History of architecture

Source: Wikipedia, the free encyclopedia.
(Redirected from
Ancient architecture
)

"Architectural history" redirects here. For the journal, see Architectural History (journal). For the book, see A History of Architecture.
Not to be confused with History of construction.
The Architect's Dream, by Thomas Cole, 1840, oil on canvas
History of art
Periods and movements
Regions
Art of the Middle East

Art of Central Asia

Art of East Asia

Art of South Asia

Art of Southeast Asia

Art of Europe

Art of Africa

Art of the Americas

Art of Oceania
Religions
Techniques
Types

The history of architecture traces the changes in architecture through various traditions, regions, overarching stylistic trends, and dates. The beginnings of all these traditions is thought to be humans satisfying the very basic need of shelter and protection.[1] The term "architecture" generally refers to buildings, but in its essence is much broader, including fields we now consider specialized forms of practice, such as urbanism, civil engineering, naval, military,[2] and landscape architecture.

Trends in architecture were influenced, among other factors, by technological innovations, particularly in the 19th, 20th and 21st centuries. The improvement and/or use of steel, cast iron, tile, reinforced concrete, and glass helped for example Art Nouveau appear and made Beaux Arts more grandiose.[3]

Paleolithic

Humans and their ancestors have been creating various types of shelters for at least hundreds of thousands of years, and shelter-building may have been present early in hominin evolution. All

Orangutans currently make the most complex nests out of all non-human great apes, complete with roofs, blankets, pillows, and "bunks".[6]

It has been argued that nest-building practices were crucial to the evolution of human creativity and construction skill moreso than tool use, as hominins became required to build nests not just in uniquely adapted circumstances but as forms of signalling.[7] Retaining arboreal features like highly prehensile hands for the expert construction of nests and shelters would have also benefitted early hominins in unpredictable environments and changing climates.[5] Many hominins, especially the earliest ones such as Ardipithecus[8] and Australopithecus[9] retained such features and may have chosen to build nests in trees where available. The development of a "home base" 2 million years ago may have also fostered the evolution of constructing shelters or protected caches.[10] Regardless of the complexity of nest-building, early hominins may still have still slept in more or less 'open' conditions, unless the opportunity of a rock shelter was afforded.[7] These rock shelters could be used as-is with little more amendments than nests and hearths, or in the case of established bases —especially among later hominins— they could be personalized with rock art (in the case of Lascaux) or other types of aesthetic structures (in the case of the Bruniquel Cave among the Neanderthals)[11] In cases of sleeping in open ground, Dutch ethologist Adriaan Kortlandt once proposed that hominins could have built temporary enclosures of thorny bushes to deter predators, which he supported using tests that showed lions becoming averse to food if near thorny branches.[12]

In 2000, archaeologists at the

Neanderthals, despite their steady extinction at this time), and although we currently lack data for dwellings built before this time, the dwellings of this era begin to more commonly show signs of aesthetic modification, such as at Mezhirich where engraved mammoth tusks may have formed the "facade" of a dwelling.[17]

10,000-2000 BC

Main article:
List of oldest known surviving buildings
Reconstruction of a Mesolithic house in Ireland, Irish National Heritage Park

Architectural advances are an important part of the Neolithic period (10,000-2000 BC), during which some of the major innovations of human history occurred. The domestication of plants and animals, for example, led to both new economics and a new relationship between people and the world, an increase in community size and permanence, a massive development of material culture and new social and ritual solutions to enable people to live together in these communities. New styles of individual structures and their combination into settlements provided the buildings required for the new lifestyle and economy, and were also an essential element of change.[21]

Although many dwellings belonging to all prehistoric periods and also some clay models of dwellings have been uncovered enabling the creation of faithful reconstructions, they seldom included elements that may relate them to art. Some exceptions are provided by wall decorations and by finds that equally apply to Neolithic and Chalcolithic rites and art.

In South and Southwest Asia, Neolithic

Vinča).[22][23][24][25]

Neolithic

settlements and "cities"
include:

Antiquity

Mesopotamian

Main article: Architecture of Mesopotamia
See also: Ziggurat

mud-brick buildings and the construction of ziggurats, occupying a prominent place in each city and consisting of an artificial mound, often rising in huge steps, surmounted by a temple. The mound was no doubt to elevate the temple to a commanding position in what was otherwise a flat river valley. The great city of Uruk had a number of religious precincts, containing many temples larger and more ambitious than any buildings previously known.[32]

The word ziggurat is an anglicized form of the Akkadian word ziqqurratum, the name given to the solid stepped towers of mud brick. It derives from the verb zaqaru, ("to be high"). The buildings are described as being like mountains linking Earth and heaven. The Ziggurat of Ur, excavated by Leonard Woolley, is 64 by 46 meters at base and originally some 12 meters in height with three stories. It was built under Ur-Nammu (circa 2100 B.C.) and rebuilt under Nabonidus (555–539 B.C.), when it was increased in height to probably seven stories.[33]

Ancient Egyptian

Main articles: Ancient Egyptian architecture and Egyptian temple

Modern imaginings of ancient Egypt are heavily influenced by the surviving traces of monumental architecture. Many formal styles and motifs were established at the dawn of the pharaonic state, around 3100 BC. The most iconic Ancient Egyptian buildings are the pyramids, built during the Old and Middle Kingdoms (c.2600–1800 BC) as tombs for the pharaoh. However, there are also impressive temples, like the Karnak Temple Complex.

The Ancient Egyptians believed in the

Mayans
.

Due to the lack of resources and a shift in power towards priesthood, ancient Egyptians stepped away from pyramids, and

temples became the focal point of cult construction. Just like the pyramids, Ancient Egyptian temples were also spectacular and monumental. They evolved from small shrines made of perishable materials to large complexes, and by the New Kingdom (circa 1550–1070 BC) they have become massive stone structures consisting of halls and courtyards. The temple represented a sort of 'cosmos' in stone, a copy of the original mound of creation on which the god could rejuvenate himself and the world. The entrance consisted of a twin gateway (pylon
), symbolizing the hills of the horizon. Inside there were columned halls symbolizing a primeval papyrus thicket. It was followed by a series of hallways of decreasing size, until the sanctuary was reached, where a god's cult statue was placed. Back in ancient times, temples were painted in bright colours, mainly red, blue, yellow, green, orange, and white. Because of the desert climate of Egypt, some parts of these painted surfaces were preserved well, especially in interiors.

An architectural element specific to ancient Egyptian architecture is the cavetto cornice (a concave moulding), introduced by the end of the Old Kingdom. It was widely used to accentuate the top of almost every formal pharaonic building. Because of how often it was used, it will later decorate many Egyptian Revival buildings and objects.[41][38]

Harappan

Main article: Harappan architecture
  • The Great Bath, in the raised citadel area of the city, Mohenjo Daro, Sindh Province, Pakistan, unknown architect, c.2600-1900 BC[42]
    The Great Bath, in the raised citadel area of the city,
    Sindh Province, Pakistan, unknown architect, c.2600-1900 BC[42]
  • View of Mohenjo Daro, showing the walls and main streets of the city, unknown architect, c.2600-1900 BC[43]
    View of Mohenjo Daro, showing the walls and main streets of the city, unknown architect, c.2600-1900 BC[43]

The first Urban Civilization in the

Balochistan. The civilization's cities were noted for their urban planning with baked brick buildings, elaborate drainage and water systems, and handicraft (carnelian products, seal carving). This civilisation transitioned from the Neolithic period into the Chalcolithic period and beyond with their expertise in metallurgy (copper, bronze, lead, and tin).[44] Their urban centres possibly grew to contain between 30,000 and 60,000 individuals,[45] and the civilisation itself may have contained between one and five million individuals.[46]

Greek

Main article: Ancient Greek architecture

Since the advent of the

Greek mainland, on the Peloponnese, and on the Aegean islands. However, Ancient Greek architecture is best known for its temples, many of which are found throughout the region, and the Parthenon is a prime example of this. Later, they will serve as inspiration for Neoclassical architects during the late 18th and the 19th century. The most well-known temples are the Parthenon and the Erechtheion, both on the Acropolis of Athens
. Another type of important Ancient Greek buildings were the theatres. Both temples and theatres used a complex mix of optical illusions and balanced ratios.

Ancient Greek temples usually consist of a base with continuous stairs of a few steps at each edges (known as

reliefs
.

Besides the columns, the temples were highly decorated with sculptures, in the pediments, on the friezes, metopes and triglyphs. Ornaments used by Ancient Greek architects and artists include palmettes, vegetal or wave-like scrolls, lion mascarons (mostly on lateral cornices), dentils, acanthus leafs, bucrania, festoons, egg-and-dart, rais-de-cœur, beads, meanders, and acroteria at the corners of the pediments. Pretty often, ancient Greek ornaments are used continuously, as bands. They will later be used in Etruscan, Roman and in the post-medieval styles that tried to revive Greco-Roman art and architecture, like Renaissance, Baroque, Neoclassical etc.

Looking at the archaeological remains of ancient and medieval buildings it is easy to perceive them as limestone and concrete in a grey taupe tone and make the assumption that ancient buildings were monochromatic. However, architecture was polychromed in much of the Ancient and Medieval world. One of the most iconic Ancient buildings, the Parthenon (c. 447–432 BC) in Athens, had details painted with vibrant reds, blues and greens. Besides ancient temples, Medieval cathedrals were never completely white. Most had colored highlights on capitals and columns.[54] This practice of coloring buildings and artworks was abandoned during the early Renaissance. This is because Leonardo da Vinci and other Renaissance artists, including Michelangelo, promoted a color palette inspired by the ancient Greco-Roman ruins, which because of neglect and constant decay during the Middle Ages, became white despite being initially colorful. The pigments used in the ancient world were delicate and especially susceptible to weathering. Without necessary care, the colors exposed to rain, snow, dirt, and other factors, vanished over time, and this way Ancient buildings and artworks became white, like they are today and were during the Renaissance.[55]

Roman

Main article: Ancient Roman architecture

The architecture of

republican years
(509–27 BC), modified from Greek and Etruscan prototypes.

Wherever the Roman army conquered, they established towns and cities, spreading their empire and advancing their architectural and engineering achievements. While the most important works are to be found in Italy, Roman builders also found creative outlets in the western and eastern provinces, of which the best examples preserved are in modern-day North Africa, Turkey, Syria and Jordan. Extravagant projects appeared, like the Arch of Septimius Severus in Leptis Magna (present-day Libya, built in 216 AD), with broken pediments on all sides, or the Arch of Caracalla in Thebeste (present-day Algeria, built in c.214 AD), with paired columns on all sides, projecting entablatures and medallions with divine busts. Due to the fact that the empire was formed from multiple nations and cultures, some buildings were the product of combining the Roman style with the local tradition. An example is the Palmyra Arch (present-day Syria, built in c.212–220), some of its arches being embellished with a repeated band design consisting of four ovals within a circle around a rosette, which are of Eastern origin.

Among the many Roman architectural achievements were

guttae, while the Composite was a mixed order, combining the volutes of the Ionic order capital with the acanthus
leaves of the Corinthian order.

Between 30 and 15 BC, the architect and engineer Marcus Vitruvius Pollio published a major treatise, De architectura, which influenced architects around the world for centuries. As the only treatise on architecture to survive from antiquity, it has been regarded since the Renaissance as the first book on architectural theory, as well as a major source on the canon of classical architecture.[60]

Just like the Greeks, the Romans built amphiteatres too. The largest amphitheatre ever built, the Colosseum in Rome, could hold around 50,000 spectators. Another iconic Roman structure that demonstrates their precision and technological advancement is the Pont du Gard in southern France, the highest surviving Roman aqueduct.[61][57]

Americas (Pre-Columbian)

Main articles: Mesoamerican architecture, Aztec architecture, Maya architecture, and Inca architecture

From over 3,000 years before the Europeans 'discovered' America, complex societies had already been established across North, Central and South America. The most complex ones were in

Mayans, the Olmecs and the Aztecs, but also Incas in South America
. Structures and buildings were often aligned with astronomical features or with the cardinal directions.

Mesoamerica

Much of the Mesoamerican architecture developed through cultural exchange – for example the

tlachtli, on raised platforms. Just like in ancient Egypt, here were built pyramids too, being generally stepped. They were probably not used as burial chambers, but had important religious sites at the top.[64] They had few rooms, as interiors mattered less than the ritual presence of these imposing structures and the public ceremonies they hosted; so, platforms, altars, processional stairs, statuary, and carving were all important.[67]

Andes

Cuzco still containing many examples. The famous Machu Picchu royal estate is a surviving example, along with Sacsayhuamán and Ollantaytambo. The Incas also developed a road system along the western continent, placing their distinctive architecture along the way, visually asserting their imperial rule along the frontier. Other groups such as the Muisca
did not construct grand architecture of stone based materials, but rather made of materials like wood and clay.

South Asia

After the fall of the

Indus Valley, South Asian architecture entered the Dharmic period which saw the development of Ancient Indian architectural styles which further developed into various unique forms in the Middle Ages, along with the combination of Islamic styles
, and later, other global traditions.

Ancient Buddhist

Main article: Buddhist architecture

Buddhist architecture developed in the Indian subcontinent during the 4th and 2nd century BC, and spread first to China and then further across Asia. Three types of structures are associated with the

Buddha. The dome symbolised the infinite space of the sky.[68]

Buddhism had a significant influence on Sri Lankan architecture after its introduction,[69] and ancient Sri Lankan architecture was mainly religious, with over 25 styles of Buddhist monasteries.[70] Monasteries were designed using the Manjusri Vasthu Vidya Sastra, which outlines the layout of the structure.

After the fall of the Gupta empire, Buddhism mainly survived in Bengal under the Palas,[71] and has had a significant impact on pre-Islamic Bengali architecture of that period.[72]

Ancient Hindu

Main article: Hindu temple architecture

Across the Indian subcontinent, Hindu architecture evolved from simple rock-cut cave shrines to monumental temples. From the 4th to 5th centuries AD, Hindu temples were adapted to the worship of different deities and regional beliefs, and by the 6th or 7th centuries larger examples had evolved into towering brick or stone-built structures that symbolise the sacred five-peaked Mount Meru. Influenced by early Buddhist stupas, the architecture was not designed for collective worship, but had areas for worshippers to leave offerings and perform rituals.[73]

Many Indian architectural styles for structures such as temples, statues, homes, markets, gardens and planning are as described in Hindu texts.[74][75] The architectural guidelines survive in Sanskrit manuscripts and in some cases also in other regional languages. These include the Vastu shastras, Shilpa Shastras, the Brihat Samhita, architectural portions of the Puranas and the Agamas, and regional texts such as the Manasara among others.[76][77]

Since this architectural style emerged in the classical period, it has had a considerable influence on various medieval architectural styles like that of the Gurjaras, Dravidians, Deccan, Odias, Bengalis, and the Assamese.

Maru Gurjara

Main articles: Māru-Gurjara architecture, Architecture of Gujarat, and Architecture of Rajasthan

This style of North Indian architecture has been observed in Hindu as well as Jain places of worship and congregation. It emerged in the 11th to 13th centuries under the Chaulukya (Solanki) period.[79] It eventually became more popular among the Jain communities who spread it in the greater region and across the world.[80] These structures have the unique features like a large number of projections on external walls with sharply carved statues, and several urushringa spirelets on the main shikhara.

Himalayan

Main articles: Architecture of Nepal and Architecture of Tibet

The Himalayas are inhabited by various people groups including the

Kashmiris, and many more groups. Being from different religious and ethnic backgrounds, the architecture has also had multiple influences. Considering the logistical difficulties and slower pace of life in the Himalayas, artisans have that the time to make intricate wood carvings and paintings accompanied by ornamental metal work and stone sculptures that are reflected in religious as well as civic and military buildings. These styles exist in different forms from Tibet and Kashmir to Assam and Nagaland.[81] A common feature is observed in the slanted layered roofs on temples, mosques, and civic buildings.[82]

Dravidian

Main article: Dravidian architecture
See also: Architecture of Tamil Nadu, Architecture of Kerala, Architecture of Karnataka, Pallava art and architecture, Pandyan art and architecture, Chola art and architecture, Kadamba architecture, Badami Chalukya architecture, Hoysala architecture, Vijayanagara architecture, and Western Chalukya architecture

This is an architectural style that emerged in the southern part of the Indian subcontinent and in Sri Lanka. These include Hindu temples with a unique style that involves a shorter pyramidal tower over the garbhagriha or sanctuary called a vimana, where the north has taller towers, usually bending inwards as they rise, called shikharas. These also include secular buildings that may or may not have slanted roofs based on the geographical region. In the Tamil country, this style is influenced by the Sangam period as well as the styles of the great dynasties that ruled it. This style varies in the region to its west in Kerala that is influenced by geographic factors like western trade and the monsoons which result in sloped roofs.[85] Further north, the Karnata Dravida style varies based on the diversity of influences, often relaying much about the artistic trends of the rulers of twelve different dynasties.[86]

Kalinga

Main article: Kalinga architecture

The ancient Kalinga region corresponds to the present-day eastern Indian areas of

Somavamsi dynasty of Odisha. Lavishly sculpted with hundreds of figures, Kalinga temples usually feature repeating forms such as horseshoes. Within the protective walls of the temple complex are three main buildings with distinctive curved towers called deul or deula and prayer halls called jagmohan.[88]

East and Southeast Asia

Chinese and Confucian culture has had a significant influence on the art and architecture in the Sinosphere (mainly Vietnam, Korea, Japan).[89]

China and Vietnam

Main articles: Chinese architecture and Vietnamese architecture

What is recognised today as Chinese culture has its roots in the

Yangshao, Longshan, and Liangzhu in central China. Sections of present-day north-east China also contain sites of the Neolithic Hongshan culture that manifested aspects of proto-Chinese culture. Native Chinese belief systems included naturalistic, animistic
and hero worship. In general, open-air platforms (tan, or altar) were used for worshipping naturalistic deities, such as the gods of wind and earth, whereas formal buildings (miao, or temple) were for heroes and deceased ancestors.

Most early buildings in China were timber structures. Columns with sets of brackets on the face of the buildings, mostly in even numbers, made the central intercolumnal space the largest interior opening. Heavily tiled roofs sat squarely on the timber building with walls constructed in brick or pounded earth.

The transmission of Buddhism into China around the 1st century AD led to a new era of religious practices, and so to new building types. Places of worship in form of cave temples appeared in China, based on Indian rock-cut ones. Another new building type introduced by Buddhism was the Chinese form of stupa (ta) or pagoda. In India, stupas were erected to commemorate well-known people or teachers: consequently, the Buddhist tradition adapted the structure to remember the great teacher, the Buddha. In The Chinese pagoda shared a similar symbolism with the Indian stupa and was built with sponsorship mainly from imperial patrons who hoped to gain earthly merits for the next life. Buddhism reached its peak from the 6th to the 8th centuries when there was an unprecedented number of monasteries thought China. More than 4,600 official and 40,000 unofficial monasteries were built. They varies in size by the number of cloisters they contained, ranging from 6 to 120. Each cloister consisted of a main stand-alone building – a hall, pagoda of pavilion – and was surrounded by a covered corridor in a rectangular compounded served by a gate building.[90]

Japan and Korea

Main articles: Japanese architecture and Korean architecture

Korean architecture, especially post Choson period showcases Ming-Qing influences.[91]

Traditionally, Japanese architecture was made of wood and

Horyu-ji in Ikaruga.[92] In contrast with Western architecture, Japanese structures rarely use stone, except for specific elements such as foundations. Walls are light, thin, never load-bearing and often movable.[60]

Khmer

Main article: Khmer architecture

From the start of the 9th century to the early 15th century, Khmer kings rules over a vad Hindu-Buddhist empire in Southeast Asia. Angkor, in present-day Cambodia, was its capital city, and most of its surviving buildings are east-facing stone temples, many of them constructed in pyramidal, tiered form consisting of five square structures with towers, or prasats, that represent the sacred five-peaked Mount Meru of Hindu, Jain and Buddhist doctrine. As the residences of gods, temples were made of durable materials such as sandstone, brick or laterite, a clay-like substance that dries hard.[94]

Cham architecture in Vietnam also follows a similar style.[93]

Sub-Saharan Africa

Main article: Architecture of Africa

Traditional Sub-Saharan African architecture is diverse, varying significantly across regions. Included among traditional house types, are huts, sometimes consisting of one or two rooms, as well as various larger and more complex structures.

West African and Bantu styles

  • King's palace in Nyanza, Rwanda, unknown architect, unknown date
    King's palace in Nyanza, Rwanda, unknown architect, unknown date
  • Illustration from 1854 of Lunda street and houses
    Illustration from 1854 of Lunda street and houses
  • Yoruba architecture depicted in a book by Anna Hinderer in the mid 19th century[95]
    Yoruba architecture depicted in a book by Anna Hinderer in the mid 19th century[95]
  • Traditional Bamileke architecture, main hall of the Bandjoun palace in Cameroon, with decoratively carved wooden columns and doorway, unknown architect, unknown date
    Traditional Bamileke architecture, main hall of the Bandjoun palace in Cameroon, with decoratively carved wooden columns and doorway, unknown architect, unknown date

In much of West Africa, rectangular houses with peaked roofs and courtyards, sometimes consisting of several rooms and courtyards, are also traditionally found (sometimes decorated, with adobe reliefs as among the

Western Sudan and Sahel regions of west Africa, where they are sometimes arranged into compounds.[99] A distinct style of traditional wooden architecture exists among the Grassland peoples of Cameroon, such as the Bamileke
.

In several West African societies, including the kingdom of Benin (and of other

Walls of Benin (of the Nigerian Kingdom of Benin).[103][104] In medieval southern Africa, a tradition existed of fortified stone settlements such as Great Zimbabwe and Khami
.

The famed

earthworks and walls whose construction is thought to have begun by the early Middle Ages.[103][104][105][106]

  • Beehive-shaped houses of the Musgum ethnic group in Pouss [fr], Cameroon, unknown architect, unknown date
    Beehive-shaped houses of the Musgum ethnic group in Pouss [fr], Cameroon, unknown architect, unknown date
  • A traditional house of the Tammari people in the Atakora Department of the northern Republic of Benin (not to be confused with the Nigerian Kingdom of Benin), unknown architect, unknown date
    A traditional house of the Tammari people in the Atakora Department of the northern Republic of Benin (not to be confused with the Nigerian Kingdom of Benin), unknown architect, unknown date
  • Palace of Ashanti Kwaku Dua of Kumasi, Ghana, unknown architect, 1896
    Palace of Ashanti Kwaku Dua of Kumasi, Ghana, unknown architect, 1896
  • A Dogon village in Mali, with walls made in the wattle and daub method, unknown architect, unknown date
    A Dogon village in Mali, with walls made in the wattle and daub method, unknown architect, unknown date
  • The conical tower inside the Great Enclosure in Great Zimbabwe, a medieval city built by a prosperous culture, unknown architect, c.11th–14th century
    The conical tower inside the Great Enclosure in Great Zimbabwe, a medieval city built by a prosperous culture, unknown architect, c.11th–14th century

Sahelian

Main article: Sudano-Sahelian architecture

In the Western

al-bakri, with one centered on Friday prayer.[107] The king is said to have owned several mansions, one of which was sixty-six feet long, forty-two feet wide, contained seven rooms, was two stories high, and had a staircase; with the walls and chambers filled with sculpture and painting.[108]

Jenne-Jeno, Dia, Mali, and Dhar Tichitt,[109] some of which employed a traditional sahelian style of cylindrical mud brick.[100]

Ethiopian

Main article:
Ethiopian architecture

Jesuit
missionaries in the 16th and 17th centuries.

Oceania

Main article:
Oceanic art and architecture

Most Oceanic buildings consist of huts, made of wood and other vegetal materials. Art and architecture have often been closely connected—for example, storehouses and meetinghouses are often decorated with elaborate carvings—and so they are presented together in this discussion. The architecture of the Pacific Islands was varied and sometimes large in scale. Buildings reflected the structure and preoccupations of the societies that constructed them, with considerable symbolic detail. Technically, most buildings in Oceania were no more than simple assemblages of poles held together with cane lashings; only in the Caroline Islands were complex methods of joining and pegging known. Fakhua shen, Taboa shen and Kuhua shen (the shen triplets) designed the first oceanian architecture.

An important Oceanic archaeological site is

Saudeleur Dynasty, which united Pohnpei's estimated 25,000 people until about 1628.[111] Set apart between the main island of Pohnpei and Temwen Island, it was a scene of human activity as early as the first or second century AD. By the 8th or 9th century, islet construction had started, with construction of the distinctive megalithic architecture beginning 1180–1200 AD.[112]

Islamic

Main article: Islamic architecture

Due to the extent of the

Sino-Islamic and Sahelian
architecture.

Some distinctive structures in Islamic architecture are mosques, madrasas, tombs, palaces, baths, and forts. Notable types of Islamic religious architecture include hypostyle mosques, domed mosques and mausoleums, structures with vaulted iwans, and madrasas built around central courtyards. In secular architecture, major examples of preserved historic palaces include the Alhambra and the Topkapi Palace. Islam does not encourage the worship of idols; therefore the architecture tends to be decorated with Arabic calligraphy (including Qur'anic verses or other poetry) and with more abstract motifs such as geometric patterns, muqarnas, and arabesques, as opposed to illustrations of scenes and stories.[120][121][122][123]

European

Medieval

Main article: Medieval architecture
See also:
Norse architecture and Architecture of the Tarnovo Artistic School

Surviving examples of medieval secular architecture mainly served for defense across various parts of Europe.

fortified walls
provide the most notable remaining non-religious examples of medieval architecture. New types of civic, military, as well as religious buildings of new styles begin to pop up in this region during this period.

Byzantine

Byzantine architects built city walls, palaces, hippodromes, bridges,

Brâncovenesc style
is highly based on Byzantine architecture, but also has individual Romanian characteristics.

Just as the

Greek and Roman temples, the exterior was the most important part of the temple, where sacrifices were made; the interior, where the cult statue of the deity to whom the temple was built was kept, often had limited access by the general public. But Christian liturgies are held in the interior of the churches, Byzantine exteriors usually have little if any ornamentation.[130]

Byzantine architecture often featured marble columns, coffered ceilings and sumptuous decoration, including the extensive use of mosaics with golden backgrounds.[131] The building material used by Byzantine architects was no longer marble, which was very appreciated by the Ancient Greeks. They used mostly stone and brick, and also thin alabaster sheets for windows.[132] Mosaics were used to cover brick walls, and any other surface where fresco would not resist. Good examples of mosaics from the proto-Byzantine era are in Hagios Demetrios in Thessaloniki (Greece), the Basilica of Sant'Apollinare Nuovo and the Basilica of San Vitale, both in Ravenna (Italy), and Hagia Sophia in Istanbul.

Armenia

Main article: Armenian architecture

From the very beginning of the formation of feudal relations, the architecture and urban planning of Armenia entered a new stage. The ancient Armenian cities experienced economic decline; only Artashat and Tigranakert retained their importance. The importance of the cities of Dvin and Karin (Erzurum) increased. The construction of the city of Arshakavan by the king of Great Armenia Arshak II was not completely completed. Christianity brought to life a new architecture of religious buildings, which was initially nourished by the traditions of the old, ancient architecture.

Churches of the 4th-5th centuries are mainly basilicas (Kasakh, 4th-5th centuries, Ashtarak, 5th century, Akhts, 4th century, Yeghvard, 5th century). Some basilicas of Armenian architecture belong to the so-called “Western type” of basilica churches. Of these, the most famous are the churches of Tekor (5th century), Yererouk (IV-V centuries), Dvin (470), Tsitsernavank (IV-5 centuries). The three-nave Yereruyk basilica stands on a 6-step stylobate, presumably built on the site of an earlier pre-Christian temple. The basilicas of Karnut (5th century), Yeghvard (5th century), Garni (IV century), Zovuni (5th century), Tsaghkavank (VI century), Dvina (553–557), Tallinn (5th century) have also been preserved c.), Tanaat (491), Jarjaris (IV-V centuries), Lernakert (IV-V centuries), etc.[136]

Romanesque

Main article: Romanesque architecture

The term 'Romanesque' is rooted in the 19th century, when it was coined to describe medieval churches built from the 10th to 12th century, before the rise of steeply pointed arches, flying buttresses and other Gothic elements. This style of architecture emerged nearly simultaneously in multiple countries (France, Germany, Italy, Spain).[142] For 19th-century critics, the Romanesque reflected the architecture of stonemasons who evidently admired the heavy barrel vaults and intricate carved capitals of the ancient Romans, but whose own architecture was considered derivative and degenerate, lacking the sophistication of their classical models.

Scholars in the 21st century are less inclined to understand the architecture of this period as a 'failure' to reproduce the achievements of the past, and are far more likely to recognise its profusion of experimental forms, as a series of creative new inventions. At the time, however, research has questioned the value of Romanesque as a stylistic term. On the surface, it provides a convenient designation for buildings that share a common vocabulary of rounded arches and thick stone masonry, and appear in between the Carolingian revival of classical antiquity in the 9th century and the swift evolution of Gothic architecture after the second half of the 12th century. One problem, however, is that the term encompasses a broad array of regional variations, some with closer links to Rome than others. It should also be noted that the distinction between Romanesque architecture and its immediate predecessors and followers is not at all clear. There is little evidence that medieval viewers were concerned with the stylistic distinctions that we observe today, making the slow evolution of medieval architecture difficult to separate into neat chronological categories. Nevertheless, Romanesque remains a useful word despite its limitations, because it reflects a period of intensive building activity that maintained some continuity with the classical past, but freely reinterpreted ancient forms in a new distinctive manner.[21]

Romanesque cathedrals can be easily differentiated from Gothic and Byzantine ones, since they are characterized by the wide use of thick piers and columns, round arches and severity. Here, the possibilities of the round-arch arcade in both a structural and a spatial sense were once again exploited to the full. Unlike the sharp pointed arch of the later Gothic, the Romanesque round arch required the support of massive piers and columns. In comparison to Byzantine churches, Romanesque ones tend to lack complex ornamentation both on the exterior and interior. An example of this is the

St. Mark's Basilica in Venice, but lacking mosaics, leaving its interior very austere and minimalistic.[143]

Gothic

Main article: Gothic architecture

Gothic architecture began with a series of experiments, which were conducted to fulfil specific requests by patrons and to accommodate the ever-growing number of

pointed arch, the ribbed vault, the rose window or the flying buttress
, as many of these elements were used in one way or another in preceding architectural traditions. It was rather the combination and constant refinement of these elements, along with the quick response to the rapidly changing building techniques of the time, that fuelled the Gothic movement in architecture.

Consequently, it is difficult to point to one element or the exact place where Gothic first emerged; however, it is traditional to initiate a discussion of Gothic architecture with the

Abbot Suger, who began to rebuild the west front and the choir of the church. As he wrote in his De Administratione, the old building could no longer accommodate the large volumes of pilgrims who were coming to venerate the relics of St Denis, and the solution for this twofold: a west façade with three large portals and the innovative new choir, which combined an ambulatory with radiating chapels that were unique as they were not separated by walls. Instead a row of slim columns was inserted between the chapels and the choir arcade to support the rib vaults. The result enabled visitors to circulate around the altar and come within reach of the relics without actually disrupting the altar space, while also experiencing the large stained-glass windows within the chapels. As confirmed by Suger, the desire for more stained-glass was not necessarily to bring more daylight into the building but rather to fill the space with a continuous ray of colorful light, rather like mosaics or precious stones, which would make the wall vanish. The demand for ever more stained-glass windows and the search for techniques that would support them are constant throughout the development of Gothic architecture, as is evident in the writings of Suger, who was fascinated by the mystical quality of such lighting.[21]

Brick Gothic was a specific style of Gothic architecture common in Northeast and Central Europe especially in the regions in and around the Baltic Sea, which do not have resources of standing rock. The buildings are essentially built using bricks.

Renaissance

Main article: Renaissance architecture
See also: Henry II style and Henry IV style

During the

political dynasty
, is famous for its financial support of Renaissance art and architecture.

The period began in around 1452, when the architect and humanist

Francesco di Giorgio (1439–1502) and Giuliano da Sangallo (circa 1445–1516), were making numerous studies of ancient monuments, undertaken in ways that demonstrated that the process of transforming the model into a new design had already begun. In many cases, drawing ruins in their fragmentary state necessitated a leap of imagination, as Francesco himself readily admitted in his annotation to his reconstruction of the Campidoglio, noting 'largely imagined by me, since very little can be understood from the ruins.[156]

Soon, grand buildings were constructed in Florence using the new style, like the Pazzi Chapel (1441–1478) or the Palazzo Pitti (1458–1464). The Renaissance begun in Italy, but slowly spread to other parts of Europe, with varying interpretations.[149]

Since Renaissance art is an attempt of reviving Ancient Rome's culture, it uses pretty much the same ornaments as the Ancient Greek and Roman. However, because most if not all resources that Renaissance artists had were

scrollwork
.

Worldwide

Baroque

Main article: Baroque architecture
See also: Louis XIV style and Baroque garden

The Baroque emerged from the

Counter Reformation as an attempt by the Catholic Church in Rome to convey its power and to emphasize the magnificence of God. The Baroque and its late variant the Rococo were the first truly global styles in the arts. Dominating more than two centuries of art and architecture in Europe, Latin America and beyond from circa 1580 to circa 1800. Born in the painting studios of Bologna and Rome in the 1580s and 1590s, and in Roman sculptural and architectural ateliers in the second and third decades of the 17th century, the Baroque spread swiftly throughout Italy, Spain and Portugal, Flanders, France, the Netherlands, England, Scandinavia, and Russia, as well as to central and eastern European centres from Munich (Germany) to Vilnius (Lithuania). The Portuguese, Spanish and French empires and the Dutch treading network had a leading role in spreading the two styles into the Americas and colonial Africa and Asia, to places such as Lima, Mozambique, Goa and the Philippines.[166] Due to its spread in regions with different architectural traditions, multiple kinds of Baroque appeared based on location, different in some aspects, but similar overall. For example, French Baroque appeared severe and detached by comparison, preempting Neoclassicism and the architecture of the Age of Enlightenment.[157] Hybrid Native American/European Baroque architecture first appeared in South America (as opposed to Mexico) in the late 17th century, after the indigenous symbols and styles that characterize this unusual variant of Baroque had been kept alive over the preceding century in other media, a very good example of this being the Jesuit Church in Arequipa (Peru).[167]

The first Baroque buildings were cathedrals, churches and monasteries, soon joined by civic buildings, mansions, and palaces. Being characterized by dynamism, for the first time walls, façades and interiors curved,

quadratura, or trompe-l'œil painting combined with sculpture: the eye is drawn upward, giving the illusion that one is looking into the heavens. Clusters of sculpted angels and painted figures crowd the ceiling. Light was also used for dramatic effect; it streamed down from cupolas and was reflected from an abundance of gilding. Solomonic columns were often used, to give an illusion of upwards motion and other decorative elements occupied every available space. In Baroque palaces, grand stairways became a central element.[169] Besides architecture, Baroque painting and sculpture are characterized by dynamism too. This is in contrast with how static and peaceful Renaissance art
is.

Besides the building itself, the space where it was placed had a role too. Both Baroque and Rococo buildings try to seize viewers' attention and to dominate their surroundings, whether on a small scale such as the

Gianlorenzo Bernini's St. Peter's Square in Rome.[170] Similar with ideal urban planning, Baroque gardens
are characterized by straight and readapting avenues, with geometric spaces.

Rococo

Main articles: Rococo and Rocaille
See also:
Style Louis XV

The name Rococo derives from the French word rocaille, which describes shell-covered rock-work, and coquille, meaning seashell. Rococo architecture is fancy and fluid, accentuating asymmetry, with an abundant use of curves, scrolls, gilding and ornaments. The style enjoyed great popularity with the ruling elite of Europe during the first half of the 18th century. It developed in France out of a new fashion in interior decoration, and spread across Europe.[175] Domestic Rococo abandoned Baroque's high moral tone, its weighty allegories and its obsession with legitimacy: in fact, its abstract forms and carefree, pastoral subjects related more to notions of refuge and joy that created a more forgiving atmosphere for polite conversations. Rococo rooms are typically smaller than their Baroque counterparts, reflecting a movement towards domestic intimacy. Even the grander salons used for entertaining were more modest in scale, as social events involved smaller numbers of guests.

Characteristic of the style were Rocaille motifs derived from the shells, icicles and rock-work or grotto decoration. Rocaille arabesques were mostly abstract forms, laid out symmetrically over and around architectural frames. A favourite motif was the scallop shell, whose top scrolls echoed the basic S and C framework scrolls of the arabesques and whose sinuous ridges echoed the general curvilinearity of the room decoration. While few Rococo exteriors were built in France, a number of Rococo churches are found in southern Germany.[176] Other widely-user motifs in decorative arts and interior architecture include: acanthus and other leaves, birds, bouquets of flowers, fruits, elements associated with love (putti, quivers with arrows ans arrowed hearts) trophies of arms, putti, medallions with faces, many many flowers, and Far Eastern elements (pagodes, dragons, monkeys, bizarre flowers, bamboo, and Chinese people).[177] Pastel colours were widely used, like light blue, mint green or pink. Rococo designers also loved mirrors (the more the better), an example being the Hall of Mirrors of the Amalienburg (Munich, Germany), by Johann Baptist Zimmermann. Generally, mirrors are also featured above fireplaces.

Exoticism

Main article: Exoticism

The interactions between East and West brought on by colonialist exploration have had an impact on aesthetics. Because of being something rare and new to Westerners, some non-European styles were really appreciated during the 17th, 18th and 19th centuries. Some nobles and kings built little structures inspired by these styles in the gardens of their palaces, or fully decorated a handful of rooms of palaces like this. Because of not fully understanding the origins and principles that govern these exotic aesthetics, Europeans sometimes created hybrids of the style which they tried to replicate and which were the trends at that time. A good example of this is chinoiserie, a Western decorative style, popular during the 18th century, that was heavily inspired by Chinese arts, but also by Rococo at the same time. Because traveling to China or other Far Eastern countries was something hard at that time and so remained mysterious to most Westerners, European imagination were fuelled by perceptions of Asia as a place of wealth and luxury, and consequently patrons from emperors to merchants vied with each other in adorning their living quarters with Asian goods and decorating them in Asian styles. Where Asian objects were hard to obtain, European craftsmen and painters stepped up to fill the demand, creating a blend of Rococo forms and Asian figures, motifs and techniques.

Chinese art was not the only foreign style with which Europeans experimented. Another was the

Nepoleon, such as the Egyptian portico of the Hôtel Beauharnais or the Fontaine du Fellah. During the 1920s and 1930s, Pre-Columbian Mesoamerican architecture was of great interest for some American architects, particularly what the Mayans built. Several of Frank Lloyd Wright's California houses were erected in a Mayan Revival style, while other architects combined Mayan motifs with Art Deco ones.[186]

Neoclassicism

Main article: Neoclassical architecture
See also: Palladian architecture, Louis XVI style, Adam style, and Empire style

Neoclassical architecture focused on Ancient Greek and Roman details, plain, white walls and grandeur of scale. Compared to the previous styles, Baroque and Rococo, Neoclassical exteriors tended to be more minimalist, featuring straight and angular lines, but being still ornamented. The style's clean lines and sense of balance and proportion worked well for grand buildings (such as the Panthéon in Paris) and for smaller structures alike (such as the Petit Trianon).

Excavations during the 18th century at Pompeii and Herculaneum, which had both been buried under volcanic ash during the 79 AD eruption of Mount Vesuvius, inspired a return to order and rationality, largely thanks to the writings of Johann Joachim Winckelmann.[197][198] In the mid-18th century, antiquity was upheld as a standard for architecture as never before. Neoclassicism was a fundamental investigation of the very bases of architectural form and meaning. In the 1750s, an alliance between archaeological exploration and architectural theory started, which will continue in the 19th century. Marc-Antoine Laugier wrote in 1753 that 'Architecture owes all that is perfect to the Greeks'.[199]

The Cenotaph of Newton, c. 1784 (never built), by Étienne-Louis Boullée[193]

The style was adopted by progressive circles in other countries such as Sweden and Russia.

Regency style in Britain and to the French Empire style. In Central and Eastern Europe, the style is usually referred to as Classicism (German: Klassizismus, Russian: Классицизм), while the newer Revival styles
of the 19th century until today are called neoclassical.

Étienne-Louis Boullée (1728–1799) was a visionary architect of the period. His utopian projects, never built, included a monument to Isaac Newton (1784) in the form of an immense dome, with an oculus allowing the light to enter, giving the impression of a sky full of stars. His project for an enlargement of the Royal Library (1785) was even more dramatic, with a gigantic arch sheltering the collection of books. While none of his projects were ever built, the images were widely published and inspired architects of the period to look outside the traditional forms.[200]

Similarly with the Renaissance and Baroque periods, during the Neoclassical one urban theories of how a good city should be appeared too. Enlightenment writers of the 18th century decried the problems of Paris at that time, the biggest one being the big number of narrow medieval streets crowded with modest houses. Voltaire openly criticized the failure of the French Royal administration to initiate public works, improve the quality of life in towns, and stimulate the economy. 'It is time for those who rule the most opulent capital in Europe to make it the most comfortable and the most magnificent of cities. There must be public markets, fountains which actually provide water and regular pavements. The narrow and infected streets must be widened, monuments that cannot be seen must be revealed and new ones built for all to see', Voltaire insisted in a polemical essay on 'The Embellishments of Paris' in 1749. In the same year, Étienne La Font de Saint-Yenne, criticized how Louis XIV's great east façade of the Louvre, was all but hidden from views by a dense quarter of modest houses. Voltaire also said that in order to transform Paris into a city that could rival ancient Rome, it was necessary to demolish more than it was to built. 'Our towns are still what they were, a mass of houses crowded together haphazardly without system, planning or design', Marc-Antoine Laugier complained in 1753. Writing a decade later, Pierre Patte promoted an urban reform in quest of health, social order, and security, launching at the same time a medical and organic metaphor which compared the operations of urban design to those of the surgeons. With bad air and lack of fresh water its current state was pathological, Patte asserted, calling for fountains to be placed at principal intersections and markets. Squares are recommended promote the circulation of air, and for the same reason houses on the city's bridges should be demolished. He also criticized the location of hospitals next to markets and protested continued burials in overcrowded city churchyards.[201] Besides cities, new ideas of how a garden should be appeared in 18th century England, making place for the English landscape garden (aka jardin à l'anglaise), characterized by an idealized view of nature, and the use of Greco-Roman or Gothic ruins, bridges, and other picturesque architecture, designed to recreate an idyllic pastoral landscape. It was the opposite of the symmetrical and geometrically planned Baroque garden (aka jardin à la française).

Revivalism and Eclecticism

Main article: Revivalism (architecture)
See also:
Napoleon III style § Architecture

The 19th century was dominated by a wide variety of stylistic revivals, variations, and interpretations. Revivalism in architecture is the use of visual styles that consciously echo the style of a previous architectural era. Modern-day Revival styles can be summarized within New Classical architecture, and sometimes under the umbrella term traditional architecture.

The idea that architecture might represent the glory of kingdoms can be traced to the dawn of civilisation, but the notion that architecture can bear the stamp of national character is a modern idea, that appeared in the 18th century historical thinking and given political currency in the wake of the French Revolution. As the map of Europe was repeatedly changing, architecture was used to grant the aura of a glorious past to even the most recent nations. In addition to the credo of universal Classicism, two new, and often contradictory, attitudes on historical styles existed in the early 19th century. Pluralism promoted the simultaneous use of the expanded range of style, while Revivalism held that a single historical model was appropriate for modern architecture. Associations between styles and building types appeared, for example: Egyptian for prisons, Gothic for churches, or Renaissance Revival for banks and exchanges. These choices were the result of other associations: the pharaohs with death and eternity, the Middle Ages with Christianity, or the Medici family with the rise of banking and modern commerce.

View of Devonpart, near Plymouth (UK), by John Foulston, 1820s, including an 'Egyptian' library, a 'Hindoo' nonconformist chapel, a 'primitive Doric' town hall, and a street of houses with a Roman Corinthian order

Whether their choice was Classical, medieval, or Renaissance, all revivalists shared the strategy of advocating a particular style based on national history, one of the great enterprises of historians in the early 19th century. Only one historic period was claimed to be the only one capable of providing models grounded in national traditions, institutions, or values. Issues of style became matters of state.[204]

The most well-known Revivalist style is the Gothic Revival one, that appeared in the mid-18th century in the houses of a number of wealthy antiquarians in England, a notable example being the Strawberry Hill House. German Romantic writers and architects were the first to promote Gothic as a powerful expression of national character, and in turn use it as a symbol of national identity in territories still divided. Johann Gottfried Herder posed the question 'Why should we always imitate foreigners, as if we were Greeks or Romans?'.[205]

In art and architecture history, the term

Western Asia
, during the 19th century. In that time, artists and scholars were described as Orientalists, especially in France.

In India, during the British Raj, a new style, Indo-Saracenic, (also known as Indo-Gothic, Mughal-Gothic, Neo-Mughal, or Hindoo style) was getting developed, which incorporated varying degrees of Indian elements into the Western European style. The Churches and convents of Goa are another example of the blending of traditional Indian styles with western European architectural styles. Most Indo-Saracenic public buildings were constructed between 1858 and 1947, with the peaking at 1880.[206] The style has been described as "part of a 19th-century movement to project themselves as the natural successors of the Mughals".[207] They were often built for modern functions such as transport stations, government offices, and law courts. It is much more evident in British power centres in the subcontinent like Mumbai, Chennai, and Kolkata.[208]

Beaux-Arts

Main article: Beaux-Arts architecture

The Beaux-Arts style takes its name from the École des Beaux-Arts in Paris, where it developed and where many of the main exponents of the style studied. Due to the fact that international students studied here, there are buildings from the second half of the 19th century and the early 20th century of this type all over the world, designed by architects like Charles Girault, Thomas Hastings, Ion D. Berindey or Petre Antonescu. Today, from Bucharest to Buenos Aires and from San Francisco to Brussels, the Beaux-Arts style survives in opera houses, civic structures, university campuses commemorative monuments, luxury hotels and townhouses. The style was heavily influenced by the Paris Opéra House (1860–1875), designed by Charles Garnier, the masterpiece of the 19th century renovation of Paris, dominating its entire neighbourhood and continuing to astonish visitors with its majestic staircase and reception halls. The Opéra was an aesthetic and societal turning point in French architecture. Here, Garnier showed what he called a style actuel, which was influenced by the spirit of the time, aka Zeitgeist, and reflected the designer's personal taste.

Beaux-Arts façades were usually imbricated, or layered with overlapping classical elements or sculpture. Often façades consisted of a high rusticated basement level, after it a few floors high level, usually decorated with pilasters or columns, and at the top an attic level and/or the roof. Beaux-Arts architects were often commissioned to design monumental civic buildings symbolic of the self-confidence of the town or city. The style aimed for a

Versailles. However, it was not just a revival of the Baroque, being more of a synthesis of Classicist styles, like Renaissance, Baroque, Rococo, Neoclassicism etc.[216][217][218]

Industry and new technologies

Because of the Industrial Revolution and the new technologies it brought, new types of buildings have appeared. By 1850 iron was quite present in dailylife at every scale, from mass-produced decorative architectural details and objects of apartment buildings and commercial buildings to train sheds. A well-known 19th century glass and iron building is the Crystal Palace from Hyde Park (London), built in 1851 to house the Great Exhibition, having an appearance similar with a greenhouse. Its scale was daunting.

The marketplace pioneered novel uses of iron and glass to create an architecture of display and consumption that made the temporary display of the world fairs a permanent feature of modern urban life. Just after a year after the Crystal Palace was dismantaled, Aristide Boucicaut opened what historians of mass consumption have labelled the first department store, Le Bon Marché in Paris. As the store expanded, its exterior took on the form of a public monument, being highly decorated with French Renaissance Revival motifs. The entrances advanced subtly onto the pavemenet, hoping to captivate the attention of potential customers. Between 1872 and 1874, the interior was remodelled by Louis-Charles Boileau, in collaboration with the young engineering firm of Gustave Eiffel. In place of the open courtyard required to permit more daylight into the interior, the new building focused around three skylight atria.[224]

Art Nouveau

Main article: Art Nouveau § Architecture and ornamentation
See also: Art Nouveau religious buildings

Popular in many countries from the early 1890s until the outbreak of World War I in 1914, Art Nouveau was an influential although relatively brief art and design movement and philosophy. Despite being a short-lived fashion, it paved the way for the modern architecture of the 20th century. Between c. 1870 and 1900, a crisis of historicism occurred, during which the historicist culture was critiqued, one of the voices being Friedrich Nietzsche in 1874, who diagnosed 'a malignant historical fervour' as one of the crippling symptoms of a modern culture burdened by archaeological study and faith in the laws of historical progression.

Focusing on natural forms, asymmetry, sinuous lines and whiplash curves, architects and designers aimed to escape the excessively ornamental styles and historical replications, popular during the 19th century. However, the style was not completely new, since Art Nouveau artists drew on a huge range of influences, particularly

The Grammar of Ornament (1854), a pattern book by British architect Owen Jones (architect)
(1809–1874).

Brâncovenesc architecture and traditional peasant houses and objects. The style also had different names, depending on countries. In Britain it was known as Modern Style, in the Netherlands as Nieuwe Kunst, in Germany and Austria as Jugendstil, in Italy as Liberty style, in Romania as Arta 1900, and in Japan as Shiro-Uma. It would be wrong to credit any particular place as the only one where the movement appeared, since it seems to have arisen in multiple locations.[233][234][235][236]

Modern

Main article: Modern architecture

Rejecting ornament and embracing minimalism and modern materials, Modernist architecture appeared across the world in the early 20th century.

International Style, both characterised by asymmetry, flat roofs, large ribbon windows, metal, glass, white rendering and open-plan interiors.[240]

Art Deco

Main articles: Art Deco and Streamline Moderne

Art Deco, named retrospectively after an exhibition held in Paris in 1925, originated in France as a luxurious, highly decorated style. It then spread quickly throughout the world - most dramatically in the United States - becoming more streamlined and modernistic through the 1930s. The style was pervasive and popular, finding its way into the design of everything from jewellery to film sets, from the interiors of ordinary homes to cinemas, luxury streamliners and hotels. Its exuberance and fantasy captured the spirit of the 'roaring 20s' and provided an escape from the realities of the Great Depression during the 1930s.[246]

Although it ended with the start of World War II, its appeal has endured. Despite that it is an example of modern architecture, elements of the style drew on

African, Aztec and Japanese influences, but also on Futurism, Cubism and the Bauhaus. Bold colours were often applied on low-reliefs. Predominant materials include chrome plating, brass, polished steel and aluminium
, inlaid wood, stone and stained glass.

International Style

Main article:
International Style (architecture)

The International Style emerged in Europe after World War I, influenced by recent movements, including

Charles-Edouard Jeanneret, or Le Corbusier and was clearly expressed in his statement that 'a house is a machine for living in'.[251]

Brutalist

Main article: Brutalist architecture

Based on social equality, Brutalism was inspired by

Marseilles. It seems the term was originally coined by Swedish architect Hans Asplund (1921–1994), but Le Corbusier's use of the description béton brut, meaning raw concrete, for his choice of material for the Unité d'habitation was particularly influential. The style flourished from the 1950s to the mid-1970s, mainly using concrete, which although new in itself, was unconventional when exposed on facades. Before Brutalism, concrete was usually hidden beneath other materials.[257]

Postmodern

Main article: Postmodern architecture

Not one definable style, Postmodernism is an eclectic mix of approaches that appeared in the late 20th century in reaction against Modernism, which was increasingly perceived as monotonous and conservative. As with many movements, a complete antithesis to Modernism developed. In 1966, the architect

Mannerist and Baroque architecture of Rome, and encouraged more ambiguity and complexity in contemporary design. Complaining about the austerity and tedium of so many smooth steel and glass Modernist buildings, and in deliberate denunciation of the famous Modernist 'Less is more', Venturi stated 'Less is a bore'. His theories became a majore influence on the development of Postmodernism.[258]

Deconstructivist

Main article: Deconstructivism

Deconstructivism in architecture is a development of

non-linear processes of design, an interest in manipulating ideas of a structure's surface or skin, and apparent non-Euclidean geometry,[270] (i.e., non-rectilinear shapes) which serve to distort and dislocate some of the elements of architecture, such as structure and envelope
. The finished visual appearance of buildings that exhibit the many deconstructivist "styles" is characterised by a stimulating unpredictability and a controlled chaos.

Important events in the history of the Deconstructivist movement include the 1982

Coop Himmelblau, and Bernard Tschumi
. Since the exhibition, many of the architects who were associated with Deconstructivism have distanced themselves from the term. Nonetheless, the term has stuck and has now, in fact, come to embrace a general trend within contemporary architecture.

Contemporary architecture

This section is an excerpt from Contemporary architecture.[edit]
traditional architecture[273][274] to highly conceptual forms and designs, resembling sculpture on an enormous scale. Some of these styles and approaches make use of very advanced technology and modern building materials, such as tube structures which allow construction of buildings that are taller, lighter and stronger than those in the 20th century, while others prioritize the use of natural and ecological materials like stone, wood and lime.[275] One technology that is common to all forms of contemporary architecture is the use of new techniques of computer-aided design
, which allow buildings to be designed and modeled on computers in three dimensions, and constructed with more precision and speed.

See also

Notes

  1. ^ Ching, Francis, D.K. and Eckler, James F. Introduction to Architecture. 2013. John Wiley & Sons. p13
  2. ^ Architecture. Def. 1. Oxford English Dictionary Second Edition on CD-ROM (v. 4.0) Oxford University Press 2009
  3. ISBN 978-0-7148-7809-6.{{cite book}}: CS1 maint: multiple names: authors list (link
    )
  4. ISBN 978-0-674-11663-4
    . Retrieved 2 July 2011.
  5. ^ a b McLester, E. (2018, July 26). Chimpanzee ‘nests’ shed light on the origins of humanity. The Conversation.
  6. ISBN 978-0-19-921327-6
    . Retrieved 5 July 2011.
  7. ^ a b Verpooten, Jan, and Yannick Joye. "Evolutionary interactions between human biology and architecture: insights from signaling theory and a cross-species comparative approach." Naturalistic approaches to culture (2014): 101-121.
  8. ^ White, Tim D., Berhane Asfaw, Yonas Beyene, Yohannes Haile-Selassie, C. Owen Lovejoy, Gen Suwa, and Giday WoldeGabriel. "Ardipithecus ramidus and the paleobiology of early hominids." Science 326, no. 5949 (2009): 64-86.
  9. ^ Alemseged, Zeresenay, Fred Spoor, William H. Kimbel, René Bobe, Denis Geraads, Denné Reed, and Jonathan G. Wynn. "A juvenile early hominin skeleton from Dikika, Ethiopia." Nature 443, no. 7109 (2006): 296-301.
  10. ^ Isaac, Glynn. "The food-sharing behavior of protohuman hominids." Scientific American 238, no. 4 (1978): 90-109.
  11. ^ Jaubert, Jacques, Sophie Verheyden, Dominique Genty, Michel Soulier, Hai Cheng, Dominique Blamart, Christian Burlet et al. "Early Neanderthal constructions deep in Bruniquel Cave in southwestern France." Nature 534, no. 7605 (2016): 111-114.
  12. ^ Kortlandt, Adriaan. "How might early hominids have defended themselves against large predators and food competitors?." Journal of Human Evolution 9, no. 2 (1980): 79-112.
  13. ^ “World’s Oldest Building Discovered.” BBC News, March 1, 2000.
  14. ^ de Lumley 2007, p. 211.
  15. ^ Chmielewski, Waldemar. "Early and Middle Paleolithic sites near Arkin, Sudan." The prehistory of Nubia;[final report] papers assembled and (1968): 110-147.
  16. ^ Maher, Lisa A., Tobias Richter, Danielle Macdonald, Matthew D. Jones, Louise Martin, and Jay T. Stock. "Twenty thousand-year-old huts at a hunter-gatherer settlement in eastern Jordan." PloS one 7, no. 2 (2012): e31447.
  17. ^ Baitenov, Eskander. "New Interpretation of the Engraving Discovered at Mezhirich Upper Paleolithic Site." In 3rd International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2021), pp. 85-93. Atlantis Press, 2021.
  18. ^ Monumente, Jg. 28 (2018), Nr. 4, S. 18–23, hier S. 21.
  19. ^ http://stanzon.husemann.net/download.php?id=201533&type=T [bare URL]
  20. ^ Musée de Préhistoire Terra Amata. "Le site acheuléen de Terra Amata" [The Acheulean site of Terra Amata]. Musée de Préhistoire Terra Amata (in French). Retrieved 10 June 2022.
  21. ^ a b c Jones 2014, pp. 148, 149.
  22. ^ "The Old Copper Complex: North America's First Miners & Metal Artisans". Retrieved 10 August 2015.
  23. ^ Song, Jeeun. "The History of Metallurgy and Mining in the Andean Region". World History at Korean Minjok Leadership Academy. Korean Minjok Leadership Academy. Retrieved 10 August 2015.
  24. ^ Choi, Charles Q. (18 April 2007). "Pre-Incan Metallurgy Discovered". Live Science. Retrieved 10 August 2015.
  25. ^ Maldonado, Blanco D. (2003). "Tarascan Copper Metallurgy at the Site of Itziparátzico, Michoacán, México" (PDF). Foundation for the Advancement of Mesoamerican Studies. Retrieved 22 January 2016.
  26. ^ Jones 2014, p. 18.
  27. ^ Jones 2014, p. 22.
  28. ISBN 978-0-7141-5099-4
    .
  29. ISBN 978-1-78627-567-7
    .
  30. ISBN 978-0-7141-5099-4
    .
  31. ^ Fortenberry 2017, p. 6.
  32. ISBN 978-1-3500-9212-9
    .
  33. ^ "Gods and Goddesses". Mesopotamia.co.uk. Retrieved 9 November 2015.
  34. ^ Jones 2014, p. 28.
  35. ^ Jones 2014, p. 25.
  36. ISBN 978-0-500-02236-8
    .
  37. ^ Jones 2014, p. 27.
  38. ^ a b Hodge 2019, p. 12.
  39. ISBN 978-0-500-02236-8
    .
  40. ^ Jones 2014, p. 30.
  41. ^ Jones 2014, p. 24, 25, 26.
  42. ISBN 978-0-500-02236-8
    .
  43. ISBN 978-0-500-02236-8
    .
  44. ^ Wright 2009, pp. 115–125.
  45. ^ Dyson 2018, p. 29.
  46. ^ McIntosh 2008, p. 187.
  47. ^ a b Hodge 2019, p. 14.
  48. ^ Rogers, Gumuchdjian & Jones 2014, p. 32.
  49. ^ Hodge 2019, p. 57.
  50. ^ Rogers, Gumuchdjian & Jones 2014, p. 35.
  51. ^ Rogers, Gumuchdjian & Jones 2014, p. 40.
  52. ISBN 978-973-714-450-8
    .
  53. ^ Hopkins 2014, p. 6.
  54. ISBN 978-0-500-34356-2
    .
  55. ISBN 978-3-7913-5707-2
    .
  56. ^ a b Jones 2014, p. 48.
  57. ^ a b Hodge 2019, p. 16.
  58. ^ Jones 2014, p. 52.
  59. ^ Irving 2019, p. 36.
  60. ^ a b Kruft, Hanno-Walter. A History of Architectural Theory from Vitruvius to the Present (New York, Princeton Architectural Press: 1994).
  61. ^ Jones 2014, p. 46, 73, 76, 77.
  62. ^ Jones 2014, p. 67.
  63. ISBN 978-0-500-02236-8
    .
  64. ^ a b Hodge 2019, p. 13.
  65. ^ a b Jones 2014, p. 69.
  66. ^
    ISBN 978-0-500-02236-8
    .
  67. ISBN 978-0-2412-8843-6
    .
  68. ^ Hodge 2019, p. 15.
  69. ^ "Home and family in ancient and medieval Sri Lanka". Lankalibrary.com. 2008-12-21. Archived from the original on 2012-02-21. Retrieved 2010-09-20.
  70. ^ Pieris K (2006), Architecture and landscape in ancient and medieval Lanka
  71. ^ Reza, Mohammad Habib (2012). Early Buddhist Architecture of Bengal: Morphological study on the vihāras of c. 3rd to 8th centuries (PhD). Nottingham Trent University.
  72. doi:10.4399/978882553987510 (inactive 31 January 2024). Retrieved September 19, 2022.{{cite journal}}: CS1 maint: DOI inactive as of January 2024 (link
    )
  73. ^ Hodge 2019, p. 19.
  74. ^ Acharya 1927, p. xviii-xx.
  75. ^ Sinha 1998, pp. 27–41
  76. ^ Acharya 1927, p. xviii-xx, Appendix I lists hundreds of Hindu architectural texts.
  77. ^ Shukla 1993.
  78. ISBN 978-0-7148-7925-3
    .
  79. ^ Mitchell (1977), 123; Hegewald
  80. ^ Harle, 239–240; Hegewald
  81. ISBN 978-1-61147-121-2
    .
  82. ISBN 978-1-61147-121-2
    .
  83. ^ N. Subramanian (21 September 2005). "Remains of ancient temple found". The Hindu. Archived from the original on 10 November 2012.
  84. ^ N. Ramya (1 August 2010). "New finds of old temples enthuse archaeologists". The Times of India. Archived from the original on 15 September 2012.
  85. ^ Philip, Boney. "Traditional Kerala Architecture".
  86. ^ "Architectural Wonders of Karnataka". Retrieved 2009-09-26.[permanent dead link]
  87. ^ "Welcome to Odissi.com ¦ Orissa ¦ Sri Jagannath". Archived from the original on 1 August 2020.
  88. ^ Hodge 2019, p. 21.
  89. JSTOR 44635438
    . Retrieved 3 September 2021.
  90. ^ Jones 2014, pp. 54, 55, 56 & 57.
  91. JSTOR 43030720
    . Retrieved 29 July 2021.
  92. ^ Jones 2014, p. 63.
  93. ^ a b "THE DESIGNS OF RELIGIOUS MONUMENTS OF THE DVARAVATI, KHMER, AND PENINSULAR REGION /CHAIYA SCHOOLS IN THAILAND". Retrieved 3 September 2021.
  94. ^ Hodge 2019, p. 23.
  95. ISBN 978-1371184360
    .
  96. ^ The Monthly Review, Or, Literary Journal. 1819. p. 291.
  97. ^ "Ghana Museums & Monuments Board". www.ghanamuseums.org. Retrieved 2020-02-24.
  98. ^ Osasona, Cordelia O., From traditional residential architecture to the vernacular: the Nigerian experience (PDF), Ile-Ife, Nigeria: Obafemi Awolowo University, retrieved 3 December 2019
  99. ^ Sobeski, Michal (1975). Arta Exotică (in Romanian). Editura Meridiane. p. 42 & 43.
  100. ^ a b Mcintosh, Susan Keech; Mcintosh, Roderick J. (February 1980). "Jenne-Jeno: An Ancient African City". Archaeology. 33 (1): 8–14.
  101. ^ Shaw, Thurstan. The Archaeology of Africa: Food, Metals and Towns. Routledge, 1993, pp. 632.
  102. ISBN 978-1-55876-303-6
    .
  103. ^
    ISBN 9781443874113
    . Retrieved 9 March 2019.
  104. ^ a b Koutonin, Mawuna (March 18, 2016). "Story of cities #5: Benin City, the mighty medieval capital now lost without trace". The Guardian. Retrieved 15 August 2020.
  105. S2CID 144422848
    .
  106. ^ MacEachern, Scott (January 2005). "Two thousand years of West African history". African Archaeology: A Critical Introduction. Academia.
  107. ^ Historical Society of Ghana. Transactions3 of the Historical Society of Ghana, The Society, 1957, pp81
  108. ^ Davidson, Basil. The Lost Cities of Africa. Boston: Little Brown, 1959, pp86
  109. ^ Brass, Mike (1998), The Antiquity of Man: East & West African complex societies, archived from the original on 2012-04-04, retrieved 2021-07-11
  110. ^ David Keys: Medieval Houses of God, or Ancient Fortresses?
  111. ^ Nan Madol, Madolenihmw, Pohnpei Archived 2010-06-13 at the Wayback Machine William Ayres, Department of Anthropology University Of Oregon, Accessed 26 September 2007
  112. doi:10.1016/j.yqres.2016.08.002
    . Retrieved 30 October 2017.
  113. ^ a b Jones 2014, p. 95.
  114. ISBN 978-1-84511-549-4
    .
  115. ^ Jones 2014, p. 120.
  116. ISBN 978-1-86189-253-9
    .
  117. ^ Jones 2014, p. 212.
  118. ISBN 978-0-300-05294-7
    .
  119. ISBN 978-1-343-92962-3
    .
  120. ISBN 9780300088670
    .
  121. ISBN 9780300064650
    .
  122. ISBN 9783848003808
    .
  123. ISBN 9780195309911
    .
  124. ^ Jones 2014, p. 83.
  125. ^ Hodge 2019, p. 62.
  126. ^ Hopkins 2014, p. 19.
  127. ^ Jones 2014, p. 88.
  128. ^ Jones 2014, p. 90.
  129. ^ George D. Hurmuziadis (1979). Cultura Greciei (in Romanian). Editura științifică și enciclopedică. p. 89 & 90.
  130. ^ George D. Hurmuziadis (1979). Cultura Greciei (in Romanian). Editura științifică și enciclopedică. p. 92.
  131. ^ Hodge 2019, p. 17.
  132. ^ George D. Hurmuziadis (1979). Cultura Greciei (in Romanian). Editura științifică și enciclopedică. p. 93.
  133. ^ Arakelian et al. 1984, p. 571.
  134. ^ Սուրբ Հռիփսիմե վանք [Saint Hripsime Monastery]. ejmiatsin.a m (in Armenian). Municipality of Ejmiatsin. 2 March 2012.
  135. ^ (in Armenian) Stepanian, A. and H. Sargsian. s.v. "Zvart'nots'," Armenian Soviet Encyclopedia, vol. 3, pp. 707-710.
  136. ^ "Искусство Армении. Месроп Маштоц".
  137. ^ Jones 2014, p. 136.
  138. ^ Hooklingsworth, Mary (2002). ARTA în Istoria Umanității (in Romanian). rao. p. 148.
  139. ^ Jones 2014, p. 138.
  140. ^ Jones 2014, p. 133.
  141. ^ Hodge 2019, p. 24.
  142. ISBN 978-0-19-860476-1
    .
  143. ^ Hopkins 2014, pp. 23, 25.
  144. ^ a b Jones 2014, p. 149.
  145. ^ Hodge 2019, p. 25.
  146. ISBN 973-717-075-X
    .
  147. ^ Hodge 2019, p. 82.
  148. ^ Hopkins 2014, p. 55.
  149. ^ a b Hodge 2019, p. 26.
  150. ^ Hopkins 2014, p. 60.
  151. ^ Hopkins 2014, p. 47.
  152. ^ Hopkins 2014, p. 64.
  153. ^ Hopkins 2014, p. 61.
  154. ^ Jones 2014, p. 205.
  155. ^ Hopkins 2014, p. 67.
  156. ^ Jones 2014, p. 196.
  157. ^ a b Jones 2014, p. 223.
  158. ^ Jones 2014, p. 226.
  159. ^ Bailey 2012, pp. 211.
  160. ^ Bailey 2012, pp. 328.
  161. ^ Hodge 2019, p. 102.
  162. ^ Bailey 2012, pp. 238.
  163. ^ Bailey 2012, p. 216.
  164. ^ Martin, Henry (1927). Le Style Louis XIV (in French). Flammarion. p. 39.
  165. ^ Jones 2014, p. 230.
  166. ^ Bailey 2012, p. 4.
  167. ^ Bailey 2012, p. 364.
  168. ^ Hodge 2019, p. 29.
  169. ^ Ducher (1988), Flammarion, pg. 102
  170. ^ Bailey 2012, pp. 205, 206, 207 & 208.
  171. ISBN 978-0-7148-7925-3
    .
  172. ^ Jones 2014, p. 241.
  173. ISBN 978-1-52942-030-2
    .
  174. ^ a b Jones 2014, p. 238.
  175. ^ Hodge 2019, p. 30.
  176. ^ Cole 2002, p. 270.
  177. ^ Graur, Neaga (1970). Stiluri în arta decorativă (in Romanian). Cerces. p. 193 & 194.
  178. ^ Sund 2019, p. 104.
  179. ^ "Kina slott, Drottningholm". www.sfv.se. National Property Board of Sweden. Archived from the original on 6 August 2014. Retrieved 2 August 2014.
  180. ^ Jones 2014, p. 264.
  181. ^ Sund 2019, p. 151.
  182. ^ Jones 2014, p. 262.
  183. ^ Sund 2019, p. 216.
  184. ^ Hopkins 2014, p. 130.
  185. ISBN 978-2-37395-136-3
    .
  186. ^ Hopkins 2014, p. 117, 130, 225; Bailey 2012, pp. 279, 281; Jones 2014, p. 265; Sund 2019, pp. 208, 216, 217, 224, 225.
  187. ISBN 978-1-78627-567-7
    .
  188. ^ Jones 2014, p. 276.
  189. ^ a b Jones 2014, p. 273.
  190. ^ de Martin 1925, p. 17.
  191. ^ Fortenberry 2017, p. 274.
  192. ^ de Martin 1925, p. 61.
  193. ^ a b Jones 2014, p. 275.
  194. ISBN 978-0-7148-7925-3
    .
  195. ISBN 973-7959-11-6
    .
  196. ^ Hopkins 2014, p. 109.
  197. ^ Hodge 2019, p. 31.
  198. ^ http://www.visual-arts-cork.com/critics/winckelmann.htm
  199. ^ Bergdoll 2000, pp. 9, 14.
  200. ^ Prina and Demartini (2006), pg. 250-51
  201. ^ Bergdoll 2000, pp. 48, 49, 50.
  202. ISBN 978-973-1872-30-8
    .
  203. ISBN 978-606-081-135-0
    .
  204. ^ Bergdoll 2000, pp. 139, 140, 141.
  205. ^ Bergdoll 2000, pp. 139–142, 145.
  206. ^ Jayewardene-Pillai, 6, 14
  207. ^ Das, xi
  208. ^ Das, xi, xiv, 98, 101
  209. ^ a b Jones 2014, p. 296.
  210. ISBN 978-606-8839-09-7
    .
  211. ISBN 978-973-0-23884-6
    .
  212. ^ Jones 2014, p. 294.
  213. ISBN 978-973-0-22923-3
    .
  214. ^ Hopkins 2014, p. 135.
  215. ^ "Villa in neorégencestijl". inventaris.onroerenderfgoed.be. 29 March 2019. Retrieved 8 April 2022.
  216. ^ Jones 2014, p. 292, 295, 296.
  217. ^ Hopkins 2014, p. 132, 133, 134, 135.
  218. ^ Bailey 2012, pp. 413.
  219. ^ Bergdoll 2000, pp. 248.
  220. ^ Jones 2014, p. 267.
  221. ^ Bergdoll 2000, pp. 236.
  222. ISBN 978-3-8365-7090-9
    .
  223. ISBN 978-3-8365-7090-9
    .
  224. ^ Bergdoll 2000, pp. 207, 237, 238.
  225. ^ Jones 2014, p. 321.
  226. ^ Madsen, S. Tschudi (1977). Art Nouveau (in Romanian). Editura Meridiane.
  227. ^ Jones 2014, p. 323.
  228. ^ "Paris et l'Art Nouveau". Nº281 Dossier de l'Art (in French). Éditions Faton. 2020.
  229. ^ Hopkins 2014, p. 141.
  230. ^ Duncan 1994, p. 44.
  231. ^ Duncan 1994, p. 52.
  232. ISBN 978-973-0-23884-6
    .
  233. ^ Bergdoll 2000, pp. 269, 279.
  234. ^ Jones 2014, p. 320, 321, 322.
  235. ^ Hodge 2019, p. 36.
  236. ^ Madsen, S. Tschudi (1977). Art Nouveau (in Romanian). Editura Meridiane. p. 7.
  237. ISBN 978-0-7148-7809-6.{{cite book}}: CS1 maint: multiple names: authors list (link
    )
  238. ^ Jones 2014, p. 347.
  239. ^ Jones 2014, p. 348.
  240. ^ Hodge 2019, p. 37.
  241. ISBN 978-973-1872-03-2
    .
  242. ISBN 978-973-1872-03-2
    .
  243. OCLC 27266259.{{cite book}}: CS1 maint: multiple names: authors list (link
    )
  244. ^ Jones 2014, p. 359.
  245. ^ Jones 2014, p. 360.
  246. ISBN 978-0-500-29322-5
    .
  247. ^ Hopkins 2014, p. 164.
  248. ^ Hodge 2019, p. 134.
  249. ^ Jones 2014, p. 416.
  250. ^ Jones 2014, p. 418.
  251. ^ Hodge 2019, p. 42.
  252. ^ Hodge 2019, p. 425.
  253. ^ Hodge 2019, p. 146.
  254. ^ Jones 2014, p. 426.
  255. ^ Jones 2014, p. 425.
  256. ^ Jones 2014, p. 428.
  257. ^ Hodge 2019, p. 46.
  258. ^ a b Hodge 2019, p. 47.
  259. ISBN 978-0-7148-7925-3
    .
  260. ^ Jones 2014, p. 502.
  261. ^ Jones 2014, p. 510.
  262. ISBN 978-0-500-51914-1
    .
  263. ISBN 978-0-500-51914-1
    .
  264. ISBN 978-1-52942-030-2
    .
  265. ^ Hodge 2019, p. 531.
  266. ^ Hodge 2019, p. 154.
  267. ^ Hopkins 2014, p. 205.
  268. ^ Hopkins 2014, p. 206.
  269. ISBN 973-717-075-X
    .
  270. ^ Husserl, Origins of Geometry, Introduction by Jacques Derrida
  271. ^ Jacques Derrida and Peter Eisenman, Chora L Works (New York: Monacelli Press, 1997)
  272. ISBN 978-1-4556-0309-1
    .
  273. OCLC 1006381281
    .
  274. ^ Dickinson, Duo (2017). "Does the New Traditionalism Have A Point?". Common Edge. Retrieved 29 April 2021.
  275. ^ Wainwright, Oliver (4 March 2020). "The miracle new sustainable product that's revolutionising architecture – stone!". The Guardian. Retrieved 29 April 2021.

References

Modernism

Further reading

External links

Wikimedia Commons has media related to History of architecture.
Retrieved from "https://en.wikipedia.org/w/index.php?title=History_of_architecture&oldid=1215147556"