During the Italian renaissance and with the demise of Gothic style, major efforts were made by architects such as Leon Battista Alberti, Sebastiano Serlio and Giacomo Barozzi da Vignola to revive the language of architecture of first and foremost ancient Rome. This was done in part through the study of the ancient Roman architectural treatise De architectura by Vitruvius, and to some extent by studying the actual remains of ancient Roman buildings in Italy.[10] Nonetheless, the classical architecture of the Renaissance from the outset represents a highly specific interpretation of the classical ideas. In a building like the Ospedale degli Innocenti in Florence by Filippo Brunelleschi, one of the very earliest Renaissance buildings (built 1419–45), the treatment of the columns for example has no direct antecedent in ancient Roman architecture.[11] During this time period, the study of ancient architecture developed into the architectural theory of classical architecture; somewhat over-simplified, one could say that classical architecture in its variety of forms ever since have been interpretations and elaborations of the architectural rules set down during antiquity.[12]
Most of the styles originating in post-renaissance Europe can be described as classical architecture. This broad use of the term is employed by Sir John Summerson in The Classical Language of Architecture. The elements of classical architecture have been applied in radically different architectural contexts than those for which they were developed, however. For example, Baroque or Rococo architecture are styles which, although classical at root, display an architectural language very much in their own right. During these periods, architectural theory still referred to classical ideas but rather less sincerely than during the Renaissance.[13]
As a reaction to late baroque and rococo forms, architectural theorists from circa 1750 through what became known as Neoclassicism again consciously and earnestly attempted to emulate antiquity, supported by recent developments in Classical archaeology and a desire for an architecture based on clear rules and rationality. Claude Perrault, Marc-Antoine Laugier and Carlo Lodoli were among the first theorists of neoclassicism, while Étienne-Louis Boullée, Claude Nicolas Ledoux, Friedrich Gilly and John Soane were among the more radical and influential.[14] Neoclassical architecture held a particularly strong position on the architectural scene c. 1750–1850. The competing neo-Gothic style however rose to popularity during the early 1800s, and the later part the 19th century was characterised by a variety of styles, some of them only slightly or not at all related to classicism (such as Art Nouveau), and eclecticism. Although classical architecture continued to play an important role and for periods of time at least locally dominated the architectural scene, as exemplified by the "Nordic Classicism" during the 1920s, classical architecture in its stricter form never regained its former dominance. With the advent of Modernism during the early 20th century, classical architecture arguably almost completely ceased to be practised.[15]
ใน ระหว่างยุคฟื้นฟูศิลปวิทยาอิตาลี และ ด้วยการตายของสไตล์โกธิค ความพยายามหลักถูกสร้างขึ้น โดยสถาปนิก เช่น Leon Battista Alberti, Sebastiano Serlio เจีย Barozzi da Vignola การฟื้นฟูภาษาของสถาปัตยกรรมของแรกโรมโบราณ นี้ทำในผ่านการศึกษาแบบโบราณโรมันสถาปัตยกรรมหนังสือ De architectura Vitruvius และขอบเขตการศึกษายังคงแท้จริงของอาคารโรมันโบราณในอิตาลี [10] กระนั้น สถาปัตยกรรมคลาสสิกของเรอเนสซองซ์ตั้งแต่ต้นแสดงถึงการตีความการของคลาสสิก ในอาคารเช่นเพื่อ Ospedale Innocenti ในฟลอเรนซ์โดย Filippo Brunelleschi หนึ่งในเร็วมากเรเนซองส์อาคาร (สร้าง 1419-45), การรักษาของคอลัมน์ตัวอย่างเช่นมีมาก่อนไม่ตรงในสถาปัตยกรรมโรมัน [11] ในระหว่างช่วงเวลานี้ การศึกษาสถาปัตยกรรมโบราณพัฒนามาเป็นทฤษฎีสถาปัตยกรรมของสถาปัตยกรรมคลาสสิก ค่อนข้างง่ายมากเกินไป หนึ่งสามารถกล่าวได้ว่า สถาปัตยกรรมคลาสสิกในความหลากหลายของรูปแบบเดิมตั้งแต่มีการตีความ และ elaborations กฎสถาปัตยกรรมของการตั้งค่าลงในสมัยโบราณ [12]Most of the styles originating in post-renaissance Europe can be described as classical architecture. This broad use of the term is employed by Sir John Summerson in The Classical Language of Architecture. The elements of classical architecture have been applied in radically different architectural contexts than those for which they were developed, however. For example, Baroque or Rococo architecture are styles which, although classical at root, display an architectural language very much in their own right. During these periods, architectural theory still referred to classical ideas but rather less sincerely than during the Renaissance.[13]As a reaction to late baroque and rococo forms, architectural theorists from circa 1750 through what became known as Neoclassicism again consciously and earnestly attempted to emulate antiquity, supported by recent developments in Classical archaeology and a desire for an architecture based on clear rules and rationality. Claude Perrault, Marc-Antoine Laugier and Carlo Lodoli were among the first theorists of neoclassicism, while Étienne-Louis Boullée, Claude Nicolas Ledoux, Friedrich Gilly and John Soane were among the more radical and influential.[14] Neoclassical architecture held a particularly strong position on the architectural scene c. 1750–1850. The competing neo-Gothic style however rose to popularity during the early 1800s, and the later part the 19th century was characterised by a variety of styles, some of them only slightly or not at all related to classicism (such as Art Nouveau), and eclecticism. Although classical architecture continued to play an important role and for periods of time at least locally dominated the architectural scene, as exemplified by the "Nordic Classicism" during the 1920s, classical architecture in its stricter form never regained its former dominance. With the advent of Modernism during the early 20th century, classical architecture arguably almost completely ceased to be practised.[15]
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