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HISTORY OF ARCHITECTURE 2 ROMANESQUE ARCHITECTURE CONTRIBUTORS: Ar. Roy John M. De Guzman Ar. Jose Enrico V. Gallego TRACING THE ROOTS TRACING THE ROOTS TRACING THE ROOTS TRACING THE ROOTS TRACING THE ROOTS TRACING THE ROOTS Recap…. Rome at its peak System of ro...

HISTORY OF ARCHITECTURE 2 ROMANESQUE ARCHITECTURE CONTRIBUTORS: Ar. Roy John M. De Guzman Ar. Jose Enrico V. Gallego TRACING THE ROOTS TRACING THE ROOTS TRACING THE ROOTS TRACING THE ROOTS TRACING THE ROOTS TRACING THE ROOTS Recap…. Rome at its peak System of roads and shipping were organized by Rome the Romans promote the spread of a common culture derived from Hellenism (koine Greek). the rise of cities in Roman Empire around the Mediterranean What goes up must come down The Roman empire became so vast that it became difficult to manage Economy was bankrupt Slave trade was low because they did not expand to new territories Decline 379– 395 East-West Split After Valens' 440– 454 Huns Attack The central Asian Huns led by death, Theodosius (ruled 379– their king Attila (r. 434-453) 395) briefly reunited the Empire, threatened Rome, were paid off, but it didn't last beyond his and then attacked again. reign. At his death, the empire was divided by his sons, Arcadius, in the East, and Honorius, in the West. 401– 410 Sack of Rome Visigoths made several successful incursions into Italy beginning in 401, and in the end, 455 Vandals Sack Rome Vandals plunder Rome, amounting under the rule of the Visigoth to the fourth sack of the city, but, king Alaric (395–410), sacked by an agreement with Pope Leo I, Rome. This is often a date given they injure few people or for the official Fall of Rome. buildings. 429– 435 Vandals Sack North Vandals, under Gaiseric (King of Africa the Vandals and Alans between 476 Fall of the Emperor of The last western emperor, 428–477), attacked northern Rome Romulus Augustulus (r. 475–476), Africa, cutting off the grain is deposed by the barbarian supply to the Romans. general Odoacer who then rules Italy. The Fall of Rome 476 AD Odoacer the Goth declared Emperor Romulus Augustulus himself the king of Italy What happened next? Rome was left in ruins After the fall of the Western Roman Empire, the economy in the entire region declined markedly and there was no commanding government to build public use projects. Wood and straw was less expensive than stonework, more available, and easier to turn into structures than stone. It was a matter of simple economics in the end, but of course how Rome declined was more complicated. What happened next? Over the millennia, imperial Rome's splendid buildings have been damaged, plundered, redesigned and then recycled into the fabric of the modern city. The Dark Ages is the period of transition from the fall of the West Roman Empire to the early middle ages. The Dark Ages After the fall of the West Roman Empire in 476 AD: Individual territories that were part of the Roman started to establish their own localities. The lack of a centralized system of government put a halt to the construction/repair of large buildings Wars between former territories shifted focus from the construction of buildings to either protection of their territory to conquer new ones The Dark Ages is not so dark In the absence of a civic government, The Church replaced the Roman Empire as the most powerful force in Europe, redefining the relationship between church and state. The Early Middle Ages were boom times for agriculture. ROMANESQUE ARCHITECTURE Romanesque architecture is not centralized to a single region. It arose Independently on various locations: Italy Spain Central italy Northern italy The holy land Southern italy and sicily British isle France Scandinavia Central Europe ROMANESQUE = “ROMAN-LIKE” Romanesque Coined by French medievalists and archaeologists in at the beginning of the 19th century – To distinguish it from earlier revivals – To distinguish it from Gothic art Romanesque = “Roman-like” esque = in the style of Romanesque Used roman forms and technology but is much different from Roman Architecture Romanesque = “Roman-like” Romanesque What Characterizes Roman Architecture? Arches Romanesque What Characterizes Roman Architecture? Romanized Greek orders Romanesque Greek vs Roman Roman vs Romanesque Romanesque Brief Background Romanesque architecture developed from 800-1100 AD Stylistic period after the Byzantine era but before the rise of 9th century pre-Romanesque building Gothic Romanesque Influences Geographical Geological Climate Romanesque Trigering Factors: Religion CHRISTIANITY was an influential factor that unified society in achieving a common religious goal, church building. Romanesque Triggering Factors: Religion Charlemagne reunited the city-states of the Roman empire and made Aix-la- Chapelle as its center. Once settled, he called artists and craftsmen from both the Western and the Eastern Roman empires to provide adornment for his churches and palaces. It was under his rule that Romanesque style was born. Romanesque Trigering Factors: Society and Politics FEUDALISM Even though religion created some peace in the region, the civil wars from the decline of the Roman Empire continued. Feudal lords who own most of the lands, had established territories with military defences. Fortified walls with watchtowers and castles where the lord lived were built, and peasants became part of the military force as a form of land payment. 800 to 1200 AD ROMANESQUE is a style of architecture developed between the Roman and the Gothic styles after 1000 AD. characterized by round arches and vaults and thick walls developed from the buildings constructed during Charlemagne's reign. 800 to 1200 AD ROMANESQUE rise in the tradition of pilgrimages to the shrines of important saints. move from wooden to stone buildings Inspired by Byzantine style which focused on sweeping religious buildings  TYPOLOGIES CHURCHES MONASTERIES CASTLES ROMANESQUE ARCHITECTURE Styles differ from region to region. However, there are common trends that persists that characterizes the period ROMANESQUE ARCHITECTURE COMPARATIVE ANALYSIS ROMANESQUE BYZANTINE CHURCH EARLY CHRISTIAN CHURCH PLAN PLAN CHURCH PLAN ROMANESQUE ARCHITECTURE COMPARATIVE ANALYSIS ROMANESQUE BYZANTINE CHURCH EARLY CHRISTIAN CHURCH FACADE FACADE CHURCH FACADE ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE 1. Atrium/ narthex 2. Porch/ galilee 3. Western façade 4. Western central tower 5. Western staircase turrets 6. Central nave (clerestory) 7. Side aisle 8. Central tower 9. Transept 10.Transept towers 11.Choirs apse 12.Apse ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE ATRIUM ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE PORCH ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE WESTERN FACADE ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE WESTERN CENTRAL TOWER ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE WESTERN STAIRCASE TURRETS ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE CENTRAL NAVE ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE SIDE AISLE ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE CENTRAL TOWER ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE TRANSEPT ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE TRANSEPT TOWERS ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE CHOIR APSE ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE APSE  ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS CHOIR ARCHITECTURE APSE SIDE AISLE ATRIUM CENTRAL NAVE APSE PORCH WESTERN CENTRAL TOWER WESTERN FACADE WESTERN STAIRCASE TRANSEPT TURRETS TRANSEPT TOWER ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE West fronts Without towers With flanking towers With central tower With three tower WEST FRONT WITH FLANKING TOWERS Church of the Holy Trinity, Caen WEST FRONT WITHOUT TOWER S. Miniato al Monte, Florence WEST FRONT WITH CENTRAL TOWERS Santa Maria del Tiglio WEST FRONT WITH THREE TOWERS ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE CENTRAL WEST TOWER ABOVE PORCH ST. Benoit-Sur-Loire, mid eleventh century ROMANESQUE ARCHITECTURE BUILDING COMPONENTS FOR ROMANESQUE RELIGIOUS ARCHITECTURE BLIND WEST FRONT High steep facades Divided by three parts by vertical clustered pilasters Raking blind arcades along the edge of gable Symmetrical arrangement of windows San Michele in Pavia ROMANESQUE ARCHITECTURE SEMICIRCULAR ARCH/ROMAN ARCH ROMANESQUE ARCHITECTURE ELABORATE EXTERIORS ON WESTERN ENTRANCES SPANDREL – The almost triangular space between one side of the outer curve of an arch, a wall, and the ceiling or framework ROMANESQUE ARCHITECTURE ELABORATE EXTERIORS ON WESTERN ENTRANCES ARCHIVOLTS – a band of molding, resembling an architrave, around the lower curve of an arch. ROMANESQUE ARCHITECTURE ELABORATE EXTERIORS ON WESTERN ENTRANCES ARCHIVOLTS – a band of molding, resembling an architrave, around the lower curve of an arch. ROMANESQUE ARCHITECTURE ELABORATE EXTERIORS ON WESTERN ENTRANCES VOUSSOIR – a wedge-shaped or tapered stone used to construct an arch. ROMANESQUE ARCHITECTURE ELABORATE EXTERIORS ON WESTERN ENTRANCES TYMPANUM – is the semi-circular or triangular decorative wall surface over an entrance, door or window, bounded by a lintel and arch. It often contains sculpture or other imagery or ornaments. ROMANESQUE ARCHITECTURE ELABORATE EXTERIORS ON WESTERN ENTRANCES COLONETTE – A small column, usually decorative. And is a thin round shaft o give a vertical line in elevation, or as an element in a compound pier. ROMANESQUE ARCHITECTURE ELABORATE EXTERIORS ON WESTERN ENTRANCES COLONETTE – A small column, usually decorative. And is a thin round shaft o give a vertical line in elevation, or as an element in a compound pier. ROMANESQUE ARCHITECTURE ELABORATE EXTERIORS ON WESTERN ENTRANCES TRUMEAU – A column supporting the tympanum of a doorway at its center ROMANESQUE ARCHITECTURE ELABORATE EXTERIORS ON WESTERN ENTRANCES ROMANESQUE ARCHITECTURE SCULPTURES TOWERS ARCADES  ROMANESQUE ARCHITECTURE VAULTED MASONRY CEILINGS ROMANESQUE ARCHITECTURE VAULTED MASONRY CEILINGS ROMANESQUE ARCHITECTURE VAULTED MASONRY CEILINGS ROMANESQUE ARCHITECTURE VAULTED MASONRY CEILINGS ROMANESQUE ARCHITECTURE VAULTED MASONRY CEILINGS ROMANESQUE ARCHITECTURE CRUCIFORM PLAN AND ITS PARTS ROMANESQUE ARCHITECTURE BUTTRESS ROMANESQUE ARCHITECTURE CRUCIFORM PLAN AND ITS PARTS ROMANESQUE ARCHITECTURE CRUCIFORM PLAN AND ITS PARTS 1 2 ROMANESQUE ARCHITECTURE CENTRAL ITALY Pronounced features of facades were ornamental wall passages Use of marble-faced walls Choir raised above a crypt ROMANESQUE ARCHITECTURE SAMPLES IN CENTRAL ITALY PISA CATHEDRAL COMPLEX ROMANESQUE ARCHITECTURE SAMPLES IN CENTRAL ITALY PISA CATHEDRAL COMPLEX ROMANESQUE ARCHITECTURE SAMPLES IN CENTRAL ITALY BAPTISTERY Special feature of italian architecture and represents a period of Christianity where the baptistry is of special importance, therefore large and separate building BAPTISTERY, PISA ROMANESQUE ARCHITECTURE SAMPLES IN CENTRAL ITALY CAMPANILE (BELL TOWER) Product of the period Northern italian towns, campanile are civic monuments rather than integral part of the church Symbol of power and served as watch guard CAMPANILE, PISA ROMANESQUE ARCHITECTURE SAMPLES IN CENTRAL ITALY MINIATO AL MONTE, FLORENCE (1013–1090) ROMANESQUE ARCHITECTURE SAMPLES IN CENTRAL ITALY SAN MINIATO AL MONTE, FLORENCE (1013– ROMANESQUE ARCHITECTURE NORTHERN ITALY LOMBARD ARCHITECTURE Northern Italy (7th to 8th CE) Early Christian and Roman Forms Development of Ribbed vault and vaulting Shaft  ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY LOMBARD BAND S. AMBROGIO, MILAN ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. AMBROGIO, MILAN Material: brick Only exisiting atrium among Lombard churches Narthex, flanked by towers Vaulted nave Triforium gallery ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. AMBROGIO, MILAN BLIND ARCADE A series of arches superimposed in a wall for decoration. ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. AMBROGIO, MILAN AMBULATORY- the covered walk of an atrium or cloister ATRIUM- the forecourt of an early church, flanked or surrounded by porticoes ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. AMBROGIO, MILAN BALDACHIN- An ornament canopy of stone or marble permanently placed over the altar in a church. Also, baldachino, baldaquin or ciborium ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. MICHELE, PAVIA ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. MICHELE, PAVIA ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. MICHELE, PAVIA ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. MICHELE, PAVIA ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. MICHELE, PAVIA ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY LABYRINTH- a mazelike pattern inlaid in the pavement of a medieval church  WHEEL WINDOW- a ROMANESQUE ARCHITECTURE circular window, usually CAMPANILLE- bell of stained glass and tower, usually near SAMPLES IN NORTHERN ITALY decorated with tracery but not attached to symmetrical about the the body of the center church Blind arcades Fine projecting porch has two freestanding columns, supports a semi circular vault over a gabled roof S. ZENO MAGGIORE, VERONA (c. 1123 and later) ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY S. ZENO MAGGIORE, VERONA ROMANESQUE ARCHITECTURE SOUTHERN ITALY & SICILY ROMANESQUE ARCHITECTURE SAMPLES IN SOUTHERN ITALY Two large norman towers CEFALU CATHEDRAL, SICILY (1131- 1240) ROMANESQUE ARCHITECTURE SAMPLES IN SOUTHERN ITALY CEFALU CATHEDRAL, SICILY (1131- 1240) CEFALU CATHEDRAL, SICILY ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN ITALY MONREALE CATHEDRAL,SICILY (1174-82) MONREALE CATHEDRAL,SICILY (1174-82) MONREALE CATHEDRAL,SICILY (1174-82)  ROMANESQUE ARCHITECTURE FRANCE CAROLINGIAN ARCHITECTURE Early Romanesque 751-987 CE Frankish dynasty Germany 911 CE Revival of forms of classical antiquity modified by ecclesiastical requirements NORTHERN FRANCE ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN FRANCE MONREALE CATHEDRAL,SICILY (1174-82) ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN FRANCE MONREALE CATHEDRAL,SICILY (1174-82) ROMANESQUE ARCHITECTURE SAMPLES IN NORTHERN FRANCE MONREALE CATHEDRAL,SICILY (1174-82) SOUTHERN FRANCE ROMANESQUE ARCHITECTURE SAMPLES IN SOUTHERN FRANCE High window Two flanking western tower tiers of arcades divided intp five bays but loft shafts. Angoulême Cathedral (c. 1105-28 and later) ROMANESQUE ARCHITECTURE SAMPLES IN SOUTHERN FRANCE Cluny Abbey (1088-1130) ABBEY- A monastery under the supervision of an abbot, or a convent under the supervision of an abbess, belonging to the highest rank of such institution ROMANESQUE ARCHITECTURE SAMPLES IN SOUTHERN FRANCE Cluny Abbey (1088-1130) One of the most important monastic establishment in Europe Only one transept arm survives, was the longest in Europe Had double aisles, double transepts, an ambulatory with radiating chapels and a barrel-vaulted nave ROMANESQUE ARCHITECTURE SAMPLES IN SOUTHERN FRANCE Cluny Abbey (1088-1130) ROMANESQUE ARCHITECTURE SAMPLES IN SOUTHERN FRANCE Cluny Abbey (1088-1130) ROMANESQUE ARCHITECTURE SAMPLES IN SOUTHERN FRANCE Cluny Abbey (1088-1130) GERMANY OTTONIAN ARCHITECTURE Origin: Northern Italy 962 to 1002 CE Development of forms derived from Carolingian and byzantine concepts ROMANESQUE ARCHITECTURE SAMPLES IN GERMANY WORMS CATHEDRAL, SOUTHERN GERMANY WORMS CATHEDRAL, SOUTHERN GERMANY WORMS CATHEDRAL, SOUTHERN GERMANY Vaulting Shaft ENGLAND ANGLO-SAXON ARCHITECTURE Early Romanesque before the Norman Conquest in 1066 Characterized by the transition of timber prototypes into stone.  ROMANESQUE ARCHITECTURE SAMPLES IN ENGLAND Earl Barton, Northamptonshire (early 11th CE) ROMANESQUE ARCHITECTURE Earl Barton, Northamptonshire SAMPLES IN ENGLAND (early 11th CE) ENGLAND NORMAN ARCHITECTURE Romanesque introduced from Normandy into England before the Norman conquest and flourishing until the Rise of Gothic arch in 12th CE. Two tower façade supplementing the central tower Use of geometric ornamentation ROMANESQUE ARCHITECTURE SAMPLES IN ENGLAND Durham Cathedral (1093-1133) Norman work in choir transepts and western towers (among the finest in England) Vaults of the eastern arm are probably the earliest essays in ribbed vaulting outside Italy Nave earliest incorporate of pointed transverse arches Durham Cathedral (1093-1133) Durham Cathedral (1093-1133) Durham Cathedral (1093-1133) ROMANESQUE ARCHITECTURE SAMPLES IN ENGLAND Fountains Abbey, Yorkshire (1137-1200) ROMANESQUE ARCHITECTURE SAMPLES IN ENGLAND Fountains Abbey, Yorkshire (1137-1200) ROMANESQUE ARCHITECTURE SAMPLES IN ENGLAND Fountains Abbey, Yorkshire (1137-1200) ROMANESQUE ARCHITECTURE SAMPLES IN ENGLAND Peterborough Cathedral (1118-44) Peterborough Cathedral (1118-44) Peterborough Cathedral (1118-44) HISTORY OF ARCHITECTURE 2 GOTHIC ARCHITECTURE Ar. Roy John M. De Guzman Ar. Jose Enrico V. Gallego TRACING THE ROOTS JULY 14, 1140 Rebuilding of the choir of the Benedictine church of St. Denis Begun at the instigation of Abbot Suger. The choir harmoniously integrates the elements and motifs we now consider characteristically gothic. TRACING THE ROOTS ABBOT SUGER Earliest patron of Gothic Architecture Credited with popularizing the style. TRACING THE ROOTS Rebuilding of the choir of the Benedictine church of St. Denis = Established basis for the emergence of the gothic style. Choir of the Benedictine church of St. Denis TRACING THE ROOTS The innovations of St. Denis quickly spread through the Ile-de-france With new cathedrals begun in places such as Noyon, Senlis, Laon, and Chartres. NOYON SENLIS LAON CHARTRES  If Suger calls this new style “modern,” his critics called this “Gothic” Why Gothic? Who are the Goths? Germanic barbarians who attacked the West Roman Empire Romanesque = Aspiring for the Glory of Rome Goth = Non-Roman X ROMANESQUE Critics say… New Style (Gothic) is… X 1. Unrefined X 2. Barbaric 3. Non-Roman GOTHIC ARCHITECTURE 3 MAIN CHARACTERISTICS Pointed arches Ribbed vault Flying buttress POINTED ARCHES Central feature of Gothic Architecture. Formed from two or more intersecting curves that meet in a central apex or point. ARCHES ROMANESQUE GOTHIC Round arches Pointed arches ARCHES ROMANESQUE GOTHIC Round arches Pointed arches HISTORY OF ARCHITECTURE 2 GOTHIC ARCHITECTURE +++ Equilateral Arch - A type of gothic pointed arch having two centers and radii equal to the span.Central feature of Gothic Architecture. Formed from two or more intersecting curves that meet in a central apex or point. HISTORY OF ARCHITECTURE 2 GOTHIC ARCHITECTURE +++ Lancet Arch - A type of gothic pointed arch having two centers and radii greater than the span. OGEE - or flamboyant arch; these arches create a rich and lively effect. Structurally this type is weak and not normally employed for vaulting DEPRESSED - wider than its height; effect of having been flattened  TUDOR/ EQUILATERAL CINQUEFOIL OGEE 4 -CENTERED RIBBED VAULT Vault – a curved ceiling or roof made of stone or bricks. Can be part of the load bearing structure or purely decorative. A- TRANSVERSE RIB B- WALL RIB C-DIAGONAL RIB RIBBED VAULT RIBBED VAULT ROMANESQUE GOTHIC Barrel vault Ribbed vault RIBBED VAULT ROMANESQUE GOTHIC Barrel vault Ribbed vault  RIBBED VAULT CROSS or diagonal rib WALL ARCH TRANSVERSE ARCH RIBBED VAULT Quadpartite ribbed vault Sexpartite ribbed vault RIBBED VAULT Reticulated vault Stellar vault Stellar vault (wooden) elevation and plan elevation and plan elevation and plan RIBBED VAULT Basilica of St. Denis, Paris STELLAR VAULT RETICULATED VAULT FAN VAULT ARCHES ROMANESQUE GOTHIC Round arches Pointed arches FLYING BUTTRESS Vertical or stepped strip running up the face of the wall to reinforce it at the point where it carries a load or a lateral force FLYING BUTTRESS Consist of “flying” or open half arches that help counter the thrust of a high vault, allowing higher buildings but without an increased wall thickness. FLYING BUTTRESS a. PINNACLE - a vertical structure terminating in a pyramid or spire to add weight to a buttress pier b. BUTTRESS PIER - the part of a pier that rises to take the thrust of a flying buttress c. FINIAL - a relatively small foliated ornament terminating the peak of a spire or a pinnacle d. AMORTIZEMENT - a sloping top on a buttress or projecting pier to shed rainwater FLYING BUTTRESS FLYING BUTTRESS FLYING BUTTRESS ARCHES ROMANESQUE GOTHIC Round arches Pointed arches POINTED ARCHES POINTED ARCHES ROSE WINDOW A circular window, usually of stained glass with tracery symmetrical at the center ROSE WINDOW TREFOIL SPHERICAL QUADRANGLE CUSP QUATREFOIL FOIL MULLION 13th CE 14th CE ROSE WINDOW STAINED GLASS Made of small pieces of colored flat glass which are specially cut and arranged into decorative patterns, joined by lead strips by rigid frame SPIRES Octagonal spire is more subtle than square pyramid spire, but presents a design problem: Square base leaves gaps at corners. Therefore, broach spire was introduced with small hipped roof from corners to the face of the spire FINIAL FINIAL a relatively small foliated ornament terminating the peak of a spire or a pinnacle CROCKET PINNACLE  FINIAL CROCKET CROCKET A projecting ornament, usually in the form of curved foliage used esp, in PINNACLE Gothic architecture to decorate the outer angles of pinnacles, spires and gables  FINIAL CROCKET PINNACLE A SLENDER spire, often highly decorated PINNACLE with crocketting, used as a termination of a parapet or buttress GARGOYLE A grotesquely figure of a human esp. with an open mouth that serves as a spout and projects from a gutter to throw rainwater clear of a building GARGOYLE GARGOYLE GARGOYLE  Weather vane CENTRALLY PLANNED CHURCH Boss Weather vane Boss Spire Spire Transverse hipped roof Pinnacle Fleche Gable Gable Waterspout Pinnacle South Offset Waterspout transept Spiral stair Offset Tracery parapet Main gable Blind window Offset Tracery parapet Tracery window Wall passage Pier buttress Gallery Offset North transept Base Sacristy Marburg, St. Elisabeth  FRANCE ENGLAND 11th to 12th CE Early Gothic LAON CATHEDRAL Early English Pointed Arch SOISSONS lancet window 4 interior levels CATHEDRAL Flying Buttress plate tracery Geometric tracery Sexpartite vault 1200 to 1280 High Gothic ABBEY CHURCH OF four to only three tiers SAN REMI, REIMS Flying buttresses matured CHARTES CATHEDRAL Clerestory windows changed to two windows united by a small rose windows From six to four ribs 1275 to 1375 Rayonnant “Height of Gothic Architecture” REIMS CATHEDRAL Decorated/Geometric/Curvilinear Combination of the triforium gallery and clerestory into AMIENS CATHEDRAL tracery development one large glazed area Radiating character of the rose window enlargement of windows 1375-1525 Flamboyant Perpendicular Increasing emphasis on decoration. refinement and fan vault flamelike S-shaped Wall surface reduced to the minimum to allow an almost continuous window expanse. Structural logic was obscured by covering buildings with EARLY GOTHIC EARLY GOTHIC REGION: FRANCE AND ENGLAND PERIOD: 12th to Mid 13th CENTURY CHARACTERISTICS: Plate tracery Pointed arch Ribbed vault Flying buttress Four storey bay Sexpartite vault  EARLY GOTHIC PLATE TRACERY One of the earliest types of Gothic tracery. Plate tracery seems to cut through a solid stone wall, creating a robust architectural effect that is usually loosely geometric rather than overly decorative in appearance. Far simpler than later forms of tracery. Salisbury Cathedral, Wiltshire, England  EARLY GOTHIC PLATE TRACERY Salisbury Cathedral, Wiltshire, England  EARLY GOTHIC RIBBED VAULT POINTED ARCH Cathedral Basilica of Saint-Denis, Paris  EARLY GOTHIC FLYING BUTTRESS Notre Dame, Paris EARLY GOTHIC Four-storey bay The earliest type of Gothic bay elevation. Noyon Cathedral, Picardy, France EARLY GOTHIC Notre Dame, Paris EARLY GOTHIC Salisbury Cathedral, England EARLY GOTHIC Cathedral Basilica of Saint-Denis, Paris “ THE CRADLE OF GOTHIC STYLE” HIGH GOTHIC HIGH GOTHIC REGION: Europe (france and england) PERIOD: 13th to Mid 14th CENTURY CHARACTERISTICS: Three storey bay Height Bar tracery Rose window  HIGH GOTHIC Three-storey bay Amiens Cathedral, Picardy, France  HIGH GOTHIC HEIGHT High Gothic cathedrals were considerably higher, and the ratio of nave width to height larger. Beauvais Cathedral, Picardy, France  HIGH GOTHIC HEIGHT Beauvais Cathedral, Picardy, France HIGH GOTHIC QUADRIPARTITE VAULT Chartres Cathedral, France HIGH GOTHIC West Front, York Minster, Yorkshire BAR TRACERY HIGH GOTHIC DECORATION Reims Cathedral, Marnes, France High Gothic is far more decorated than Early Gothic. LATE GOTHIC/FLAMBOYANT LATE GOTHIC REGION: Europe (Spain, Germany, England) PERIOD: 14th to Mid 15th CENTURY CHARACTERISTICS: Intense ornamentation Complex Vaults Lanterns Ogee arch Spatial unity Perpendicular LATE GOTHIC INTENSE ORNAMENTATION Late Gothic was marked by a concern for surface with thinner, lighter, and more intricate tracery. San Pablo, Valladoid, Spain LATE GOTHIC San Pablo, Valladoid, Spain INTENSE ORNAMENTATION LATE GOTHIC COMPLEX VAULTS Tierceron vaults featured additional ribs emanating from the main supports to abut on to the transverse ribs. Gloucester Cathedral, Gloucestershire, England  Gloucester Cathedral, England LATE GOTHIC COMPLEX VAULTS LATE GOTHIC OGEE ARCH A pointed arch, each side of which is composed of a lower concave curve intersecting a higher convex one. Moorish in origin but became a feature of the late gothic. Santa Maria, Requena, Spain  Santa Maria, Requena, Spain LATE GOTHIC VENETIAN GOTHIC VENETIAN GOTHIC REGION: Venice, Italy PERIOD: 12th to 15th CENTURY CHARACTERISTICS: Polychromy Arcades and balconies Campanile Ogee arch Brick and stucco Byzantine influence VENETIAN GOTHIC POLYCHROMY Key characteristic of Venetian Gothic Ca’ d’Oro, Venice, Italy VENETIAN GOTHIC POLYCHROMY Ca’ d’Oro, Venice, Italy  VENETIAN GOTHIC ARCADES AND BALCONIES With flooding a yearly occurrence, almost all venetian palazzi are built on tall arcades supporting the principal apartments. Ca’ Foscari, Venice VENETIAN GOTHIC ARCADES AND BALCONIES Ca’ Foscari, Venice  VENETIAN GOTHIC BRICK AND STUCCO Local red brick is the most common material as it is relatively light and more tolerant of movement. Frari, Venice VENETIAN GOTHIC Frari, Venice BRICK AND STUCCO  VENETIAN GOTHIC BRICK AND STUCCO Local red brick is the most common material as it is relatively light and more tolerant of movement. Frari, Venice EARLY GOTHIC HIGH GOTHIC LATE GOTHIC C. 1160- C. 1163 - 1190 C. 1220 1121-end 1220-70 1220 C.1230 1250 13th CE Abbey of St. Denis Laon Cathedral Notre Dame of Paris Chartres Cathedral REIMS Cathedral Amiens Cathedral Beauvais Cathedral HISTORY OF ARCHITECTURE 2 GOTHIC ARCHITECTURE +++ Cathedral - The principal church of a diocese, containing the bishop’s throne called the cathedra Monastic Church - a place reserved for prayer which may be a chapel or church in a monastery Chapter house- Part of the monastery cloister where the chapter of a cathedral or monastery meets, an assembly of the monks in monastery or a member of religious orders. HISTORY OF ARCHITECTURE 2 GOTHIC ARCHITECTURE +++ Monk’s Choir - The part of a church occupied by the choir monks and usually part of the chancel choir. Chapel - A separately dedicated part of a church for the private prayer, meditation or small religious services. Lady Chapel - A chapel dedicated to the Blessed Mother Virgin Mary, usually located behind the high altar of a cathedral at the extremity of the apse. HISTORY OF ARCHITECTURE 2 GOTHIC ARCHITECTURE +++ Paradise - An atrium or open space in a cloister. Cloister - A covered walk having an arcade or colonnade on one side opening onto a courtyard. Altar - The table in a catholic church upon which the Eucharist(bread:body of Christ; wine: blood of Christ), the sacrament celebrating Christ’s Last Supper, is celebrated. GOTHIC ARCHITECTURE IN THE BRITISH ISLES TIMBER ROOFING − used as roofing materials as well as for aesthetic purposes − early carpenters were given the authority to explore new forms of roofs both internally and externally TRUSSED RAFTER ROOF COLLAR BRACED ROOF TIE BEAM ROOF HAMMER BEAM ROOF PETERBOROUGH CATHEDRAL HISTORY OF ARCHITECTURE 2 RENAISSANCE ARCHITECTURE THE GOLDEN AGE AR. ROY DE GUZMAN AR. JOSE ENRICO V. GALLEGO “La Rinascita” = REBIRTH THE RENAISSANCE THE RENAISSANCE: Age of Humanism After the Black Death that wiped a large population of Europe, people started questioning the importance of religion in their lives. It created uncertainties and brought chaos in the social structure of Medieval cities. From the events of instability and chaos, a new ideology was created. An ideology called humanism focused on human interests, aspirations, and earthly 1346 to 1353: Black Death Plague fulfillment. THE RENAISSANCE: Rediscovery of the Antiquity After the fall of the West Roman Empire in 472CE, much of the knowledge of antiquity was lost and forgotten in the west. (knowledge of antiquity lived on in the East Roman Empire/ Constantinople) In 12th and 13th Century, Conflicts arose between the Republic of Venice and Constantinople. On April 12, 1204 the crusaders broke through Constantinople's defences. Later in fell to the attacks of Ottoman Turks Many Scholars fled to Italy bringing with them important manuscripts THE RENAISSANCE First developed in Florence, Italy Recovery of Vitruvius’ ten books of Architecture The return to ancient models of Art, Architecture, and Literature THE RENAISSANCE RENAISSANCE PRINCIPAL PHASES 1. Early Renaissance (ca. 1400–1500); also known as the Quattrocento 2. High Renaissance (ca.1500–1525) 3. Mannerism (ca. 1520–1600) MERCHANT RULING CLASS Renaissance also focused on society that was created for and patronized by merchant-aristocrat families (Medici, Strozzi, and Rucellai) that became influential in building religious and civic buildings. COSIMO de MEDICI Founder of one of the main lines of the Medici Family that ruled Florence during much of the Italian Renaissance Wealthiest man of his time Italian banker and politician Known as “father of his country” COSIMO de MEDICI Great patron of learning, arts, and architecture. He used his fortune to control the Florentine political system and to sponsor orators, poets, philosophers, artists. Three Leading Renaissance Architects FILIPPO BRUNELLESCHI the first great Renaissance architect, was primarily a designer of churches. His most famous work is the octagonal brick dome of Florence Basilica. One of the founding fathers of the Renaissance. Developed the technique of linear perspective. LEON BATTISTA ALBERTI became the most influential architectural theorist of the Early Renaissance. Instructed on the adaptation of ancient classical forms to modern buildings. LEON BATTISTA ALBERTI Considered to be the first Renaissance theorist who wrote the book De Aedificatoria (On the Art of Building) – the first printed books on architecture divided into ten books. Book One: Lineaments Book Two: Materials Book Three: Construction Book Four: Public Works Book Five: Works of Individuals Book Six: Ornament Book Seven: Ornament to Sacred Buildings Book Eight: Ornament to Public Secular Buildings Book Nine: Ornament to Private Buildings Book Ten: Restoration of Buildings MICHELOZZO di BARTOLOMEO was another architect under the patronage of the Medici family, his most famous work being the Palazzo Medici Riccardi, which he was commissioned to design for Cosimo de' Medici in 1444. Renaissance Architecture CHARACTERISTICS CHARACTERISTICS Renaissance architects rejected the intricacy and verticality of the Gothic style for the simplicity and balanced proportions of classicism. Adapted distinguishing features of classical Roman architecture. Structures built was analyzed and reconstructed to serve new purposes. CHARACTERISTICS Style was no longer dependent on technical possibilities but was based on aesthetic principles, on abstract concepts like symmetry and proportion, and the use of the system of orders. Renaissance championed the style’s idea by studying Romanesque Buildings. EARLY RENAISSANCE EARLY RENAISSANCE 16th Century Region – Italy, especially Florence EARLY RENAISSANCE Rebuilding of Florence’s ancient cathedral became the defining achievement of the Early Renaissance. Brunelleschi received the commission and looked to Ancient Rome for inspiration. EARLY RENAISSANCE CENTRALIZED PLANS The plans of Renaissance buildings have a square, symmetrical appearance in which proportions are usually based on a module. Within a church, the module is often the width of an aisle. The Early Renaissance saw the first experiments with the neoplatonic ideal of the centralized plan. Bramante’s original plan for St. Peter’s Basilica EARLY RENAISSANCE FACADE Façades are symmetrical around their vertical axis. Church façades are generally surmounted by a pediment and organised by a system of pilasters, arches and entablatures. The columns and windows show a progression towards the centre. EARLY RENAISSANCE FACADE Domestic buildings are often surmounted by a cornice. There is a regular repetition of openings on each floor, and the centrally placed door is marked by a feature such as a balcony, or rusticated surround. PALAZZO RUCELLAI, FLORENCE by Leon Battista Alberti  EARLY RENAISSANCE WALLS New treatments were used for walls. Rusticated masonry and rusticated wall angles Quoins were used on wall surfaces and corners. External walls were usually of highly finished ashlar masonry laid in straight courses. Ground floor and basement were often emphasized by rustication. Quoin – an exterior angle of a masonry wall, or one of the stones or bricks forming such an angle, usually differentiated from adjoining surfaces by material, texture, color, size, or projection EARLY RENAISSANCE COLUMNS AND PILASTERS The Roman orders of columns are used: Tuscan, Doric, Ionic, Corinthian and Composite. The orders can either be structural, supporting an arcade or architrave, or purely decorative, set against a wall in the form of pilasters. EARLY RENAISSANCE COLUMNS AND PILASTERS DORIC TUSCAN IONIC CORINTHIAN COMPOSITE  EXTERIOR OF SAGRESTIA VECCHIA or OLD SACRISTY Christian building in Florence, Italy PILASTERS EARLY RENAISSANCE ARCHES Arches are semi-circular or (in the Mannerist style) segmental. Arches are often used in arcades, supported on piers or columns with capitals. There may be a section of entablature between the capital and the springing of the arch. Alberti was one of the first to use the arch on a monumental scale at the St. Andrea in Mantua. ARCADED COURTYARD OF PALAZZO MEDICI RICCARDI Florence, Italy RENAISSANCE ARCHITECTURE BUILDING COMPONENTS FOR RENAISSANCE RELIGIOUS ARCHITECTURE VAULT Vaults do not have ribs. They are semi-circular or segmental and on a square plan, unlike the Gothic vault which is frequently rectangular. COFFERED VAULT OF ST. ANDREA Mantua, Italy RENAISSANCE ARCHITECTURE BUILDING COMPONENTS FOR RENAISSANCE RELIGIOUS ARCHITECTURE DOME The plans of Renaissance buildings have a square, symmetrical appearance in which proportions are usually based on a module. Within a church, the module is often the width of an aisle. Dome of St. Peter’s Basilica RENAISSANCE ARCHITECTURE BUILDING COMPONENTS FOR RENAISSANCE RELIGIOUS ARCHITECTURE CEILING Roofs are fitted with flat or coffered ceilings. They are frequently painted or decorated Sistine chapel decorative coffered ceiling RENAISSANCE ARCHITECTURE BUILDING COMPONENTS FOR RENAISSANCE RELIGIOUS ARCHITECTURE WINDOWS Windows may be paired and set within a semi-circular arch. They may have square lintels and triangular or segmental pediments Façade details, Ospedale degli Innocenti in Florence. RENAISSANCE ARCHITECTURE The Tempietto - designed by Donato Bramante - signifies a full-scale revival of ancient Roman commemorative architecture - was constructed from bearing masonry. - circular temple supports a classical entablature, and was framed in the shadowy arch of the cloister. Renaissance Architecture MOST IMPORTANT RENAISSANCE ARTISTS RENAISSANCE ARCHITECTURE Leonardo da Vinci Best known renaissance artist Famous for his masterworks “The Mona Lisa” and “The Last Supper” Not only an artist, but also an inventor, scientist, architect, engineer. Made the famous sketch the Vitruvian man Leonardo da Vinci Leonardo da Vinci RENAISSANCE ARCHITECTURE Michelangelo di Lodovico Buonarroti An accomplished artist, poet, architect, engineer. Best known work is a sculpture known as “David” Michelangelo Michelangelo RENAISSANCE ARCHITECTURE Raffaello Sanzio da Urbino (Raphael) Known as the third of the great master artists of Renaissance Italy. Famous works: “The school of Athens” Raphael Raphael RENAISSANCE ARCHITECTURE Donato di Niccolò di Betto Bardi (Donatello) Worked mainly as a sculptor Famous work: Saint Mark Donatello  Leonardo Donatello Michelangelo Raphael Renaissance Architecture ARCHITECTS RENAISSANCE ARCHITECTURE Filippo Brunelleschi 1377-April 15, 1446 an Italian designer oldest amongst the founding fathers of the Renaissance architects recognized to be the first modern engineer, planner and sole construction supervisor developing a technique for linear perspective in art and for building the dome of the Florence Cathedral. Early Renaissance RENAISSANCE ARCHITECTURE Ospedale degli Innocenti 'Hospital of the Innocents' 1419-1427 first phase supervise by Brunelleschi 1445 – formerly opened It was also the first building in Florence to make clear reference—in its columns and capitals—to classical antiquity. RENAISSANCE ARCHITECTURE PLAN RENAISSANCE ARCHITECTURE ELEVATION RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE TONDO a tondo is a circular painting or sculpture. Tondo (italian meaning round) COLUMN  RENAISSANCE ARCHITECTURE TABERNACLE WINDOW an aedicula or tabernacle frame is a structural framing device that gives importance to its contents, whether an inscribed plaque, a cult object, a bust or the like, by assuming the tectonic vocabulary of a little building that sets it apart from the wall against which it is placed.  RENAISSANCE ARCHITECTURE Cattedrale di Santa Maria del Fiore "Cathedral of Saint Mary of the Flowers“ or Florence Cathedral Sept. 9, 1296 - 1436 the main church of Florence, Italy Il Duomo di Firenze, as it is ordinarily called the largest brick dome ever constructed RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE Part of the lower visible wood chain inside the dome The herringbone brick pattern inside the dome. STRUCTURAL FEATURES 1. Geometry - The dome was not hemispherical in shape; it was eight- sided with a circular vertical curve. 2. Chains - Iron chains acted as tension rings embedded in the dome at regular intervals. This allowed the structure to be stable without the employment of internal bracing, unlike the previous tie beams and flying buttresses used by the Gothic builders. 3. Double dome construction - The construction of two layers of dome added to the strength of the structure. An outer dome that was two feet thick at the base tapering to 1 foot thick at the top was connected to the inner dome with a seven feet thick base tapering to five feet at the top by ribs and latticed bricks. These ribs transferred the weight of the outer dome to the inner thicker shell. STRUCTURAL FEATURES 4. Lightweight bricks- The brick material of the dome also played an important role in reducing the weight of the dome. 5. Herringbone brick pattern - A trick in allowing the laying of bricks without centering and temporary bracing was through the use of a herringbone pattern. The pattern allowed the laying of the upper level of bricks by providing secure points at each level where the new bricks were set STRUCTURAL FEATURES 6. Stairs - Four sets of stairs were built in between the space of the outer and inner domes. This allowed vertical access for the materials and builders. 7. Lifting Machines - The inventions of Brunelleschi, two types of cranes that move upwards (lifting machine) and sideways (crane), allowed easier movement of materials and men from the ground to the top and along the diameter of the dome. RENAISSANCE ARCHITECTURE Michelozzo di Bartolomeo Michelozzi 1396 – October 7, 1472 an Italian architect & sculptor Considered one of the great pioneers of architecture during the Renaissance Known primarily by non- historians for designing Palazzo Medici Riccardi in Florence "He remained for his biographers a shadowy, active, competent, second- rate figure, circling around the glowing glory of the two dominant masters." Early Renaissance RENAISSANCE ARCHITECTURE Palazzo Medici Riccardi 1444 - 1484 a Renaissance palace located in Florence, Italy. It is the seat of the Metropolitan City of Florence. RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE COURTYARD RENAISSANCE ARCHITECTURE Palazzo medici riccardi salone luca giordano RENAISSANCE ARCHITECTURE Medici Riccardi Chapel RENAISSANCE ARCHITECTURE San Marco 1437 - 1438 one of Michelozzo's first and most influential architectural projects in Florence called the first Renaissance church RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE HIGH RENAISSANCE HIGH RENAISSANCE 1500-1525 Donato Bramante founded the High Renaissance that has a strong tendency to “correctness.” Peak of Renaissance style in Italy that exhibited simplicity and harmony in art and architecture. Concepts derived from Classical antiquity were used with greater confidence. HIGH RENAISSANCE Central plan of building layout was popular during this period. Central plan denotes rotational symmetry. Common shapes for central buildings include the circle, square, and octagon. RENAISSANCE ARCHITECTURE Donato di Pascuccio d'Antonio 1444 – March 11 1514 an Italian architect Also known as Bramante Lazzari or Donato Bramante High Renaissance RENAISSANCE ARCHITECTURE Cortile del Belvedere "Belvedere Courtyard“ 1506 a major architectural work of the High Renaissance at the Vatican Palace in Rome RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE The Tempietto of San Pietro 1502 – 1510 a small commemorative martyrium (tomb) considered a masterpiece of High Renaissance Italian architecture RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE Michelangelo di Lodovico Buonarroti Simoni 6 March 1475 – 18 February 1564 an Italian sculptor, painter, architect, poet, and engineer of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since also been described as one of the greatest artists of all time RENAISSANCE ARCHITECTURE Facade Church of San Lorenzo in Florence RENAISSANCE ARCHITECTURE Sagrestia Nuova " New sacristy “ a companion piece to the Old Sacristy of Brunelleschi and Donatello , now part of the museum complex of the Medici Chapels. RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE MANNERISM (1520-1560) MANNERISM Inventiveness bordering on eccentricity. Architects would interpret their elements on their own (Michaelangelo, Alessi, Ligorio). Mannerist compositions were full of clashing colors, disquieting figures with abnormally elongated limbs, (often torturous- looking) emotion, and bizarre themes that combined Classicism, Christianity, and mythology. MANNERISM In architecture, classical forms are skewed, exaggerated, and misplaced, and Classical balance and harmony are sometimes distorted. Some architects of the Late Renaissance maintained a firmly classical aesthetic. One such architect was Andrea Palladio. RENAISSANCE ARCHITECTURE Andrea Palladio 30 November 1508 – 19 August 1580 an Italian painter & architect widely considered to be the most influential individual in the history of architecture Mannerism RENAISSANCE ARCHITECTURE I quattro libri dell'architettura "The Four Books of Architecture “ 1508–1580 an Italian treatise on architecture RENAISSANCE ARCHITECTURE Villa Capra "La Rotonda "Villa La Rotonda “ 1508–1580 proper name is Villa Almerico Capra Valmarana RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE PALAZZO RUCELLAI, Florence (c. 1446- 1451) – Leon Battista Alberti RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE LAURENTIAN LIBRARY, Florence (begun c.1524), Michelangelo RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE LAURENTIAN LIBRARY, Florence (begun c.1524), Michelangelo RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE IL REDENTORE, Venice (c.1576), Andrea Palladio RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE IL GESU, Rome (c.1568-1584) – Giacomo da Vignola and Giacomo Della Porta RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE EXISTING CONDITION: Two Medieval buildings exist a) The Senator’s Building – EAST, b) Conservator’s Building – SOUTH- forming an angle of 83 degrees REQUIREMENT: Addition of another building opposite to Conservators Building – THE CAPITOLINE MUSEUM ARCHITECTURAL FORM: axis is indicated by the long rising ramp, and the climax of this axis the Senators building, which has a greater height and monumental stairway in front THE CAPITOLINE HILL, Rome (designed 1539), Michelangelo RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE PIAZZA is in layout an abstraction of the human figure, LEGS - long ramp HEAD – Senators palace as the climax ARMS – two lateral buildings BODY – the oval piazza NAVEL – equestrian statue (Marcus Aurelius) THE CAPITOLINE HILL, Rome (designed 1539), Michaelangelo RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE THE CAPITOLINE HILL, Rome (designed 1539), Michaelangelo RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE THE CAPITOLINE HILL, Rome (designed 1539), Michaelangelo  RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE DOME – rests on gigantic arches and pillars; divided into 12 sections at interior; lantern is perpendicular to the tomb and the Baldacchino. ST. PETER’S BASILICA, Rome  RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE PORTICO – artworks and mosaics depict scenes from the bible and renaissance ideas and lifestyles; connected to the piazza by an inclined plane (Bernini) BALDACHINO – acts as a point of reference; immense mass was neutralized by 4 twisted columns ALTAR OF THE CHAIR – bronze chair which represents the primacy of St. Peter and the unification of the Church ST. PETER’S BASILICA, Rome  RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE BALDACHINO – acts as a point of reference; immense mass was neutralized by 4 twisted columns ALTAR OF THE CHAIR – bronze chair which represents the primacy of St. Peter and the unification of the Church ST. PETER’S BASILICA, Rome RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE ST. PETER’S BASILICA, Rome ALTAR OF THE CHAIR – bronze chair which represents the primacy of St. Peter and the unification of the Church RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE ARCHITECTS OF ST. PETER’S BASILICA, Rome 1. DONATO BRAMANTE (1506) - He started his work in 1505. He was the first to design the dome patterned after the pantheon. His plan was based on Greek Cross, nearly square with a protruding apse that created spaces within spaces. Roman concrete was used as a building material. He died in 1514, wherein only the pilasters have been constructed. 2. GIULIANO DA SANGALLO (1513) - He was appointed as the chief architect after the death of Bramante. He raised the floor level and supervised the continuous construction of the pilasters. 3. FRA GIOCONDO (1513) - Co-architect Da Sangallo. RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE ARCHITECTS OF ST. PETER’S BASILICA, Rome 4. RAPHAEL (1514) - Changed the plan to Latin Cross. The plan for the chancel and transepts made the squareness of the exterior walls more definite by reducing the size of the towers and the semi-circular apses more clearly defined by adding ambulatory to each side. 5. ANTONIO DA SANGALLO (THE YOUNGER) (1516) - Grand nephew of Giuliano da Sangallo that revised and expanded Raphael’s design and proposed a more elaborate central design. RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE ARCHITECTS OF ST. PETER’S BASILICA, Rome 6. BALDASSARE PERUZZI (1516?) - Proposed the return to the Greek Cross plan but with the addition of subsidiary domes creating a Latin Cross plan. 7. MICHELANGELO (1546) - Demolished the southern ambulatory of Raphael and Giuliano da Sangallo and restored Bramante’s work with a simplified Greek Cross plan. He was known to design the dome (cupola). He died in 1564 without seeing his project realized. RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE ARCHITECTS OF ST. PETER’S BASILICA, Rome 8. GIACOMO DA VIGNOLA (1564) - Added small domes in the design. 9. GIACOMO DELLA PORTA (1572) - Built Michaelangelo’s dome. 10.DOMENICO FONTANA (1585) - Responsible for the completion of the dome. RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE ARCHITECTS OF ST. PETER’S BASILICA, Rome 8. GIACOMO DA VIGNOLA (1564) - Added small domes in the design. 9. GIACOMO DELLA PORTA (1572) - Built Michaelangelo’s dome. 10.DOMENICO FONTANA (1585) - Responsible for the completion of the dome. RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE ARCHITECTS OF ST. PETER’S BASILICA, Rome 11. CARLO MADERNO (1606) – Lengthened the nave, adopted the Latin Cross plan, designed the façade that is present today that concealed the view of Michaelangelo’s dome. RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE ARCHITECTS OF ST. PETER’S BASILICA, Rome 12. GIAN LORENZO BERNINI (1629)- He designed the Interior decoration and the Baldachino over St. Peter’s tomb (made of bronze). Famous for the design of the piazza surrounded by 284 Doric columns in a relatively long colonnade to permit wide visibility (for pilgrims). The piazza gave a contrast between confinement and open space (capacity: half a million).  RENAISSANCE ARCHITECTURE: OTHER NOTABLE EXAMPLES OF ITALIAN RENAISSANCE 1) Donato Bramante 2)Raphael 3) Michelangelo 4) Maderno Greek Cross plan, nearly square Latin Cross plan Simplified Greek Cross plan Adopted the Latin Cross plan with protruding apse with five bays END OF FIRST SESSION HISTORY OF ARCHITECTURE 2 RENAISSANCE ARCHITECTURE THE GOLDEN AGE AR. ROY DE GUZMAN AR. JOSE ENRICO V. GALLEGO RENAISSANCE ARCHITECTURE: REVIEW KEY NOTES 1. Printing press made access to treatises and drawings easier and faster. 2. Age of humanism. 3. Scale and proportion were employed in building design. 4. Perspective provided a realistic presentation of buildings in three dimensions on paper. RENAISSANCE ARCHITECTURE: REVIEW KEY NOTES 5. Use of squares and circles. 6. Reverted back to the use of Classical design. 7. Human scale was a major consideration. 8. Merchants were the ruling class. RENAISSANCE ARCHITECTURE: REVIEW KEY NOTES 9. Use of domes and semi-circular arches. 10.Building types include church, palazzo, chateau, hotels, and other domestic and civic structures. 11.The style influenced different regions in Europe with regional differences.  RENAISSANCE ARCHITECTURE EARLY RENAISSANCE Classical details and building construction were adopted FILIPPO BRUNELLESCHI (1400 - 1500) Rules were created and served as guides to the MICHELOZZO DI BARTOLOMEO Quattrocento architects. LEON BATTISTA ALBERTI Spaces were proportionally designed, and forms followed GIULIANO DA SANGALLO and a system of geometry. FRANCISCO DI GIORGIO GIACOMO BAROZZI DA VIGNOLA HIGH RENAISSANCE, strong tendency to “correctness.” DONATO BRAMANTE 1500-1525 peak of Renaissance style in Italy MICHELANGELO simplicity and harmony in art and architecture (MICHELANGELO DI LODOVICO The central plan of building layout was popular during BUONARROTI SIMONI) this period RAPHAEL (RAFFAELLO SANZIO Common shapes for central buildings include the circle, DA URBINO) square, and octagon. MANNERISM (LATE Inventiveness bordering on eccentricity ANDREA PALLADIO RENAISSANCE) classical forms are skewed, exaggerated, and misplaced, 1520-1560 and Classical balance and harmony are sometimes distorted RENAISSANCE ARCHITECTURE: PREVAILING BUILDING TYPES: CHURCHES PLAN – square, symmetrical appearance and proportion is based on module-often the width of the aisle FAÇADE – symmetrical around their vertical axis and generally surmounted by a pediment and organized by a system of pilasters, arches, and entablatures CHURCH DESIGN layouts were changed to suit the new Reformist and Counter Reformist Movements RENAISSANCE ARCHITECTURE: PREVAILING BUILDING TYPES: CHURCHES CATHOLIC CHURCH – nave with lateral chapels, domed crossing, short transepts; based on Italian models which stressed the façade PROTESTANT CHURCH – developed new designs; less assuming churches conceived as simple congregational spaces with side galleries RENAISSANCE ARCHITECTURE: PREVAILING BUILDING TYPES: PALACES (PALAZZOS) – Italian Rectangular in plan, with interior courtyard and arcades; horizontal emphasis based on Roman buildings; ornamentation from Classical sources; rusticated wall treatment CORTILE – interior courtyard RENAISSANCE ARCHITECTURE: PREVAILING BUILDING TYPES: PALACES (PALAZZOS) – Italian PARTS OF A PALAZZO COMMON AREA – ground floor PIANO NOBILE – it means “noble floor” or “noble level” in Italian. It is the second floor of a typical palazzo or palace used as the main reception and living space with a grand staircase that leads from the ground floor up to the second level. Palazzo Rucellai, Florence, Italy SERVANTS QUARTERS – third floor RENAISSANCE ARCHITECTURE: PREVAILING BUILDING TYPES: CHATEAUX – French (hunting lodges built to attract royal visits) Château de Chenonceau, France RENAISSANCE ARCHITECTURE: PREVAILING BUILDING TYPES: DOMESTIC ARCHITECTURE Domestic buildings are often surmounted by a cornice and have a regular repetition of openings on each floor. The main door is usually located at the center, and in bigger houses usually covered by a balcony or a rusticated surround. Wealthy homes had a central courtyard where the residential buildings were built around. RENAISSANCE ARCHITECTURE: PREVAILING BUILDING TYPES: DOMESTIC ARCHITECTURE PALATIAL VILLA RETREATS – built on landscaped grounds FARMYARD VILLAS – combined utilitarian aspects of the conventional farmhouse with comforts of gracious living (simple) FRENCH RENAISSANCE RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE INFLUENCES The early period ties in the combination of Gothic and Renaissance features In the 16th century, French Kings Louis XII and Francois I invited Italian Renaissance artists to teach the movement in France. The result was Renaissance style added on to existing Gothic structures Catherine de Medici She was Queen of France from 1547 to 1559 by marriage to King Henry II and the mother of French kings Francis II, Charles IX, and Henry III. RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE ARCHITECTURAL CHARACTER Climate required a high pitched roof, tall chimneys, and a larger window Windows grew increasingly large and rode up into the steep roofs as dormers Mansard roofs of two different slopes became popular Later, unified pitched roofs or flat roofs became increasingly common. RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE Mansard Roof – a ridged roof having on each side a steeper lower part and a shallower upper part. DORMER - a window in a sloping roof, usually that of a sleeping-apartment. MULLION - a vertical member dividing windows into a different number of lights TRANSOM - the horizontal divisions of crossbars of windows RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE QUOINS - in masonry, a hard stone or brick used, with similar ones, to reinforce an external corner or edge of a wall or the like; often distinguished decoratively from adjacent masonry; may be imitated in non-load-bearing materials. RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE PREVAILING BUILDING TYPES CHATEAUX – hunting lodges built to attract royal visits and done in Franco-Italian style with axial formal gardens, salons, and donjons. Chateau de Chenonceaux Built by Philibert de L’orme for Henry II’s mistress Diane de Poitiers on a 5-bay bridge over the River Cher. RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE PREVAILING BUILDING TYPES CHURCHES Reformation made little impact. Counter-reformation caused a return to basilican plan, nave colonnade, semi-circular apse, and combined Gothic and Renaissance features. St. Eustache, Paris (1532-1640) St. Gervais, Paris (1532-1640)  RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE PREVAILING BUILDING TYPES HOTELS These were rich private residences for civil servants appointed by the King that HOTELS later became a characteristic building Antechamber type that influenced planning in Europe. Made up of small rooms for private Chamber social activities rather than a great hall, Cabinet coarser elements of the household were Garderobe concealed; rooms were usually grouped together in threes or fours. Hotel de Sully, Paris  RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE IMPORTANT ARCHITECTS PIERRE LESCOT – rebuilt the Gothic castles of the Louvre, applying Orders to create vertical accents PHILIBERT DE L’ORME – a Mannerist who, along with Lescot, laid the foundation for French Classicism; famous for designing Chateau d’Anet for Diane de Poitiers SOLOMON DE BROSSE – Architect to the Crown, built Palais du Luxembourg following the traditional plan of main block and screen walls enclosing a courtyard FRANCOIS MANSART – his improved standing led to the establishment of the ROYAL ACADEMY OF ARCHITECTURE (1611), which moved the architects out of the artisan class towards the status of artists and intellectuals  RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE NOTEWORTHY EXAMPLES: PALACE AND PARK OF VERSAILLES Originally a chateau (built by Louis XIII, 1634), changed into a splendid palace when Louis XIV moved his court from Paris to Versailles.  RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE Architects of the Palace of Versailles 1. LOUIS LE VAU (1666) Added two service wings, extending from the existing building and creating a 25-bay façade 2. JULES HARDOUIN-MANSART He designed the GALERIE DES GLACES with extravagant decoration and use of mirrors. (arcade of 17 windows that matched with 17 mirrors on the other side to heighten the lighting). He was also the first to use FRENCH WINDOWS (fashionable attenuated windows, which often extend from floor to ceiling). 3. ANDRE LE NOTRE laid out the vast formal gardens with geometrically arranged avenues and canals 4. ANGE-JACQUES GABRIEL Designed LE PETIT TRIANON, a little cube house in pale limestone and rose pink marble with a long arcade at the front. 5. RICHARD MIQUE Designed the artificial peasant village for Marie Antoinette.  PALACE AND PARK OF VERSAILLES The Royal Court  PALACE AND PARK OF VERSAILLES The Hall of Mirrors designed by Jules Hardouin Mansart, ceiling by Charles Le Brun  PALACE AND PARK OF VERSAILLES Aerial View  RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE NOTEWORTHY EXAMPLES: THE LOUVRE, Paris Used to be a Medieval Chateau began by Philip Augustus in 1204. The present structure was started by Francois I and continued by Henry II in the 1540s.  RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE Architects of the Louvre 1. PIERRE LESCOT redesigned the wing using Italianate motifs. 2. PHILIBERT DE L’ORME connected the Louvre to the Palais de Tuileries for Catherine de Medici with a gallery (PETIT GALERIE) along the River Seine. 3. LOUIS LE VAU built the quadrangle’s north and east sides under Louis XIV (1660s). 4. CLAUDE PERRAULT built the south side in the 1670s with a boring, flat façade.  RENAISSANCE ARCHITECTURE: FRENCH RENAISSANCE NOTEWORTHY EXAMPLES: CHÂTEAU DE CHAMBORD A chateau that combined Gothic and Renaissance elements. A unique double spiral staircase, which was believed to be based on a sketch made by Leonardo da Vinci, was built as a free-standing element at the crossing of the Greek cross hallway. It was the most lavish, extravagant, largest, and most modern during its construction. ENGLISH RENAISSANCE RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE INFLUENCES Establishment of the Commonwealth after the civil war, the Restoration period, and the Great Fire of London. The early period ties in the combination of Gothic and Renaissance features. During the Restoration in 1660, the power of government was restored back to the Monarchy After the Great Fire in London in 1666, all buildings were destroyed, including churches. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER TUDOR Henry VIII was the King of England until 1547. During his reign, he introduced Italian and French Renaissance styles in England. The style tended to be used as merely decorative elements that were applied to late Gothic structures. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER TUDOR TUDOR ARCH - a low and wide type of arch with a pointed top that looks flattened. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER TUDOR An innovation of the chimney stack allowed fireplaces to be installed on the upper levels, unlike previous styles where hearths and chimneys followed the entire height of the structure. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER TUDOR Large domestic buildings were built with new aesthetics veering away from the cold and massive design of castles and forts. The houses of ordinary people were usually built with timber and occasionally with bricks. Quadrangular Plan H-SHAPED E-SHAPED RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER ELIZABETHAN Elizabeth I, absorbing Renaissance through France and Flanders, introduced large scale Renaissance motifs Varied skyline of towers and gables, parapets balustrades mullioned oriel, bay windows at the façade Facade of Burghley House, Peterborough, England RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER JACOBEAN Bricks became the major material used in building, replacing stone. Stepped curved gable roofs became widely applied to domestic buildings. Jacobean continued the style of Elizabethan Jacobean east wing of Crewe Hall, Cheshire, England  RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER TUDOR ELIZABETHAN JACOBEAN Late Gothic and few Renaissance Regularity, symmetry, and mixed Followed Elizabethan patterns with characteristics freely mix, some classical and Mannerist elements less individuality and more stylistic symmetry and order. characterize the design. Decorations unity tend to be lavish with foreign influences. More outward-looking. Facades were Horizontal emphasis and regularity Featured more stylistic unity, irregular and often moved in and out, on the lower portions. Roofs have although eclecticism and foreign roofs vary in design and height, and irregular silhouettes. Composed of influence remain strong. Tower and windows change randomly in size. parapets, balustrades, pinnacles, turrets and parapets define rooflines, Towers and battlements decorated lanterns, towers, roofs, and which are less complex. the facades. chimneys. Architecture is grander. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER STUART The period was plagued by internal and religious strife and large-scale civil war. The absolution notion of monarchy was expressed in architecture. The best-known architect of the period was IÑIGO (INIGO) JONES, who had James I as his patron. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER COMMONWEALTH (Stuart) The Civil War and the establishment of the Commonwealth caused a near-halt to building. Dutch gables with curved volutes and pedimented tops, heavy cornices, and hipped roofs were used in the ARTISAN STYLE domestic building. Tall hipped roofs with gables dormers symmetrically arranged crossed mullioned windows, and decorative pilaster columns. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE ARCHITECTURAL CHARACTER RESTORATION (Stuart) Re-establishment of the monarchy with Charles II as the new king of England. Charles II allowed architecture to express centralized monarchic power. The most famous architect of this period was SIR CHRISTOPHER WREN, who was French-influenced. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE NOTEWORTHY ARCHITECTS PIETRO TORRIGIANO (Tudor) His addition of cherubs and Renaissance pilasters at Henry VII’s tomb at Westminster abbey allowed Renaissance to co-exist with Gothic designs. Henry VII Tomb RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE NOTEWORTHY ARCHITECTS IÑIGO JONES (Stuart) Introduced Renaissance to England principally inspired by Palladio. He designed the Queen’s house. Queen’s house RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE NOTEWORTHY ARCHITECTS SIR CHRISTOPHER WREN (Restoration) England’s “Best” Architect; surveyor-general of the King’s Works. He designed St. Paul’s Cathedral and 51 new churches after the Great Fire of London. St. Stephen Walbrook church RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE NOTEWORTHY ARCHITECTS SIR JOHN VANBRUGH - idiosyncratic-unique and NICHOLAS HAWKSMOOR (English Baroque) The style which developed from their collaboration is marked by a feeling for mass, rhythm, and dramatic composition. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE CONTRIBUTIONS OF THE ENGLISH RENAISSANCE Introduction of modular design Architectural books and treatises explaining Classical traditions Use of cast iron as a structural material RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE NOTABLE EXAMPLES ST. PAUL’S CATHEDRAL (1675- 1710), Sir Christopher Wren Spanned the whole career of Sir Christopher Wren. The original plan is a Greek Cross plan, but all plans at present were after the Great Fire of London in 1666. RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE NOTABLE EXAMPLES ST. PAUL’S CATHEDRAL (1675-1710) Tempietto in Rome became the inspiration of Wren in the design of the cathedral’s dome. The inner dome was built from bricks and is semicircular in shape—the diameter of the dome. Exterior design: Classicist style Interior design: Baroque style Tempietto, Rome St. Paul’s Cathedral, London RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE NOTABLE EXAMPLES BANQUETING HALL, WHITEHALL PALACE (1619-22) - Iñigo Jones Part of the building was already constructed during the Gothic. It was patterned after the Basilica with an original plan that included an apse. The façade has seven bays. First fully renaissance building in London RENAISSANCE ARCHITECTURE: ENGLISH RENAISSANCE NOTABLE EXAMPLES QUEEN’S HOUSE at GREENWICH (1616-35), Iñigo Jones Designed to be a hunting lodge with Palladian influence that was later used as a bridge between the two parks. It has a tripartite facade and rustication that precedes the second storey. IBERIAN RENAISSANCE RENAISSANCE IN SPAIN AND PORTUGAL RENAISSANCE ARCHITECTURE: SPAIN AND PORTUGAL INFLUENCES Moorish influence-being colonized by Moslems for 800 years. Charles V, who ruled as Holy Roman Emperor in 1519, favored an antiquarian classical style inspired by his visits to Italy. RENAISSANCE ARCHITECTURE: SPAIN ARCHITECTURAL CHARACTER The Architecture is more suited to hot climate low-pitched roofs small windows open-air staircases, courtyards for internal circulation (Patios). RENAISSANCE ARCHITECTURE: SPAIN ARCHITECTURAL CHARACTER SPAIN:LATE 15TH – EARLY 16TH CENTURY Transition from Gothic to Renaissance style dominated by Plateresque (Plata-silver) horror vacui – fear of voids. Ornaments may spread over the whole façade or concentrated around the doors and windows where they contrast with plain wall surfaces. RENAISSANCE ARCHITECTURE: SPAIN AND PORTUGAL ARCHITECTURAL CHARACTER SPAIN:LATE 15TH – EARLY 16TH CENTURY TWO PERIODS GOTHIC PLATERESQUE RENAISSANCE PLATERESQUE – works involved Italianate Classical motifs which were mostly used to embellish a façade or superimposed upon Medieval compositions RENAISSANCE ARCHITECTURE: SPAIN ARCHITECTURAL CHARACTER CLASSICAL PERIOD (1556-1650) Marked by pursuit styles using principles from Italian Renaissance IMPORTANT ARCHITECTS PEDRO MACHUCA used the orders with the severity of a Bramante in the palace of Charles IV at Granada; helped to enhance the status of the architects in Spain JUAN DE HERRERA his style was more subtle and proportionally harmonious; finished the Escorial, which was begun by Bautista de Toledo JUAN BAUTISTA DE TOLEDO assistant to Michaelangelo at St. Peter’s, official architect to King Philip II RENAISSANCE ARCHITECTURE: SPAIN AND PORTUGAL ARCHITECTURAL CHARACTER CHURRIGUERESQUE (Baroque and Rococo 1650-1750) Churriguera Family A reaction against Herrera and his followers, this style was greatly influenced by Italian Baroque but was not as fantastically extravagant. THREE PHASES the use of “Solomonic” sugarbarley columns the use of “estipite” inverted obelisk or cone fuses the first two elements in the emerging Neoclassical styles The estipite column is a type of column or pilaster typical of the Churrigueresque Baroque style of Spain and Spanish America used in the 18th century. In the shape of an inverted obelisk. Solomonic Column -A type of column distinguished by its twisted spiral shaft, similar in shape to a corkscrew, which can support any order. Also called sugar barley columns RENAISSANCE ARCHITECTURE: SPAIN ARCHITECTURAL CHARACTER NEOCLASSICAL (1750 – 1830) Turned more and more to Ancient models  RENAISSANCE ARCHITECTURE: PORTUGAL ARCHITECTURAL CHARACTER MANUELINE STYLE Named after King Manuel I, contemporary of Plateresque in Spain decorative rather than structural, superimposed upon Gothic forms, drew inspirations from the voyages of the discoverers BAROQUE and ROCOCO Sudden wealth from the gold and diamonds from Brazil led to increased building activity. In 1755, after the Lisbon earthquake, a reconstruction program led by the Marquis of Pombal gave rise to the POMBALINE STYLE of town planning characterized by: regular grid street plan plain, nearly uniform facades standardized building elements RENAISSANCE ARCHITECTURE: SPANISH RENAISSANCE NOTABLE EXAMPLES THE ESCORIAL (1562 – 82, for Phillip II), Spain Built in 1562-82 for Philip II. The overall plan was designed by Juan Bautista De Toledo and completed by Juan De Herrera. Plan: Greek Cross Façade: Made from granite with statues of the kings of Judah. In between the statues are windows which light up the choir Interior: Has granite walls and subdued colors, and ceiling adorned with frescoes Altar: reredo (decorative screens) EL ESCORIAL EL ESCORIAL EL ESCORIAL RENAISSANCE ARCHITECTURE: SPANISH RENAISSANCE NOTABLE EXAMPLES PALACE OF CHARLES V at GRANADA (1526), Spain RENAISSANCE ARCHITECTURE: SPANISH RENAISSANCE NOTABLE EXAMPLES The Alcazar,Toledo, Spain RENAISSANCE ARCHITECTURE: SPANISH RENAISSANCE VALLADOLID CATHEDRAL (designed 1585), Spain Built by De Herrera in 1585 with a corner tower and a crossing. The original plan was never completed, and the cathedral was much reduced in size when finished by Alberto Churriguera in 1729-33. The upper portion of the façade is of Baroque style. VALLADOLID CATHEDRAL REFERENCES Last, F. M. (Year, Month Date Published) Booik. City, State: Publisher. Wolf, Norbert. (2007) Romanesque. Germany: TASCHEN GmbH Toman, Rolf. (1998) Baroque Architecture Sculpture Painting. Maxeville, France: Imprimerie Jean Lamour Toman, Rolf. (2010) Romanesque Architecture Sculpture Painting. Potsdam, Germany: h.f.ullman publishing Toman, Rolf. (2015) Ranaissance Architecture Sculpture Painting Drawing. Potsdam, Germany: h.f.ullman publishing GmbH REFERENCES Toman, Rolf. (2007) Gothic Architecture Sculpture Painting. Potsdam, Germany: h.f.ullman publishing is an imprint of Tandem VerlagGmbH Fahr-Becker, G. (2015) Art Nouveau. Potsdam, Germany: h.f.ullman publishing GmbH Bietoletti, S., Capretti, E., Chiarini, M., Cresto, C., Giusti, A., Morandi, C., Paolucci, A., Scalini, M., Tartuferi, A. (2005) Florence Art and Architecture. Potsdam, Germany: h.f.ullman publishing GmbH Tietz, J. (2008) The Story of Modern Architecture. Cambridge: h.f.Ullman Tietz, J. (2013) The Story of Modern Architecture of the 20th Century. Potsdam, Germany: h.f.ullman publishing GmbH De Witt, D., De Witt, E. (1987) Modern ArChitecture in Europe. New York, N.Y.: NAL Penguin Inc. Curtis, W. (2011) Modern Architecture 1900. All Saints, St., London: Phaidon Press Inc. REFERENCES Thiebaut, P. (2002) Gaudi Builder of Vision.: New York: Thames & Hudson Ltd Maravall, J.A. (1986) Culture of the Baroque. Minneapolis, MN: University of Minnesota Press Zamora, L. P. and Kaup, M. (2010) Baroque New Worlds. Duke University Press Hopkins, O. (2014) Architectural Styles. City Road, London: Laurence King Publishing Text and photography Cole, E. (2014) Architectural Details. High Street, Lewes: Ivy Press Fletcher, B. (1996) A History of Architecture. Jordan Hill, Oxford: Architectural Press Zant, E. V. (1995) The Life and Works of Antonio Gaudi. Great Britain: Parragon Book Haegen, A. M., Strasser, R. (2013) Tuscany Art & Architecture. Potsdam, Germany: h.f.ullman publishing GmbH REFERENCES Bohlen, B. H. (2006) Andalusia Art & Architecture. Potsdam, Germany: h.f.ullman publishing GmbH Kaminski, M. (2013) Venice Art & Architecture. Potsdam, Germany: h.f.ullman publishing GmbH Bohlen, B. H. (2006) Rome Art & Architecture. Potsdam, Germany: h.f.ullman publishing GmbH Wirtz, R. C. (2013) Florence Art & Architecture. Potsdam, Germany: h.f.ullman publishing GmbH Powell, K. (2011) The Great Builders. New York, N.Y.: Thames & Hudson Inc. Zanlungo, C., Tarabra, D. (2012) The Story of Baroque Architecture. Munich. London. New York: Prestel Publishers Favole, P. (2012) The Story of Moder Architecture. Munich. London. New York: Prestel Publishers Servida, S. (2011) The Story of Renaissance Architecture. Munich. London. New York: Prestel Publishers Jestaz, B. (1996) Architecture of The Renaissance from Brunelleschi to Palladio. High Holborn, London: Thames & Hudson Ltd. Hopkins, A. (2002) Italian Architecture from Michelangelo to Borromini. High Holborn, London: Thames & Hudson Ltd.