Romanesque, Regency, Revival, Early Christian, Baroque, Rococo, Neoclassicism - Essay Example

?Romanesque One of the most recognizable aspects of Romanesque architecture is with regards to its characteristic use of semicircular arches. Although there is little agreement among scholars with regards to the exact starting date for Romanesque architecture, it is typically understood to be begun in or around the eighth century. As can be seen from this to starting point, this was primarily within the heart of what was known as the dark ages (Rahmatabad & Toushmalani, 2011). At such a time Europe was necessarily segmented into many different power bases and this particular architectural style provided a link with a time not so distant past that the Roman Empire and its architectural influences had extended well beyond its borders. Accordingly, the proliferation of this particular style within Europe means that there are even currently still a large number of buildings that can be defined within the Romanesque characterization. One exemplification of this particular style within England is the Castle Rising. Within this particular Castle, the buttresses and reinforcements upon the corners of the walls are indicative of Romanesque style with regards to their use of semicircular arches and commonality that exists between this castle and the monasteries of that time (Weinryb, 2011). Moreover, the use of Romanesque period utilized what many scholars have referred to as a “heavy architectural style”. This style was indicative of dark spaces and the utilization of small windows. This was partly due to the fact that during this period the need for traditional defenses in the form of castles; thereby requiring smaller windows for the purpose of defense. Regency Jumping forward over 1000 years, Regency architecture denotes style of buildings that came to a level of prominence within written during the early 19th century; a point in time when George IV was Prince Regent – the namesake of this particular period of architecture. One of the most defining facets of this particular style is with regards to the prevalence of white painted stucco facades and the exhibition of the entryway usually colored in black frame columns. Additionally, residences which are built within the Regency style of architecture display crescents or terraces. In addition, the use of wrought-iron balconies is also incorporated a large scale (Xi, 2013). Again, the importance of history cannot be ignored due to the fact that the Regency period of architecture normally exhibits a very clear level of comparison to the colonnades and pillars of ancient Rome and ancient Greeks. Due to the fact that this was one of the periods in which the British Empire was at its very height, it comes as no surprise that Imperial forms of architecture were utilize as a means of further propagating this particular understanding of general importance within the world structure. Similarly, with regards to a particular building or monument exhibits this style, a very excellent example exists within Regents Park London (McColl & Faust, 1998). As such, the use of columns and crescent shape architecture readily points to the fact that Regency architecture was heavily utilized in employed as a means of inspiring particular monuments exhibited within the park. Revival As with all forms of art and architecture, a desire to see and elaborate upon previous artistic expressions oftentimes encourages architects to engage in movements of revivalism. Within Western civilization, revivalism has been noted within almost each and every single architectural movement in recorded history. For instance, there has been revivalism of postclassical architecture, medieval architecture, Baroque architecture, and a litany of many other more modern forms of architecture. Due to the broad range of revival architecture that exists, this particular analysis will focus specifically on Renaissance revival; sometimes referred to as “neo-Renaissance”. This developed in and around the 19th century (Porter, 2011). However, the movement itself is somewhat hard to explain and/or understand due to fact that it oftentimes confuse Renaissance architecture with prior to how he and architecture. Although it many cases these two are one in the same, the fact of the matter is that a blending of true Renaissance architecture with prior exhibitions of time and architecture was evidenced throughout the period time which this was highly popular (Cavendish & Crow, 2011). Similarly, with respect to the current exhibition of the neo-Renaissance revival, this author definitively points to the facade of Vladimir; exhibited within Saint Petersburg, Russian Federation. Early Christian Early Christian architecture is something that is somewhat unique as compared to the other forms of architecture that have been discussed thus far. This is not due to the fact that early Christian architecture exhibits new more interesting interpretations of arts were architecture; rather, it is unique due to the fact that it was born out of a degree of necessity (Siljeg, 2007). In short, as the early Christian religion began to grow and develop, it is estimated you were a meeting place for many individuals and adherence of this newfound religion. Finding pagan temples and other previous places of worship unsuitable to the very tenets of Christianity, it was necessitated the new style must be derived setting Christianity part. In this way, the architectural interpretation of the “basilica” was born. As such, the basilica invariably represented a rectangular shape with a center nave and aisles on both sides. In addition, there was most generally and apse at either end with a raised platform and alter were clergy operated on the other (Lahoud, 2008). Accordingly, this can be understood as something of a degree of functionalist necessity; where the style of worship impacted heavily upon the means by which architecture in the era came to be understood. Likewise a perfect exemplification of this particular early Christian form of architecture can be noted within Rome’s Santa Sabina. Baroque The Baroque era of architecture began in 16th century Italy. Many scholars argue that this particular form of architecture was commissioned on behalf of the Catholic Church to express a degree of resilience and triumph with regards to the absolutist state that they had created. However, Baroque architecture soon began to grow well outside the bounds of the Catholic Church. Regardless of the means by which Baroque architecture eventually exhibited itself throughout Europe, the earliest exhibitions of Baroque architecture were commissioned as a response to the Protestant Reformation that was sweeping Europe. In short, the luxury and emotion filled power that Baroque architecture thought to inspire was a means of demonstrating power and wealth that the Catholic Church still had at its disposal. In a way, this is one of the only architectural movements that began as a means of proving a point and developing a particular belief system to a greater extent. As one might reasonably expect, the most impressive displays of Baroque architecture are oftentimes found in countries within Europe that were predominantly Catholic at the time that they were constructed. However, examples of Baroque architecture exist even within the Americas. For instance, the Cathedral Metropolitan in Mexico City is something of a perfect example of Baroque architecture; regardless of the fact that it was constructed thousands of miles away from the influence of the Roman Pontiff. Rococo Whereas Baroque architecture introduced the world to aggressively busy and ornate patterns within the construction of buildings and monuments, Rococo architecture has often been described as late Baroque. In such a way, the influences that this movement provided within the late 17th and early 18th centuries was necessarily one that incorporated an extraordinarily high degree of detail, frivolity, movement, and even garishness. In such a way, the reader can come to understand that as compared to the prior movements of architecture that had come before or many of the later movements and architecture that the modern era has given us, the Rococo style transcended all of these with regards to the ultimate degree of overall “business” that the style displayed (Galadza, 2006). Accordingly, it was not uncommon for Rococo architecture to engage in an inordinately high degree of decorative additions to both the exterior and enter of buildings which was neither arts for the sake of art nor functional in its design. Naturally, taken to such an extreme, further evidences of architecture within Europe and around the world sought to take architectural interpretation down to a more simplistic level; allowing the eyes something of her reprieve from such an oppressive and overbearing style. Nonetheless, one of the most effective demonstrations at this particular style is with regards to the Church of St. Andrew; located in what is now Kiev, Ukraine. 18thCentury Neoclassicism In much the same way that many of the architectural movements which have been discussed previously worked with reaction to different styles which preceded them, neoclassical architectural style can be understood as a distinct response and reaction to Rococo style; which has previously been discussed. As a means of understanding neoclassical architectural style to a more full and complete manner, the reader must understand that Neoclassicism within the 18th century was most necessarily seeking to harken back to the splendors of Rome and ancient Greece (Cast, 1990). One of the most formative fathers of the resurgence of this movement is that of Andrea Palladio. According to the influences that this movement was able to impact upon architecture, buildings such as The White House in Washington D.C., as well as many other buildings within the United States capital, were evidenced in the early years the United States. However, it should not be understood by the reader that neoclassicism was something that only affected the United States. Rather, it was a worldwide movement. References Cast, D 1990, 'English Neo-Classical Architecture (Book)', Art Bulletin, 72, 4, p. 664, Academic Search Complete, EBSCOhost, viewed 23 May 2013. Cavendish, R., & Crow, C. (2011). Beauty and Civilisation. History Today, 61(4), 4-5. Falcon, O 2009, 'Out With the New, In With the Old: Architecture and Nation', Hispanic Research Journal, 10, 5, pp. 439-456, Academic Search Complete, EBSCOhost, viewed 23 May 2013. Galadza, S 2006, 'a new language', Contract, 48, 9, p. 26, Business Source Premier, EBSCOhost, viewed 23 May 2013. Lahoud, AL 2008, 'The role of cultural (architecture) factors in forging identity', National Identities, 10, 4, pp. 389-398, Academic Search Complete, EBSCOhost, viewed 23 May 2013. McColl, P, & Faust, M 1998, 'Paris grand luxe', Architectural Digest, 55, 5, p. 210, Academic Search Complete, EBSCOhost, viewed 23 May 2013. Rahmatabadi, S, & Toushmalani, R 2011, 'Physical Order and Disorder in Romanesque Architecture Style', Australian Journal Of Basic & Applied Sciences, 5, 9, pp. 395-398, Academic Search Complete, EBSCOhost, viewed 23 May 2013. Siljeg, B 2007, 'Early Christian Marble Corinthian Capitals from Dubrovnik', Prilozi Instituta Za Arheologiju U Zagrebu, 24, 1, pp. 257-261, Academic Search Complete, EBSCOhost, viewed 23 May 2013. Weinryb, I 2011, 'The inscribed image: negotiating sculpture on the coast of the Adriatic Sea', Word & Image, 27, 3, pp. 322-333, Academic Search Complete, EBSCOhost, viewed 23 May 2013. Xi, C. 2013, 'Regency style', Electronic Encyclopedia, 6Th Edition, p. 1, Academic Search Complete, EBSCOhost, viewed 23 May 2013. Read More