Greece Architecture: PDF

Greece Introduction: Migrating Dorians and Ionians, actually invading brought into Greece their own systems of wood building but have also seemed to have absorbed Aegean architecture and Egyptian design. Temples: The greek temple developed from Aegean architecture, with a main room was the palace...

Greece Introduction: Migrating Dorians and Ionians, actually invading brought into Greece their own systems of wood building but have also seemed to have absorbed Aegean architecture and Egyptian design. Temples: The greek temple developed from Aegean architecture, with a main room was the palace house of God. Characteristics: Gabled roof: The closely spaced columns support short stone lintels with a gabled roof above. The portion of the front or side of a building enclosed by or masking the end of a pitched roof. A decorative member suggesting a gable. Entablature: The band of lintels forms an Entablature carved with details that suggest the end of the wooden rafters. These temples were strictly used for ceremonial purposes. That is the reason why its design is limited to a narrow range of variations on a formula. Cella: The enclosed space of the temple, usually one or two rooms dedicated to god or goddesses as a symbolic home. Peristyle: The striking visible form of the building comes from the surrounding Peristyle of columns, usually six or eight at the gabled front and rear. With additional rows of colums along each side, making up a total surround of rhythmic repetition. Orders: Doric and Ionic Doric: The oldest and most admired, uses a column with no base that rises from top of a three stepped platform (the stylobate) to a simple Capital made up of a round Echinus with a square block or Abacus above. The column is tapered from bottom to top with a slight curvature or Entasis. The Entablature band above is made up of three parts; a plain Architrave; a Frieze made up of alternating panels – the Triglyphs that recall wooden rafter ends, and the blank or sculptured Metopes between; and above projecting Cornice or crowning element. Detail of the West metopes, illustrating the current condition of the temple in detail after 2,500 years of war, pollution, erratic conservation, pillage and vandalism. Use of Golden 1:1.618 ratio for the mean proportions can be seen perfectly in The Parthenon at Athens, planned with two interior spaces. Refinements: The Parthenon temple displays subtle departures from strict regularity called refinements that are characteristic of most Greek temples. There were slight shifts, like platforms bent upwards in slight curvature, columns lean slightly inwards and the lines of the entablature also curved. Optically making straight lines seem to curve and vertical to lean which can be called humane introducing aesthetic quality to the building. Ionic Order: The Ionic order uses a column taller and thinner and is most clearly identified by its capital with its twin scroll form Volutes. It is considered more gentle, perhaps more feminine than the austerity of the Doric. It is the most ornate of the three orders. Third one being Corinthian we will talk later about. Ionic Order An order of classical Greek architecture characterized by two opposed volutes in the capital. This style developed among the Ionians who had settled in Asia Minor in the 5C BC and was considered a feminine style. Its delicate grace and rich ornament contrasted with the austere strength of the Doric order. Its main characteristics are tall slim columns with 24 flutes resting on molded bases and crowned bt capitals in the form of a double scroll; an entablature consisting of an architrave, a continuous sculpted frieze and a cornice decorated with egg and dart and leaf and dart molding; a pediment with "acroteria" shaped like palm leaves at the angles. The best example is the temple of Athena Nike in the Acropolis. The ornamental details, the moldings have been given names like bead and reel or egg and dart, bands of carved Dentils or Greek key ornament. Bead-and-reel A convex molding having the form of disks alternating with spherical or elongated beads. Egg-and-dart A molding consisting of egg-shaped figures alternating with arrow heads. Cornice (KOR nis) A decorative molded projection at the top of a wall, window or construction. The upper part of an entablature. Raking Cornice The sloping sides of a pediment. Dentil (Root: "dent" means tooth) A small rectangular block used in a series forming a molding under a cornice. Pediment (PED a ment) In classical architecture a low-pitched triangular gable above a facade, or a smaller version over porticos above the doorway or above a window. Fret A decorative design contained within a band or border, consisting of repeated, often geometric figures. Also called "key pattern." Volute (va LOOT) A spiral scroll on an Ionic capital; smaller versions appear on Ionic Internally many greek temples only the simple single room of the megaron house, but some larger temples have internal rows of columns supporting a Mezzanine or balcony with an upper range of columns supporting the roof above. Secular Interiors: The greek open air theatre with seats arranged in semi circle about a circular Orchestra that served as its stage. Towns included a central open square, the Agora, for market and general meeting areas. The Stoa at the edges of agora to provide shelter. The Andron a kind of vestibuled space typically for men to use or owner if the house and friends. Beyond the open court is surrounded by Oecus an all purpose living and work space, a kithchen and beyond that bedrooms all forming the area primarily used by women and children. Terracotta bathtubs were common. Rooms were generally plain with white painted walls and floors with tamped earth or sometimes of tile. No furniture survives, but paintings on vases and other ceramics give us the idea of their design Klismos chair: the seat is an open square of wooden members webbed with some material probably leather. Both front and bank legs take a strong outward curve. From about 323 BC theatres, temples and monuments became larger and richer, ornamental more complex. Terms: Abacus (AB a kis, a BACK is) A slab on the top of a capital of a column. Architrave (AR ka trave) The lowest of the 3 main parts of an entablature: the undecorated lintel resting on the columns. Bead-and-reel A convex molding having the form of disks alternating with spherical or elongated beads. Capital The head or crowning feature of a column or pilaster. Caryatid Sculpted female figure used in place of a column to support an entablature. Column A supporting pillar usually consisting of a base, a cylindrical shaft, and a capital. Corinthian Order The most ornate of the five classical orders, characterized by a slender fluted column having an ornate, bell-shaped capital decorated with acanthus leaves. Cornice (KOR nis) A decorative molded projection at the top of a wall, window or construction. The upper part of an entablature. Raking Cornice The sloping sides of a pediment. Dentil (Root: "dent" means tooth) A small rectangular block used in a series forming a molding under a cornice. Doric Order The oldest and simplest of the three orders of clasical Greek architecture, characterized by heavy, fluted columns with plain saucer-shaped capitals and no base. Developed on the mainland among the Dorian people and was the most common style in Greece from the 7C onwards. The columns, which had twenty flutes (see below) rested directly on the stylobate without bases; the capitals were plain. the entablature consisted of three parts, one above the other: the architrave, the frieze and the cornice. Drop Small drop-like projections carved below a triglyph or below a Doric entablature. Also called a "gutta." Echinus (i KY nis) A convex molding just below the abacus of a Doric capital. Egg-and-dart A molding consisting of egg-shaped figures alternating with arrow heads. Entablature The upper part of an order, consisting of architrave, frieze, and cornice Entasis (en TAY sis) The very slight convex curve used on Greek and later columns to correct the optical illusion of concavity which would result if the sides were straight. Also used on spires and other structures for the same reason. Fluting (FLOO ting) A decorative motif consisting of a series of uniform, usually vertical, flutes (grooves). Fret A decorative design contained within a band or border, consisting of repeated, often geometric figures. Also called "key pattern." Frieze (freez) The plain or decorated horizontal part of an entablature between the cornice and the architrave. Gutta (GUT a) Plural: guttae (GUT ee) Small drop-like projections carved below a triglyph or below a Doric entablature. Also called a "drop." Ionic Order An order of classical Greek architecture characterized by two opposed volutes in the capital. This style developed among the Ionians who had settled in Asia Minor in the 5C BC and was considered a feminine style. Its delicate grace and rich ornament contrasted with the austere strength of the Doric order. Its main characteristics are tall slim columns with 24 flutes resting on molded bases and crowned bt capitals in the form of a double scroll; an entablature consiting of an architrave, a continuous sculpted frieze and a cornice decorated with egg and dart and leaf and dart molding; a pediment with "acroteria" shaped like palm leaves at the angles. The best example is the temple of Athena Nike in the Acropolis. Leaf-and-dart Ornamentation. Lintel (LIN tl) The horizontal beam that forms the upper member of a window or door frame and supports the structure  above it. Metope (MET a pee) Any of the spaces between two triglyphs on a Doric frieze. Modillion (mo DILL yin) An ornamental bracket, usually in the form of a scroll with acanthus, used in series beneath a Corinthian, Composite, or Roman Ionic cornice. 1 Pediment (PED a ment) In classical architecture a low-pitched triangular gable above a facade, or a smaller version over porticos above the doorway or above a window. A triangular gable end of the roof above the horizontal cornice, often with sculpture. Peristyle A series of columns surrounding a building or enclosing a court. Pilaster (pi LAS ter) A shallow rectangular column projecting only slightly from a wall and, in classical architecture, conforming with one of the orders. Rosette (row ZET) A rose-shaped patera. In the illustration, there is a rosette in the middle of the quatrefoil. Stylobate (STEYE low bate) A course of masonry forming the foundation for a row columns, esp. the outermost colonnade of a classical temple. Triglyph (TRY glif) Ornament in a Doric frieze, consisting of raised blocks of three vertical bands separated by V-shaped grooves, alternating with plain or sculptured panels called metopes. Tympanum (TIM pa nim) The ornamental recessed space or panel enclosed by the molding of a pediment. Also the space between an arch and the lintel of a door or window. Volute (va LOOT) A spiral scroll on an Ionic capital; smaller versions appear on Ionic, Composite and Corinthian capitals. Secular Interiors: The greek open air theatre with seats arranged in semi circle about a circular Orchestra that served as its stage. Towns included a central open square, the Agora, for market and general meeting areas. The Stoa at the edges of agora to provide shelter. Terms: Agora: The literal meaning of the word is "gathering place" or "assembly". The agora was the central marketplace in most Greek city-states. Typically the agora was located in the center of town. Governmental buildings, such as the council building and courts, surrounded the agora in Athens. Skias: In the Agora at Athens, Greece, a round building called as skias served as a dining hall and council chamber for the presidents of the monthly governing councils. The interior shown here is a reconstruction with a wooden roof supported on wooden columns. Light can only enter from a doorway area. Stoa: The Stoa at the edges of the agora provided shelter for commerce within long colonades, with small rooms at the back serving as shops, for storage or as workspaces. Example is of an extensively restored stoa at Attalos in the Athenian agora. An outer row of columns of Doric order and inner row of Ionic columns support the roof of wood and tile. Greek houses were typically simple groupings of rooms around an open court. In cities the houses were closely packed together along the streets, with largely blank exteriors except for the entrance doorway. Materials were sunbaked bricks or sometimes the rough stone, with surfaces plastered or stuccoed and whitewashed. Terms: Andron: or Andronitis, usually close to the entrance is part of a Greek house that is reserved for men. social events with food and wine, were held in the andron. For this purpose the andron held several couches and tables in addition to artwork and any other necessary paraphernalia. Oecus: The Andron a kind of vestibuled space typically for men to use or owner if the house and friends. Beyond the open court is surrounded by Oecus an all purpose living and work space, a kitchen and beyond that bedrooms, all forming the area primarily used by women and children. Larger houses ocassionally had a second floor. But a second courtyard was rare. Terracotta bathtubs were common. Rooms were generally plain with white painted walls and floors with tamped earth or sometimes of tile. No furniture survives, but paintings on vases and other ceramics give us the idea of their design Klismos chair: The seat is an open square of wooden members webbed with some material probably leather. Both front and bank legs take a strong outward curve. The klismos was a specifically Greek invention, without detectable earlier inspiration. A vase-painting of a satyr carrying a klismos chair on his shoulder shows how light such chairs were. From about 323 BC theatres, temples and monuments became larger and richer, ornamental more complex. In the second century B.C.E. the loosely connected Greek city states came under the domination of Rome. Rome: Ancient Roman design drew extensively on Greek predecessors. The links were the Etruscan civilization on the Italian peninsula, which had in turn been influenced by Greek colonies in Italy and the direct contact that occurred as the romans invaded Greece and finally made it a part of Roman Empire. Tuscan order: An order based on the Greek practice was used, having a simplified Doric column with a base similar to that of the Ionic order. Executed in stone later by the Romans came to be known as Tuscan order. The Corinthian order is the latest of the three principal classical orders of ancient Greek and Roman architecture. The other two are the Doric order which was the earliest, followed by the Ionic order. When classical architecture was revived during the Renaissance, two more orders were added to the canon, the Tuscan order and the Composite order. The Corinthian, with its offshoot the Composite, is stated to be the most ornate of the orders, characterized by slender fluted columns and elaborate capitals decorated with acanthus leaves and scrolls. The composite order is a mixed order, combining the volutes of the Ionic order capital with the acanthus leaves of the Corinthian order. The composite order volutes are larger, however, and the composite order also has echinus molding with egg-and-dart ornamentation between the volutes. The column of the composite order is ten diameters high.Aqueducts: The Romans constructed aqueducts to bring a constant flow of water from distant sources into cities and towns, supplying public baths, toilets, fountains and private households. Arch: An arch is a structure that spans a space and supports structure and weight above it. Arches appeared as early as the 2nd millennium BC in Mesopotamian brick architecture and their systematic use started with the Ancient Romans who were the first to apply the technique to a wide range of structures. A masonry arch 1. Keystone 2. Voussoir 3. Extrados 4. Impost 5. Intrados 6. Rise 7. Clear span 8. Abutment Terms: Voussoir: A Voussoir is a wedge-shaped element, typically a stone, used in building an arch or vault. Centering: Centering, is the structure upon which the stones of arches or vault are laid during construction. Once the arch is complete, it supports itself, but until the keystone is inserted, it has no strength and needs the centring to keep the voussoirs in their correct relative positions. These are normally of wood. Typical form is the semicircular arch often called Roman arch. Springer: A springer is an architectural term for the lowest voussoir on each side of an arch. Keystone: A keystone is the wedge-shaped stone piece at the apex of a masonry vault or arch, which is the final piece placed during construction and locks all the stones into position, allowing the arch to bear weight. Aqueducts: The Romans constructed aqueducts to bring a constant flow of water from distant sources into cities and towns, supplying public baths, public toilets, fountains and private households. The multiple arches of the Pont du Gard, in Roman Gaul. Its lower tiers carry a road across the river, and the upper tiers support an aqueduct conduit that carried water to Nimes. Vaults: Arches can span wide openings, but masonry roofing of an interior space requires the extension of an arch to form a vault. The simple extended arch vault, called a Barrel vault or tunnel vault must rest on massive walls on either side to absorb its thrust. A more complex vault results from the form generated by right angle intersection of two barrel vaults. Such a Groin vault requires support only at its four corners as it exerts outward thrust in two directions at those points. Vault: an arched structure that forms a roof or ceiling. Barrel vault: same manner as the round vault but continuous. barrel vault Groin vault: when two barrel vaults intersect at right angles they form a Groin Vault. Dome: a circular ceiling that is anchored on a 180 degree rotation. A dome can cover a circular space and requires support around its perimeter. Interior of Pantheon temple. For the construction of these a neatly cut Ashlar stone was used. Romans also added the use of strong and lasting fired brick, which were thin flat squares. Romans also developed mix of cement or mortar, they used volcanic ash called pozzolana with stones or gravel and water to make a substance that would flow in any place desired and subsequently harden into artificial stone. Amphitheatres and Baths Amphitheatre: is an open air venue used for performances and entertainments, the theatres with tiers of seating in a semicircle facing an elaborate stage structure. Since they were open to sky, the only enclosed spaces of theatres and amphitheatres were the complex system of passages and stairs that gave access to seating. Arches and barrel vaults were used for the structure of seating purposes. Open to sky. Use and arches and barrel vaults in structure. Seating arranged around in a semicircular or circular or on both sides. Baths: Another public service building with vast clusters of enclosed spaces in varied sizes and shapes, made full use of vault and dome construction. Hypocausts: Furnace heat was passed through under the floors and through flues in walls, which along with the generous flow of water produce steam and heated air at the varied temperatures. The sequence of Tepidarium (warm), Caldarium (hot), and Laconicum (Very hot) led to the Frigidarium, a large pool open to the sky. Areas were provided for exercises, sports and even for library. Arched openings permitted daylight to enter the halls of the bath. Temples: The romans were less interested in temples but they did build some to their gods. The romans used their own version of the more elaborate Ionic and Corinthian elements and the hybrid Composite order (combining Ionic and Corinthian elements). The free standing Columns was not used along the sides and rear, rather the plain walls or attached pilasters were the norm. Example Maison Carree at Nimes: Barrel vaulted roof enclosed the cella. Larger temples have more elaborated interiors, for example the Pantheon temple in Rome. A single round room of 142 feet in diameter is topped with a half spherical dome. Across its width is a triangular pediment. The walls below the dome are in the Corinthian order with a simulated Attic or upper story above. The dome is coffered with five tiers of coffers of decreasing size, a smooth ring at the top below the open Oculus (eye) is the only source of internal lighting. The vast size of the Rotunda interior, its rich surface or ornamentation, the dramatic effect of the beams of sunlight which stream through the Oculus to be reflected from the polished marble floor makes it one of the most remarkable interior spaces surviving from ancient times. Portico: A portico is a porch leading to the entrance of a building, or extended as a colonnade, with a roof structure over a walkway, supported by columns or enclosed by walls. Apses: Back to back ends of the room with half dome tops. Secular Buildings: Basilica: A large room built for use as a courtroom, had a central space called Nave. It was used for trials where judge used to sit higher in an apse in the end of the building. On either side separated by an arcade, aisles to provide circulation around the nave proper. Papal Basilica of St Paul Outside the Walls in Rome Secular builidings Basilica: a large oblong hall or building with double colonnades and a semicircular apse, used in ancient Rome as a court of law or for public assemblies. So it is a public building. Houses: House of Vettii: In Pompeii one of the most famous of the luxurious residences (domus) is the so-called House of the Vettii, preserved like the rest of the Roman city by the eruption of Vesuvius in 79 AD. The eruption of Visuvius has preserved the life a pompeii as it was lived in 79 AD. Here is a floor plan, adapted from that of the house of the Vettii, to give a general notion of the layout of a typical Roman house. 1. fauces (entrance corridor) 2. impluvium (rain basin) 3. atrium (main entry room) 4. tablinum (study) 5. ala (side room) 6. lararium (household shrine) 7. culina (kitchen) 8. triclinium (dining room) 9. oecus (reception room) 10. peristylium (peristyle colonnade) 11. viridarium (pleasure-garden) 12. cubiculum (bedroom) Peristyle garden Characteristics: The House was usually a one or two storey building, fronting on a street with a blank wall, or often, with shops on the street. Typical Street An unobstrusive (not conspicuous or attracting attention) entrance through a passage leads to a courtyard open to sky. In the centre of this open Atrium there would be a pool (Impluvium) with surrounding columns supporting a wood and tile roof which covered the colonaded passage that gave access to the most of the rooms of the house. On the axis of entrance, there was usually a sort of parlour or Tablinum with an adjacent Triclinium (dining room). Atrium Wall paintings in the house of Vettii give us a view of paintings with considerable artistic merit and other architectural paintings give us the clue of local buildings. In this photo, winged infants mimic their elders by acting as winemakers and winesellers. This fresco is from Pompeii’s House of the Vettii, named for the wealthy freedman Augustalis Vettius Conviva, who owned the house when it was destroyed by the 79 A.D. eruption of Mount Vesuvius. Other frescoes in the house show similar infants, also called cherubs or cupids, engaged in various adult tasks, such as forging iron and selling medicine. Furniture and other furnishings: One type od Roman chair surviving only in thr form of a throne carved in stone, nevertheless suggests design for others. Chairs of lighter and more simple, functional design were often made of Wicker(pliable twigs, typically of willow, plaited or woven to make items such as furniture and baskets). Roman bed: has legs and frame made of bronze, supporting surafec of leather or cloth or woven material. The bronze bars at head and foot end in sculptured decorative serpents heads. Roman throne: A form of Klismos chair, but has been given a more massive back, supported by upright members on either side that rise from the tops of the back legs so to add structural solidity. klismos chair Romannesque: French ruler Charlemagne established a new empire in Europe (768-814). The term Carolingian (which derives from the name charles) is used to describe the work of this era, and can be viewed as the harbinger (a person or thing that announces or signals the approach of another) of Romanesque architecture and art. Romannesque continued the semicircular arch style and some other aspects of Roman design and some versions of the detail of Roman. Had no connection with Rome. Most of its art had been largely lost or forgotten in the early middle ages. At Charlemagne capital at Aachen(Aix-la-Chapelle), a great palace, built with regard for concepts of order and symmetry was the epitome of Romanesque style. Only chapel that survives, a centrally planned octagon topped by an eight sided vault with surrounding passages at floor level and the two levels of gallery above. Barrel vaults and semicircular arches recall the techniques of Romans. The visual element most readily identified with romanesque design is the semicircular arch. Its clearly a primary device of Roman architecture, remembered or perhaps rediscovered. Wood was the usual meterial fro everyday structures that no longer survuves and was the most common material for floor and roof construction in stone buildings. Eventually vaults came to use and the desire of permanence justified their use. Early barrel vault with invariable semicircular form was used and grew to the use of groin vault but with semicricular form. Barrel vaults were used in placing a stone roof over a long church nave. Continuous barrel vault made it diffilcult to provide with windows leading to dark interior. Later the solution was to break up the nave up into a series of separate units, each topped with its own vault. Example: Abbey Church of S. Philibert at Tournus in France. Romanesque architecture is known by its massive quality, thick walls, round arches, sturdy piers, groin vaults, large towers and decorative arcading. Each building has clearly defined forms and they are frequently of very regular, symmetrical plan so that the overall appearance is one of simplicity. Odo von Metz(architect), Palatine chapel, Aachen(Aix-la-Chapelle), Germany, 798. Octagon interior Plan of the Palace Exterior view of ocatgon Throne of Charlemagne in the palace chapel. Aisle in chapel Section of Palace Statue of Charlemagne in front of Aachen’s city hall Romanesque Churches: Germany: At Corvey-on-the-Weser in Germany , the abbey church of S. Michael (873-85) is a basilican church with an aiseld nave. To its eastward facing main body, a massive unit almost a complete building in itself, was added at the west (front) end. This element called a “westwork,” became a frequent part of German Carolingian and early Romanesque churches. Term: Basilica: a large oblong hall or building with double colonnades and a semicircular apse, used in ancient Rome as a court of law or for public assemblies. a similar building used as a Christian church. the name given to certain churches granted special privileges by the pope. abbey church of st. michael abbey church of st. michael plan  Westwork of Corvey Abbey St. Michael’s Church is one of the most important churches in Ottonic (Early- Romanesque) style. It is a double-choir basilica with two transepts and a square tower at each crossing. 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. There are 2 entrances on the each apse, and 4 entrances on the north and south side of the church. A small apse on the east was later outmatched by a large, vaulted chancel (the part of a church near the altar, reserved for the clergy and choir, and typically separated from the nave by steps or a screen.) extending to the west. Beside the choir (the part of a cathedral or large church between the altar and the nave, used by the choir and clergy) and the cloister (is a rectangular open space surrounded by covered walks or open galleries, with open arcades on the inner side, running along the walls of buildings and forming a quadrangle or garth), the painted wooden ceiling is most famous of the Church’s interior. The romanesque interior is of Bascilian type with a center nave and aisles on ei- ther side connected to the nave by arcdaes. There are small windows high up on the navewalls froming a clerestory. The roof is of wood and a square tower rises at each end of the nave supported by arches. Measurements: Total length: 74.75m Total length of the transepts: 40.01m Total width of the transepts: 11.38m Length of the crypt: 18.36m Length of the nave: 27.34m Width of the nave incl. lower aisles: 22.75m Width of the nave without lower aisles: 8.60m Height of the nave without lower aisles: 16.70m Thickness of the walls: 1.63m Italy: The church of S. Miniato in Florence has a wooden roof but its interior is elaborately decorated with black and white marble in geometric pattern. The chancel is raised to open up a view into a lower crypt level below the chancel. The nave is divided into three sections, each of which is roofed in wood, At each end a crypt that opens to the nave. Above a choir rises above eye level. Contrasting black and white marble covers the walls, the windows are of thin translucent marble. England: The Romanesque way of building was brought into england by norman invaders. The term Norman is used in England to denote the work that would be called Romanesque elsewhere in Europe. The naves of Durham with their massive arcade columns, date from the end of 11th century. At Durham the alternate columns are of simple cylindrical form but carry carved, abstract, geometric patterning. Richly painted wooden ceilings serve to hide the trusses of the wooden roof structure. The semicircular arches of the nave arcades indicate the Norman (Romanesque) date of this fine cathedral. The groin vaulting above, with its slightly pointed transverse arches point to the gothic developments that were to follow. The grey stone was probably originally painted in bright colours while the carved patterningof the round piers which alternate with the compound piers, introduces a striking element of visual activity. France: Abbey church of La Madeleine, Vezalay, France, (1104 to 1132) This is a high, light church with an uninterrupted view from the narthex (an antechamber, porch, or distinct area at the western entrance of some early Christian churches, separated off by a railing and used by catechumens, penitents, etc) to the apse. A stone roof of groin vaulting is defined at each of the three bays by arches that use voussoirs of contrasting light and dark stone, as do the arches of the nave arcades that open into the aisles. The wall above nave arcade has clerestory windows. The column capitals retain their elaborate and fanciful carving. The distant choir, chancel is a later, gothic addition. is one of the outstanding masterpieces of Burgundian Romanesque art and architecture with its complicated program of imagery in sculpted capitals and portals. Terms: Abbey: the building or buildings occupied by a community of monks or nuns. a church or house that was formerly an abbey. Narthex: The narthex is an architectural element typical of early christian and byzantine basilicas or churches consisting of the entrance or lobby area, located at the end of the nave, at the far end from the church’s main altar. Traditionally the narthex was a part of the church building, but was not considered part of the church proper. It is either an indoor area separated from the nave by a screen or rail, or an external structure such as a porch. By extension, it can also denote a covered porch or entrance to a building. Typically used by catechumens (a Christian convert under instruction before baptism) and penitents (a person who repents their sins or wrongdoings.) Colonnade: a row of columns supporting a roof, an entablature, or arcade. Clerestory: the upper part of the nave, choir, and transepts of a large church, containing a series of windows. It is clear of the roofs of the aisles and admits light to the central parts of the building. The nave The central portal Tympanum: a vertical recessed triangular space forming the center of a pediment, typically decorated. a similar space over a door between the lintel and the arch. Church of S. Foy in Conques in France (1150-1120) Its nave is high and narrow in relation to its width. Topped by a barrel roof with aisles two levels in height on either side. The upper aisles are covered with half barrel vaults rising to the top of the nave side walls so that there is no celestory level. The octagonal domed tower above the crossing where transcepts and nave meet is windowed. Except from carved column capitals the interior is simple and austere. Abbaye-aux-Hommes (S. Etienne, 1060-81) built at Caen by William the Conqueror to celebrate his successful invasion of England in 1066. The plan is Cruciform, Having the shape of a latin cross, with a long, groin vaulted nave, transcepts and deep chancel. The upper level above aisles is called a Triforium. And the clerestory level above the level of the main vaulting. The vaults are square, but each is divided by a cross arch at its centre to match the spacing of the supporting columns, two bays to each main vault. With its two diagonal groin ribs, such a vault is divided into six triangular panels and therefore is called sexpartile. Scandinavia In Denmark, Sweden, Finland and Norway, in particular a number of wooden churches and other buildings survived from around 1000 to 1200. The most striking of these are Finnish churches called Stave churches A typical Stave church is small, usually with a 30 x 50 feet ground plan and often a hundered feet tall. The semicircular arches were in wood and the details carved in wood suggest memory of comparable work in stone. Borgund Church is one fine example. And the church a Torpo is remarkable for its colourful interior paintings. Romanesque style: Fortresses and Castles: Early Castles were simply houses built on raised mound, a natural hill or in some place easy to defend and to surround with a wall. Wood was replaced by stone and more lasting and more resistant material. The house or keep stand free within the wall or be built up against it sharinf a part of its stone structure. The castle keep was usually os several stories forming a compact mass easy to defend from its upper levels and roof. Tower Houses: Some early castles called tower houses were simply towers with rooms stacked up vertically inside with corner projections to make defence of the walls easier. Gradually as military techniques for attack improved castles were improved with defensive towers along the walls, elaborate gate and multiple system of walls. The castle garrison grew larger and living accomodation had to become elaborate. The main room, hall served as living and dining room for the owner, his family and for servants and garrison the castle might house. Family spaces and private rooms were added slowly. Castles were stone built but the roof and floor were of wood. The walls of the room were of bare stone, sometimes whitewashed. Floors had bare wooden boards, a structural wooden ceiling and tiny slit windows for protection to keep weather out. The hall might have a hearth of fire at its centre with a smoke hole in the roof. A fireplace and chimney were late innovations. At one end a raised protion of floor, the dais, made a separate space for the table where the family and honored guests would sit. Hedingham Castle: The hall of this castle is two stories high, with doors and windows overlooking balconies topped with norman (romanesque style) arches. There is a great stone arch across the center of the room to support the ends of the wooden beams of the roof overhead. An arched fireplace is an indication of unusual luxury. Inner ward - large inner courtyard, usually surrounding the keep Inner curtain – A high wall surrounding the inner ward Tower – a square or round structure built as part of the wall Inner gate - gate leading to the inner ward Outer gate – gate in the inner curtain, part of a gatehouse Moat – pit around the castle, often filled with water. Drum Tower – a short round tower built to support the wall Outer curtain - the outermost wall defending the outer ward Keep - the central most defensible part of a castle, where the defenders could make a last stand. It is generally the largest and tallest structure to allow visibility of the surrounding area. Living quarters are located here. Arrow slits – also called arrow loops, can be shaped as slits, keyholes, or crosses. From the inside the slits widen so an archer can turn side to side and stay protected. Gatehouse - Structure consisting of two large towers that support the gate. They were often large enough to house a standing guard and are considered the strongest defensive positions in the castle. Monasteries and Abbeys Like castles were build to provide protection to knights, monastries and abbeys were used to provide protection to relegion, learning and the arts. S. Martin du Canigou monastery at Pyrenees in France The church is basilican structure with nave and side aisles, roofed in stone and simple barrel vault. The outward thrust of the nave nd side aisles is restrained by the vaults of the aisles whose vaults are in turn buttressed by thick walls. Only tiny windows penetrate the thick wallsleading to dark interior. The columns that support arches opening between the nave and aisles are simple drums with capitals that carry a slight suggestion of the Roman Corinthian type. The adjacent cloister with arcaded passages around an ope central court (an important element of the monastery plan) led to the dormitory, refectory(dining hall), and other room s serving the various functions of the community. The Cistercian abbeys of Le Thoronet, Sananque and Silvacane built in southern France around 1130 have austere vaulted churches with aisles and projecting transepts generating a cross shaped plan with obvious symbolic significance. A barrel vault covers the nave and half barrel vaults the side aisles, which act as continue buttresses; their thrust is absorbed by massive masonary side walls. Only tiny windows were possible except in the end wall where large windows could be placed. No furniture except for stone altar and in the center apse with secondary apse two on each side, making up the typical Cistercian monastic plan. The church had only one small door at front indicating its closure to the outside world. Stone vaulting was used to roof the other principal rooms and passages surrounding the cloisters(a covered walk in a convent, monastery, college, or cathedral, typically with a wall on one side and a colonnade open to a quadrangle on the other.) Houses: Romanesque art and architecture Serfs (an agricultural laborer bound under the feudal system to work on his lord’s estate) working the land lived in simple wooden box like houses of one room topped with a gable roof. Few examples survive, In the scandinavian countries, wood was often tarred according to the practice of the shipbuilders. With no glass for windows, interiors were generally dark with fireplace and some masonary work done for heat and cooking. The House was often a barn as well as residence with people and animals sharing a common space or with minimal separation. Where Stone was readily available, house walls were of stone with roofing of wood poles carrying thatch(bundled starw). Some of them still exist and are being used. With development of towns, farm families often preferred to give up their house on the land in exchange for one in town where town wall and gates offered protection. There they found church and market to serve their communal needs. Such house might consist of several levels of rooms with wooden floors and stairs, and were crowded along narrow streets as the space inside town wall at premium. Wooden houses were projected out over the street to give enough interior space needed. A number of houses in the french city of Clungy, built in the twelfth century are good examples. The houses are built with shared side walls (ROW HOUSES). A small courtyard at rear gives ventilation and light to the backroom. The ground floor room can be opened to street; usually a shop, workshop or storage space rather than living space. A narrow stair lead to large living area at upper floor. At third level was an attic or loft used by children, servants, workmen etc and for storage. A well in courtyard was source of water. Waste water and sewage ran in opeen gutters. Life expectancy was short averaging 29 yeras with epedemics and palgue. Bathing where it happened, were in communal bath house. Luxury was forgotten as Roman cus- toms were forgotten. Crusades reintroduced bathing habits, when word of Islamic bathing habits was brought back. Bath houses were viewed by church authorities beacuse of their assiciation with nudity and sexual freedom. Waste was simply discharged into moats or nearby water bodies. Furniture and Interior Furnishings. Our evidence comes only from medieval illuminated manuscripts and books. With few possessions, storage furniture was slow to develop. Chests were used to preserve relics and ritual material usually of gold or jeweled. Carved surface ornamentation was added to these objects, sometimes elaborated. The richly oranamented Reliquary at S. Foy in Conques is a well preserved example of this type. A chest was a standard feature of churches and served as baggage and storage. With development of lock, hinges and corner reinforcements of iron gradually advanced the means of making a chest. Early chair designs were often result of chest modification. Color came most often from textiles as ability to produce many dyes developed. Curtains were used to give privacy to bed and in some limited spaces. Peg legged benches, boards on trestles as tables and bread as plate and earthenware mugs for drinks. Candles of tallow or lamp wicks floating in a bowl of fish or vegetable oil was the source of light. The elaborate costume and hair arrangements of the ladies seem appropriate to the rrom with its embroided wall hangings, the rich red of the bed and seat coverings and the colourfully painted ceiling structure overhead. A woven rug with abstarct pattern covers the floors. Islamic and Asian Traditions Due to geographical locations and progress through many centuries without connection to western events, separate histories can be traced in Africa, Asi, pre- Columbian America and in indigenous societies in other locations such as Australia, New Zeland, the pacific islands and the arctic. The Asian civilization of India, China, Korea and Japan has a rich history of design develoment extending back for thousands of years. Islamic influence Mohammed made his historic trip from Mecca to Medina in 622 c.e.(common era) the date that begins the muslim calender. It spread Syria, Persia (now Iran), Egypt and most of coastal north Africa. Roman empire came under Islamic control, spreading to turkish lands along mediterranian coast and including Spain. Eventually it spread to India and China as well. Characteristic: Islamic design avoided any depiction of human, animal or plant forms as elements of design or decoration, as required by the teaching of the Koran. Due to this reason the use of vaoabulary as surafce ornamnetstion emerged, with character combiantion in geometric and calligraphic techniques using the elemnets from Koran and other relegious works. Islamic and Asian Traditions Mosques and Palaces The key structure is any Islamic community is the Mosque. Unlike the temples and churches of other relegions, the mosque is not a “house of God” but rather a prayer hall, where the faithful assemble to pray, facing towards Mecca and to hear readings from the Koran. Despite the variation in designs and sizes of the Mosques, they share certain characteristics. The enclosed space in the mosque is sometimes partly an open space but is also often columned, forming long aisles. Mihrab: The small niche on one wall is Mihrab marking the direction to face towards Mecca. Mimbar: Another usual element is a Mimbar or pulpit for preching the Koran readings. There is often an open court in front of the mosque proper, with a pool or fountain fro washing before entering the mosque itself. Minaret: Sometimes one or sometimes several towers related to the mosque is known as Minaret. Its function as a high point is to make a call to prayer and summon worshippers several times each day. The Great Mosque at Damascus (707): It was converted from an earlier temple structure, but retains a vast central hall with flanking aisles in the manner of the late Roman basilica. An open court adjacent to the mosque itself suggests the prototypical mosque form as it was to develop. Its is made up of three timber roofed aisles separated by arcades. The large triple aisled space froms a prayer hall. The Mosque of Ibn Tulun in Cairo (879): In plan it is a closed rectangle, taken up largely by a square open court with a fountain at the centre and a surrounding double arcade. On one side, five rows of columns mark the roofed prayer hall with its mihrab. A minaret rises on the opposite side of the building with an exterior stair winding around the tower leading to its top. Columns connected by arches form long parallel aisles. The arches are covered with delicate abstract decoration executed in plaster. Secular buildings include markets and baths. The palaces were richly ornamented bcause of the prohibition of figurative art but in Persia, representational art also became an important element. Isfahan in todays Iran was made capital of Persia by Abbas I (1581-1629) in 1598. The main buildings include the Imam square and friday Mosque. Chihil Sutun, the only great ceremonial pavilion to have survived was part of the palace built by Abbas II in 1647. The audience chamber or reception is called as the palace of “The Forty Columns” Infact there are only 20 columns of cypress wood but their reflection in the adjacent pool provide another 20. Islamic and Asian Traditions Mosques and Palaces The key structure is any Islamic community is the Mosque. Unlike the temples and churches of other relegions, the mosque is not a “house of God” but rather a prayer hall, where the faithful assemble to pray, facing towards Mecca and to hear readings from the Koran. Despite the variation in designs and sizes of the Mosques, they share certain characteristics. The enclosed space in the mosque is sometimes partly an open space but is also often columned, forming long aisles. Mihrab: The small niche on one wall is Mihrab marking the direction to face towards Mecca. Mimbar: Another usual element is a Mimbar or pulpit for preching the Koran readings. There is often an open court in front of the mosque proper, with a pool or fountain fro washing before entering the mosque itself. Minaret: Sometimes one or sometimes several towers related to the mosque is known as Minaret. Its function as a high point is to make a call to prayer and summon worshippers several times each day. The Great Mosque at Damascus (707): It was converted from an earlier temple structure, but retains a vast central hall with flanking aisles in the manner of the late Roman basilica. An open court adjacent to the mosque itself suggests the prototypical mosque form as it was to develop. Its is made up of three timber roofed aisles separated by arcades. The large triple aisled space froms a prayer hall. The Mosque of Ibn Tulun in Cairo (879): In plan it is a closed rectangle, taken up largely by a square open court with a fountain at the centre and a surrounding double arcade. On one side, five rows of columns mark the roofed prayer hall with its mihrab. A minaret rises on the opposite side of the building with an exterior stair winding around the tower leading to its top. Columns connected by arches form long parallel aisles. The arches are covered with delicate abstract decoration executed in plaster. Secular buildings include markets and baths. The palaces were richly ornamented according to the Muslim prohibition of figurative art, but, at least in Persia, representational art also became an important element in the decoration of interiors. Isfahan in todays Iran was made capital of Persia by Abbas I (1581-1629) in 1598. The main buildings include the Imam square and friday Mosque. Chihil Sutun, the only great ceremonial pavilion to have survived was part of the palace built by Abbas II in 1647. It was an audience chamber or reception known as the palace of “The Forty Columns”. Infact there are only 20 columns of cypress wood but their reflection in the adjacent pool provide another 20. The illustration shows a colonnaded porch facing the pool, open on three sides and covered with a flat wooden roof, commpleting it in 1706-07. Inside a large central room is flanked by small four chambers. figurative paintings make up a number of wall panels illustrating the ceremonial events as well as feasts, hunting scenes, and battles, all shown in realistic form. Secular buildings include markets and baths. Islamic design in what is now Turkey appears first in mosques that were the result of the conversion of early christian churches. The Byzantine church of SS. Sergius and Bacchus, built in 527, is now converted into a mosque. The Suleiman Mosque in Istanbul has a sysytem of domes and half domes clearly based on Byzantine precedents. Interior surface treatment is based on calligraphic inscriptions. The Blue mosque or Mosque of Sultan Ahmed in Istanbul uses a structure of domes and half domes. The blue and white Iznik tiles that decorate the interior walls and the painted arabesque designs lining the dome and half domes justify the “Blue” name given to the building. Topkapi Palace built in Istanbul (15 to 18 century) is a complex of many buidings that make up one. In the grouping of private quarters known as harem, the many rooms include the imperial hall, a throne room, and entertainment ballroom. The room was the Sultans main private chamber i the Harem. A fireplace with copper canopy forms the center of a symmetrical grouping with windows on two levels on either side. The walls are covered with geometrical patterned tiles while a band of Arabic calligraphy apperas at the level of the canopies that shelter the platforms on either side. Decorative grillework fits the windows. Islamic Influence in Spain While the Crusades (military expedition to recover holy lands from muslims during 11th, 12th and 13th century) brought some awareness of north eastern culture into central Europe, another connection developed as a result of the earlier spread of Islamic religion and related customs across northern Africa and eventually through military invasion, along the north edge of the mediterranean into Itlay, France and Spain. Corbada in spain grew to become the largest medieval city with a population of some 600,000. Although this islamic this islamic influence was driven back and eventually largely obliterated in most of Europe, it survived in Spain, coexisting with Christiam and jewish culture until the time of Inquisition, established in 1233, which finally led to the expulsion from Spain of both Muslims and Jews in 1492. In architecture and design, medieval Spanish work exhibits a coexistence of two traditions; the Romanesque direction emanating from southern France and the Islamic or Moorish work coming from the east via nothern Africa. The Mosque in Spain Hagia Sophia in Istanbul It is a vast open space without a strong orientation to an altar served quiet well as a mosque, although monumental open space was not a characteristic of a mosque. Its interior is decorated with mosaics and marble pillars and coverings of great artistic value. The largest columns are of granite, about 19 or 20 metres high and at least 1.5 metres in diameter; the largest weigh well over 70 tons apiece. The vast interior has a complex structure. The nave is covered by a central dome which at its maximum is 55.6 m (182 ft 5 in) from floor level and rests on an arcade of 40 arched windows. Repairs to its structure have left the dome somewhat elliptical, with the diameter varying between 31.24 m (102 ft 6 in) and 30.86 m (101 ft 3 in). At the western entrance side and eastern liturgical side, there are arched openings extended by half domes of identical diameter to the central dome, carried on smaller semi-domed exedras; a hierarchy of dome-headed elements built up to create a vast oblong interior crowned by the central dome, with a clear span of 76.2 m. Interior surfaces are sheathed with polychrome marbles, green and white with purple porphyry(a hard igneous rock containing crystals, usually of feldspar, in a fine-grained, typically reddish groundmass.), and gold mosaics. Narthex and portal The Imperial Gate was the main entrance between the exo- and esonarthex. It was reserved only for the emperor. The Byzantine mosaic above the portal depicts Christ and an unnamed Emperor. Upper Gallery The upper gallery is laid out in a horseshoe shape that encloses the nave until the apse. Several mosaics are preserved in the upper gallery, an area traditionally reserved for the empress and her court. Loge of the Empress The Loge of the Empress is located in the centre of the upper enclosure, or gallery, of the Hagia Sophia. From there the empress and the court-ladies would watch the proceedings down below. Marble Door The Marble Door inside the Hagia Sophia is located in the southern upper enclosure, or gallery. It was used by the participants in synods (assembly of the clergy), they entered and left the meeting chamber through this door. The Great Mosque, Cordoba, Spain 785-987 Different kind of mosque was to develop at Cordoba in Spain, a large space was most often developed by arranging rows of columns placed close together to support a roof structure. Columned halls were arranged around or adjacent to open courts where a fountain or pool provided for ritual cleansing. Great Mosque, Cordoba,Spain, 785 to 987 Here a large prayer hall makes use of long rows of columns (a total of 860) to support arches of a chracteristic horseshoe shape (a semicircular arch with a downward extension to its sides); these support an upper tier of arches that in turn support the flat roof of wood. The arches are striped with alternate voussoirs of red brick and gray–white stone making their forms appear very strikingly in seemingly endless receding repetition. Domes built from a lattice of intersecting arches cover the square Maksura (a special area for the prayers of a leader and mihrab. The Capilla de Vilaviciosa uses a overlapping arches to generate a richly decorative effect. When the Christians reconquered Cordoba in 1236, after an absence of 500 years, they did with the mosque what they did with others they found all over Andalucia. Instead of building a new cathedral from scratch, they simply “converted” the Muslim temple to Christianity. This began by “nailing a cross on the roof”, as they said at the time, and later setting up an altar and pulpit surrounded with the appropriate adornments. King Alfonso X used Cordoba’s Moorish craftsmen to create the city’s first Christian temple in the mudéjar, or “Mauresque” manner, mixed with the Gothic which was the European style of the day. This smallish but precious church, half-eclipsed by the current Cathedral, is known as the Capilla de Villaviciosa. The original mosque was permeated all around with open arches, so that the sunlight could flood in, leading the worshipper to the shadows of the central area as a symbol of his mystical journey towards Allah. But the Christians, being less inclined towards letting in the natural elements, plugged up most of the openings and installed, in their place, chapels dedicated to the various saints. This explains the rather oppressive darkness of the place, by comparison with what it must have been like in Moorish times. The minaret was left standing, but it did not fare as well as Seville’s Giralda, which was simply capped with a bell-tower. Instead, it was used as the central core of a new, monumentally- designed sheath. If you get the chance to climb the inner ramp to the top, you will see the sealed- up arches and windows of the Moorish original. In fact, it is a tower within a tower. As in Seville, the Patio de los Naranjos (Courtyard of the Orange Trees), where the worshippers washed at the fountain before going in to pray, has survived as a sort of cloister. But the other mosques which were Christianized after the Reconquest - such as the cathedrals of Seville and Granada - were eventually torn down to make way for “real” churches. Embedded in the wall closest to the river is a sort of octagonal alcove surrounded with high, arched windows, and richly adorned with mosaics. This veritable jewel-box is the mihrab, the heart of all mosques, because it shows the worshippers the direction of Mecca. Palace of Alhambra at Granada It is a rich display of moorish design at the end of its development in Spain. Arcades surround open courtyards, many with fountains and pools that refelct the richly decorated and colourful wall surfaces and arches of horse shoe, Moorish and slightly pointed shapes. Court of Lions: The palace courtyard is surrounded by arcades in which the arches are almost lost in the elaborate filigree of abstract carving. The court of lions is named after the basin at the centre and this and other fountain and pools create sound and movement. Plaster ornament and colorful tiles carry onward the sense of complexity. Palace of Alhambra at Granada Court of Myrtles: It displays a central pool edged with beds of flowers, arched porticos and wall coverings with decorative tiles and plaster ornamentation. Islamic furnishings Furniture was little used in Islamic interiors. Low benches or couches were generally covered by textiles, carpets and rugs. It is the development of weaving techniques in the near east that generated the design of rugs of great beauty and variety. A number of regions developed individual styles that give their names to the greatly valued “oriental rugs” still collected and imitated. Certain Islamic characteristics can be identified in the rugs produced in the muslim countries. In general, the prohibition of representational images led to the development of rich geometric complexity, the use of abstract elements with calligraphic bases and the use of highly conventionalized flower and plant forms to avoid any realistic pictorial imagery. Many of the rugs were intended for the use by kneeling worshipers at daily prayers. Such prayer rugs are of ppropriate size and incorporate a strong panel with a strong directional form intended to be pointed towards Mecca when in use for prayer. This prayer rug conatins a strongly pointed central form intended for positioning in the direction of Mecca. The imagery of the center panel illustrates a niche or window of architectural form containing floral elements. The outer band mixes the floral and abstract elements, and the centre panel on the outer band are edged eith geometric patterned borders. Rugs were prodeuced over many centuries in most of Islamic regions. As early as 13th century; Anatolian rugs (from the region of today’s Turkey) were made in considerable numbers. Persia became a dominant rug-producing region by the sixteeth century, introducing conventionalised animal and plant images alongside geometric patterns. in these rugs wide borders are made up of repeated figures, while the center area often uses one or more large medallion element. red and blue color tones were increasingly joined by yellow and greens. Rug making in the Caucaus follows Persian practice but tends to introduce bolder and larger motifs. Rugs from Turkestan nad related central Asia regions are usually dominated by strong red colouring. The region called Bokhara (now Uzbekistan) and the major city with the name was on the route of caravans that enabled connections between the near east and China., India, Persia and Russia. Afghanistan has been the source of typical Bokhara style rugs, having red backgrounds with regular patter of lozenge elements arranged in geometric rows. Antique oriental rugs are usually of a unique design, with each rug of a given type slightly varied in its patterning. The Bokhara rug has a typical repeating pattern of lozenge forms in black on a red background. Star Kazakh, a rug from eastern caucasian regions with strong and bold patterns. The four pointed and eight pointed stars of bold shape and brilliantly contrasting color are Kazakh charcteristics, as is the presence of some green and gold color along with strong red, dark blue and yellow banding.