留学生assignment作业代写-希腊复兴与哥特式复兴建筑。本文是一篇由本站代写服务提供的建筑学assignment学作业代写范文，主要内容是讲述哥特式复兴主要表现为两个方面：首先，在其早期形式中，它是中世纪精神和氛围的浪漫庆典；其次，在后来更为严肃的形式中，哥特式复兴反映了其倡导者的建筑和哲学信念，即中世纪的道德活力反映在其哥特式建筑中，本篇留学作业认为将这种哥特式建筑风格重新引入18世纪的社会可以在道德上重振它。留学作业指出早期的新哥特式建筑，以霍勒斯·沃波尔的草莓山等建筑为代表，具有高度的装饰性、颓废性、视觉冲击力和复杂的风格；更重要的是，一种几乎不关心功能主义或严格遵守特定结构的风格。通过这些特征，新哥特式建筑体现了那个时代的浪漫主义文学和诗歌精神，正如霍勒斯·沃波尔、阿尔弗雷德·丁尼生和沃尔特·斯科特爵士的作品所表现的那样。本篇留学作业从这个意义上提出，新哥特式是一种怀旧和伤感的回眸。从另一个意义上讲，哥特式复兴代表了某些建筑师和牧师试图通过用石头将中世纪哥特式教堂的礼拜仪式活力转移到18世纪。下面就一起来看一下这篇留学生assignment作业代写范文的具体内容。
The Gothic Revival represented chiefly two things: firstly, in its earlier form, it was a Romantic celebration in stone of the spirit and atmosphere of the Middle Ages; secondly, in its later and more serious form, the Gothic Revival reflected the architectural and philosophical conviction of its exponents that the moral vigour of the Middle Ages was reflected in its Gothic architecture, and that the reintroduction of this Gothic style of architecture to eighteenth-century society could re-invigorate it morally. Neo-Gothic architecture in its earlier forms, typified by buildings such as Horace Walpole’s Strawberry Hill, was characterized by a highly ornamental, decadent, visually powerful and intricate style; and, what is more, a style that cared little for functionalism or strict adherence to specific structures. By these characteristics Neo-Gothic architecture encapsulated the Romantic literary and poetic spirit of the age, as had been evinced in the works of men like Horace Walpole, Alfred Tennyson and Sir Walter Scott. In this sense, the Neo-Gothic was a nostalgic and sentimental backward glance. In a different sense the Gothic Revival represented the attempt of certain architects and churchmen to transfer the liturgical vigour of Gothic churches of the Middle Ages to the eighteenth century by capturing it in stone. Thus men like Augustus Pugin and John Ruskin came to argue that the Gothic Revival represented a standard of moral excellence that was to be practised and imitated as widely as possible.
The Greek Revival grew out of the neoclassicism movement, and represented in essence an attempt by its adherents to find in the architecture of antiquity a form of architecture that corresponded to the principles of reason and order emerging from their own Age of Reason and Enlightenment. Neoclassicism, and the Greek Revival in particular, represented a pursuit for architectural and intellectual truth. An architect could perceive in the forms of antiquity principles of excellent reasoning and intelligence that prevailed in the rationalistic spirit of his own age, and by reinvigorating the ancient style the neoclassical architect could build buildings that were inspired by and inspired in others principles of reason and rationality. Neoclassicism and the Greek Revival conflicted with the Gothic Revival because they perceived the moral truths claimed by the Gothic revivalists as chiefly illusory and false. The Gothic Revival was, in the neo-classicist’s eyes, a decadent celebration of style over substance that elevated illusion and ornament above reason and truth. Neo-Gothic architects were seemingly content to produce endless copies and weak imitations of Gothic style merely to please frivolous aristocrats; neo-classicists however believed that their architecture was a creative act that gave birth to constantly new adaptations of the classical model. Neo-Gothic architects in turn conflicted with neoclassicism because it was cold and devoid of emotion, feeling or moral purpose; its elite attitude rendered any collaboration between the two styles most difficult.
希腊复兴运动源于新古典主义运动，本篇留学作业认为本质上代表了其追随者试图在古代建筑中找到一种与他们自己的理性和启蒙时代产生的理性和秩序原则相一致的建筑形式。新古典主义，尤其是希腊复兴，代表了对建筑和知识真理的追求。建筑师可以以古代的形式感知他所在时代的理性主义精神中盛行的优秀推理和智慧原则，通过复兴古代风格，新古典主义建筑师可以建造受其他理性和理性原则启发的建筑。新古典主义和希腊复兴主义与哥特复兴主义相冲突，因为他们认为哥特复兴主义者所宣称的道德真理主要是虚幻和虚假的。在新古典主义者看来，哥特式复兴是一种颓废的风格庆典，它将幻觉和装饰提升到理性和真理之上。新哥特式建筑师似乎满足于对哥特式风格进行无休止的复制和微弱的模仿，仅仅是为了取悦轻浮的贵族；然而，新古典主义者认为，他们的建筑是一种创造性的行为，不断地对古典模式进行新的改编。新哥特式建筑师反过来又与新古典主义发生冲突，因为新古典主义冷漠，缺乏情感、情感或道德目的；它的精英态度使得这两种风格之间的任何合作都变得最为困难。
Art historians divide the Gothic Revival into two stages, and each of these stages came to represent quite different ideas. The first stage of the Gothic revival was characterized a ‘raw’ and naive imitation of Gothic architecture that lacked either an architectural philosophy or a coherent system of organization. The first building of this early type was Lord Horace Walpole’s villa Strawberry Hill which was built in 1747; another prominent early specimen was Fonthill Abbey designed and built by James Wyatt. Both of these buildings, in the spirit of Walpole’s atmospheric novel Castle of Otranto (Walpole, 2004), were attempts to preserve in stone the Romantic atmosphere of the Middle Ages; both also demonstrated perhaps more clearly than any other buildings of this time the impracticality and lack of structure of much Neo-Gothic building. This first flourishing of Neo-Gothic architecture was extended into the public sphere also: for instance in the new Houses of Parliament designed and built by Sir Charles Barry and A.W. Pugin. In America too, this nascent Neo-Gothic style was reflected in buildings such as Richard Upjohn’s Trinity Church built in New York in 1840 and Renwick’s St. Patrick’s Cathedral also built in New York. The picturesque quality and organization of many of these buildings led to applause for its Romantic splendour, but also much criticism for its lack of substance and for its unfaithful imitation of the original Gothic form.
艺术史学家将哥特复兴分为两个阶段，每个阶段都代表了截然不同的思想。哥特式复兴的第一阶段是对哥特式建筑的“原始”和天真模仿，缺乏建筑哲学或连贯的组织体系。这种早期类型的第一座建筑是霍勒斯·沃波尔勋爵的别墅草莓山，建于1747年；另一个著名的早期标本是由詹姆斯·怀亚特设计和建造的丰特希尔修道院。这两座建筑都秉承了沃尔波尔大气小说《奥特兰托城堡》的精神，试图用石头保存中世纪的浪漫主义氛围；这两座建筑也比当时的任何其他建筑都更清楚地表明了许多新哥特式建筑的不切实际和缺乏结构。新哥特式建筑的第一次繁荣也延伸到了公共领域：例如，查尔斯·巴里爵士和A.W.普金设计和建造的新议会大厦。在美国，这种新生的新哥特式风格也反映在建筑中，如1840年在纽约建造的理查德·厄普约翰的三一教堂和同样在纽约修建的伦威克的圣帕特里克大教堂。本篇留学作业认为其中许多建筑风景如画的质量和组织结构为其浪漫主义的辉煌赢得了掌声，但也因其缺乏实质内容和对原始哥特式形式的不忠实模仿而受到许多批评。
If the first stage of the Gothic Revival lacked diligent observation and restoration of Gothic architecture or philosophical principles, then serious efforts were made at the turn of the century to ground the movement more securely upon such principles. The ‘late’ period of Neo-Gothic is thus characterized by a stricter adherence to medieval architectural form and to a philosophical interpretation that viewed Gothic architecture as a paragon of moral virtue and excellence. In England two men were of foremost importance in the development of this second stage: A. Pugin and J. Ruskin. (In France, Eugene-Emmanuel Viollet-le-Due played an equally important role). By this time, architects were no longer content to merely imitate Gothic forms and designs, but sought to create original works founded upon the principles of the original Gothic architecture and which fitted to the particular circumstances of nineteenth-century society.
本篇留学作业指出如果说哥特式复兴的第一阶段缺乏对哥特式建筑或哲学原则的认真观察和恢复，那么在世纪之交，人们就做出了认真的努力，以更安全地将这场运动建立在这些原则的基础上。因此，新哥特式“晚期”的特点是更严格地遵循中世纪的建筑形式，并将哥特式建筑视为道德美德和卓越的典范。在英国，有两个人在第二阶段的发展中起着至关重要的作用。（在法国，尤金·埃马纽埃尔·维奥莱特·勒杜扮演了同样重要的角色）。到那时，建筑师不再满足于仅仅模仿哥特式的形式和设计，而是寻求在原始哥特式建筑原则的基础上创作符合19世纪社会特殊情况的原创作品。
Thus at the turn of the nineteenth-century it is possible to observe a clear evolution in the form of the Gothic Revival away from the loose sentimentality and picturesque quality of the early period and towards a style of dominated by precise architectural limitation of Gothic form as made possible by detailed and comprehensive investigations into this style. One such early investigation was John Carter’s The Ancient Architecture of England (Carter, 1795) which was the first work that recorded with extensive detail and exactitude the Gothic style of medieval buildings; Thomas Rickman’s An Attempt to Discriminate the Styles of English Architecture (Rickman, 1817) gave an extensive account of the varieties of Gothic styles, whilst Pugin’s Specimens of Gothic Architecture (Pugin,1821) deepened and extended the range and accuracy of these initial investigations. Nonetheless, despite the great advances that had been made in the scholarship of the Gothic Revival, the actual building of Gothic buildings remained for some time in the earlier ornamental style that characterized the first period of the movement — famous examples being Windsor Castle which was restored in 1824 by Sir Jeffrey Wyatville, and King’s College Cambridge in 1827to 1831. The greatest use of the Neo-Gothic style at this time was however for church buildings — the style being cheaper and easier to construct than neoclassical designs.
因此，在19世纪之交，可以观察到哥特式复兴的形式发生了明显的演变，摆脱了早期松散的伤感和如画的品质，并通过对这种风格的详细和全面的调查，朝着一种由哥特式形式的精确建筑限制所主导的风格发展。其中一项早期调查是约翰·卡特的《英格兰古代建筑》，这是第一部详细准确地记录中世纪建筑哥特式风格的作品；托马斯·里克曼的《辨别英国建筑风格的尝试》对哥特式风格的多样性进行了广泛的描述，而普金的《哥特式建筑样本》则深化和扩展了这些初步调查的范围和准确性。尽管如此，尽管在哥特式复兴的学术研究方面取得了巨大进展，但哥特式建筑的实际建筑在一段时间内仍保持着早期装饰风格，这是该运动第一阶段的特征——著名的例子是1824年杰弗里·怀亚特维尔爵士修复的温莎城堡，以及1827年至1831年修复的剑桥国王学院。然而，新哥特式风格在当时的最大用途是教堂建筑——这种风格比新古典主义设计更便宜、更容易建造。
For all the diligent and pain-staking work of the Gothic Revival scholars to come to life in actual buildings it took the skill and vision of one particular man. This man was Augustus Charles Pugin: he presented the argument that Neo-Gothic architectural style was the most fitting emblem of the spirit of the Catholic Church and so was also therefore the only permissible architectural form to express the work of Godin his Church. In Contrasts (1836) Pugin argued that architectural form imitates the condition of the society that creates it; since the society of medieval times was a paragon of virtue and moral integrity then it was natural and obvious that Gothic architecture is the most moral form of architecture. Thus in The True Principles of Pointed or Christian Architecture (1841) Pugin was able to set down comprehensive and coherent principles for the justification of the Gothic Revival. In a major step away from the earlier decadence or the style, Pugin argued that all features and designs of a church must be essential for its correct functioning and structural shape; architecture form must be clean and purposeful since these are also the qualities that we expect of our moral condition. Pugin put this architectural philosophy into practice most assiduously in the years 1837 to 1844: in St Mary’s Church in Derby, in St. Wilfred’s Church in Manchester and in St. Oswald’s Church in Liverpool and many other church buildings. Pugin’s work quickly became an inspiration for Anglican Church reformers such as the Tractarians in Oxford who used his architectural church style as an ideal form by which to carry out their own agenda of church building restoration.
本篇留学作业提出哥特复兴学者们勤奋而痛苦的工作要在实际的建筑中栩栩如生，需要一个特定的人的技能和远见。这个人就是奥古斯都·查尔斯·普金：他提出了一个论点，即新哥特式建筑风格是天主教精神的最恰当象征，因此也是表达戈丁教堂作品的唯一允许的建筑形式。在《对比》中，普金认为建筑形式模仿了创造它的社会条件；既然中世纪社会是美德和道德操守的典范，那么哥特式建筑是最道德的建筑形式，这是自然的，也是显而易见的。因此，在《尖头或基督教建筑的真正原则》中，普金能够为哥特式复兴的正当性制定全面而连贯的原则。普金认为，教堂的所有特征和设计都必须对其正确的功能和结构形状至关重要，这与早期的颓废或风格截然不同；建筑形式必须是干净和有目的的，因为这些也是我们对道德状况的期望。在1837年至1844年，普金最勤奋地将这一建筑哲学付诸实践：在德比的圣玛丽教堂、曼彻斯特的圣威尔弗雷德教堂、利物浦的圣奥斯瓦尔德教堂和许多其他教堂建筑中。普金的作品很快成为英国圣公会改革者的灵感来源，比如牛津的特拉塔里亚人，他们将普金的建筑教堂风格作为一种理想的形式，以此来执行他们自己的教堂建筑修复议程。
It should be noted here that Pugin’s work as well as that of many other architects across Britain and Europe was profoundly influenced by the ideas of John Ruskin and his two seminal works The Seven Lamps of Architecture (1849) and The Stones of Venice (Ruskin,1854). Ruskin’s ideas were inspired by the architectural forms that he had seen in Italy and particularly in Venice; Ruskin thus argued that Gothic was the supreme form of architecture due to the ‘sacrifice’ made by stonemasons in detailing every stone of a building. Ruskin thus exalted Doge’s Palace as ‘ the central building in the world‘ (Ruskin, 1854) — arguing that Pugin’s programme of Gothic Revival in churches should be extended to government buildings also. Moreover, Ruskin himself by his teachings extended the Gothic Revival further by promoting a ‘polychromatic’ style of work inspired by Italian Gothic architecture. This work in turn inspired buildings such as Butterfield’s All Saint’s Church, Keble College in Oxford and Rugby School.
这里需要注意的是，普金的作品以及英国和欧洲许多其他建筑师的作品都深受约翰·拉斯金及其两部开创性作品《建筑的七盏灯》和《威尼斯之石》的影响。拉斯金的想法受到了他在意大利，特别是威尼斯看到的建筑形式的启发；拉斯金因此认为，哥特式是建筑的最高形式，因为石匠在详细设计建筑的每一块石头时都做出了“牺牲”。因此，鲁斯金将多格宫尊为“世界中心建筑”，认为普金的教堂哥特式复兴计划也应扩展到政府建筑。此外，拉斯金本人通过其教义进一步扩展了哥特式复兴，推广了受意大利哥特式建筑启发的“多色”风格的作品。这件作品反过来启发了巴特菲尔德的全圣教堂、牛津的凯布尔学院和拉格比学校等建筑。
In short, by the end of the eighteenth century the Gothic Revival had been transformed from what began as a Romantically inspired fondness for majestic ornamentalism, into a style of architecture grounded upon powerful moral and philosophical principles as well as an intricate and comprehensive awareness of Gothic form.
简言之，到18世纪末，哥特式复兴已经从一开始的浪漫主义风格转变为一种基于强大的道德和哲学原则以及对哥特式形式的复杂而全面的认识的建筑风格。
The Greek Revival, a growth out of the neoclassicism movement, flourished in the years 1750-1830, and was in many ways the antithesis of the Neo-Gothic form of architecture with which it was contemporaneous. As we have seen, whatever its later manifestations, the Gothic Revival had been a product of Romanticism and of the passions and emotions; the Greek Revival, in complete contrast, exalted reason, the intellect and rationality above all else. Neoclassicism sought as its highest aim to realize architectural and intellectual purity and truth — in stark contrast to what it perceived to be the ornamentalism and illusory truth of the Neo-Gothic style. ‘Neo’-classicism was founded upon a corpus of work that had in antiquity achieved canonical status, that is, it was based upon the observation of ‘classic’ art and classic form. In the words of Crook (1995) ‘ Ideally – and neoclassicism is essentially an art of the ideal – an artist, well-schooled and comfortably familiar with the canon, does not repeat in a lifeless reproductions, but synthesizes the tradition anew in each work ‘. In other words, neoclassicism — of which the Greek Revival was to become the most refined example — sought the highest possible levels of artistic achievement; the neo-classicist style existed only to reinterpret for contemporary circumstances the great work and principles that had already been achieved in the past. Thus, in Crook’s words (1995), ‘Neoclassicism exhibits perfect control of an idiom’ (Crook,1995); that is perfection already achieved, the architect’s task is to fit that perfection of antiquity in a modern cast. All of these above points are significant for understanding the opposition of architects of the Greek Revival against the Gothic Revival. For, in the beginning, much of Neo-Gothic architecture consisted of little more than crude and naive imitations of far superior original Gothic works. Thus in such imitation work there was no creativity and no continuation of the development of an existing idiom. Thus Neo-Gothic form was viewed by Greek revivalists as superfluous and as inferior to their own architectural pursuits.
希腊复兴运动是新古典主义运动的产物，在1750-1830年蓬勃发展，在许多方面与同时代的新哥特式建筑形式相反。正如我们所看到的，无论其后来的表现如何，哥特式复兴都是浪漫主义和激情与情感的产物；与之形成鲜明对比的是，希腊复兴将理性、智慧和理性凌驾于一切之上。新古典主义的最高目标是实现建筑和知识的纯粹性和真实性，这与它所认为的新哥特式风格的装饰性和虚幻的真实性形成了鲜明对比。”新古典主义建立在一个在古代已经达到规范地位的作品基础上，也就是说，它建立在对“经典”艺术和经典形式的观察之上。本篇留学作业用克鲁克的话来说，“理想情况下——新古典主义本质上是一种理想的艺术——一个受过良好教育、熟悉经典的艺术家，不会在毫无生气的复制品中重复，而是在每件作品中重新综合传统”。换言之，新古典主义——希腊复兴成为其中最精致的例子——寻求尽可能高的艺术成就水平；新古典主义风格的存在只是为了在当代环境中重新诠释过去已经实现的伟大作品和原则。因此，用克鲁克的话来说，“新古典主义表现出对习语的完美控制”；这就是已经达到的完美，建筑师的任务是将古代的完美融入现代的铸件中。以上几点对于理解希腊复兴建筑师对哥特式复兴的反对具有重要意义。因为，在一开始，许多新哥特式建筑只不过是对远超原始哥特式作品的粗糙和天真的模仿。因此，本篇留学作业认为在这样的模仿工作中，既没有创造性，也没有对现有习语的发展的延续。因此，希腊复兴主义者认为新哥特式的形式是多余的，不如他们自己的建筑追求。
The emergence of the Greek Revival was made possible by an astonishing efflorescence of archaeological exploration into the sites and cultures of classical Rome and Greece around the middle of the eighteenth century. The discoveries of the archaeologists inspired and sustained the Greek revival. In 1719 Bernard de Montfaucon’s released his giant ten-volume opus Antiquity Explained and Represented in Diagrams (Montfaucon, 1719). This book was hugely popular and intrigued the imaginations hundreds and thousands of European tourists who began to flock to the sites of ancient Rome and Greece. Furthermore, the sensational excavations of cities like Pompeii and Herculaneum in 1748 and 1738 further fuelled the imaginations of architects, archaeologists, novelists and many others. Many other works on classical art and architecture such as Giovanni Piranesi’sPrima Parte di Architecttura, Robert Wood’s Ruins of Palmyra (1753) and Robert Adam’s Ruins of the Temple of the Emperor Diocletian (Adam’s, 1764)were soon published and led to still further thousands going on adventures to the Continent.
18世纪中叶左右，对古罗马和希腊的遗址和文化进行了惊人的考古探索，使希腊复兴运动的出现成为可能。考古学家的发现启发并支撑了希腊的复兴。1719年，Bernard de Montfaucon出版了他的十卷巨著《用图解解释和表现古代》。这本书大受欢迎，激发了成百上千的欧洲游客的想象力，他们开始涌向古罗马和希腊遗址。此外，1748年和1738年对庞贝和赫库兰尼姆等城市的轰动性发掘进一步激发了建筑师、考古学家、小说家和许多其他人的想象力。许多其他关于古典艺术和建筑的作品，如Giovanni Piranesi的《建筑之父》、Robert Wood的《帕尔米拉遗址》和Robert Adam的《戴克里先皇帝神庙遗址》很快出版，并导致数千人前往欧洲大陆冒险。
This general interest in classical antiquity quickly transformed in the eighteenth century into a burst of fascination with Greek antiquities in particular and displayed a conviction as to the superiority of Greek above Roman architecture. The discovery of the sixth-century ruins of Paestrum received much publicity and was recorded by Italian artist Domenico Antonini and French architect Jacques-Germain Soufflot; soon afterwards Pancrazi published his seminal Antichita Siciliane and Dumont released his Ruins de Paestrum. Deeper investigation into the Greek mainland territory led James Stuart and Nicholas Revett to publish The Antiquities of Athens (Stuart & Revett, 1750) which was highly influential upon architects in England. Whilst it took some time for this appreciation of Greek form to be turned into actual imitative buildings nonetheless the superiority of Greek to Roman architecture had been established by the time of Johan Winckelmann’s Reflections on the Painting and Sculpture of the Greeks in 1765.
这种对古典古代的普遍兴趣在18世纪迅速转变为对希腊古代的迷恋，尤其是对希腊古代建筑的迷恋，并表现出希腊建筑优于罗马建筑的信念。六世纪女贞花遗址的发现受到了广泛的关注，并由意大利艺术家多梅尼科·安东尼和法国建筑师雅克·热尔曼·索夫洛记录；不久之后，潘克拉兹出版了他开创性的《西西里Antichita》，杜蒙出版了他的《Paestrum废墟》。詹姆斯·斯图亚特和尼古拉斯·雷维特对希腊本土进行了更深入的调查，出版了《雅典文物》，这本书对英国建筑师产生了巨大影响。虽然这种对希腊形式的欣赏需要一段时间才能变成真正的模仿建筑，但希腊建筑相对于罗马建筑的优越性在1765年约翰·温克尔曼的《关于希腊人绘画和雕塑的思考》中已经确立。
Thus architects of the Greek Revival sought to infer from these classical forms principles of order and reason that corresponded to those being discovered in their own age of Enlightenment; neoclassical architects argued that if their own buildings came to embody these principles then society at large would be edified by the experience. Nonetheless, the Greek Revival, like Neoclassicism generally, contained an inherent paradox. Its longing backward-stare to the times of antiquity was inspired by as much by an emotional fondness for antiquity (supposedly the characteristic of the Romantic Gothic Revival) as a predilection for principles of pure reason and rationality. Thus some twentieth century arthistorians have come to speak of this aspect of the Greek Revival as ‘Romantic Classicism’ (Stillman, 1998).
因此，希腊复兴的建筑师试图从这些古典形式中推断出秩序和理性的原则，这些原则与他们自己启蒙时代发现的原则相对应；新古典主义建筑师认为，如果他们自己的建筑体现了这些原则，那么整个社会都会受到这种经验的熏陶。尽管如此，希腊复兴与一般的新古典主义一样，包含着一个内在的悖论。它渴望向后凝视古代时代，其灵感来源于对古代的情感喜爱（据说是浪漫哥特式复兴的特征）以及对纯粹理性原则的偏好。因此，一些二十世纪的艺术史学家将希腊复兴的这一方面称为“浪漫古典主义”。
After 1800, in England, the internal dynamics of Neoclassicism directed the movement away from Roman architecture and toward that of ancient Greece – as such, a huge number of buildings were built in these years according to the architectural principles of ancient Greece. Sir John Soane, the architect of the Bank of England, developed a highly influential architectural style that involved promoting the linear abstraction of classical Greek forms and, by using extensive archaeological evidence to inform the designs of patterns, he achieved a spectacular dramatization of the interior spaces of his buildings — a style reminiscent of Etienne-Louis Boullee and Claude-Nicholas Ledoux on the continent. A prominent example of this new style in England was Downing College, Cambridge, modelled upon the Erechtheum from the Acropolis in Athens. The Covent Garden Theatre in London, built by Sir Robert Smirke, was the first Doric style building in the capital; the planning of Regent Street as well as Regent Street Park by John Nash reflected the use of classical Greek styles of city planning and organization. So too the British Museum in London built in 1847 is perhaps the most prominent example of ionic Greek imitation in Britain. In Edinburgh — named admiringly the’ Athens of the North’ by locals at the time — the Greek Revival was extremely influential in the eighteenth century, as shown in buildings such as the Royal High School and the Royal Scottish Academy. The dominance of Greek neoclassical architecture would dominate the British landscape until the advent of Modernism in the twentieth century.
1800年后，在英国，新古典主义的内部动力将这场运动从罗马建筑转向了古希腊建筑——因此，本篇留学作业认为在这些年里，根据古希腊的建筑原则建造了大量的建筑。英格兰银行的建筑师约翰·索恩爵士发展了一种极具影响力的建筑风格，包括促进古典希腊形式的线性抽象，并通过使用广泛的考古证据为图案设计提供信息，他对自己建筑的内部空间进行了壮观的戏剧化处理，这种风格让人想起了欧洲大陆的艾蒂安·路易斯·布勒和克劳德·尼古拉斯·勒杜。这种新风格在英国的一个突出例子是剑桥的唐宁学院，它模仿了雅典卫城的Erechtheum。由罗伯特·斯米尔克爵士建造的伦敦考文特花园剧院是首都第一座多立克风格的建筑；约翰·纳什对摄政街和摄政街公园的规划体现了古典希腊风格的城市规划和组织。1847年建造的伦敦大英博物馆可能也是英国模仿希腊离子最突出的例子。在当时被当地人尊称为“北方雅典”的爱丁堡，希腊复兴运动在18世纪极具影响力，如皇家高中和皇家苏格兰学院等建筑。希腊新古典主义建筑的主导地位将主导英国的景观，直到20世纪现代主义的出现。
In the final analysis, even if it is paradoxical to say so in light of the sustained conflict that existed between them, both the Gothic Revival and Greek Revival had similar goals, and used similar means to attain those goals. The Gothic Revival began life as a celebration of the spirit and forms of a time other than its own: the Middle Ages. So too, the Greek Revival was engendered by a renascent fascination with classical archaeology and the Greek Revival’s preoccupation was with the ideals and forms of ancient Greece – somewhere even more removed than Medieval Europe! The Greek Revival ultimately represented an attempt to renew and reinvigorate the classical Greek belief in the purity and perfection of architectural form and its corresponding revelation of ‘truth’. It was thus no coincidence that the spirit of the neoclassical age was also dominated by the Enlightenment and the Age of Reason. The Greek Revival thus cast the ancient principles of classical Greece in the mould of eighteenth century rationality; the aim here, like with the later Gothic Revival, being to produce a form of architecture that would edify society. The bitter conflict between the Gothic Revival and the Greek Revival can be explained simply by the fact that each were prepossessed by attitudes quite contrary to the other: one exalting reason and order, the other passion and emotion. Both revivals were each consumed in the whirlwind of their own zeitgeist and only with retrospect and the other advantages of history is it possible show the equal validity of their separate truths.
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本篇留学作业归根结底，即使考虑到他们之间持续存在的冲突，这样说是自相矛盾的，但哥特复兴和希腊复兴都有相似的目标，并使用相似的手段来实现这些目标。哥特式复兴最初是对中世纪以外的时代的精神和形式的庆祝。同样，希腊复兴运动是由对古典考古的重新着迷所产生的，而希腊复兴运动关注的是古希腊的理想和形式——一个比中世纪欧洲更遥远的地方！希腊复兴运动最终代表了一种尝试，即更新和振兴古典希腊对建筑形式的纯洁和完美及其对“真理”的相应揭示的信仰。因此，新古典主义时代的精神也被启蒙运动和理性时代所支配，这绝非巧合。因此，希腊复兴将古典希腊的古代原则塑造成18世纪理性的模式；这里的目标，就像后来的哥特式复兴一样，是创造一种能够启迪社会的建筑形式。哥特式复兴和希腊复兴之间的激烈冲突可以简单地解释为，两者都被完全相反的态度所压倒：一种推崇理性和秩序，另一种推崇激情和情感。这两次复兴都被各自的时代精神所吞噬，只有通过回顾和历史的其他优势，才有可能显示出它们各自真理的同等有效性。本站提供各国各专业留学作业范文，作业代写以及留学作业写作指导，如有需要可咨询本台。