Palazzo del Te, Romano, Mantova (1525-1534)

-irregular placement of the mock columns (going against uniform column placement

-3 center arches are too tall

-no windows on 2nd floor (except first 3)

-Keystones are too big for the small openings

-have arches AND pediment=OVERKILLLL

-rusticated masionry (rounded walls) AND columns=merging of two conventions that are usually not together

-First system had no columns or beams, so he added them in the 2nd system

SAN LORENZO

-first mannerist building

-Lorencian Library, Florence, Michelangelo

-Monestary complex

-fills the room because he needed a smaller slope to accomodate robes of Monks (doesn't want them to trip) 

-room gives an unseasy uncomfortable feeling

-interior has exterior features

    -columns that don't touch the ground....scrolls at bottom of columns

-windows leading to nowhere

-all decorations are too big for the small room

-Parmigianino

-exaggerated dimensions

-not abiding by renaissance rules

-relates to Mannerism

Piazzo del Campidoglio

-didn't close square entirely to make it feel like a more open environment

-design on ground makes you forget about irregularities

-Michelangelo

-flattened decorative columns

-pediments AND arches....awwwwkwaaaaaard

-senator's palace and capitol palace mirror each other

San Carlo alle Quattro Fontane, Borromini

-heavy entablature (horiztonal division)

-each part of facade divided into three smaller vertical rectangles

-ground plan based in two isosceles triangles

-interior forms and walls seem to react to forces

-interior: spatial forms and volume creates unity

             -wall articulated by framework of columns and entablature

             -dome on pendentives

-the main rhythm of the facade is based on a curve/counter-curve motif

-undulating wall (convex and concave)

St. Peter's Square, Bernini, Roma (1657-1667)

-17th century

-Catholic church in trouble 

-Enclosing colonnade of 4 radially arranged columns

     -symbolic of the arms of the church

-Baraque because of undulating wells and not classical use of columns

-sppace for large crowds

-emphasizes complexity, ambiguity, variety, contrast, plasticity, and spatial depth

-beauty is dynamism instead of renaissance order

-creates an emotional impact, sense of mystery

-concerned with sense of space at the expense of structural expression (more about space created than form that creates it)

-aesthetic appeal JUST as important as classical rules

-Baroque architecture came to be because Mannerism was not tolerated by the Catholic Church

-"church needed style that formed total sensuous environment"

-huge jump in scale: passes limits of human visual perceptions

     -humblizes, makes viewer feel small and insignificant

-historical models weren't imitated, but studied, understood, and accepted

-Differences between baroque and mannerism: B is more strict, B has curves, and B is more similar to classical

Castle at Versailles (1661-1750)

-France becomes dominant political power in 17th century Europe

-built for Louis XIII

-Move toward secular building (for people that are not gods)

   -king of France compared himself to Apollo

   -Huge scale, making humans feel small and insignificant...and impressed?

-everything there to trick you into thinking it's the biggest place on earth

-rusticated ground floor

-topped by balustrade crowned with urns and trophies

-horizontal emphasis

-ordered, symmetrical, vertical allignment of windows

-arched windows

-flat roof

-no hallways

-started apt. layout where bedroom is farthest from door

ex) public--> semi-public--->private

-enrance has front room to mingle

-gardena nd three avenues pointed to King's bedroom making him the center of his universe

-Queen gets painting of Louis XV (?) 

-King's bedroom=oval offic equivelant

East Facade of Louvre, Claude Perrault

-temple front

-ordered columns (paired and corinthean)

-detailes are copied from Greek Architecture

-all proportion systems are different

-example of transition into Late Baroque

-Strongly influenced by Enlightenment

-Baroque was an emotionless, naturalist Romanticism (essentially coppying renaissance rules) and ratio

-rise against tradition, born out of reason

-Ren and Baroque systems defined by 1. combination of parts, 2. formation of entire body, 3. differentiation to distinguish dominant and subordinant elemnts

     -Late Baroque moves towards a more individualistic treatment of various building parts

-texture is key

-Surface articulation Expresses Style:

   1. clashes b/w horizontal and verticals

   2.Frame gained dominance (over filling)

   3. emphasis on spatial interrelationships and combos of rooms 

   4. final stage: individual parts completely separated

-movement away from unification (isolated parts)

French:

-more representative of greek arch (pediment, entablature, etc...)

Italian:

-curved walls (convex, concave)

-dominant volume in center of facade

-massive side pavilions

Belenheim Palace, John Vanbrugh and Nicolas

(1705-1724)

-Late Baroque

-no coherent combination of parts of building

-no entire, unified body is formed of these parts

-no differentiation between domnant and subordinate parts

-Cubism has strong influence on Late Baroque period

-Composition of dif. cubical parts

   -portico, colinade (?) on wings

   -roof

   -variety of vertical elevations

-strong entablatures, spaced oddly

-facade has contrasting shapes, sizes, textures, and stylistic details

    -these changes influenced by Enlightenment

-difference in massing between center and wings

-patterns in windows (arches) move up and down facade

Church of Superga, Filippo Juvara, Torino (1719-1731)

-elongated monestary complex

    -functional acces of church=focus on preacher in front

-dominating dome and dominating alter

-reinforced by elongated portico

-horiztonal extension communicates with surrounding landscape, and vertical one represents religious axis

-plan=circular core, choir, entrance portico, and transept wings

-varying use of columns...in portico colinade...decorative flat columns on wing

-Much more decorative

-blending the architectural features 

-replacing entablature and cornice with frame

-interior flowing not staggered

-more natural looking, like the decoration is growing

-total freedom to do as the designers wished

-EN SUITE=arrange rooms one after the other, DOORS LINE UP!!

Hotel de Soubise, Germain Boffrand (interior remodeling), Paris (1705-1740)

-interior=highly decorative, anti-architectural/purely decorative

-as an architect, hard to find your bearings

-replaced horizontal beams and columns with FRAMES/framing devices

-if you approach the interior rationally, it's hard to appreciate it if you're an architect

-busy/motion

-decor looks like it grew --->vine, leaves, trees, etc.

-bedroom walls less decorated

-don't need to pay as much attention to the rules since it's more decorative

-puzzling/entertaining

-getting rid of symmetry in the plans and instead focusing on FUNCTIONALITY

Die Wies, Dominikus Zimmerman (1746-1754)

-sensual design

-pilgrimage church

-orders are not dominant in design

-decorative scheme based on framed panels

-interior profuse

-organic design to reflect landscape (integration of building into its context)

-basilica plan (cross, nave, two side aisles)

Karlskirche (St. Charles Borromeo), Fischer von Erlach, Wien (1716-1725)

-votive church (built on a vow)

-symbolism of variety of different parts because it also had to communicate a message

-message is that St. Charles is the new powerful emperor of Europe

-scenes from St. Charles' life spiral up the columns

-center of facade with two columns and an elongatedcupula creating a vertical emphasis, emphasizing him reaching heaven

-CLASSICISM: order, proportions, portico, columns, 

-plan of church=facade broader than church itself

-reliefs and statues personifying virtues (charity, faith, hope)

Virginia State Capitol, Th. Jefferson (1785-1789)

-based on Maison Carree:

    -simple and noble

    -Roman temple only accessible from front

    -temple-one that can be used, but Greek temple tend just to be looked at

-meant to communicate democracy

-cyclical classicism=returning to classical architecture

Pantheon, G. Soufflot, Paris (1757-1790)

-building based on Laugier's theory

    -because columns are actually functional not just decorative

    -columns support the entablature, which supports the vaults and domes

-Combination fo the lightness and transparency of Gothic Structure with the purity and correct taste of classical architecture

-5 domes inside

-combination of gothic and classicism is sign of enlightenment

-iron reinforcing

Gardens, Versailles, Andre le Notre (1661 begun)

-French garden

-layout reveals a pattern of human domination over nature

-expands scale of entrance courtyard dramatically

-geometrically imposed gardens

-basic unit os parterre

-iconographic program of fountains and statues links Lousi XIV to sun god Apollo

-garden layout introduced new world and state order and new spatial order that would symbolize the principal of state power (Louis XIV, god Apollo)

-French Garden= long perspective is a major design feature to provide long vistas visible from the ground (not considering how it would look geometrically from above)

Gardens, Stourhead (1741-1781)

-English garden=picturesque

-Pavilions were of three types:

   1. reconstructions of antique temples

   2. ruins of antique temples

  3. rustic dwellings found in italian countrysides

-buildings associated with a pastoral life

-projections and shadow effects

-evokes longing for Arcadian past

-Pavilions scattered arund lake

   -recreations of ruins of ancient buildings; medieval buildings 

-based off narrative of Virgil's Aeneid

Strawberry Hill, Horace Walpole, Twickenham (1748 begun)

-Gothic Revival

-style that doesn't have many rules, but is based on EMOTION

-house of first writer of Gothic Novel (sublime...ruins...moss...ivy....darkness)

-was a Palladian villa, enlarged and changed stylistically

   -Gothic windows replace Palladian windows

-Gothic roofline

-Author said you only need feeling/emotion to understand a Gothic building

-irregular plan

-sham imitations of gothic originals

-part of theory of the sublime

   -Asthetics as a theory of passions

Atles Musem, K.F. Schinkel, Berlin (1823-28)

-upper vestibule symbolizes civilzed man fighting against a) natural forces and b)barbarians

-collinade, with entablatures on corners, flat roof, rectangular block, vertical alignment of windows, horiztonal division equally dividing the building in two

-behind the portico is a recessed stairwell...showing the experiential transition from outside to inside

-pediment/stairs indicate movement forward, upward, and sideways

-inspired by Greek Stoa

-as walk through, look at architecture history

-musem conceived as "aesthetic church"

-eclectic neoclassicism

-uses fragments of antiquity, not imitations of complete buildings

-Plan is functional and accomodates structural system

-layout geared towards enhanced presentation of ar

-elaborate entrance sequence and mural paintings

University of Virginia, Th. Jefferson, Charlottesville (1817-26)

-follow his (jefferson's) ideas about the citizenry of the new nation

-plan derived from common green of colonial towns

-intended to educate

-pavilions imitate ancient orders

-library derived from Pantheon

-expansive lawns with arcaded colinaded walkways

Crystal Palace, Joseph Paxton, London (1851)

-Competition design by Charles Barry

-Everything mass-produced in Birmingham and shipped to London

-Utilitarian structures of iron and glass reinterprretted the baroque concept of an open and dynamic space

-vegetation inside creating confusion

-colosal size of paneled glass and iron structure

-Paxton was a builder of greenhouses

-massive use of steel and glass

...it was kind of big...

-basilica plan (nave, two aisles)

-ornamental painting inside

Meunier Chocotaco Factory, Jules Saulnier, Noisiel-sur-Seine (1871-72)

-Application of industrial materials and construction technology to building

-factory goes over river...uses bridge idea....propellers....hrydoPPOWAAA

-metal frams combine to form a cage

-thin brick walls with warpet decorative look inserted

Salt Works, Arc-Et-Senans (1736-1806)

-huge size to create an effect

-pure geometric forms were meant to express purity of the new societal formation

-change in French society

-everyone's equal distance from center...equality

-eaach positioning of buildings has a specific meaning

-gaurds on outside

-Ledoux's architecture derives from a unity of beauty resultin from the relationship betwen mass and ornament and the uninterrupted line

-had all instruments needed for a new sociel order.......here comes the IDEAL CITY OF CHAUX!!

    -later developed into ideal industrial city

Newton Cenotaph, E.L. Boullee (1783)

-Search for origins and foundations of architecture leads to new ideals

-sphere as sign for new (=Newton's) cosmology

-sphere is perfect volume because it exhibits great variety of reactions to light

-vault pierced by openings to create illusion of starry sky

-goal was to create architectural character

-human beings became much more important, as nature and architecture became more and more extension of the self

Library of St. Genevieve, Paris (1842-50)

-design meant as response to issues raised by Hugo

     -Hugo's concept treated architecture as beginning as a form of writing, not as shelter  

     or primitive hut

    -stone used to perpetuate thoughts, ideas, usually transmitted orally

    -buildings seen as books

    -with invention of printing press, architecture had ceases to serve the essential

     expression of society

-meant to revitalize architecture ...noted decline of architecture due to lack of social and religious unity...arch had lost its content

-library at end of public square, building=narrow block

-entered on street level

-second floor=reading room...windows for natural light

-main enterance framed by arch with relif sculptures of oil-burning lanterns

-half-indoor, half-outdoor quality

-interior=3-d grid....iron arches look like lines on paper

-remarkable aspect of interior=the gravitational and lateral thrusts of the structure are contained within itself

-early iron architecture

-general feling=greek and gothic

-lower floor exterior contains grid with names of 810 famous authors and scientists chronologically 

fire destoried the midieval westminster hall, and st. stevens chapel. and in order to incorporate old structural parts they built in midieval style. 

Gothic Revival to reinforce midieval roots of british government.

Roof Gothic.

Repitition and regularity of exterior facade articulate earlier neo Classic tradition, order of windows (vertical and horizontal division with entableture).

Certain irregularities in exterior=picturesque theory,

detail and interior decoration=english perpendicular gothic style