Neoclassical architecture represented a belief in the rational and humanistic ideas of the Renaissance.

Much of the idea surrounding the architecture revolve around the discovery of the ancient ruins of Greece, Rome and Egypt and to a lesser extent Mesopotamia. The architecture was a solid and lasting example of these ideas as society changed and with this the politics. As cities grew and economies changed the social structures of countries new needs for new types of architecture emerged. Before this time most architecture was created either for the Catholic church, Royalty or wealthy patrons. During the 18th and 19th century as liberal democratic ideas took root and a new middle class emerged so too did the need for new types of buildings. Among these were schools, libraries, concert halls, factories, museum as well as many new government buildings. In France, after the revolution in 1789 neoclassicism could not be separated from need to accommodate new institutions of the bourgeois society and representation of the new state. As the revolution and subsequent French march across Europe through Napoleon the inuence of neoclassicism was profound. In Germany particularly. As with all movements for every action there is a reaction. Architecture is no different in the sense that while the economies and liberal democratic ideas vis-a-vis politics and society were gaining strength and spreading throughout Europe and the United States there was a push back. This reaction was felt mostly in Great Britain and is referred to as the neo-Gothic or Gothic Revival. It is true that cities like London, Liverpool and Manchester in England grew at a very rapid rate. With the growth also came social problems such as crime, pollution and what was viewed as a general loss of moral values. A.W. Pugin was a British architect who really pushed the idea that neoclassicism represented all that was bad and was to blame for the social ills that were occurring in England at the time. To Pugin, Gothic architecture was infused with the Christian values that had been supplanted by classicism and were being destroyed by industrialization. Gothic Revival also took on political connotations; with the "rational" and "radical" Neoclassical style being seen as associated with republicanism and liberalism (as evidenced by its use in the United States and to a lesser extent in Republican France), the more "spiritual" and "traditional" Gothic Revival became associated with monarchism and conservatism, which was reected by the choice of styles for the rebuilt Palace of Westminster in London by Charles Barry.

Pierre Franois Henri Labrouste

(11 May 1801 24 June 1875) was a French architect from the famous cole des Beaux Arts school of architecture. After a six year stay in Rome, Labrouste opened an architectural training workshop, which quickly became the center of the Rationalist view. He was noted for his use of iron frame construction, and was one of the rst to realize the importance of its use. Born in Paris, Labrouste entered Collge Sainte-Barbe as a student in 1809. He was then admitted to the second class in the Royal School of Beaux Arts to the LebasVaudoyer workshop in 1819. In 1820, he was promoted to the rst class. Competing for the Grand Prix, Labrouste took second place behind the Palais de Justice by Guillaume-Abel Blouet in 1821. In 1823 he won the departmental prize, and worked as a lieutenant-inspector (sous-inspecteur) under the direction of tienne-Hippolyte Godde during the construction of Saint-Pierre-du-Gros-Caillou. 1824 was a turning point in Labrouste's life, as he won the competition with a design of a Supreme Court of Appeals. In November he left Paris for Italy, visiting Turin, Milan, Lodi, Piacenza, Parma, Modena, Bologna, Florence and Arezzo.

Friedrich David Gilly (16 February 1772 3 August 1800) was a German
architect and the son of the architect David Gilly. Born in Altdamm (Dbie), Pomerania (today a district of Szczecin, Poland), Gilly was known as a prodigy and the teacher of the young Karl Friedrich Schinkel. In 1788 he enrolled at the Akademie der Bildenden Knste in Berlin. His teachers there included Carl Gotthard Langhans and Johann Gottfried Schadow. In 1797 Gilly travelled extensively in France, England, and Austria. The drawings he made in France reveal his interests in architecture and reect the intellectual climate of the Directoire. They include views of the Fountain of Regeneration, the Rue des Colonnesan arcaded street of baseless Doric columns leading to the Thtre Feydeauthe chamber of the Conseil des Anciens in the Tuileries and Jean-Jacques Rousseaus grotto in its landscaped setting at Ermenonville, Oise. His 1797 design for the FrederickII monument reveals his debt to French neoclassicism, in particular Etienne-Louis Boulle, his explanatory notes indicate he intended the building to be spiritually uplifting. Beginning in 1799 Schinkel lived in the Gilly household at Berlin and was taught by Friedrich and Friedrich's architect father David Gilly. Gilly was appointed professor at the Berlin Bauakademie at the age of26. Of his built designs, only one survives: the ruinous Greek Revival mausoleum (180002; mostly destr. after 1942) at Dyhernfurth near Breslau (now Brzeg Dolny near Wrocaw, Poland), in the form of a prostyle Greek temple. Gilly died from tuberculosis at the age of 28 in Karlsbad.

Friedrich Schinkel
was born in Neuruppin, Margraviate of Brandenburg. When he was six, his father died in the Neuruppin disastrous re. He became a student of architect Friedrich Gilly (17721800) (the two became close friends) and his father, David Gilly, in Berlin. After returning to Berlin from his rst trip to Italy in 1805, he started to earn his living as a painter. Working for the stage he created in 1816 a star-spangled backdrop for the appearance of the "Knigin der Nacht" in Wolfgang Amadeus Mozart's opera The Magic Flute, which is even quoted in modern productions of this perennial piece. When he saw Caspar David Friedrich's painting Wanderer above the Sea of Fog at the 1810 Berlin art exhibition he decided that he would never reach such mastery of painting and turned to architecture. After Napoleon's defeat, Schinkel oversaw the Prussian Building Commission. In this position, he was not only responsible for reshaping the still relatively unspectacular city of Berlin into a representative capital for Prussia, but also oversaw projects in the expanded Prussian territories from the Rhineland in the west to Knigsberg in the east. From 1808 to 1817 Schinkel renovated and reconstructed Schloss Rosenau, Coburg, in the Gothic Revival style.[2] Schinkel's style, in his most productive period, is dened by a turn to Greek rather than Imperial Roman architecture, an attempt to turn away from the style that was linked to the recent French occupiers. (Thus, he is a noted proponent of the Greek Revival.) His most famous buildings are found in and around Berlin. These include Neue Wache (18161818), National Monument for the Liberation Wars (18181821), the Schauspielhaus (18191821) at the Gendarmenmarkt, which replaced the earlier theatre that was destroyed by re in 1817, and the Altes Museum (old museum, see photo) on Museum Island (18231830). He also carried out improvements to the Crown Prince's Palace. Later, Schinkel moved away from classicism altogether, embracing the Neo-Gothic in his Friedrichswerder Church (18241831). Schinkel's Bauakademie (18321836), his most innovative building, eschewed historicist conventions and seemed to point the way to a clean-lined "modernist" architecture that would become prominent in Germany only toward the beginning of the 20th century. Schinkel, however, is noted as much for his theoretical work and his architectural drafts as for the relatively few buildings that were actually executed to his designs. Some of his merits are best shown in his unexecuted plans for the transformation of the Athenian Acropolis into a royal palace for the new Kingdom of Greece and for the erection of the Orianda Palace in the Crimea. These and other designs may be

studied in his Sammlung architektonischer Entwrfe (18201837) and his Werke der hheren Baukunst (18401842; 18451846). He also designed the famed Iron Cross medal of Prussia, and later Germany. It has been speculated, however, that due to the difcult political circumstances French occupation and the dependency on the Prussian king and his relatively early death, which prevented him from seeing the explosive German industrialization in the second half of the 19th century, he did not even live up to the true potential exhibited by his sketches.

Neo Gothic or Gothic Revival Pugin and "truth" in architecture

The House of Lords in the Palace of Westminster, designed by A. W. N. Pugin In the late 1820s, A.W.N. Pugin, still a teenager, was working for two highly visible employers, providing Gothic detailing for luxury goods. For the Royal furniture makers Morel and Seddon he provided designs for redecorations for the elderly George IV at Windsor Castle in a Gothic taste suited to the setting. For the royal silversmiths Rundell Bridge and Co., Pugin provided designs for silver from 1828, using the 14th-century Anglo-French Gothic vocabulary that he would continue to favour later in designs for the new Palace of Westminster (see right).[15] Between 1821 and 1838 Pugin and his father published a series of volumes of architectural drawings, the rst two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic revivalists for at least the next century. In Contrasts (1836), Pugin expressed his admiration not only for medieval art but for the whole medieval ethos, claiming that Gothic architecture is the product of a purer society. In The True Principles of Pointed or Christian Architecture (1841), he suggested that modern craftsmen seeking to emulate the style of medieval workmanship should also reproduce its methods. Pugin believed Gothic is true Christian architecture, and even claimed "The pointed arch was produced by the Catholic faith". Pugin's most famous project is The Houses of Parliament in London. His part in the design consisted of two campaigns, 18361837 and again in 1844 and 1852, with the classicist Charles Barry as his nominal superior (whether the pair worked as a collegial partnership or if Barry acted as Pugin's superior is not entirely clear). Pugin provided the external decoration and the interiors, while Barry designed the symmetrical layout of the building, causing Pugin to remark, "All Grecian, Sir; Tudor details on a classic body".

John Ruskin
(8 February 1819 20 January 1900) was the leading English art critic of the Victorian era, also an art patron, draughtsman, watercolourist, a prominent social thinker and philanthropist. He wrote on subjects ranging from geology to architecture, myth to ornithology, literature to education, and botany to political economy. His writing styles and literary forms were equally varied. Ruskin penned essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale. The elaborate style that characterised his earliest writing on art was later superseded by a preference for plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, and architectural structures and ornamentation. He was hugely inuential in the latter half of the 19th century up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability and craft. Took part in the Grand Tour. As a product of Cambridge University he access to the means necessary to explore Europe. As a painter, drafter and theorist is inuence is strongly felt in the Gothic revival. His seminal work The Stones a Venice is a collection of watercolor paintings of the Italian city of Venice. In tis he theorized that the craft and skill of shown by the masons in crafting and building the architecture of the Renaissance was lled with love of making. There was a purity to it and in a sense the purity conveyed a truth. This truth was that the hand made employed in some sense the human dimension that is lost in the industrial revolution. In England and in America this becomes the foundation of the Arts and Crafts movement. Coupled with some of the ideas of the neoclassical the merging of these ideas starts to form the basis of a lot of the modernist movements of the late 19th and 20th centuries. He was a counter to Pugin in the sense he was a Protestant and believed that preservation of the existing should occur. We should not destroy the accumulated history we have inherited.

Structural Rationalists and Romantic Classicism Labrouste was one of the rst to express the idea that Greek temples were brightly colored. The library itself is based on what is called structural rationalist. It consists of a perimeter wall of books enclosing a rectilinear space supporting an iron framed barrel vault that is split into two parts with a center row of columns. The ideas are straight from Boulles theoretical works that we saw in lecture 2. In the 19th century we saw the development of 2 branches of neoclassicism. The structural rationalist and the romantic classicist schools of thought. Although each school of thought grappled with the same issues of how to express classical ideas of Greece, Rome and Egypt and other they were constantly confronted with the problem of how one represents a totally new type of institution. They had the same goals but approached them differently. The structural rationalists used structural expression as core idea. The romantic classicists preferred to let a building and its facade inform the public.

For many structural rationalists the aesthetic followed the technology. All stylistic transformations (changes) are a result of technological advancement. In this also the theory of representation was addressed. In drawing axonometric drawings gave information as to how a building was spatially planned, structurally supported and aesthetically expressed. This inuenced many future modernists like Mies, Gropius and Corbusier. Friedrich Gilly was strongly inuence by French architect LeDoux. The expression of the Doric columns showing the sheer power of the state and the Spartan outlook so reected in the culture of Mesopotamian Gate of Ur. The celebration of the myth of moral value and strength. Shinkel, a student of Gillys and his successor in Germany, was strongly inuenced by not only Gilly but also Durand. In fact when we look at Altes museum we can see the inuence of Durands Precis de larchitecture. Wide symmetrical entry steps and mezzanine, a peristyle hall, central courtyard are delicately used. One must remember that in terms of the classicists that all agreed on was that the way the Greeks addressed the site was critical. No building on the Acropolis is just placed there. It is carefully planned to interact with the buildings around it.

Architecture in English II
Lecture 3: Neoclassicism and Neo-Gothic

What is Architectural Language: Architecture Parlante

Petit Trianon at Versailles (1762-68 ) France Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France Ange-Jacques Gabriel

The Grand Tour

Looking at the past for the true ideas of

architecture.

Architects traveled to Italy, Greece, and

Egypt to study closely the buildings of the past.

The Grand Tour

Searching for the truth. Searching for the proper architectural

response for the new age.

Lecture 3: Neoclassicism and Neo-Gothic

Henri Labrouste Friedrich Gilley Friedrich Shinkel A.W.N. Pugin

The Politics of Neoclassicism and Neo-Gothic

Neoclassical architecture represented

liberalism and republicanism. Ideas of the Renaissance. conservatism relating to religion.

Neo-Gothic represented monarchy and

The Primitive Hut

Date: 1753 AD Architect: Laugier

Bibliotheque National
Date: 1785 AD Architect: Etienne

- Louis Boullee

San Andrea: Florence, Italy

Date: 1462 AD Architect: Leon Battista Alberti

Bibliotheque National
Date: 1785 AD Architect: Etienne

- Louis Boullee

Musee National
Date: 1783 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

Barriere Rotunde de Monceau, Paris

Date: 1784 - 89 Architect: Claude

Nicholas LeDoux

Barriere de la Villette, Paris

Date: 1784 - 89 Architect: Claude

Nicholas LeDoux

Precis de larchitecture
Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Precis de larchitecture
Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Precis de larchitecture
Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Precis de larchitecture
Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Site Plan for Monument for Fredrick the Great

Date: 1797 Architect: Fredrick

Gilly

Monument for Fredrick the Great

Date: 1797 Architect: Fredrick

Gilly

Monument for Fredrick the Great

Date: 1797 Architect: Fredrick

Gilly

Tectonic Study
Date: 1797 Architect: Fredrick

Gilly

Bibliotheque St. Genevieve Paris, France

Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France

Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France

Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France

Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France

Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France

Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France

Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France

Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France

Date: 1838 - 51 Architect: Henri

Labrouste

Tectonic Study
Date: 1797 Architect: Fredrick

Gilly

Altes Museum - Berlin, Germany

Date: 1824 Architect: Fredrick

Shinkel

Altes Museum - Berlin, Germany

Date: 1824 Architect: Fredrick

Shinkel

Altes Museum - Berlin, Germany

Date: 1824 Architect: Fredrick

Shinkel

Altes Museum - Berlin, Germany

Date: 1824 Architect: Fredrick

Shinkel

The Kings Megaron

1400 ~ 1300 BC

Pylos Citadel City

1600 ~ 1100 BC

Altes Museum - Berlin, Germany

Date: 1824 Architect: Fredrick

Shinkel

Altes Museum - Berlin, Germany

Date: 1824 Architect: Fredrick

Shinkel

Altes Museum - Berlin, Germany

Date: 1824 Architect: Fredrick

Shinkel

Tectonic Study of Traditional Construction

Date: 1860 Architect: Gottfried

Semper

Tectonic Study of Traditional Construction

Date: 1860 Architect: Gottfried

Semper

The Shauspielhaus Berlin, Germany

Date: 1819 Architect: Fredrick

Shinkel

The Shauspielhaus Berlin, Germany

Date: 1819 Architect: Fredrick

Shinkel

The Shauspielhaus Berlin, Germany

Date: 1819 Architect: Fredrick

Shinkel

The Shauspielhaus Berlin, Germany

Date: 1819 Architect: Fredrick

Shinkel

The Shauspielhaus Berlin, Germany

Date: 1819 Architect: Fredrick

Shinkel

Neue Wache Guardhouse Berlin, Germany

Date: 1818 Architect: Fredrick

Shinkel

Neue Wache Guardhouse Berlin, Germany

Date: 1818 Architect: Fredrick

Shinkel

Neue Wache Guardhouse Berlin, Germany

Date: 1818 Architect: Fredrick

Shinkel

The Bauacademie Berlin, Germany

Date: 1831 Architect: Fredrick

Shinkel

The Bauacademie Berlin, Germany

Date: 1831 Architect: Fredrick

Shinkel

The Bauacademie Berlin, Germany

Date: 1831 Architect: Fredrick

Shinkel

The Bauacademie Berlin, Germany

Date: 1831 Architect: Fredrick

Shinkel

The Bauacademie Berlin, Germany

Date: 1831 Architect: Fredrick

Shinkel

Chiswick House: London, England

Date: 1725 Architect: William

Kent

Chiswick House: London, England

Date: 1725 Architect: William

Kent

Chiswick House: London, England

Date: 1725 Architect: William

Kent

Chiswick House: London, England

Date: 1725 Architect: William

Kent

Chiswick House: London, England

Date: 1725 Architect: William

Kent

Chiswick House: London, England

Date: 1725 Architect: William

Kent

Chiswick House: London, England

Date: 1725 Architect: William

Kent

Chiswick House: London, England

Date: 1725 Architect: William

Kent

Housing Contrasts
Date: 1836 Architect: A.W.N

Pugin

Housing Contrasts
Date: 1836 Architect: A.W.N

Pugin

Cross Contrasts
Date: 1836 Architect: A.W.N

Pugin

Church Contrasts
Date: 1836 Architect: A.W.N

Pugin

House of Parliment
Date: 1840 - 1888 Architect:

A.W.N. Pugin and Charles Barry

House of Parliment
Date: 1840 - 1888 Architect:

A.W.N. Pugin and Charles Barry

House of Parliment
Date: 1840 - 1888 Architect:

A.W.N. Pugin and Charles Barry

35126152287407

House of Parliment
Date: 1840 - 1888 Architect:

A.W.N. Pugin and Charles Barry

House of Parliment
Date: 1840 - 1888 Architect:

A.W.N. Pugin and Charles Barry

House of Parliment
Date: 1840 - 1888 Architect:

A.W.N. Pugin and Charles Barry

House of Parliment
Date: 1840 - 1888 Architect:

A.W.N. Pugin and Charles Barry