Architectural style in the context of "Eave"

A church, church building, or chapel is a building used for Christian worship services and Christian activities. The earliest identified Christian church is a house church founded between 233 AD and 256 AD. The word church also describes a body or assembly of Christian believers, while "the Church" refers to the worldwide Christian religious community.

In traditional Christian architecture, the plan view of a church often forms a Christian cross. The center aisle and seating create the vertical beam, while the bema and altar form the horizontal arms. Towers or domes rise above the heaven-facing roof line to encourage contemplation of the divine. Modern churches employ varied architectural styles, and many buildings originally designed for other purposes have been converted to churches. From the 11th to the 14th centuries, Western Europe experienced a wave of church construction.

Modern architecture, also called modernist architecture, or the modern movement, is an architectural movement and style that was prominent in the 20th century, between the earlier Art Deco and later postmodern movements. Modern architecture was based upon new and innovative technologies of construction (particularly the use of glass, steel, and concrete); the principle of functionalism (i.e. that form should follow function); an embrace of minimalism; and a rejection of ornament.

According to Le Corbusier, the roots of the movement were to be found in the works of Eugène Viollet-le-Duc, while Mies van der Rohe was heavily inspired by Karl Friedrich Schinkel. The movement emerged in the first half of the 20th century and became dominant after World War II until the 1980s, when it was gradually replaced as the principal style for institutional and corporate buildings by postmodern architecture.

Classical architecture typically refers to architecture consciously derived from the principles of Greek and Roman architecture of classical antiquity, or more specifically, from De architectura (c. 10 AD) by the Roman architect Vitruvius. Variations of classical architecture have arguably existed since the Carolingian Renaissance, and became especially prominent during the Italian Renaissance and the later period known as neoclassical architecture or Classical revival. While classical styles of architecture can vary, they generally share a common "vocabulary" of decorative and structural elements. Across much of the Western world, classical architectural styles have dominated the history of architecture from the Renaissance until World War II. Classical architecture continues to influence contemporary architects.

The term classical architecture can also refer to any architectural tradition that has evolved to a highly refined form, such as classical Chinese or Mayan architecture. It may also describe architecture that adheres to classical aesthetic philosophy. The term might be used differently from "traditional" or "vernacular architecture", it can share underlying axioms with it.

Gothic Revival (also referred to as Victorian Gothic or Neo-Gothic) is an architectural movement that after a gradual build-up beginning in the second half of the 17th century became a widespread movement in the first half of the 19th century, mostly in England. Increasingly serious and learned admirers sought to revive medieval Gothic architecture, intending to complement or even supersede the neoclassical styles prevalent at the time. Gothic Revival draws upon features of medieval examples, including decorative patterns, finials, lancet windows, and hood moulds. By the middle of the 19th century, Gothic Revival had become the pre-eminent architectural style in the Western world, only to begin to fall out of fashion in the 1880s and early 1890s.

For some in England, the Gothic Revival movement had roots that were intertwined with philosophical movements associated with Catholicism and a re-awakening of high church or Anglo-Catholic belief concerned by the growth of religious nonconformism. The "Anglo-Catholic" tradition of religious belief and style became known for its intrinsic appeal in the third quarter of the 19th century. Gothic Revival architecture varied considerably in its faithfulness to both the ornamental styles and construction principles of its medieval ideal, sometimes amounting to little more than pointed window frames and touches of neo-Gothic decoration on buildings otherwise created on wholly 19th-century plans, using contemporary materials and construction methods; most notably, this involved the use of iron and, after the 1880s, steel in ways never seen in medieval exemplars.

Pompeii (/pɒmˈpeɪ(i)/ pom-PAY(-ee); Latin: [pɔmˈpei̯.iː]) was a city in what is now the municipality of Pompei, near Naples, in the Campania region of Italy. Along with Herculaneum, Stabiae, and many surrounding villas, the city was buried under 4 to 6 m (13 to 20 ft) of volcanic ash and pumice in the eruption of Mount Vesuvius in 79 AD.

Largely preserved under the ash, Pompeii offers a unique snapshot of Roman life, frozen at the moment it was buried, as well as insight into ancient urban planning. It was a wealthy town of 10,000 to 20,000 residents at the time it was destroyed. It hosted many fine public buildings and luxurious private houses with lavish decorations, furnishings and artworks, which were the main attractions for early excavators; subsequent excavations have found hundreds of private homes and businesses reflecting various architectural styles and social classes, as well as numerous public buildings. Organic remains, including wooden objects and human bodies, were interred in the ash; their eventual decay allowed archaeologists to create moulds of figures in their final moments of life. The numerous graffiti carved on outside walls and inside rooms provide a wealth of examples of the largely lost Vulgar Latin spoken colloquially at the time, contrasting with the formal language of classical writers.

Islamic architecture comprises the architectural styles of buildings associated with Islam. It encompasses both secular and religious styles from the early history of Islam to the present day. The Islamic world encompasses a wide geographic area historically ranging from western Africa and Europe to eastern Asia. Certain commonalities are shared by Islamic architectural styles across all these regions, but over time different regions developed their own styles according to local materials and techniques, local dynasties and patrons, different regional centers of artistic production, and sometimes different religious affiliations.

Early Islamic architecture was influenced by Roman, Byzantine, Iranian, and Mesopotamian architecture and all other lands which the early Muslim conquests conquered in the seventh and eighth centuries. Later it developed distinct characteristics in the form of buildings and in the decoration of surfaces with Islamic calligraphy, arabesques, and geometric motifs. New architectural elements like minarets, muqarnas, and multifoil arches were invented. Common or important types of buildings in Islamic architecture include mosques, madrasas, tombs, palaces, hammams (public baths), Sufi hospices (e.g. khanqahs or zawiyas), fountains and sabils, commercial buildings (e.g. caravanserais and bazaars), and military fortifications.

Neoclassical architecture, sometimes referred to as Classical Revival architecture, is an architectural style produced by the Neoclassical movement that began in the mid-18th century in Italy, France and Germany. It became one of the most prominent architectural styles in the Western world. The prevailing styles of architecture in most of Europe for the previous two centuries, Renaissance architecture and Baroque architecture, already represented partial revivals of the Classical architecture of ancient Rome and ancient Greek architecture, but the Neoclassical movement aimed to strip away the excesses of Late Baroque and return to a purer, more complete, and more authentic classical style, adapted to modern purposes.

The development of archaeology and published accurate records of surviving classical buildings was crucial in the emergence of Neoclassical architecture. In many countries, there was an initial wave essentially drawing on Roman architecture, followed, from about the start of the 19th century, by a second wave of Greek Revival architecture. This followed increased understanding of Greek survivals. As the 19th century continued, the style tended to lose its original rather austere purity in variants like the French Empire style. The term "neoclassical" is often used very loosely for any building using some of the classical architectural vocabulary.

Eclecticism in architecture is a 19th and 20th century architectural style in which a single piece of work incorporates eclecticism, a mixture of elements from previous historical styles to create something that is new and original. In architecture and interior design, these elements may include structural features, furniture, decorative motives, distinct historical ornament, traditional cultural motifs or styles from other countries, with the mixture usually chosen based on its suitability to the project and overall aesthetic value.

The term is also used of the many architects of the 19th and early 20th centuries who designed buildings in a variety of styles according to the wishes of their clients, or their own. The styles were typically revivalist, and each building might be mostly or entirely consistent within the style selected, or itself an eclectic mixture. Gothic Revival architecture, especially in churches, was most likely to strive for a relatively "pure" revival style from a particular medieval period and region, while other revived styles such as Neoclassical, Baroque, Palazzo style, Jacobethan, Romanesque and many others were likely to be treated more freely.

Romanian Revival architecture (a.k.a. Romanian National Style, Neo-Romanian, or Neo-Brâncovenesc; Romanian: stilul național român, arhitectura neoromânească, neobrâncovenească) is an architectural style that has appeared in the late 19th century in Romanian Art Nouveau, initially being the result of the attempts of finding a specific Romanian architectural style. The attempts are mainly due to the architects Ion Mincu (1852–1912), and Ion N. Socolescu (1856–1924). The peak of the style was the interwar period. The style was a national reaction after the domination of French-inspired Classicist Eclecticism. Apart from foreign influences, the contribution of Romanian architects, who reinvented the tradition, creating, at the same time, an original style, is manifesting more and more strongly. Ion Mincu and his successors, Grigore Cerchez [ro], Cristofi Cerchez, Petre Antonescu, or Nicolae Ghica-Budești declared themselves for a modern architecture, with Romanian specific, based on theses such as those formulated by Alexandru Odobescu around 1870:

Of course, such a program was not easy to accomplish. All the more so as the new types of urban architecture, especially those with many floors, demanded simple solutions, which hardly supported the world of medieval forms and ornaments or that of folklore, the main sources of inspiration of the style.