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1
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.
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Lilly, Iwona. "Dear Mother Victoria." Interdyscyplinarne Konteksty Pedagogiki Specjalnej, no. 32 (March 15, 2021): 213–26. http://dx.doi.org/10.14746/ikps.2021.32.11.
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Motherhood is by many, especially women, one of the greatest experiences in life. The ultimate goal that women, if not all than many, should achieve. Nowadays, we are flooded with help books, websites, guides that lead us through pregnancy and then assist us during the first months of our new born baby. This blessed state seems to be cherished now above all, however, this view was not always the same. Throughout history we can see many women for whom maternity was not meant to be and still they were able to fulfil their life-time goals devoting themselves to other areas of life. For some, maternity was rather a political aspect that would secure the future of the nation. In my article I will focus on the aspect of motherhood through the eyes of Queen Victoria for whom, indeed, maternity was rather an unwelcomed addition to her royal life. I will discuss her own rigid upbringing which can help to understand her later attitude towards her own children. The trend, where there were no proper roles ascribed to parents in terms of their influence on their children, was predominant in the 19th century and based on this we can see how important it was for character creation
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Gerasimov, A. P., and T. V. Biryukova. "INTERIOR OF ART NOUVEAU ARCHITECTURE IN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 2 (April 29, 2019): 102–12. http://dx.doi.org/10.31675/1607-1859-2019-21-2-102-112.
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The article discusses the development of the interior in private and public buildings in Russia late in the 19th and early 20th centuries. Romantic trends that emerged in architecture Western Europe in the 19th century turned into the new style expressed in modernity, which fundamentally differs from the historical repetition in architecture of the early period. This article is an interdisciplinary work and describes such arts as architecture, painting, and decorative and applied arts. The main feature of modernity is the internal space, subordinating the interior to the exterior, its graphic and artistic solution. The article focuses on the history of the interior and light design, furniture style and color.
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Curran, Kathleen. "The German Rundbogenstil and Reflections on the American Round-Arched Style." Journal of the Society of Architectural Historians 47, no. 4 (December 1, 1988): 351–73. http://dx.doi.org/10.2307/990381.
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This article investigates the German Rundbogenstil and its influence on the American "round-arched style." A stylistic and theoretical phenomenon of the 19th century, the German Rundbogenstil held both a specific and a generic meaning: as a contemporary building style and as a term for historical round-arched architecture. In modern scholarship, the Rundbogenstil has come to denote any round-arched building with Romanesque or Italianate features designed by certain early to mid-19th-century German architects. A general contextual analysis of the complex nature of the 19th-century round-arched styles or "tendencies" in Germany helps to define more precisely the Rundbogenstil. Following a theoretical and stylistic examination of major monuments in Karlsruhe, Munich, and Berlin, the present paper outlines the salient characteristics of the Rundbogenstil and its influence in America in the hands of certain central European emigrant architects in New York and two major mid-19th-century American architects. The fundamental theoretical change which the style underwent in the United States in both of these groups warrants a distinct label-the American "round-arched style."
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Aladzic, Viktorija. "Compatibility, adaptability and use of different types of ground floor houses in 19th century town planning: Case study Subotica." Spatium, no. 25 (2011): 50–55. http://dx.doi.org/10.2298/spat1125050a.
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A lack of knowledge of the history of architecture and town planning in the 19th century resulted in underrated regard towards this historic period and consequently in a devastation of urban and architectural heritage of the 19th century. This research was intended to clarify some segments of the history of architecture and town planning in the 19th century based on the example of Subotica. Research has shown that the basic types of ground floor houses built during the 19th century in Subotica were mutually compatible and that by a simple addition of rooms on the simple base house, more complex base houses could be built. In the same way rural houses could also be transformed into urban ones. This pattern allowed for utmost rationality of the construction of individual houses as well as of the whole town. The town, due to the application of compatible house plans, reflected a semblance of order which improved year on year, because every house at any given moment represented a finished structure. Simple attachment of building parts also allowed the houses that were located in the middle of the lot to be elongated to the street regulation line. Compatible house plans, as an auxiliary means, facilitated the application of building rules, the realization of regulation plans and provided continuous development of the town of Subotica in the period of over 150 years.
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Willis, Frances. "Innovative cover design: an exploration of 19th- and early 20th-century publishers’ cloth bindings designs." Art Libraries Journal 38, no. 1 (2013): 5–11. http://dx.doi.org/10.1017/s0307472200017818.
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The Victoria and Albert Museum’s Renier Collection of Children’s Books provides a rich resource for research into book production as well as social history. Publishers’ cloth bindings have developed in a visually vibrant way that provides clues to the production dates of the books, as well as encouraging reflections on how they were marketed across the Victorian era and early 20th century. Questions also arise, such as, what was the relationship between the reader and cover? How did the cover designs reflect the times in which they were created? And, how different are our paperback era designs to those of the period when cloth was used?
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Barreiros, Maria Helena. "Urban Landscapes: Houses, Streets and Squares of 18th Century Lisbon." Journal of Early Modern History 12, no. 3-4 (2008): 205–32. http://dx.doi.org/10.1163/157006508x369866.
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AbstractThis article retraces Lisbon's urban evolution, both planned and spontaneous, from the beginning of the Age of Discovery until the first decades of the 19th century. It highlights the 1755 earthquake as a powerful agent of transformation of Lisbon, both of the city's image and architecture and of street life. The article begins by summing up urban policies and urban planning from Manuel I's reign (1495-1521) to João V's (1707-1750); it goes on to depict Lisbon's daily life during the Ancien Regime, focusing on the uses of public and private spaces by common people. The Pombaline plans for the rebuilding of Lisbon after the 1755 earthquake are reappraised, stressing the radically original morphology and functions of the new streets and housing types. The contrast between pre- and post-1755 Lisbon's public spaces is sharp, in both their design and use, and gradually streetscape became increasely regulated in accordance with emergent bourgeois social and urban values. More than a century later, the city's late 19th- and early 20th-century urban development still bore the mark of Pombaline plans, made just after 1755, for the revived Portuguese capital.
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Bode, Andrey В., and Tatiana V. Zhigaltsova. "History and Architecture of the Sretenskaya Church in Maloshuyka Village, Onega District of the Arkhangelsk Province." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 66 (2022): 353–67. http://dx.doi.org/10.37816/2073-9567-2022-66-353-367.
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The paper deals with the history and architecture of the wooden architecture complex, situated in Maloshuyka (modern name — Abramovskaya village) in Onega District, Arkhangelsk Region. It describes the construction history of the Sretenskaya (Meeting of the Lord) Church (1873) and the bell tower (1807) in detail on the basis of the field research and archival data. The study of archival historical sources made it possible to reveal the architectural appearance of the preceding 18th century Sretenskaya Church. The identified features of its architecture were compared with the analogue Pomor churches. Based on the historical and typological comparison, we have come to the conclusion about the existence of a local church-building tradition. The results obtained include graphic reconstructions of the original appearance of the architectural ensemble in Maloshuyka as well as its appearance during the final stage of its development in the late 19th century. We analyzed historical data on the façade painting of the monuments under study and established that a specific color palette was characteristic of Pomor churches in the 19th – early 20th centuries. Also, the authors introduce new information into the scientific discourse about one lost object — a cemetery. The study resulted in obtaining new data on the history and architecture of Pomor wooden churches.
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Güçhan, Neriman Şahin, and Esra Kurul. "A History Of The Development Of Conservation Measures In Turkey: From The Mid 19th Century Until 2004." METU Journal of the Faculty of Architecture 26, no. 2 (December 15, 2009): 19–44. http://dx.doi.org/10.4305/metu.jfa.2009.2.2.
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Fadeev, K. V. "ARCHITECTURE OF THE FIRST HIGH SCHOOLS IN TOMSK LATE IN THE 19th CENTURY." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (August 28, 2019): 7–21. http://dx.doi.org/10.31675/1607-1859-2019-21-4-7-21.
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The article deals with the history of the emergence and development of the first high schools in Tomsk. The architectural aspect associated with the provision of the high schools with their own buildings adapted to the educational process is described, which, in turn, affected the formation of the architectural appearance of Tomsk.Late in the 19th century, eclecticism characterized by a mixture of different styles, became the dominant architectural trend in the appearance of buildings in Tomsk. One of the trends in eclecticism was the brick style, according to which the educational institutions were built most of all, including the Mariinsky women's and provincial men's high schools.The relevance of the study is conditioned by the problems of preserving the architectural heritage of the second half of the 19th century in relation to the historical center of the city, which is an important cultural and educational factor.The purpose of this work is to study the brick style architecture of the first high schools in Tomsk. The study is based on the principles of historicism and objectivity. The specific historical methods include a study of bibliographic and comparative sources and methods of architectural analysis of the cultural objects.It is shown that the activities of a number of architects resulted in a unique architectural heritage of the 19th century, forming the architectural appearance of the historical part of Tomsk. The results of this study are reported at the meeting of Pushkin Historical Society.
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Gerasimov, A. Р., and D. Z. Izmailova. "Urban planning in Tomsk districts late in the 19th century (Tomsk Local History Museum documentation)." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 24, no. 6 (December 20, 2022): 9–21. http://dx.doi.org/10.31675/1607-1859-2022-24-6-9-21.
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The history of town planning and architectural objects has been studied long ago through visual art. This is primarily associated with problems of their reconstruction and restoration. Architectural monuments often disappear without, and it is difficult to recreate them. Archival materials and visual aids help us to create an original architecture. At present, restorers actively use photographs of past years. But photography was invented late in the 19th century. Fine arts have been existed since the advent of man and solve the problems that predate that period. Therefore, the study of painting and graphics is important for both historians and architects-restorers.The paper focuses on the graphic works of J.F. Fleck, a painter and graphic artist, who lived in Tomsk in the 1870s. A series of his drawings published in Warsaw, offers an insight into the historical city development and the history of urbanism, that enables us to compare the past and the present. The paper analyzes architectural monuments survived to our days and shows the importance of the graphic artist in the study of contemporary architecture.
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Thistlewood, David. "A. J. Penty (1875-1937) and the Legacy of 19th-Century English Domestic Architecture." Journal of the Society of Architectural Historians 46, no. 4 (December 1, 1987): 327–41. http://dx.doi.org/10.2307/990272.
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Arthur J. Penty, an English architect in private practice in York at the turn of the century, became associated with Barry Parker and Raymond Unwin as a freelance designer and exerted a fundamentally important (though largely unsung) influence on the stylistic principles now associated with Parker and Unwin's work at the First Garden City, Letchworth (founded 1903) and at Hampstead Garden Suburb in London (commenced 1905). He was a competent Arts and Crafts designer during a late phase of this idiom's effectiveness in England, believing it to be both culturally and socially appropriate in its reflection of the English temperament and its demand for high quality production. His concerns for the latter prompted him to be an architectural theorist, to popularize the work of Voysey and Lethaby, and to advocate greater on-site collaboration between architects and craftsmen and the virtual abolition of designing on paper. It also persuaded him to become a political activist and to originate a movement-Guild Socialism-which placed great faith in the potential governance of education and production by restored crafts guilds and which enjoyed a brief moment of success in the form of a National Guilds League just after the First World War. Medievalism is the key concept linking all aspects of his life's work-his devotion to the teachings of Morris, his respect for likeminded 19th-century practical idealists, his wish to encourage a return to systems of quality control and production effective in the Middle Ages, and his "medievalist" detailing of several of Parker and Unwin's landmark buildings.
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Danielisz, Dóra. "Spatial Formation in 16-19th Century Calvinist Church Architecture: The Calvinist Churches of Sepsiszék." Periodica Polytechnica Architecture 48, no. 1 (April 12, 2017): 35–44. http://dx.doi.org/10.3311/ppar.10608.
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One of the less-known and less researched regions of the Carpathian Basin is Sepsiszék, which as part of Háromszék County, was one of Greater Hungary’s southeastern frontier-guard areas. After the Reformation, the population of the region became almost exclusively the followers of one of the Protestant tendencies with Calvinism gathering the most members. Due to the location of the area, Sepsiszék and its vicinity – the former territory of the county - is home to Europe’s easternmost Protestant communities to this day. Thanks to the unique cultural, religious and social environment, the unique development of local church designs notably enriches the history of Protestant religious architecture.The survey documentation of the area’s 32 Calvinist churches along with the schematic analysis of architectural history was carried out during the summer of 2015. The central question of the research was how did the assessed churches accommodate the spatial demands of the new liturgy, and what tendencies can be identified regarding the shaping of the space. The interior layout, galleries, additions to the buildings, the proportions in the floor plans and spatial ratios will be the topics through which these questions will be answered. After tracing the locally observable main characteristics of Protestant spatial formation, similarities with Hungarian and international examples will also be explored.
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Bozdoğan, Sibel. "Architecture, Modernism and Nation-Building in Kemalist Turkey." New Perspectives on Turkey 10 (1994): 37–55. http://dx.doi.org/10.1017/s0896634600000832.
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Deeply rooted in “the great transformation” brought about by capitalism, industrialization and urban life, the history of modern architecture in the West is intricately intertwined with the rise of the bourgeoisie. Modernism in architecture, before anything else, is a reaction to the social and environmental ills of the industrial city, and to the bourgeois aesthetic of the 19th century. It emerged first as a series of critical, utopian and radical movements in the first decades of the twentieth century, eventually consolidating itself into an architectural establishment by the 1930s. The dissemination of the so-called “modern movement” outside Europe coincides with the eclipse of the plurality and critical force of early modernist currents and their reduction to a unified, formalist and doctrinaire position.
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Zharnikov, Zakhar Yu, Vladimir S. Myglan, Maya O. Phylatova, Oksana V. Naumova, Valentin V. Barinov, and Anna V. Taynik. "CHRONOLOGICAL TYPOLOGY OF YENISEYSK’S WOODEN MONUMENTS OF ARCHITECTURE." Ural Historical Journal 75, no. 2 (2022): 167–74. http://dx.doi.org/10.30759/1728-9718-2022-2(75)-167-174.
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Nowadays in Yeniseysk more than seventy diverse wooden architecture monuments have been preserved. The time of their construction remains debated. On the basis of a comprehensive (dendrochronological, historical and architectural) study, a chronological typology was created, according to which wooden structures (residential buildings, outbuildings and some government buildings) were grouped into four chronological types: I — structures of the first quarter of the 19th century (izbas, five-wall houses on a high utility basement with a hip or pyramidal roof with small windows that retained the features of the Russia’s North tradition); II — structures of the late 1860s — early 1890s (post-fire eclectic two-storey buildings with a glazed gallery on the second floor of the side extension and outbuildings attached to them); III — buildings of the 1890s (government wooden buildings and one-two-storey residential buildings with a glazed gallery on the second floor, which differ from the second type in less expressive design features (cornice platbands, etc.)); IV — buildings of the early 20th century (one-storey buildings with the bright saw-cut decoration of platbands and cornice). A separate group was made up of objects with more archaic features (compared with the obtained dendrochronological dates), which preserved old traditions. The proposed chronological typology made it possible to detail the town-planning processes of Yeniseysk. The methodological arsenal developed in the work is expanding and deepening the research potential of trends in Siberian wooden urban construction study towards the end of the 18th — beginning of the 20th century. The developed methodological approach has a significant research potential for the chronological attribution of Siberian wooden urban construction in the late 18th — early 20th centuries.
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Granstrem, Maria, and Milena Zolotareva. "Architectural and urban planning evolution of the industrial area near Moskovskaya Zastava in Saint Petersburg." E3S Web of Conferences 274 (2021): 01031. http://dx.doi.org/10.1051/e3sconf/202127401031.
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This paper discusses the urban planning history of an area in Saint Petersburg around the former Moskovskaya Zastava, a historical gateway that travelers passed through when approaching Saint Petersburg from Moscow. Specifically, we are interested in the architecture of the carriage building plant. By the end of the 19th century, this part of the city had turned into an industrial area, which saw dense development from 1897 to 1917. For the next one hundred years, this vast space did not see any transformations, constituting a complete, self-sufficient environment. The carriage building plant, originally constructed at the very end of the 19th century, remained standing near Moskovskaya Zastava until the early 21st century. In 2013, the industrial area ceased its existence, and the former carriage building plant was given for residential development.
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Na’amneh, Mahmoud, Ziedoun Al-Muhiesen, Muwafaq Bataineh, and Hussien Deebajeh. "Northern Jordan Traditional Architecture during the 19th and 20th Century: An Ehno-archaeological Perspective." مجلة جامعة الشارقة للعلوم الانسانية والاجتماعية 10, no. 1 (June 30, 2013): 1–21. http://dx.doi.org/10.36394/jhss/10/1/8.
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Studying and documenting traditional architecture in Jordan contribute greatly to defining a collective identity as traditional buildings represent an integral part of Jordan's cultural and historical identity. Through employing an ethnoarchaeological and architectural framework of analysis, this study seeks to identify and analyze the intertwined socio-economic, climatic, and environmental factors that had a critical influence on the development of traditional buildings and the accompanied shifts in the architectural style, role, and functionality during the 19th and 20th centuries in Northern Jordan. The rich diversity in building types in this region varies according to the area and people's lifestyles. Moreover, this variety is highly influenced by climate and availability of materials, in addition to building expertise and skills. Indeed, the noticeable changes in traditional architecture tell the cumulative history of the local communities who produced these types. The existence of more advanced architectural types in Northern Jordan demonstrates the influence of types from neighboring areas in Palestine and southern Syria.
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Guoyi, Qin. "COLLECTING CHINA ART OBJECTS IN ENGLAND IN THE 19TH CENTURY." Articult, no. 3 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-3-18-24.
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In the article, in the form of a brief overview, the Chinese influence on European art, in particular on English art, in the 19th century is described. The history of the emergence of Chinese art in Britain is summarized, the main stages of collecting and their prominent representatives are described. The article describes such areas of art as porcelain, engravings, painting, architecture, shows a description of their influence on European art, gives the reasons for the appearance of Chinese art in Europe. This article corrects the current picture of the development of collecting, based mainly on English-language material. The relevance of the study lies in the fact that the relationship of the studied cultures, the influence of Chinese culture on English is considered in the prism of social and political factors. The novelty of this study lies in the fact that the influence of Chinese art on the art of Europe depended on their position in the respective hierarchies: the higher the status of art in China, the less influence it had in Europe; and the higher the status of art in Europe, the less susceptible it was to Chinese influence.
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Watenpaugh, Heghnar Zeitlian. "Architecture without Images." International Journal of Middle East Studies 45, no. 3 (July 30, 2013): 585–88. http://dx.doi.org/10.1017/s0020743813000548.
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The Venetian nobleman Ambrosio Bembo (1652–1705) included this panorama of Aleppo by the French artist G.J. Grélot (see Figure 1), as one of the fifty-one carefully observed line drawings of cities, buildings, and people integral to his travelogue, proudly entitled Travels and Journal through Part of Asia during about Four Years Undertaken by Me, Ambrosio Bembo, Venetian Noble. During his visits to Aleppo between 1672 and 1675, Bembo may have crossed paths with the great Ottoman traveler Evliya Çelebi (1611–82?), who included his own description of that commercial capital of the eastern Mediterranean in his monumental Seyahatname (Book of Travels). Evliya's book does not include a single illustration. This divergence is emblematic of the distinct ways in which early modern societies (in this case, Middle Eastern and European) visualized cities and architecture, and highlights a major challenge to writing the architectural and urban history of the Middle East before the 19th century: the almost complete absence of images that represent architecture.
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Bevz, Mykola, and Taras Pinyazhko. "FORTIFICATION ARCHITECTURE OF GALICIA IN THE MIDDLE OF THE 19th CENTURY: GENERAL EUROPEAN CONTEXT, OBJECTIVES OF PRESERVATION, AND MUSEUM." Current Issues in Research, Conservation and Restoration of Historic Fortifications 16, no. 2022 (2022): 122–34. http://dx.doi.org/10.23939/fortifications2022.16.122.
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The concept of "military architecture", unfortunately, has not yet been established in the domestic theory and history of architecture. Outlining a set of methodological problems associated with the formation, we consider it appropriate to propose to study several previous tasks: a) to develop a special approach to the formation of its theoretical and conceptual apparatus as a basis for the development of this area in domestic architectural science; b) to publish a dictionary of fortification architecture of Ukraine by collective efforts; c) to create a public scientific-advisory body that would perform coordination functions on the research of military architecture. This body or organization should be a liaison between ministries, state reserves, universities, state bodies for the protection of cultural heritage, and public organizations. The purpose of our publication is related to the first task. In line with the formation of the conceptual apparatus, we want to outline some key theoretical provisions on the defense architecture of the nineteenth century. According to the results of our research, we propose to conditionally divide the so-called "negative militarism" of the industrial period (ie, actually the nineteenth century and later) and "positive militarism" of the pre-industrial time. It is also proposed to expand the concept of "object of military architecture", including objects of administrative, service and other infrastructure. The results of our research indicate that the fortifications of Galicia in the mid-nineteenth century were in fact the only full expression of the movement of modernization of Venetian-Renaissance objects in Austrian military architecture. Thus, the objects of military architecture of Galicia (Lviv, Krakow, Przemyśl, Mykolayiv-Rozvadiv, Zalishchyky, etc.) occupy an exceptional position in the history of both Austrian and European architectural heritage.
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Nooraddin, Hoshiar. "The Children City Architecture." Advances in Social Sciences Research Journal 7, no. 7 (August 5, 2020): 768–98. http://dx.doi.org/10.14738/assrj.77.8722.
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Since the earliest civilizations, the city had been built to fulfil what the adults had considered as society’s needs and by which architectural solutions. This process had continued in history till the 19th century and established the culture of adults’ city architecture. The children had to fit themselves in the adult’s city. It is mainly during the 1960s when new trends in city architecture have introduced new considerations for children by calling for livability in cities. This trend has increased in the 1990s by the sustainable city trends and the present initiatives of Children Friendly City.
But studying contemporary cities can raise an important argument that contemporary cities have not developed children architecture. It requires new ways of understanding children’s needs in the city and how can architecture contain these needs. These two components can establish children architecture as a new reality in our cities
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Chvátal, Alexandr, and Alexei Verkhratsky. "An Early History of Neuroglial Research: Personalities." Neuroglia 1, no. 1 (August 16, 2018): 245–81. http://dx.doi.org/10.3390/neuroglia1010016.
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Neuroscience, like most other divisions of natural philosophy, emerged in the Hellenistic world following the first experimental discoveries of the nerves connecting the brain with the body. The first fundamental doctrine on brain function highlighted the role for a specific substance, pneuma, which appeared as a substrate for brain function and, being transported through the hollow nerves, operated the peripheral organs. A paradigm shift occurred in 17th century when brain function was relocated to the grey matter. Beginning from the end of the 18th century, the existence of active and passive portions of the nervous tissue were postulated. The passive part of the nervous tissue has been further conceptualised by Rudolf Virchow, who introduced the notion of neuroglia as a connective tissue of the brain and the spinal cord. During the second half of the 19th century, the cellular architecture of the brain was been extensively studied, which led to an in-depth morphological characterisation of multiple cell types, including a detailed description of the neuroglia. Here, we present the views and discoveries of the main personalities of early neuroglial research.
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Aynsley, Jeremy. "Review: The Poetic Home: Designing the 19th-century Domestic Interior by Stefan Muthesius." Journal of the Society of Architectural Historians 71, no. 3 (September 1, 2012): 418–20. http://dx.doi.org/10.1525/jsah.2012.71.3.418.
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Lemos, Fabiano. "Ways to live history. Or philosophy, culture, and architecture in the origins of the museum Altes in Berlín." education policy analysis archives 19 (January 20, 2011): 2. http://dx.doi.org/10.14507/epaa.v19n2.2011.
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From the beginnings of what we now know as our modernity, man has been surprised with his own finitude. The 18th and 19th century bourgeois needed to formulate complex ways of preserving the past and of linking with it. In the philosophes’ circle, time concept starts to double itself in the idea of origin, that, for them, had become opaque. We just need to think of the broad-range process of structuring museums and restructuring natural history collections in cities such as Paris and Berlin, around the turn to the 19th century, so that we can be convinced that the surprise with that origin that one cannot recognize anymore, that becomes object of popular and scientific interest, leads each and all of the decisions in this process. Museum is just one of the institutions in which man, through a complex series of idealizations of space, show himself the spectacle of a lost time and, thus, of a culture whose educational thrive can only be understood by associating to these institutions. Our task is to investigate – and the case study of the grounding of the Altes Museum in Berlin, between 1822 and 1830, will perform this concretely – which educational policy made the emergence of this new ideological model possible, and , on the opposite way, which conceptual elaborations confirmed or legitimated the new pragmatic topography of time in modernity within the institution that had as aim, precisely, articulate and administrate past and memory.
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Buržinskas, Žygimantas. "Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture." Art History & Criticism 17, no. 1 (November 15, 2021): 43–58. http://dx.doi.org/10.2478/mik-2021-0004.
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Summary The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.
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Piluk, Dominika. "Próby uobecniania tradycji w gdańskiej architekturze lat dziewięćdziesiątych XX wieku." Porta Aurea, no. 17 (November 27, 2018): 244–68. http://dx.doi.org/10.26881/porta.2018.17.10.
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Gdansk architecture of last decade of 20th century by all means tried to reconnect to the Gdansk architectural tradition, especially the glorified 19th-century German/ Gdańsk Renaissance.
The essay aims to present a preliminary analysis of the phenomenon strongly present in the Gdańsk architectural discussion in the nineties: the phenomenon of reconstruction. The city’s architectural achievements of the 19th-century were reinterpreted. Moreover, not only did architects in democratic Poland have to face a new economic situation, but also the need to emphasize the departure from the visual form imposed by the communist system, which, particularly in Gdańsk, took a form of historicism. The complex history of the city, preserved in its architecture, had a huge impact on the aesthetics of buildings designed during the transformation period. Tis thorough introduction is aimed to show commitment to the great tradition of the harbour city, which often resulted in neglecting innovations and modern architectural standards, these forced by the diffcult times of the economic change, as well as the concept of the city’s identity. The article focuses on the examples of buildings erected after 1989, as well as the public opinion debate, which jointly attempted to emphasise the mythical greatness of old Gdańsk.
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Nowicki, Jan. "A Church for the Polish People: On the Contest for the Parochial Church in the Warsaw District of Praga." Ikonotheka 28 (August 6, 2019): 41–65. http://dx.doi.org/10.5604/01.3001.0013.3343.
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The present article discusses the architectural contest for the design of the Praga parish church in Warsaw, announced in 1886. The author aims to establish whether this event had any significant impact on the development of Polish architecture and its theoretical principles. He reviews the reasons for its importance and attempts to establish whether it constitutes suitable material for more thorough studies, the results of which would merit a prominent place in the historiography of 19th century architecture in Poland. The critical interpretation presented in this article is based primarily on texts published in Przegląd Techniczny, which discuss the successive stages of the contest, as well as selected press articles and essays written in direct connection to this enterprise. The author analyses texts by Karol Matuszewski, Franciszek Ksawery Martynowski, Władysław Łuszczkiewicz and Józef Pius Dziekoński, which are crucial for understanding the complex nature of the issue of the contest. The analysis leads to the conclusion that it was not the ultimate form of the church, but rather the combination of emotions, hopes, interests and controversies provoked by the announcement of the contest and the phrasing of its requirements that determined the crucial role of this event in the history of Polish architecture in the latter part of the 19th century.
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Hidayat, Muhammad, Budi Prayitno, and Dwita Hadi Rahmi. "Mix Methods for Ethnic Acculturation Study on History of Architectural Elements: Vernacular Houses during Pontianak Sultanate." ARSITEKTURA 18, no. 1 (April 30, 2020): 94. http://dx.doi.org/10.20961/arst.v18i1.40488.
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<p class="Abstract"><em>This study aims to find the embodiment of ethnic acculturation in the vernacular architectural elements of Pontianak's old houses showing multicultural culture in the past. The Pontianak community has been a multi-ethnic community from the start, with four dominant ethnic groups forming the Pontianak city, namely the Arab, Bugis, Banjar and Riau ethnic groups. The research used a qualitative-rationalistic method with the deeply observed in field case based on the mixed approach between the historical study of the role of each ethnic group and the typology study of architectural building elements. Research sample data in the form of Pontianak old houses are houses built between the early 19th century and the mid-20th century. The results of this study, firstly, the occurrence of ethnic acculturation on the elements of housing architecture in an integrated-assimilative manner. Secondly, the existence of the order of acculturation remained alive in traditional Pontianak community institutions until the mid-20th century shows a strong indication of the continuation of Vernacular Architecture discourse of the Pontianak Malay House.</em></p>
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Granstrem, M., M. Zolotareva, and Y. Nikitin. "ARCHITECTURAL AND URBAN PLANNING EVOLUTION OF THE INDUSTRIAL AREA NEAR MOSKOVSKAYA ZASTAVA IN SAINT PETERSBURG." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 6, no. 10 (October 13, 2021): 25–32. http://dx.doi.org/10.34031/2071-7318-2021-6-10-25-32.
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This paper discusses the urban planning history of an area in Saint Petersburg around the former Moskovskaya Zastava, a historical gateway that travelers passed through when approaching Saint Petersburg from the direction of Moscow. Specifically, authors are interested in the architecture of the carriage building plant. By the end of the 19th century, this part of the city had turned into an industrial area, which saw dense development from 1897 to 1917. The development of heavy industry and the expansion of domestic railways led to an emerging demand in new freight cars. In this regard, it was decided to expand the car building at the existing factories, as well as to organize the construction of new ones. A small factory in St. Petersburg, which produced phaetons, cartridge boxes and field kitchens, in 1897 was significantly expanded and transformed into the St. Petersburg railcar plant. The characteristic features of the architectural and town-planning techniques of the late 19th - early 20th centuries were embodied in the volumetric-spatial composition of the carriage-building plant complex. The strong romantic tendencies characteristic for the industrial architecture of St. Petersburg of this period were clearly traced in its composition. For the next one hundred years, this vast space did not see any transformations, constituting a complete, self-sufficient environment. The railcar plant, originally constructed at the very end of the 19th century, remained standing near Moscovskaya Zastava until the early 21st century. In 2013, the industrial area ceased its existence, and the former plant was given away for residential development.
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Ritter, Markus. "The Lost Mosque(s) in the Citadel of Qajar Yerevan: Architecture and Identity, Iranian and Local Traditions in the Early 19th Century." Iran and the Caucasus 13, no. 2 (2009): 239–79. http://dx.doi.org/10.1163/157338410x12625876281109.
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AbstractThe mosques in the citadel of Yerevan are lost today and almost unknown. Here, the most significant of them is reconstructed from visual and literary sources, documented by unpublished photographs, and related to the early Qajar period under the last Iranian governor Husayn Khān, prior to the Russian conquest of Yerevan in 1827. The second mosque in the citadel is attributed to the Ottoman period; the third one remains uncertain. While the type of the Qajar mosque is compared to earlier buildings in Yerevan, notably the 18th-century Gök Jāmi', stylistic elements are analysed with reference to early 19th-century architecture in Iran and a building at Qazvīn. The interpretation seeks to understand the different references of the Qajar mosque as the construction of a visual statement of local and Iranian identity in a period of change.
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Magnusson, Børje. "A Drawing for the Façade of Giulio Romano's House in Mantua." Journal of the Society of Architectural Historians 47, no. 2 (June 1, 1988): 179–84. http://dx.doi.org/10.2307/990328.
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This article presents a newly discovered drawing for the façade of Giulio Romano's House in Mantua. It is argued that the drawing shows successive ideas for the façade which preceded the eventual executed solution. Restorations in the 19th century have partly obscured the architect's design, which can be better appreciated with reference to the newly discovered drawing.
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FISHER, CLEMENCY. "FINNEY, C. Paradise revealed: natural history in 19th-century Australia. The Museum of Victoria, Melbourne, Victoria: 1993. Pp xv, 186; illustrated. Price A$ 34.95 pbk. ISBN: 0-7306-2494-3." Archives of Natural History 21, no. 3 (October 1994): 420. http://dx.doi.org/10.3366/anh.1994.21.3.420.
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Mohmad Shukri, Sharyzee, Mohammad Hussaini Wahab, Rohayah Che Amat, Idris Taib, and Syuhaida Ismail. "The Morphology of Early Towns in Malay Peninsula." International Journal of Engineering & Technology 7, no. 3.9 (July 9, 2018): 77. http://dx.doi.org/10.14419/ijet.v7i3.9.15281.
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Malay Peninsula has a very compelling socio geographical, cultural history and town setting comprises historical sites, fortress and early towns that has formed an evolution of the urban sprawl. The history of the early towns on the Malay Peninsula goes as far back as the beginning of the ancient Malay kingdom of Lembah Bujang and Langkasuka; and maybe far before that period. Early Malay towns in Malay Peninsula (currently known as Peninsular Malaysia) have unique characteristics in terms of architecture urban form and history. The morphology study of towns in Malay Peninsula have found characteristics of urban form and setting dating from 5000 BC maybe earlier to 19th century may be classified into four phases of pre-modern settlements cycles. This research employs qualitative approach that encompasses of literature review of scholarly articles and reports, in-depth interview and structured observation. Based on the historical and physical evidences that are still exist, thirteen (13) early town will be selected as a study area. This paper present the finding of urban morphology and characteristic in a chronicle of urban form and setting in the Malay Peninsula dating from 5000 BC up to the 19th century.
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Colijn, Bram. "The Concept of Religion in Modern China: A Grassroots Perspective." Exchange 47, no. 1 (January 18, 2018): 53–70. http://dx.doi.org/10.1163/1572543x-12341467.
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Abstract Modern Chinese history offers scholars plenty of reasons to abandon the state-imposed neologism of ‘religion’. For its popularization in the late 19th century marked the start of multiple cycles of violence against ‘superstition’, its ideological twin. To the contrary, this article explores how ‘religion’ (zongjiao) is deployed by ordinary people in contemporary Southern Fujian. Through three case studies I demonstrate that ‘religion’ has become part of the ways ordinary people in contemporary Southern Fujian harmonize their conflicting ritual practices and ideas about the world. A more narrow and exclusive deployment of ‘religion’ by scholars, followed by policy makers, may augment the realms of ‘culture’ and ‘superstition’, the latter of which has in particular been subject to coercive action in China. Being aware of the nefarious consequences of deploying ‘religion’ outside the Western world since the 19th century, scholars today have a responsibility to premeditate the outcome of narrowing down the range of practices, architecture, clergy, communities, and objects currently associated with ‘religion’.
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Brindle, Steven. "The rise of the civil engineering profession in Britain." Structural Engineer 99, no. 7 (July 1, 2021): 8–15. http://dx.doi.org/10.56330/clvq5793.
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In this paper, based on his James Sutherland History Lecture delivered to the Institution of Structural Engineers in 2020, Steven Brindle provides a brief history of civil engineering in Britain, charting its development from hydraulic projects and early attempts to apply intellect to structural design in the 17th century, through a great commercially driven boom in the Georgian era, to the foundations of the modern profession in the late 18th and early 19th centuries.
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Adams, Annmarie, and Thomas Schlich. "Design for Control: Surgery, Science, and Space at the Royal Victoria Hospital, Montreal, 1893–1956." Medical History 50, no. 3 (July 1, 2006): 303–24. http://dx.doi.org/10.1017/s0025727300010000.
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In this paper we explore the relationship of modern architecture and modern surgery in the twentieth century. Our central argument is that environments designed for surgery in the modern hospital became more like laboratories at the end of a remarkable metamorphosis, which we explain through three distinct types of spaces in a particularly significant case study, the Royal Victoria Hospital (RVH) in Montreal, Quebec. As the changing design of surgical spaces constitutes our primary evidence, our approach engages the methods of material culture and material history, a methodology infrequently used in the history of science and medicine. In turn, in order to interpret the changes in operating room design, we situate them in the context of the history of surgery. The architecture of health care both illustrates and shapes the identity of patients and doctors, as well as their inter-relationship. It structures surgeons' activities and expresses their status as actors, as well as reinforcing specific scientific theories. Thus, spatial structures like operating rooms can be understood as material evidence of ongoing changes in the status and self-image of surgeons.
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M., Tselishcheva, and Dyshlyuk M. "“MERCHANT MANSION” IN BARNAUL – A MONUMENT OF ARCHITECTURE OF THE END OF THE 19TH CENTURY: HISTORY AND MODERN USE." Preservation and study of the cultural heritage of the Altai Territory 26 (2020): 299–305. http://dx.doi.org/10.14258/2411-1503.2020.26.49.
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Griffante, Andrea. "BETWEEN EMPIRE AND NATION STATE. URBAN SPACE AND CONFLICTING MEMORIES IN TRIESTE (19TH–EARLY 20TH CENTURY)." Journal of Architecture and Urbanism 39, no. 1 (April 14, 2015): 17–28. http://dx.doi.org/10.3846/20297955.2015.1031441.
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Cities are particular spaces in which such a fight for territory occurs. By their own nature, cities imply a work of transformation and appropriation of territory into a narrative construct or text. In the 19th and early 20thcentury, Trieste underwent a transformation of its own urban space that expressed the existence and concurrence of different national narratives. In the 18th and 19th centuries the Trieste's coastline performed the cosmopolitan elite's identity by highlighting the relation between social status, ethnic origins of elite's member, and the individuals’ conscience of participating in the exceptionality of a city ‘without history.’ As the elite's economic ground changed, the representation of identity in space changed consequently. The consolidation of fascist regime supported the construction of a new myth of Trieste characterized by an old Roman origin and the heroic efforts of its inhabitants to join the ‘Motherland’ that led to the creation of a new main urban axis constellated with sites highly representative of Trieste's ‘Latinity’ and permeated by a sense of collective participation in historical continuity.
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Khodakovsky, Evgeny V. "Wooden Church Architecture of the Russian North in the Russian Art History of the Early 21st Century." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 696–714. http://dx.doi.org/10.21638/spbu15.2021.407.
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The article represents a historiographical review of publications on the wooden architecture of the Russian North, published in 2000–2010s. In these years the main perspectives of the research of the wooden church architecture of the Russian North can be distinguished as follows: the regional studies in the framework of large-scale scientific projects; studying the construction history and analysing the architectural features of specific objects, including in connection with their restoration; “rehabilitation” of the late period (19th–20th centuries) in the history of church wooden church building, which is a fundamentally new approach to this segment of the architectural heritage of the North; attracting a wide range of archival sources and gradually moving away from the speculative nature of unsubstantiated theoretical conclusions. An analytical review of publications on wooden church architecture published over the past twenty years is important not only for summing up intermediate results, but also for indicating further prospects for creating a complete panorama of wooden church building in the Russian North, which still remains unconnected and fragmentary, that is, forming from the history of individual monuments in different regions. The interaction of researchers of Russian wooden architecture with each other in the framework of long-term scientific projects is the key to successful joint work on the identification and introduction into scientific circulation of archival documents of the early period (16th–18th centuries) and conducting field surveys of preserved objects. The subsequent integration of the obtained data on chronological, quantitative and typological indicators will allow us to obtain a new objective picture of the historical development and artistic diversity of the monuments of wooden architecture of the Russian North.
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Bertash, Alexander V. "A. Poleshchuk: Creative Biography of the Russian-Estonian Architect and a Retrospective Direction in Russian Church Architecture of the Early 20th Century." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 647–65. http://dx.doi.org/10.21638/spbu15.2022.405.
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This article is devoted to the creative biography of the largest Russian-Estonian architect at the turn of the 19th–20th centuries A. Poleshchuk and retrospectivism in Russian church architecture at the beginning of the twentieth century, which was his main creative method. The works and biography of the great master are still poorly studied, scientific publications are practically not devoted to him. At the same time, being a pupil of the St Petersburg Academy of Arts, the architect was awarded the title of architecture academic, the position of professor, proved himself in the capital as the author of such monumental structures as the Geological Committee and the Church of St Isidor with the house of the St Petersburg Orthodox Estonian brotherhood. He owns the project of the most monumental Orthodox church in the Baltics of the twentieth century — the Assumption Cathedral of the Pyukhtitsa Monastery, where he worked from his student years under the guidance of his teacher prof. M. Preobrazhensky. A native of Estonia and an Estonian himself on the maternal side, the architect made an invaluable contribution to the formation of a professional architectural school in the country. He was the chairman of the Estland Engineering Society and the Estland Technical Society in Petrograd, then was actively involved in teaching in Tallinn as professor of architecture at Tallinn Polytechnic College and chief architect and educational adviser to the Construction Board. A. Poleshchuk is known as an architectural theorist, a specialist in the theory of vaults, the author of the fundamental courses “Lectures on the art of building” in 10 volumes, and a two-volume guide to bridge construction. The article examines in detail the main milestones in the creative path of A. Poleshchuk in the context of the history of architecture at the beginning of the 20th century, mainly, church retrospectivism. The features of his work, diverse in typology and stylistics (Russian style, neoclassicism, neo-Renaissance, neo-baroque), are analyzed. In conclusion, a stylistic classification of the retrospective directions of church architecture of the late 19th — early 20th centuries with examples of relevant monuments is proposed. The article is based both on little-known published materials and, mainly, on newly discovered archival documents from the depositories of St Petersburg, Tartu, Tallinn.
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López-Ulloa, Fabián. "The Theory and Practice of Restoration in England in the Second Half of the 19th Century: The Work of George E. Street." Advanced Materials Research 133-134 (October 2010): 1045–50. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.1045.
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The Romantic vision of ancient architecture, together with the evaluation of the said architecture as historical legacy, have contributed to the extensive path followed by the discipline of architectural restoration towards its consolidation as a scientific method along the 19th and the 20th century. During the Renaissance, when attention was turned to Classic Architecture, the study of the construction methods became the first germ for recognising the value of ancient architecture, in its many styles, as historical heritage. The scientific analysis that then took place in the 19th century, framed in the philosophical trend of Positivism, was also be reflected in architectural restoration: an appropriate intervention had to begin with learning about of the history of the construction. This can easily be understood considering that the term restoration includes many medieval constructions being completed or reconstructed introducing large additions or extensions, which were done taking as reference the use of traditional construction materials with their corresponding traditional technology and the study of agreements and manuscripts. These documents were unveiled by research, in parallel to the development of the formulation of a theoretical structural model, bearing in mind that, initially, masonry, timber and cast iron were the main construction materials, and their properties dictated the nature of structural forms (Charlton 1982). The debate about architectural restoration begun in the 19th century has gone on to history mainly thanks to names like Viollet-le-Duc, Ruskin, Morris or Pugin. However, behind these names, a series of prominent figures can be recognized. The group was comprised of individuals of all filiations who were developing and bringing together the theory and the scientific practice originated in the twilights of the 18th century in the newly established French Republic. The innumerable positions, schools, trends and declarations that have developed since then, have today a point in common: the valuation and the respect for ancient architectural monuments, a living testimony for learning about the societies who constructed them. The present work focuses on the figure of the Englishman George Edmund Street (1824-81), whose work is not as well known as that of some of his contemporaries named above, but is not less important for that reason. Street contributed to the restoration of many architectural monuments; his experience allowed him to device certain approaches to this discipline that yielded numerous restoration interventions, both inside and outside England. His work has not received as much attention as that of Butterfield, and his name is certainly not as well known as Scott's. Yet he has hardly been altogether forgotten (Hitchcock 1960).