din centrul istoric București." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 1 (2010): 119–78. http://dx.doi.org/10.47950/caieteara.2010.1.06.
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"The archaeological research undertaken on the occasion of the rehabilitation project for the infrastructure of the Pilot Area of the Historic Centre in Bucharest has brought to light elements of built structures or features dating to medieval, modern and contemporary times, either transformed along the centuries or radically retrofit following the destructive events of the first half of 19th century or consequence of the intense building activity of the end of 19th century. The important information brought by the research undertaken between 2007 and 2009 can be divided in two major categories. On the one hand, it has provided archaeological evidence of the transformations to the street network which had been partly recorded by building regulations and it has precisely located important inns (commercial buildings called han) and other edifices recorded by cartographic documents drawn at the end of 18th century and during the 19th century. It has also documented detail elements, previously known by written evidence, such as the structure of the wooden street decking (on Smârdan, Lipscani or Gabroveni St.) On the other hand, the archaeological research has provided new information regarding the limits of important urban ensembles (the north side of the enclosure of Curtea Veche – The Old Court, the main residence of the rulers of the country from mid 15th century until the end of 18th). The same research made the reconstruction of street segments decked with wood possible (the south stretch of Smârdan St., the middle segment of Gabroveni St.) or unveiled previously unknown medieval structures (the palisade of the north side of the precinct of the Old Court, the 17th century building on Tonitza St., the 18th century building on Zarafi St. or the cellars of Șerban Vodă Inn) I. Smârdan St. The archaeological excavations have unveiled important evidence to the history of the Centre: streets paved with wood (the medieval decks), a street paved with cobblestone (modern), buildings dating back to the 18th century or to the turn of 19th century, or elements of the sewage system from the end of 19th century. II. Lipscani St. The segment between Calea Victoriei and the National Bank (area of Zlătari Inn) Th e archaeological research, focused mainly on the surface at the intersection of Lipscani St. and Calea Victoriei, unveiled structures of Zlătari Inn which defi ned the south front of the old street, and a series of foundations which indicate fragmentarily the north front of the street, to which another inn, Filipescu, might have belonged. III. Lipscani St. The segment between Carada and Smârdan St. (the area of Greci Inn) The archaeological research resulted in the discovery of structures belonging to Greci Inn, which used to define the south front of old Lipscani St. and the west front of Smârdan St. Structures of Șerban Vodă Inn (the inn of Voievode Șerban, named for Șerban Cantacuzino, who ruled over Walachia between 1678-1688) which used to stand in the north front of the street, have also been discovered, as well as a series of foundations, structures and features previous to the building of the inns, along with important traces of the wooden street decking. IV. Franceză St. The archaeological vestiges discovered on the segment of Franceză St. (French St.) between Calea Victoriei and Poștei St. (Post St.) give an impression of the urban ambiance previous to the building, at the end of 19th century, of The Post and Telegraph Palace (1894-1900). The archaeological structures discovered across the segment between Post St. and Smârdan St. draw the outline of the street previous to the present configuration and describe, fragmentarily, the course of the wooden deck which survived probably down to the fi rst half of 19th century. V. Poștei St. The segment between Franceză and Sf. Dumitru St. The archaeological research on Poștei St. – between Franceză and Sf. Dumitru St. – were meant to excavate the building situated at the intersection with Poștei St., which had been identified but partly during the excavations on Franceză St. In the space between this building and the intersection of Poștei and Sf. Dumitru St. no archaeological vestiges have been found to attest any building activity. VI. Sf. Dumitru and Pictor N. Tonitza St. During the excavations in the area of Sf. Dumitru church, important evidence of the historic urban layout of Bucharest turned up. It appears that on this spot the radical transformations of the first quarter of 20th century – the opening of Poștei St. and the extension of Sf. Dumitru St. through to Poștei St. – have been preceded by changes of the urban structure at least as important. VII. Pasajul Francez St. The archaeological structures discovered here describe at least two important sequences from the existence of this area before the opening of the passage, at the end of 19th century, between 1871 and 1895. VIII. Gabroveni St. The archaeological vestiges discovered indicate clearly the configuration of the north side of Curtea Veche, the Old Court, along successive centuries and prove how the medieval urban structure and functions have influenced the urbanistic transformations of the modern times. IX. Lipscani St. The segment between Smârdan St. and I.C. Brătianu Boulevard Th e archaeological research on this segment of Liscani St. has added to information previously known in broad outlines from cartographic documents dating from the end of 17th century to mid 19th century. X. Lipscani St. The segment between Carada and Smârdan St. (the area of Șerban Vodă Inn) The archaeological excavations carried out in 2008 and, sporadically, in 2009 under the sidewalk in front of The National Bank Palace, revealed the structure of the south side of Șerban Vodă Inn. In the middle of this side a large cellar has been found, made of three bays, with fragments of fresco murals preserved. XI. Zarafi St. The structures which turned up on the surface of Zarafi St. are older than the opening of the street (18th century cellars), and structures belonging to the urban structure of the first half of 19th century. "
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Zillman, John. "Von Neumayer’s place in history a century on: closing remarks at the anniversary symposium." Proceedings of the Royal Society of Victoria 123, no. 1 (2011): 123. http://dx.doi.org/10.1071/rs11123.
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The Georg von Neumayer Anniversary Symposium held at the Royal Society of Victoria Hall in Melbourne on 27–30 May 2009 brought together a wide range of perspectives on the life, times and scientific achievements of one of the most remarkable figures of 19th Century Australian, German and polar science.
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Popławska, Irena, and Stefan Muthesius. "Poland's Manchester: 19th-Century Industrial and Domestic Architecture in Lodz." Journal of the Society of Architectural Historians 45, no. 2 (June 1, 1986): 148–60. http://dx.doi.org/10.2307/990093.
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So far, 19th-century architecture in any of the three parts of the divided country of Poland has received virtually no attention from Western (and that includes German) architectural or town-planning historians. Lodz was undoubtedly the most important Polish town developed in the 19th century. The rapidity of the growth, especially in the later 19th century, was astonishing even by western European standards; the degree of preservation of late-19th-century industrial buildings-understood to include not only factories, but also workers' dwellings and factory owners' mansions-is considerable. After examining more briefly the early development of the textile colonies, which were supported very much by the State, the article deals in more detail with large industrial buildings erected by the most important entrepreneurs, Scheibler and Poznański. An attempt is made to relate the particular configuration of workers' houses and mansions to the social set-up locally and generally.
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Nowicki, Jan. "Gotyk polski?" Politeja 16, no. 1(58) (October 31, 2019): 341–59. http://dx.doi.org/10.12797/politeja.16.2019.58.18.
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Polish Gothic? Establishing Real and Imaginary Boundaries through Architecture in the II Half of the 19th Century
Intensive development of national identities is a characteristic feature of the 19th century European science, culture and politics. In Poland this process was of great importance. Disintegration of the state and lack of its institutions resulted in even more determined attempts to define and divide what is “ours” from what is “foreign”. One of the most important ways of constructing this boundary was through architecture – its history and theory. In the second half of the 19th century more and more authors started to give their answers to the emerging question: are there any exceptional, individual features of Polish architecture? In this context I would like to investigate the concept of “Vistulian‑Baltic” style, which is interpreted by scholars as a first attempt to define Polish national style in architecture. Closer insight into 19th century narratives reveals how imaginary and real boundaries were established through architecture and its theory.
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Tumanik, A. G. "ARCHITECTURE AND HISTORY OF ZHYTOMYR TRANSFIGURATION CATHEDRAL." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 1 (February 27, 2019): 74–84. http://dx.doi.org/10.31675/1607-1859-2019-21-1-74-84.
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This article in the historical and professional context reconstructs the process of creating, characterizes the architectural and artistic quality of the Orthodox Cathedral in the name of the Transfiguration of Christ in Zhytomyr, created in the second half of the 19th century and is currently one of the category of the rarest monuments of the historic Russian temple architecture, but exists outside the bounds of the cultural space of modern Russia.
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Branagan, D. "Alfred Selwyn - 19th Century Trans-Atlantic Connections Via Australia." Earth Sciences History 9, no. 2 (January 1, 1990): 143–57. http://dx.doi.org/10.17704/eshi.9.2.p1x636x7w8r1v2qp.
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The contributions of A.R.C. Selwyn to geological science were considerable, and possibly unique in the 19th century, as they spanned three continents in a career lasting more than 50 years. In particular Selwyn is rightly regarded as establishing geology as a profession in Australia, both by his own high quality mapping, and by the training of a number of talented young men in his Geological Survey of Victoria (1852-1868). In Canada he pursued the same high standards when appointed as Director of the Geological Survey at a time when the Dominion had just become greatly enlarged. A strong supporter of his staff, Selwyn engaged in a controversy with U.S. geologists about Precambrian and Lower Palaeozoic stratigraphy, maintaining that Canadian field evidence provided the key which negated the U.S. stand. Selwyn maintained links with the colleagues of his early years in the British Geological Survey (1845-1852) during his long career, keeping in touch with new ideas in Europe and informing his friends about the results of Australian and Canadian geological research.
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Adeyemi, Akande. "Introduction of Glass as Fenestration in 19th Century Lagos, Nigeria: A Brief History." African Journal of Social Sciences and Humanities Research 4, no. 3 (June 12, 2021): 33–43. http://dx.doi.org/10.52589/ajsshr-p8hrbcij.
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While glass as a material has been known to the people of western Nigerian for hundreds of years, it was only in the late 19th century that it became integrated into building and construction practice in Lagos. For the most part, early local architecture made little effort, if any at all, at covering window spaces with any material of permanence as the primary purpose of these orifices was more to let air in rather than light. Early European missionaries and colonial agents saw the situation differently. Their horrid fear for tropical bugs and matters of security and privacy necessitated a response and modification to the philosophy of tropical architecture. Using qualitative methods and visual analysis of archival images, this study takes a historical look at the beginnings of the integration and use of glass as fenestration and argues that so significant was the introduction in the late 19th and early 20th century in Lagos, that the innovation re-engineered the culture of architecture and living as we know it. The study identified the first building in Lagos to use glass as fenestration and discusses the role of missionaries in the development of innovation. It argues that missionary activity in the coastal city of Lagos, created a broad new industry and trade opportunities and concludes that the introduction of glass as a building material in 19th century Lagos, was not a mere development, but a significant innovation, both in construction and creativity.
Dissertations / Theses on the topic "Architecture Victoria History 19th century"
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Hembree, Bridget. "Designing Victorian London : the career of James Bunstone Bunning, city architect." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708992.
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Lawrence, Ranald Andrew Robert. "Cultural climates : the municipal art school and the reformulation of civic identity in Victorian Britain." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709252.
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Orrin, Geoffrey. "Church building and restoration in Victorian Glamorgan, 1837-1901." Thesis, University of Wales Trinity Saint David, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683172.
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Kenneally, Rhona Richman. "The tempered gaze : medieval church architecture, scripted tourism, and ecclesiology in early Victorian Britain." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19609.
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This dissertation explores how architecture is valorized by the cultural artifacts, both visual and text-based, which present and describe it. It examines aspects of the Gothic Revival in early Victorian Britain, to consider the assimilation of models of evolving architectural discourse by one organization with specialized interest in its promotion, and adaptations of that discourse in the realm of popular culture. The dissertation focuses on the ideology of the Cambridge Camden Society, from its inception in 1839 through to 1850. The Society advocated an appreciation of Gothic churches both for aesthetic, and for religious and moral reasons. A key dimension of its mandate, captured in the rhetoric of ecclesiology, was to prioritize an empirical investigation of extant medieval churches. Findings were to be recorded on specially-devised questionnaires, called "church schemes," using a text-based, specially-encoded taxonomy. Given the availability both of extensive documentation by the Society concerning these schemes, and of almost seven hundred completed forms, areas of conformity and divergence between the prescriptive, instructional material, and the descriptive material which indicates the actual reception of the architecture, may be discerned. "Church visiting" hence became the primary means of personal engagement with the architecture, enacted through the elaborate ritual of scripted tourism spelled out by the church schemes and attendant pedagogical documents. The importance, and the implications, of tourism to members of the Cambridge Camden Society are addressed through an evaluation of travel theories and methodologies, developed, especially, since the 1990s. An understanding of ecclesiology in terms of travel theory enables it to be evaluated in a wider context, namely as part of an emerging tourist ethos based on expanding opportunities and incentives to travel through Britain. From this perspective, the Cambridge Camden Society is to be perceived as part of a larger consortium of advocates of tourism to sights of medieval architecture, who employed similar inducements and terminology, and who created such markers of architectural authenticity as travel guides to mediate the traveller's reception of a given sight. As a result, the possibilities of the widespread dissemination of at least the architectural components of ecclesiological ideals, as part of the groundswell of promotional material devoted to all things Gothic, were enhanced.
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Blanch, Christina L. "Because of her Victorian upbringing : gender archaeology at the Moore-Youse House." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337189.
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This study focuses on the Moore-Youse family in Muncie, Indiana, a medium size city in Delaware County, Indiana, as a microcosm of Victorian ideology and material culture using the methods of historical archaeology and social history. The following thesis examines material conditions among this middle-class, female-centered, lineal family during the Victorian period using gender theory. In this study, archaeological materials and historical documents are used to explore the priorities and choices that influenced Muncie's middle class in making material decisions during the Victorian period.The Victorian Period in America was marked by rapid social change, growing industrialization and the transformation of gender roles. These changes created an expanded middle-class in communities across America. For the middle class the home was a sanctuary and Victorian women were expected to devote themselves to the home and family. Thus began the "cult of domesticity". This thesis explores the influence of gender roles in 19th century Indiana.Department of Anthropology
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Malone, Hannah Olivia. "Nineteenth-century Italian cemeteries : the social and political basis of funerary architecture." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648217.
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Aspin, Philip. "Architecture and identity in the English Gothic revival 1800-1850." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669903.
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Divis, Katherine E. "On hallowed ground : the church architecture of the Indiana gas boom." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1314221.
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East Central Indiana's Gas Boom began when natural gas was discovered in 1886 and lasted until 1906 when the supply fell too short to meet the demand. The resource brought magnificent wealth to the region, as industries developed in the area and drew thousands of workers. The incredible population growth resulted in a building boom, creating new churches, houses, industrial buildings, and civic buildings. Although the resource ran out and many towns quickly decreased in population, the buildings remained as a testament to the Gas Boom years. Several styles of architecture were popular during this period, and for churches the predominant styles were Gothic Revival and Romanesque Revival. Using a sample of Gothic Revival and Romanesque Revival churches located across the nation as models, this thesis studies the Gas Boom churches of Alexandria, Elwood, and Hartford City to determine if they represented the national trends in church architecture during this period.Department of Architecture
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Bertram, Aldous Colin Ricardo. "Chinese influence on English garden design and architecture between 1700 and 1860." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610795.
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Albo, Frank. "Freemasonry and the nineteenth-century British Gothic Revival." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283920.
Full textBooks on the topic "Architecture Victoria History 19th century"
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Hospital and asylum architecture in England, 1840-1914: Building for health care. London: Mansell, 1991.
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People's parks: The design and development of Victorian parks in Britain. Cambridge [England]: Cambridge University Press, 1991.
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Victoria and Albert museum. Furniture of about 1900 from Austria & Hungary in the Victoria & Albert Museum. London: Victoria and Albert Museum, 1986.
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Getty Research Institute. 19th-century photography of ancient Greece. [Los Angeles, CA]: Getty Research Institute, 1997.
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Vandenbreeden, Jos. The 19th century in Belgium: Architecture and interior design. [Tielt, Belgium]: Lannoo, 1994.
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Louisville architectural tours: 19th century gems. Atglen, PA: Schiffer Pub., 2008.
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Tafuri, Manfredo. Modern architecture. New York: Electa/Rizzoli, 1986.
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Naylor, David. American theaters: Performance halls of the nineteenth century. New York: Wiley & Sons, 1997.
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Queen Victoria and nineteenth-century England. New York: Benchmark Books, 2003.
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Nineteenth-century Mormon architecture and city planning. New York: Oxford University Press, 1995.
Find full textBook chapters on the topic "Architecture Victoria History 19th century"
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Moreno, D. Navarro, and M. J. Muñoz Mora. "Pedreño y Deu Pantheon: An example of late-19th-century funerary architecture in Spain." In History of Construction Cultures, 486–92. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003173434-167.
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Hawkes, Dean. "Tradition and Science: The Evolution of Environmental Architecture in Britain from 16th to 19th Century." In Addressing the Climate in Modern Age's Construction History, 131–45. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04465-7_6.
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Kłosinska, Katarzyna. "The History of the Queen Margaret College Settlement in Glasgow from 1898 to 1914." In From Queen Anne to Queen Victoria. Readings in 18th and 19th century British literature and culture. Warsaw University Press, 2018. http://dx.doi.org/10.31338/uw.9788323536123.pp.125-132.
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Avidzba, Vasiliy Sh. "Abkhazia in books published by Russian authors of the 19th century." In Abkhazia in Russian Literature of the 19th — 20th Centuries: in 3 vols. Vol. 1, 13–91. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/arl-2021-1-13-91.
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An analytical review of books dedicated to Abkhazia written by the 19th century Russian authors is presented in the article. Information about the history and culture of Abkhazia as well as of other regions of the Caucasus and parts of southern Russia can be found in the publications. The material under review revealed a trend of increasing interest in Abkhazia among Russian authors. If in the first half of the said century, information about Abkhazia had been published only in two books, all other books date back to the second half of the century. Their authors include the military, state officials, publicists, scientists, people of civil professions and religious figures. As a rule, they would write about the history of Abkhazia, the ethnographic and religious condition of the region; they reported on the ethnic composition of the peoples (tribes), the number, borders, monuments of Christian architecture; to a lesser extent, they paid attention to the political structure of the Abkhazian principality. Many of them wrote about the dramatic events of the 1860s and 1870s. Despite the fact that the books included in the review are not scientifically and artistically equivalent, they can serve as a significant source for the study of the history and culture of 19th-century Abkhazia as a whole.
Conference papers on the topic "Architecture Victoria History 19th century"
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Softaoğlu, Hidayet. "Unhuman Entities that Shaped a Century: Non- Anthropocentric Analysis of the Case of Great Stink and Pandemic, Victorian London." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021268n5.
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The history of architectural and urban design has expanded its scope and started adopting new philosophical approaches from other disciplines to explore the built environment. Theorist discusses whether we still live in a humanist world where a human being has more priority over the unhuman things or not to answer that; should we design architecture and urban within an anthropocentric approach. As a recent pandemic show, things that are not human, like animals or viruses, could control and navigate a new style of living. This research will introduce Bruno Latour's ANT and Graham Harman's Object-Oriented Ontology (OOO) as a new constructive method to analyse how human and unhuman bodies are equally the affective actors of daily practices in the urban realm. 19th-century Great Stink and epidemic in Victorian London will be a case study to picture urban dwellers of London that shaped determined the destiny of health and hygiene of London in 1858.
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Wozniakowski, Arkadiusz. "THE EASTERN BATTERY IN SWINOUJSCIE, POLAND � HISTORY AND ARCHITECTURE OF A PRUSSIAN COASTAL FORT FROM THE 19th CENTURY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.077.
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Zunno, Antonio. "La fortezza e il suo giardino: uno sguardo dal mare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11368.
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The fortress and its garden: a view from the seaThe Fortress was built from 1554, on the ruins of an ancient convent, at the behest of Philip of Austria, and it was completed in about 55 years under the direction of Giulio Cesare Falco, knight of the Order of Malta and Captain General against the Turks. The maine structure, called Forte a Mare, was joined with the Opera a Corno, a mighty rampart with the function of enclosure of the intermediate island, separated from the other island in 1598 by the construction of the Angevin canal: here were arranged the lodgings of the troops and garrisons. Castello and Forte, were named by the Spaniards Isla Fortalera que abre el Puerto Grande, because of its particular position to protect the port. The complex was entrusted to the Germans in 1715, then conquered by the French Revolutionaries and, in 1815, re-annexed to the Kingdom of Naples and destined to lazaretto. A period of decline follows until the end of the 19th century when Brindisi became a first class naval base and the fort became a garrison of the Royal Navy, destined, during the Great War, to recover torpedoes and detonators The recovery of the complex, starting in the 1980s, allowed the conservation of the structures but was never included in a real valorisation program. With this intervention in progress, a first visit is expected through the visit from the walkways through a circular route from the Castle to the whole Opera in Corno: the itinerary will allow you to retrace the history of the Fortress and enjoy a unique view from the high towards the sea, also through the passage in a curtain of Mediterranean scrub that has colonized the walls over the centuries, creating a veritable hanging garden on the sea. The aim is to lead the visitor to the rediscovery a forgotten place that is closely connected to the coastal landscape, for which it is a privileged point of view also in relation to the city and the port.
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Siviero, E., and V. Martini. "Bridges in the World Heritage List Between Culture and Technical Development." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0153.
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<p>The aim of this paper is to present some bridges inscribed in the UNESCO World Heritage List and their Outstanding Universal Values, which explain the importance of these works of art in terms of engineering, technology, culture and technical development. The Iron Bridge, the first metal bridge in the history of construction, is of considerable importance, not only in historic, technological and constructive terms: here, architecture and engineering are revealed to the full, making the bridge into a place. The Forth Bridge is a globally-important triumph of engineering, representing the pinnacle of 19th century bridge construction and is without doubt the world’s greatest trussed bridge. The Vizcaya Bridge, completed in 1893, was the first bridge in the world to carry people and traffic on a high suspended gondola and was used as a model for many similar bridges in Europe, Africa and America, only a few of which survive. The Mostar Bridge is an exceptional and universal symbol of coexistence of communities from diverse cultural, ethnic and religious backgrounds. The Oporto bridges, interpreted in Vitruvian terms, represent a heritage, a “set of spiritual, cultural, social or material values that belong, through inheritance or tradition, to a group of people…”, a complex grouping that marks and symbolises an era, the Eiffel's masterpiece. Because the bridge is not only a work of art, but also a thought.</p>
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García Ramírez, William. "Paisajes en movimiento: metodología para la identificación de paisajes culturales en las plazas de mercado de Bogotá." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Curso de Arquitetura e Urbanismo. Universidade do Vale do Itajaí, 2016. http://dx.doi.org/10.5821/siiu.6356.
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El reto que plantea esta investigación es comprender los distintos paisajes culturales presentes en las plazas de mercado de Bogotá, a través de la historia de la primera plaza de mercado cubierta de Bogotá y del país: La plaza de mercado de la Concepción. La reconstrucción de este paisaje cultural tiene un contexto físico: Bogotá, y un contexto temporal: la transición entre siglo XIX y Siglo XX (1.864-1.953). La propuesta de investigación se sustenta en la siguiente hipótesis: Los valores patrimoniales contenidos en el paisaje cultural de las plazas de mercado, no dependen de la existencia de la arquitectura que los alberga, sino de la permanencia de los ritos, costumbres, tradiciones que escapan a las formas espaciales, por lo que muchos de estos valores prevalecen hasta hoy como manifiestos de una cultura en las plazas de mercado bogotanas. Es por ello, que la identificación de los paisajes culturales manifestados en esta plaza de mercado, permitirá detentar los principales tipos de paisajes culturales actuales y sus valores patrimoniales, como testimonios del permanente encuentro entre las culturas del campo y de la ciudad. The challenge of this research is to understand the different cultural landscapes present in the market places of Bogota, across the history of the first marketplace covered of Bogota and of the country: The marketplace of the Concepcion. The reconstruction of this cultural landscape has a physical context: Bogota, and a temporary context: the transition between 19th century and 20th century (1.864-1.953). This proposal is sustained in the following hypothesis: The patrimonial values contained in the cultural landscape of the marketplaces, do not depend on the existence of the architecture that shelters them, but of the permanency of the rites, customs, traditions that escape to the spatial forms, for what many of these values prevail up to today as manifests of a culture in the of Bogotá marketplaces. It is for it, that the identification of the cultural landscapes demonstrated in the marketplace, will allow to hold the principal types of cultural current landscapes and his patrimonial values, as testimonies of the permanent meeting between the cultures of the country and the city.