Journal articles on the topic 'Imperial architect'
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1
BALABANLILAR, LISA. "The Emperor Jahangir and the Pursuit of Pleasure." Journal of the Royal Asiatic Society of Great Britain & Ireland 19, no. 2 (April 2009): 173–86. http://dx.doi.org/10.1017/s1356186308009395.
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The Mughal emperors of India were remarkably mobile kings, inspiring modern historians to describe their imperial court culture as ‘peripatetic’. While the Mughals were not immune to the impulse to construct massive urban architect, no Mughal city, no matter how splendid, innovative, accessible or enlightened, remained the imperial centre for long. Through generations of Mughal rule in India, the political relevance of Mughal imperial cities continued to be very limited; it was physical mobility which remained at the centre of Mughal imperial court life and, for much of the Mughal period, the imperial court was encapsulated in the physical presence of the king.
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Shcherbak, Nadezhda L’vovna. "V. I. Sobol’schikov – library scientist and architect of Imperial Public Library." Vestnik of Saint Petersburg State University of Culture 1 (March 2019): 180–85. http://dx.doi.org/10.30725/2619-0303-2019-1-180-185.
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Figol, Dmitry Dmitrievich, and Mikhail Evgenevich Bazilevich. "Nikitin's apartment buildings in Chita." Урбанистика, no. 3 (March 2022): 24–35. http://dx.doi.org/10.7256/2310-8673.2022.3.38653.
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The article reflects the results of the research conducted within the framework of the scientific project "Architects and engineers of the eastern suburbs of Russia (the second half of the XIX – beginning of the XX century)". The publication examines the creative activity of the famous Trans-Baikal architect, a graduate of the St. Petersburg Imperial Academy of Arts Gavriil Vlasevich Nikitin, who worked in Chita at the beginning of the XX century. Brief biographical information is provided concerning the educational training of the architect, as well as his professional activities on the "outskirts" of the Russian Empire. On the basis of archival data and materials of field surveys, seven preserved buildings of apartment buildings built in the capital of Transbaikalia according to his projects have been identified. A brief digression into the history of the construction of these facilities is given, their spatial planning and stylistic features are considered. Apartment houses authored by G. V. Nikitin are of unconditional interest for historical and architectural science not only as examples of regional architecture of the pre-revolutionary period, but also as an example of the work of this master on a private order. Carrying out projects for representatives of the Chita merchant class, the architect managed to create a number of expressive structures that met the socio-economic and aesthetic needs of his time, as well as set the tone for the subsequent development of the central district of the city. The study showed that the architect mainly worked in the forms of eclecticism, skillfully combining motifs and elements of different architectural styles, thereby managing to form his own, well-recognized author's handwriting.
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Shcherbak, N. L. "Reading room of architect V. I. Sobolshchikov of the Imperial Public Library." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 172–77. http://dx.doi.org/10.30725/2619-0303-2020-3-172-177.
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In November 1862, a great event took place in the Library - the fi rst in its history a special reading room for 250 seats was opened, built according to the project of V. I. Sobolshchikov and his assistant I. I. Gornostaev, laid down under the director M. A. Korf , but completed already in the directorship of I. D. Delyanov. The appearance in the Public Library of a new, spacious and comfortable hall for receiving visitors with a special study for artists and a room for ladies ushered in a new era. In the hall itself, a reference library of several thousand books was organized, and the supply of books from departments to the reading room was accelerated. In the reading room, instead of one general catalog for a subsidiary fund, there were seven printed systematic catalogs. The article recreates the history of the reading room in the pre-revolutionary period, provides information about its managers, gives a description of the organization of services for readers in it.
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Davydich, Tatyana F. "Architect A.N.Beketov. Life and Creative Work." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 2 (July 11, 2018): 27–34. http://dx.doi.org/10.22337/2077-9038-2018-2-27-34.
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In the article the features of creativity of the Kharkov architect A.N. Beketov were considered, who had graduated from the Imperial Academy of Arts in St. Petersburg (with a Big Golden Medal, 1888). The very first of his works gave the new development of the central streets and squares of Kharkiv (in enlarged, really capital scale). He came to work in Kharkov at his own request, and in 1889 he won a competition for the project of Commercial School building, which was realised. In the 1890-s and the 1910-s, A.N. Beketov supervised his own design bureau, which dealt not only with the design, but with the organization of construction works. In 1894, for a library project for one and a half million volumes, he received the title of academician of architecture. In accordance with the obtained education, A.N. Beketov freely operated with forms of various historical styles and because this he was a typical for his time architect- eclecticist. In total, A.N. Beketov built more than 40 public and residential buildings in Kharkov and about 60 in other cities of the Russian Empire and in the USSR. The main buildings on Beketov's projects in Kharkov are concentrated in the area between Pushkinskaya and Sumskaya streets. Particularly interesting are the buildings of mansions, built on his projects, including three of his own. He designed public buildings in Neo-Renaissance, «Beaux-Arts» and Neoclassicism styles, and his projects of the mansions had more diverse stylistic solutions, taking into account their perception in the urban environment and the relations with surrounding buildings adjacent areas. On the street of Myrrhbearers was formed an interesting kind of ensemble of Beketov's mansions, which are now usedas the professional clubs and the central city's art museum.
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Shcherbak, Nadezhda L. "I. I. Gornostaev – architect, art historian, teacher: to the 200th anniversary of the birth." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 182–88. http://dx.doi.org/10.30725/2619-0303-2021-2-182-188.
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The theme of preserving national culture is associated with the work of the famous architect and art historian Ivan Ivanovich Gornostaev (1821–1874), who popularized Russian culture and its unique originality. The article examines the activities of I. I. Gornostaev as the architect of the Imperial Public Library (his main works are a special room for storing incunabula («Faust’s Cabinet») and the New Reading Room (together with the architect V. I. Sobolshchikov)), as well as Saint-Petersburg University (according to his designs, a building was built for a botanical laboratory with a greenhouse, and the building was rebuilt «for playing ball» to accommodate a library, a physics study and an observatory there). He is the author of two projects – the Iversky Cathedral of the NikoloBabaevsky Monastery and the Kazan Cathedral of the Transfiguration Ust Medveditsky Monastery. Reflected his achievements in teaching as the author of the first systematic course in the history of fine arts in Russia. The role of I. I. Gornostaev in the study of the history of art of the Ancient World, the Middle Ages and the Renaissance is shown.
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LAZAREVSKAYA, N., and M. MEDVEDEVA. "«NEITHER BENDS NOR BREAKS…». THE ARCHITECT NIKOLAI MIKHAILOVICH BACHINSKY AND HIS DOCUMENTARY HERITAGE IN THE ARCHIVE OF THE STATE ACADEMY OF THE HISTORY OF MATERIAL CULTURE." TRANSACTIONS OF THE INSTITUTE FOR THE HISTORY OF MATERIAL CULTURE Russian Academy of Science 23 (2020): 187–200. http://dx.doi.org/10.31600/2310-6557-2020-23-187-200.
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In the 1920s–1930s the State Academy of the History of Material Culture, following in steps of the Imperial Archaeological Commission, continued active works in Central Asia. By the order of the Academy, the architect Nikolai Mikhailovich Bachinsky worked in Central Asia in the 1930s, but his name is barely mentioned in publications devoted to the Academy activities, and the materials he collected were published only partly. The Scholarly Archive of IHMC RAS stores documents relating to his research activity, manuscripts of papers and unique photographs of a number of Uzbekistan and Turkmenistan monuments taken in the late 1920s–1930s (fig. 3–6). The publication of these materials will allow to introduce into the scientific discourse the works of an authoritative architect and restorer, whose activity was highly esteemed by his contemporaries.
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Yilmaz, Ahenk. "Memorialization on War-Broken Ground." Journal of the Society of Architectural Historians 73, no. 3 (September 1, 2014): 328–46. http://dx.doi.org/10.1525/jsah.2014.73.3.328.
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Memorialization on War-Broken Ground: Gallipoli War Cemeteries and Memorials Designed by Sir John James Burnet focuses on the problems posed by the endeavor to memorialize the Gallipoli campaign of World War I and the memorials designed by the principal architect of the Imperial (now Commonwealth) War Graves Commission, Sir John James Burnet. The commission’s work in Gallipoli is different from the memorials on the western front not only because its location is on “enemy” land but also because Burnet’s modifications of the commission’s design principles were developed to represent a coherent imperial identity around the world. AhenkYılmaz analyzes these modifications and the motives behind them to demonstrate the process by which the landscape and the stories of the campaign shaped the techniques of commemoration on this war-broken ground.
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Smyth, Fiona. "‘A Matter of Practical Emergency’: Herbert Baker, Hope Bagenal, and the Acoustic Legacy of the Assembly Chamber in Imperial Delhi." Architectural History 62 (2019): 113–44. http://dx.doi.org/10.1017/arh.2019.5.
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AbstractIn 1923, at the request of the government of India, the Department of Scientific and Industrial Research (DSIR) in Britain authorised a specialist research stream. Its purpose was to investigate problems in architectural acoustics specifically related to the new Assembly Chamber then under construction in Imperial Delhi. The design, by Sir Herbert Baker, was unusual for its era in that it was refined with recourse to measured data and calculations with a basis in modern physics. The acoustician, or ‘consulting architect’, was Hope Bagenal, and his appointment by Baker in 1922 marked the first international commission of a British acoustic consultant. This article examines the acoustic design of the Assembly Chamber in Delhi and identifies the inputs of the various individuals, both architects and scientists, involved. Drawing on the archives of Baker and Bagenal, the records of the DSIR and the Guastavino Company, as well as contemporaneous newspaper coverage, it also demonstrates the longer-term implications of the design and construction process at Delhi, including its role in stimulating subsequent government-funded research in architectural acoustics in Britain.
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Tschudi, Victor Plahte. "Plaster Empires." Journal of the Society of Architectural Historians 71, no. 3 (September 1, 2012): 386–403. http://dx.doi.org/10.1525/jsah.2012.71.3.386.
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The so-called Plastico di Roma is one of Rome’s great attractions. The extraordinary detailed plaster reconstruction of fourth-century Rome monopolizes the image of the imperial city for scholars and visitors alike. Archaeology played an important but small part in the making of the model. The majority of buildings consist of volumetric modules, invented by the “architect” Italo Gismondi and his team, to mask and replace the missing architectural evidence. Victor Plahte Tschudi traces the impact of Gismondi’s invented antiques in Plaster Empires: Italo Gismondi’s Model of Rome. Completed in 1937, in time for the fascist exhibition (the Mostra Augustea), the model gave Fascist modernism a seeming imperial origin. It also legitimized, even inspired, the regime’s town planning policy and brutal overhaul to redeem Rome’s ancient monuments. Reconsidering the history and ideology of the model is crucial as Gismondi’s eighty-year-old inventions of the city reappear today in cutting-edge virtual reconstruction projects.
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Loerke, William C. "A Rereading of the Interior Elevation of Hadrian's Rotunda." Journal of the Society of Architectural Historians 49, no. 1 (March 1, 1990): 22–43. http://dx.doi.org/10.2307/990497.
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The Pantheon, in particular the interior of the Rotunda, has posed a paradox: unrestrained praise for its overall effect; severe criticism for its interior elevation. The criticisms were rooted in a Renaissance perception of Roman imperial architecture, a perception based too heavily on a Vitruvian view of Hellenistic trabeate architectural design, largely irrelevant to the Rotunda. This view of the critiques of San Gallo the Younger, Michelangelo, Desgodetz, and Viollet-le-Duc leads one to the Roman aims of the Roman architect who designed this interior. I wish to show how the Hadrianic state of the Rotunda may be taken as a projection of the Roman idea of the templum mundi.
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Valyavin, Dmitry. "Imperial Palace in the Moscow Kremlin before the Napoleonic invasion. Unrealized project of the architect N. A. Lvov." St.Tikhons' University Review. Series V. Christian Art 15, no. 3 (September 30, 2014): 136–53. http://dx.doi.org/10.15382/sturv201415.136-153.
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Kucheruk, Oleksandr. "THE HOUSE OF THE CENTRAL COUNCIL IN KYIV: TRANSFORMATIONS OF THE IMAGE." City History, Culture, Society, no. 3 (October 30, 2017): 73–79. http://dx.doi.org/10.15407/mics2019.03.073.
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The article deals with the history of the construction and functioning of one of the most famous Kyiv buildings, which was used as the premises of the Ukrainian Central Council during the Ukrainian Revolution. The construction and the concept of this building are analyzed, and a description of the interior and exterior finishes. The process of transition of the building to the status of the house of meetings of the Central Rada was revealed in detail, its further fate was revealed, the functional transformation that took place with it in different periods of existence was investigated. Thus, the author found out that the building was erected in 1910-1912 by architect P. Alyoshin for the Tsarevich Aleksey (Romanov) Pedagogical Museum in the Art Nouveau style based on the Russian Empire style. From March 1917 the Ukrainian Central Rada worked here (it became a full-fledged "master" of the building since October 1917). It was time when the first changes in the exterior and interior of the house occurred - the Russian imperial coat of arms and the corresponding inscriptions were removed; the UNR coat of arms - Trizub was mounted on the wall; instead of the bas-relief portrait of Tsarevich Alexei, a portrait of Taras Shevchenko was placed, the imperial symbolism was dismantled. A little later, the boardroom was decorated with the emblems of five provinces whose Ukrainian jurisdiction was recognized by the Provisional Government (in 1923, the emblems as a relic of the "counter-revolutionary Council" would be abolished by the new government). In 1920-30s the building on Volodymyrska Street hosted many Soviet institutions (the Institute of International Relations, the Proletarian Museum and the Kyiv Provincial Eastport, the Museum of the Revolution, and the Kyiv Regional Executive Committee). In 1937 it was decided to arrange here a branch of the Moscow Museum of Volodymyr Lenin, having completed and reconstructed the existing premises. Architect Alyoshin, while maintaining the unity of style, extended the sides of the interior and closed them with a block parallel to the man's part, which formed a small courtyard. Interior planning and decoration have also undergone changes - so much of the stucco has been removed, and polychromy has been eliminated (similar activity occurred in the early 1950s). The general conclusion is that changes and transformations of the house on Volodymyrska Street, unconventional for Kyiv architecture, in most situations were controlled by architect P. Alyoshin, who retained the architectural features of the early twentieth century, and the introduction did not violate the overall impression.
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Bezgin, Niyazi Özgür. "Rediscovery of the Great Architect’s Bridge: Mimar Sinan Bridge, Istanbul, Turkey." Transportation Research Record: Journal of the Transportation Research Board 2673, no. 8 (April 12, 2019): 99–111. http://dx.doi.org/10.1177/0361198119835811.
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A bridge is an important element of transportation which improves the accessibility of a location. Before the Industrial Revolution, stone masonry arch construction was the preferred method of construction of bridges with the longest spans and the highest durability. Multiple arches provided the solution when a single arch was insufficient to provide the required span. Bridge design required thorough consideration of the seismicity, geology, hydrology, bathymetry, and topography of the particular region, along with considerations of the functional and architectural design requirements of the bridge. This paper introduces for the first time a new concept of an “intermittent-bridge” and presents a technical inquiry into historical design considerations and contemporary protective and maintenance efforts for a sixteenth-century, multi-arch masonry intermittent-bridge built in Istanbul during the epoch of the Ottoman empire by the chief imperial architect, or mimar, Sinan.
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Bönker, Dirk. "Global Politics and Germany's Destiny “from an East Asian Perspective”: Alfred von Tirpitz and the Making of Wilhelmine Navalism." Central European History 46, no. 1 (March 2013): 61–96. http://dx.doi.org/10.1017/s0008938913000034.
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In his memoirs, published in 1919, Grand Admiral Alfred von Tirpitz, the former Secretary of the Navy and architect of the Wilhelmine battle fleet, claimed that it had been his great “fortune” in 1896 to receive a naval command abroad. Deployed to East Asia, he had been able to “take yet another look at the overseas interests of Germandom” right before the “takeover of the Imperial Naval Office and the inception of the naval buildup.” Appointed in late March 1896, Tirpitz commanded the East Asian Cruiser Division until he was summoned back to Berlin twelve months later, on March 31, 1897. He had returned home “with the impression that England sought to block as much as possible our future development,” as he characterized the main lesson he claimed to have learned during the months he spent away from Germany.
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Jones, Mark Wilson. "Genesis and Mimesis: The Design of the Arch of Constantine in Rome." Journal of the Society of Architectural Historians 59, no. 1 (March 1, 2000): 50–77. http://dx.doi.org/10.2307/991562.
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The Arch of Constantine in Rome marks the passing of the pre-Christian era in architectural terms, recapitulating imperial traditions while at the same time heralding a new consciousness. It pioneered modes of design that exploited recycled elements for the sake of effects and motives quite beyond purely pragmatic considerations. Long the subject of controversy, the monument is today the focus of a scholarly quarrel over the possibility that its superstructure once belonged to an earlier arch on the same site. This study refutes this hypothesis on the basis of considerations of technique and design, showing instead that its composition depended on the emulation of the nearby Arch of Septimius Severus. The connection between the two buildings is indeed as direct as that between Trajan's Column and its full-scale "copy," that of Marcus Aurelius, and it is possible to unravel the rationale behind the transformation of one arch into the other. Since the composition of Constantine's was in this way effectively resolved, the architect could concentrate on the adaptations necessary for accommodating the various sets of recycled components. And despite their heterogeneous character, the outcome was a project of singular coherence in terms of proportion and geometry. It was the product of a unitarian conception that promoted Constantine's ideological program in the realm of urban design, imperial iconography, and political and religious intent.
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Zia, Sana, and Safya Noor. "The Evolution of Ottoman Architecture and its Distinct Characteristics." Journal of Islamic Civilization and Culture 3, no. 01 (July 17, 2020): 156–67. http://dx.doi.org/10.46896/jicc.v3i01.89.
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Architecture reflects and pinpoints its nation’s progress and mindset. Ottoman Empire, which ruled over three continents, is known for its unique and magnificent architecture represented by grand mosques, seminaries and imperial palaces .The so called Ottoman Architecture was created with in the domain of the Ottoman Empire and is known for its distinct characteristics. This architecture was initially influenced by Seljuk architecture. All Ottoman Sultans had special taste for architecture .Later on, the center was shifted to the capital of the fallen Byzantine Empire, and thus got inspirations from byzantine art .The most well۔known architect of that era was Sinan who revolutionized the art of architecture. He designed almost three hundred buildings distinguished for spacious courtyards surrounded by vast gardens. In the 18th century, Ottoman Sultanate came into contact with Europe, and therefore Baroque influences came to be seen in their architecture. Hence, internal decorations became prominent in the architecture.
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Saliba, Nada. "A look into the evolution of the Hünkar Mâhfil, from the fifteenth to the nineteenth centuries." Chronos 26 (March 23, 2019): 85–116. http://dx.doi.org/10.31377/chr.v26i0.417.
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When the Ottoman sultan attended service at the imperial mosque, he had his own private quarter — the hünkar mühfil (the sultan's loge) where he would relax and pray in seclusion. In general, an imperial mosque involved a set of signs that reinforced its imperial identity and that of its patron, one of which was the sultan's mühfil (box or loge). (Necipoglu 2005: 20) Moreover, the style of mosques varied according to patron, location, function, decade and architect and being an integral part of the mosque, the sultan's mühfil echoed these variations. The hünkar måhfil witnessed a subtle but marked transformation whether in architectural terms or the symbolic meaning it stood for. It began with the sultan's måhfil at the back of the prayer hall facing the mihrab (niche) at the Yesil Cami. By the sixteenth century, the evolution in architecture necessitated its shift to the southeastern corner of the qibla wall however it remained simple and accessible from a private portal on the outside. It is in the seventeenth century that the Sultan Ahmet Cami marked a shift in the concept and magnitude of the hünkar måhfil with a large ramp leading to a gallery (later pavilion) and then the sultan's måhfil at the back of the mosque. By the nineteenth century, the sultan required greater ceremonial pomp and thus the pavilion was moved to the front of the mosque and became incorporated with the portico. The contrast is very impressive between the hünkar måhfils of earlier mosques and those of mosques from the later nineteenth century. This evolution, visible in the plans, architectural configuration and decorative schemes, was inspired by more than just a need to experiment with space and form.
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Sá, Ana Priscila De Sousa. "UM “ARQUITETO MUITO HÁBIL” PARA O IMPÉRIO: POLÍTICA, ESTADO E CONSTRUÇÃO DA NAÇÃO NO PENSAMENTO VARNHAGENIANO * A “VERY SKILLED ARCHITECT” FOR THE EMPIRE: POLITICS, STATE AND CONSTRUCTION OF THE NATION IN VARNHAGENIAN THOUGHT." História e Cultura 8, no. 2 (December 7, 2019): 410. http://dx.doi.org/10.18223/hiscult.v8i2.3047.
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O artigo teceu alguns comentários sobre a conjuntura política do Império do Brasil de meados do século XIX, as posições políticas e o papel do Estado na obra de Francisco Adolfo de Varnhagen. Monarquista assumido e afinado com as ideias de conservação da ordem e centralização do governo, para o historiador paulista, o Estado era o principal instrumento de construção da nação. Num momento de consolidação do poder imperial no Segundo Reinado, Varnhagen, como outros letrados e estadistas, escreveram pensando num futuro promissor para o Brasil.*In this paper, we elaborated some comments about the political conjuncture of the Brazilian Empire in the mid-nineteenth-century, the political positions and the role of the State in Francisco Adolfo de Varnhagen’s work. A self-recognized monarchist and in tune with the ideas of conservation of the order and centralization of the government, for the historian of São Paulo, the State was the main instrument of construction of the nation. At a moment of consolidation of imperial power in the Second Reign, Varnhagen, like other scholars and statesmen, wrote for a promising future for Brazil.
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Liu, Lydia H. "The Thug, the Barbarian, and the Work of Injury in Imperial Warfare." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1859–63. http://dx.doi.org/10.1632/pmla.2009.124.5.1859.
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In the modern english lexicon, the curious word thug is usually traced to Hindi. In the early days of the antithug military campaign in India, William Henry Sleeman, the British architect of the campaign, brought out a thug lexicon entitled Ramaseeana; or, A Vocabulary of the Peculiar Language Used by the Thugs in 1836. This lexicon represents the first systematic attempt to identify who the thugs are and how they communicate with one another in secret society. It appears to provide hard linguistic evidence for a newly discovered threat to the British presence in India, cobbling together a large collection of predominantly Hindi words and phrases and building them into a coherent image of the thug that attests to the authenticity of Hindu thuggism. The graphic details of thugs' cold-blooded strangling of innocent travelers are as numerous as the amount of verbs and nouns that have found their way into the book and into subsequent embellishments by popular media. That the word thug is of Hindi origin (thag, theg, or thak) seems sufficient to prove that thugs exist and pose a threat. (Echoes of this argument can be found in the justifications for the United States–led war against the terrorist network al-Qaeda.) But as Martine Van Woerkens and other scholars have shown, thuggism was actually invented by the British who tried to seize criminal jurisdiction in areas that had been in the hands of the Mogul rulers. In the course of extending their control over a mobile population, the British used the construction of thug monstrosity to lay the foundation of “a ritual of conjuration” in the play of mirrors between them and the colonized (Van Woerkens 292).
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HAYAMI, Kiyotaka. "A STUDY ON THE BILL OF THE ARCHITECT LAW DURING PROPOSITION TO THE IMPERIAL DIET : A study on enactment process of the Kenchikushi Law for architects & building engineers Part 4." Journal of Architecture and Planning (Transactions of AIJ) 71, no. 607 (2006): 171–77. http://dx.doi.org/10.3130/aija.71.171_2.
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Cabeza-Lainez, Joseph, Jose-Manuel Almodovar-Melendo, and Inmaculada Rodríguez-Cunill. "The Search for Sustainable Architecture in Asia in the Oeuvre of Antonin Raymond: A New Attunement with Nature." Sustainability 14, no. 16 (August 18, 2022): 10273. http://dx.doi.org/10.3390/su141610273.
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The American architect Antonin Raymond carried out intense work in Japan from 1920 to 1970. Firstly, coming to Japan to collaborate with Frank Lloyd Wright in the Imperial Hotel almost as an apprentice; unexpectedly, he was to change the game for Nipponese design and construction arts, creating at the same time the path to what currently stands out as a key example of modern environmentally conscious architecture. Due in part to his advanced stance in the profession, architects who now seem pivotal to the rising of a progressive movement in the island-nation were related to Raymond’s wake and influence, including Junzô Yoshimura, Kunio Maekawa, and Kenzô Tange. For these reasons, and given the fact that most of the building typologies he designed were previously nonexistent, his oeuvre caused a great impact and consideration, straddled as it is between nature and culture. Such prominent and visionary work, ahead of stylistic Western postulates, often related to mere abstraction, has not been sufficiently recognized in the history of building design. Consequently, the authors propose to settle in this article some of the most significant developments of Raymond’s work through his projects and ideas that intended to preserve the environment, such as integrated landscape and orientation to benefit from the sun and breezes, favoring ventilation through adroit design and extensive use of local material left untreated. These hard to assimilate notions would show that Raymond embodied in his work a profound respect for nature and traditions, rooted by its part in Daoism and Shintoism, which paved the way for subsequent innovations of early sustainability in the architectural domain.
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Pye, Christian Blake. "The Sufi method behind the Mughal ‘Peace with All’ religions: A study of Ibn ‘Arabi's ‘taḥqīq’ in Abu al-Fazl's preface to the Razmnāma." Modern Asian Studies 56, no. 3 (April 8, 2022): 902–23. http://dx.doi.org/10.1017/s0026749x21000275.
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AbstractThe mystical method of taḥqīq (‘realization’ or ‘verification’ of divine truth), as promoted by the Andalusian thinker Ibn ‘Arabi (d. 1240), was central to the project of managing religious difference in the Mughal empire. The key architect of deploying taḥqīq for imperial purposes was emperor Akbar's senior minister, ideologue, and spiritual devotee, Abu al-Fazl. Specifically, I analyse how the concept of taḥqīq appears in Abu al-Fazl's 1587 preface to the Razmnāma (‘Book of War’), the first translation into Persian of the Sanskrit religious epic Mahābhārata. The Mughal Razmnāma was a monumental achievement, the foremost product of Akbar's push to translate non-Islamic religious works into Persian. In its elaborate preface, Abu al-Fazl clearly outlines that this translation was an exercise in taḥqīq, made possible by a sovereign who had achieved spiritual perfection, and he calls the Mughal empire a ‘Caliphate of Taḥqīq’. As such, this study bridges two scholarly conversations which have been previously distinct. One is the renewed focus in Islamic studies on Ibn ‘Arabi's ideas, specifically on taḥqīq in the late medieval and early modern periods across the Islamic world. The other is the recent interest in Mughal historiography on ṣulḥ-i kull (Total Peace). This article positions Ibn ‘Arabi's taḥqīq within an elite Persianate intellectual milieu that carried the concept to Mughal South Asia, and it demonstrates, through an analysis of the Razmnāma's preface, that taḥqīq was politicized by Abu al-Fazl and Akbar to develop the imperial policy of managing religious difference, which came to be known as ṣulḥ-i kull.
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Almodóvar-Melendo, Jose-Manuel, Inmaculada Rodríguez-Cunill, and Joseph Cabeza-Lainez. "The Search for Solar Architecture in Asia in the Works of the Architect Antonin Raymond: A Protracted Balance between Culture and Nature." Buildings 12, no. 10 (September 23, 2022): 1514. http://dx.doi.org/10.3390/buildings12101514.
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The renowned architect Antonin Raymond undertook a large amount of work in Japan for more than fifty years. He arrived to the archipelago as a partner to Frank Lloyd Wright, who had received the commission for the paramount Imperial Hotel. Nevertheless, Raymond became almost revolutionary in that country for his realizations of projects and buildings. Simultaneously, he pioneered the concept of solar houses, a notion that proved to be fundamental for bioclimatic design. Raymond realized that because of the influence of geomancy and Daoism, the buildings of Japan had a sort of cosmic link, especially to the sun and the seasons, and in this way, he took great concern with solar exposure, shading, and daylighting, both in the way in which they were composed and also in the materials that were employed, such as lumber, reed roofs, and paper screens. We have tried to identify these trends in his most significant buildings and establish a sequence of how they evolved towards a contemporary and truly sustainable design. The main result presented is that for the reasons presented, Raymond influenced a number of celebrated architects in Japan, India, and the USA. In fact, instead of pursuing the pure abstract minimalism common in his epoch, he made use of the ideas of naturalism in architecture, which in the case of Asia were related to ritual cosmology. In this article, we have outlined how such a procedure was possible and what it entailed for complex domains such as sun-lighting and daylighting, ventilation, acoustics, and re-interpretation of vernacular architecture. The connection with the main forces of the environment, which effectively interact through architecture, when considered from a philosophical and even spiritual point of view as he did, resulted in a kind of artistic revitalization of traditions belonging to Daoism and Shintoism and inaugurated a new manner of sustainable thinking for the building profession that endures today.
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Vögler, Max H. "Illness and Death in the Era of Neoabsolutism: New Perspectives on Liberal-Catholic Conflict from 1850s Upper Austria." Austrian History Yearbook 38 (January 2007): 122–44. http://dx.doi.org/10.1017/s0067237800021457.
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On 8 March 1849, Upper Austria's first liberal governor, Alois Fischer, stood on the balcony of the Rathaus in Linz's market square and proclaimed the closing of the democratically elected Austrian Reichstag in Kremsier. The newly crowned emperor, Francis Joseph, had written in the proclamation that Fischer now read to the crowd that the Reichstag delegates took too long in their deliberations, wasting time on “dangerous theoretical discussions.” Their labors had become redundant, and the emperor would decree his own constitution. After reciting the imperial proclamation, Fischer retired to the side and let his assistant read out the new constitution. Named after its principal architect, Minister of the Interior Franz Stadion, the new “Stadion” constitution was mildly liberal, although, unlike its unfinished predecessor, it was wholly unambiguous when it came to the monarch: his powers were immense and—the document made sure to point out—derived from God, not from the people. In practice, the constitution was mostly ignored. Fittingly perhaps, those assembled in front of the Rathaus that day could barely make out what was being said. As one participant described the scene, the wind was so strong “that our neighbors disappeared in the dust.” The return of absolutist government thus came to Linz unintelligibly, wrapped in a dense cloud of dust.
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Zhou, Zhenru. "Transcending History: (Re)Building Longchang Monastery of Mount Baohua in the Seventeenth Century." Religions 13, no. 4 (March 25, 2022): 285. http://dx.doi.org/10.3390/rel13040285.
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This paper analyzes the roles architectural renovation played in the revival of Longchang Monastery of Mount Baohua (Jiangsu), a major Chinese monastery of the Vinaya School and an ordination center in Late Imperial China. Based on temple gazetteers, monastic memoirs, and modern documentation of monastic architecture and life by Prip-Møller, the author reveals the formation of a spatial system that centered at the threefold ordination rituals. It took the entire seventeenth century for the system to take form under the supervision of a Chan monk-architect Miaofeng and three successive Vinaya abbots, Sanmei, Jianyue, and Ding’an. The spatial practices, comprising a series of reconstructions, reorientations, redesigns, re-demarcations, and refurbishments, have not only reconciled fractures and defects in the monastic architecture but also built a history for the rising institute. This article examines the construction of and the narratives around three centers of the Monastery, namely, the Open-Air Platform Unit where Miaofeng erected a copper hall, the Main Courtyard where Sanmei reoriented the monastic layout to follow the Vinaya tradition, the Ordination Platform Unit where Jianyue rebuilt a stone ordination platform, and again the Open-Air Platform Unit that Ding’an had refurbished and reunited with the later centers. The forces that have driven this seemingly non-progressive history, as the author argues, are not only the consistent efforts to counteract the natural course of material decay, but also the ambition of making a living history without beginning or end.
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García Cuetos, María Pilar. "La Imperial Tarraco. Restauración de los testimonios de la Tarragona romana bajo el franquismo." De Arte. Revista de Historia del Arte, no. 13 (December 8, 2014): 263. http://dx.doi.org/10.18002/da.v0i13.1217.
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<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:HyphenationZone>21</w:HyphenationZone> <w:PunctuationKerning /> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:SnapToGridInCell /> <w:WrapTextWithPunct /> <w:UseAsianBreakRules /> <w:DontGrowAutofit /> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--> <p class="MsoNormal" style="line-height: 150%;">Resumen:</p> <p class="MsoNormal" style="text-align: justify; line-height: 150%;">La ciudad de Tarragona ha establecido una compleja relación los testimonios de su pasado romano. El régimen franquista utilizó los restos romanos de Tarragona para afianzar su ideología y el periodo del Desarrollismo aumentó el valor de los monumentos romanos para el turismo nacional e internacional. Ese contexto de utilización ideológica y económica de las ruinas romanas por parte del estado franquista, se declaró de la ciudad como Conjunto Histórico-Artístico en enero de 1966. Alejandro Ferrant fue arquitecto restaurador de la Cuarta Zona Monumental entre 1944 y 1976 y llevó a cabo los proyectos de restauración de los restos romanos de tarraconenses, que han tenido un papel determinante en su recepción y valoración actuales.</p> <p class="MsoNormal" style="text-align: justify; line-height: 150%;"><span style="mso-ansi-language: EN-GB;" lang="EN-GB">Abstrat:</span></p> <p class="MsoNormal" style="text-align: justify; line-height: 150%;"><span class="hps"><span style="mso-ansi-language: EN;" lang="EN">The city of Tarragona established a complex relationship with the testimonies of its Roman past. The Francisco Franco regime used the Roman ruins of Tarragona to strengthen its ideology as the period called "Desarrollismo", increased the value of the Roman remains for domestic and international tourism. In this context of ideological and economic use of Roman ruins by the Francoist state, the city was declared conjunto histórico-artístico (historical site) in January 1966. Alejandro Ferrant was an architect restorer of the Fourth Monumental Zone between 1944 and 1976 and carried the restoration projects of the Roman remains of Tarragona, which have played a decisive role in their reception and current rating.</span></span></p> <!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="156"> </w:LatentStyles> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id=ieooui></object> <mce:style><! st1\:*{behavior:url(#ieooui) } --> <!--[endif] --><!--[if gte mso 10]> <mce:style><! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} --> <!--[endif] -->
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Egorova, Sophia K. "A Paradise for Venus." Philologia Classica 15, no. 2 (2020): 277–91. http://dx.doi.org/10.21638/spbu20.2020.207.
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Though the buying pieces of the Classic and Italian art of the Petrine time seemed to lack strategy, one can perceive some tendencies that show an aim to create what the German call Antikensammlung, a collection of Classic art kept at the royal court and organized under museum principles. One of plausible proves of this activity is an unfulfilled project made by Iuriy Kologrivov, who was busy buying pieces of art for the Imperial compilation in Rome. Having acquired some education as an architect, he proposed to Peter the Great an extant draft of the Venus’ Gallery meant to adorn his residence. For the center of the composition the statue of the Tauride Venus was chosen. Whereas this masterpiece was purchased by chance almost last of all, the average quality of the whole collection seems to be rather high, the display having been planned not as decorative one, but as an exhibition based on both art and historic principles. Some new for Petrine culture context traits include discrete exposition of Classic statues (and their copies) and modern Italian pieces along with presence of several statues of the same character (untypical for garden and interior decorative style of the period). This way of thinking coms back to Kologrivov’s culture experience gathered in Italy and even in a shape of an unrealized proposal is an interesting example of a classic art museum space and reflected the latest trends in perception of the Antiquity in Russia and Europe in the beginning of the 18th century.
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Anees, Munawar A. "Beyond the Dependency Culture." American Journal of Islam and Society 16, no. 4 (January 1, 1999): 136–39. http://dx.doi.org/10.35632/ajis.v16i4.2091.
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James Robertson is a seasoned policy maker. More than three decades ago,from the corridors of Whitehall, he became the architect of the "winds ofchange" theme for British Prime Minister Harold Macmillan's end-of-empiretour of Africa. Robertson's theme of change is a call for liberation, and morespecifically, liberation from the control and domination of institutional power.He sees it fit to argue that in the post-imperial world, prosperity and survivalof nations and peoples depends on a deep-rooted concern for humans andnature.In the postmodern world where communism has breathed its last and socialismis in disrepute, Robertson has attempted to chart a new course for the futureof humanitv. lie believes that both caQ.italism and socialism have served themotives of big businesses and state. It is time for a postmodern worldview toemerge that will rectify the excesses of the two dominant systems. The authorcalls for a new path of progress, based on co-operative self-reliance rather thanincreased dependency, so that the world allows people (and nations) to takeresponsibility for their own development in co-operation with one another. Hesees this not only as an important end in itself, but also as "the only means, barringworldwide catastrophe, of transforming today's ecologically destructivepatterns of human activity into ways of life that can be sustained into thefuture" (p. xi).This theme constitutes the bulk of lectures and papers that are reprinted inthe book. Spanning a period of nearly two decades - from 1977 to 1996 -they complement the author's earlier published works: The Sane Alternative ...
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Tulić, Damir, and Mario Pintarić. "Io Antonio Michelazzi Architetto di professione. Nepoznati majstorovi projekti i nacrti za Krk, Omišalj, Senj, Karlobag i Rijeku." Ars Adriatica 9 (February 28, 2020): 107–32. http://dx.doi.org/10.15291/ars.2927.
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The article brings twelve unknown designs and projects of Rijeka’s sculptor and altar maker Antonio Michelazzi (Gradisca d’Isonzo, 1707 – Rijeka, 1771). The earliest two designs, dating from 1750 and linked to the island of Krk, are today preserved at the Archivio di Stato in Venice. One is a ground plan and assessment of a public ruin in the town of Krk, and the other a panoramic view of the Omišalj bay. A newly discovered document clarifies Michelazzi’s commissioning by the Trieste administration in charge of Rijeka, Senj, and Karlobag, since Empress Maria Theresa appointed him the imperial-royal architect in 1755. In that capacity, Michelazzi worked on a dozen plans and projects for public works in Senj and Karlobag during 1757 and 1758. He drew a map of Senj with a project for modernizing the city port and its defence against stormy winds. A particularly important project was his plan to redirect the stream that ran through the town into the harbour of Senj, for which he designed a new riverbed. There were also projects for prisons in the citadel, a health office, a slaughterhouse, and butcher shops. In Karlobag, he made a project for the renovation of the citadel, butcher shops, a new cistern, and a public administrative-residential building on the main town square. His last design and project was a new slaughterhouse with butcher shops in Rijeka in 1770. Although most of Michelazzi’s designs were never put in practice because of the lack of finances, the designs published here are the first of this kind in his known oeuvre, which will certainly grow further, since he was also involved in architecture besides sculpture and altar making.
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Novikova, Irina. "J. K. Paasikivi and the Formation of Finland’s Independence." ISTORIYA 12, no. 7 (105) (2021): 0. http://dx.doi.org/10.18254/s207987840016483-0.
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J. K. Paasikivi belongs to the most famous Finnish political figures, the prime minister and the seventh president of Finland, the architect of its foreign policy in the post-war period. His influence on the political, economic and foreign policy spheres of Finland has been extremely noticeable for more than half a century. This article examines the least studied period of his political activity — the formation of Paasikivi as a politician, diplomat and statesman from the beginning of the 20th century until the signing of the Tartu Peace Treaty of 1920 between the RSFSR and the Republic of Finland. In the first twenty years of the 20th century, Paasikivi traveled a difficult, dramatic path from a staunch supporter of cooperation with the Russian Empire to an adherent of the idea of independence, then cooperation with imperial Germany, and again, recognizing the important fact that the best way to ensure Finland's national interests is to compromise with Russia in matters of its strategic needs. However, the sharp turns in Paasikivi's political fate were by no means a tribute to the fashion or the conjuncture. He was and remained a realist and pragmatist who always took into account a complex of factors: geographical, historical, strategic, foreign policy, economic in the decision-making process. Paasikivi's political heritage in modern Finland are realism in foreign policy, maintaining good relations with neighboring countries, first of all, with Russia, foreign policy aimed at the future, its predictability and long-term, in domestic policy, the desire to awaken interest in foreign policy issues.
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Slyunkova, Inessa N. "Town-Planning Conception of the Livadia Palace and Park Ensemble." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 1 (March 22, 2018): 36–43. http://dx.doi.org/10.22337/2077-9038-2018-1-36-43.
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The work is devoted to the town-planning heritage of Livadia. For the first time, relying on the graphic design sources of the 1860s and the turn of the XIX - XX centuries, the history of the formation of the ensemble of the new and second after Oreanda imperial residence in the Crimea is revealed. The content and characteristics of the imperial private order in post-reform Russia are considered. The central place is occupied by the design of the ensemble, its functional structure and boundaries, the architectural and spatial development of the territories, the principles of planning and development the issues of park construction and the use of the naturallandscape.In the era of historicism and national romanticism, a new trend in the arrangement of the privatelife of Russian monarchs was the appeal to the examples and traditions of the Russian aristocratic manor. The estate of Livadia, with the established complex of a noble manor, was bought by Alexander II from the heirs of Count L.S. Pototsky and presented to the Empress Maria Alexandrovna. The subject of the study is the town-planning transformation aimed at adapting and further developing the ensemble in order to accommodate the royal famty, the court the retinue, and the extensive system of services.Livadia reconstruction can be divided into two stages. The first is connected with the most intensive transformations of the environment carried out in 1862-1866 undertheleadership of I.A. Monighetti. The architect proposed the concept of a dispersed system of resettlement and placement of new building complexes outside the front of the estate core - auxiliary household military and other services of the residence. An integral part of the plan was road construction and development of infrastructure along with new sections of territories within the boundaries ofland ownershipThe second stage of active construction in Livadia occurred in 1869 - the beginning of the 1880s, and it was mainty directed to social programs. It was the erection of the second church of the estate in the midst of settlement complexes for personnel of the residence services; school for 120 people, etc. The principles of park construction extended to each of the peripheral sections and complexes. The system of water supp^ along with the engineering and technical support service of the estate and surrounding settlements were created. Livadia resembled a city-residence and a city-garden.For the first time the general plans of Livadia that reveal the scale of architectural transformations during the period of possession of the royal family are published.
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Cann, Alexandra, Candice Clarke, Jonathan Brown, Tina Thomson, Maria Prendecki, Maya Moshe, Anjna Badhan, et al. "Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) antibody lateral flow assay for antibody prevalence studies following vaccination: a diagnostic accuracy study." Wellcome Open Research 6 (May 26, 2022): 358. http://dx.doi.org/10.12688/wellcomeopenres.17231.2.
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Background: Lateral flow immunoassays (LFIAs) are able to achieve affordable, large scale antibody testing and provide rapid results without the support of central laboratories. As part of the development of the REACT programme extensive evaluation of LFIA performance was undertaken with individuals following natural infection. Here we assess the performance of the selected LFIA to detect antibody responses in individuals who have received at least one dose of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) vaccine. Methods: This was a prospective diagnostic accuracy study. Sampling was carried out at renal outpatient clinic and healthcare worker testing sites at Imperial College London NHS Trust. Two cohorts of patients were recruited; the first was a cohort of 108 renal transplant patients attending clinic following two doses of SARS-CoV-2 vaccine, the second cohort comprised 40 healthcare workers attending for first SARS-CoV-2 vaccination and subsequent follow up. During the participants visit, finger-prick blood samples were analysed on LFIA device, while paired venous sampling was sent for serological assessment of antibodies to the spike protein (anti-S) antibodies. Anti-S IgG was detected using the Abbott Architect SARS-CoV-2 IgG Quant II CMIA. A total of 186 paired samples were collected. The accuracy of Fortress LFIA in detecting IgG antibodies to SARS-CoV-2 compared to anti-spike protein detection on Abbott Assay Results: The LFIA had an estimated sensitivity of 92.0% (114/124; 95% confidence interval [CI] 85.7% to 96.1%) and specificity of 93.6% (58/62; 95% CI 84.3% to 98.2%) using the Abbott assay as reference standard (using the threshold for positivity of 7.10 BAU/ml) Conclusions: Fortress LFIA performs well in the detection of antibody responses for intended purpose of population level surveillance but does not meet criteria for individual testing.
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Cann, Alexandra, Candice Clarke, Jonathan Brown, Tina Thomson, Maria Prendecki, Maya Moshe, Anjna Badhan, et al. "Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) antibody lateral flow assay for antibody prevalence studies following vaccination: a diagnostic accuracy study." Wellcome Open Research 6 (December 21, 2021): 358. http://dx.doi.org/10.12688/wellcomeopenres.17231.1.
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Background: Lateral flow immunoassays (LFIAs) are able to achieve affordable, large scale antibody testing and provide rapid results without the support of central laboratories. As part of the development of the REACT programme extensive evaluation of LFIA performance was undertaken with individuals following natural infection. Here we assess the performance of the selected LFIA to detect antibody responses in individuals who have received at least one dose of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) vaccine. Methods: This was a prospective diagnostic accuracy study. Sampling was carried out at renal outpatient clinic and healthcare worker testing sites at Imperial College London NHS Trust. Two cohorts of patients were recruited; the first was a cohort of 108 renal transplant patients attending clinic following two doses of SARS-CoV-2 vaccine, the second cohort comprised 40 healthcare workers attending for first SARS-CoV-2 vaccination and subsequent follow up. During the participants visit, finger-prick blood samples were analysed on LFIA device, while paired venous sampling was sent for serological assessment of antibodies to the spike protein (anti-S) antibodies. Anti-S IgG was detected using the Abbott Architect SARS-CoV-2 IgG Quant II CMIA. A total of 186 paired samples were collected. The accuracy of Fortress LFIA in detecting IgG antibodies to SARS-CoV-2 compared to anti-spike protein detection on Abbott Assay Results: The LFIA had an estimated sensitivity of 92.0% (114/124; 95% confidence interval [CI] 85.7% to 96.1%) and specificity of 93.6% (58/62; 95% CI 84.3% to 98.2%) using the Abbott assay as reference standard (using the threshold for positivity of 7.10 BAU/ml) Conclusions: Fortress LFIA performs well in the detection of antibody responses for intended purpose of population level surveillance but does not meet criteria for individual testing.
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Laidlaw, Zoë. "Macaulay and son: architects of imperial Britain." Journal for Maritime Research 15, no. 2 (November 2013): 226–28. http://dx.doi.org/10.1080/21533369.2013.852312.
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Oldfield, J. R. "Macaulay and Son: Architects of Imperial Britain." Slavery & Abolition 35, no. 1 (January 2, 2014): 180–81. http://dx.doi.org/10.1080/0144039x.2013.878613.
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Dudley Edwards, Owen. "Macaulay and Son: Architects of Imperial Britain." Journal of Imperial and Commonwealth History 42, no. 2 (March 15, 2014): 355–57. http://dx.doi.org/10.1080/03086534.2014.912413.
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Acostová, Anna. "Development of the garden design of 18th century in Sankt Petersburg and comparison with main European patterns." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 55, no. 1 (2007): 185–94. http://dx.doi.org/10.11118/actaun200755010185.
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The 18th century was the period when the Russian empire started to open to the western culture. The economic and cultural development of this country started after the reforms of the emperor Petr I. Large number of the imperial palaces where built after the foundation of Santk Petersburg in 1703. Peter I was a big admirer of the western culture, his knowledge about it increased during two visits through Europe. Therefore, the formal gardens and baroque palaces built during the reign of Peter the Great are called Peter’s baroque.Until 1715 were all Russian gardens influenced by the Holland pattern like the palaces built by William of Orange in Holland – Het Loo and in England part of the Hampton Court. The first garden laid out in formal style in Sankt Petersburg was the Summer Garden – located in the architectural heart of the city. Gardens of this period were characteristic by small closed ground plan surrounded by water canals, an absence of using terrace as a symbol of majesty and highest point of view and finally by modest architecture. After the second visit of Peter I to Europe, he started to use all principles of the French formal gardens based on Andre Le Notre work. Palaces like Petrodvorets, Strelna and residence of first minister Alexander Menshikov in Oranienbaum were laid out on a natural terrace overlooking the Gulf of Finland. During the reign Elizabeth Petrovna started a huge expansion of palaces Petrodvorets, Hermitage and Tsarskoe Selo by the Italian architect Francisco Bartolomeo Rastrelli, whose combinations of rich ornaments, soft unusual colours and white columns are symbol of Russian baroque of the middle of 18th century. Moreover, F. B. Rastrelli also rebuilt some garden pavilions giving a new dimension of composition between buildings and garden. His sense of buildings soft colours in contras to the dark colours of north nature was very important and helped to improve Russian garden design of this time.After the start of reign Catherine II in 1761 begun new period of architectural style – Classicism and English Landscape School. At first was rebuilt a part of the formal gardens in Tsarskoe Selo for which was used the composition of the famous Stowe Park as a pattern. Others built landscape parks were Pavlovsk, Gatchina and Alexandrowski Park. In the process of creating those imperial residences were used principles of the work of William Kent, with antique temples, also Lancelot Brown’s famous nature scenery. Moreover, the compositions of landscape parks are good examples of oriental and neo-gothic pavilions. Russian formal gardens and landscape parks are inseparable part of European art in 17th and 18th century. They composition content basic characteristic of French baroque and English landscape school together with different elements originated as a adaptation to the specific climatic conditions of this region.
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Sampiev, Israpil M. "ON REFERRING TO CHRISTIANITY SANCTUARIES IN TABLE MOUNTAIN (MAT-LOM)." History, Archeology and Ethnography of the Caucasus 15, no. 3 (October 14, 2019): 335–44. http://dx.doi.org/10.32653/ch153335-344.
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The article aims to verify some of the assertions made about attributing sanctuaries of Mount Stolovaya (Myat-Loam) in Ingushetia to Christianity. The principal tasks of the study are to conduct critical analysis of some of the statements of pre-revolutionary and soviet authors, related to those shrines; to check the conformity of the said shrines to the Christian places of worship; to compare rituals of the sanctuaries with the Christian ones.Pre-revolutionary imperial and soviet authors associate sanctuaries of Mount Stolovaya in the mountainous regions of Ingushetia (Myatzetli, Myattar-Dyala, Susol-Dyala) to Christianity, describing them as churches or chapels. For this purpose, names of the shrines were often distorted and then attributed to Christian saints. Those statements, without any scientific reasoning, were most likely aimed to legitimize the Russian Empire on the Caucasus’ territory, as a former Christian space. However, the study analysis of the sanctuaries, carried out by the leading experts in places of worship (architect A. Goldstein, archeologist M.B Muzhukhoev, ethnologists V. N. Basilov, V.P. Kobychev et al.) reveals that they do not comply with the established criteria of Christian monuments; rituals of praying at the sanctuaries also show no conformity to Christianity (it was forbidden for anyone to be inside the Ingush shrines except the priest; the absence of altar; animal sacrifice; feasts and dances, etc.).The analysis of architectural, ritual and ethnographic aspects of the sanctuaries on Mount Stolovaya provides the conclusion that Myatsil, Myattar-Dyala, Susol-Dyala are pagan shrines, associated with crypts as attributes of the cult of ancestor veneration. Basing on the analysis, it has been established that Myatseli and other distinctive Ingush sanctuaries, located in Kistin community of Ingushetia, were never Christian churches or chapels; attempts at associating Christian names of St. Mary or St. Matthew to the name of Myatseli and the sacred Ingush mountain Myat-Loam are unfounded. The results of the study refute the attempts of false attribution of Ingush national places of worship to Christianity and carry not only gnoseological, but also practical relevance.
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Alexander, Sally. "Macaulay and Son, Architects of Imperial BritainCATHERINE HALL." Women's History Review 23, no. 4 (August 19, 2013): 647–51. http://dx.doi.org/10.1080/09612025.2013.828536.
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Górzyński, Makary. "Procesy przestrzenne i nowa architektura w Kaliszu około połowy XIX wieku - zagadnienia i postulaty badawcze." Polonia Maior Orientalis 8 (December 30, 2021): 67–88. http://dx.doi.org/10.4467/27204006pmo.21.004.15455.
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Przedmiotem artykułu jest przedstawienie historycznego zarysu przemian i charakteru środowiska architektów i budowniczych w Kaliszu w okresie gubernialnym (1867-1914). Na przełomie XIX i XX wieku miejscowi architekci-urzędnicy, zatrudnieni w rosyjskim urzędzie gubernialnym, nadal stanowili trzon miejscowej profesji, posiadając najlepsze wykształcenie fachowe (przeważnie petersburskie) i umocowanie administracyjne, gwarantujące szeroki wpływ na architekturę w mieście i jego okolicach. Jednocześnie jednak w tym samym czasie do miasta napływali nowi projektanci młodszego pokolenia, szukający miejsca dla siebie w zmieniających się szybko realiach społecznych, zachęceni rozwojem Kalisza na początku XX stulecia. Artykuł przedstawia charakterystykę wykształcenia, sposoby prowadzenia praktyki zawodowej, kompetencje, jak i realia prawne i administracyjne, w których pracowali ludzie architektury i budownictwa w kluczowym dla nowoczesnego Kalisza okresie. Jego istotną częścią jest także przedstawienie firm budowlanych i wykonawców, współpracujących z kaliskimi architektami. Architects, Builders and Planners in Kalisz at the Turn of the Nineteenth and Twentieth Centuries – An Overview of Profession and Background of Architectural and Builder’s Practice The aim of this contribution is to characterize a network of professionally-trained architects and engineers working in Kalisz, a westernmost governorate capital of the Russian empire, between the years 1867 to 1914, when the town was steadily developing in population and construction market. During the imperial period, the best trained (mostly in Petersburg) core of the local community of architects was employed by the state agendas, namely Russian Governorate, offering a good career prospects but only for a few professionals. During the 1900s the “railroad boom” of the local population and industrial expansion of the city attracted to Kalisz a dozen of newcomers, also young architects and planners. In this essay I offer an overview of the local community of architects by analyzing education, patterns of career or legal and administrative frameworks of their work. Last but not least, a detailed description of local builder’s environment and their firms is offered.
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Górzyński, Makary. "Środowisko architektoniczno-budowlane w Kaliszu oraz realia jego funkcjonowania na przełomie XIX i XX wieku – zarys problematyki." Polonia Maior Orientalis 7 (2020): 46–76. http://dx.doi.org/10.4467/27204006pmo.20.003.15489.
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Przedmiotem artykułu jest przedstawienie historycznego zarysu przemian i charakteru środowiska architektów i budowniczych w Kaliszu w okresie gubernialnym (1867-1914). Na przełomie XIX i XX wieku miejscowi architekci-urzędnicy, zatrudnieni w rosyjskim urzędzie gubernialnym, nadal stanowili trzon miejscowej profesji, posiadając najlepsze wykształcenie fachowe (przeważnie petersburskie) i umocowanie administracyjne, gwarantujące szeroki wpływ na architekturę w mieście i jego okolicach. Jednocześnie jednak w tym samym czasie do miasta napływali nowi projektanci młodszego pokolenia, szukający miejsca dla siebie w zmieniających się szybko realiach społecznych, zachęceni rozwojem Kalisza na początku XX stulecia. Artykuł przedstawia charakterystykę wykształcenia, sposoby prowadzenia praktyki zawodowej, kompetencje, jak i realia prawne i administracyjne, w których pracowali ludzie architektury i budownictwa w kluczowym dla nowoczesnego Kalisza okresie. Jego istotną częścią jest także przedstawienie firm budowlanych i wykonawców, współpracujących z kaliskimi architektami. Architects, builders and planners in Kalisz at the turn. Of the nineteenth and twentieth centuries – an overview of profession and background of architectural and builder’s practice The aim of this contribution is to characterize a network of professionally-trained architects and engineers working in Kalisz, a westernmost governorate capital of the Russian empire, between the years 1867 to 1914, when the town was steadily developing in population and construction market. During the imperial period, the best trained (mostly in Petersburg) core of the local community of architects was employed by the state agendas, namely Russian Governorate, offering a good career prospects but only for a few professionals. During the 1900s the “railroad boom” of the local population and industrial expansion of the city attracted to Kalisz a dozen of newcomers, also young architects and planners. In this essay I offer an overview of the local community of architects by analyzing education, patterns of career or legal and administrative frameworks of their work. Last but not least, a detailed description of local builder’s environment and their firms is offered.
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Barlas, Asma. "Empire and Elites after the Muslim Conquest." American Journal of Islam and Society 20, no. 1 (January 1, 2003): 137–40. http://dx.doi.org/10.35632/ajis.v20i1.1880.
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Perhaps one would not expect a history of “Islamic rule” in the seventh andeighth centuries in what is now the Middle East to illuminate any contemporarydebate on Islam, in particular about whether there is an innate civilizationalclash between it and the (Christian) West. And yet this modeststudy manages to do that, if only tangentially and coincidentally, and if readwith some reservations.Cambridge historians are renowned for their preoccupation with elites,generally of provinces far removed from the centers of power, and hencetheir single-minded focus on the “politics of notables” of relatively minorlocalities. From such provincial concerns, however, emerge more universalclaims about, for instance, the nature of British colonial rule in India or ofIslamic rule in the Middle Ages. Chase Robinson, following this tradition,assesses – as “critic and architect” – the changing status of Christian andMuslim elites following the Muslim conquest of northern Mesopotamia.Three themes are implicit: the interrelationship of history and historiography,the effects of the Muslim conquest, and the nature of Islam. Thus, Iwill review it thematically as well. I should point out that I engage his workas a generalist, not as a historian, and that I am interested not so much in hisretelling of events as in the political meanings with which he endows them.(Re)writing History. To reconstruct a past about which there is such adearth of primary period sources is at best hazardous. For one, where documentssuch as conquest treaties exist, they have little truth-value, saysRobinson. He thus specifies that he is concerned less with their accuracythan with how they were perceived to have governed relations between localMuslims/imperial authorities, on the one hand, and Christians on the other.For another, conquest history in fact “describes post-conquest history.” Thusthe “conquest past” is a re-presentation of events from a post-conquest present,an exercise in which Christians and Muslims had an equal stake sincethe “conquest past could serve to underpin [their] authority alike.”Historians then must disentangle events from their own narration, or at leastrecognize the ways in which recording events also reframes them.Fortunately for him, says Robinson, his work was enabled by that of al-Azdi, a tenth-century Muslim historian. However, even as he admits that ...
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Levin, Ayala. "Haile Selassie's Imperial Modernity: Expatriate Architects and the Shaping of Addis Ababa." Journal of the Society of Architectural Historians 75, no. 4 (December 1, 2016): 447–68. http://dx.doi.org/10.1525/jsah.2016.75.4.447.
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In the 1960s, Addis Ababa experienced a construction boom, spurred by its new international stature as the seat of both the United Nations Economic Commission for Africa and the Organization of African Unity. Working closely with Emperor Haile Selassie, expatriate architects played a major role in shaping the Ethiopian capital as a symbol of an African modernity in continuity with tradition. Haile Selassie's Imperial Modernity: Expatriate Architects and the Shaping of Addis Ababa examines how a distinct Ethiopian modernity was negotiated through various borrowings from the past, including Italian colonial planning, both at the scale of the individual building and at the scale of the city. Focusing on public buildings designed by Italian Eritrean Arturo Mezzedimi, French Henri Chomette, and the partnership of Israeli Zalman Enav and Ethiopian Michael Tedros, Ayala Levin critically explores how international architects confronted the challenges of mediating Haile Selassie's vision of an imperial modernity.
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Auerbach, J. "Macaulay and Son: Architects of Imperial Britain, by Catherine Hall." English Historical Review 129, no. 537 (March 27, 2014): 465–67. http://dx.doi.org/10.1093/ehr/ceu022.
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Wright, Jonathan Jeffrey. "Macaulay and Son: Architects of Imperial Britain, written by Catherine Hall." Social Sciences and Missions 28, no. 3-4 (2015): 401–3. http://dx.doi.org/10.1163/18748945-02803017.
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Noelle, Louise. "Ricardo Legorreta. An Architect in Search of Modernity within Tradition." Designing Modern Life, no. 46 (2012): 90–91. http://dx.doi.org/10.52200/46.a.0ntavnj1.
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Ricardo Legorreta is one of the Mexican contemporary architects who have garnered the most recognition; only in 2011 he was distinguished as Doctor Honoris Causa by the Universidad Nacional Autónoma de México, UNAM, and the Praemium Imperiale in Japan. One year before, on August 27 at the docomomo Conference held in Mexico City, he gave a memorable Keynote Speech on the main figures of the Modern Movement in Mexico, José Villagrán and Luis Barragán, that the attendants treasured in their memories.
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Bullen, J. B. "Alfred Waterhouse’s Romanesque ‘Temple of Nature’: The Natural History Museum, London." Architectural History 49 (2006): 257–85. http://dx.doi.org/10.1017/s0066622x00002781.
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The Natural History Museum in London is a spectacular building in many senses (Fig. 1). As one of the outstanding landmarks of high Victorian architecture, it was designed to draw attention both to itself and to its contents. No other museum building in Britain adopted a Romanesque style on this scale; no other building had used terracotta in such a rich and decorative manner, and no other building (other than, perhaps, the University Museum, Oxford) so curiously employed external decoration to illustrate its internal function. It was calculated to appeal to a wide public and its animal sculpture was selfconsciously didactic in the way in which a number of contemporary museum buildings were created to a programme. Planned as a showcase for the nation’s imperial scientific achievements, its appearance was strongly ecclesiastical. When it opened in 1881, The Times leader called it a ‘true Temple of Nature’, which, the writer said, demonstrated ‘the Beauty of Holiness’. But for many visitors in 1881 Nature had abandoned the temple for wilder places; she had bloodied her claws, and the beauty of holiness had been replaced by the more severe, mechanistic principles formulated by Charles Darwin.The concept of a large museum of natural history was the inspiration of the great naturalist Richard Owen. It was also the crowning achievement of his lifetime in science. The ‘Temple of Nature’ that Alfred Waterhouse built for him embodied Owen’s belief that the history of the natural world was not a matter of randomness and chance but the creation of a transcendent presence. In other words, the Natural History Museum is the expression of an ideology, and its shape, size, position, style and decoration are charged with legible meanings. Some of those meanings are readily interpreted, others less so, and although the building history of the museum has been well documented, many questions remain. Why, for example, was Waterhouse chosen as its architect? What spurred him on to use terracotta in such an original way? And above all why did he risk the unusual Romanesque style? The choice of Romanesque for such a building, although it was later imitated elsewhere, was highly original. But that choice was conditioned by a substantial web of aesthetic, social, and political factors. The Natural History Museum was not just Waterhouse’s creation; it was very much the product of its time. It was born of national and local politics; it was shaped by Owen’s unusual position in the scientific world, and it was an expression of Waterhouse’s passion for early medieval architecture.
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Zanini, Enrico. "TECHNOLOGY AND IDEAS: ARCHITECTS AND MASTER-BUILDERS IN THE EARLY BYZANTINE WORLD." Late Antique Archaeology 4, no. 1 (2008): 379–405. http://dx.doi.org/10.1163/22134522-90000095.
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Eastern literary and epigraphic sources from the 5th and 6th centuries A.D. mention several architects/engineers in the service of the imperial court at Constantinople. They give us an idea of the scientific knowledge, technical expertise and social status of these men. A larger group of architects and master-builders are also attested. They operated mainly in a lower-key, local context, but they also moved abroad to answer the requests of patrons. A comparison between the written sources and archaeology allows us to reconstruct some examples of the mobility of people and ideas, and to advance some hypotheses about the development of building material culture in the late antique eastern Mediterranean world.
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Senseney, John R. "Adrift toward Empire." Journal of the Society of Architectural Historians 70, no. 4 (December 1, 2011): 421–41. http://dx.doi.org/10.1525/jsah.2011.70.4.421.
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In seeking the origins of the celebrated portico-framed fora of Imperial Rome, John R. Senseney explores the earliest recognizable example of this architectural type, a lost porticus of the 160s BCE built by the victorious commander Gnaeus Octavius. Adrift toward Empire: The Lost Porticus Octavia in Rome and the Origins of the Imperial Fora adduces ancient testimony to aid our understanding of the purposes and formal appearance of this pivotal monument. While the author suggests that Octavius emulated a Hellenistic model, he does not posit that the patron necessarily sought to associate his triumph with those of his Greek forebears. Those meanings did, however, become attached to the building type by later viewers and the architects who created the Imperial fora. In order to appreciate this phenomenon, the author questions the usefulness of fixed categories like "Hellenistic" and "Roman" and argues for a history sensitive to the fluidic intentions and changing meanings of architecture.