别墅设计风格－－联邦和帝国时期
仁爱英语七年级上册教案自1760年之后,虽然英国建筑师设计新古典风格的新结构,但美国建筑师并不如此。1775年革命之前，美国住宅没有在任何程度上采用这种别墅设计风格。“新古典”运动是对古典建筑的再诠释。源自罗马公共建筑的庞德罗斯.帕拉迪奥元素被放弃了，取而代之的灵感来自最新的考古学发现，特别是罗马的居住建筑考古成就。18世纪70年代，少数住宅的建筑规划表现了英国新古典主义在某些细部上的变化。(五境空间设计)但是，由于某些殖民地经济低迷，加上殖民保护主义的影响，导致了对“整洁而朴素”别墅设计的崇拜，它把对于这种运动的接受时间推迟到1782年之后。
直到19世纪早期，美国一些重要的英国移民建筑师，例如本杰明.亨利.拉特罗布等，还抱怨手工艺工匠仍然死抱住乔治亚时代早期的传统风格不放。
1783年之后，美国革命结束，在罗德岛的普罗维登斯和其他城市，一些富裕商人建造的住宅仍然反映了乔治亚时代的审美观念。但是，新联邦的一些领导人则在寻求一种能够在哲学上适合这个民族的别墅设计风格。许多人推崇罗波特和詹姆斯.亚当及他们的跟随者在英国的作品，将其作为一种合适的原型。而另外一些人崇尚简单和实用的思想，他们在寻找一种风格，
能够与欧洲大陆的新古典主义和古典复兴的风格相适应。
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trilogy在18世纪80年代末期，联邦或者“亚当式”风格已经家喻户晓。这种建筑由于变细的形式、曲线或者椭圆特征和复杂的细部而变得更加优雅，多边形或者曲线形阳台，把屋顶的屋脊隐藏在栏杆之后，用大方格和玻璃窗格加长玻璃窗，装饰檐口和入口门厅用薄收分的柱子获得某种“旧口味”，房间趋于开放而轻快，墙面、拱顶和顶棚造型偶尔采用椭圆形。平抹灰墙用壁炉外框、门框、墙裙和檐口来适当地装饰。(五境空间设计)宏伟的别墅设计中，采用进一步装饰的顶棚、带有花彩边缘的墙纸来修饰。(Kongjiasheji)
对于简洁典雅而富有纪念性的意大利希腊风格遗址的热情，激发了希腊复兴运动的出现。虽然贬损一层或者两层高的柱廊式门廊，柱子采用各种不同的柱式，有多立克柱式，特别是爱奥尼柱式超常尺度的柱头。一些细部特别是石材细部可能非常简单朴素，采用宽大整齐的檐口，一些窗户和门周围采用希腊风格的金银花、网纹和蛋箭饰线脚。窗户和扇形窗、门顶窗不再是圆的，而是方形或者长方形的。veral的用法
师大二附
城市别墅设计形式特别依赖圆柱形的门边饰和箨口装饰。统一的砖砌工艺非常干净，狭窄的节点、楣石和踏步非常简洁美观。室内运用了同样的别墅设计手法，不在使用壁板，但
装饰形成鲜明对比。(五境空间设计)直到19世纪50年代后，希腊复兴风格仍然受到一些显赫人物的喜爱，后来则主要出现在地方乡土的别墅设计中了。塔斯马尼亚虎
Although English architects after 1760 were designing new structures in the Neo-classical manner, American builders did not adopt this style to any advanced degree before the Revolution began in 1775.the “Neo-classical” movement was the reinterpretation of classical architecture .Ponderous Palladian elements derived from Roamn public buildings were abandonrd; inspiration instead came from recent archaeological finds, Particularly of Roman domestic buildings. A few new dwellings planned in the 1770s indicate some translation of English Neo-classicism in certain details, but economic downturs in certain Colonies, aswell as a colonial conrvatism which often venerated the “neat and plain” in builddins, prevented acceptance of the movement until after1782.As late as the early 19thwarlock century, an important Endlish émigré architect in rhe United States, Benjamin Henry Latrobe, complained about the craftsmen who were still ried to the traditional styles of the early Georgian period.
After 1783 and the conclusion of the American Revolution, some wealthy merchants in Providence, Rhode island, and in other cities built hous that still reflected earlier Georgian tastes. However,somr leaders of the new Republic were looking for an architecture that was philosophically appropriate for the nation. Many applayded the work of Robert and James Adam and their followers in Rngland as a suitable model, while others, venerating simple an ytilitarian ideals, arched for astyle more relatdeto Continectal Eutopean versions of Neo-classicism and Classical Revivalism.
foxyThe Federal or "Adamesquen” style became familiar brr the end of the1 780s. This architecture achieved elegance through attenuated forms. Curved or elliptical features and sophistication of detail: polygonal or curvilinear bays. concealed hipped roofs behind balustrades: elongated windows with large panes and thin glazing bars, decorated comices. and ent0' porches u iththin, tapered columns in the "ancient taste". Rooms tended to be open and airy with occasional u oF oval shapes on walls, vaulted or shaped ceilings, and fiat plaster walls decorated by en suite fireplace surrounds, door surrounds, dadoes and cornices. Grand rooms were often further embellished by orname
ntal piaster ceilings, and wall-papers with festoon borders. The Adam brothers’ work was translated to the United States largely through The pattern books of ncher designers. especially tho of William Pain. who Practical Hou Carpenter (1766) and Practical Builder(1744) may not have reached the Colonies before the 1780S. The spread of this fashion was reated to the prence of newly arrived craftsmen from England. and especially by the ri of' the architect. replacing the predominance of the hou carpenter of the previous generation. Regional and nationally promment designers included classicallv trained aristocrats such as Charles Bulfinch in Boston and Gabriel Manigault (1758-1809) in Charleston. and former craftsmen. such as Samuel Mclntire (1757-1811)in Salem and john McComb ( 1758-1853) in New York. Knowiedgeable patrons presd for the Neo-classical s叶le when remodelling earlier hous, George Washington’s changes to Mount Vernon, Virginia. in the 1780sbeinL a supreme example. New hous such as Gore Place in Waltham, Massachutts. and terrace\row hous in Boston, particularly tho designed by Bulfinch. reflected the new Federal taste.
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Hou of the Greek Revival movement reflected the view that the real or imagined Greek
temple was the most perfect creation. They were block-like buildings, with low hipped or temple-f'orm gable roofs, and usually featured porticoes of single or double height with columns of various Orders. including Doric and especially Ionic with oversized capitals. Detailing. particularly on masonry examples, could be rather austere: wide cornice trims and some door and window surrounds were decorated in the Greek manner with anthemions (honeysuckle). Key frets, or egg-and-dartmouldings. Windows and fanlights\transom lights were no longer rounded but square or rectangular. Townhou forms were particularly dependent on columnar door surrounds and entablatures for decoration. Uniform brick-work with clean, narrow joints, and stone for lintels and steps added to the handsome simplicity. Inside. the same decorative devices were applied. Wainscotting was no longer ud but decorative papers. carpets and furniture contrasted with the simplicity of architectural ornamentation m door surrounds. ceiling decoration and fireplace surrounds. The Greek Revival style was still favoured by some prominent patrons until the 1850s. and later still in vernacular buildings.
