II.—Architectural History of St. Hugh's Choir in Lincoln Cathedral

Archaeologia ◽  
1882 ◽  
Vol 47 (1) ◽  
pp. 41-48
Author(s):  
John Henry Parker
Keyword(s):  
Turning Point ◽  
Architectural History ◽  
History Of ◽  
History Of Architecture

On a former occasion I traced the history of St. Hugh from his birth in his father's castle at Avalon, on the borders of Savoy, and a few miles from Grenoble, then in the kingdom of Burgundy, to his death and burial in his choir at Lincoln, then just completed, and, as he died in the year 1200, this marks an important turning-point in the history of architecture, as many authors have observed.

scholarly journals Architecture and Steel. Reflection and Analysis on the Use of Steel Structures (in Sight) as a Concept in the History of Architecture

Designs ◽  
2020 ◽  
Vol 4 (3) ◽  
pp. 30
Author(s):  
Inês D. D. Campos ◽  
Luís F. A. Bernardo
Keyword(s):  
Industrial Revolution ◽  
Architectural History ◽  
Steel Structures ◽  
Structural Systems ◽  
Housing Projects ◽  
History Of ◽  
History Of Architecture ◽  
The Relationship ◽  
Huge Variety ◽  
Modern Movement

This is the first of two companion articles which aim to address the research on Architecture and Steel. In this article, some architectural projects are analyzed to show the potentiality to conjugate architectural conception and steel structures, as well as to show the contribution and influence from architectural history. This article also aims to contribute to the reflection of the knowledge and legacy left to us by several architects throughout the history of architecture in using aesthetic, visual and structurally safe profiled steel structures in architectural conception. The presented analysis and reflection are based on the characteristics and influences of the Industrial Revolution and, mainly, the Modern Movement, where the first housing projects came up with this constructive system, combined with the “simplistic” ways of living in architecture, highlighting the relationship with the place, cultural, spatial and typological references, the structural systems and associated materiality. In view of the diversity of alternatives allowed by the use of steel “Skeletons”, modular and standardized, combined with a huge variety of existing materials and constructive complexity, well combined and interconnected, it is possible to obtain a final product whose characteristics seduce by their beauty and elegance. Moreover, the practical and functional comfort which allows the safeguarding of the architectural integration of such product, with the necessary serenity in space and nature, in full environmental integration, is also emphasized.

scholarly journals Transcultured Architecture: Mudéjar’s Epic Journey Reinterpreted

2011 ◽  
Vol 1 ◽  
pp. 137-151
Author(s):  
Ila Nicole Sheren
Keyword(s):  
Latin America ◽  
New World ◽  
Architectural History ◽  
Visual Language ◽  
Architectural Style ◽  
Medieval Spain ◽  
Fernando Ortiz ◽  
History Of ◽  
History Of Architecture ◽  
Art And Architecture

The Mudéjar phenomenon is unparalleled in the history of architecture. This style of architecture and ornamentation originated with Arab craftsmen living in reconquered medieval Spain. Embraced by Spanish Christians, Mudéjar traveled over the course of the next four centuries, becoming part of the architectural history of Latin America, especially present-day Mexico and Peru. The style’s transmission across different religions and cultures attests to its ability to unify disparate groups of people under a common visual language. How, then, did mudejar managto gain popularity across reconquered Spain, so much so that it spread to the New World colonies? In this article, I argue that art and architecture move more fluidly than ideologies across boundaries, physical and political. The theory of transculturation makes it possible to understand how an architectural style such as Mudéjar can be generated from a cultural clash and move to an entirely different context. Developed in 1947 by Cuban scholar and theorist Fernando Ortíz, transculturation posited means by which cultures mix to create something entirely new. This process is often violent, the result of intense conflict and persecution, and one culture is almost always defeated in the process. The contributions of both societies, however, coexist in the final product, whether technological, artistic, or even agricultural. I argue that mudejar in Latin America is a product of two separate transculturations: the adoption of Arab design and ornamentation by Spanish Christians, and the subsequent transference of these forms to the New World through the work of indigenous laborers.

‘The Professor’s Dream’: Cockerell’s Hypnerotomachia Architectura?

2009 ◽  
Vol 52 ◽  
pp. 117-145
Author(s):  
Anne Bordeleau
Keyword(s):  
Nineteenth Century ◽  
Royal Academy ◽  
Architectural History ◽  
Architectural Theory ◽  
Historical Experience ◽  
The Past ◽  
Hypnerotomachia Poliphili ◽  
History Of ◽  
History Of Architecture

In 1849, after teaching architectural history at the Royal Academy in London for just under a decade, the architect Charles Robert Cockerell (1788-1863) exhibited ‘The Professor’s Dream’, a graphic synopsis of the history of architecture (Fig. 1). Produced in an era dominated by historicism, the drawing operates between the two poles of historical relativism, negotiating the line between accumulation and rationalization. Some nineteenth-century architects, indiscriminately collecting, understood each style to have emerged from the particular conditions of their times, considering them distinct and yet equally valid. Other architects, critically ordering, privileged one style over another, variously justifying themselves on religious, technical, moral or structural imperatives. Cockerell’s ‘Dream’ is ambiguously positioned as a place of showing and a means of knowing, speaking both of an homage to the past and a vision of progress, apparently flattening a thousand years of history but inherently offering the depth of historical experience. David Watkin, Peter Kohane and, more recently, in the context of an exhibition at the Royal Academy, Nick Savage, have interrogated the drawing, the first two paralleling it with Francesco Colonna’s Hypnerotomachia Poliphili (1499), the latter framing it within a tradition of systematic charting of history, and suggesting a possible link to geological charts. While all these interpretations certainly stand, it is essential to recast them within a larger discussion of Cockerell’s understanding of history. Substantiating the different readings of the drawing — against Cockerell’s earlier drawings and surveys, within his architectural theory as expounded in his Royal Academy lectures, and in the larger perspective of the interests he cultivated since the 1820s — this essay brings to the fore the tension between ordering and experiencing, revealing how the architect was interested in the latent interstices between history and time.

Architectural History and the Colonial Question: Casablanca, Algiers and Beyond

2006 ◽  
Vol 49 ◽  
pp. 349-368 ◽  
Author(s):  
Jean-Louis Cohen
Keyword(s):  
Twentieth Century ◽  
Architectural History ◽  
Town Planning ◽  
Colonial Era ◽  
Doctoral Research ◽  
Built Heritage ◽  
Trading Posts ◽  
History Of ◽  
History Of Architecture ◽  
The Subject

The last decade has seen an explosion of scholarly works dealing with colonial architecture and town planning, a domain previously marginal in the historiography. In any case it has aroused the attention of ever more numerous researchers, a fact that has stimulated this attempt to take stock of it, by drawing on cases studied by this author in his own work. The exploration of colonialism now constitutes a significant field of doctoral research, of studies associated with the identification and protection of built heritage, and tends to mould new images in the history of architecture from the last few centuries. In actual fact, the innumerable works on the twentieth century – the subject here – comprise only a fraction of all the studies concerning nearly five centuries of colonization, if the beginning of the colonial era is identified with the discovery of America and the establishment of the first European trading posts in Africa.

scholarly journals The Structural Rationalism and the sources of Brazilian Modern Architecture: method, de nitions and research potential

2017 ◽  
Vol 2 (3) ◽  
Author(s):  
Marcelo Puppi
Keyword(s):  
Cultural History ◽  
Architectural History ◽  
Modern Architecture ◽  
Theory And Practice ◽  
Organic Unity ◽  
Relevant Today ◽  
Theoretical Assumptions ◽  
History Of ◽  
History Of Architecture ◽  
Xix Century

The research has two main objectives: rst, expand the knowled- ge of the sources of the theory and practice of Brazilian modern architecture and, second, contribute to the consolidation of the cultural history of architecture in Brazil. Studying the structural rationalism as source of the Brazilian modern architecture does not only mean to deepen the knowledge already in progress on the latter, but also to apply the cultural history method to the stu- dy of the history of architecture in Brazil. For the recent research about the structural rationalism bene ted from the cultural history method and is part of the new architectural history of the XIX century, elaborated since 1990, approximately. In this context, the very de nition of structural rationalism is ampli ed and dee- pened. Instead of simply meaning a relation of cause and e ect between structure and architecture in which the structure is one of the architecture’s purposes, the structural rationalism is now understood as part of the new dynamic and organic conception of the architecture that emerges in the XIX century, for which, particularly, the structure is the means capable to fully generate the organic unity of the form. In this perspective, demonstrate that the structural rationalism is one of the sources, and more precisely one of the greatest sources of Brazilian modern architec- ture, not only permit to deepen the knowledge of the theoretical assumptions, but also the formal qualities of this architecture. As well as, consequently, the more general matters as the composi- tion method and the architecture’s cultural role that are relevant today and ever to the theory and the practice of the architecture. 

scholarly journals Turning Point at the UNESCO Headquarters. Crossed Influences between Pier Luigi Nervi and Marcel Lajos Breuer

2018 ◽  
Author(s):  
Javier Martin Fuentes
Keyword(s):  
20Th Century ◽  
Turning Point ◽  
Radical Change ◽  
Main Mode ◽  
Important Material ◽  
History Of ◽  
New Material ◽  
History Of Architecture ◽  
Architectural Language

The history of architecture is closely linked to the evolution and the use of materials. Concrete was the most important material of the 20th century, becoming the medium for a new architecture. Many different architects not only relied on the use of concrete as their main mode of expression but also got involved in the quest for a new architectural language for the so-called new material. Pier Luigi Nervi and Marcel Breuer are not only among the great architects of the last century, but above all, they are masters of concrete, both developing extensive bodies of work based on the use of the material. Nervi and Breuer worked together in a virtuosic piece of architecture, the building for the UNESCO Headquarters in Paris. Built mainly in concrete and inaugurated in 1958, it occupies a relevant place in the history of architecture. This paper wants to highlight how during that process, both architects underwent a radical change in their careers and in relation to the use of concrete, turning this project in a milestone for the history of architecture as a whole. 

Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi

ARTMargins ◽  
2015 ◽  
Vol 4 (1) ◽  
pp. 79-101
Author(s):  
Esra Akcan
Keyword(s):  
Architectural Design ◽  
Architectural History ◽  
Abu Dhabi ◽  
Global History ◽  
Design Practices ◽  
Museum Design ◽  
History Of ◽  
History Of Architecture ◽  
Ongoing Project

This article comparatively discusses the 14th International Architecture Biennale of Venice, directed by Rem Koolhaas, and the pilot exhibit and architectural design of Louvre Abu Dhabi undertaken by Jean Nouvel, in the context of recent big art events and world museums. Curatorial, historiographical, and installation strategies in these venues are differentiated in order to think through the question of displaying a global history of architecture. I make a distinction between the curatorial practices carried out in the Fundamentals and Absorbing Modernity sections of Venice's Central and National Pavilions as curator-as-author and curators-as-chorus, which I map onto recent historiographical and museum design practices, including the Louvre Abu Dhabi, to discuss the geopolitical implications of its installation strategies. I also argue that six methodological perspectives for displaying architectural history emerge from the curator-chorus of Absorbing Modernity, which can be identified as survey, nationalist history, case study, thematic history, archive metaphor, and deferment, all of which contribute to and raise questions about the ongoing project towards a global architectural history. After suggesting a difference between “world” and “global” history of architecture, I call for a more geopolitically conscious and cosmopolitan global history of architecture, by exposing the intactive bonds between the history of modernism and of colonization, as well as the continuing legacy of geopolitical and economic inequalities that operate in such venues.

scholarly journals The President of our Country is a Real Estate Developer

2020 ◽  
Vol 3 (4) ◽  
pp. 12-17
Author(s):  
Кимберли Зарекор ◽  
Владимир Кулич ◽  
Николай Андреевич Ерофеев
Keyword(s):  
Real Estate ◽  
Architectural History ◽  
Opportunity To Learn ◽  
Eastern European ◽  
State University ◽  
Iowa State University ◽  
Real Estate Developer ◽  
History Of ◽  
History Of Architecture ◽  
Public Design

Professors of Iowa State University and specialists in Socialist architecture and urban development, Kimberly Zarecor and Vladimir Kulić spoke in their interview about their approach to research and teach socialist architecture. They see the aim of their research in reintegrating the history of Eastern European and Soviet architecture into the general history of architecture. The main contribution of Soviet architects, they argue, was on developing typologies of public architecture, in contrast to the canonical Western architectural history, which celebrates private buildings. Soviet architects developed an entire culture of original, functional and economic public design. They see their course ‘The Architectures of Global Socialism,’ taught at Iowa State University, not only as an opportunity to learn from social legacies but also to start a broader discussion about socialism today.

Integrating virtual reality technology into architecture education: the case of architectural history courses

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Anwar Ibrahim ◽  
Amneh Ibrahim Al-Rababah ◽  
Qanita Bani Baker
Keyword(s):  
Architectural History ◽  
Thinking Skills ◽  
Modern Architecture ◽  
Critical Thinking Skills ◽  
Architectural Education ◽  
Knowledge Gain ◽  
Architecture Education ◽  
Content Type ◽  
History Of ◽  
History Of Architecture

Purpose Virtual reality (VR) technology invaded various domains including architecture practice and education. Despite its high applications in architecture design education, VR has a high potential to be used in architectural history courses as well. This paper aims to examine the effect of using VR technology on the students’ learning abilities of history of architecture. Design/methodology/approach The experimental approach was used. Two experiments were designed by creating virtual environments for two selected architectural examples from the Modern Architecture course. The participants who were students of Modern Architecture class had to complete two questionnaires, one for each example. The first one was based on Bloom’s taxonomy, and the other was prepared to test the participants’ analytical and critical skills. Besides, participants had to fill out satisfaction and ease-of-use survey on a five-step Likert scale. Findings Participants in the VR condition achieved better grades in knowledge gain compared to those in the traditional conditions. Their analytical and critical thinking skills were improved in the VR conditions. Gender has a significant impact on analytical and critical thinking skills. Participants recorded a high level of satisfaction; however, male students were more satisfied than female students who reported concerns about the weight of the used tools and nausea symptoms. Research limitations/implications This study informs architecture education and provides insights into the potentials of using advanced technology in architectural history education. Teaching the various history of architecture courses will be improved, shifted toward a more student-centered curriculum, and may acquire more excitement and conscious curiosity. Originality/value Using VR in architectural education is rigorous in architectural design courses and students’ design projects’ presentations. This research expands architectural education research by examining other ways of teaching history of architecture courses and its effect on the students’ knowledge gain and performance.

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