HISTORY OF ARCHITECTURE REVISION OF RENAISSANCE ARCHITECTURAL STYLE

• Revival and development of certain elements of Classical Greek and Roman Thoughts and culture.

• Emphasis on symmetry, proportion, geometry and the regularity of parts .

• 5 orders were used during the Renaissance, namely Doric, ionic, Corinthian, Tuscan and Composite.

• Semi- Circular Arches, Barrel Vaults and Domes (First Brick domes later Concrete domes)

• Modular latin cross plan, later circular themed plans were proposed.

• Ashlar Masonary at external walls and white chalk paint and frescos in interior. REVISION OF RENAISSANCE ARCHITECTURAL STYLE ARCHITECTURAL STYLE TIMELINE BAROQUE ARCHITECTURE BAROQUE ARCHITECTURE

• From the end of 16th Century until 1750.

• The word ‘Baroque’ means imperfection, meaning an irregularly shaped pearl.

• Taste for Dramatic Action and Emotion:

• Color and Light contrasted • Rich Textures • Asymmetrical Spaces • Diagonal Plans • New Subjects: Landscape, Genre, Still life.

• During this period, European architecture exploded in novel directions. Rather than designing a single building, an architect might be responsible for re- imagining a complex of buildings, or even planning an entire city. BAROQUE ARCHITECTURE

• In the 1600's, the renaissance architects began to get bored with the symmetry and same old forms they had been using for the past 200 years. • They started to make bold, curving, and not at all symmetrical buildings, with ornate decorations. • They started to make curving facades, and used the double curve (in at the sides, out in the middle) on many different buildings. • The baroque architects used marble, gilt, and bronze in abundance.

Curved Facade Ornate Decorations BAROQUE ARCHITECTURE

• Complex architectural plan shapes, often based on the oval, star and the dynamic opposition and interpenetration of spaces were favored to heighten the feeling of emotion and sensuality. • Pediments were often highly decorated. • Its art and architecture, often used to express emotion, & was very elaborate. • The most distinct shape of the Baroque style is the oval. It was a very common shape among baroque buildings.

Art Expressing Emotions Pediment BAROQUE ARCHITECTURE

Oval Shaped Plan

Star Shaped Plan CHARACTERISTICS OF BAROQUE ARCHITECTURE

• Long Narrow naves replaced by broader or Circular forms.

Creating buildings out of complex interlacing ovals allowed the architects to have large open spaces that were different than just plain circles. CHARACTERISTICS OF BAROQUE ARCHITECTURE

• The domes on many churches were oval shaped, but some were circular. That posed a problem because manly ceiling spaces were oval shaped.

• To accomplish putting a circular dome on an oval space, the architect had to use very strange angles, but it did create space for sculptures and paintings. CHARACTERISTICS OF BAROQUE ARCHITECTURE

• Dramatic use of Light

Dramatic use of light; either strong light-and-shade contrasts or uniform lighting by means of several windows. CHARACTERISTICS OF BAROQUE ARCHITECTURE

• Bold massive colonnade and domes

• Fragmentary or Deliberately incomplete Architectural Elements. CHARACTERISTICS OF BAROQUE ARCHITECTURE

• An external façade often characterized by a dramatic central projection CHARACTERISTICS OF BAROQUE ARCHITECTURE

• Illusory effects (an art technique involving extremely realistic imagery in order to create the optical illusion that the depicted objects appear in 3D) and the blending of painting & architecture. CHARACTERISTICS OF BAROQUE ARCHITECTURE

• Large-Scale ceiling Frescoes

• Interior shell for Painting and Sculpture use of colour and ornaments (figures made of wood (often gilded), plaster or stucco, marble or faux finishing) and large-scale ceiling frescoes. CHARACTERISTICS OF BAROQUE ARCHITECTURE

• They Evolved from the Renaissance forms.

• Movement towards grand structures with flowing, curving shapes.

• Landscape was frequently incorporated.

• New elements as gardens, squares, courtyards and fountains.

• Influence of the rebuilding of Saint Peter, in which classical forms were integrated with the city. ROCOCO ARCHITECTURE ROCOCO ARCHITECTURE

• It was mainly developed at the end of 1720.

• French style for Interior Decoration.

• Characteristics:

• Galante: Luxurious things

• Contraste: Asymmetry

• Chinoiserie: Exotic character imitating Chinese arts CHARACTERISTICS OF ROCOCO ARCHITECTURE

• Display shapes of nature – leaves, shells, scrolls (floral elements) in surface ornament • More simplified forms • Painted Details over built forms • Compiled with Painting to create illusion of depth • Walls, ceiling, furniture and works of metal as decoration • Ensemble of sportive, fantastic and sculptured forms • Horizontal lines almost completely suppressed • Walls covered by stucco ,White and bright colors. BAROQUE AND ROCOCO ARCHITECTURE

The leading Architects who practiced Baroque Architecture were: Moderno, Longhena, Bernini, Borromini Gian Lorenzo Bernini (1598 – 1680)

• He was an Italian sculptor and architect.

• While a major figure in the world of architecture, he was also the leading sculptor of his age, credited with creating the Baroque style of sculpture.

• He created a fusion of architecture, painting and sculpture.

Works: • Saint Peter’s square • Baldaquin BAROQUE AND ROCOCO ARCHITECTURE

The Bernini Baldachin in Rome’s St. Peter’s Basilica

• St. Peter’s baldachin was designed by Italian artist Gian Lorenzo Bernini. The canopy rests upon massive twisted bronze columns (over six stories), which tradition claims are patterned after columns from King Solomon’s Temple built in the 10th century BC. • The canopy sits directly under the basilica’s massive dome, is at the center of the cross shaped interior, rests directly above St. Peter’s tomb, and covers the High Alter of the basilica. BAROQUE AND ROCOCO ARCHITECTURE

The Bernini Baldachin in Rome’s St. Peter’s Basilica

• St. Peter’s baldachin was designed by Italian artist Gian Lorenzo Bernini. The canopy rests upon massive twisted bronze columns (over six stories), which tradition claims are patterned after columns from King Solomon’s Temple built in the 10th century BC. • The canopy sits directly under the basilica’s massive dome, is at the center of the cross shaped interior, rests directly above St. Peter’s tomb, and covers the High Alter of the basilica. BAROQUE AND ROCOCO ARCHITECTURE

St. Peter’s Basilica Collonade

• The colossal Tuscan colonnades, four columns deep, frame the trapezoidal entrance to the basilica and the massive elliptical area which precedes it. • The ovato tondo's long axis, parallel to the basilica's façade, creates a pause in the sequence of forward movements that is characteristic of a Baroque monumental approach. • The colonnades define the piazza. On the south side, the colonnades define and formalize the space. BAROQUE AND ROCOCO ARCHITECTURE

St. Peter’s Basilica Collonade BAROQUE AND ROCOCO ARCHITECTURE

Sant'Andrea al Quirinale

• He fulfilled three commissions for new churches, designed the structure and decorate the interiors in a consistent manner. Best known is the small oval baroque church of Sant'Andrea al Quirinale. • Inside, the main entrance is located on the short axis of the church and directly faces the high altar. • Large paired columns supporting a curved pediment differentiate the recessed space of the high altar from the congregational space. BAROQUE AND ROCOCO ARCHITECTURE

Sant'Andrea al Quirinale

• He fulfilled three commissions for new churches, designed the structure and decorate the interiors in a consistent manner. Best known is the small oval baroque church of Sant'Andrea al Quirinale. • Inside, the main entrance is located on the short axis of the church and directly faces the high altar. • Large paired columns supporting a curved pediment differentiate the recessed space of the high altar from the congregational space. BAROQUE AND ROCOCO ARCHITECTURE

Sant'Andrea al Quirinale

• The oval form of the main congregational space of the church is defined by the wall, pilasters and entablature, which frame the side chapels, and the golden dome above. BAROQUE AND ROCOCO ARCHITECTURE Francesco Borromini (1599 – 1667)

• He was an Italian architect.

• His works spring from the contrast between convention and freedom.

• He used tradition as a basis, but not as a law

Works: •San Carlo alle Quattro Fontane •San Carlo Borromeo •Oratorio degli Fillipenses BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy

• The church of San Carlo alle Quattro Fontane (St Charles at the Four Fountains), also called San Carlino, is a Roman Catholic church in Italy. • It is an iconic masterpiece of Baroque architecture.

• It was built as part of a complex of monastic buildings, an order dedicated to the freeing of Christian slaves. BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy

• The monastic buildings and the cloister were completed first after which construction of the church took place during the period 1638-1641 and in 1646 it was dedicated to St Charles Borromeo.

• The site for the new church and its monastery was at the south-west corner of the "Quattro Fontane" which refers to the four corner fountains. BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy

The site was not an easy one; it was a corner site and the space was limited. Borromini positioned the church on the corner of two intersecting roads. BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy

Borromini devised the complex ground plan of the church from interlocking geometrical configurations. The resulting effect is partly to a hexagonal form and partly to an oval form geometrical figures that are all found explicitly in the dome above. BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy

The area of the pendentives marks the transition from the lower wall order to the oval opening of the dome. Illuminated by windows hidden from a viewer below, interlocking octagons, crosses and hexagons diminish in size as the dome rises to a lantern with the symbol of the Trinity. BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy • Tall corinthian columns stand on plinths and bear the main entablatures; these define the main framework of two storeys. • 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 St Charles Borromeo and to either side are statues of St. John of Matha and St. Felix of Valois. BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy Interiors

• The church interior is both extraordinary and complex. The three principal parts can be identified vertically as the lower order at ground level, the transition zone of the pendentives and the oval coffered dome with its oval lantern.

• In the lower part of the church, the main altar is on the same longitudinal axis as the door and there are two altars on the cross axis. One altar is dedicated to St Michael Sanctis, & the other to St John, Baptist.

• Between these, arranged in groups of four, 16 columns carry a broad and continuous entablature.

• All the altars are visible as the two central columns in each arrangement of four are placed on the oblique with respect to the axial ordering of the space. This creates an undulating movement effect which is enhanced by the variation in treatment of the bays between the columns with niches, mouldings, and doors. BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy

• Flanking the apse of the main altar is a pair of identical doorways. • The right door leads to the convent through which the crypts below may be accessed. The door on the left leads to an external chapel known as Capella Barberini which contains a shrine to blessed Elisabeth Canori Mora. BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy

• The pendentives are part of the transition area where the undulating almost cross- like form of the lower order is reconciled with the oval opening to the dome. • The arches which spring from the diagonally placed columns of the lower wall order to frame the altars and entrance, rise to meet the oval entablature and so define the space of the pendentives in which roundels are set. BAROQUE AND ROCOCO ARCHITECTURE San Carlo alle Quattro Fontane, Rome, Italy

• The oval entablature to the dome has a 'crown' of foliage and frames a view of deep set interlocking coffering of octagons, crosses and hexagons which diminish in size the higher they rise.

• Light floods in from windows in the lower dome that are hidden by the oval opening and from windows in the side of the lantern.

• The coffering of the dome is thrown into sharp and deep relief and light gradually filters downwards to the darker lower body of the church. BAROQUE AND ROCOCO ARCHITECTURE

The classical Baroque Architects BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris BAROQUE AND ROCOCO ARCHITECTURE Palace of Versailles, Paris