Neoclassical Architecture Research Articles

Investigation of colonial-era architecture style on modern architecture design style in Aden city

This study investigated the lasting influence of British colonial architecture (129 years) on contemporary building design in Aden, Yemen. The initial focus was on the perception of British Neo-Classical architecture as a symbol of superiority, overshadowing Aden's rich architectural history. This research explored Aden's architectural transformation from pre-colonial to colonial periods, analyzing the impact of colonial-era building facades on modern design practices. Through observation and interviews with built environment professionals, the study examined the broader social, political, and economic effects of British colonialism. The findings reveal a significant influence of British colonial architecture on the design of building facades in Aden. This influence is evident in structures like the repurposed church on Crater Mountain, which now serves as a government building. The influx of British administrators, soldiers, and workers from diverse backgrounds (Indian, Somali, Jewish) during the colonial period contributed to Aden's architectural diversity by constructing churches, temples, and government buildings. Unfortunately, the ongoing war in Yemen has damaged or destroyed many of these structures. This study also found that classical architectural elements from British colonial buildings like the Military Museum in Crater, the Heritage Museum, and the Tax Office continue to influence modern design. These elements and the miniature Big Ben clock in Al-Tawahi stand as prominent symbols of British influence in Aden. However, the Yemeni government's restoration efforts for these colonial-era buildings have been slow and largely ineffective. The research further explored the enduring influence of Neo-classical architectural ideals in Aden. The study highlights the formal guidelines, specific modules, and proportions used in designing arches and columns, particularly in residential buildings. These elements contribute to the aesthetic qualities of these structures. While the British incorporated classical elements during their rule, architectural advancements and new materials have led to the incorporation of novel elements in contemporary design.

The unique preservation of Yves Saint Laurent’s birthplace: A singular cultural heritage in Oran

Abstract In 2020, the Affane Mohamed Foundation initiated the restoration of the Yves Saint Laurent house in Oran, Algeria, led by architect Youcef Fernane. The project aimed not only to restore the artist’s birthplace but also to showcase his first private theatre, sketches, drawing table, study, and personal bedroom. The house, built in 1925 in the Plateau Saint-Michel district (now Hai Sidi El Bachir), exemplifies neoclassical architecture with Art Deco influences. This project stands out as a unique initiative in Oran, where the preservation of public figures’ homes is rare, making it an exception in Algeria. The restoration, completed in 2022, has attracted significant attention, drawing visitors locally and internationally, particularly through social media, highlighting the cultural and historical value of the site. The research addresses visitor feedback, hypothesising variability in their testimonials, which serve as constructive criticism of this initial tourism initiative in Oran. The dual objectives are to illuminate the significance of the Yves Saint Laurent residence and to analyse visitor perceptions and attitudes towards this memorial site. Methodologically, the study is based on documentary research, including recent surveys and photographs from the Youcef Fernane design office and qualitative data from online questionnaires and visitor books. The results highlight the house’s importance as a cultural landmark but also reveal a lack of publicity, affecting its visibility. Conclusions suggest that the museum significantly enhances Oran’s cultural landscape, offering emotional and educational experiences. However, there is a need for better promotional efforts to increase its visibility and appeal to a broader audience, emphasising the importance of strategic marketing and visitor experience improvements for future projects.

An Investigation of the Perception of Neoclassical, Eclectic, Modernist, and Postmodern Architecture within Different Urban Landscapes: Athens vs. Paris

The public perception of buildings belonging to different architectural movements is a largely unexplored area from a quantitative scientific perspective. However, a better scientific understanding of perceptions of architectural movements is important for the formation of improved planning and design policies. In this work, we carry out an initial exploration of the public preferences of the architectural movements of Neoclassicism, Eclecticism, Modernism, and Postmodernism. To this aim, a total of 103 citizens from Athens (Greece) and Paris (France) were presented with the same questions regarding their opinions on buildings belonging to those movements. In the analysis and interpretation of the collected data, the different cultural, professional, and demographic characteristics of participants were then considered, as well as the role of the urban landscapes of Athens and Paris as the historical, societal, and aesthetic contexts that influence and shape perceptions. The results demonstrated a clear and uniform prevalence of Neoclassical architecture in terms of positive public perception in both cities. Similarly, in both cities, Eclecticism followed with a relatively more positive perception than Modern and Postmodern architectural styles, which were rated the lowest. However, a significant difference between the two cities was that when participants singled out their primary favorite style, Modernism enjoyed higher favorability in Athens than in Paris. These findings and their theoretical exploration provide inferences into the complexities of public perceptions of architectural styles, with potential implications for the integration of citizen preferences into future research on architectural/urban design and planning.

A Parametric Analysis of the Planes of the Existing Neoclassical Architecture of the Oldest Churches in Macau

The three oldest churches in Macao are all listed in the UNESCO World Heritage List. The existing buildings of St. Lawrence’s Church and St. Anthony’s Church are both the neoclassical style. There is few parametric analysis of these two churches. This study takes the planes of St. Lawrence’s Church and St. Anthony’s Church as the research objects, and parameterizes the geometric composition characteristics of the designs.

Akulturasi dalam Arsitektur Jawa di Yogyakarta

Title: Acculturation of Javanese Architecture in Yogyakarta; Pedimented façades in Javanese architecture at the Kraton Yogyakarta and Dalem Notonegaran
 
 At the beginning of the 20th century, European Colonialism dominated almost all parts of the world. In this period, cultural acculturation was developed between European and local cultures in the colonised territory, including architecture. Many studies concerning architectural acculturation in the late colonial era emphasised the roles of European agents in appreciating while dominating the local culture. This research presents an alternative perspective by focusing on the Javanese elite as the agents of cultural change. Javanese architecture, on the one hand, with its long tradition, has recognisable stylistic formulation. On the other hand, it has a great degree of adaptation, giving chances for acculturation with many other architectural traditions. At the beginning of the 20th century, one exciting dynamic was the façade with pediment incorporating European Neo-Classical architecture. Originating in Ancient Greek Architecture, pediments continuously developed as a reference in European architecture. In Yogyakarta, the aristocratic circle adopted a pedimented façade supported by twin columns on both ends combined with many elements of Javanese culture. This research compares several pedimented façades with various cultural sources and architectural compositions in several buildings in the Sultan’s Palace of Yogyakarta and the princely residence of Notonegaran. From this comparison, this research discovers the progressive sides of Javanese architecture with many novel syntheses incorporating European architectural elements and Javanese ornamentations with novelty in composition, technology, and representation.

The Composition and Value of Architectural Heritages in Pattani Old Town

Pattani Old Town, with a total area of 2.35 square-kilometers, is a city having a long history that generates important value and identity in Thailand. The composition and value evaluation process of the architectural heritage sites in Pattani Old Town are examined in this paper, with the objective of characterizing a spatially- defined cultural economy in the Pattani Old Town multicultural ring. The architectural heritage value assessment was done by a committee of experts and key stakeholders based on a weighted rating approach that considered six different criteria: value of the historical and archeological narrative; age and historical character; the buildings, places, and archeological sites condition; architectural and artistic characteristics; the composition and image of city; and the importance to society and community. Results of the value assessment showed 49.3% of the sites received a high score while 50.7% received a moderate score. No sites had a low score. It was found that the old town composition and the valuable architectural heritage sites with a high rating are clustered in the Anoru Sub-district, covering Hua Talat and its neighboring communities, and especially the three architectural heritage sites along the historical roadsides of Anoru Road, Pattani Pirom Road, and Ruedee Road. On these roads, various styles of architectural heritage sites, including traditional Chinese architecture, neoclassical architecture, art deco architecture, mixed Chinese-Malay architecture, and modern architecture are observed. The identification of the old town composition and the value evaluation of the architectural heritage sites led to recommendations for urban planning measures in Pattani Old Town that included a specific plan for managing land use and obtaining permission for construction, repair, and modification of the remaining buildings.

Chisinau architecture of the post-soviet period

The buildings constructed in Chisinau after year 1991 propose a diversified architecture. The stylistic range is quite various: neoclassicism, modernism, postmodernism, high-tech, deconstructivism, neominimalism, brutalism, etc. The influence of neoclassical architecture is felt upon the multistory building of S.A. “ASCOM Group”, and modernism is illustrated by the building of the “Kentford” Business Center, the building of the “Infotag” Information Agency, etc. Among the most illustrative examples of postmodernist architecture is the „Coliseum Palace” residential complex, the “Moldincombank” commercial bank building, Center Branch, etc. High-tech architecture is illustrated by the “SKYTOWER” International Business Center building, the “Shopping MallDova” shopping and entertainment center building, the “Chisinau Arena” multifunctional complex, etc. The buildings of the Business Center “SG Business Centru” and the International Business Center “Le Roi” belong to the architecture of deconstructivism. An architectural premise with elements of brutalism and neominimalism is the Creative Industries Center ARTCOR. The contribution of architects Gh. Telipiz, Gh. Jinkin, I. Apostolov, V. Modârcă, A. Gordeev, M. Calujac and others could be highlighted during the reference period.

The Influence of William Hogarth on Later Generations

The Influence of William Hogarth on Later Generations

Teatr dla wszystkich? Spór o rolę Teatru Miejskiego na tle dyskusji społeczno-politycznych w Kaliszu lat trzydziestych XX wieku – zarysowanie problematyki

Theatre for All? A Clash Over the Role of Municipal Theatre in Kalisz Framed Within the Socio-Political Discussions of the 1930s. A Reconnaissance In this short essay – proposing an outline of the research in progress – Author offers several questions regarding the interwar reconstruction and functions of the municipal theatre building in Kalisz. What kind of socio-political message was conducted in the Neoclassical architecture of this ediffice, designed by Czesław Przybylski in 1919 and then in the 1930s refurbished and redesigned (interiors) by Juliusz Żórawski in modernist and streamline design? What kind of educated subject, a new Pole, was the subject for theatre perceived as a medium of education and political tool in this middle-seized interwar Polish town? Who attended the auditorium and who was expected to attend and why? Author explores preliminary press and archival sources, focusing on the (mostly unexplored by historians of Kalisz) discourse of nationalism and even chauvinism that fueled several aspects of the debate around the municipal theatre and its roles in Kalisz.

Stylistic transitions in kyiv architecture of the first half of the twentieth century

This article aims to analyze the architectural and artistic processes that took place in Kyiv in the early 1910s - late 1950s and identify the root causes and consequences of three consecutive iterations, interstitial transitions that took place in the architecture of the city of the designated period. The research is a continuation of a series of author’s articles related to the genesis of Kyiv’s architecture of the first half of the twentieth century in the world context and is based on authentic archival materials of contemporary competitions, periodic professional and general periodicals of the period, works by Yu. S. Aseev, M.V. Baranov, M. P. Bylinkin, M. Ya. Ginzburg, G. V. Golovko, V. G. Zabolotny, A. V. Ikonnikov, S. K. Kilesso, O. G. Molokina, M. V. Posokhin, O. V. Ryabushin, V. E. Khazanova, S. O. Khan-Magomedov, V. V. Chepelik, V. S. Goryunov, B. L. Erofalov-Pylypchak, Yu. V. Ivashko, M. B. Kalnytsky, N. M. Kodel-Perminova, O. G. Mokrousova, D. V. Sarabyanov, T. V. Skybytska, M. P. Tubli, D. S. Khmelnytsky, B. S. Cherkes and others.The process of change is manifested not only in the field of architecture and art, but presented in conjunction with a set of external factors and factors that directly affected this field. The reverse process of the influence of the field of architecture on the social macrocosm of Kyiv is also analyzed.The article analyzes the complex and multifaceted process of moving from historical and eclectic reminiscences in the architecture of Kyiv through Art Nouveau (both UAM and international manifestations of expressive and rational Art Nouveau) to avant-garde Soviet architecture against the background of revolutionary changes and complex socio-cultural transformations. Based on the results of chronological study of the creative achievements of leading architects of Kyiv in the late 1920s-mid – 1950s, a gradual transition from avant-garde to neoclassical architecture is analyzed. The departure from neoclassicism to Soviet modernism is studied, the root causes of this transition, which began several decades before, are identified. A comprehensive consistent, chronologically continuous and politically unbiased study of the formation of the architecture of Kyiv in the early 1910s and late 1950s was carried out

A Victorian Wrenaissance: Historical Narrative at St. Paul's Cathedral

The condition of St. Paul's Cathedral was central to concerns about the perception of London over the course of the nineteenth century. Designed by Sir Christopher Wren, it faced public criticism from the start. Unlike gothic Westminster Abbey, St. Paul's was an eclectic amalgam of gothic and neoclassical architecture; its interior was never finished. Efforts to decorate were boxed in by the strictures of Victorian architectural revivalism. This is the story of how academic historiography resolved a problem that aesthetic and architectural theory could not. Throughout the century, cathedral administrators sought to improve the cathedral by borrowing tools from historians with varying success. In the 1870s, a solution emerged when historians reinvented the Italian Renaissance as a symbol of liberal individualism. Their revisionist Renaissance provided an alternative to pure gothic or neoclassical revivalism, able to accommodate Wren's stylistic eclecticism. Scholars have traditionally plotted disputes about St. Paul's within broader architectural debates. Yet I argue that these discussions were framed as much by historical discourse as aesthetics. Turns in Victorian historiography eventually allowed architects to push past the aesthetic limits of the Battle of the Styles. New methods in Victorian historical research were crucial to nineteenth-century experiences of urban space.

ПРАКТИКА ПРИМЕНЕНИЯ ЗОЛОТОГО СЕЧЕНИЯ В АРХИТЕКТУРЕ РЯЗАНИ

Introduction: At present, the preservation of unique architectural ensembles is one of the most urgent problems of sustainable development in historical settlements. In the context of transforming the settlement’s environment while minimizing the discordant impact of new construction, it is important to study the development sites that will be used as the basis for modern planning. Method: The article applies the method of geometric analysis to the historical buildings of the city of Ryazan, which exhibit classical architecture traits and were designed by the 19th- and 20th-century architects, in order to assess their compliance with the rules of classical composition, specifically the use of golden section proportions. We also talk about the golden section in general, reviewing its history and the rules of its application in architecture. Results: We emphasize the inseparable link between architecture and geometry. Our study proves that the golden section principles were used by architects during different historical periods. In the context of the invariably high interest towards the creative heritage of architects from the 19th and 20th centuries and the need to build upon their historical experience, it is highly relevant to approach the modern architectural practice from the standpoint of using the canon of Neoclassical architecture.

THREE STAGES OF THE TRANSITION FROM THE "STALINIST EMPIRE STYLE" TO MODERNISM ON THE EXAMPLE OF KYIV

The article presents an analysis of socio-political factors that led to the transformation of the architecture of the Soviet Union in the mid-1950s. The factual material and works of numerous architects and researchers are structured. Two models of influence of power elites on the genesis of architecture of the period with an identical chronologically global context are compared. The author describes three stages of the transition from neoclassical architecture to Soviet architectural modernism and functionalism, illustrating his own systematization with appropriate examples of Kyiv development. 1) The beginning of the 1950s: the internal crisis of Stalin's neoclassicism, the growth of protests within the architectural community (especially after 1953); 2) 1955 – end of the 1950s: the search for new means of expression, attempts to complete unfinished projects at the intersection of neoclassicism and modernism, options for "compromise" between styles in the work of individual architects; 3) End of the 1950s – and until the collapse of the USSR: the crystallization of new approaches and the final transition to modernism in key projects and functionalism in mass media. These stages are studied on the example of Kyiv projects of that time. The corresponding objects are: competition for the monument of the Arch "In honor of the 300th anniversary of the reunification of Ukraine with Russia", transformation in the final stage of implementation of the restoration of Khreshchatyk street and residential development in micro-districts from the early 1950s to the early 1960s, respectively.

Neoclassical trends in the Don region cities’ architecture in the early twentieth century

The purpose of the article is to consider and analyze the stylistic features of neoclassicism, manifested in the architecture of the Lower Don cities in the early twentieth century. To achieve this goal, literary sources were studied and a visual analysis of the architectural objects of the period under consideration was carried out. The article describes the factors that influenced the formation of neoclassical trends in the Don region in connection with the general dynamics of the architectural development and the peculiarities of its socio-economic and cultural situation at the time. The interrelation of various conditions that affect the choice of options for volumetric, spatial and artistic solutions of architectural monuments of the first two decades of the twentieth century is analyzed depending on their purpose and the general urban situation. The analysis of the used stylistic means and plastic features of the Don region the most significant architectural structures appearance related to pre-revolutionary neoclassicism was carried out. In the final part of the article, the conclusions regarding the regional architecture neoclassical monuments’ features in comparison with the capital’s architectural structures of this period are drawn. In particular, it is noted that, unlike many metropolitan architectural designs, in the buildings built during this period in the cities of the Don Territory, a mixture of stylistic means is often observed due to the regional specifics. The modern look of the Don region cities (primarily their historical part) is largely determined by the neoclassical architecture monuments, and the consideration of their features is necessary when developing the new architectural solutions designed to ensure the comfort for the urban environment.

ARCH AS A SYMBOL OF THE TRIUMPH OF THE DOMINANT IDEOLOGY IN THE ARCHITECTURE OF KYIV IN THE 1930S-1950S.

The article examines the arch as a monument and its symbolic significance in the thesaurus of Soviet neoclassical architecture on the example of Kyiv.The arch, with its expressive imagery, reflects complex iterations of the architectural and artistic search of the 1930s and 1950s. Changes in the socio-political and cultural context that consistently lead to the transition from the avant-garde to the Stalinist Empire style, transformations within the neoclassical style caused by the Second World War, and the transition from historical reminiscences to Soviet architectural modernism after 1955 are considered.The paper presents the materials of the three largest competitions that took place in the capital of Ukraine during this period: the construction of the Government Quarter in 1934-1935, the restoration of Khreshchatyk in 1944-1947 and the Triumphal Arch "In honor of the 300th anniversary of the reunification of Ukraine with Russia" 1954, respectively. Competitions account for the three above-mentioned transitions in the architectural field of the USSR, so, given the number of represented author groups and their wide geography, reflect the global trend. The article analyzes the change of approaches to the use of the arch as a key symbol, which successfully shows the dominant preferences of both the management staff - customers and performers - architects, trying to reflect on the relevant social demand.

ARCHITECTURAL AND URBAN PLANNING OF RESIDENTIAL SETTLEMENT OF COOPERATIVE SOCIETY “TRAMVAYSHCHIK” IN ROSTOV-ON-DON

The article describes the planning structure and architecture of one of the first residential settlements built after the Civil War in Rostov-on-Don, the cooperative society “Tramvayshchik”. Step-by-step changes in Rostov occurred in the 1920s. Almost each architectural project of the mid-1920s is characterized by the traditional dependence on spatial planning, a regular development of residential settlements with buildings around the perimeter, with conventional differentiation of urban spaces into utilitarian and festive. It is demonstrated that planning solutions of the residential settlements are a combination of both traditional and popular principles of ribbon development with drastic urban decompaction and site landscaping. Planning of residential buildings is strongly influenced by Art Nouveau and Neo-classical architecture. It is concluded that the construction site and the existing patterns of spatial and visual thinking are a sort of significant formative factors here; the residential settlements are a synthesis of the old and new traditions in architectural and urban development during the transition period of the mid-1920s.

George Washington's Washington: Visions for the National Capital in the Early American Republic by Adam Costanzo, and: The Men of Mobtown: Policing Baltimore in the Age of Slavery and Emancipation by Adam Malka

Reviewed by: George Washington's Washington: Visions for the National Capital in the Early American Republic by Adam Costanzo, and: The Men of Mobtown: Policing Baltimore in the Age of Slavery and Emancipation by Adam Malka Andrew Diemer (bio) Keywords George Washington, Washington DC, Baltimore, District of Columbia, Peter Charles L'Enfant, policing, emancipation George Washington's Washington: Visions for the National Capital in the Early American Republic. By Adam Costanzo. (Athens: University of Georgia Press, 2018. Pp. 264. Cloth, $74.95; Paper, $29.95.) The Men of Mobtown: Policing Baltimore in the Age of Slavery and Emancipation. By Adam Malka. (Chapel Hill: University of North Carolina Press, 2018. Pp. 352. Cloth, $39.95.) Despite a number of important and influential works published in the last few years, the border south cities of Baltimore and Washington have received far less scholarly attention than their northern counterparts. In these two compelling books, George Washington's Washington and The Men of Mobtown, Adam Costanzo and Adam Malka help to remedy this deficiency. These are two very different books that nevertheless both [End Page 140] explore complex struggles for power on the streets of burgeoning border cities in the early republic. Costanzo's study of Washington begins, appropriately, with General Washington himself, surveying the land that he had chosen as the location for the new permanent capital of the United States. This decision is fitting as Costanzo uses national politics as a framework for the book. As he notes, the federal government had exclusive jurisdiction over the District of Columbia, making it "a laboratory for the ideological experiments of politicians and federal officials" (4). At the same time, these ideological visions were complicated by the sometimes competing visions of residents of the District who also exerted a significant influence over the development of the city. Washington envisioned the city that would come to bear his name as a metropolis that would "convey the authority of a powerful and dynamic American empire" (12). He enlisted a French-born engineer and architect, Peter Charles L'Enfant (only later to be known as Pierre), to translate that vision into reality. The wide avenues of the city continue to pay tribute to L'Enfant's commitment to the symbolic power of the capital, but he and Washington were convinced that the nation's capital also needed to thrive as a place of commerce, making sure that the wide avenues and stately public buildings were accompanied by canals to promote the city's economic development. As Costanzo shows, sometimes these national visions complemented local ambitions; at other times they conflicted. L'Enfant's inability to compromise with local leaders led to his departure from the project. Washington's grand ambitions were also thwarted by a chronic lack of funds. This lack of funds was exacerbated by the ascension to power of Jefferson and the Democratic-Republicans. Deeply skeptical of the Federalist vision of a grand national capital, Jefferson sought to limit the growth of the city, especially the sort of commercial growth that Washington and L'Enfant had envisioned. Here the president found himself at odds with residents and local leaders who remained committed to the Washingtonian vision of a commercial city. Some of these local leaders took matters into their own hands, promoting improvements of their own, but without the aid of the federal government they were constrained in what they could accomplish. This is not to say that Jefferson had no interest in the development and symbolic importance of the capital. As Costanzo shows, as president Jefferson remained involved in the construction of major building projects, including the capitol; he [End Page 141] remained committed to the power of neo-classical architecture in expressing the spirit of the new American republic. Those Washingtonians who continued to support Washington's vision of a grand national capital soon faced two challenges. The first came in the form of the British invasion of the city during the War of 1812, which led to a serious debate about moving the capital once again. After Washington boosters beat back this threat, they then had to face a Jackson administration, which seemed ideologically committed to Jefferson's vision of a more modest...

Revisiting Louis Roelandt’s Aula Academica: Interior Decoration and Visitor Experience in Early 19th-Century Belgian Architecture

Since the inauguration of the Aula Academica in Ghent in 1826, its grand proportions and lavish decoration have impressed visitors. An examplar of tasteful, neoclassical architecture, the university building soon joined the list of Belgium’s canonical buildings. The Aula was the first commission of Louis Roelandt (1786–1864), a promising architect who had just returned from training in Paris at the Ecole speciale d’architecture under Charles Percier and Pierre-Francois-Leonard Fontaine. Through a detailed analysis of the design process, this article examines how Roelandt’s design forms part of an international architectural culture that understood not just the principles of composition but how composition combines with the ways an interior is used. Drawing on the example of a national pantheon commemorating important people, Roelandt created an ensemble in which architectural composition, interior decoration and the visitor’s path of movement contribute to the expression of architectural character.

The structural assessment of the travertine façade of the Banco di Napoli Palace in via Toledo in Naples: An example of a mixed concrete–steel–masonry monumental building in the decade 1930–1940 in Italy

ABSTRACT In Italy, from 1930–1940, many governmental palaces were constructed, being characterized by monumental massive façades, realizing a simplified neoclassical architecture. This article deals with one such examples, the “Banco di Napoli” Palace in via Toledo in Naples (Italy). The building was designed by Marcello Piacentini, eminent architect of the fascist regime. Concrete was used as novel building material, both reinforced with metal bars or lattice structures and as block elements, settled up in masonry walls, and travertine was used as cladding, laid down with hidden metal joints and directly exposed to atmospheric agents. The present study focuses in particular on the typical monumental façade of the palace, with the purpose of investigating the cracking out-lines surveyed at the top level. The façade opus and cracking layout were accurately noticed through visual inspection and non-destructive techniques, such as endoscopy and pacometry. Thus, the structural assessment of the façade fabrics, by matching the outputs of in-situ tests, laboratory experiments and structural analysis was carried out in order to evaluate the structural safety and detect the points of weakness of the structures, leading to the identification of possible retrofitting interventions.

"The Silence Surrounding the Hut": Architecture and Absence in Wieland

This article brings together recent work in literary studies and architectural history to plot the coded, and strategic, disavowal of slavery in early America by re-imagining deliberately submerged narratives of race in landscape and architecture. Using fictional and actual buildings, particularly Thomas Jefferson's Monticello and the structures on the Mettingen estate in Charles Brockden Brown's Wieland (1798), the article traces the ways that the architectural vernaculars and embedded metaphors of the early United States project a familiar set of idealized values across a range of registers and scales. The binary constituted from figurations of enslavement (huts and the workplaces of slaves) and neoclassical architecture (including temples) were entirely familiar to early Americans. The novel reveals the consequences of a failure properly to acknowledge, or address, the silence surrounding the hut. It reveals a growing anxiety about the construction and shaping of national identity, in which the disavowed significance of racial others threatens the stability, and safety, of white Americans. The troubling elements of the novel are characteristic of larger narrative depictions of dark secrets and gendered and racialized violence in other fiction of the early Republic.