4170
Contemporary and Modern Architecture
4450
Rahman Ali Khan 17arb566 Department of Architecture, AMU
1.
ROYAL SCOTTISH ACADEMY EDINBURGH BY WILLIAM HENRY PLAYFAIR(1822)
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PUTTENEY BRIDGE BATH BY ROBERT ADAM (1774)
3.
ALTES MUSEUM , BERLIN (1823)
4.
CATHEDRAL OF VILNIUS BY LAURYNAS GUCEVIÄŒIUS PRADO (1783)
ABOUT The Royal Scottish Academy of Art and Architecture (RSA) is an independently funded organization which supports the creation, understanding and enjoyment of the visual arts in Scotland. Based within the Royal Scottish Academy building, the RSA runs a year-round program of exhibitions, artist opportunities and related educational talks and events which support artists at all stages of their careers. The RSA also holds an extensive collection and archive. Led by eminent artists and architects, the RSA embodies a wealth of professional experience in Fine Art and Architecture, with many RSA members taking a leading role in higher education and many of the leading cultural institutions in Scotland.
Statue of Queen Victoria sculpted by Sir John Steell
West Elevation of the Building
North Elevation of the Building
Highly Decorated Pediment on West Elevation
HISTORY The ‘Scottish Academy’ was founded in 1826 by a group of eleven artists. It was created with the aim of creating an academy of fine arts instructing students at no charge, to present an annual exhibition open to all artists of merit and maintain a library devoted to the fine arts. The Academy held its first exhibition in 1827 and in 1835 had been granted permission to lease space within the Royal Institution building on the Mound for its annual exhibition. By 1838, the Academy had gained a Royal Charter (and was now known as the Royal Scottish Academy) and it continued to grow in significance and status throughout the nineteenth century, training young artists and looking after its collection for the benefit of students and the wider public. In 1850’s, the Royal Scottish Academy moved in alongside the newly created National Gallery of Scotland (today part of the Scottish National Gallery), hosting its exhibitions within the gallery, as well as having its council room, library and life school within the building. It continued to teach Fine Art in the gallery until the Edinburgh College of Art was formed in 1907. In 1910, it was decided that the RSA should be transferred back into the Royal Institution Building.
Link Between National gallery of Scotland and Royal Scottish Academy
Section showing details below the statue PLAN National Gallery of Scotland & Royal Scottish Academy
ABOUT THE ARCHITECT WILLIAM HENRY PLAYFAIR (1789 – 1857) Architect. Although born in London, Playfair came to Edinburgh at a young age and there built his reputation as a fine architect. More than any other, Playfair earned Edinburgh its title as "the Athens of the North", setting the character of the city through classical buildings, many constructed in dramatic settings. His most significant works include the elegant town houses of Royal Terrace, Carlton Terrace and Regent Terrace, the National Gallery of Scotland, New College of the University of Edinburgh, Donaldson's Hospital, the Royal College of Surgeons and the National Monument on Calton Hill, designed as a memorial to the dead of the Napoleonic wars and modelled on the Parthenon in Greece, but never finished due to lack of funds.
ARCHITECTURE STYLE OF THE BUILDING STYLE: A grand Neo-Classical temple on the south side of Edinburgh's Princes Street, at the foot of the Mound, which was designed by W.H. Playfair (1789 - 1857). the Academy is in the Greek Doric style and was completed in 1826, some 28 years before the Ionic-styled National Gallery. For the Royal Scottish Academy building (originally the RI), Playfair had chosen the Greek architecture Doric order, and designed a program of sculptural decoration to reflect its inhabitant’s interest in ornament and design For scenic effect. ELEMENTS: Academy is highly decorated by carved stonework and classical friezes. On its roof are eight grand sphinxes looking down on passers-by and on the front, facing up Hanover Street, a statue of Queen Victoria in the form of Britannia, executed by Sir John Steell . Major elements that are present are listed below: ▪ Doric columns ▪ Decorated Metopes ▪ Thick Stylobates ▪ Plain Cornice Bands ▪ Decorated Entablatures ▪ Highly Decorative Pediments ▪ Plain Capitals ▪ Racking Cornice ▪ Plain Slender Triglyph ▪ Statues of Gods and Rulers
ARCHITECTURE STYLE OF THE BUILDING ARCHITECTURAL FEATURES: The Doric Order of Greek architecture was the first style of stone temple architecture in ancient Greece It became popular in the Archaic Period, roughly 750 480 BCE, and replaced the previous style of basic, wood structures The Doric Order was the first style of Classical Architecture, which is the sophisticated architectural styles of ancient Greece and Rome that set the standards for beauty, harmony, and strength for European architecture. Greek Architecture Main Features
Doric Column: The Doric order is characterized by a plain, unadorned column capital and a column that rests directly on the stylobate .The columns are fluted and are of sturdy, if not stocky, proportions. Stylobates: In classical Greek architecture, a stylobate is the top step of the crepidoma, the stepped platform upon which colonnades of temple columns are placed (it is the floor of the temple). Metopes: A metope is a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the architrave of a building of the Doric order.
Front Elevation Of Royal Scottish Academy Edinburgh
Building Comparison:
Triglyph: It is an architectural term for the vertically channeled tablets of the Doric frieze in classical architecture, so called because of the angular channels in them. The rectangular recessed spaces between the triglyphs on a Doric frieze are called metopes. Parthenon 438 BC
Royal Scottish Academy 1907
ABOUT Pulteney Bridge crosses the River Avon in Bath, England. It was completed by 1774, and connected the city with the land of the Pulteney family which they wished to develop. Designed by Robert Adam in a Palladian style, it is exceptional in having shops built across its full span on both sides. Within 20 years of its construction, alterations were made that expanded the shops and changed the faรงades. By the end of the 18th century it had been damaged by floods, but it was rebuilt to a similar design. Over the next century alterations to the shops included cantilevered extensions on the bridge's north face. In the 20th century several schemes were carried out to preserve the bridge and partially return it to its original appearance, enhancing its appeal as a tourist attraction. The bridge is now 45 meters (148 ft) long and 18 meters (58 ft) wide. River Side Elevation of the Bridge
Palladian Style Windows
Three arches supported by columns
HISTORY Pulteney Bridge was complete and ready for occupation in late 1773 but tenants were slow to come forward The shock of the American War of Independence had fallen like an axe on Bath's development The plans for Bath were shelved and for many years, Adam's elegant and urbane bridge led out onto meadows, rather than a Palladian townscape Pulteney had approached the Adams with his new town in Bathwick in mind We may guess that Robert Adam then suggested putting shops on the bridge He had visited both Florence and Venice, where he would have seen the ancient Ponte Vecchio and the striking Ponte di Rialto The bridge was originally a toll bridge and boundary between parishes, built on condition that fresh water could be piped across it from the hills to the town houses. Pulteney Bridge was complete and ready for occupation in late 1773, but tenants were slow to come forward. The shock of the American War of Independence had fallen like an axe on Bath's development. The plans for Bathwick were shelved and for many years, Adam's elegant and urbane bridge led out onto meadows, rather than a Palladian townscape. When building eventually began in March 1788, it was Thomas Baldwin, a Bath architect, who provided the detailed plans. Pulteney Bridge was left as Adam's only work in Bath. River side view of the Bridge
PLAN
Venetian Gothic Style Windows , Venetian is the local variant architectural style for Venice of Italian Gothic architecture
Round Arches used to support the structure
ABOUT THE ARCHITECT ROBERT ADAM (1728 – 1792) He was a Scottish neoclassical architect, interior designer and furniture designer. Robert Adam was a leader of the first phase of the classical revival in England and Scotland from around 1760 until his death. He influenced the development of Western architecture, both in Europe and in North America . Adam designed interiors and fittings as well as houses. Much of his work consisted of remodeling existing houses, as well as contributions to Edinburgh's townscape and designing romantic pseudo mediaeval country houses in Scotland. Robert Adam was a leader of the first phase of the classical revival in England and Scotland from around 1760 until his death. He influenced the development of Western architecture, both in Europe and in North America. Adam designed interiors and fittings as well as houses.
ARCHITECTURE STYLE OF THE BUILDING STYLE: Built of limestone, in classic Palladian style, the southern façade takes the form of a temple-like central bay with symmetrical wings connecting to two flanking, terminating pavilions. The central bay is given eminence by a broken pediment supported by austere Doric pilasters. It in turn is flanked by two small bays, each with a small pointed pediment supported by shallow pilasters, which further emphasize and complement the central broken pediment sitting above a large Palladian window – the focal point of the buildings. ELEMENTS: Palladian designs were based on the symmetry and perspective of classical architecture, particularly the temples of the Ancient Greeks and Romans. It was characterized by proportions based on mathematics rather than ornament and its classical facades. Some of the defining features of Palladianism include: ▪ Corinthian columns. ▪ Decorative motifs such as masked faces and scallop shells. ▪ Pediments used over doors and windows, both external and internal. ▪ Terms – free-standing stones representing the head and upper torso of the Roman god Terminus, on top of a pillar ▪ Palladian Windows and doors
Venetian Style windows and door used in Pulteney Bridge
Corinthian Order
ARCHITECTURE STYLE OF THE BUILDING ARCHITECTURAL FEATURES: A European style of architecture derived from and inspired by the designs of the Venetian architect Andrea Palladio (1508– 1580) - The term "Palladian" normally refers to buildings in a style inspired by Palladio's own work; that which is recognized as Palladian architecture today is an evolution of Palladio's original concepts. - Palladio's work was strongly based on the symmetry, perspective and values of the formal classical temple architecture of the Ancient Greeks and Romans. - From the 17th century Palladio's interpretation of this classical architecture was adapted as the style known as Palladianism. - It continued to develop until the end of the 18th century. Main features of the Palladian Architecture: ▪ Proportion ▪ Symmetry ▪ Palladian window (also known as the Serliana or Venetian window) ▪ Temple front ▪ Use of Orders (optional)
Palladian Architecture Features
Scallop shells are a typical motif in Greek and Roman art. The shell is a symbol of the Roman goddess Venus.
Scallop sheels Scallop shells
Pediments were used over doors and windows on the outside of buildings. They are also found over inside doors. Similar Building
Symmetry in Palladian design tends to be highly symmetrical. Symmetry and balance were important in the ancient Greek and Roman architecture that inspired Palladianism. Mask
Masks are faces used as a decorative motif. They are based on examples from ancient Greek and Roman art.
Terms are based on free-standing stones representing the Roman god, Terminus. They consist of a head and upper torso, often just the shoulders, on top of a pillar and were originally used as boundary markers. Building showing Symmetry
Palladian Terms
ABOUT The Altes Museum (English: Old Museum) is a listed building on the Museum Island in the historic center of Berlin and part of the UNESCO World Heritage. Built from 1825 to 1830 by order of King Frederick William III of Prussia according to plans by Karl Friedrich Schinkel, it is considered as a major work of German Neoclassical architecture. It is surrounded by the Berlin Cathedral to the east, the Berlin Palace to the south and the Zeughaus to the west. Currently, the Altes Museum is home to the Antikensammlung and parts of the MĂźnzkabinett. The Altes Museum was Berlin's first museum and the nucleus of the Museum Island. It was built between 1823 and 1830 by the architect Karl Friedrich Schinkel. Being one of the most important examples of neoclassical architecture, the Altes Museum was trend-setting well into the 20th century. Front Elevation of Altes Museum Newly Proposed Murals On the upper Balcony
Column Fixing Details with the Pediment
Font Elevation of the Building
HISTORY Opened to the public in 1830 as the Königliches Museum (Royal Museum, the current name was adopted in 1845), the Altes Museum is housed in an imposing Neoclassical building, designed by Prussian architect Karl Friedrich Schinkel, located on the Lustgarten park in the Museuminsel (Museum Island) cultural district of Berlin. Schinkel’s design carefully mixed various references to classical architecture, such as the frontal portico adorned with Ionic columns and a large rotunda, clearly inspired by that of the Pantheon in Rome. The museum’s building, severely damaged during World War Two, was re-opened in 1966 after a major restoration. In 2011, the museum underwent a complete renovation, after a design by Hilmer Sattler architects. Under General Director Ludwig Justi, the building was the first museum of Museum Island to undergo reconstruction and restoration, which was carried out from 1951 to 1966 by Hans Erich Bogatzky and Theodor Voissen. Following Schinkel's designs, the murals of the rotunda were restored in 1982. However, neither the ornate ceilings of the ground floor exhibition rooms nor the pairs of columns under the girders were reconstructed. The former connection to the Neues Museum has also not been rebuilt; instead, an underground passageway connecting all of the museums of Museum Island is planned as part of the Museumsinsel 2015 renovations.
Section Showing Details Of the Dome
View Showing newly Renovated Museum
Elevation with murals
ABOUT THE ARCHITECT KARL FRIEDRICH SCHINKEL (1781 – 1841) Karl Friedrich Schinkel was a Prussian architect, city planner, and painter who also designed furniture and stage sets. Schinkel was one of the most prominent architects of Germany and designed both neoclassical and neogothic buildings. His most famous buildings are found in and around Berlin. Schinkel's style, in his most productive period, is defined by a turn to Greek rather than Imperial Roman architecture, an attempt to turn away from the style that was linked to the recent French occupiers. (Thus, he is a noted proponent of the Greek Revival.) He believed that in order to avoid sterility and have a soul, a building must contain elements of the poetic and the past, and have a discourse with them.
ARCHITECTURE STYLE OF THE BUILDING STYLE: The Altes Museum was Berlin's first museum and the nucleus of the Museum Island. It was built between 1823 and 1830 by the architect Karl Friedrich Schinkel. Being one of the most important examples of neo-classical architecture, the Altes Museum was trend-setting well into the 20th century. Schinkel's plans incorporated the Königliches Museum into an ensemble of buildings, which surround the Berliner Lustgarten (pleasure garden). The Stadtschloss in the south was a symbol of worldly power, the Zeughaus in the west represented military might, and the Berliner Dom in the east was the embodiment of divine authority. ELEMENTS: The Altes Museum, built between 1823 and 1830 and designed by Karl Friedrich Schinkel, is one of the most important works of Neoclassical architecture. With its clearly ordered exterior and an interior structure designed with exacting precision in the ancient Greek style, Schinkel pursued Humboldt's idea of opening the museum as an educational institution for the public: ▪ 18 fluted Ionic columns, ▪ The wide stretch of the atrium, ▪ The rotunda - an explicit reference to the Pantheon in Rome - and finally ▪ The grand staircase are all architectural elements which, up to this point, were reserved for stately buildings. Plan of central dome
Ground Floor Plan Of Altes Museum
First Floor Plan Of Altes Museum
ARCHITECTURE STYLE OF THE BUILDING ARCHITECTURAL FEATURES: Neoclassical architecture, revival of Classical architecture during the 18th and early 19th centuries. The movement concerned itself with the logic of entire Classical volumes, unlike Classical revivalism (see Greek Revival), which tended to reuse Classical parts. Neoclassical architecture is characterized by grandeur of scale, simplicity of geometric forms, Greek—especially ▪ Doric or Roman detail, ▪ Dramatic use of columns, and a preference for ▪ Blank walls ▪ Grandeur of scale ▪ Symmetrical form ▪ Dramatic use of column ▪ Triangular Pediment ▪ Domed Roof The new taste for antique simplicity represented a general reaction to the excesses of the Rococo style. Neoclassicism thrived in the United States and Europe, with examples occurring in almost every major city. The main Features of Neoclassical Architecture are as follows: Easy Classical Revival Style in Neoclassical Period ▪ Full height entry porch (portico) with pediment and columns ▪ Lunette window in portico pediment ▪ Elliptical fanlight over paneled front door ▪ Symmetrically aligned windows and door ▪ Side gabled or low pitched hipped roof ▪ Large windows and doors Greek Revival Style in Neoclassical Period ▪ Front gabled roof ▪ Front porch with columns ▪ Front facade corner pilasters ▪ Broad cornice ▪ Attic or frieze level windows Doric Column Details
Neoclassical Architecture Elements
Symmetrical Planning is Clearly Visible
Dramatic use of columns
ABOUT The Cathedral Basilica of St Stanislaus and St Ladislaus of Vilnius (Lithuanian: Vilniaus Šv. Stanislovo ir Šv. Vladislovo arkikatedra bazilika, Polish: Bazylika archikatedralna św. Stanisława Biskupa i św. Władysława) is the main Roman Catholic Cathedral of Lithuania. It is situated in Vilnius Old Town, just off Cathedral Square. Dedicated to Saints Stanislaus and Ladislaus, the church is the heart of Catholic spiritual life in Lithuania. The coronations of the Grand Dukes of Lithuania took place within its confines. Inside its crypts and catacombs are buried many famous people from Lithuanian and Polish history including Vytautas (1430), his wife Anna (1418), The heart of the Polish king Władysław IV Vasa was buried there upon his death, although the rest of his body is buried at the Wawel Cathedral in Kraków. Vilnius Cathedral view
Tower Section Details
Front Elevation Of the Building
PLAN
HISTORY It is believed that in pre-Christian times, the Baltic pagan god PerkĹŤnas was worshipped at the site of the cathedral. It has also been postulated that the Lithuanian King Mindaugas ordered the construction of the original cathedral in 1251 after his conversion to Christianity and appointment of a bishop to Lithuania. Remains of the archaic quadratic church with three naves and massive buttresses have been discovered underneath the current structure in the late 20th century. After Mindaugas's death in 1263, the first cathedral again became a place of pagan worship.
In 1387, the year in which Lithuania was officially converted to Christianity, construction began on a second Gothic Cathedral with five chapels. This second cathedral, however, burnt down in 1419. During preparations for his 1429 coronation as King of Lithuania, Vytautas built a significantly larger Gothic Cathedral in its place. Although the coronation never took place, the walls and pillars of this third Cathedral have survived to this day. The third Cathedral had three naves and four circular towers at its corners, and Flemish traveler Guillebert de Lannoy noticed its similarity to Frauenburg Cathedral. In 1522, the cathedral was renovated, and a bell tower was built on top of the Lower Castle defensive tower. After another fire in 1530, it was rebuilt again and between 1534 - 1557 more chapels and the crypts were added. The cathedral acquired architectural features associated with the Renaissance
Plan Showing Arrangement of Columns
Old Picture of Vilnius Cathedral Vilnius' Cathedral in the 14th15th century. (1) Northern addition, (2) Remnants of a crypt with Gothic wall paintings, (3) Two southern additions, (4) Burial crypts, (5) Remaining window orifices
ABOUT THE ARCHITECT Č (1753 – 1798) Laurynas Gucevičius (Polish) was an 18th-century architect from the Grand Duchy of Lithuania, and most of his designs were built there. In his youth he travelled to Italy and Paris and other countries in Western Europe, where he studied architecture under the notable contemporary neo-classical French architects, Jacques-Germain Soufflot and Claude Nicolas Ledoux. Later he was appointed professor at the Jesuit Academy of Vilnius, the predecessor of the University of Vilnius. Among the best known of his works are the Vilnius Cathedral, the town hall and the summer palace of bishops in Verkiai. The monumentality of forms and volume, the harmony with surroundings and a special treatment of antique architectural forms are the characteristics of his style
ARCHITECTURE STYLE OF THE BUILDING STYLE: Neoclassical architecture is an architectural style produced by the Neoclassical movement that began in the mid-18th century in Italy and France which then became one the most prominent and iconic architectural styles in the Western World. The development of archaeology was crucial in the emergence of Neoclassical architecture. Excavation sites like those in Pompeii and Herculaneum allowed architects to make in depth interpretations of Classical architecture and synthesize their own unique style. ELEMENTS: The Cathedral is a grandiose, harmonious and monumental building in the classicist style, with 11 lateral chapels, a sacristy, north and south side entrances and a portico at the western end The building is rectangular and of symmetrical composition with : ▪ A tall portico with 6 Doric columns decorate the main facade of the Cathedral ▪ The main facade was adorned with sculptures of the Four Evangelists.
Old view of Cathedral
Section Showing Details of tower and cathedral
Cross section of the north nave. (1) North pilaster, (2) North pillar, (3) Outline of the old, square building north wall, (4) Outline of the square building North wall, (5) Remainder of the North nave East staircase, (6) Square building north wall remnants, (7) Outline of the 17th century burial crypt, (8) First floor of the present day building, (9) Top floor of the square building, (10) One floor of the square building, (11) Glazed brick floor of the square building. Drawn by N. Kitkauskas.
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Baroque statues stand in niches among the columns and in the niches at the extremes of the façade. Looking up into the ceiling outside the great gate, unveils some beautiful friezes and bas relief The bell tower is 52 meters high and free standing in front of the church The bell tower stands on the remains of the fortifications of the Lower Castle
ARCHITECTURE STYLE OF THE BUILDING ARCHITECTURAL FEATURES: In the long course of history it has been rebuilt several times As a result, gothic, renaissance, and baroque styles are reflected in its architectural history ▪ Baroque architecture is a highly decorative and theatrical style which was originally introduced by the Catholic Church, particularly by the Jesuits. ▪ Renaissance architecture demonstrates a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture ▪ Long narrow naves replaced by broader or circular forms Dramatic use of light ▪ Large scale ceiling frescoes ▪ Interior a shell for painting and sculpture They evolved from the Renaissance forms Movement toward grand structures with flowing, curving shapes Landscape was frequently incorporated New elements as gardens, squares courtyards and ▪ Doric or Roman detail, ▪ Dramatic use of columns ▪ Blank walls ▪ Grandeur of scale ▪ Symmetrical form ▪ Dramatic use of column ▪ Triangular Pediment ▪ Front gabled roof ▪ Front porch with columns ▪ Front facade corner pilasters ▪ Broad cornice Types of columns used in neoclassical period
Column and Pediment Details of Cathedral
DEPARTMENT OF ARCHITECTURE, AMU