Dome of the Rock

Jerusalem

691

Abd al-Malik

be a shrine, not a mosque. The structure is basically octagonal. It comprises a wooden dome, approximately 60 feet (20 m) in diameter, which is mounted on an elevated drum consisting of a circle of 16 piers and columns.[2] Surrounding this circle is an octagonal arcade of 24 piers and columns.

Great Mosque, Cordoba, Al-Andalus (Islamic Spain)

784

The building is most notable for its giant arches, with 856 columns of jasper, onyx, marble and granite. These were made from pieces of the Roman temple which had occupied the site previously, as well as other destroyed Roman buildings. The double arches, pictured above, were a new introduction to architecture, and helped support the tremendous weight of the higher ceilings. The double arches consist of a lower horseshoe arch and an upper semi-circular arch. The famous alternating red and white voussoirs of the arches were inspired by those in the Dome of the Rock. The mosque’s floor plan is seen to be parallel to some of the earliest mosques built from the very beginning of Islam. It had a rectangular prayer hall with aisles arranged perpendicular to the qibla, the direction towards which Muslims pray. The prayer hall was large in size, flat, with timber ceilings held up by arches of horseshoe-like appearance.

Suleymaniye Camii (mosque), Istanbul, Turkey

1550-7

-Sinan Pasha designed it

-It combines tall, slender minarets with large domed buildings supported by half domes in the style of the Byzantine church Hagia Sofia

-The Süleymaniye was ravaged by a fire in 1660

-the mosque itself is preceded by a monumental courtyard

-courtyard at the Süleymaniye is of exceptional grandeur with a colonnaded peristyle with columns of marble, granite and porphyry. At the four corners of the courtyard are the four minarets, a number only allowable to mosques endowed by a sultan

-The interior of the mosque is almost a square, 59 meters in length and 58 meters in width, forming a single vast space. The dome is flanked by semi-domes, and to the north and south arches with tympana-filled windows, supported by enormous porphyry monoliths. Sinan made of a radical architectural innovation to mask the huge north-south buttresses needed to support these central piers. He incorporated the buttresses into the walls of the building, with half projecting inside and half projecting outside, and then hid the projections by building colonnaded galleries. There is a single gallery inside the structure, and a two-story gallery outside.

Notre Dame (Our Lady), Chartres, France

•  
  • 876 - Charles gives church relic (mary’s robe)
  • West façade and towers, c. 1135-60
    • The “royal portal” (front entrance) has three gothic arched doors with Jamb statues on sides (very uniform/not lifelike) → compare to caryatid (“human sculpture columns”) from the ancient Greek Erechtheion
  • Rest of the cathedral built from 1194
  • Nave and choir completed 1220
  • Transepts completed c. 1235
    • South Trancept doors - much more human/intricate
  • Nave = 113' high
  • Clerestory - upper level of a Roman basilica or of the nave of a Romanesque or Gothic church, the walls of which rise above the rooflines of the lower aisles and are pierced with windows.
  • In between nave arcade and cleresory is triforium - is a shallow gallery of arches within the thickness of inner wall, which stands above the nave in a church or cathedral. It may occur at the level of the clerestory windows, or it may be located as a separate level below the clerestory.

Santa Maria Novella, Florence, façade, 1458-71

• By Alberti
• First great basilica in Florence, city’s principle Dominican church
• Use of Triumphful arch as the base of the facade of the church (first level)
• Use of classical “Temple” style for top of facade (second level)
• Design is three squares: two side by side on first level and one centered on the second level
• Patron: Giovanni Rucellai

Dome of the cathedral, Florence, commissioned 1418

• By Brunelleschi (called “Brunelleschi’s Dome”)
• largest dome since pantheon
• couldn’t use scaffold “centering”
• The Florence cathedral lacked dome for a hundred years because the structure called for dome wider and taller than had been ever built with no external buttresses (because renaissance Italian architects found them “ugly”)
• octagonal base
• Brunelleschi used a set of four internal horizontal stone and iron chains to keep dome from spreading outward (kinda like barrel hoops)
• Also used vertical ribs
• Crowned with octagonal lantern
• Uses herringbone pattern for brick to transfer weight

Tempietto, San Pietro in Montorio, Rome, begun 1505/6

San Pietro in Montorio is a church in Rome, Italy, which includes in its courtyard The Tempietto (a small commemorative martyrium) built by Donato Bramante.

Project for St. Peter's, Rome, 1506

This plan was in the form of an enormous Greek Cross with a dome inspired by that of the huge circular Roman temple, the Pantheon.[5] The main difference between Bramante's design and that of the Pantheon is that where the dome of the Pantheon is supported by a continuous wall, that of the new basilica was to be supported only on four large piers. This feature was maintained in the ultimate design. Bramante's dome was to be surmounted by a lantern with its own small dome but otherwise very similar in form to the Early Renaissance lantern of Florence Cathedral designed for Brunelleschi's dome by Michelozzo.[22]
Bramante had envisioned that the central dome be surrounded by four lower domes at the diagonal axes. The equal chancel, nave and transept arms were each to be of two bays ending in an apse. At each corner of the building was to stand a tower, so that the overall plan was square, with the apses projecting at the cardinal points. Each apse had two large radial buttresses, which squared off its semi-circular shape.[23]

Cola da Caprarola, Santa Maria della Consolazione, Todi, 1508

the beautifully sited domed Renaissance church of Santa Maria della Consolazione (begun in 1508), often attributed, although without sufficient reason, to Bramante. It has a Greek cross plan: three apses are polygonal and that on the north side is semicircular. Architects who worked on it include Cola da Caprarola, Antonio da Sangallo the Younger, Baldassarre Peruzzi, Galeazzo Alessi, Michele Sanmicheli, Vignola and Ippolito Scalza. The church was inaugurated only in 1607. The apse is surmounted by a square terrace with 4 eagles at the corners, from which the dome rises. In the interior, the altar houses a miraculous image of the Madonna, which, according to the tradition, was discovered by a worker during the founding works. 12 niches in the first three apses house giant statues of the apostles.

by Antonio da Sangallo the Elder, Madonna di S. Biagio, Montepulciano, begun 1518

The church in travertine, has a Greek cross plan with central dome and a semicircular apse and two bell towers. The Baroque interior is frescoed, has a fine high altar with reredos of 1584 with four marble statues of saints, work of Ottaviano Lazzerini, above the altar is a stained glass window with Madonna and Saints by Michelangelo da Cortona.

church of San Lorenzo, Florence

• In 1419, Giovanni de’ Medici offered to finance church to replace existing
• Brunelleschi was commissioned to design it
• Despite its history, the building is seen as one of the great examples of the new style. Its more notable features include:

• the attempt to create a proportional relationship between nave and aisle (aisle bays are square whereas nave bays are 2X1.
• the articulation of the structure in pietra serena (Italian: “dark stone”).
• the use of an integrated system of column, arches, entablatures.
• a clear relationship between column and pilaster, the latter meant to be read as a type of embedded pier.
• the use of proper proportions for the height of the columns
• the use of spherical segments in the vaults of the side aisles.

• New Sacristy (Medici funerary chapel), 1519-34
  • Opposite it in the south transept is the Sagrestia Nuova (New Sacristy), begun in 1520 by Michelangelo, who also designed the Medici tombs within. The new sacristy was composed of three registers, the topmost topped by a coffered pendantive dome. The articulation of the interior walls can be described as early examples of Renaissance Mannerism, see Michelangelo's Ricetto in the Laurentian Library. The combination of pietra serena pillasters on the lower register is carried through to the second facade; however, in Mannerist fashion, architectural elements 'seem impossible,' creating suspense and tension that is evident in this example. Michelangelo's sculptural elements, to be used on the tombs themselves, was left undone. A difficult person to work with, Michelangelo refused to direct the completion of the new sacristy.

Laurentian Library, 1523-59 -

famous as a repository of more than 11,000 manuscripts and 4,500 early printed books.[1] Built in a cloister of the Medicean Basilica di San Lorenzo di Firenze under the patronage of the Medici pope, Clement VII, the Library was built to emphasize that the Medici family were no longer mere merchants but members of intelligent and ecclesiastical society. It contains the manuscripts and books belonging to the private library of the Medici family. The library is renowned for the architecture planned and built by Michelangelo Buonarroti and is an example of Mannerism.

Campidoglio, Rome (Capitoline Hill)

The bird's-eye view of the engraving by Étienne Dupérac shows Michelangelo's solution to the problems of the space in the Piazza del Campidoglio. Even with their new facades centering them on the new palazzo at the rear, the space was a trapezoid, and the facades did not face each other squarely. Worse still, the whole site sloped (to the left in the engraving). Michelangelo's solution was radical. The three remodelled palazzi enclose a harmonious trapezoidal space, approached by the ramped staircase called the "Cordonata". Since no "perfect" forms would work, his apparent oval in the paving is actually egg-shaped, narrower at one end than at the other. The travertine design set into the paving is perfectly level: around its perimeter, low steps arise and die away into the paving as the slope requires. Its centre springs slightly, so that one senses that one is standing on the exposed segment of a gigantic egg all but buried at the centre of the city at the centre of the world, as Michelangelo's historian Charles de Tolnay pointed out.[8] An interlaced twelve-pointed star makes a subtle reference to the constellations, revolving around this space called Caput mundi, the "head of the world." This paving design was never executed by the popes, who may have detected a subtext of less-than-Christian import. Benito Mussolini ordered the paving completed to Michelangelo's design — in 1940.

• cordonata - The long, beautiful staircase to the Piazza del Campidoglio is known as the Cordonata. It is adorned with granite statues of Egyptian lions at the foot and two large classical statues of Castor and Pollux at the top.

• Conservator's Palace - The Palazzo dei Conservatori ("Palace of the Conservators") was built in the Middle Ages for the local magistrate on top of a sixth century BC temple dedicated to Jupiter "Maximus Capitolinus." It was the first use of a giant order that spanned two storeys, here with a range of Corinthian pilasters and subsidiary Ionic columns flanking the ground-floor loggia openings and the second-floor windows. Another giant order would serve later for the exterior of St Peter's Basilica. Its facade was updated by Michelangelo in the 1530s and again later numerous times.
• New Palace - To close off the piazza symmetrically and cover up the tower of the Aracoeli, the Palazzo Nuovo, or "New Palace", was constructed in 1603, finished in 1654, and open to the public in 1734. Its facade duplicates to that of Palazzo dei Conservatori. In other words, it is an identical copy made using Michelangelo's blueprint when he redesigned the Palazzo dei Conservatori a century earlier.
• Senators' Palace - Built during the 13th and 14th century, the Palazzo Senatorio ("Senatorial Palace") stands atop the Tabularium that had once housed the archives of ancient Rome. Peperino blocks from the Tabularium were re-used in the left side of the palace and a corner of the bell tower. It now houses the Roman city hall. Its double ramp of stairs were designed by Michelangelo. The fountain in front of the staircase features the river gods of the Tiber and the Nile as well as Dea Roma (Minerva). Its bell tower was designed by Martino Longhi the Elder and built between 1578 and 1582. Its current facade was designed by Giacomo della Porta and Girolamo Rainaldi.
• statue of Marcus Aurelius, brought from S. Giovanni in Laterano and installed in 1537 - At the center of the square is a replica of an equestrian statue of Marcus Aurelius.

Villa Belvedere, Rome (Vatican) by Bramante, began 1505 - the Belvedere courtyard,

designed by Donato Bramante from 1506 onwards, was a major architectural work of the High Renaissance at the Vatican Palace in Rome; its concept and details reverberating in courtyard design, formalized piazzas and garden plans throughout Western Europe for centuries. Conceived as a single enclosed space, the long Belvedere court connected the Vatican Palace with the Villa Belvedere in a series of terraces connected by stairs, and was contained on its sides by narrow wings.

Villa d'Este, Tivoli, (east of Rome), built for Cardinal Ippolito II d'Este, by Pirro Ligorio, 1550-72.

The Villa d'Este in Tivoli, with its palace and garden, is one of the most remarkable and comprehensive illustrations of Renaissance culture at its most refined. Its innovative design along with the architectural components in the garden (fountains, ornamental basins, etc.) make this a unique example of an Italian 16th-century garden. The Villa d'Este, one of the first giardini delle meraviglie , was an early model for the development of European gardens.

Chambord, France, built 1518-37 for King Francis I

• very distinct French Renaissance architecture which blends traditional French medieval forms with classical Italian structures
• 16th castle architecture, but without serioius defenses
• extremely elaborate roof line (see above)

Vaux-le-Vicomte, designed for the minister of finances Fouquet by the garden designer

• Built 1658 to 1661
• baroque French château
• Collaboration between architect, landscape architect, and painter decorator
• marked beginning of Louis XIV style
• After “housewarming” party, Louis XIV arrested the owner (minister of finances) and “stole” his architect and landscape architect

Versailles, (south of Paris)

• 700 rooms

• 2153 windows
• Commissioned by Louis XIV
• More “worldly” design than French state design, using columns and capitals →  (contrast to Chambord)

King Louis XIV (born 1638, ruled 1643-1715). Called the Roi de Soleil (the Sun King).

• “L’etat c’est moi”, “I am the State”

1624 Louis XIII hunting lodge - Versailles was orginally Louis XIV’s dad’s hunting lodge, more traditional “french” style

1631-36 Louis XIII chateau (by Philibert Le Roy) - hunting lodge was replaced with small chateau, what would become core of versailles

1661-66: Campaign I - Louis XIV’s first building campaign, he adds on two wings for stables and kitchens

1678-83: Campaign II Enveloppe (Envelope)by Jules Hardouin-Mansart) , cour de marbre, garden sculpture - major building campaign, the entire. hunting lodge is enveloped. Addition of royal apartments

1682 Government transferred from Paris to Versailles - Louis wanted to bring the nobles to him so he could keep a watch on them, and thus, firm control over the state

1678-88: Campaign III. Galerie de Glaces (Hall of Mirrors) - large open balcony/garden facade in the back of the palace is build over with the hall of mirrors

Sant'Andrea al Quirinale (Saint Andrew on the Quirinal), Rome, by Gian Lorenzo Bernini, 1659-1661

• Roman Baroque architecture
• Paired columns at altar to allow view of altar
• intense, emotional

San Carlo alle Quattro Fontane (Saint Charles of the Four Fountains), Rome, by Francesco Borromini, begun 1634

• The concave-convex facade of San Carlo undulates in a non-classic way. Tall corinthian columns stand on plinths and bear the main entablatures; these define the main framework of two storeys and the tripartite bay division. Between the columns, smaller columns with their entablatures weave behind the main columns and in turn they frame niches, windows, a variety of sculptures as well as the main door, the central oval aedicule of the upper order and the oval framed medallion borne aloft by angels. Above the main entrance, cherubim herms frame the central figure of Saint Charles Borromeo by Antonio Raggi and to either side are statues of St. John of Matha and St. Felix of Valois, the founders of the Trinitarian Order.
• Pendentives leading to oval dome with oval latern
• Dome is very geometric

Sant'Ivo alla Sapienza (St. Ives of Wisdom), Rome, by Francesco Borromini, begun 1642
Ss. Sindone (the chapel of the Holy Shroud), in the cathedral of Turin, Italy, by Guarino Guarini, 1667-82

The church started out, around the 14th century, as a chapel of the palace of the University of Rome. The University is called La Sapienza, and the church is devoted to Saint Yves (patron saint of the jurists), giving the church its name. Borromini was forced to adapt his design to the already existing palace. He choose a plan resembling a star of David, and merged the facade of the church with the courtyard of the palace. The dome, with its corkscrew lantern, is remarkable in its novelty. The complex rhythms of the interior have a dazzling geometry to them. It is a rational architecture- intricate to view, but on paper the overlap of a circle on two superimposed equilateral triangles creates a basis for a hexagonal array of chapels and altar in a centralized church. The undulations, both concave and convex of the interiors, create a jarring yet stunning appeal. The decoration is a mixture of novel organic (six-winged cherubic heads) and geometric (stars). Rising along the base of three of the dome's pillars are the symbol of the papal Chigi family, the "six mountain beneath a star".

Saint John Nepomuk, by Jan Santini Aichel, in Zelenà Hora, Czech Republic, built 1719-20

the final masterpiece of Jan Santini Aichel, a maverick Bohemian architect who combined the Borrominiesque Baroque with references to Gothic elements in both construction and decoration. The church, with many furnishings designed by Santini himself, is remarkable for its gothicizing features and complex symbolism, quite unusual for the time.

Crystal Palace, London, built for the Great Exhibition of 1851 -

- a cast-iron and glass building originally erected in Hyde Park, London, England, to house the Great Exhibitionof 1851. Planners had been looking for strength, durability, simplicity of construction and speed—and this they got from Paxton's ideas.

Monticello, 1772

The house, which Jefferson designed, was based on theneoclassical principles described in the books of theItalian Renaissance architect Andrea Palladio. It is situated on the summit of an 850-foot (260 m)-high peak in the Southwest Mountains south of the Rivanna Gap. Its name comes from the Italian "little mountain."

Virginia State Capitol, Richmond, 1785-89

Neoclassical

Pennsylvania Academy of Fine Arts, Philadelphia, 1871-6

neogothic

Marshall Field Wholesale Store, Chicago, 1885-7 -

a landmark 7 story Henry Hobson Richardson-designed building. He designed the exterior masonry piers and arches with interior framing of wood and iron.