Degree Lecture Notes - Architecture Culture & History (part 2)

ARC 1313 ARCHITECTURE CULTURE & HISTORY 1

Primitive and Prehistoric Architecture/Ancient Prehistoric Cities

the Ancient Civilizations

The four cradles of human culture.

• The Yangtze River basin of ancient China, • The Nile River basin of ancient Egypt, • The land between the Tigris and the Euphrates in the Middle East – Sumeria, Mesopotamia, Babylon • The banks of the Ganges, India

Stone circles, standing stones, stone tables tombs and tools have been found all over the Neolithic sites in Europe and the British Isles.

The Neolithic (or "New" Stone Age) was a period in the development of human technology that is traditionally the last part of the Stone Age

The people left no literature, but they did leave many burial chambers, monuments and artifacts.

Even the earlier cave men left records in the form of their art work which tells us many stories of their life and existence

the

Stoneage The Stone Age is divided into three periods: the Paleolithic, Mesolithic and Neolithic.

Neolithic (meaning New Stone Age) left its mark on the landscape in the form of great stone circles, settlements and ceremonial enclosures.

These structures (and their later Neolithic equivalents such as causewayed enclosures, burial mounds, and henges) required

considerable time and labour to construct, which suggests that some influential individuals were able to organise and direct human labour.

Prehistoric Habitats After man moved out from caves, semi-nomadic existence in huts.

More permanent lifestyle due to - domestication of animals - domestication of grain and soil These early huts • Utilised easily available material –

tree branches, leaves, animal skin / fur and bones, stones.

•

Were east to construct

•

Had a fireplace / hearth

•

Were not permanent

A somewhat similar ‘design’ evolved – usually circular or oval, or triangular. This was due to

ease of construction, and the practical position of the hearth in the centre

Some of these early habitats were dug into the ground as

protection against animals and

the cold weather.

Prehistoric Structures Evidences of ancient beliefs and rituals.

Connection to sun (astronomy?) and the surrounding landscape, through the structures erected.

Structures seem to become part of this connection, or ritual.

Stonehenge at Salisbury Plains

Stoneage Architecture • Menhirs Free-standing singular stones - to mark a position - to create an axis - burial?

Menhirs arranged to form a stone circle

• Dolmens 3 or 4 stones arranged to form a table’ – stone tables evolutionary process of ceremonial enclosure construction - a burial chamber.

Wedge tomb

• Passage Tombs Large, elaborate structures using stones arranged to form a passage leading to a burial enclusure Very deliberate and careful placing of the structure.

Important axis and connection with the sunrise/set at specific times of the year.

Only the entry visible on ground

• Stone circles Large menhirs or dolmens arranged in a circular manner.

The immense stone circles are the most puzzling of all the Neolithic creations.

Today, only the stones remain, but they were once part of a broader landscape of sites built of timber and stone, erected in prominent positions in the heart of farming communities.

the Stone circles • The stone circles were built with local stone, quarried from natural rock protrusions by inserting wooden wedges into cracks and splitting the stones. A five-meter long (16 feet) stone weighs about five metric tons; therefore, it would have taken a great deal of time and effort to construct these monuments and may have taken several generations to complete them.

• Many theories have been put forward for the purpose of these circles, ranging from alien landing areas to stellar observatories for high priests.

• Other theories are a bit more ordinary – evolved forms of earlier henges (a word for stone circles derived as a back formation from “Stonehenge”), used as tribal gathering places for rituals based on the seasons and the fertility of the earth.

Avebury

These Earth circles predates the stone circles Not just one, but 4 inter-connected monuments. An Avenue of paired stones connects the henge at Avebury to a smaller henge called the Sanctuary, and nearby Silbury Hill (the largest artificial mound in pre-historic Europe).

the Stonehenge at Salisbury Plains

•

Most recognised and well-known of the stonehenges.

•

Work started on it in 3100 BC and it was continuously being built, used and modified until 1100 BC. An amazing period of 2000 years - not many other buildings in the world have been used for as long.

•

Nobody knows what it was built for, perhaps a Druid temple? astronomical calculator?

•

In form Stonehenge is a series of concentric rings of standing stones around an altar stone at the center.

•

Stone Age man constructed Stonehenge from massive 50 ton blocks of stone.

Some were transported along a 240 mile route from the Welsh mountains

•

The Standing Stones are up to 22 feet high. The uprights were carefully plumbed and shaped to an upward tapering convexity ‘anticipating the entasis of the Greek column.’ The lintels were cut in slight curves to make part of the circle, and were secured by integral stone mortise and tenon joints.

•

The engineering required for transporting, shaping, raising and connecting the stones and the accuracy of their positioning according to astronomical phenomena is remarkable evidence of the knowledge and skills of Stonehenge's makers.

the joints Each stone had a mortise and tenon joint, so that when in place the stones stayed in place.

The construction was highly accurate for the period.

• Astronomical observatory? • Seasonal clock? • Alien factor?

One hypothesis for Stonehenge's being there, is that it was a giant astronomical observatory. The sun on midsummer's day rises above the heel stone on the horizon, and other lies concerning the sun and moon and their movements can be found

•Settlements Skara-Brae

The neolithic village of Skara Brae lies on the shore of the Bay of Skaill on the west coast of Orkney's Mainland in Scotland.

Village of stone One of the best surviving examples of a late Neolithic settlement is Skara Brae

Stunningly preserved structures containing stone furniture (dressers, beds, cupboards) dating back to 3200BC can be seen here.

•

Skara Brae consists of nine houses, each with a similar layout, linked together by a series of low alleyways.

•

There is a main thoroughfare opening onto a paved area, with (what is possibly) a workshop beyond.

The stone slab walls (more than 6 ft/ 2 ms high in places) are usually double - thickly plastered with blue-grey clay, and packed with rubbish.

Whalebone rafters may have supported roofs of whaleskin or turf.

Entry to each house is through a low doorway which would have been ‘closed‘ by a stone slab. Inside the house is a central, rectangular hearth and, on the wall opposite the door, a stone 'dresser'.

The buildings and their contents are incredibly well-preserved - the walls of the structure still standing and alleyways roofed with their original stone slabs; the interior fittings of each dwelling give an unparalleled glimpse of life as it was in Neolithic Orkney.

One of the resources that is lacking in Orkney is wood---there are almost no trees on the islands. As a result, other construction materials must be used.

It comes as no great surprise to see the stone houses, but much of the furniture is still intact and there are stone beds and stone dressers against the house walls

Each house shares the same basic design - a large square room with a central fireplace, a bed on either side and a shelved dresser on the wall opposite the doorway.

Between the hearth and the dresser there is sometimes a large block that was almost certainly a seat - perhaps a seat of honour for the most venerated member of the household.

This is probably also significant in that this person would be the first encountered upon entering the house, also lit by the flickering orange flames of the central fire.

It may be that the fire symbolised the wellbeing of the household, perhaps even the continuity of each community.

•

Alluvial plain lying between the Tigris and Euphrates rivers composing parts of Iraq, Turkey and Syria

•

Home to some of the oldest major ancient civilizations, including the Sumerians, Akkadians, Persians, Babylonians and Assyrians

.

•

The Sumerians are generally regarded as the first group of people in Mesopotamia.

•

The fertile crescent was inhabited with several distinct, flourishing cultures between the end of the last ice age (c. 10,000 BCE) and around 5000 BCE.

•

In the mid-4th throughout the 3rd millenniums BCE, various city-states gained increased power at various times. Eridu, Uruk, Ur, Lagash, and Girsu were all important urban centers.

Ancient civilisations Mesopotamia

•

Ziggurats were a form of temple, pyramidal structure common to the Sumerians, Babylonians and Assyrians of ancient Mesopotamia.

•

The earliest examples of ziggurats date from the end of the third millennium BCE and the latest date from the 6th century BCE.

•

The Mesopotamian ziggurats were not the place of public worship or ceremonies but instead were believed to be dwelling places for the gods.

Through the ziggurat the gods could be close to mankind and each city had its own patron god or goddess.

•

Only priests were permitted inside the ziggurat and it was their responsibility to care for the gods and attend to their needs. As a result the priests were very powerful members of Sumerian society.

the Ziggurat

Built in receding tiers upon a rectangular, oval, or square platform, the ziggurat was a pyramidal structure. Sun-baked bricks made up the core of the ziggurat with facings of fired bricks on the outside.

•

It has also been suggested that the ziggurat was a symbolic representation of the primeval mound upon which the universe had supposedly been created – the ziggurat may have been built as a bridge between heaven and Earth.

•

The temples of the Sumerians were believed to be a cosmic axis, a vertical bond between heaven and Earth, and the Earth and the underworld, and a horizontal bond between the lands.

•

Built on seven levels the ziggurat represented seven heavens and planes of existence, the seven planets and the seven metals associated with them and their corresponding colors.

Ur

An ancient city in southern Mesopotamia, located near the original mouth of the Euphrates and Tigris rivers on the Persian Gulf and close to Eridu.

The site is marked by the ruins of the ziggurat, still largely intact, and by the settlement mound

Catalhoyuk, Turkey A 32-acre large Neolithic settlement, home to about 6000 people, in southern Anatolia, dating from around 7500 BC for the lowest layers.

It is perhaps the largest and most sophisticated Neolithic site yet uncovered.

•

The inhabitants lived in mud-brick houses which were crammed together.

•

No footpaths or streets were used between the dwellings, which were clustered in a honeycomb-like maze.

•

All rooms were kept scrupulously clean. Archaeologists identified very little trash or rubbish within the buildings, but found that trash heaps outside the ruins contain sewage and food waste as well as significant amounts of wood ash.

•

Over time, houses were renewed by partial demolition and rebuilding on a foundation of rubble— which was how the mound became built up. Up to eighteen levels of settlement have been uncovered.

In good weather, many daily activities may also have taken place on the rooftops, which conceivably formed an open air plaza.

Conclusion?

Greek Architecture

ATHENS

The Three Orders

The Doric Order

The Ionic Order

The Corinthian Order

(7th Century B.C.)

(7th Century B.C.)

(4th Century B.C.)

30/04/2014

Greek architecture.H1.

50

United States Bank Philadelphia 1875

Timeline of

Early Christian & Byzantine Architecture

Lecture Plan 1.

2.

3.

4.

5.

Fall of the Roman Empire Transformation of the Roman Empire Early Christian Architecture Byzantine Architecture Conclusion – Differences between Western and Eastern Roman Empire 6. Romanesque Architecture

Early Christian & Byzantine Architecture

THE FALL OF THE ROMAN EMPIRE Factors leading to the downfall of the empire: • Empire was too big & complex for 1 person to rule  Diocletian divided the empire – 2 coequal emperors titled Augustus, assisted by a subordinate caesar designated as successors • Impact of Christianity  dramatically transforming the empire from within • Other reasons:  Economy – inflation, unemployment...  Internal – political corruption, decline in moral & values...

 Health – lead poisoning, alcohol, disease...

Early Christian & Byzantine Architecture • By 3rd Century, the Empire was even more in a desolate state • The Western Empire fell with an invasion from the northern Germanic Tribes  The era of barbarism known as the Dark Ages prevailed By 476 the last Western Roman emperor was disposed • The Eastern Section (Byzantium Empire) stayed intact over a thousand years longer, till the fall of Constantinople in 1453 to the Turks.

Early Christian & Byzantine Architecture

Eastern Roman Empire

Western Roman Empire

Early Christian & Byzantine Architecture

THE TRANSFORMATION OF THE ROMAN EMPIRE

• Impact of Christianity  dramatically transformed the empire from within  The church became the main patrons of art and architecture in the name of the religion and supporting services. For the next approximately 1000 years, main building activities were buildings used in the name of religion.

Building types churches and cathedrals, monastries, schools and centres of learning.

Used existing Roman architectural models

Early Christian & Byzantine Architecture

ESTABLISHMENT OF CHRISTIANITY Established as the state religion of the Empire under the successors of Constantine The Great with the vision to conquer in the name of Christ ďƒ˜ Christianity had been much tolerated throughout the empire. Constantine and co-Emperor Licinius issued the Edict of Milan in 313, which proclaimed tolerance of all religions throughout the empire. ďƒ˜In 330, Constantine as the first Christian Emperor, relocated the capital to Byzantium, renamed Constantinople. He is thought of as the founder of the Eastern Roman Empire.

The Constantine Arch, Constantinople

In Hoc Signo Vinces ‘with this sign, you will conquer”

Constantine’s vision or dream which initiated the transformation of the Roman Empire

The Vision of the Cross by assistants of Raphael

Early Christian & Byzantine Architecture

EARLY CHRISTIAN PRACTICE Early Christian Architecture was an integral part of the architecture of the later Roman Empire

Synagogue, Dura Europos, Syria

Early Christian & Byzantine Architecture

EARLY CHRISTIAN PRACTICE Christian Community House 230 AD

The cutaway reconstruction

The baptistery

Christian house-church, Dura Europos, Syria

Underground Catacombs

Early Christian & Byzantine Architecture

EARLY CHRISTIAN PRACTICE

Early Christian Buildings Basilica church The Early Christian Basilica became the stage for the elaboration of the eucharistic liturgy with its increased emphasis on processions, and required a specific plan form to relate to the rituals and practise of the religion.

Martyrium Alternative function and form of Christian building developed in the 4th century due to the veneration of spots associated with Christian martyrs.

More popular in the Eastern part of the empire

Early Christian & Byzantine Architecture EARLY CHRISTIAN ARCHITECTURE •Requirements: accommodation of large numbers of converts & enclosed spaces that would facilitate hearing the spoken word & chanted psalms • Ancient temple forms were unsuitable: Paganism Design stressed external appearance - ceremonies took place outside, in front the temples Temple as the house of the cult - temple was a backdrop for the sacrifices

Christianity Emphasis on inner conversion - emphasis on building’s interiors Religious requirements - Need to have clear separation between the faithful & nonfaithful - Lead to reorientation of religious architecture from architecture of exterior to an architecture of interior

Early Christian & Byzantine Architecture

EARLY CHRISTIAN ARCHITECTURE The Roman basilica was used as a basis for church design:  devised for public gatherings  symbolic connotation with equitable administration of earthly justice was positive

 simple matter to replace the small altar devoted to the emperor with one at which the ritual communal meal, the Eucharist, could be celebrated  Axial in spatial organization – the axis served to focus attention on the altar.

Early Christian & Byzantine Architecture

EARLY CHRISTIAN ARCHITECTURE The Roman Basilicas

Basilica of Maxentius

The apse

Early Christian & Byzantine Architecture

EARLY CHRISTIAN ARCHITECTURE

The Roman Basilica transformed Added transept arms

Closed side entrances Eliminated apse at the east wall Added in an atrium and narthex for A new entrance

Early Christian & Byzantine Architecture

EARLY CHRISTIAN ARCHITECTURE

The Result • A linear building emphasising on the semicircular apse with an altar • Plan resembling the cross • Included colonnades of pillars forming 1 or 2 narrow aisles on the sides – the nave for the congregation, and the aisles for circulation • East-west orientation, main entrance always on the eastern wall

Early Christian & Byzantine Architecture

Early Christian Basilicas

St. John Lateran Church The construcution of the church almost immediately after Constantine’s defeat of Maxentius, along with its huge scale, suggests the dramatic transformation Christianity underwent when it fell under Imperial patronage

Early Christian & Byzantine Architecture

10

1.

2.

3.

4.

5.

6.

7.

8.

9

Propylaeum - the entrance building of a sacred precinct.

Atrium - the forecourt.

Parts of an Early Christian Narthex - the entrance hall or porch Basilica Nave - the great central space in a church.

Side Aisle - corridor running parallel to the nave Crossing - intersection of the transept and the nave .

Transept - the whole arm set at right angles to the nave.

Apse - a recess, usually semicircular, in the wall at the end of the basilica, containing the "cathedra" or throne of the bishop, and the altar.

9. Nave elevation - term which refers to the division of the nave wall into various levels.

10. Clerestory - a row of windows in the upper part of a wall - the clerestory windows above the roofs of the side aisles permit direct illumination of the nave.

Early Christian & Byzantine Architecture Early Christian Basilicas

Old St. Peter’s Basilica, Rome

Early Christian & Byzantine Architecture Early Christian Basilicas

Sant’ Apollinaire Nuovo, Ravenna

Sta. Sabina - Early Roman basilica

Early Christian & Byzantine Architecture BYZANTINE ARCHITECTURE • The architecture of the Byzantine Empire • The empire emerged gradually after AD 330, when Constantine moved the capital of the Roman Empire to Byzantium, which was later renamed Constantinople (now Istanbul)

• The Golden Age of Byzantine Architecture was under the rule of Justinian in 527 – 565.

• the term conventionally used to describe the Greek-speaking Roman Empire during the Middle Ages, centered at its capital Constantinople • often referred as the Eastern Roman Empire • referring to the centuries that marked the fall of the Western Roman Empire • the ancient Greek name for the Eastern Roman capital of Constantinople.

Early Christian & Byzantine Architecture The Martyrium

• The royal tombs & the pagan ‘heroa’, a building commemorating the deeds of a divinity of the deceased member of a prominent family • Were of a centralised plan – round, octagonal or square • was used for:

 ‘martyria’ – structures marking the place of suffering or death of a martyr  mausoleums of prominent Christians  baptisteries, where symbolically believers died to the old life & rose renewed from the water

Early Christian & Byzantine Architecture

BYZANTINE ARCHITECTURE

Santa Costanza, Rome - a mausoleum built for Constantine’s daughter, Constantina (died 354)

Early Christian & Byzantine Architecture

BYZANTINE STYLES San Vitale, Rome 547 The church has an octagonal plan. The building combines Roman elements: the dome, shape of doorways, and stepped towers; with Byzantine elements: polygonal apse, capitals, and narrow bricks. The church is most famous for its wealth of Byzantine mosaics.

San Vitale The church is of extreme importance in Byzantine art for its extensive mosaic art.

It is the only major church from the period of the Emperor Justinian I to survive virtually intact

Early Christian & Byzantine Architecture

BYZANTINE STYLES Hagia Sophia, AD 532-537 • Built by Justinian

• centralized building on a large scale • designed by 2 Greek philosophers, Anthemios & Isidoros – known for their studies in theoretical geometry; they could design the kind of ethereal, dematerialized building that Justinian wanted

Early Christian & Byzantine Architecture

BYZANTINE STYLES Hagia Sophia, AD 532-537

• Built by Justinian • centralized and axial building on a large scale

• designed by 2 Greek philosophers, Anthemios & Isidoros – known for their studies in theoretical geometry; they could design the kind of ethereal, dematerialized building that Justinian wanted

Early Christian & Byzantine Architecture

BYZANTINE STYLES Hagia Sophia, AD 532-537

• Physical representation of the union of empire & church – the cube surmounted by a dome was a model of the universe to the Byzantine concept; the earth covered with the dome of heaven.

• All seems in motion, surfaces curving & intersecting, bathed with a mystical light.

• Interior is awashed with light from hundreds of windows, reflecting from marbled walls & mosaics – the base of the dome was pierced with 40 windows

Early Christian & Byzantine Architecture

BYZANTINE STYLES Hagia Sophia, AD 532-537 dome

The cube (earth) surmounted by a dome (heaven)

•Rectangle 71 x 77m – the centre was a square marked by 4 massive piers, 31.1m to a side, capped by a dome on pendentives (provides a method for putting a round dome on a rectangular building}

Centralized but axial

axial

Centralized

Early Christian & Byzantine Architecture

BYZANTINE STYLES In the provinces For a 1000 years, Byzantine style pioneered in Constantinople exerted a powerful influence throughout Europe

Basilica of San Marco, Venice, Italy

Early Christian & Byzantine Architecture

BYZANTINE STYLES In the provinces

-9 flamboyant domes create a fantasy effect atop a traditional crossin-square plan - Russians preferred exterior flourishes - imported the modular, domed church from the Middlle East St. Basil’s Cathedral, Russia

Mosaic from the church of Hagios Demetrios, iThessaloniki

Byzantine art developed out of the art of the Roman Empire.

Developed a new aesthetic - abstract or antinaturalistic character, a more symbolic approach.

Icons were more religious than aesthetic in nature: they were understood to manifest the unique ‘presence’ of the figure depicted by means of a ‘likeness’ to that figure maintained through carefully maintained abstractions

Byzantine Art Mosaic art, St Mark's Basilica, Venice

Basilica of Sant'Apollinare , Classe, 549

Early Christian & Byzantine Architecture

CONCLUSON As the Roman Empire was transformed into a Christian empire: • Churches & other religious buildings emerged as the preeminent architecture, other buildings & residences faded into relative obscurity • Churches were internalized, their exteriors deliberately restrained in spatial modeling, detail & color • Artistic focus shifted to the building’s interior, on creating a mystic image of heaven that was the very opposite of the architecture of the world outside • The art & architecture reflects differences between the Roman Catholic religion which developed in the Western Roman Empire & the Eastern Orthodox religion which thrived in the East, in the Byzantium Empire.

Early Christian & Byzantine Architecture

Split between the East & West

East : Circular • Centralized church (Byzantine) Could be round, octagonal or square on the outside • Mark specially sacred spot or to house a tomb or baptistery • Choir, seats for the faithful are banned • Intimacy, mystery, silence & semidarkness preferred • Combined the basilica’s horizontal axis with the vertical accent of a dome • Vertical •Greek speaking

West : Basilica • Linear church • Congregational worship • To include choir, seats for the faithful • Horizontal • Latin speaking

• Common Element : internal appearances were the focus of concern & were ablaze with mosaics & coloured marble; exteriors were exceedingly plain

Early Christian & Byzantine Architecture Split between the East & West

The Middle Ages Era between the Renaissance (15th c) and the Classical Roman Age. After Rome fell in 476, Roman culture was spread by the Christian church.

The Crusades, the Black Plague (mid 14th c) , the 100 years War (14th/15th c), the Battle of Hastings (11th c),

3 periods: : Early Middle Ages 450-900 True dark age – unrest, wars; public buildings nearly stopped Building types: monastries and castles The devil was accorded great powers, and was believed to have a rightful dominion over men – inhibition of human development

: High Middle Ages 900-1200 Cities ceased to be important, economy turned to rural agricultural estates.

Gradual resumption of travel and trade Start of the first of 8 crusades against the Muslims in the east.

Revival of building on a large scale – Romanesque and pilgrimage churches.

Feudal system : Late Middle Ages 1200-1450 The rise of cities Development of light and graceful Gothic architecture in church, education and private buildings.

Devastation of the Black Death Political turmoil of the Hundred Years War.

The High Middle Ages (The Romanesque Era) •

a great resurgence of building activity.

•

During this time the Holy Roman Empire reached its most flourishing days.

•

Impressive new churches were being built to accommodate the hoards of faithful pilgrims.

•

The Crusades occurred during the 11th, 12th and 13th centuries. The only successful one was the 1st Crusade with the recapture of Jerusalem from the Moslems in 1099.

•

This period of the Middle Ages saw the emergence of the feudal system.

Introduced in Britain by the French when they took control as a way of organising society.

Medieval Europe

Architecture of the Early Middle Ages • Domestic Wood manor farm houses • Castle The French started this building type in Britain for the purpose of protection. Originally, the castle simple, but the need for better protection rose and they became more sophisticated.

• Monastery Sponsored by the great monastic communities.

Monastic practise flourished in Europe, requiring the development of these new building complexes.

1. Motte (mound)

the Castle 3. Stone keep

2. Motte and bailey castle

4. the Castle

the Feudal System •

A gradation of classes from overlord to serf, which lead to a variety of relationships between social groups.

•

Serfs were people bound to their lord by obligation of service. Service would include going to war to protect the lord’s land, paying taxes or dues for the opportunity to farm his land, and building his castle and roads.

•

The lord would offer the serf his protection.

A typical Medieval castle, farmlands for peasants, and all of the other occupants for a Lord's land holdings.

the Tower of London

In 1078, William the Conqueror ordered the White Tower to be built, as much to protect the Normans from the people of the City of London as to protect London from outside invaders.

the Monastries • The term ‘monasticism’ (monachos, a solitary person) describes a way of life chosen by religious men or women who retreat from society for the pursuit of spiritual salvation.

• Political, cultural, and agriculture centres of their surrounding regions.

They received gifts, land, and building from local lords seeking the assurance of heaven.

• The earliest monasteries were built to promote isolation.

the St. Gall Monastery Plan The ideal monastery plan prepared

by Abbot Haito in the 9th c.

• Principle building was a large church • East-west orientation • Cloister for easy circulation • Refuge and hotel for travellers • Self-sufficient and sustaining

The covered walkway and cloister

Characteristics of a Monastery

Isolation.

Highly dim, the interior lit only by windows at end of the barrel vaults.

St. Michels

St Martin

• •

Fortified and massive.

Refuge centre

Buildings of the Romanesque • Romanesque church Combination of massive enclosure and verticality - The Romanesque church is both stronghold and a gateway to heaven. • The Pilgrimage Church A new church type which was made necessary with the religious mood and the growing cult of relics of this era.

As travel became easier, the faithful began visiting these churches and sites with these relics. This led to the development of this new church

The Romanesque Church •

Romanesque – ‘in the manner of the Roman’ (new Roman) – consciously built to resemble Roman models

•

Used mainly masonry (stone)

•

Romanesque is characterized by a use of round or slightly pointed arches, barrel vaults, cruciform piers supporting vaults, and groin vaults.

Monumental stone sculpture became an integral part of the architecture, and it served a practical instructive function.

•

Structural masses dominated over void – masses of walls supported vaulting

•

Windows were kept small – memory of invasions in more uncertain times encouraged heavy / massive buildings

Features •

Church as a metaphor for heaven.

•

Most major churches were laid out on the basilican plan, modified by the additions of buttresses, transepts, and towers.

•

Cruciform plans. Nave and transept at right angles to one another.

•

Church portals as ‘billboards’ for scripture or elements of faith.

•

Elevation of churches based on basilican forms with the nave higher than the side aisles.

•

Complex composition of smaller units, called bays. This is a distinguishing feature of Romanesque style.

Bays are square or rectangular spaces enclosed by groin vaults and used by architects as the basic building unit.

•

To support the heavy stone vaults, architects used massive walls and piers.

Development of the vault An outstanding achievement of Romanesque architects was the development of stone vaulted buildings

St. Etienne, Caen, France (1067-1120) Groin vaults tused o admit light through the clerestory. The groin vault in the nave is divided into 6 sections.

Romanesque churches relied on the sheer mass of its walls to support its vaulting.

This was solved by constructing a second story gallery to support the extra weight of the stone – this diverts the thrust from the side of the wall back to the piers or column of the nave.

St-Sernin

the Romanesque Church Portal

Carved portals are an important innovation in Romanesque architecture. The portal, or entrance into the church, was meant to impress and humble and terrify the viewer. Most of the lay people could not read or write, therefore, the portals often told a narrative story.

St. Michael's Church, Hildesheim, (1010-33) •

One of the most important churches in Early-Romanesque style.

•

It is a double-choir basilica with two transepts and a square tower at each crossing.

•

The west choir is emphasized by an ambulatory and a crypt.

•

The ground plan of the building follows a geometrical conception, in which the square of the transept crossing in the ground plan constitutes the key measuring unit for the entire church.

•

The interior of the church is characterized by its sober monumentality. The arcades in the nave are characterized by an alternation of groups of two columns and a pillar.

•

Its famous painted wooden ceiling (created around 1230), has a length of 27.6 m.

It depicts the genealogical tree of Jesus.

the Portal Door

The Pilgrimage Church

Saint Foy at Conques (1040-1140)

Adopted a new arrangement where the growing attraction of relics had presented problems in conducting normal monastic church services as the crowds of pilgrims kept crossing paths with the processing monks.

the Pilgrimage route

The pilgrimage route – 4 routes from France, converging at the final destination at Santiaga de la Composdela in Northern Spain, where St.James is believed to be buried.

The solution resulted in a new plan form with: : 2 spatial shells –connected outer passages leading to chapels holding the relics. The inner basilica for the clergy.

The plan is a Latin cross basilica with side aisles extended around the transept and the apse to form an ambulatory. This permitted visitors to circulate freely. : A ‘chevet’ consisting of 3 parts - a deeper space called the choir - around this a screen of columns that supported the curved upper wall, the ambulatory or walkway - the apsidial radiating chapels containing the relics.

Transept nearer the centre of the Church. Tall towers were placed over the crossing.

Three smaller apses radiate from the main altar and apse.

Stone vaulting over all internal spaces

Art of the Romanesque • Characterized by an important revival of monumental forms, notably sculpture and fresco painting, which developed in close association with architectural decoration and exhibited a forceful and often severely structural quality.

• Element of realism • Expressed in terms of a direct and naive observation of certain details drawn from daily life and a heightened emphasis on emotion and fantasy.

Sculpture • Extraordinary ornamental complexity, ecstatic in expression, • Executed large relief carvings for the decoration of church portals and richly ornate capitals for cloisters.

• Emphasized the awesome majesty of Christ as ruler and judge of the universe. They often depicted terrifying spectacles of hell.

Weighing Of Souls by Gislebertus Angels are weighing souls, while the devil tries to tip the scale in his favour.

The band below contains the damned who are beset by snakes. On the bottom right, a clawlike hand clasps a screaming soul. Since people could not read, this narrative told them as they passed through the portal to ‘be good, or else…’

Fresco Painting •

Mosaic and fresco design, from around 1150, attempted to revive the styles of the art of classical antiquity, and yet it also drew heavily on ancient Christian Celtic and Byzantine arts.

Typically monumental in scale and bold in colouristic effect.

Christ In Majesty, detail, from church of San Clemente, Spain Christ, who sits in a mandorla, is both the ruler and the judge of mankind. The brilliant colors of the fresco are achieved by glazing with many layers of thin paint. Their bodies and clothing are stylized.

Conclusion • The round arched architecture of the Middle Ages never quite rid itself of that massiveness bred of defense – reflected the unrest and insecurity of the age.

• Limitations – reliant on the sheer power of mass to abut and restrain that tremendous outward thrust of thick navel barrel vaults.

• Architecture could not open up to the light

ARCHITECTURE CULTURE & HISTORY

1 gothic Architecture Lecture 6

ROMANESQUE

GOTHIC

6th - 10th century

12th - 16th century

GOTHIC

RENAISSANCE

12th - 16th century

14th - 17th century

RENAISSANCE 14th - 17th century

BAROQUE 16th - 17th century

material understanding structural advancement ornamental expression

proportion

ROMANESQUE

GOTHIC

RENAISSANCE

BAROQUE

material structure

significance expression

1 structure gothic Architecture

1a

arches structure

scandinavian

romanesque round arch

gothic pointed arch

1b

vault structure

romanesque barrel vault

gothic rib arch

continuous edge reduces window sizes

with the flying buttress, enlarging windows

1c

buttress structure

buttress

flying buttress

buttress root nature’s design

structure gothic Architecture

flatter roof

taller building

flying buttress

thick walls

less larger sunlight windows

ROMANESQUE

GOTHIC

6th - 10th century

12th - 16th century

1d

structure implication on the spatial plan

ROMANESQUE

GOTHIC

1d

structure implication on the spatial plan

1070

1096

1175

THE DEVELOPMENT OF GROUND PLAN OF THE CANTERBURY CATHEDRAL FROM 1070 TO 1400

1e

structure implication on the lighting and the experiential

1f

modern comparison spiritual quality maintained?

1g

modern transformation entertainment / spiritual / performance

2 geography material construction & style gothic Architecture

2a

limestone england

Exeter cathedral

2b

white limestone france

HĂ´tel de Cluny chapel

2c

brickwork sweden, northern germany, netherland, northern poland, denmark

Storkyrkan (St. Nicholas church)

2d

marble italy

Siena Duomo

2e

timber new zealand, scandinavian

old st. paul New zealand

geography material

3 expressions gothic Architecture

material understanding structural advancement ornamental expression

proportion

ROMANESQUE

GOTHIC

RENAISSANCE

BAROQUE

3a

pointed arches expression design

arch’s shape tracery spandrel pier

3a

pointed arches arch’s shape

3a

pointed arches tracery

3a

pointed arches tracery

3a

pointed arches spandrel

John Ruskin, The Orders of Venetian Arches

3a

pointed arches pier

Thomas Rackman, An Attempt to Discriminate the Styles of Architecture in England (1835), pp. 51, 127

3b

vault expression design

groin rib keystone

3b

vault Groin and Rib

St Cross Church, Cracow, Poland

Malbork Castle in Poland

King’s College Chapel, Cambridge.

3b

vault keystone

Voûte de l’église SaintSéverin à Paris

Lisbon cathedral.

Rhineland. Willibrordi Dom

westminster abbey

3c

sculpture expression design

3c

sculpture expression design

straight and stagnant distorted height

Chartres Cathedral, South Portal, Martyrs.

(13th century)

3c

sculpture expression design

posture and moving drapery

Reims Figures of the Middel Portal to the West: Annonciation (left) and Visitation (right).

(13th century)

3c

sculpture expression design

exaggerated motion & realistic proportion

Hercules and the Centaur Nessus

by Giambologna, Florence Italy (Renaissance)

3d

windows expression design

3d

windows expression design

romanesque window

gothic window

3d

windows expression design

limitless design opportunity

“English Gothic windows,� Sir Banister Fletcher, 1905.

3d

modern interpretation windows

more glass = more modernistic

? philip johnson glass house

3e

buttress expression design

3e

buttress expression design

romanesque buttresses

3e

evolution buttress

The Evolution of the Gothic Buttress, 1170-1220 with English Examples. From Banister Fletcher’s A History of Architecture on the Comparative Method (1905).

3e

buttress expression design

3e

buttress expression design

gothic buttresses milan cathedral

3f

stained glass expression design

3f

stained glass expression design

Sainte-Chapelle Choeur

3g

gargoyle expression design

3g

gargoyles expression design

spouts, enabling rainwater to drain off the roof and gush through their mouths, before plummeting to the ground

3g

gargoyles expression design

grotesque: exaggerated, evil features or threatening poses

expressions - pointed arches arch’s shape tracery spandrel pier

- vault groin rib keystone

- sculpture - windows - buttress - stained glass - gargoyle -

Modernising gothic

?

4 significance gothic Architecture

IDENTIFICATION OF CITIES artistic significance for the coming years

PARIS

COLOGNE

ARCHITECTURE CULTURE & HISTORY Lecture

7 Renaissance Architecture

ROMANESQUE

GOTHIC

6th - 10th century

12th - 16th century

GOTHIC

RENAISSANCE

12th - 16th century

14th - 17th century

RENAISSANCE 14th - 17th century

BAROQUE 16th - 17th century

material understanding structural advancement ornamental expression

proportion

ROMANESQUE

GOTHIC

RENAISSANCE

BAROQUE

Renaissance Architecture rebirth of classic culture of roman forms

509 BC - 4 AD

14 - 17 ad

1 4 main roman forms

4 main roman forms

column

round arch

tunnel vault

dome

2 origins of renaissance architecture

vitruvian man

vitruvian proportion to architecture

colosseum rome, italy ad 80

ruins of roman forum

3 system of order proportion as basis of design

doric

tuscan

corinthain

ionic

composite

early renaissance

high renaissance

ornate corinthain

simple, strong doric

4 beauty of renaissance through

proportion

GOTHIC

RENAISSANCE

light and windows

proportion and order

device of perspective

The School of Athens (1510-11)

5 early renaissance architects

filippo brunelleschi (1377 - 1446) early pioneer to renaissance in italy

cathedral of santa marie del fiore florence, italy dome reconstructed by brunelleschi 1420 - 1436

brunelleschi’s inspiration

Engineering of classical dome

pantheon rome, italy 27 BC

gothic windows remains

leon battista alberti

10 books of architecture

facade of santa maria novella florence, italy 1456 - 1470

proportion and sense of measure

santa maria novella florence, italy 1456 - 1470

6 high renaissance architects 16th century

Donato Bramante

harmony clarity repose

sant’ ambrogio basilica milan 1492 - 97

santa maria tempietto at delle grazie san pietro milan portions attributed to branmate

rome 1502

saint peter’s basilica initial plan by bramante, 1506 - 1514 (death)

7 late renaissance architects (Mannerism) 1520 - 1600s

sophistication complexity novelty

high renaissance had taken art to perfection, mannerism seeks to rebel

harmony clarity repose

sophistication complexity novelty

laurentian library florence michelangelo 1523

8 art vs architecture in the period of renaissance architecture

The School of Athens (1510-11)

Works often used

proportion with

perspective

teotro olimpico vincenza, italy paladio 1579 - 80 (pic shows a reconstructiion image)

El Greco Burial of Count Orgaz, santo tome toledo spain

Works often used

unnatural colors while shapes were

elongated or

exaggerated

Mikołaj Przybyła’s House attic (1615) Polish-style mannerism Kazimierz Dolny.

material understanding structural advancement ornamental expression

proportion

ROMANESQUE

GOTHIC

RENAISSANCE

BAROQUE

the Renaissance Rinascinta – rebirth ‘All is numbers’ An intellectual artistic movement of 15th c Italy

15th c Italy…

•

Set out to match the intellectual and artistic achievements of the ancients within a flourishing urban culture.

•

Desired a new architecture, one not based in the traditions of the church but expressing the mathematical clarity and rationality they perceived in the divine order of the universe.

•

Perception of the artist as a humanist scholar and philosopher in paint and stone.

•

Patronage of art and architecture moved away from the church to individuals, cardinals, popes and especially merchants and bankers.

•

Building types were varied – hospitals, churches, libraries, schools, palazzos, villa.

• An intellectual artistic movement – a period that resulted from a new way of thinking. A time of revival after spending hundreds of years in the Dark ages.

• Art, science and scholarship - literacy increased; artists signed works rather than being anonymous.

• Created new artistic styles that referred back to the Classical antiquity, rather than Christianity.

• Placed man in his own environment; nature including human character and human form became the ideal pursued during the Renaissance.

15th c Italy

The changes that are associated with the Renaissance first occurred in Florence and continued to be more pervasive there than anywhere else. The city's economy and its writers, painters, architects, and philosophers all made Florence a model of Renaissance culture – it was the intellectual, financial and artistic centre.

Influences •

Philosophy - Theory of humanism The reading of philosophies that were not based on Christian theology led to the development of humanism : God had established and maintained order in the Universe, it was the role of Man to establish and maintain order in society.

Importance of human values and achievement as distinct from religious dogma - human reason Reconciled the Classical view of human potential with Christian belief.

Celebrated the dignity of the individual human being and the wonder of human achievement.

Believe in everything was possible for humankind – desire for excellence in human achievement

Re-reading of the works of the ancient scholars and philosophers

Books The development of printed books, the rediscovery of ancient writings, the expanding of political and trade contacts and the exploration of the world all increased knowledge and the desire for education.

‘Ten Books on Architecture’ by Vitruvius : the ideal form and proportions can be found in the perfect proportions of the human body.

The ideally proportioned forms were derived from the ideal geometric forms generated by straight lines and circles, as well as the solids formed by them in three dimension – symmetry and proportion; inherent beauty and eternally and absolutely beautiful.

‘De re aedificatoria’ by Alberti ‘Beauty is that reasoned harmony of all the parts within a body, so that nothing can be added, taken away, or altered, but for the worse’.

‘the very same numbers that cause sounds to have that concinnitas, pleasing to the ears, can also fill the eyes and mind with wondrous delight’.

the Vitruvius Man ‘For if a man be placed on his back, with his hands and feet extended, and a pair of compasses centred at his navel, the fingers and toes of his two hands and feet will touch the circumference of a circle described therefrom. And just as the human body yields a circular outline, so too a square figure may be found from it.

For if we measure the distance from the soles of the feet to the top of the head, and then apply the measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of plane surfaces which are perfectly square’.

Plato in Philebus

‘All is numbers’ Renaissance artists firmly adhered to the Pythagorean concept ‘All is numbers’ …Architecture was regarded by them as a mathematical science which worked with spatial units… Thus they were made to believe that they could recreate the universally valid ratios and expose them pure and absolute, as close to abstract geometry as possible. And they were convinced that universal harmony could not reveal itself entirely unless it was realised in space through architecture conceived in the service of religion’

•

Planform The centralised square and circle as the generating geometry.

•

Proportion and symmetry Ideal systems and proportions can be found in human body. Shaped space using modular units and proportional logic, its form and rhythm subject to geometry, rather than intuition.

•

Clearly expressed numerical relationships and proportions.

Book of creation written in mathematical language and the symbols are triangles, squares and circles.

•

Boundaries of modules delineated.

Orderly arrangements of columns, pilasters and lintels

•

Harmony in design Reasoned harmony of all parts within a body.

Equated a building to music, it should be a harmonious balance of parts.

Renaissance Principles

Keys Figures of the Renaissance

The architecture of the Renaissance was dominated by a group of architects who were much engaged by theory .

Filippo Brunelleschi, Leon Battista Alberti, Donato Bramante, Leonardo da Vinci, Michelangelo and Andrea

Filippo Brunelleschi 1377-1446 Born in Florence - master goldsmith in 1404, and active as a sculptor for most of his life

First architect to employ mathematical perspective to redefine Gothic and Romanesque space and to establish new rules of proportioning and symmetry.

His involvement with the dome for the Santa Maria del Fiore in Florence marked his first foray as a practicing architect. He worked on this project off and on from 1417 until 1434. inventiveness as an engineer and an architect.

Santa Maria del Fiore, Florence

The Renaissance dome in the Santa Maria del Fiore, Florence

Ospedale degli Innocenti, Filippo Brunelleschi 1419 Florence

It is regarded as a notable example of early Italian Renaissance architecture clean and clear sense of proportion

Foundling Hospital Hospital of the Innocents

Rationally-ordered space Developed a rational mathematical scheme for accurately depicting on a painted 2-dimensional surface the arrangement of objects on real 3dimensional space, that is the rediscovery of mathematical perspective - desire for regularity and geometric order

•

Arches form a square in elevation, and a cube in volume.

•

Bays have a whole number proportional ratio of 2:2:3 in terms of the length of the radius

x/2 X

X

X

architectural space conceived in the modern manner, with total legibility of construction.

The vertical and horizontal load-bearing structures, the columns, pilasters and arches are distinguished in colour and material from the complementary structures, walls and windows.

The legibility of the architectural space, based on the alternation of grey and white, the mathematical and geometrical proportions between the various portions of the building, and the diffused lighting which creates no areas of deep shadow

San Lorenzo exceptional harmonious beauty‌..

Church of San Lorenzo – volume organised into cubes of space.

The dimensions of the sacristy square became the module for the room's proportional scheme

Andrea Palladio 1508 – 1580

•

Carefully proportioned, pedimented buildings that became models for stately homes and government buildings

•

The Palladian style is named after him, a style which adhered to classical Roman principles, as opposed to the rich ornamentation of the Renaissance.

•

In 1570, he published his masterwork: I Quattro Libri dell' Architettura [The Four Books of Architecture]. This important book outlined his architectural principles and provided practical advice for builders.

•

The book was widely translated, and Palladio's ideas spread across Europe and into the New World. American statesman Thomas Jefferson borrowed Palladian ideas when he designed Monticello, his home in Virginia. (Palladio, he said 'was the Bible -- you should get it and stick close to it)

some works by Palladio

the Villa Capra •

Palladio designed more than twenty villas on the Venetian mainland.

Situated on the top of a hill, one of his most famous is also known as the Rotunda, which was modeled after the Roman Pantheon.

•

The villa is asymmetrically sited in the topography, and each loggia relates to the landscape it enfronts differently through variations of wide steps, retaining walls and embankments.

•

The symmetrical architecture in asymmetrical relationship to the landscape intensifies the experience of the hilltop.

•

Incorporated a temple front in nearly all his villas.

•

The proportions of the rooms are mathematically precise, according to the rules he describes in the Quatro Libri.

•

Symmetrical square plan with a temple porch in front and a domed interior and loggias on all four sides, which connect to terraces and the landscape. The name Rotunda refers to the villa's circle within a square design.

•

At the center of the plan, the two story circular hall with overlooking balconies was intended to be roofed by a semicircular dome

the Palazzo Chiericati 1550 •

A rectangular building enfronting a piazza. It makes a very public front to the square with open loggias on both the ground floor and the piano nobile.

The ground floor loggia, raised five feet above the piazza, runs the entire length of the facade in eleven bays.

•

One of Palladio's most original and interesting works, The structure creates a powerful play of chiaroscuro effects and gives a sense of movement to the whole building, accentuating its lightness. {The piano nobile is the principal floor of a large house, often the first or sometimes the second floor, located above the ground floor containing minor rooms and service rooms}

The main entrance is centered in the ground floor and leads to a rectangular room which links to minor rooms symmetrically arranged at each side.

These rooms shift in proportion from rectangle to square to rectangle and diminish in size.

The palace's principal faรงade is composed of three bays, the central bay projecting slightly. The two end bays have logge on the piano nobile level, while the central bay is closed. The faรงade has two superimposed orders of columns, Doric with Ionic above. The roofline is decorated by statuary (added in the 17th c.)

Intricate ceiling coffers and frescos

Painted ceiling in the open loggia

Church of San Giorgio Maggiore 1566-1610

•

Situated on the island of San Giorgio, it faces across the basin of San Marco to the great piazza of Venice city.

•

Built as part of the Benedictine monastery on the island, the church's facade is scaled to present a public face to the town of Venice. It dominates and partially obscures the brick body of the church behind it, while it reflects the interior space of the nave and its side chapels.

The church is a basilica in the classical renaissance style. The central temple front is articulated with four tcomposite columns raised on high pedestals, which frame the central door. The cornice line continues through the central body, interlocking the two forms – this represents Palladio's solution to the difficulty of adapting a classical temple facade to the form of the Christian church, with its high nave and low side aisles. Palladio's solution superimposed two facades, one with a wide pediment and architrave, extending over the nave and both the aisles; and the other with a narrower pediment (the width of the nave).

•

The interior ceiling is a longitudinal barrel vault leading to a crossing, framed by grouped columns and arches.

•

Clerestory windows bring light to the side chapels and to the nave.

•

The interior plan combines elements of longitudinal and centralized buildings, a resolution responding to the Renaissance ‘ideal’ of the centralized plan and symbolic cross form; and the medieval tradition of nave churches.

Interior view of the Choir

In the chancel – Israelites in the Desert

the high altar

Last Supper

Conclusion The humanist scholar architects of the Renaissance, most of them trained as painters or sculptors, sought to create a new architecture cleansed of the mystical hierarchy of what they liked to call the crude work of the Goths.

The new architecture was to be rationally comprehensible, formed of planes and spaced organised according to clear numerical proportions.

It was to be a celebration of human intellectual powers but it was also an architecture that invited pleasurable human response

ARCHITECTURE CULTURE & HISTORY Lecture

8 Mannerism, Baroque & rococo Architecture

material understanding structural advancement ornamental expression

proportion

ROMANESQUE

GOTHIC

RENAISSANCE

BAROQUE

renaissance baroque

15th century

17th century

mannerism 16th century

rococo 18th century

1 artistic driven art & architecture

renaissance

The School of Athens Raphael 1509

renaissance

renaissance

mannerism

the vision of saint john el greco 1614

mannerism

colour distortion

exaggerated movement

exaggerated facial

the swing JJean-HonorĂŠ ean-HonorĂŠ Fr Fragonard ragonard 1767 1767

baroque

rococo

rococo curve

pursuit of veiled hedonism

renaissance

baroque

mannerism

rococo

proportion deviation with more curvature proportion precision

statues introduces movement to the stagnant columns classic revival

renaissance

mannerism

proportion deviation with more curvature

statues introduces movement to the stagnant columns

animal and floral motifs are introduced

symetrical maintained

animal and floral depicted movement within

mannerism

baroque

animal and floral motifs are introduced

animal and floral motifs are introduced

symetrical maintained

animal and floral depicted movement within

unnatural motifs, such as grotesque figure, chimera or exotic animals

symetrical broken

baroque

rococo

continuous development of style proportion and regularity has reach a high ground

renaissance

symmetric is broken.

baroque

mannerism curvature and movement are introduced

rococo

2 utilitarian purpose

Integrated rococo carving, stucco and fresco at Zwiefalten

Stucco Roccaile of Antoinio Bossi Balthasar Neumann 1743-45

framing tool Architecture elements as cover to the gaps between 2 adjoining surfaces

The Rococo of Gruber Palace in Ljubljana

ceiling stucco the Neues Schloss, Tettnang

modern roof cap

baroque frame

rococo frame

modern frame

unframe

3 MANNERIST architecture the characteristics

keystones’ breaking the architrave.

Palazzo del Te 1524 - 1534

keystones’ breaking the architrave.

Palazzo del Te 1524 - 1534

A BREAK OF PROPORTION Palazzo del Te 1524 - 1534

INCONSISTENCE OPENING Palazzo del Te 1524 - 1534

RENAISSANCE

BODILY PROPORTION

vitruvian man

MANNERISM

MOVEMENT PROPORTION

Daphne and Apollo BERNINI

4 BAROQUE architecture the characteristics

CONCAVE AND CONVEX PLAN S. Ivo alla Sapienza Francesco Borromini 1660

CONCAVE AND CONVEX PLAN S. Ivo alla Sapienza Francesco Borromini 1660

CONCAVE AND CONVEX PLAN San Carlo alle Quattro Fontane Francesco Borromini 1646

CONCAVE AND CONVEX PLAN San Carlo alle Quattro Fontane Francesco Borromini 1646

as a shell for painting, sculpture and stucco

opulent use of colour and ornaments

Church of Santo Domingo mexico 1659

as a shell for painting, sculpture and stucco

opulent use of colour and ornaments

Basilica of the Fourteen Holy Helpers bavaria 1772

5 rococo architecture the characteristics

organic abstract mask subject is lack of naturalist, religious and often depict fictional elements

grotesque figure combination of different living organisms

Plants, shell, animals

Plants, shell, animals becomes architecture

Gesamtkunstwerk the total work of art painting, sculpture, archetecture, dance are integrated

openings

Robie House Frank lloyd wright Chicago, Illinois 1963

structure

cartuja de granada luis de arevalo & francisco manuel vasquez 1764

circulation

Palazzo Biscari in Catania italy

balcony space

furniture Design for a table Juste-Aurele Meissonnier Paris ca 1730

icicles ice droplets

grotto cave like spaces

cave wall texture

Schloss Linderhof

rocaille shell-like, rocklike, and scroll motif

the rocaille line of beauty

WILLIAM HOGARTH THE ANALYSIS OF BEAUTY 1753

line of beauty curvature of facial features

WILLIAM HOGARTH THE ANALYSIS OF BEAUTY 1753

WILLIAM HOGARTH Analysis of Beauty Plate 1 1753

WILLIAM HOGARTH Analysis of Beauty Plate 2 1753

conclusion material understanding structural advancement ornamental expression

proportion

ROMANESQUE

GOTHIC

RENAISSANCE

BAROQUE

architecture always a reflection of the contemporary age

eco majestic in semenyik, colonial revival & putrajaya, local/ foreign design?

disneyland, based on fictional story

current design always a revival ?

is architectural ornament now a masking device for its identity

?

fuelled by fast pace lifestyle and capitalism, or oblivious negligence

?