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"Church architecture Influence."
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In the shadow of the church : the building of mosques in early medieval Syria
In his book In the Shadow of the Church: The Building of Mosques in Early Medieval Syria Mattia Guidetti explains how late antique church architecture influenced the rise of Islamic religious architecture in the Syrian region.
eBook
A Re-Examination of the Sources of Inspiration of Ethiopian Concentric Prayer Houses: Tracing an Architectural Concept from the Roman and Byzantine East to Islamic and Crusader Jerusalem to Solomonic Ethiopia
During the first millennium of Christian presence in Ethiopia (from the fourth century), church architecture was first in accordance with, and later partially based on, the basilica plan. Circa the early sixteenth century, a new and unique church plan appeared, circular, concentric, and with a square sanctuary, and became the dominant church plan in the northwestern Ethiopian Highlands. This church plan has been referred to in scholarship as an innovation, and its sources of inspiration have not yet been definitively established. In this article, I will argue that this plan is a culmination of a process with roots in the Late Antique and Medieval Holy Land, by which the concentric prayer house plan came to be associated with the Jerusalem Temple. This process transcended religious boundaries and is expressed in the religious architecture of three monotheistic religious traditions.
Journal Article
Gothic Pride
Newark's Cathedral Basilica of the Sacred Heart is one of the United States' greatest cathedrals and most exceptional Gothic Revival buildings. Rising from Newark's highest ground and visible for miles, it spectacularly evokes its historic models.Gothic Pridesets Sacred Heart in the context of American cathedral building and, blending diverse fields, accounts for the complex circumstances that produced it.
Calling upon a wealth of primary sources, Brian Regan describes in a compelling narrative the cathedral's almost century-long history. He traces the project to its origins in the late 1850s and the great expectations held by the project's prime movers-all passionate about Gothic architecture and immensely proud of Newark-that never wavered despite numerous setbacks and challenges. Construction did not begin until 1898 and, when completed in 1954, the cathedral became New Jersey's largest church-and the most expensive Catholic church ever built in America. During Pope John Paul II's visit to the United States in 1995, he celebrated evening prayer at the Cathedral. On that occasion, the Cathedral of the Sacred Heart was elevated to a basilica to become the Cathedral Basilica of the Sacred Heart.
Meticulously researched,Gothic Pridebrings to life the people who built, contributed to, and worshipped in Sacred Heart, recalling such remarkable personalities as George Hobart Doane, Jeremiah O'Rourke, Gonippo Raggi, and Archbishop Thomas Walsh. In many ways, the cathedral's story is a lens that lets us look at the history of Newark itself-its rise as an industrial city and its urban culture in the nineteenth century; its transformation in the twentieth century; its immigrants and the profound effects of their cultures, especially their religion, on American life; and the power of architecture to serve as a symbol of community values and pride..
eBook
“Buddhist-Christian Style”: The Collaboration of Prip-Møller and Reichelt—From Longchang Si to Tao Fong Shan Christian Centre
Buddhist architecture plays a crucial role in traditional Chinese architecture, representing the localized adaptation of Buddhism, a foreign religion, in China. Historically, abundant materials, including paintings, photographs, and texts, demonstrate the longstanding interest of visiting Christian missionaries in Chinese Buddhist architecture. As their understanding deepens, Buddhist architecture becomes a valuable reference for the Sinicization of Christian venues in China. Unlike the “Chinese Roof with Western walls style” or “mixed Easten and Western façade style”, Tao Fong Shan represents a “Buddhist-Christian style”, with its success rooted in the similarity of life and spatial modes between Buddhist and Christian monasteries. Using Tao Fong Shan Christian Centre as a case study, this article examines the localization construction of Christian architecture. It explores how Norwegian missionary Karl Ludvig Reichelt (1877–1952) and Danish Christian architect Johannes Prip-Møller (1889–1943) collaborated to establish a Christian center targeting Buddhists. Through an in-depth study of Prip-Møller’s field research in the 1930s, especially his analysis of Longchang Si, the article investigates how Tao Fong Shan learned from it and transformed its spatial characteristics to achieve a localized sense of space perception through site selection, layout, and spatial design. It ultimately aims to influence the beliefs of Buddhists within the local context.
Journal Article
Bottom-Up Postmodernism
In Bottom-Up Postmodernism: Unauthorized Church Architecture in Socialist Poland, Florian Urban discusses rural and semirural Roman Catholic churches built in socialist Poland under the direction of local parish priests and financed through informal means, such as in-kind donations, volunteer work, and financial support from partner congregations abroad. In the politically unsettled climate of the 1970s and 1980s, these buildings were grudgingly tolerated by political authorities, who feared further confrontations with an increasingly unruly population. The churches evidence the efforts of priests and bishops to strengthen the Catholic Church’s spatial presence and social influence while also revealing tensions within the church hierarchy. Postmodern neohistoricism was the style of choice for many of these churches, three of which are analyzed here: St. Lucia in suburban Warsaw (1972–93), St.Michael the Archangel in Kamion in central Poland (1978–90), and St. Francis of Assisi in Mierzowice, Lower Silesia (ca. 1977–90). These buildings’ distinct, localized postmodernism emerged fromsociopolitical transformations occurring under a declining authoritarian regime and represent a historically situated struggle over the symbolic occupation of public space. 372
Journal Article
Postmodern Reconciliation: Reinventing the Old Town of Elbląg
The famous historic Old Town of Elbląg in northern Poland was comprehensively destroyed in the Second World War, neglected for several decades in the post-war period, and beginning in 1979, rebuilt from scratch in a postmodern style. The new, flamboyant, historically inspired buildings were promoted by the local head conservationist, Maria Lubocka-Hoffmann, and financed by the fledgling market economy. Developing against the background of an international trend towards old‑town regeneration, these buildings grew from different roots than postmodernism in the West. They derived from an expanded concept of historic conservation and the goal to reconcile contradictory desires. These included a contested past in a town that had been German until 1945, a longing for local identity and visible historicity despite historical ruptures, and the establishment of traditional planning principles, such as small scale and mixed use, in a modern environment.
Journal Article
American gothic art and architecture in the age of romantic literature
American Gothic Art and Architecture in the Age of Romantic Literature analyses the impact British Gothic novels and historical romances had on American art and architecture in the Romantic era. Key figures include Thomas Jefferson, Washington Allston, Alexander Jackson Davis, James Fenimore Cooper, Washington Irving, Thomas Cole, Edwin Forrest and Nathaniel Hawthorne. Hawthorne articulated the subject of this book when he wrote that he could understand Sir Walter Scott's romances better after viewing Scott's Gothic Revival house Abbotsford, and he understood the house better for having read the romances. This study investigates this symbiotic relationship between the arts and Gothic literature to reveal new interpretative possibilities.Contents
Introduction
Chapter One. Gothic Monticello: Thomas Jefferson's Garden Narratives
Chapter Two. 'Banditti Mania': The Gothic Haunting of Washington Allston
Chapter Three. 'Arranging the Trap Doors': The Gothic Revival Castles of Alexander Jackson Davis
Chapter Four. Old Dwellings Transmogrified: The Homes of James Fenimore Cooper and Washington Irving
Chapter Five. Gothic Castles in the Landscape: Thomas Cole, Sir Walter Scott And the Hudson River School of Painting
Chapter Six. The Theatrical Spectacle of Medieval Revival: Edwin Forrest's Fonthill Castle
Conclusion. 'Clap It Into a Romance: ' Nathaniel Hawthorne's Gothic Houses
eBook
Mardin in the Post-Tanzimat Era
This paper discusses how Tanzimat Reforms (1839-1876) transformed the architectural landscape of Mardin at the end of the 19th century. Ottoman presence and authority in the urban landscape was symbolised by modern secular bureaucratic buildings such as the government palace, the government house, the town hall, the revenue office, the post office, prisons, banks, schools, hospitals and military barracks in this era. Tanzimat Reforms also had bearings on the vernacular architecture in Mardin. The granting of a modern system of equal citizenship in this era paved the way for the city’s Christian communities to establish several new churches and renovate existing ones. Ottoman elites sent from the centre, or new bureaucrats appointed from local Muslim, Christian and Jewish communities, influential noble families, tradesmen and artisans have commissioned elaborate domestic buildings. While indigenous architectural types and decorative styles are observed mostly in the elite houses and religious architecture, official and municipal buildings, commissioned by the patronage of centrally appointed bureaucrats, display predominantly neoclassical arrangement, which is the favoured style of the government buildings of the Tanzimat and post-Tanzimat eras of Ottoman Empire.
Journal Article
Snapshots of the Eternal City: Ralph Ellison in Rome
The photographs expose the deep historicity of the city and its interactions with the inhabitants’ everyday life. [...]I suggest we read these photographs as tools through which Ellison reflects on historical becoming, historiography, and the entanglement of history with fiction.5 The relation of photography to historiography, traceable in the etymology of the word photography (“writing with light”) is especially pertinent to Ellison’s work. The result, I argue, is the removal of the viewer from the historical and social planes contained in the photographs. [...]the snapshots transform the lived history of everyday life in Rome into “scenes” that allow Ellison to deal with the distance between him and the foreign environment, as well as his physical distance from the events of the tumultuous civil rights history of the mid-1950s. Not only the Lateran Treaty, signed by Mussolini, had done away with the separation between state and church, but also it was common in Italy to be both a Communist and a Catholic. [...]Esposito’s reading of Bruno’s unorthodoxy and Kadir’s interpretation of his memorialization help us read the visible linkage between the workers and the statue made by the photographs, a connection reaffirmed in the photographs by the slogan “Vote for the Communist Party” and “Long Leave the Communist Party,” written on the base of Bruno’s statue. Ellison’s use of voodoo to represent a collective loss of control and civility is seemingly problematic, yet the chapter concludes with an equally serious case of “loss of self control” that is produced by a pseudo-scientific device “designed to capture from the air an elusive element which is said to be the source of the life force” (Three Days Before, 98). Because such device is utilized to proselytize the masses thus creating a sort of religious sect, Ellison’s text puts on the same plane a folkloric, traditional cultural practice, such as voodoo, and modern science.
Journal Article