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Monastery at St. Gall, Switzerland, 810 CE
-idealized Monastery from carolingian era
-zoning: food production, sick, brewery, garden, monks
-->self-sufficiency, strong separation from outside
-flow of visitors while privacy for monks
-no ownership amongst monks, all community ownership (ie two habits) |
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Abbey Church of Cluny, France , 1088-1121
-elaborate east end, gigantic church
-decadence, "club med" for rich people
-school for rich kids
-Benedictine monastery that went one way (fontenay went another)
-lots of rich patrons |
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Fontenay Abbey, near Montbard, FR, 1139-47
-cistercian masons (monks themselves)
-non-stained glass, focus on altar, beauty from light
-distant from population center
-french government approved of development because they developed previously undeveloped land
-influenced Corbu La Tourette |
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cistercian monastery "template"
cistercians founded by Bernard of Clairvaux
-spartan, self-sufficiency, simple, no towers or elaborated east end
-location- access to resources |
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East end of S. Sernin, Toulouse, FR 1040-1080
-built example of what cluny east end might have looked like (chapels on apse)
-tower at crossing |
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Church of Ste. Foy, Conques, France 1050-1120 CE
-pilgrimage church on the way to Santiago de Campetella
-plain facade but beginnings of tympanum (sculptural relief) heaven v. hell, for illiterate
-interior is tall but still romanesque, not a lot of light
-two towers in the front
-contained a relic, reflected pilgrimmage trends
-barrel vaulting |
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Abbey Church of St. Denis, Abbot Suger, patron alterations finished 1140
-expensive stained glass
-one of the first gothic fronted
-interior is lighter b/c of buttressing, tall gothic windows
-rose window, rib vaults, pointed arches
-dematerialization
-rich people were move by God to give more (riches were bestowed by God)
-chapels, apses (more places for rich dedications)
-EMERGENCE OF GOTHIC!! (chartres is more developed)
-existing church embellished by abbot suger (west and east ends) |
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Conques vs. St. Denis comparison slide
romanesque v. gothic |
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Chartres Cathedral, Chartes, France 1194-1220
-embellished flying buttresses
-tripartheid facade
-mondo rose window
-North and South facades are humongous
-Gigantic
-structure expressed itself, ribs meet, continue to floor
-jambs, carved as humans |
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Salisbury Cathedral, Salisbry, England, 1220-60
wanted to delclare difference from french gothics
--emphasis on horizontality, hidden buttresses
-tripartheid interior: arcade (large columns, high arches), gallery, clerestory
-progressive divisibility!! (social contract, ahem...)
-frontal facade all about horizontal sculpture
-attached cloister, chapter house |
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Milan Cathedral, Milan, Italy, 1386
-late gothic, italian style, merging of cultures
-intense gothic tracery
-long period of construction (mix of classical columns w/ gothic)
-mason intl conference
-white marble (italian)
-no towers
-style, fad |
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Alteneuschul, Prague, Czech Republic, 1275
-synagogue
-unassuming exterior, interior elaborated
-five part vaults (difference from christian)
-tympanum abstract iconography (tree of jesse) |
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El Transito, Toledo, Spain c. 1357
-synagogue (in muslim spain)
-outside almost residential in nature but lobed arches
-islamic influences
-hebrew epigraphy
-mudejar islamic design patterns legacy in post-muslim spanish arch |
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Forbidden City, Beijing, China, 15th-17th century
-strong axiality
-constant enclosure
-many restrictions as you move through (public-->private)
-up and up and down and up over gates and bridges
-pre-existing texts on planning |
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Dadu (Capital of Yuan (Mongol) Dynasty), modern day Beijing, China, Kublai Khan, 1272
-mongols adopting chinese planning to legitimize rule
-similar to Changan, Chinese better than the chinese
-gridded
-three entrances on each side |
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Great Wall of China, near Beijing, China
Ming-1440-1460
Qin -100 BCE
-boundaries, symbolically differentiation from Huns and other barbarians, esp. mongols
-towers at intervals to spread word quickly
-massive forced labor-->social organization
-built over a long period
-chinese symbol of power |
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Tiananmen Square, Beijing, Mao, 1950s
-guy almost got run over by tanks
-built on other half of forbidden city
-Mao in dialogue with ancient tradition
-agoraphoibia |
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Humayun’s Tomb, Delhi, India, 1571, Mughal Dynasty
-iwan, umbrellas (chatri from stupa, indigenous), balancing persian-indian-->legitimacy
-persian designed
-religious symbolism
-red marble and white sandstone-local tradition
-style based on timur's tomb (previous mughal leader, war hero) |
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Fatehphur Sikri Mosque, Agra, 1569-1574, Mughal Dynasty
-similar to mosques in iran (with four iwans)
-red marble, white sandstone
-umbrellas added later by brits |
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Taj Mahal, Agra, India, 1632-1648, Mughal Dynasty
-call-and-response sawal and jahab, q and a
--repitition of elements
-complex
-huge iwan
-all white marble, with intense inlay (onyx, lapis, topaz)
-double dome, monumentality outside, space inside over tombs |
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Great Mosque of Djenne, Djenne, Mali c.1200, 1834, 1909
-mudbrick, resurfaced annually-->social organization
-local building style adaptation of mosque typology
-similar to kirowan
-hypostyle mosque with open courtyard |
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Great Zimbabwe, Southeastern Zimbabwe, 1300-1450
-"zimbabwe" means "enclosure"
-thick ass walls, not mortar
-european interpretations are racist (ie people must have visited and built it)
-largest construction in southern africa |
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Palazzo Vecchio, Florence, Italy, 1310
-early florence building style, castle with watch tower
-govt building with little aperatures on ground level
-->secular center of power (v. Duomo is religious center)
-painted on windows
-in piaza della signoria
-rounded arches in roman tradition, slightly pointed |
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Duomo, Brunelleschi, Florence, Italy, 1420-36
-brunelleschi is only designer or dome Anolfo de cambio designs floorplan
-religious center of florence
-designed as iconic
-dominated cityscape
-pointed dome (slightly gothic, but there are gothic influences_
-early renaissance
-exterior done in green and white marble typical of florence
-didn't want to buttress, brunelleshi found way to build as skeleton with inflill panels
-double-layered dome
-vasari's lives, changing role of architect, cut throat commission |
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De Re Aedeficatoria, Alberti, 1452 (aka alberti's ten books in architecture)
-Alberti's recalling of Vitruvius's ten books
-very theoretical (compare to Palladios four books, very technical)
-talks about role of arch in the renaissance--> architect must be schooled as architect
-proportioning systems |
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Palazzo Medici, Michelozzo, Florence, Italy, 1444-1460
-corner is medici crest
-rustication, tripartheid, scale gets smaller and more refined
-interior courtyard with roman artwork |
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San Lorenzo, Brunelleschi, Florence, Italy 1421
-stringent use of Renaissance forms
-return to basillica format, with flat roofs, rectangular, round arches
-based on 2 to 1 ratio, human scale, not gothic tall scale, not meant to dwarf you |
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Palazzo Rucellai, Alberti, Florence, Italy 1450-1470
-only a facade design, building already existed just designed facade, decorative
-tripartite facade design
-not rustication like on plazzo medici
-dematerializes into surrounding building, architectural joke |
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San Andrea, Alberti, Mantua, Italy, 1472
-facade based on triumphal arch but could stretch all the way so added top arch
-example of trying to reappropriate classical forms to new ends, not really successful
-central dome on interior at cross section
-coffered barrel vault, going back to Roman style |
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Laurentian Library (in San Lorenzo), Michelangelo, Florence, Italy, 1558-59 (the date of Clement’s flight from Rome), finished 1571
-play on scale,things seem out of proportion (collumns set back in walls, don't reach all the way to the ground)
-stairs nice
-making statement that he's not limited by Renaissance vernacular
-playfullness |
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Villa Barbaro, Palladio, Maser, Italy, 1560-70
-temple front on main building, farming buildings are off to the side
-working farm
-axial towards end exedra
-idea of country dwelling as farm and as way of enjoying landscape
-interior frescos meant to make you feel like you were actual looking outside, not enclosed in a building
-taking old forms to new ends, old country villa+temple front=villa barbaro |
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Villa Rotunda, Palladio, outside Vicenza, Italy, 1566-67
-4 temple pediments on each facade
-importance of framing views
-not farm, place for viewing art
-breaking rules, putting temple front on house |
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Monticello, Thomas Jefferson, Albermarle Country, Virginia, 1769-1809
-Alberti ideal of gentleman architect
-like Palladio in use of temple front and central dome
-use of local materials, brick |
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Chapel at Maser, Palladio, Maser, Italy, 1579-80
-idea of Pantheon
-revival of temple front and domed central space after entrance
-entirely domed space
-importance of central planning |
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Quattro Libri, Palladio, 1570
-practical handbook of building techniques, how to build |
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Il Redentore, Palladio, Venice, 1577
-faced with white marble of Italians (temple front)
-domed space made of brick
-floor plan compared to Hagia Sophia because of half domes supporting central dome
-also compared to Sulemaneya mosque
-temeple front used at different scales on facade, layered |
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Hagia Sophia, Anthemius of Tralles and Isidore of Miletus, Istanbul, Turkey, 532-37 CE
-central dome supported by half domes
-light extremely important, use of reflective materials in interior to emphasize light
-palimpsest with epigraphic medallions
-pendentive supports large dome
-converted from a church to a mosque in 1453 and then a museum
-church mosaics very important to worship experience
-billboard for new policy of allowing icons |
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Suleimaniye Mosque, Sinan, Istanbul, Turkey, 1550-1557
-domes!!!! lots of them! half domes and smaller half domes
-like hagia sophia but with added courtyard
-minarets around courtyard
-exterior more elegant, directly addresses hagia sophia
-complex, mosque, soup kitchen, shops for merchants
-interior--> tires to realize open worship area
-unified space reflects Islamic idea of one God |
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Selimiye Mosque, Sinan, Istanbul, Turkey, 1569-75
-rounder more open version of Suleimaniye
-built for Sinan's son
-4 pillars pushed back to realize fully opened space n interior
-minarets around prayer hall |
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Rialto v. Alleppo comparison slide
-streets themselves become shopping centers
-reminiscent of Middle Eastern bazaars
-rialto--> bridge even shopping center
- venice as example of dialogue between east (esp. Ottomans) and west because of location as trading post |
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Greek cross plan for St. Peter’s, Donato Bramante, Rome, Italy (unbuilt), 1505
-Renaissance ideal of symmetry through radial symmetry vs. baroque idea of latin cross
-circular centralized space, dialogue between east and west
-like mosque with larger and smaller domes
-opening interior space
-progressive geometry |
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Tempietto, Bramante, Rome, Italy, 1502
-whole experience designed, building and courtyard
-small chapel
-use of doric columns
round central space representation of east/ west interaction
-precurssor to St.Peter's plan |
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East end of St. Peter’s and dome, Michelangelo, Rome, Italy, 1546
-beffed up interior and simplified a lot
-designed exterior w/ new approach to pilaster and cornace down on the wall with attic story reused w/Palladio
-renaissance dramatic
-dome--> sculptural with windows and massive, slightly elongated
-this plan, wall variable in thickness shows texture of exterior walls |
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St. Peter's Piazza, Bernini, Rome, Italy, 1656-67
-gigantic outdoor space reminiscent of Mexican convento style
-collumnar screen transition from larger vattican city into the piazza
-like arms holding you in space
-triumphal entrance into st. peter's |
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Baldacchino 1623-34 and Cathedra Petri 1647-53, Bernini, St. Peter's, Rome, Italy
-light important
-play the realty
-bees on columns because of barbarrini family
-twisted baroque style, dramatic, movements
-robes on apostle's even moving |
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Il Gesu, Giacomo della Porta, Rome, Italy, 1575-84
-all about facade
-trying to express depth with light actived surface
-shadows lines express depth although flat surface |
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San Carlo alle Quattro Fontane, Rome, Borromini, 1665-76
-facade all about depth and movement and in and out surface and drama
-lots of layers, punched in alcoves for sculpture
-break out of elevational experience |
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Codex Mendoza “quincunx” cosmograph, 1541-2
-important because of relation to ancient Aztec tradition and belief in creation as Aztec world in the center (axis mundi) and 4 cardinal directions out from there
- though it should be used to dictate buildings
-5 parts
-used to create posas and central cross in the convento plans
-eventually used by friars to engrain people with ideas that Jesus was the new axis mundi |
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engraving by Fray Diego Valdes, Rhetorica Chritiana 1575
-shows procession during Holy Week
-shows posas and central church
-orange trees depicted around courtyard, importation of Islamic culture |
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Church and atrio complex at Atlatlauhcan, Mexico, 1570s (and posa example)
-convento, 4 posas
-example of expedient selection
-use of outdoor space to bring people in, used for traditional dances w/ Christian swing
-courtyard dwarfs buildings, main feature
-influenced piazza of san pietro |
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Capilla de Indios, Cholula, Mexico, 1560 v. Great Mosque of Cordoba, 8th century
-forest of columns similar to that in the muslim tradition in hypostyle mosque
-open chapel
-use rounded arches
-concept of infinite also applicable to Christianity and one God
-mudejar-way spanish adapted muslim style to their architecture even after the inquisition and there were no more Muslims |
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Convento of San Miguel, Mani, Yucatan, c. 1550
-importance of open chapel in the front--> reminiscent of cave as traditional spiritual significance, way to get to where the spirits resided
-convento in quincunx style
-was open chapel and then they built the enclosed chapel next to it, growth of open chapels |
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