Georgian architecture is the name given in most English-speaking countries to the current set of architectural styles between 1714 and 1830. This is the eponymous for the first four English kings of the House of Hanover - George I, George II, George III, and George IV - who ruled successively from August 1714 to June 1830. This style was revived at the end of the 19th century in the United States as the architecture of the Colonial Awakening and at the beginning of the 20th century in England as Neo-Georgia ; in both are also called Georgian Awakening architecture . In the United States, the term "Georgia" is generally used to describe all buildings of a period, regardless of style; in the UK is generally restricted to buildings that are "architectural in intent", and have characteristic styles that are typical of periods, although it includes a wide variety.
The Georgian style varies greatly, but is characterized by symmetry and proportions based on the classical architecture of Greece and Rome, as revived in Renaissance architecture. Ornaments are also usually in the classical tradition, but usually controlled, and sometimes almost completely absent on the outside. This period brings the vocabulary of classical architecture to smaller and simpler buildings than ever before, replacing the English architecture (or into a new vernacular style) for almost all middle-class houses and public buildings at the end of the period.
The architecture of Georgia is characterized by its proportions and its equilibrium; A simple math ratio is used to determine the height of the window in relation to its width or the shape of the room as a double cube. Regularity, like ashlar stone, is highly approved, giving symmetry and adherence to classical rules: lack of symmetry, where Georgian additions are added to previously visible structures, deeply perceived as defective, at least before Nash begins to introduce them in various styles. The regularity of homes along the way is a desirable feature of Georgian city planning. Until the beginning of the Gothic Awakening in the early 19th century, Georgian designs usually resided in the Classical architecture order and used a decorative vocabulary dating from ancient Greece or Greece.
Video Georgian architecture
Characteristics
In cities, which were highly developed during that period, landowners turned into property developers, and rows of identical terraced houses became the norm. Even the rich are persuaded to live in these cities, especially if provided with a square garden in front of the house. There were a large number of buildings in those days, throughout the English-speaking world, and construction standards were generally high. Where they have not been destroyed, a large number of Georgian buildings have survived for two centuries or so, and they still form a large part of the city's core such as London, Edinburgh, Dublin, Newcastle upon Tyne and Bristol.
This period saw the growth of different architectural professions and trained; before the middle ages "the title sounds high," the architect "is adopted by anyone who can get away from it". This contrasts with the previous style, which is mainly disseminated among craftsmen through the hands-on experience of apprenticeship systems. Yet most of the buildings are still designed by builders and landlords altogether, and the spread of extensive Georgian architecture, as well as the more common Georgian design style, comes from dispersion through cheap pattern books and suites. Writers like the productive William Halfpenny (active 1723-1755) publish editions in America as well as English.
A similar phenomenon can be seen in the residential design similarities in Canada and the United States (albeit wider range of styles) from the 19th century to the 1950s, using pattern books made by professional architects distributed by timber companies and hardware stores for contractors and homebuilders.
From the mid-18th century, Georgian style was assimilated into the architectural language that became part and parcel of the training of every architect, designer, builder, carpenter, mason and plaster, from Edinburgh to Maryland.
Maps Georgian architecture
Styles
Georgian replaces Baroque English from Sir Christopher Wren, Sir John Vanbrugh, Thomas Archer, William Talman, and Nicholas Hawksmoor; this actually continues into at least the 1720s, overlapping with a more controlled Georgian style. Architect James Gibbs is a transitional figure, the previous buildings were Baroque, reflecting the time he spent in Rome in the early 18th century, but he adjusted his style after 1720. The main architect to promote the change of direction from baroque was Colen Campbell, influential Vitruvius Britannicus (1715-1725); Richard Boyle, Earl of Burlington 3rd and protà © © William Kent it; Isaac Ware; Henry Flitcroft and Giacomo Leoni Venetian, who spent most of his career in England.
Other prominent architects from the early period of Georgia included James Paine, Robert Taylor, and John Wood, Elder. The European Grand Tour became very common for wealthy customers during that period, and Italian influence remained dominant, although at the beginning of the Hanover Square period, Westminster (1713 in), developed and occupied by the supporters of the new dynasty Whig, seemed to have deliberately used German stylisic elements to honor them, especially the vertical bands that connect windows.
The resulting styles fall into several categories. In the style of mainstream Georgian style, both are Palladian architecture - and its strange alternative, Gothic and Chinoiserie, which is equivalent to Rococo's European language in the English-speaking world. From the mid-1760s fashionable Neoclassical fashion, associated with British architect Robert Adam, James Gibbs, Sir William Chambers, James Wyatt, George Dance the Younger, Henry Holland and Sir John Soane. John Nash was one of the most prolific architects of the late Georgian era known as The Regency style, he was responsible for designing large areas of London. The Greek Revival Architecture was added to the treasury, beginning around 1750, but increasingly popular after 1800. The leading exponents were William Wilkins and Robert Smirke.
In Britain bricks or stones are almost always used; bricks are often disguised with stucco. In America and other colony woods remain very common, because the availability and price ratio with other materials is more profitable. Raked roofs were mostly covered in pottery tiles until Richard Pennant, 1st Baron Penrhyn led the development of the slate industry in Wales from the 1760s, which by the end of the century had become an ordinary material.
Building type
House
The revived version of Palladian architecture dominates the architecture of British country houses. The houses are increasingly placed in beautiful surroundings, and large houses are generally made wide and relatively shallow, mostly to look more impressive from a distance. Its altitude is usually highest in the middle, and Baroque emphasis on angle pavilions commonly found on continents is generally avoided. In large houses, a hall goes down the stairs to the piano nobile floor or the mezzanine floor where the main reception rooms are located. Usually a basement or "rustic" area, with a kitchen, office and service area, as well as a male guest with muddy boots, is on the ground, and illuminated by high windows on the inside, but just above ground level outside. One block is typical, with perhaps a small court for the carriage in front of which is marked by a fence and gate, but rarely a stone gate, or side wings around the field.
Windows in all types of large buildings and regularly placed on the grid; This is partly to minimize the tax window, which is applicable during periods in the UK. Some windows are then brick-in. Their height varies between floors, and they begin to get under the waist in the main room, making the desired small balcony. Prior to this internal plan and room functions generally can not be inferred from the outside. To open this large window the sash window, which had been developed by the 1670s, became very spacious. Corridor plans become universal in larger homes.
Internal pages become more scarce, except on the side of the stables, and the functional parts of the building are placed on the side, or in separate buildings nearby which are hidden by trees. Views to and from the front and back of the main block are concentrated on, with the side approach usually less important. The roof is usually not visible from the ground, although the dome is sometimes seen in magnificent buildings. The roof line is generally clean of ornaments, except for the fence or the top of the pediment. Columns or pilasters, often topped with pediment, are very popular for inside and outside decoration, and other ornaments are generally geometric or plant-based, rather than using a human figure.
The ornaments inside are much more generous, and sometimes can be overwhelming. Chimneypiece continues to be the main focus of the room, and is now given classical care, and increasingly topped by paintings or mirrors. Plafter plasterwork, wood carvings, and thick schemes of wallpaint form the backdrop for an increasingly rich collection of furniture, paintings, porcelain, mirrors, and objects of all kinds. Wood-paneled, very common since about 1500, fell out of favor around the middle ages, and wallpapers include very expensive imports from China.
The smaller houses in the country, such as a companion house, are simple simple blocks with visible roofs of trim, and middle doors, often the only decorated areas. Similar houses, often referred to as "villas" became common around the outskirts of major cities, especially London, and separate houses in cities remained common, although only the very wealthy were able to afford it in central London.
In the cities, even the richest people live in multi-story houses, usually open directly to the street, often with a few steps to the door. Often there is an open space, protected by an iron fence, falling downstairs, with a hidden entrance down the stairs for servants and delivery; this is known as the "area". This means that the front of the floor is now removed and protected from the road and pushing the main reception rooms to move there from the floor above. Where, often, new roads or road sets are developed, roads and sidewalks are raised, and gardens or backyard yards on lower levels, usually representing the original.
The city-level houses for all social classes remain very tall and narrow, each occupancy occupies the entire height of the building. This is in sharp contrast to the continental shelter, which has already begun to form from spacious apartments that occupy only one or two storey buildings; Such arrangements were only typical in England when housing groups of batchelors, such as at the Oxbridge college, the lawyers at Inns of Court or The Albany were subsequently converted in 1802. In that period, only in Edinburgh was the purpose of the working class- common, although the lodgers are common in other cities. The crescent moon, often looking out over the garden or garden, is very popular for the terrace where spaces are allowed. In the initial scheme and development center, plots are sold and built individually, although there are often attempts to enforce uniformity, but because further development is achieved the scheme is increasingly being built as a uniform scheme and then sold.
The end of the Georgian period saw the birth of a semi-detached, systematically planned house, as a suburban compromise between the city-level houses and the "villa" further apart, where the land is cheaper. Occasionally there is an example in the center of town that goes back to medieval times. Most of the early suburban examples are large, and in what is now the outskirts of Central London, but later in the area built for the first time. Blackheath, Chalk Farm, and St John's Wood are among the areas that became the original home of the semifinals. Sir John Summerson gave priority to the Eyre Estate of St. John's Wood. The plan for this was dated 1794, in which "the whole development consists of pairs of semi-detached houses , As far as I know, this is the first recorded scheme of that kind." In fact, the French War put an end to this scheme, but when development was finally built, it retained a semi-detached form, "a very important revolution and a very broad effect".
Church
Until the Church Building Act of 1818, the period saw relatively few well-built churches in England, although in recent years during that period the demand for places of nonconformist and Roman Catholic worship increased considerably. The constructed Anglican Church is designed internally to allow maximum hearing, and visibility, to preach, so that the main core is generally wider and shorter than in medieval plans, and there are often no side alleys. Public gallery in new churches. Particularly in the parishes of the country, external appearances generally retain the familiar marker of the Gothic church, with towers or towers, a vast western front with one or more doors, and a very large window along the center of the church, but all with decorations taken from classical vocabulary. Where funds are allowed, the classic temple porch with columns and pedestals may be used on the western front. The decor inside is very limited, but the churches are filled with monuments to prosper.
In the colonies new churches are certainly needed, and generally repeat similar formulas. The English nonconformist churches are often more classical in mood, and tend not to feel the need for church towers or minarets.
The typical Georgian church is St. Martin-in-the-Fields in London (1720), by Gibbs, who boldly added to the façade of a classical temple at the western end of a large tower above the tower, rearranged slightly from the main front. This formula shocks puritans and foreigners, but becomes widely accepted and copied, at home and in colonies, for example at St Andrew's Church, Chennai in India.
The 1818 Act allocates a sum of public money to new churches needed to reflect changes in the population, and a commission to allocate it. Building the church of the Commissioners gathered in the 1820s, and continued until the 1850s. The early churches, falling into the Georgian period, show a high proportion of Gothic Awakening buildings, along with classically inspired ones.
Public building
Public buildings generally vary between empty boxes with latticed windows and the Italian Late Renaissance palaces, depending on the budget. Somerset House in London, designed by Sir William Chambers in 1776 for government offices, is as grand as any country house, though it never really finishes, as the funds run out. Barracks and other less prestigious buildings can function as factories and factories grow larger at the end of the period. But when the period ended, many commercial projects became large enough, and financially well-funded, to be "architectural in intent," rather than allowing their designs to be submitted to the lower "surveyor" class.
Colonial Georgian Architecture
Georgian architecture was widespread in the British colonies during the Georgian era. American buildings in the Georgian period are very often built of wood with blackboards; even columns made of wood, framed, and turned on with a big lathe. At the beginning of the difficulty period obtaining and transporting bricks or stones make them a common alternative only in big cities, or where they can be obtained locally. Dartmouth College, Harvard University, and College of William and Mary, offer examples of leading Georgian architecture in America.
In contrast to the replaced Baroque style, which is mostly used for palaces and churches, and has little representation in the British colonies, the simpler Georgian style is widely used by upper and middle classes. Perhaps the best remaining home is the original Hammond-Harwood House (1774) in Annapolis, Maryland, designed by the colonial architect William Buckland and the model at Villa Pisani in Montagnana, Italy as depicted in Andrea Palladio's I quattro libri dell 'architettura ("The Four Books of Architecture").
After independence, in former American colonies, the Federal-style architecture represents the equivalent District architecture, which has many similarities.
Post-Georgian development
After about 1840, the Georgian devotion was slowly abandoned due to a number of revival styles, including the Gothic Awakening, dating from the Georgian period, developed and contested in Victorian architecture, and in the case of Gothic being better researched, and closer to the original. Neoclassical architecture remains popular, and is an opponent of Gothic Battles in Style in the early Victorian period. In the United States, the Federalist Style contains many elements of Georgian style, but incorporates revolutionary symbols.
In the early decades of the twentieth century when there was a growing nostalgia for its sense of order, it was revived and adapted and in the United States came to be known as the Colonial Awakening. In Canada, British Royal Loyalists embraced Georgian architecture as a sign of their loyalty to the British, and the Georgian style was dominant in the country for much of the first half of the 19th century. The Grange, for example, a castle built in Toronto, was built in 1817. In Montreal, the British-born architect John Ostell worked on a large number of extraordinary constructions in Georgian style such as Old Montreal Custom House and Grand sà © à © minaire de MontrÃÆ' © al.
The revived Georgian style that emerged in England in the early 20th century is usually referred to as Neo-Georgia ; Edwin Lutyens's work includes many examples. The Neo-Georgia style version is commonly used in the UK for certain types of urban architecture until the late 1950s, Bradshaw Gass & amp; The Hope Police Headquarters in Salford in 1958 is a good example. In both the United States and Britain, the Georgian style is still used by architects like Quinlan Terry Julian Bicknell and Fairfax and Sammons for private residences.
Gallery
See also
- The golden ratio
- Jamaican Georgian architecture
- Clifton, Bristol
- Dublin Georgia
- Grainger Town, Newcastle upon Tyne
- New Town, Edinburgh, 18th and 19th century buildings containing some of the largest Georgian-style architecture and layout examples.
- Newtown Pery, Limerick
Note
References
- Bannister, Fletcher and Sir Banister Fletcher, Architectural History , 1901 edn., Batsford
- Esher, Lionel, British Home Glory , 1991, Barrie and Jenkins, ISBNÃ, 0712636137
- Jenkins, Simon (1999), Thousands of the Best Churches in England , 1999, Allen Lane, ISBN 0-7139-9281-6
- Jenkins, Simon (2003), Thousands of British Best Homes , 2003, Allen Lane, ISBN 0-7139-9596-3
- Musson, Jeremy, How to Read Country House , 2005, Ebury Press, ISBNÃ, 009190076X
- Pevsner, Nikolaus. The Englishness of English Art , Penguin, 1964 edn.
- Sir John Summerson, Georgian London, (1945), 1988 revised edition, Barrie & amp; Jenkins, ISBN: 0712620958. (Also see revised edition, edited by Howard Colvin, 2003)
Further reading
- Georgian Residence in Pasadena by architect James V. Coane & amp; Partner
- Howard Colvin,
3rd ed. 1995. - John Cornforth, Early Georgian Interiors , (Paul Mellon Center) 2005.
- James Stevens Curl, Georgian Architecture .
- Patrizia Granziera, Freemasonic Symbolism and Georgian Garden
- Christopher Hussey, Home Georgia, , Mid-Georgia House, , End of Georgia House, . Reprinted in paperback, Antique Collectors Club, 1986.
- Frank Jenkins, Architects and Patrons 1961.
- Barrington Kaye, Development of Architectural Profession in England 1960.
- McAlester, Virginia & amp; Lee, Field Guide For American Homes ISBN 1996 0-394-73969-8
- Sir John Summerson, Architecture in England (series: Pelican History of Art) reissued in 1970 paperback
- Richard Sammons, Georgia Space Anatomy . Period House, March 2006.
Source of the article : Wikipedia
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