![]() ![]() Scully's The Earth, the Temple and the Gods (1962), which explores the influence of mythical cult and belief upon the location, orientation, and nature of Minoan, Mycenaean, and Greek temples. Panofsky's Gothic Architecture and Scholasticism (Latrobe 1951), which sheds new light on the relationship between medieval scholasticism and the visual articulation of Gothic structures, and V. The effort to document these interrelationships has promoted some excellent though sometimes controversial studies. The validity of this measure rests on the assumption that a given culture has interrelated parallels in the development of its art, architecture, literature, economics, politics, philosophy, and theology. Hugo, for example, "Architecture is the book of human history … the handwriting of humanity." Monuments of religious architecture (all but synonymous with the general development of architecture for thousands of years) are most useful in tracing the origins, growth, and decline of various cultures in history. This interdependency between architecture and society has led many to regard architecture as a mirror of a society's cultural progress. perret's Le Raincy, Mies van der Rohe's Illinois Institute of Technology Chapel, and Le Corbusier's Notre Dame du Haut (Ronchamp).Ĭultural Aspect. One of the aphorisms about architecture is that "as we shape our buildings, likewise do our buildings shape us." Among significant churches of the 20th century that have helped to restructure society's view of acceptable religious architecture are F. The proper relationship between socio-cultural determination and architectural formation is one of mutual specification. The effort to make the architect's vision that of society reduces the educated artistic sensibility of the architect to a position of servitude to the less-educated sensibility of the congregation or pastor. The forms of architecturealready known to us are good enough and far better than any of us." The result of the 19th-century Gothic revival was a church architecture of questionable artistic value. Itdoes not matter one marble splinter whether we have an old or new architecture …. ruskin in his Lamp of Obedience: "We want no new style of architecture …. This obstacle dominated 19th-century church architecture and was promoted by J. Under such circumstances the architect is asked to relinquish his special abilities to create architectural form and instead act as a skillful transmitter of the congregation's collective will toward a form of established acceptability. In modern times the most common social impediment to the production of a significant ecclesiastical structure occurs when a patron refuses to allow the architect to express the identity of the congregation in and through the architect's own will to form. The creative act of the architect must recognize both the will and needs of his patrons. A church is not initiated by an architect's will to form but rather by a congregation's will to build. Both the architect and church architecture in particular are bound to an immediate need of society. Consequently its artistic realization is not independent. Church architecture services the worship of a community, and its construction depends on a patronage that utilizes the collective resources of the worshiping community. In the following section five concomitants of architectural development are presented as an introduction to the subject: (1) social and cultural considerations, (2) exigencies of liturgical ritual and function, (3) symbol and meaning in architectural conception, (4) technique and structural possibilities, and (5) concepts of form. This entry presents in 11 parts systematic summaries of the history of church architecture from the early Christian period to the eve of Vatican II. CHURCH ARCHITECTURE, HISTORY OF Part 1: IntroductionĪ vast array of literature surrounds the study of church architecture, embracing a range of interests from archaeology, anthropology, sociology, and aesthetics, to the evolution of consciousness and theology.
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