DOCSLIB.ORG

New Architecture” in Early Republican Period in Turkey (1931-1940)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Architecture” in Early Republican Period in Turkey (1931-1940) AGAINST STYLE: RE-READING “NEW ARCHITECTURE” IN EARLY REPUBLICAN PERIOD IN TURKEY (1931-1940) A Thesis Submitted to The Graduate School of Engineering and Sciences of İzmir Institute of Technology In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in Architecture by Bilgen DÜNDAR September 2011 İZMİR We approve the thesis of Bilgen DÜNDAR __________________________________ Assist. Prof. Dr. Şebnem YÜCEL Supervisor __________________________________ Assist. Prof. Dr. Erdem ERTEN Co-Supervisor __________________________________ Assist. Prof. Dr. Fehmi DOĞAN Committee Member __________________________________ Assist. Prof. Dr. Adile AVAR Committee Member __________________________________ Assist. Prof. Dr. Ufuk ERSOY Committee Member __________________________ Assist. Prof. Dr. Özlem ARITAN Committee Member 16 September 2011 ___________________________________ ________________________________ Assoc. Prof. Dr. Serdar KALE Prof. Dr. Sedat AKKURT Head of the Department of Architecture Dean of the Graduate School of Engineering and Sciences ACKNOWLEDGEMENTS First of all, I wish to express my thanks and appreciation to my supervisor Assist. Prof. Dr. ġebnem YÜCEL for her continued interest in my work, her constant support, guidance and encouragement. I would like to thank my co-supervisor Assist. Prof. Dr. Erdem ERTEN for his critics, suggestions and encouragement throughout the study. I would also like to thank Assist. Prof. Dr. Fehmi DOĞAN, Assist. Prof. Dr. Adile AVAR and Assist. Prof. Dr. Ufuk ERSOY for their contributions to mature this dissertation. I would like to express my special thanks to my colleague Dr. Ülkü ĠNCEKÖSE for her encouragement, valuable critics and suggestions especially in difficult times. I would also like to thank Assoc. Prof. Dr. Özlem ERDOĞDU ERKARSLAN to provide suitable milieu and time for me in the University. I am thankful to Nedret ÇELEBĠ for her patience and her sensitive editing of the final text. Above all, I am grateful to my family for their encouragement, great patience and unconditional help. Finally, I am very much grateful to my husband Ali DÜNDAR who has always provided a suitable atmosphere for me to concentrate on my study and his inexhaustible patience. To Mira goes my love and thanks for her stolen time. ABSTRACT AGAINST STYLE: RE-READING ―NEW ARCHITECTURE‖ IN EARLY REPUBLICAN PERIOD IN TURKEY (1931-1940) This dissertation is intended as a contribution to the understanding of modernization in the early Republican period (ERP) architecture, namely including the neglected attitudes. It criticizes the stylistic periodizations such as ―National Style‖ and ―International Style‖ and rigid classifications such as classifications of Sedad Hakkı Eldem only as the forerunner of national architecture and Seyfi Arkan only as the forerunner of the international architecture in Turkey. This study aims to transcend these reified categories by presenting the varieties and contradictory approaches that existed in architectural theory and practice. This dissertation aims to develop a new reading of the ERP architecture by questioning the categories that were constructed by the first generation of architectural historians who produced their texts between 1973 and 1983. The main aim of this dissertation is to show simultaneous existence of different modernities in the ERP architecture. By revealing different understandings of new architecture in architectural theory, architectural pedagogy and architectural practice, this dissertation focuses on the heterogeneity of the architectural milieu. The first generation of architectural historians constructed the ERP architecture with Euro-centric set of theories, and with conventions such as categorizations and stylistic periodizations. They also read that period‘s architecture within the frame of the nation-building process. In their texts, the architecture followed a linear and progressive modernization process, paralleling the nation-building process. By tracing the different understandings of modern architecture in architectural theory and tracing different tendencies of architects in architectural practice, this dissertation aims to question not only the categorizations and stylistic periodizations, but also this linear and progressive modernization ideal. iv ÖZET STĠLE KARġI: TÜRKĠYE‘DE ERKEN CUMHURĠYET DÖNEMĠ‘NDE ―YENĠ MĠMARLIK‖ IN YENĠDEN OKUNMASI (1931-1940) Bu tez gözardı edilmiĢ tavırları analiz ederek erken cumhuriyet dönemindeki modernleĢme anlayıĢına bir katkı koymayı amaçlar. ÇalıĢma ―Milli Stil‖ ve ―Uluslarası Stil‖ gibi stil temelli dönemleĢtirmeleri ve Sedad Hakkı Eldem‘i sadece milli mimarlığın öncüsü olarak ve Seyfi Arkan‘ı da sadece Uluslarası Stil‘in Türkiye‘deki öncüsü olarak sınıflandıran katı sınıflandırmaları eleĢtirir. Bu çalıĢma mimarlık teorisi ve mimarlık pratiğindeki çeĢitlikleri ve çeliĢkili yaklaĢımları ortaya koyarak böyle ―ĢeyleĢtirilen‖ kategorileri aĢmayı amaçlar. Bu tez metinlerini 1973 ve 1983 arasında üretmiĢ olan ilk kuĢak mimarlık tarihçilerinin söylemlerini sorgulayarak, erken cumhuriyet dönemi mimarlığına dair yeni bir okuma geliĢtirmeyi amaçlar. Bu çalıĢmanın temel amacı erken cumhuriyet döneminde aynı anda var olan farklı moderniteleri ortaya koymaktır. Yeni mimarlığın mimarlık teorisinde, mimarlık eğitiminde ve mimarlık pratiğindeki farklı anlayıĢlarını ortaya çıkararak, erken cumhuriyet dönemi mimarlık ortamının heterojenliği üzerine odaklanır. Ġlk kuĢak mimarlık tarihçileri erken cumhuriyet dönemi mimarlığını Avrupa- merkezli teoriler ile ve kategorileĢtirme ile stil temelli dönemleĢtirmeler aracılığı ile kurmuĢlardır. Bu dönem mimarlığını ulus-devlet kurma süreci çerçevesinde okumuĢlardır. Tarihçilerin metinlerinde mimarlık, ulus-devlet kurma sürecine paralel olarak lineer ve ilerlemeci bir modernleĢme sürecinin içinde yer alır. Bu çalıĢma, erken cumhuriyet dönemi mimarlık ortamındaki farklı anlayıĢların, farklı eğilimlerin, farklı tavırların izini sürerek sadece tarihçilerin kurgulamıĢ olduğu kategorileri ve stil temelli dönemleĢtirmeleri değil, bu lineer ve ilerlemeci modernleĢme idealini de sorgulamayı amaçlar. v TABLE OF CONTENTS LIST OF FIGURE ........................................................................................................ viii CHAPTER 1. INTRODUCTION .................................................................................... 1 CHAPTER 2. THE CONSTRUCTION OF THE EARLY REPUBLICAN PERIOD ARCHITECTURE IN BETWEEN 1973 AND 1983 ............... 8 CHAPTER 3. DISCURSIVE CONSTRUCTION OF THE ―NEW‖ IN EARLY REPUBLICAN ARCHITECTURE ....................................................... 18 3.1. The Revolutionary Mission of Architecture in the Cultural Policy of the New Republic .......................................................................... 19 3.2. Diversities of Understanding and Describing New Architecture: Arkitekt .............................................................................................. 27 3.2.1. The Articles on ―New Architecture‖ ............................................ 29 3.2.2. Translations .................................................................................. 34 3.3. Theoretical Variety Regarding New Architecture .............................. 39 3.3.1. Definition of the Old Turkish House ........................................... 47 3.3.2. ―Cubism‖ in the Early Republican Period ................................... 52 CHAPTER 4. NON-STYLISTIC ARCHITECTURAL PEDAGOGIES IN THE EARLY REPUBLICAN PERIOD ........................................................ 64 4.1. Between Classicism and Modernism: Vedad Tek .............................. 67 4.2. Against Euro-centric Modernism: Ernst Egli, Bruno Taut, Sedad Hakkı Eldem ........................................................................................ 72 4.3. Seyfi Arkan‘s Struggle in the Academy .............................................. 83 CHAPTER 5. INSTRUMENTALIZATION OF RATIONALIZATION: THE RESIDENTIAL ARCHITECTURE .............................................. 87 5.1. Rationalization of the Vernacular ........................................................ 87 5.1.1. To Reconcile the ―Vernacular‖ with the ―Modern‖ ...................... 87 5.1.2. Spatial Interpretations of the Old Turkish House .......................... 99 vi 5.1.2.1. Taming the Vernacular ......................................................... 99 5.1.2.2. The Integration of Turkish House with the Modern .......... 104 5.2. Rationalization in terms of Standardization: The Notion of Type ..... 113 5.2.1. The Notion of Type as ―Conventionalization‖ ............................ 114 5.2.2. The Notion of Type Regarding Economical Design ................... 122 5.3. Rationalization in terms of Stripping the Ornament off .................... 132 5.4. Rationalization in terms of Minimalism ............................................ 136 CHAPTER 6. THE INFLUENCES OF NEW ARCHITECTURE IN PUBLIC BUILDINGS ....................................................................................... 141 6.1. Questioning the Relationship between Building and City ................. 141 6.2. Questioning the Articulation of Different Masses ............................ 149 6.3. Questioning the Façade ..................................................................... 158 6.4. Plan Organization: Dissolution of the Boundaries among Spaces .... 166 6.5. Space as a Volume: Dissolution of the Boundaries among Spaces ... 173 CHAPTER 7. CONCLUSION ..................................................................................
Load more

Recommended publications
  • The Architectural Style of Bay Pines VAMC
    The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques.
    [Show full text]
  • A Research on the Representation of Turkish National Identity: Buildings Abroad
    A RESEARCH ON THE REPRESENTATION OF TURKISH NATIONAL IDENTITY: BUILDINGS ABROAD A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF THE MIDDLE EAST TECHNICAL UNIVERSITY BY M. HALUK ZELEF IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF ARCHITECTURE SEPTEMBER 2003 Approval of the Graduate School of Natural and Applied Sciences __________________________ Prof. Dr. Canan Özgen Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy __________________________ Assoc. Prof. Dr. Selahattin Önür Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. __________________________ Assoc. Prof. Dr. Selahattin Önür Supervisor Examining Committee Members Prof. Dr. Bozkurt Güvenç ___________________________ Prof. Dr. Haluk Pamir ___________________________ Prof. Dr. Yıldırım Yavuz ___________________________ Assoc. Prof. Dr. Aydan Balamir ___________________________ Assoc. Prof. Dr. Selahattin Önür ___________________________ ABSTRACT A RESEARCH ON THE REPRESENTATION OF TURKISH IDENTITY BUILDINGS ABROAD Zelef, M. Haluk Ph.D., Department of Architecture Supervisor: Assoc. Prof. Dr. Selahattin Önür September 2003, 264 pages This thesis is the result of an attempt to record, classify and develop an understanding of the motivations and dynamics in the design and realization of the buildings
    [Show full text]
  • Manifiesto De La Alhambra English
    Fernando Chueca Goitia and others The Alhambra Manifesto (1953) Translated by Jacob Moore Word Count: 2,171 Source: Manifiesto de la Alhambra (Madrid, Dirección General de Arquitectura, 1953). Republished as El Manifiesto de la Alhambra: 50 años después: el monumento y la arquitectura contemporánea, ed. Ángel Isac, (Granada: Patronato de la Alhambra y Generalife, Consejería de Cultura, Junta de Andalucía : Tf Editores, 2006) 356-375. We, the signers of this Manifesto, do not want to be pure iconoclasts, for we are already too weary of such abrupt and arbitrary turns. So people will say: “Why the need for a Manifesto, a term which, almost by definition, implies a text that is dogmatic and revolutionary, one that breaks from the past, a public declaration of a new credo?” Simply put, because reality, whose unequivocal signs leave no room for doubt, is showing us that the ultimate traditionalist posture, which architecture adopted after the war of Liberation, can already no longer be sustained and its tenets are beginning to fall apart. […] Today the moment of historical resurrections has passed. There is no use denying it; just as one cannot deny the existence of the Renaissance in its time or that of the nineteenth century archaeological revivals. The arts have tired of hackneyed academic models and of cold, lifeless copies, and seek new avenues of expression that, though lacking the perfection of those that are known, are more radical and authentic. But one must also not forget that the peculiar conditions implicit in all that is Spanish require that, within the global historical movement, we move forward, we would not say with a certain prudence, but yes, adjusting realities in our own way.
    [Show full text]
  • A Design Research Journal of the Moorish Influence of Art and Design in Andalusia Written and Designed by Breanna Vick
    FOLD UN - A design research journal of the Moorish influence of art and design in Andalusia written and designed by Breanna Vick. This project is developed as a narrative report describing personal interactions with design in southern Spain while integrating formal academic research and its analysis. Migration of Moorish Design and Its Cultural Influences in Andalusia Migration of Moorish Design and Its Cultural Influences in Andalusia UROP Project - Breanna Vick Cover and internal design by Breanna Vick. Internal photos by Breanna Vick or Creative Commons photo libraries. All rights reserved, No part of this book may be reproduced in any form except in case of citation or with permission in written form from author. Printed and bound in the United States of America. Author Bio Breanna Vick is a Graphic Designer based in Minneapolis, Minnesota. She is interested in developing a deeper understanding of different methods of design research. On a site visit to Morocco and Spain in May through June of 2017, Breanna tested her knowledge of design research by observing Moorish design integrated in Andalusia. By developing a research paper, establishing sketchbooks, collecting photographs, and keeping journal entries, she was able to write, design and construct this narrative book. With Breanna’s skill-set in creating in-depth research, she has a deep understanding of the topics that she studies. With this knowledge, she is able to integrate new design aesthetics into her own work. Project Objective My undergraduate research project objective is to advance my understanding of how Moorish design appears in cities located throughout the southern territory of Spain.
    [Show full text]
  • Catalonian Architectural Identity
    Catalan Identity as Expressed Through Architecture Devon G. Shifflett HIST 348-01: The History of Spain November 18, 2020 1 Catalonia (Catalunya) is an autonomous community in Spain with a unique culture and language developed over hundreds of years. This unique culture and language led to Catalans developing a concept of Catalan identity which encapsulates Catalonia’s history, cuisine, architecture, culture, and language. Catalan architects have developed distinctly Catalan styles of architecture to display Catalan identity in a public and physical setting; the resulting buildings serve as a physical embodiment of Catalan identity and signify spaces within Catalan cities as distinctly Catalonian. The major architectural movements that accomplish this are Modernisme, Noucentisme, and Postmodernism. These architectural movements have produced unique and beautiful buildings in Catalonia that serve as symbols for Catalan national unity. Catalonia’s long history, which spans thousands of years, contributes heavily to the development of Catalan identity and nationalism. Various Celtiberian tribes initially inhabited the region of Iberia that later became Catalonia.1 During the Second Punic War (218-201 BC), Rome began its conquest of the Iberian Peninsula, which was occupied by the Carthaginians and Celtiberians, and established significant colonies around the Pyrennees mountain range that eventually become Barcelona and Tarragona; it was during Roman rule that Christianity began to spread throughout Catalonia, which is an important facet of Catalan identity.2 Throughout the centuries following Roman rule, the Visigoths, Frankish, and Moorish peoples ruled Catalonia, with Moorish rule beginning to flounder in the tenth-century.3 Approximately the year 1060 marked the beginning of Catalan independence; throughout this period of independence, Catalonia was very prosperous and contributed heavily to the Reconquista.4 This period of independence did not last long, though, with Catalonia and Aragon's union beginning in 1 Thomas N.
    [Show full text]
  • Spanish Colonial Revival Historic Resources • Santa Barbara, California
    SPANISH COLONIAL REVIVAL HISTORIC RESOURCES • SANTA BARBARA, CALIFORNIA INTRODUCTION Known for its Spanish Colonial Revival architecture, Santa Barbara owes much of its charm to the many thick plaster walls and clay tile roofs of this style. The various subtle details carved in wood or crafted in iron add to the quality of the architecture and character of the city. Spanish Colonial Revival architecture will always be key to Santa Barbara’s identity. See the El Puelo Viejo Design Guidelines for more details of the style. HISTORIC RESOURCES DESIGN GUIDELINES: 11. SPANISH COLONIAL REVIVAL CITY OF SANTA BARBARA HISTORY In 1916, Bertram Goodhue, author of a book on Spanish Colonial architecture, helped to kick-start the new Spanish style with his designs for the Panama- California Expo in San Diego. Until then, the only Spanish themed architecture was based on Mission prototypes. Soon, however, architects and patrons began to look to Spain itself for detailed examples of the Spanish style. Throughout the territories originally settled by the Spanish in the Southwest, as well as Texas and Florida, the Spanish Colonial Revival flourished. In Santa Bar- bara, the style was championed by many architects including George Washington Smith, Lutah Maria Riggs, Winsor Soule, Reginald Johnson, William Edwards, and Joseph Plunkett. Also key to the success of the Spanish Colonial Revival in Santa Barbara was the The 1920s Spanish Colonial Revival hotel in West Beach neighborhood features deco- Plans and Planting Committee through which Pearl Chase and others helped to rative tile steps and a plaster balustrade leading to the front entrance. sway Santa Barbara towards a more unified architectural style based on the City’s Spanish Colonial and Mexican past.
    [Show full text]
  • Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture
    Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture by Maxine Compean A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master in Art History Carleton University Ottawa, Ontario ©2015 Maxine Compean ABSTRACT My research aims to challenge existing notions of cross-cultural histories during the early modern era. This thesis will speak to an alternative analysis of the cultural consequences of colonialism and how Indigenous and Mestizo styles that emerged in Mexico had a global cultural impact. During the 17th and 18th centuries, Mestizo and Indigenous architects and sculptors succeeded in creating a different artistic product from the Spanish Baroque that enabled them to represent Christian symbols in their own way. In turn, while the Spanish conqueror was physically and intellectually removed from current European artistic developments, he was visually drawn by Tequitqui architecture because it was not only a new style but it also exuded a different identity. Through the analysis of written testimonies by Spanish friars, historians and architects it is evident that the result of cultural hybridity made an impression on the European's visual culture. After close observation it became evident that the discussion of Tequitqui art, especially regarding Indigenous and Mestizo artist's recognition, is often neglected in art history books. Most literature covers the usual discourse of Spain shaping Mexican culture due to colonialism, but the opposite discussion is nonexistent. Therefore this study aims to challenge the Western discourse and 2 propose that the cosmopolitanism of Tequitqui art and the artists who created it deserve acknowledgment in the literature of Baroque art history.
    [Show full text]
  • The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design
    The Aesthetics of Islamic Architecture & The Exuberance of Mamluk Design Tarek A. El-Akkad Dipòsit Legal: B. 17657-2013 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del s eu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos.
    [Show full text]
  • Baroque Architecture
    '"" ^ 'J^. rfCur'. Fig. I. — Venice. S. Maria della Salute. (See pp. 88-90.) BAROQUE ARCHITECTURE BY MARTIN SHAW BRIGGS A.K.I. B. A. " iAulhor of " In the Heel of Italy WITH 109 ILLUSTRATIONS NEW YORK ; ' McBRIDE, NAST & COMPANY ^ y 1914 ,iMvMV NA (^Ay n^/i/j reserved) In all ages there have been some excellent workmen, and some excellent work done.—Walter Pater. PREFACE is commonly supposed that the purpose of a preface is to IT explain the scope of a book to those who do not read so far as the first page. There is a touch of cynicism in such an opinion which makes one loth to accept it, but I prefer to meet my troubles half way by stating at the outset what I have emphasized in my last chapter—that this book is not in any way an attempt to create a wholesale revival of Baroque Architecture in England. It is simply a history of a complex and neglected period, and has been prepared in the uncertain intervals of an architectural practice. The difficulty of the work has been increased by the fact that the subject has never been dealt with as a whole in any language previously. Gurlitt in his Geschichte des Barockstiles, published in 1887, covered a considerable part of the ground, but his work is very scarce and expensive. To students his volumes may be recommended for their numerous plans, but for details and general views they are less valuable. In recent years several fine mono- graphs have appeared dealing with Baroque buildings in specific districts, and very recently in a new international series the principal buildings of the period in Germany and Italy have been illustrated.
    [Show full text]
  • Spanish Art (Renaissance and Baroque)
    Centro de Lenguas Modernas – Universidad de Granada – Syllabus Hispanic Studies SPANISH ART (RENAISSANCE AND BAROQUE) General description This subject deals with the study of the forms of artistic expression in Spain between the 16th and end of the 18th centuries, in two differentiated blocks: Renaissance Art and Baroque Art. The analysis of these two blocks explains the main lines of artistic expression of the period and their evolution, giving attention – for reasons of brevity – to the principal figures of each epoch. The specific aims of the subject are, on the one hand, to understand the essential trends of Spanish artistic expression of the Modern Age, integrating them in their historical, social and ideological context; on the other hand, to develop the linguistic competence of the student in the Spanish language. Content I. INTRODUCTION TO ARTISTIC VOCABULARY 1. Architecture, sculpture and painting terms. II. RENAISSANCE SPANISH ART 2. SPAIN OF THE 16TH CENTURY: POLITICAL AND CULTURAL EVOLUTION. From Hispanic unity to Empire. Artistic patronage as social representation. From the Flemish tradition to Italian novelty. 3. SPANISH ARCHITECTURE OF THE RENAISSANCE The slow introduction of the Renaissance: first examples. Imperial architecture and classicism. State architecture: the Escorial. 4.SPANISH SCULPTURE OF THE 16TH CENTURY Italian artists in Spain and Spanish in Italy. The mannerism of Berruguete. Sculpture in the court of Philip II and Romanism: the Leoni and Gaspar Becerra. 5.SPANISH PAINTING IN THE 16TH CENTURY Influence of Leonardo and Rafael: Valencian painting. Castilian mannerism. Painting in the Philippine court. The subjective option of El Greco. III. SPANISH BAROQUE ART 6.THE SOCIOCULTURAL CONTEXT OF BAROQUE SPAIN Spain of the 17th and 18th centuries.
    [Show full text]
  • The Renaissance Reception of the Alhambra: the Letters of Andrea Navagero and the Palace of Charles V Author(S): Cammy Brothers Source: Muqarnas, Vol
    The Renaissance Reception of the Alhambra: The Letters of Andrea Navagero and the Palace of Charles V Author(s): Cammy Brothers Source: Muqarnas, Vol. 11 (1994), pp. 79-102 Published by: Brill Stable URL: http://www.jstor.org/stable/1523211 Accessed: 19-04-2016 01:52 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/1523211?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Brill is collaborating with JSTOR to digitize, preserve and extend access to Muqarnas This content downloaded from 128.143.23.241 on Tue, 19 Apr 2016 01:52:31 UTC All use subject to http://about.jstor.org/terms CAMMY BROTHERS THE RENAISSANCE RECEPTION OF THE ALHAMBRA: THE LETTERS OF ANDREA NAVAGERO AND THE PALACE OF CHARLES V For sixteenth-century European visitors to Granada, the the reflections of a discerning, well-educated humanist. Alhambra presented a splendid, intact monument of a When Ferdinand and Isabella provided for the preserva- culture that was otherwise foreign. When Andrea Navag-
    [Show full text]
  • Architectural Temperance: Spain and Rome, 1700-1759
    Architectural Temperance Spain and Rome, 1700–1759 Architectural Temperance examines relations between Bourbon Spain and papal Rome (1700–1759) through the lens of cultural politics. With a focus on key Spanish architects sent to study in Rome by the Bourbon Kings, the book also discusses the establishment of a program of architectural educa- tion at the newly-founded Real Academia de Bellas Artes de San Fernando in Madrid. Victor Deupi explores why a powerful nation like Spain would temper its own building traditions with the more cosmopolitan trends associated with Rome; often at the expense of its own national and regional traditions. Through the inclusion of previously unpublished documents and images that shed light on the theoretical debates which shaped eighteenth-century architecture in Rome and Madrid, Architectural Temperance provides an insight into readers with new insights into the cultural history of early modern Spain. Victor Deupi teaches the history of art and architecture at the School of Architecture and Design at the New York Institute of Technology and in the Department of Visual and Performing Arts at Fairfield University. His research focuses on cultural politics in the early modern Ibero-American world. Routledge Research in Architecture The Routledge Research in Architecture series provides the reader with the latest scholarship in the field of architecture. The series publishes research from across the globe and covers areas as diverse as architectural history and theory, technology, digital architecture, structures, materials, details, design, monographs of architects, interior design and much more. By mak- ing these studies available to the worldwide academic community, the series aims to promote quality architectural research.
    [Show full text]