Rooted in the graceful forms of antiquity, the dignified lines of neoclassical style offered a restrained alternative to the flowery opulence of rococo in the late 1700s, and its timelessness has made it a favorite again today. “Like fashion’s little black dress,” says this informative guide, “Neoclassicism [...]
Home, Sweet, Home: A Look at Houses in Neoclassical Style
Neoclassical architecture, at its core, was an attempt to revive what architects interpreted to be a glory period for their field of specialization. It was a reaction to increased disenchantment with the popular architectural movements of their era that focused on excessive design and status, far removed from the simple and more imposing structures of bygone eras. Ironically, when one reviews the classical Greek and Roman architecture, such as the Parthenon or the Colosseum, that neoclassicism built itself on to imitate, one realizes that neoclassical designs still carried an aura of elitism that it sought to reject by the baroque and rococo architectural movement.
Specifically, the neoclassical style evident in cathedrals, arenas, or museums, for example, still served a function as a centerpiece for the purpose that it served and in the area in where it was built. That is structures of lesser significance in classical Greece and Rome have long decayed, whereas Continue reading to THE ARTICLE »
Timeless Forever: Ancient Greek and Roman Architecture that inspires today
As Karl Friedrich Schinkel was designing the Altes Museum in Berlin in 1825, he had an ambition to redefine the typology of museum architecture from thereafter. In doing so, he sought to construct a building that married elements of the past with components of the present and future – in essence, to build something timeless. Schinkel turned to the Greek Stoa in Athens as a model for the Altes Museum. Subscribers to neoclassicism recognized that the Greek revival movement was established to create an importance to their individual structures, just as classical Greeks did with their prized designs, and thus the function of buildings were an important qualification for whether neoclassical design was appropriate. Classical Roman architecture was similar to that of the ancient Greeks, particularly when one Continue reading to THE ARTICLE »
The architects that helped construct neoclassicism
On the Pincio in the Villa Medici in Italy lies a building that has both suffered the effects of time and enjoyed its fruits. The French Academy of Rome, founded in 1666, has required numerous renovations in the past 343 years. However, its legacy lives on in the Pantheon in Paris, the Pavlovsk Palace in Russia, the United States Capitol Building, among many others. Though neoclassical architecture had its exponents previously in France, such as Claude-Nicolas Ledoux, it was the French Academy in Rome that was the setting for the conception of neoclassicism as a movement, and its subsequent expansion globally.
Charles-Louis ClÈrisseau, in particular, became a pioneer in directly assisting in the export of the neoclassical movement abroad. Himself a neoclassical architect and painter, he mentored students in the ways of ancient Rome architecture with focus on its ruins and designs, both real and imagined. Among his proteges was Robert Adams, Continue reading to THE ARTICLE »
A desire to return to more basic
Symmetry and order
“Traditional Architecture” - NEOCLASSICAL ARCHITECTURE
There exists a popular cliché that is repeated to us – undoubtedly you have heard it- that goes: “From death arises new life.” Naturally, it is commonly associated with religious creed in the form of life after death; a message that death is not to be dreaded or feared for it produces something better and more perfect in its wake. Yet, the notion that the destruction of one entity will yield something better extends beyond theocracy. Many facets of life, politics, and idea are built on the foundations of previous or extinct entities. Nowhere is this more evident than in architecture. Neoclassical architecture represented a revolution in its truest sense. It was a reaction against the Baroque and Rococo, and an attempt to revive the essence of classical Greco Roman forms from an epoch long past. Continue reading to THE ARTICLE »