The Architecture of Neo-Classicism Seems To Have Emerged Out Man And Nature

“The architecture of Neo-Classicism seems to have emerged out of two different but related developments which radically transformed the relationship between man and nature. The first was a sudden increase in man’s capacity to exercise control over nature. The second, a fundamental shift in the nature of human consciousness…” Such events were a response to changes

in society that not only led to technical advance, but also overelaboration of visual language. Like Utopia, that sought inconceivable perfection in buildings was ineffective, for it was static, lifeless, and it lacked history. But architecture should be functional and dynamic like the theories of Rowel and Trampton agree.

Neoclassical architecture finds its roots in the emergence of the Industrial Revolution and the Enlightenment, whereas the concept of Utopia finds one of its roots in the Jewish millennial thought inclined to society redemption. This relationship between man and nature brought about technological, social, esthetical, archaeological and economic changes that transformed the world. Throughout the 19th century, new systems perfected and consequently, technical and socio-economic forces flourished. Like Richard’s locomotive on cast-iron rails that aided the migration of Europeans to the Americans to filled grid-plan cities.

In addition, the theories of Rowel and Trampton connect to the notion of idealized-Utopian geometrical form. That with character devoted to sublime emotions. But Utopia itself is just Art and entertaining. It is a powerful circular form that entails equilibrium, nature and harmony with the cosmic order. Like the spherical project Cenotaph by Boullée that evokes the presence of the divine. “A similar light is portrayed in the vast masonry sphere of his projected cenotaph for Isaac Newton, where by night a fire was suspended to represent the sun, while by day it was extinguished to reveal the illusion of the firmament...” His creations were dedicated to the worship of the Supreme Being.

“Also, Utopia seems now to have descended the social scale; for it is apparently no longer concerned with the redemption of society as whole, but only with the redemption of its lower strata. Therefore the nineteen century Utopia is apt to wear a look of either strenuous philanthropy or equally strenuous self-help”, the author states. Utopia continued but it remained as a hidden tradition for it drew onto social reform, that of utility to the lower class. Such is the semi-circular Salt Works of Ledoux, a model of visionary architecture that transcended reality. This monument conveyed the character of equally processal status. But Utopia has limitations; it neither enjoys growth nor motion. With that being said, Utopia should envisage change, history and dynamism.

To summarize, changes in society during the 19th century impacted the relationship between man and nature. Out of this trend, new cultural transformations emerged. Like that of advanced technical developments that aided transportation and increased productivity capacity, but also that of unattainable design ideologies that convey neither dynamism nor human growth. Such was the ideal city or Utopia for their design was purely geometrical and limited, not befitting architectural principals of usage and practicality.