History of Architecture II Final

Innovation or Tradition In Design This12th century fort was built as a defense against the Normans, but it was torn down by Francis I. After construction began and then stopped, Louis Le Vau took over and updated the building into an urban palace. Typology -A central pedimented projection was integrated, with the columnar screens to its flanks. - Unpedimented "pavilions" with pilasters instead of columns define the far ends (arrangement was quite novel). - balance between unity and differentiation that was much admired in its own day—and much imitated. Materials :Brick , Lead , Wood , Iron , Bronze Style or Movement This building has a high ground floor, narrow and detailed windows which are served as a podium for the main floor. There are ranges of coupled, freestanding columns that form a screen for the building behind, creating a linear loggia. The "pavilions" with pilasters instead ofcolumns define the far ends Relationship to Theory Competition was held for the east facade of the Louvre, and submissions were made by Claude Perrault and Gianlorenzo Bernini who was invited to Paris to study the site. Historical Milieu:-also significant in the history of technology: The columns carry straight entablatures that are actually a series of disguised arches held together in part by tie rods.

Name: Louvre Palace Architect: Pierre Lescot Location: East Front Palais du Louvre, Paris, Date: 1667-1670

Discussion: Innovation or tradition in design: Accessible from all directions, the Opéra was designed with transportation and vehicular traffic in mind, and with a modern cast-iron internal frame; yet in other respects it is a masterpiece of historicism based mostly on the Baroque style, revived here to recall an earlier period of greatness in France. 2. Typology: Opera house/cultural building 3. Materials: 4. Style/movement: Second Empire Victorian, Beaux Arts, influenced by Baroque 5. Relationship to theory: The highlight of the interior may not have been the spectacle on stage so much as that on the grand, sweeping Baroque staircase, where members of the Paris elite displayed themselves. The staircase that lies between the entrance narthex and the theater is itself a three-dimensional theater intended to allow opera goers to see and be seen, the encounters themselves constituting an elaborate social ritual. As Garnier said, the purpose of the Opéra was to fulfill human desires: to hear, to see, and to be seen. The Palais Garnier is a building of exceptional opulence. The style is monumental and considered Second-Empire Beaux-Arts style with axial symmetry in plan and eclectic exterior ornamentation with an abundance of Neo-Baroque decorative elements. These include very elaborate multicolored marble friezes, columns, and lavish statuary, many of which portray deities of Greek mythology. 6. Historical milieu: The front, when taken as a whole, could also be seen as a very wide triumphal arch. Massive façade, featuring a row of paired columns over an arcade, was intended to recall the seventeenth century wing of the Louvre, an association meant to suggest the continuity of the French nation and to flatter Emperor Napoleon III by comparing him favorably with King Louis XIV.

Name: Opéra (Opera House) Date: 1861-75 Architect: Charles Garnier Location: Paris

Discussion: The dome of the Church of Sainte-Genevieve was based off Bramante's San Pietro in Montorio. The church is meant "to unite the purity and magnificence of Greek architecture with the lightness and daring of Gothic construction. It uses concealed flying buttresses and light stone vaulting. It was originally built as a church dedicated to St. Genevieve but now it serves as a famous burial place. It is an early example of Neoclassicism, with a façade modelled after the Pantheon in Rome. The materials used in this building is stone and marble. The contrast between the cliff-like exterior and the luminous airy interior was meant to be literal evocation of the enlightment's transformative power.

Name: Panthéon Paris (Church of Sainte-Geneviève) Architect: Christopher Wren Date: 1755-1792 LOCATION: Paris, France

Discussion: a. Forecourt REDESIGNED to hold as many people as possible to see the Pope give his blessings. b. Commisoned Pope Alexander 7th c. Egyptian Obelisk in the middle. d. Granite foundation e. Doric order of collonnades for simplicity. "colossal Tuscan." Doesn't overpower basilica. Embraces the people who enter. f. Obelisk was moved multiple times by Roman empires, final placement 1586 as an engineering feat. Only obelisk in Rome not destroyed.

Name: Piazza San Pietro Date: 1656 Architect: Gianlorenzo Bernini Location: Rome

a. Jesuit church, for the training of Jesuits. Coat of arms of Pamphili. Semicircular porch. Baroque, oval shape. Two ionic columns. Walls around the perimeter.

Name: Piazza San Pietro Date: 1658-1670 Architect: Gianlorenzo Bernini Location: Rome, Italy

Discussion: Funerary Monument for Enlightment Hero. This project promoted the idea of making architecture expressive of its purpose, a doctrine that was termed "taking architecture." The design was never built but its design was engraved and circulated widely in professional circles. Newton's cenotaph was designed to isolate, to reinvent, the huge movement of time and celestial phenomena. In the top of the sphere apertures in the stone allow light in. Creating starlight when there is daylight, during the night there is day. And during the day there is night. The monument was intended for tribute to the supreme being.

Name: Project for a Cenotaph to Sir Isaac Newton Architect: Etienne-Louis Boullée Date: 1650 LOCATION:

1. Innovation or tradition in design: Schinkel designed the building as a great block with two interior courtyards and a central space, the interior of which is modeled on the Pantheon. The dome is not, however, visible from the outside. Instead, the front consists of a row of columns, like a great Greek stoa, elevated on a platform above the surroundings. The museums imposing façade consists of a screen of 18 Ionic columns raised on a platform with a central staircase. 2. Typology: Museum, public space 3. Materials: 4. Style/movement: Neoclassicism 5. Relationship to theory: 6. Historical milieu: The Altes Museum (Old Museum) was commissioned to display the royal art collection, and was thus built directly across from the Baroque royal palace on an island on the Spree River in the heart of Berlin. In the early nineteenth century, Germany's bourgeoisie had become increasingly self-aware and self-confident. This growing class began to embrace new ideas regarding the relationship between itself and art, and the concepts that art should be open to the public and that citizens should be able to have access to a comprehensive cultural education began to pervade society. King Friedrich Wilhelm III of Prussia was a strong proponent of this humboldtian ideal for education and charged Karl Friedrich Schinkel with planning a public museum for the royal art collection.

Name: Altes Museum Date: 1823- 30 Architect: Karl Friedrich Schinkel Location: Berlin

Style: Neo-classical Innovation or Tradition in design: Soane invented an architectural language based on flat vaults and pendentives to create a dynamic zoningof spaces. Typology: Building is a labyrinth of cleverly interconnected public spaces that conform to the requirements of an oddly shaped lot. Materials: Relationship to Theory: The Bank being Soane's most famous work, Sir Herbert Baker's rebuilding of the Bank, demolishing most of Soane's earlier building was described by Nikolaus Pevsner as "the greatest architectural crime, in the City of London, of the twentieth century" Historical Milieu: is the central bank of the United Kingdom and the model on which most modern central banks have been based

Name: Bank of England date: 1794-1810 Architect: John Soane Location: England

Style: neo-classic Innovation or Tradition in design: Unlike earlier walls, the Farmers-General Wall was not aimed at defending Paris from invaders but intended to ensure the payment of a toll on goods entering Paris ("octroi") to the Ferme générale. Typology: Ledoux used simple shapes and strong contrasts in an effort to create a powerful sensory impression on visitors arriving in the capital. The gates have a remarkable expressive and plastic character Materials: Relationship to Theory: The wall's tax-collection function made it very unpopular: it was said "The wall walling Paris keeps Paris murmuring". There was also an epigram: To increase its cash Historical Milieu: The wall represented the oppression of the people of Paris

Name: Les Barrières Date: 1784-87 Architect: Claude-Nicholas Ledoux Location: Paris, France

Discussion: 1. Innovation or tradition in design: IRON ARCHES!! With its slender columns and billowing domes, the building coexists with stone walls, themselves without any trace of classical columns and pilasters. 2. Typology: Library/public building 3. Materials: Iron, stone walls 4. Style/movement: Neoclassical (Although the building has numerous historical references, it is not conceived with the historicist manner.) 5. Relationship to theory: 6. Historical milieu: One of the greatest cultural buildings of the nineteenth century to use iron in a prominent, visible way was unquestionably the Bibliothèque Ste.-Genevieve in Paris, designed by Henri Labrouste. He presented the design on December 19, 1839. It took six to seven years to complete the construction, from 1843-50. The large (278 by 69 feet) two-storied structure filling a wide, shallow site is deceptively simple in scheme: the lower floor is occupied by stacks to the left, rare-book storage and office space to the right, with a central vestibule and stairway leading to the reading room which fills the entire upper story. The ferrous structure of this reading room—a spine of slender, cast-iron Ionic columns dividing the space into twin aisles and supporting openwork iron arches that carry barrel vaults of plaster reinforced by iron mesh—has always been revered by Modernists for its introduction of high technology into a monumental building.

Name: Bibliothèque Ste. Geneviève Date: 1838- 50 Architect: Henri Labrouste Location: Paris

Discussion: Innovation and tradition in Design : redesigned into a grand palace through several phases, beginning in 1661, after André Le Nôtre had begun work on the gardens and fountains. -architects "wrapped" a new building around the old one: The original palace still stands, but it is embedded within the fabric of a new structure that consists of a series of forecourts, creating a telescoping U around a central court at the top of a gently sloping hill Typology: The apartments were arranged enfilade: the doors of the rooms lined up to provide a continual vista along the length of the suite. Materials: - Limestone - Brick - Slate from Angers for the roof - Lead - Wood - Iron - Bronze - Marble Style Or Movement:-The exterior is an elegant fusion of Gothic sensibilities with classical orders, a high pitched roof, large windows extending to the pilasters, and a buttress like thickening of the apse walls Relationship to Theory :-The building was designed, planned and executed by the King's Buildings Office (Conseil des Bâtiments), which was set up by Jean-Baptiste Colbert and was so well organized that even after the untimely death of the palace's chief architect, Louis Le Vau, construction work was never halted. History And Milieu: -In 1682, the king could proclaimed the palace the royal capital 5,000 aristocrats lived in the palace itself, together with 14,000 servants and military staff members. The town had another 30,000 residents, most of whom were employed by the palace.

Name: Chateau de Versailles Architect: Louis Le Vau, Jules Hardouin Mansart , Philibert LE ROY Location: France Style:Baroque

Discussion: 1. Innovation or tradition in design: Started an era of prefab, modular construction. Modular construction, all parts look the same, designed and engineered by Sir Joseph Paxton, an innovator of steel and glass greenhouses. The Crystal Palace was composed of thin, lightweight elements that were mass-produced and assembled on site. 2. Typology: Exposition hall 3. Materials: Cast iron, plate glass, wood 4. Style/movement: Victorian 5. Relationship to theory: Showing n display were machines and mass-produced products of all types. Mirrored the mass-produced nature of the building itself. 6. Historical milieu: The huge, modular, wood, glass and iron structure was originally erected in Hyde Park in London to house The Great Exhibition of 1851, which showcased the products of many countries throughout the world. The fair's unprecedented triumph set the stage for a seemingly endless series of repeats: such as the Great Industrial Exhibition in Dublin (1853), the New York Crystal Palace (1853), the Palais de l'Industrie (1855), the International Exhibition of London (1862), the Dublin International Exhibition (1865), and London's Colonial and Indian Exhibition (1886).

Name: Crystal Palace Date: 1851 Architect: Joseph Paxton Location: London

Discussion: 1. Innovation or tradition in design: An internal spine, which allows for a special sovereign's entrance at the southeast corner of the building, is buffered by various open air courts that allowed light into the various rooms. Offices, libraries, and meeting rooms are lined up along the principal façade toward the river. Despite the monotone treatment of the building's external mass, Barry was able to introduce picturesque elements to the skyline through the asymmetrical positioning of the vertical elements—the Victoria Tower, the lantern over the octagonal room, and the Big Ben. 2. Typology: Civic/government building 3. Materials: Soft, yellowish limestone meant to replicate the taste of the 15th century. 4. Style/movement: English Perpendicular Gothic style 5. Relationship to theory: Pugin was a staunch believer in traditional Gothic architecture and was a founder of the Gothic Revival movement. For Pugin, Gothic was not a style (like classical) but an ideology. The Gothic, he insisted, embodied two great rules of architecture: first, that there should be no features about a building which are not necessary for convenience, construction or propriety; second, that all ornament should consist of enrichment of the essential structure of the building. 6. Historical milieu: The houses of Parliament were intended to replace the previous Parliament building, or the Old Palace, which burned down in the early 1800's. Barry was responsible for the basic plan of the new building, whose symmetry suggests the balance of powers within the British parliamentary system; Pugin provided the intricate Gothic decoration laid over Barry's essentially Classical plan.

Name: Houses of Parliament Architect: Charles Barry & AWN Pugin Location: London Date:1836-67

Discussion: The building was inspired by Villa gardens in the famous classical poem "the tale of Genji.' Its a villa that consists of 5 interior elements, the tatami (straw mat), nageshi (beams), columns, ramma (lattice work), shoji (screens), Fusama (panels), and ceiling with strips. The villa offers moon viewing, movement of wall panels that can be opened to transform the interior into larger spaces. It is asymmetric in plan with all the "shoin buildings" layed out in a zig zag pattern, and the entensive floor areas provides lighting and flexibility. With the tatami mats used as an organizational device to guarantee internal order and consistency. The villa was designed for nature and culture to be in harmony and balance, it sits next to the Katsura river. It has a strong contrast between the white walls and the dark wood pillars

Name: Katsura Imperial Villa Location: Kyoto, Japan Date: 1620-1650

Discussion: *Mayan Civilization,\ Pyramid of Kukulcan / "Castillo" , Chichén Itzá, Yucatan, Mexico , 900-1521 The Mayan Civilization (c. 300-900; 900-1521 CE) [CJP 328-29] Innovation or tradition in design : Mayans were pyramid building culture centered in Yucatan peninsula. -Mayan buildings notable for craftsmanship, ornament, fine proportions; also develop new cultural and architectural vocabulary - Typology: characteristic pyramid: steep w. 4-stairways (unusual); topped by square temple with corbelvaulted roof; four flights sweep up four sides (oriented to cardinal points) in perfect symmetry w/one stair picked out as principle Materials: houses made of adobe brick; ceremonial buildings of stone Style And movement : Mayan buildings notable for craftsmanship, ornament, fine proportions; also develop new cultural and architectural vocabulary .-at summit of pyramid: temple/sanctuary, typically flat roof w. vaulted spaces; at Castillo— single room with wrap around corridor (desire for symmetry?? doors on secondary faces lead to corridor Relationship to theory :Mayan cities recreate cosmic order; sun & its movements--most important organizing principle--create solar-architectural hierophants -highly refined used of talud(slope)/tablero (rectilinear frame): rectangular panels of tablero emphasize the stages of pyramid steps; tablero is like a molding (depending on size) cantilevered over sloping wallface of talud . History and milieu : Mayan kings use visual means to define and influence relationship to subjects and environments .Chichen Itza: town laid out with ceremonial, living, and entertainment precincts--including temples and ball courts; more relaxed town planning.

Name: Pyramid of Kukulcan Location: Chichen Itza, Yucatan, Mexico Year: 900-1521 Architect: Style: MesoAmerican

Discussion: Architectural values as streetscape values, sensational sequence of urban forms Park Crescent, pictorial succession of architectural incident Cumberland Terrace, 1826.

Name: Regent's Park & Regent Street Architect: John Nash Date: 1814-30 LOCATION: London

Discussion: a. Borromini studied classical antiquity and architectural work of Michelangelo. b. Baroque architecture: retains use of classical vocabulary of Renaissance but with new dynamism and emotionality; sculptural forms and animated space. c. Centralized plan but not stable→ Renaissance circle vs Baroque OVAL: less finite, more dynamic; centralized plan with longitudinal elements--suggestive of movement in space. d. Plan as sawed off Greek cross with dome: but here DOME has supremacy over arms; walls e. under domes are elongated lozenges opening onto shallow chapels plus entrance and apse chapels--all oval fragments--"hidden" by colonnade and unbroken entablature. f. Facade: concave-convex-concave; announced on ground floor & cornice; next story shifts to concave-concave-concave PLUS oval temple inserted g. Centrally-planned church; basically an oval; entrance on narrow side four chapels push out the oval sides (also greek cross) h. Baroque plasticity: here wall itself is twisted (not just manipulation of columns) i. Differs from Renaissance STASIS and relationship to static units clearly related to static center four chapels are fragments of small ovals that touch or overlap j. Oval plan also well-suited to church's small and narrow building site; k. Eschewed uniform outline, except in the dome's base; Between entrance and altar squeezes upper and lower extremities of oval so it takes on undulating contour extended to elevation

Name: San Carlo alle Quattro Fontane Date: 1638-41 Architect: Francesco Borromini Location: Rome

Discussion: The building is in the shape of a cross, with its large dome it makes St. Paul's cathedrals the largest in England. Wren built massive load bearing walls that were 16 ft thick, he did this because Wren did not want to use the "flying buttress" which was used in gothic architecture. But because he wanted to preserve the classical style he disguised the walls by carving out niches from the thick wall to allow light to enter and the part of the wall that wasn't carved out acts as an internal buttress that supports upper level. The dome is new technology Christopher Wren had to lower the weight of the dome because his foundation was sinking, so he designed a strong dome with a vastly reduced weight. The inner and outer dome was designed after groundbreaking mathematical discoveries. Wren shaped the inner dome and outer dome as an arc of an un-weighted chain, then for the inner concealed dome which supports the stone lantern on top, he made a cone shaped dome in the shape of a weighted chain arc. Materials used were stone, brick, timber, and is a classical architectural structure.

Name: St. Paul's Cathedral Architect: Christopher Wren Date: 1675-1711 LOCATION: London

Style: Gothic Revival architecture Innovation or Tradition in design: Walpole started remodeling his country house, transforming it into a Gothic style castle. Typology: Walpole's eccentric and unique style on the inside rooms of Strawberry Hill complemented the Gothic exterior Materials: Relationship to Theory: Walpole's 'little Gothic castle' has significance as one of the most influential individual buildings of such Rococo "Gothick" architecture which prefigured the later developments of the nineteenth century Gothic revival, and for increasing the use of Gothic designs for houses. This style has variously been described as Georgian Gothic, Strawberry Hill Gothic, or Georgian Rococo. Historical Milieu: interior was redesigned according to Walpole's interpretation of the British historical past

Name: Strawberry Hill Date: 1749-1776 Architect: Horace Walpole (& the Committee of Taste) Location: Twickenham (nearLondon)

Discussion: INNOVATION/ TRADITION: A city built by man in the heart of other city. TYPOLOGY: MATERIAL: Wood and marble STYLE OR MOVEMENT: Ancient Chinese RELATIONSHIP TO THEORY: The city was built based on the traditional Chinese books. Those enhanced the importance of peace with nature, animals and axially layout. They believed that the left side meant promotion or high-ranking and the right side meant demotions or low- ranking. So the Altar of Earth and Harvests sits on the right, while the Imperial Ancestral Temple is on the left. HISTORIC MILIEU: The Chinese emperors did not want to allow anymore foreigners to rule the empire. For that reason the city was protected by the walls

Name: The Forbidden City, Date: Ming Dynasty Architect: Location: Beijing, China

Style: Neo-classical Innovation or Tradition in design: an example of the English picturesque garden: Its conception and views intentionally mimic the compositional devices of pictures by French landscape painter Claude Lorrain. Typology:carefully designed to look natural and unkempt: the small lake is crossed by a rustic bridge, while in the background we see a folly, a miniature version of the Pantheon in Rome. ark is punctuated by other Classically inspired temples, copies of antique statues, artificial grottoes, arural cottage, a Chinese bridge, a Gothic spire, and even a Turkish tent Materials: Relationship to Theory: Following a path around the lake is ment to evoke a jurney similar to that of Aeneas descent in the underworld Historical Milieu: The Buildings and Monuments are build to honor the local histor

Name: The Park at Stourhead Date: Laid out 1743, executed 1744-1765 Architect: Henry Flitcroft and Henry Hoare Location: Wiltshire, England

Discussion: 1. Innovation or tradition in design: 2. Typology: Residential 3. Materials: Red brick, wood 4. Style/movement: non-historical, brick-and-tile domestic style. Morris was deeply influenced by Medievalism and Medieval-inspired Neo-Gothic styles are reflected throughout the building's design. 5. Relationship to theory: For Morris, the Middle Ages represented an era with strong chivalric values and an organic, pre-capitalist sense of community, both of which he deemed preferable to his own period. He was heavily influenced by the writings of art critic John Ruskin, being particularly inspired by his chapter "On the Nature of Gothic Architecture" in the second volume of The Stones of Venice. Morris adopted Ruskin's philosophy of rejecting the tawdry industrial manufacture of decorative arts and architecture in favour of a return to hand-craftsmanship, raising artisans to the status of artists, creating art that should be affordable and hand-made, with no hierarchy of artistic mediums. Reveals honesty in material and production: compared to Strawberry Hill by Horace Walpole & the Committee of Taste symbolizes transition from picturesque sensations to Arts & Crafts morality. Uses rustic, yeoman, and medievalizing details, privileges domesticity. 6. Historical milieu: A socialist, Morris opposed mass production and the deadening impact of factory life on the industrial worker. He argued that when laborers made handcrafted objects, they had the satisfaction of being involved in the entire process of creation and thus produced honest and beautiful things. He was inspired by the romance of the medieval craft tradition, ignoring its harsh realities.

Name: The Red House Date: 1859 Architect: William Morris & Philip Webb Location: Bexleyheath

Discussion: It houses the oldest legislative body in the Western Hemisphere, the Virginia General Assembly, first established as the House of Burgesses in 1619. The design was modeled after the Maison Carrée at Nîmes in southern France, an ancient Roman temple. Jefferson had Clérisseau substitute the Ionic order over the more ornate Corinthian column designs of the prototype in France. At the suggestion of Clérisseau, it used a variant of the Ionic order designed by Italian student of Andrea Palladio, Vincenzo Scamozzi. It is one of only twelve Capitols in the United States without an external dome.

Name: Virginia State House Architect: Thomas Jefferson Date: 1785-1792 LOCATION: Richmond

Discussion: 1. Innovation or tradition in design: Unlike earlier urban design approaches in Rome and elsewhere that used boulevards in relationship to royal palaces or churches, Haussmann's new streets were laid out according to pragmatic and economic considerations. They destroyed large parts of medieval Paris, displacing thousands of inhabitants, mainly from the lower classes. Never before in the recent history had such a large part of a city been leveled and rebuilt. 2. Typology: Urban, infrastructure 3. Materials: 4. Style/movement: 5. Relationship to theory: 6. Historical milieu: In 1848, after rioting over living conditions erupted in French cities, Napoleon III launched sweeping new reforms. Riots devastated Paris's central neighborhoods, and Georges-Eugène Haussmann was engaged to redraw the street grid and rebuild the city. Napoleon III was eager to transform Paris into the leading capital of the world. The new streets were lined with apartments and provided with sewage pipes and gas lines. Haussmann's Paris would become the model for cities around the world, such as Buenos Aires, Cairo, Rome, and Saigon. READING 6: John Ruskin, The Seven Lamps of Architecture In this extended essay, first published in May 1849 and written by the English art critic and theorist John Ruskin, Gothic Revival is solidified. The 'lamps' of the title are Ruskin's principles of architecture, which he later enlarged upon in the three-volume The Stones of Venice. To an extent, they codified some of the contemporary thinking behind the Gothic Revival. At the time of its publication A. W. N. Pugin and others had already advanced the ideas of the Revival and it was well under way in practice. Ruskin offered little new to the debate, but the book helped to capture and summarise the thoughts of the movement. The Seven Lamps also proved a great popular success, and received the approval of the ecclesiologists typified by the Cambridge Camden Society, who criticised in their publication The Ecclesiologist lapses committed by modern architects in ecclesiastical commissions.

Name:Urban Modernization Scheme for Paris Date: 1853-70 Architect: Georges Haussmann