COMPILED NOTES Hoa5

15ARC 5.
4 – HISTORY OF ARCHITECTURE-V
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RENAISSANCE ARCHITECTURE (c.1400-1600)
Where did it begin?

Italy spawned the renaissance - the wealthy city-states of Italy. A society has to be to very rich to support
artists, elaborate building projects, to support scholars who translated ancient documents.
REASON FOR THE RENAISSANCE REBIRTH

• Major Italian city states were industrial powerhouses, each specializing in a particular industry; Florence
made cloth, Milan made arms.
• Venice and genoa were exceptionally wealthy from trade.
• Venetians – expert sailors, ship builders, merchants. Trade with ottomans flourished.
• The eastern world, ottoman empire, was the source of many writings that the renaissance scholars studied.
With the fall of the byzantine empire in 1453, the Islamic scholars moved to Italy.
HUMANISM
Humanism was the major intellectual movement of the renaissance. It began in late-14th-century Italy, came to
maturity in the 15th century, and Spread to the rest of Europe after the middle of that century. Humanism then
Became the dominant intellectual movement in Europe in the 16th century.
• Proponents of humanism believed that, humanistic studies Consisting of the study and imitation of the
classical culture of ancient Rome and Greece, would produce a cultural rebirth after what they saw as the
decadent and “barbarous” learning of the middle ages.
Under the influence and inspiration of the classics, humanists developed a new rhetoric and new learning.
• The humanists -- classical writers, philosophers, artists who revealed similar social values and secular
attitudes. They hoped to create structures that would appeal to both emotion and reason.
• The word humanities, is often used to designate the nonscientific scholarly disciplines:
Language, literature, rhetoric, philosophy, art history, and so forth. Thus, it is customary to
Refer to scholars in these fields as humanists and to their activities as humanistic.
IMPORTANT RENAISSANCE NAMES

• Leonardo da Vinci (1452–1519) Universal genius A painter, sculptor, humanist, scientist, architect,
philosopher, engineer, and more.
• Leone Battista Alberti (1404–1472) A poet, painter, poet, medalist, philosopher, writer-novelist, hydraulic
engineer, cryptographer, architect and musician.
• Michelangelo Buonarroti (1475–1564) Architect, painter, sculptor, poet and writer.
• Galileo (1564–1642) was most interested on Astronomer, mathematician, physics, philosopher, musician
and artist
RENAISSANCE ARCHITECTS
Filippo Brunelleschi (1377-1446),
Leon Battista Alberti (1404-1472),
Giovanni Giocondo (1433-1515),
Donato Bramante (1444-1514),
Michelangelo (1475-1564),
Raphael (1483-1520),
Antonio da Sangallo the Younger (1484-1546),
Michele Sanmicheli (1484-1559),
Jacopo Sansovino (1486-1570),
Giulio Romano (1499-1546),
Giacomo Barozzi (1507-1573),
By Ar Aishwarya K, RRSA, 2019-20
Andrea Palladio(1508-80)
Pirro Ligorio (1510-83), Galeazzo Alessi (1512-72), Giacomo della Porta (1533-1602), the
theorist Vincenzo Scamozzi (1548-1616), Carlo Maderno (1556-1629), Antonio Contini (1566-1600)
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15ARC 5.4 – HISTORY OF ARCHITECTURE-V
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PRINCIPAL PHASES
Historians often divide the Renaissance in Italy into three phases.

• Whereas art historians might talk of an "Early Renaissance" period, in which they include developments in
14th century painting and sculpture, this is usually not the case in architectural history.
• The bleak economic conditions of the late 14th century did not produce buildings that are considered to be
part of the Renaissance.
• As a result, the word "Renaissance" among architectural historians usually applies to the period 1400 to
ca. 1525, or later in the case of non-Italian Renaissances.
Historians often use the following designations:

• Renaissance (ca. 1400–1500); also known as the Quattrocento and sometimes Early Renaissance
• High Renaissance (ca.1500–1525)
• Mannerism (ca. 1520–1600)
Quattrocento/ Early High Renaissance Mannerism

Renaissance (ca.1500–1525) (ca. 1520–1600)
(ca. 1400–1500)
• Concepts of • Mastery of the revived style • Baroque style in which
architectural order and ability to apply it to the same architectural
were explored buildings vocabulary was used for
• Adoption of Classical • Evident decorated and very different rhetoric
detail and ornamental, statuary, domes • Freer and more
ornamentation and cupolas. imaginative rhythms
• Space was • Architects such as • Mannerist style was
organized by Bramante, Antonio da Michelangelo (1475–
proportional logic, its Sangallo the Younger and 1564), who is credited
form and rhythm others showed a mastery of with inventing The Dome
subject to geometry. the revived style and ability of St Peter's Basilica,
• The prime example to apply it to buildings such Rome. the giant order, a
of this is the Basilica as churches and city large pilaster that
di San Lorenzo in palazzo which were quite stretches from the
Florenc by Filippo different to the structures of bottom to the top of a
Brunelleschi (1377– ancient times facade.
1446 • Age of Leonardo,
Michelangelo and Raphael.
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RENAISSANCE ARCHITECTURE
INTRODUCTION TO RENAISSANCE
The word itself comes from the French phrase renaissance des lettres.
In Old French renaissance means rebirth.
•The Renaissance was the period in Europe between the 14th and 17th
centuries when there was a surge of interest in and production of art
and literature.
•The Renaissance began in Italy, largely as a growth of interest in
classical art and ideas.
•Promoted the rediscovery of classical philosophy, literature and art
•Decline of the feudal system and encouraging growth of commerce and
new inventions.
•Shift from the dominant religious atmosphere prevalent in the middle
ages to appreciating the natural world and the human (Center of the
new era)
•Renaissance scholars embraced Humanism and realism.
RENAISSANCE ARCHITECTURE
Renaissance Architecture was the conscious revival and development
of certain elements of ancient Greek and Roman thought and material
culture.
•Developed first in Florence, with Filippo Brunelleschi as one of its
innovators.
•Renaissance style places emphasis on symmetry, proportion, geometry
and the regularity of parts
•They adopted the simplicity and balanced proportions of the Roman
and Greek and rejected the intricacy and verticality of the Gothic style.
•Roman revival features include the dome, column and round arch.
•Influenced by the book by Vituvius, De Architectura
Vitruvian believed that architecture was an imitation of nature.
The buildings must exhibit the qualities of solidity, usefulness and
beauty.
The human body should be the model for any architecture.
•Architects strived to achieve the harmony between human proportion
and buildings
CHARACTERISTICS
•Symmetry, proportion, geometry and the regularity of parts. FACADE
•Combined classism with new concepts of humanism - Utilitarian •Building facades were usually
approach symmetrical from side to side
•Orderly arrangement of the various building elements such as columns, •Featured Roman orders of columns,
pilasters, hemi-spherical domes, arches etc. windows, and pilasters that
PLAN progressed toward the center.
•Plans for Renaissance buildings became more square and Multi-storied buildings often included
symmetrical, and employed proportions based on a modular unit of regular repetitions of openings on
measure, for instance, the unit might be the width of an aisle, and all the each floor, and a centrally placed door
other proportions of the structure would be based on that module. highlighted by a balcony or rusticated
(textured) surround.
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COLUMNS AND PILASTERS
•Use of Tuscan. Doric, Ionic, Corinthian and composite columns
•Structural or decorative purpose
•Integrated system of columns, pilasters and entablatures.
ARCHES
•Arches were generally semi-circular or segmental.
•Supported by piers and columns with capitals, in arcades
•Alberti first introduced the arch in St. Andrea at such monumental scale.
DOMES
•Domes were used both structurally and aesthetically
•First in churches, and later in secular architecture
•Dome used both externally as large domes and internally to cover small
spaces.
CEILINGS
•Fitted with Flat or coffered ceilings
•Painted or decorated
WALLS
•Generally constructed with brick. Rendered or faced with stone
•Highly finished ashlar masonry in straight courses
•Building corner have rusticated quoins
•Internal walls smooth lime washed with frescoes St Andrea, Mantua, Italy
DETAILS
•Moldings stand out not recessed as in Gothic architecture.
•Sculptures inside niches and on plinths
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Renaissance Architecture (Early) - St ANDREA CHURCH

Architect Leon Battista Alberti
Location Mantua, Italy
Date 1470 to 1476 timeline
Building Type Church
Construction System Brick Bearing Masonry and

Stucco
Climate Mediterranean
Context Urban
Style Early Renaissance
Key features Tremendous Interior Vault

on Thick Side arches
• The sections of the building

constructed in the 15th century,
including the western façade and
the nave up to the transept, are
usually attributed to the humanist
and architect Leon Battista
Alberti.
• The construction began after his
death in 1472.
• The façade, built abutting a pre-
existing bell tower
FAÇADE
• Unified combination of three
ancient roman forms:
• Temple front, triumphal arch,
and basilica.
• Height of the façade equals its
width.
• Four giant pilasters with
SECTION
Corinthian capitals support an
entablature and pediment.
• These elements recall the front of
ancient temples, such as the
Pantheon in Rome.
• There is also a grand arch in the
center of the façade that is
supported by two shorter fluted
pilasters.
• Taken together, the lower façade,
with its tall central arch and

flanking side doors evoke ancient
triumphal arches such as the
arch of Constantine
• The center arch extends deep
into the facade itself, creating a PLAN 5
recessed barrel vault with a
coffered ceiling that frames the
main entrance to the church.
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Renaissance Architecture (Early) - St ANDREA CHURCH
PLAN
• Traditional Latin cross plan.
• Alberti not only produced a new façade design but abandoned
the nave-and-aisles type of basilica church which Brunelleschi had used,
turning instead to a Latin cross form with a barrel vaulted nave and a
series of alternating chapels and supports on either side
INTERIOR
• Large nave
• Massive barrel vault (largest constructed since Rome) coffered vault ceiling
• On both sides of the nave there are three chapels with lower barrel vaults
• No side aisles or rows of columns
• Dome at the transept
• Frescoes on walls and under dome
PEDIMENT
ENTABLATURE
GRAND ARCH
BARREL VAULT
WITH A COFFERED
CEILING
PILASTERS
WITH
CORINTHIAN
CAPITALS
ELEVATION
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Renaissance Architecture (High) - PALAZZO RUCELLI

• The Palazzo Rucellai is one of the best examples of
architecture fifteenth in Florence , located in Via della
Vigna Nuova
• Constructed as part of the "building boom" after the
Medici family built their own palace
• Its facade was designed by Leon Battista Alberti
• Emphasizes measure & harmony
• All about horizontality
FACADE DESIGN - SKIN/SCREEN FAÇADE

• Rational "skin" for this palace--a type of "screen"
architecture in which the classical elements provide no
support structure.
• Symmetrical treatment
• Balance and proportion using symmetrical façade.
• All three stories are of equal height
• Flat pilasters with classical entablature (filled with
decorative patterns)
• Double arched, mullioned windows with oculus
GROUND FLOOR
• Pilasters of Tuscan origin
• Sense of weightiness
• Bench away - practical use (inspired by Roman stylobate)
• Large stone blocks –Opus reticulatum : a form of brickwork used in ancient Roman architecture
• Square lintel and window
• Entry portals of post and lintel construction instead of arches.
FIRST FLOOR
• Pilasters of Ionic origin
• Smaller stones to give the feeling of lightness, which is enhanced by the
• Rounded arches of the window (Roman feature)
• Large double windows, with embossed frame, column and oculus at the center.
SECOND FLOOR
• Pilasters of Corinthian origin
• Smaller stones to give the feeling of lightness, which is enhanced by the rounded arches of the windows (Roman
feature)
• Mullioned windows
• Cornice projecting slightly
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Renaissance Architecture (High) - PALAZZO RUCELLI
PLANNING
• The palace was created from an enclave of eight smaller buildings which were combined to form a single
architectural complex arranged around a central courtyard.
• GF – Business
FF – Reception
SF – Private apartments
TF – Servant quarters (invisible from street)
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Renaissance Architecture (MANNERISM) - VILLA ROTONDA
(MANNERISM)
• The place is nicely situated in one of the most picturesque location with on the slopes of a hill , arranged around it
are lovely hills which has been very adapted in the villa design.
• Design intent was to ; Engaging viewers and to create Striking facades
• Three floor structure communicating with the central hall in with the dome
PLAN
• The villa plan shows the geometrical clarity Of
Palladio's conception.
• Greek cross plan
• It is a completely symmetrical building Having
a square plan with four facades.
• Each of which has a projecting portico.
• The whole is contained within an imaginary
Circle which touches each corner of the
Building and center's of the porticos.
• Each portico has steps leading up, and open
Via a small cabinet or corridor to the Circular
domed central hall.
• This and all other rooms were proportioned
With mathematical precision
• The main living quarters are on the second
Floor / piano nobile, and the lower level is
Reserved for the kitchen and other utility
Rooms
• Designed to allow each facade to complement
the surrounding landscape and topography.
Hence there are variations in the facades, in
the width of steps, retaining walls, etc
• The design was rotated 45 degrees from each
cardinal point of the compass
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Renaissance Architecture (MANNERISM) - VILLA ROTONDA
FAÇADE
• Each of the four porticos has
pediments graced by statues
of classical deities
• The pediments were each
supported by six ionic
columns
• Wide staircase leading to the
porch.
• Coated brick and stone used
for construction
• INTERIOR
• Frescoes painted in the
principal salons
• Central, circular hall,
surrounded by a balcony and
covered by the domed ceiling
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Renaissance Architecture – ST PETER’S BASILICA, ROME
Architect Donato Bramante; Michelangelo;

Carlo Maderno; Gian Lorenzo
Bernini
Location Vatican city
Date 1506-1667
Building Type Basilica
Construction Concrete & brick masonry;
System Large Piers foundation
Climate Mediterranean
Context Urban
Style High Renaissance
INTRODUCTION
IMPORTANCE
• Saint Peter's Basilica in the Vatican City is the largest church in the world (60,000 people and it is 22,000
sqm)
• Saint Peter is considered to be the first pope, and after he died in 64 AD, it was believed that he was buried
where Saint Peter’s Basilica stands today.
• Old Saint Peter's Basilica. Built by Emperor Constantine existed hundreds of years before the present
Basilica.
• Location therefore highly symbolic.
• Mid 15th century the old Basilica started falling to ruins and plans of replacing were discussed.
HISTORY
• By 1503, pope Julius ii and Bramante realized they have the opportunity to redesign the greatest church in
western Christendom – Hagia Sophia having fallen to the Turks in 1453.
• They decided to reconstruct the church in a heroic, roman scale, and to recreate the whole in a vast domed
space.
• To them what really mattered was the symbolism of the building – the enclosure of the tomb of the prince of
the apostles (St peter) in a basilica which would have been acknowledged as classical by renaissance
architects.
• Bramante’s initial idea was for a centrally planned building. He proposed a Greek cross plan surmounted by
a dome slightly larger than the pantheon.
• Central plan had a theological symbolism in it that it reflected the perfection of God.
• Around 12 architects worked on St peters, including Bernini in the baroque period
• Bramante dies - left no definitive design - only foundations of the main piers and the setting out of the
arches linking the piers were done.
• Successors were bound by the sense of heroic of the building.
• His successors were forced to enlarge the piers bed provide much more abutment for the thrust of the dome.
EVOLUTION OF ST PETER’S
1. Donato Bramante whose design won Julius II's competition. Initial design of the basilica.
2. Peruzzi strengthened the foundation

3. Raphael worked with Peruzzi, whose redesigned building plan was not executed.
4. Antonio da Sangallo, a student of Bramante, redesigned the whole building, repair damages
5. Michelangelo (1547) redesigned the plan, dome, crossing, and exterior excluding the nave and façade
6. Giacomo della Porta, designed and constructed the cupola
7. Carlo Mederno, extended Michelangelo's plan adding a nave and grand façade – Latin cross plan
8. Gian Lorenzo Bernini added the piazza, the Cathedra petri, and the Baldacchino 11
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EVOLUTION OF ST PETER’S
Bramante Design Michelangelo Design Carlo Maderno Design
• Greek cross plan • Redesigned Bramante’s plan in a more • Pulled down the remaining
• Central dome Mannerist style. parts of Old St. Peter's
larger than • Elaborate and subtle reduction of • Gave the basilica the form of
Pantheon Bramante's plan to a combination of a Latin cross by extending the
• Half domes central plan and Latin cross plan nave to the east, thus
radiating out. • Reduced overall size. completing the 615ft long main
• Square shape • Stood the square on one corner and structure.
with entrance in obtained a diamond shape, using the • He also completed the façade
any of the four corner as the main façade and and added an extra bay at
straight sides emphasizing it by blunting the point each end to support the
and adding a large portico. campaniles (Only 1 could be
• Increased size of main piers built due to bad foundation)
• Reduced open spaces between piers • Narthex along with the façade
an outside the walls was completed
• Ensured stability of building and
adequate support for dome
GIAN LORENZO
BERNINI
• The new design was

made into one of the
masterpieces of
baroque by the
completion of the
layout of the great

piazza – Tuscan
colonnade,
designed by Bernini
and built from 1656
onwards.
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• Interior works
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FAÇADE
• The façade designed by Maderno, is 114.69 metres (376.3 ft) wide and 45.55 metres (149.4 ft) high
• It is built of travertine stone, with a giant order of Corinthian columns
• A central pediment rising in front of a tall attic surmounted by thirteen statues: Christ flanked by eleven
of the Apostles (except Peter, whose statue is left of the stairs) and John the Baptist.
• The church was given an impressive setting by Gian Lorenzo Bernini
• An avenue almost 1.5 kilometers long leads from the Tiber River to the Piazza Di San Pietro (Square Of
St. Peter), a large open space in front of the church.
• A red granite obelisk (shaft) stands 26 meters high in the piazza’s centre.
• The Piazza contains two fountains and two colonnades (rows of columns) arranged in semicircles on
opposite sides of the Piazza.
MATERIALS
• Main material used in the construction of saint peter’s basilica – travertine (lime-based)
• The basilica was faced all around with polished travertine – extremely durable, white
• Also used are marble, concrete, brick, timber, bronze and lead roof
• To reduce costs cheaper materials were used as much as possible to build the Walls.
• These materials included bricks and travertine for only the bases, capitals, and cornices
• Interior is decorated with marble sculptures
• Ancient stone pilfered from the Colosseum, marble columns and other materials from ruins were used. 13
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CONSTRUCTION
1. PIERS:
• Large piers – foundation 25ft deep 45m in height
• Piers joined by barrel vaults
• Corinthian capitals of 6ft height
• To strengthen piers, Michelangelo filled concrete under the
foundations. The piers and exterior walls were thickened, shortening
the crossing.
2. DOME:
• While many designed and redesigned the slope, contour, rise, and angle of
elevation of the dome over time, Giacomo Della Porta was the architect who
created the final design of the dome.
• Today, the dome stands 120 meters, measured from the ground of the basilica
to the roof of the lantern, and the inner diameter of the dome is 42 meters.
• The dome was completed in 1590
• The dome that was actually erected, by Giacomo Della Porta in 1588-1590,
retains Michelangelo's Basic design a segmented dome with regularly spaced
openings, resting on a high drum with pediment windows between paired
columns, and surmounted by a tall lantern.
• The shells of the dome were made almost entirely

of heavy concrete masonry laid in a
herringbone pattern.
• Dome topped with a lantern
• Surrounded by windows flanked with
Corinthian columns
• Highly elaborated with roman ordered
ornaments • heavy concrete masonry laid with
herringbone pattern
• Three iron hoops or rings were fitted on the dome
to support the weight and further counteract the
outward thrust.
• Cupola was faced with thin slabs of travertine-
coated with a protective lead covering
INTERIOR
• The interior of the church is
decorated in Baroque style.
• Elaborate bronze baldacchino
(canopy) over the main alter
• Colored marble incrustations,
stucco figures, rich gilding,
mosaic decoration, and marble
figures on the pilasters, ceiling,
and walls.
• The paneling of the pavement in
geometric figures is of colored
marble
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Late Renaissance (English Baroque) – ST PAUL’S CATHEDRAL, LONDON

Architect Sir Christopher Wren
Location London
Date 1675 - 1710
Construction Masonry, Brick, Timber and cut
System stone
Climate Temperate
Context Urban
Style English Baroque (Late
Renaissance to Baroque)
INTRODUCTION
• Following the great fire in London Sir Christopher Wren was placed in charge of reconstructing the
destroyed churches.
• The great fire in 1966 did not fully destroy the old gothic style St Paul's church.
• Experimented new forms (the dome, for example) and architectural combinations into English architecture.
• The cathedral, in particular the dome, is heavily influenced by St. Peter’s basilica in Rome.
PLAN:
• Latin cross plan
• It has a long nave with a short transept near the middle, a semicircular apse, and two western
towers. Both nave and transept have side aisles, and in the angles formed by the towers
• The nave and aisles are vaulted with small domes on pendentives of peculiar form, and the piers of
the interior are faced with a great Corinthian order of pilasters
• The nave is fronted by a deep vestibule.
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FACADE
• Two Tier design all around
• Paired Corinthian Columns on façade like Louvre
• Twin towers frame entrance reflect
• The Dome reinterprets Bramante’s Tempietto
• Curved Transept Porches
LARGE CENTRAL
DOME
CLERESTORY WINDOW
BALUSTRADE
CLASSICAL TOWER
PEDIMENT
PAIRED
CORINTHIAN
COLUMNS
CLASSICAL
ARCH
WEST FACADE • The Great West Door, the primary entrance to the
Cathedral, stands nine meters high and also has
two tiers of classical columns
CONSTRUCTION
• From eight piers arches and pendentives are turned, forming the circular bed from which the drum
rises to a great height, and from a level far below the top of this drum a dome of masonry.
• Three domes, ingeniously set one inside another by Wren
• Achieving stability was the key.
• The structure of the dome has three parts —
1. An inner cupola of brick
2. An intermediate cone of brick

3. An outer casing of wood, which is covered in lead
• Inner dome risen to the remain in proportion with the internal architecture
• The outside silhouette of the cathedral is larger and more impressive, to ride high above the roof-line
of the seventeenth-century city.
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CONSTRUCTION
• Topped by an ornate lantern
crowned with a golden ball and
cross.
• Access stairs to the lantern
between the brick cone and the outer
Stone lantern casing at the base of the dome
• An endless iron chain is set into
the stonework to contain the
outward thrust forces. It was cast into
Outer dome place with molten lead.
• The masonry drum is double.
• The crown of the vault of the inner
Brick cone dome has a circular opening,
through which light descends.
Inner brick dome
Great Chain
Colonnade
CONSTRUCTION
• The interior the base of the drum appears to rest on eight equal arches but in reality the octagon has
alternating wide and narrow bays
• The dome contains the Golden Gallery, the Stone Gallery, and the Whispering Gallery- a whisper can
be heard across the room at 42 meters
• The inner drum rises in diminished thickness above the entablature of the outer one in the form of an attic
with an order of pilasters and square openings between.

• From this attic rises a false dome of timber, surrounding and concealing the great cone which is the
real support of the lantern.
• Constructed of Portland stone, altar of Italian marble
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BAROQUE ARCHITECTURE
INTRODUCTION
• Baroque originated in 17th C Rome where it developed as an expression of the newly triumphant
Catholic Church.
• New theatrical fashion expressing the triumph of the Catholic Church and the absolutist state.
• The Catholic church and its Counter-Reformation stated that architecture, painting and sculpture
would play an important role in transforming Rome into a truly Catholic city.
• They believed that church architecture appeals most to the emotions and makes their belief in them
stronger and hence church renewals were carried out.
• Creating an experience within the Church! - It was characterized by new explorations of form, light and
shadow, and dramatic intensity.
• Very dynamic designs, often employing a mixture of repetition, breaking-up, and distortion of
renaissance classical motifs
CHARACTERISTICS OF BAROQUE ARCHITECTURE

Reinterpretation of the Classical style –
• Altering traditional plans and elevations and also extensive decorative experimentation.
• The fundamental characteristics of Baroque art are dynamism, strong curves, rich decoration, and
general complexity.
 ELABORATE ORNAMENTAION
 DEPICTS DRAMA
 DYNAMIC RHYTHM
 ENLARGED SPACE
 NATURALISTIC RATHER THAN IDEAL
 APPEALING TO THE SPIRITS THROUGH THE SENSES
• Complex, rich, dynamic designs
• Oval or elliptical plan or complex schemes derived from complicated geometrical figures were used.
• Long, narrow naves are replaced by broader, occasionally circular forms
• Illusory effects like trompe l'oeil (3D) and the blending of painting and architecture
• Dramatic use of light - Juxtaposition of strong projections and overhangs with abrupt, deep recesses
by breaking up the surface, making it unsmooth.
• Dramatic use of light, either strong light-and-shade contrasts, chiaroscuro effects, or uniform lighting by
means of several windows.
• Exorbitant decoration Opulent use of ornaments (often gilded), plaster or stucco, marble or faux
finishing. Large-scale ceiling frescoes.
• Central massing visible in the elevation
• Use of broken pediments
• Dynamic rhythm of columns and pilasters – modified and complicated classical orders.
• Twisted Columns two to three storey height.
• Grand stairway
• High dome
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BAROQUE ARCHITECTURE
OPENINGS WITH
HOOD OR BROKEN
PEDIMENT
TIME PERIODS OF BAROQUE
EARLY BAROQUE HIGH BAROQUE LATE BAROQUE

(ca. 1600-25) (ca. 1625-75) (ca. 1675-1725)
• ITALY • ITALY • FRANCE
• Maderno (facade of St • Bernini and Borromini (sacred • Chateaux - (grand country
Peter's) architecture) residences)
• Masterpiece is the facade of • Four-story baldachin that • Notable example Palace of
saint Peter's basilica, Vatican stands over the high altar by Versailles.
city. Bernini. • The most distinctive element
• Mixture of Renaissance and • The other is the curving of French Baroque
Baroque components. colonnades that frame St architecture is the double-
• Adjustment of the proportions. Peter's Square. sloped mansard roof (a
• Double columns, layered • Borromini was the master of French innovation).
columns, colossal columns curved-wall architecture. • walls are characterized largely

and broken pediments. • Church of San Carlo alle by simple planar classicism
Quattro Fontane ("Saint with Baroque ornamnetation
Charles at the Four
Fountains")
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BAROQUE ARCHITECTURE - ST PETER’S BASILICA - MADERNO’S FAÇADE AND

BERNINI’S PIAZZA
INTRODUCTION
• St. Peter's Square is a large plaza located directly in front of St. Peter's Basilica in the Vatican City.
• The plaza includes
1. At the centre of the square is an ancient Egyptian obelisk.
2. The massive Doric colonnades
3. A granite fountain constructed by Bernini
4. Another fountain designed by Carlo Maderno
FEATURES
• Plan
Baroque dynamism with the construction of a trapezoidal square in front.
The open space before the church rose in a slight gradient, and this was crossed by pathways
which approached it obliquely, not meeting the facade at right angles, but enclosing an acute
angle – the trapezoidal square.
This way the facade seems narrower and, owing to the upward slope, also higher than it is.
Use of arcades, an oval courtyard, which appears larger than it is in reality.
• Doric colonnades
Four columns deep, which embrace visitors in "the maternal arms of mother church".
The colonnades define the piazza - their simplicity, play their part by directing the attention to the
facade
• Obelisk
The Vatican Obelisk is the only obelisk in Rome that has not toppled since ancient Roman times.
Egyptian Granite Obelisk.
25.5 m (84 ft) tall, supported on bronze lions and surmounted by the Chigi arms in bronze, in all 41
m (135 ft) to the cross on its top.
The obelisk was originally erected at Heliopolis.
• Paving
The paving is varied by radiating lines in travertine.
21
MODULE 1
THE TRANSITIONAL PERIOD (1750-1900)
INTRODUCTION
• By the 1700s, European architects were turning away from elaborate Baroque and Rococo styles
in favor of restrained Neoclassical approaches.
• Rejected the opulence of the ruling class – Rejection of the ornate Baroque and Rococo style.
• Society in Baroque period changed to a civilian one, when the civilians came to power.
• Neo Classicism, Romanticism and Picturesque are key to understanding the arts and philosophy of
this period.
• Inspiration from ideas of Renaissance architect Andrea Palladio.
• These buildings were proportioned according to the classical orders with details borrowed from ancient
Greece and Rome.
NEOCLASSICISM
• Period of Enlightenment - Orderly, symmetrical Neoclassical architecture reflected the intellectual

awakening among the middle and upper classes.
• Promoted individual thinking and rational logic as more valuable than tradition.
• Supported by sciences - such as the Theory of gravity, French revolution, American constitution.
• Scientific advancement.
• A turn away from the curves, inventiveness and mysteriousness of the baroque toward a more
rectilinear and transparent organization of space.
• Clear-cut lines, monochrome surfaces, simple masses, antique archetypes.
• Elementary geometric forms (cube, sphere, pyramid, cylinder),
• Contrast emphasized by light and shade, regular colonnades, porticos contrasting with bare walls of
simplicity, cupolas and barrel-vaults.
• Initially began in England, France and Germany.
PICTURESQUE
• Irregularity, variety, contrasts, asymmetrical arrangement of forms, informal landscapes.
• Appreciation of ruins and the creation of new or instant ruins.
• Precursor to the broader movement of Romanticism
ROMANTICISM
• Architects turned to medieval styles i.e. Romanesque and Gothic
• Glorifying emotional content rather than intellect.
22
MODULE 1
PALLADIAN REVIVAL / PALLADIANISM (1750-1900)
INTRODUCTION
• Palladian architecture is a European style of architecture derived from the designs of the Italian
architect Andrea Palladio.
• Palladio followed the principles defined by the Roman architect Vitruvius.
• Followed principles of classical Roman architecture based on mathematical proportions rather than
the rich ornamental style also characteristic of the Renaissance.
The baroque style, popular in continental Europe, was never truly to the English taste. It was
quickly superseded when four books were published in Britain which highlighted the simplicity
and purity of classical architecture.
CHARACTERS OF PALLADIANISM
• Highly symmetrical.
• Exterior undecorated walls
• Interiors richly decorated
• Facades have a temple front or pedimented portico at the center.
• The Palladian, Serlian, or Venetian window features
• Windows are usually uncomplicated, but some have pediments, quoins, or arched tops.
• Centrally placed doorways have pilasters or columns and round or triangular pediments.
• Roofs are low-pitched hipped or flat with balustrades.
• Materials include brick, local stone, and stucco.
Architect William Kent & Lord Burlington

Location London
Date Completed in 1729
Building Type Villa
Construction System brick with Portland stone
cladding
Climate Temperate
Context Urban
Style Palladian revival (Neoclassical)
INTRODUCTION
• Influenced by the architecture of Andrea
Palladio
• English response to Palladio's famous Villa
Rotonda.
• Provided an exquisite setting for Burlington’s
collection of paintings and architectural
drawings, and for the highly select gatherings of
his family, friends and cultural circle.
PLAN
• Geometry - the centrally-planned layout
• Central room provides access to other
rooms around its perimeter.

• The general cubic form of the villa with its
central hall with other rooms leading off its
axis – Palladian style.
• The villa is a half cube with a side of 70 feet (21
m), 35 feet high. 23
• The plan consists of the Red, Blue and Green
Velvet rooms.
MODULE 1
CHISWIK HOUSE
ELEVATION
• The Corinthian capitals on the projecting six-column portico are
derived from Rome's Temple of Castor and Pollux.
• The inset door, projecting plinth and 'v'-necked rusticated
vermiculation
• The short sections of crenellated wall with ball finials which extend Diocletian or Thermal windows
out either side of the villa were symbolic of medieval (or Roman) fortified
town walls.
• The walls of the Villa, interrupted only by the porticos and Serlian
windows - Diocletian or Thermal windows
• Octagonal dome - The distance from the apex of the dome to the base
of the cellar is 70 feet (21 m), making the whole pile fit within a perfect,
invisible cube.
• Three concentric relieving arches at rear of the Villa contains Venetian
windows.
Central axis Serlian windows

Central octagonal dome
Diocletian windows
Temple front - pediment
Cornices
Composite order
Portico
Vermiculation
INTERIOR
• Red room is hung with crimson velvet,
providing a richly coloured background for
his extensive collection of paintings.
• Green with green velvet and mythological
paintings
• Splendour of the Gallery with its beautiful
painted and gilded ceiling..
MATERIALS
• Built of brick and its façade fronted with Portland stone with a small amount of stucco
LANDSCAPE
• Classical landscapes, sweeping vistas, fragrant formal gardens and a woodland wilderness.
• Features employed within the Villa are reflected in the garden. 24
• It has avenues, geometrical pools, an amphitheater, a maze and several small pavilions
MODULE 1
MEREWORTH CASTLE
Architect Colen Campbell
INTRODUCTION
• Palladian country house in Mereworth, Kent, England
• Originally the site of a fortified manor licensed in
1332
• An almost exact copy of Palladio's Villa Rotunda.
• The house is situated in a landscaped park and
valley with a number of surrounding pavilions and
lodge.
• It stands on level ground towards the centre of the
park.
ARCHITECTURE
• Its 27m square, 16.5m high, pale pink-painted
stuccoed form, which was surrounded by a moat
subsequently in filled.
• It is surmounted by a hipped slate roof with dome and
lantern.
• To north and south, broad flights of stone steps lead
up to its otherwise identical elevations.
• Deep pedimented Tuscan portico on the east and
west
• The north-east pavilion contains a room decorated as
a shell grotto while adjacent to the west side of the
west pavilion are two single-storey brick and timber
stable and outhouse wings.
• The interior features plasterwork by Giovanni Bagutti
and fresco painting by Francesco Sleter.
GARDENS AND PLEASURE GROUNDS

• The formal gardens are laid out on two terraces to
the south and east of the house.
• The gardens are planted as a parterre with rectilinear
patterns of clipped box hedging, lawns, and gravel
paths and with a columnar cypress as a focal point in
the south-east and south-west corners.
• An opening on the north side gives access and a
vista to the park and the lakes
Attic
Ground floor
Cellar 25
MODULE 1
GREEK REVIVAL
INTRODUCTION
• Greek Revival style saw that Greek elements were borrowed to create new types and not in its
entirety.
• In the 19th century supremacy of Greek orders provoked architects to use them in public buildings
where they imparted a monumental air.
Characteristics
• Bold details, but with simple moldings
• Heavy cornices & gables with pediments
• Stucco and wood, and stone, are the essential building materials
• Intended to resemble stone or marble temples
• Low pitched gable and hip roofs
• Windows mostly double hung with six panes ; Also small rectangular windows set into the frieze
beneath the cornice.
• Used square or even octagonal columns.
• Single or double, divided into one, two, or four panels.
• A portico or porch was added in front of the entrance.
ST.PANCRAS CHURCH, LONDON
Architect William and Henry William

Inwood
Location London
Date 1819–22
Construction brick, faced with Portland
System stone
Climate Temperate
Context Urban
Style Greek revival
(Neoclassical) By Ar Aishwarya K, RRSA, 2019-20
26
MODULE 1
GREEK REVIVAL
ST.PANCRAS CHURCH, LONDON
INTRODUCTION
• The church is in a Greek revival style,
using the Ionic order.
• Inwoods took inspiration on two ancient
Greek monuments, the Erechtheum
and the Tower of the Winds, Athens
PLAN
• The west end follows the basic
arrangement of portico, vestibules
and tower.
• The church has a central gathering
area with a balcony at an upper level
• Access to the church is through three
doorways ranged under the portico.
• The interior of the apse is in the form
of one half of a circular temple, with
six columns, painted to imitate
marble, raised on a plinth.
• Inside, the church has a flat ceiling
with an uninterrupted span of 60 feet
(18 m), and galleries supported on
cast-iron columns.
• The east end has two caryatid
porticoes,
• The pillars at the west end of the
church are Ionic in style. The octagonal
tower, modelled on the Tower of the
Winds, also influences the shape of the
domed central vestibule.
• The church’s most celebrated features
are the two sets of caryatids that stand
above the north and south entrances to
the Crypt.
• The caryatids are made of terracotta,
constructed in sections around cast-
iron columns
• Introduction of an apse is an innovation
• The crypt, which extends the whole
length of the church.
MATERIALS
• Brick, faced with Portland stone.
• portico and the tower above the roof,
which are entirely of stone.
• External decoration, including the
capitals of the columns is of

terracotta.
• Steps to the church are made from
granite
27
MODULE 1
GREEK REVIVAL
ARC DE TRIOMPHE, PARIS
INTRODUCTION
• Neoclassical version of ancient Greek architecture
• The astylar design is by Jean Chalgrin
• The Arc de Triomphe honours those who fought and died for
France in the French Revolutionary and Napoleonic Wars, with
the names of all French victories and generals inscribed on its
inner and outer surfaces.
• Following its construction, the Arc de Triomphe became the
rallying point of French troops parading after successful military
campaigns and for the annual Bastille Day military parade.
ARCHITECTURAL FEATURES
• The Arc is located on the right bank of the Seine at the centre
of a dodecagonal configuration of twelve radiating avenues.
• Overall height 50m high- 45m long – 22m wide ;
Large vault 29.19m high- 14.6m wide ;
The small traverse vaults are 18.6 m high and 8.4m wide.
Projecting cornice
21 sculpted roses on
the ceiling
Engraved names of soldiers
sculptural group reliefs
Pedestal
• Decorative high relief sculptures celebrating military victories of the revolution and the First empire were
executed on the facades of the arch’s four pedestal.
• On the inner facades of the small arches are engraved the names of the military leaders and the
names of those who died on the battlefield are underlined.
• The main sculptures are not integral friezes but are treated as independent trophies applied to the vast
ashlar masonry masses.
1. Le Départ de - The sculptural group celebrates the cause of the French First Republic during the
10 August uprising
2. Le Triomphe de celebrates the Treaty of Schönbrunn. This group features Napoleon, crowned by
the goddess of Victory.
3. La Résistance de 1814, by Antoine Étex commemorates the French Resistance to the Allied
Armies during the War of the Sixth Coalition
4. La Paix de 1815, by Antoine Étex commemorates the Treaty of Paris, concluded in that year.
• Six reliefs sculpted on the façades of the Arch, represents battle scenes and other moments of the French
revolutions.
• The ceiling has 21 sculpted roses.
• Beneath the Arc is the Tomb of the Unknown Soldier from World War I. it has the first eternal flame
lit in Western and Eastern Europe. It burns in memory of the dead who were never identified (now 28 in
both world wars).
MODULE 1
GOTHIC REVIVAL / NEO-GOTHIC
INTRODUCTION
• Victorian Gothic and Neo-Gothic.
• The Gothic Revival style is characterized by its stone and brick structures, as well as heavy decoration.
• Picturesque and romantic qualities in most gothic revival buildings.
• Associated with Reawakening of high church or Anglo catholic beliefs.
Characteristics
• Pointed arches and or windows
• Irregular appearance
• Vertical emphasis
• Variety of materials
• Rich colours and decoration
• steep-sloping roofs
• decorative tracery
• exuberant forms and decoration,
• turrets,
• steeply pitched roofs, gables,
• Gables often topped with finials or
crossbracing
• pointed arches, bay windows,
• elaborate porches,
• decorative corbels and gargoyles,
• stained glass and patterned floor tiles.
• Decorative crowns (gable or drip mold) over
windows and doors
• Castle-like towers with parapets on some
high style buildings
29
MODULE 1
PALACE OF WESTMINISTER, LONDON
INTRODUCTION
• The Palace of Westminster is the meeting place of the House of Commons and the House of Lords, the
two houses of the Parliament of the United Kingdom. Commonly known as the Houses of Parliament.
• Built between 1837 and 1860
• The Old Palace, a medieval building complex that was destroyed by fire in 1834, and its replacement
New Palace that stands today.
• Located adjacent to the river Thames.
• In 1836 a competition for design of new palace was won by CHARLES BARRY In collaboration with
AUGUSTUS PUGIN
DESIGN
• The parliament has two houses.
1. Chamber of the House of Commons - the House of Commons where the elected
representatives debate and pass laws.

2. Chamber of the House of Lords - The 825 members of the House of Lords are made up of
life peers (700) appointed by the government and hereditary Lords.
• The design and layout of the building were designed to serve the needs and workings of Parliament.
• The Sovereign’s throne, the lord’s chamber and the common chamber in a straight line, thus
linking the three elements of Parliament in continuous form. 30
• It is a four floor structure.
MODULE 1
PALACE OF WESTMINISTER
INTERIOR
1. The Robing room: It is
principally used by the
Sovereign for the state
opening of Parliament.
2. The Royal Gallery: It is

used for important
occasions like State
reception, dinners and
other official ceremonies
often with Members of both
Houses.
3. The Lord’s Chamber:

Most lavishly decorated
room in the palace
4. Central Lobby: A common

meeting place for members
of both houses.
Octagonal in shape.
Intricately tiled floor
Mosaic covered vault
Central tower is built
over the central lobby
Crossroad where
corridors of the Lords,
common and
Westminster hall meet.
5. The commons chamber:

Less ornate than the Lords
Plain windows rather than
stained. Walls have plain
Oak paneling.
6. St Stephen’s Hall: Stands

on the site of royal chapel
of st Stephens until the
chapel was destroyed.
31
MODULE 1
PALACE OF WESTMINISTER
ELEVATION
• The palace features a a full 914 feet Horizontal frontage along he River Thames punctuated by raised
turrets and three main towers that dominate the complex.
1. Victoria Tower - The tallest and the largest of the 3 towers was built to crown Sovereign
entrance(south west). A square plan of 70 feet raises to 345 feet.
2. The central tower - 300 feet tall built mailnly for ventilation takes the form of a spire and
contains the largest known octagonal vault without a central pillar.
3. Elizabeth tower (Big Ben tower) – height of 316 feet was built on the north side
• The exterior is built of Magnesian limestone and interior of Caen stone. All beams and girders are of
iron with brick arches. Attempting to make it fire-proof.
• Central portion with towers creating with two wings and wing towers at each end.
• The wings and the centre portions are divided into 35 bays by hexagonal buttresses with pinnacles to
each.
32
MODULE 2
INDUSTRIAL REVOLUTION
Background
• The Industrial Revolution, was the transition to new manufacturing processes in Europe, it started in
Britain in 1760.
• This transition included going from hand production methods to machines
• It also led to an unprecedented rise in the rate of population growth.
• Affected almost every aspect of daily life was influenced in some way.
Reasons for Industrial revolution:

1. Development of trade and the rise of business
2. Coal – England had large amounts near the surface – cheap to mine replacing wood
3. Wages – highest wages in the world. High wages and cheap fuel costs – efficient for manufacturers
to look to machines for a way of lowering production costs.
4. Mechanization of agriculture
5. Increased opportunity for employment
6. Revolution of textile industry
7. Opportunities for middle class businessmen.
Inventions:
1. The Steam Engine : Invented By James Watt In 1785
Paving the way for their use in factories, mills, mines etc.
The engines were used to pump out water from coal mines.
Steam engine leads to invention of steam ship, steam locomotives
2. The Power Loom : Invented by Edmund Cartwright’s (1785).
Helped mechanize the leading textile industry
It made textile workers 40 times more productive
3. Iron industries : The growth of heavy industry of new building materials
Materials such as cast iron, steel, and glass
Structures which were never created before with respect to function, size, and form could be
realized.
• Cast iron, the least processed form, was brittle due to a high percentage of impurities.
• Wrought iron was a more refined form of iron, malleable, though with low tensile strength.
• Steel was the strongest, most versatile form of iron. Steel had tensile and compressive strength
greater than any material previously available, and its capabilities would revolutionize
architecture
Iron was used in building for railings, balconies, staircase balustrades then, later, structurally, for
supporting columns.
Used in railroads and bridges that spanned gorges and rivers.
FIRST IRON BRIDGE

In 1779, the first iron bridge was built across the
Severn River in Shropshire, England.
• The first arch bridge to be made out of
cast iron.
• The bridge is to a carpenters' design
typically used for wood structures
• The semicircular arch spans 100.5ft
and has 5 arched ribs, each cast in

two halves.
• A programme of repairs took place on
the foundations of the bridge and is now
painted in red.
33
MODULE 2
INDUSTRIAL REVOLUTION
• Important in its innovative use of metal was the great tower (1887-1889) of Alexandre-Gustave Eiffel
in Paris
• The Eiffel Tower, built for the 1889 exhibition in Paris was a dramatic demonstration by the
French of their mastery of this new construction technology.
• Large indoor open spaces were now made possible with the use of strong iron framed construction; this
was ideal for factories, museums and train stations.
Social changes
• There were strong social impact seen between the late 18th to early 20th century.
• New family structures emerged due to new wage economy and production shifted out of the house to
large scale productions in factories.
• Population migration from rural areas to urban areas as factories emerges around towns.
CRYSTAL HOUSE - 1851 by Sir Joseph Paxton
INTRODUCTION
• The Crystal Palace (1850-1851)in
London, a vast exhibition hall, was the
work of Sir Joseph Paxton.
• The exhibition was held in Hyde park
London.
• He put iron and glass together in the
design of large greenhouses.
CHARACTERISTICS
• A total area of 92000sqm (~7hectare)
• Paxton’ design was based on a 10in x
49in module, the size of the largest
glass sheet available at the time.
• The modular system consisted of
right angled triangles, mirrored and
multiplied, supported by a grid of
33 m
cast iron beams and pillars.
• These basic units were extremely
light and strong and were extended
to length of 564 meters.
• The design was also influenced by
Paxton’s passion for bio mimicry;
he drew inspiration from the giant
leaves of the Victoria Amazonica
water lily.
• 5000 workers handled more than
1000 iron columns and 84,000
square meters of glass.
• All parts were prefabricated and
easy to erect
• Every modular unit was self

supporting, allowing the workers
freedom in assembling the pieces.
• over 18,000 panes of glass sheets
were installed per week, and the
structure was completed within 5
34
months.
MODULE 2
Industrial Revolution
CRYSTAL HOUSE - 1851 by Sir Joseph Paxton
• Paxton used ridge and furrow roof design.

• Self supporting shell maximized interior space and
glass allowed sufficient light.
• Built by Joseph Paxton within six months, its design
mimicked the greenhouses.
• It was spacious enough to enclose mature existing trees
within its walls
• The main intention of such a structure was to impress
the world with Britain’s industrial revolution
• The parts of the palace were dismantled after the 6
months of successful exhibition and reassembled in
South London which later was used for shows,
exhibitions, concerts, and other entertainments.
Use of modular units • it was destroyed by fire; the towers that survived were
finally demolished in 1941
124m
563m
MODULE 2
Industrial Revolution
EIFFEL TOWER 1879 – Alexandre Gustave Eiffel
INTRODUCTION
• The Eiffel Tower is a wrought-iron lattice tower on the
Champ de Mars in Paris, France.
• It is named after the engineer Gustave Eiffel, whose
company designed and built the tower.
• Gustave Eiffel a 53-year-old structural engineer,
considered France's "master builder in metal“
• Constructed from 1887 to 1889 as the entrance to the 1889
World's Fair (Paris Exposition)
• The Eiffel Tower is the most-visited paid monument in the
world.
CHARACTERISTICS
• Eiffel tower is the tallest structure in Paris measuring 324m
in height.
• It is wrought-iron lattice tower in chestnut brown (Eiffel
tower brown)
• Its base is square, measuring 125m on each side.
• The tower has three levels accessed by stairs and lifts.
• It only took five months to build the foundations and
twenty-one to finish assembling the metal pieces of the
Tower. 3RD STAGE
• 72 names of French scientists, engineers, and
mathematicians are engraved in recognition of their
contributions.
Construction techniques
• All of the parts used in the tower prefabricated off-site
INTERMEDIATE LEVEL
in his workshops. The parts could quickly be riveted into
place with much ease.
• The rivet holes themselves were predrilled, making it
possible for the twenty riveting teams to drive an average
of 1,650 rivets a day.
• Use of small cranes as all girders were designed to 2ND STAGE
weigh not more than 3 tons.
• The uprights rest on concrete foundations installed a few
metres below ground-level on top of a layer of
compacted gravel. Each corner edge rests on its own 1ST STAGE
supporting block
Since the 1980s, the monument has regularly been
renovated, restored and adapted for an ever-
growing public.
The tower is important for later generations because
it demonstrated spatial possibilities that were
translated into sky scrapers and other large
structures, pointing the way to the future
Stages of Eiffel tower construction

MODULE 2
EARLY MODERN ARCHITECTURE
THE ARTS AND CRAFTS MOVEMENT
The Arts and Crafts movement was an international trend in the decorative and fine arts that began in
Britain and flourished in Europe between about 1880 and 1920.
• Traditional craftsmanship using simple forms
• Medieval, romantic, or folk styles of decoration
• Believed in anti-industrial economic and social reform
• It had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s.
• Many of the leaders of the Arts and Crafts movement were trained as architects
• It was inspired by the ideas of architect Augustus Pugin, Edward coley Charles Voysey, Charles
Renne Macintosh and designer William Morris.
• Red House – Bexleyheath, Kent – 1859 was one of the first examples.
The architects aimed to

• Revive medieval standards and methods of making artefacts,
• Being true to materials, traditional constructional methods
• Function to the essence of design.
The principles of arts and crafts movement:

• Not defined by a particular style but by a set of principles and attitudes
• Rebellion against industrialization and mass production
• Striving for a good quality of life for all including traditional artisans
• The revival of craftsmanship, honesty in construction and truth to materials
CHARACTERISTICS OF ARTS AND CRAFTS MOVEMENT

Architecture was to be:
• Reformed through traditional building crafts,
• The use of local materials
• Free of any imposed style.
• Function, need and simplicity (Exaggerated ornamentation)
The characteristics were:

• Clarity of form and structure
• Variety of materials
• Asymmetry
• Traditional construction
• Craftsmanship
37
MODULE 2
EARLY MODERN ARCHITECTURE - THE ARTS AND CRAFTS MOVEMENT
THE RED HOUSE, WILLIAM MORRIS 1860
Introduction
• The Red house in an arts and crafts
building designed by William Morris
located in Kent.
• Morris wanted to construct a rural house
for himself with the help of friend Philip
Webb.
Characteristics:
Plan
• Has an L-shaped plan and consists of
several combined volumes.
• Two storied structure.
• The ground floor has a large hall, dining
room, library, morning room, and kitchen.
• The first floor has the main living rooms,
the drawing room, the studio, and the
bedrooms.
• Windows were positioned to suit the
design of the rooms hence not repetitive.
Elevation
• Depicts solidity and varying
proportions
• Asymmetry and rustic natural
appearance.
• No clear façade or a front to the building.
• Fenestrations are not repetitive and are
irregularly placed.
• Varying sizes of the fenestrations used
• a high-pitched roof made of red tile
Breaking away from the constrictions of

symmetries and perfection has created a
unique and interesting product.
All artifacts inside ranging from furniture, drapery, murals, and tiles, were specifically designed and chosen
by Webb and Morris, displaying creativity and discouraging mass-production.
38
MODULE 2
EARLY MODERN ARCHITECTURE
ART NOUVEAU
Art nouveau is an international style in architecture and

design that emerged in the 1890s (till about 1905 – WW1)
and is characterised by sinuous lines and flowing
organic shapes based on plant forms.
• Art Nouveau rose as a reaction to 19th-century
designs dominated by neoclassicism.
• Propagated the idea of art and design as part of
everyday life.
• New Art - or Art Nouveau
• Applied to architecture, fine art, decorative art.
• Influenced by the arts and crafts movement ; Japanese
motifs ; Celtic designs
Characteristics
• It was a deliberate attempt to create a new style, free of
the imitative historicism that dominated much of 19th-
century art and design.
• Undulating asymmetrical line, often taking the form of
flower stalks and buds, vine tendrils, insect wings,
and other delicate and sinuous natural objects
• Rhythmic Floral designs & Plant inspired motifs.
• Used linear patterns of Japanese prints.
• Architecture particularly shows the synthesis of
ornament and structural elements. (for example, in
the creation of unified interiors in which columns and
beams became thick vines with spreading tendrils and
windows became both openings for light and air and
membranous outgrowths of the organic whole)
• Some used new low-cost materials and mass
production methods while others used more
expensive materials and valued high craftsmanship.
BASED ON ORGANIC SHAPES ; PLANT FORMS
Examples are works by Spanish architect Antonio
Gaudi (1852-1926) and the stylistic Parisian Metro
entrances of Hector Guimard (1867-1942)
39
Metro entrances designed by Hector Guimard
MODULE 2
EARLY MODERN ARCHITECTURE - ART NOUVEAU
The Spanish architect and sculptor Antonio Gaudí, perhaps was the most original artist of the Art
Nouveau movement, who went beyond dependence on line to transform buildings into curving, bulbous,
brightly coloured, organic constructions.
CASA MILA (LA PEDRERA), BARCELONA – ANTONI GAUDI

Name: Casa Mila (La Pedrera)
Architect: Antoni Gaudí Timeline: 1907-1910
Location: Barcelona, Spain.
Style: Modernism (Art Nouveau)
• Casa Mila is a private residence referred

to as "The stone quarry", a reference to its
unconventional rough-hewn appearance.
• In 1984, it was declared a World Heritage
Site by UNESCO.
Architectural Characteristics:
• Structural innovations include a self-
supporting stone façade, and a free-
plan floor, underground garage and the
spectacular terrace on the roof.
• The building is 1,323 m2 per floor on a
plot of 1,620 m2.
Plan
• He designed the house as a constant
curve, both outside and inside,
incorporating ruled geometry and
naturalistic elements.
• It consists of two buildings, around two
courtyards that provide light to the nine
storeys.(Basement+Mezzanine+rental
floors+ attic)
• Layout is shaped like an asymmetrical "8"
because of the different shapes and sizes
of the courtyards.
Elevation
ROOF
• Undulating stone façade and twisting

wrought iron balconies.
• Characterized by its self-supporting
stone façade (free of load-bearing walls)
Attic
• Has three parts:

1. The main body of the six-storey
blocks with winding stone floors
MAIN BODY
2. Two floors set a block back

which is the attic has a different
curve, similar to waves with small

holes.
3. The body of the roof
Materials
• Brick construction covered with lime, broken marble, or glass
• Sculptures used for aesthetics as well as structural purpose.
40
• Plastered ceilings with dynamic reliefs, handcrafted wooden doors, windows, and furniture, as well
as hydraulic tile
MODULE 2
SAGRADA FAMILIA, BARCELONA – ANTONIO GAUDI (1883-PRESENT)
• Sagrada Familia is a large unfinished Roman Catholic minor basilica Gaudi devoted the remainder of
his life to the project, and he is buried in the crypt.
• The church is a UNESCO World Heritage Site.
Architectural characteristics
• Combination of Gothic and
curvilinear Art Nouveau forms.
• The detailed plans and drawings
were left behind for Gaudi knew he
wouldn’t be alive to see the
finished construction. 5
Plan
• The floor plan of the church is that 1 2 4
of a Latin Cross placed on top of
the initial crypt with five aisles.
• The major parts of the plan:
1) Entrance
2) Passion Façade
3) Glory Façade
4) Nativity Façade
5) Altar
• Length 90m (300 ft) ;Width 60m
(200 ft)
• Concept: creating a visual
satisfaction by implementing 3
the idea of tree branch and
sunlight. The columns and arches
were designed to achieve this.
Elevation
• Gaudi combined geometric shapes: hyperboloids,
paraboloids, helical, conoides and ellipsoids
• The main altar was surrounded by seven domes meaning
the pains and sins of Saint Joseph.
• Above the façades Gaudi designed 4 towers, eighteen spires
were to be erected which represent the Apostles, and one
dedicated to Jesus and four more devoted to the Evangelists
and one to the Virgin. (8 constructed)
• The total height being 170m
• There are many sculptures representing religious figures.

• The Sagrada Familia is like a stone Bible that reproduces
scenes of Christ’s life and symbols of the Old Testament
41
MODULE 2
SAGRADA FAMILIA, BARCELONA – ANTONIO GAUDI (1883-PRESENT)
Nativity facade : the first façade to be completed.

It is dedicated to the birth of Jesus, the floral design is what shows the element of life.
This façade is facing the rising of the sun at the northeast which represents the birth of Christ
Passion façade: Situated on west side (facing the setting sun)

Depicts sorrow, hence the façade is dedicated to the suffering of Christ.
Façade is austere, plain and simple, with ample bare stone, and is carved with harsh straight lines to
resemble the bones of a skeleton.
Glory Façade: The glory façade is the largest most striking of all the façade.
Leads to the central nave.
Represents the road to God : Death, Final Judgment and Glory.
The shining light effect created by stained glass adds to the aura of this space.
The Altar The altar is the focus point of the whole Cathedral as it is centrally located and elevated from the
floor making
The stained glass skylight brings in light to add to the importance of this space
Skylight were designed between columns and the apse was lit by stained glass
42
MODULE 2
ITALIAN FUTURISM (1909 – 1944) Reconstructing the Universe
The Futurist movement existed as a distinct entity from 1909 - 1944; however the movement began to
loose momentum after the death of Umberto Boccioni in 1916.
• The Futurists were interested in anything new and anything having to do with technology.
• Interested in a complete disposal of the past.
• This combination of interests drew the Futurists heavily to the hustle and bustle of city life.
• Futurists had ideas for improving upon their choice living area.
 Antonio Sant’Elia was the primary driving force behind Futurist architecture.
He was born in 1888 in Italy where he trained and qualified as a builder.
By 1914 he was fully under the influence of Futurist ideas.
Antonio Sant'Elia wrote the official Manifesto of Futurist Architecture in 1914.
The “Manifesto of Futurist Architecture” puts forth the following :

• There should be an intense desire to depart from the past.
• Futurists fully embraced any new technologies.
• New materials to be used in the new designs.
• Usage of new materials in the construction of buildings with historical designs disrespects the
materials.
• Recommend that architecture be constructed of degradable materials ensuring that nothing would
endure past a single generation.
• Expected occupancy spans of 40 years or less.
• Refused the aestheticization of the built environment.
What resulted
• Designs produced where not as radical as they would have liked.
• Antonio Sant’Elia have hints of monumental architecture, with many designs featuring monumental
facades and monolithic pillars.
• Their desire to create a new city to separate from the past, no full plans were created.
• As much as the Futurists may have wanted to obliterate the past, such an objective is essentially
impossible.
These visions have all in common the research for a new language suitable to new typologies: factories,
power plants, train and airplanes stations, infrastructures, and whole metropolis
La Citta Nuova (The New City) 43

Antonio Sant'Elia, 1914
THE CHICAGO SCHOOL
Background
• Within a decade after the fire of 1871, Chicago was a boomtown.
• By 1890 it had a population of more than a million people becoming the second-largest
metropolis in the United States.
• Land value went up and hence efficient use of land was the goal.
• The city becomes a center of innovations.
• One of the keys to this development was the invention of the elevator
• The term "Chicago School" is widely used to describe buildings constructed in the city during the
1880s and 1890s.
• Chicago had a special problem that it stood upon a swamp - structurally innovation was required.
Chicago School of Architecture

• Louis H. Sullivan and John Wellborn Root as its most
The Capital
successful members
• Flourished for 30 years from 1880 to 1910
• Developed the structural system of the contemporary
multistory building
The Style:
• It was a form of democratic architecture, its form must
follow its function - a human function.
• Use of steel-frame buildings with masonry cladding The shaft
(usually terra cotta),
• Large plate-glass window areas (The "Chicago window")
• Limiting the amount of exterior ornamentation.
• Skyscrapers designed as the three parts of a classical
column :
1. The first floor functions as the base,
2. The middle stories, usually with little ornamental The Base
detail, act as the shaft of the column,
3. The last floor represent the capital, with more
ornamental detail and a cornice.
WAINWRIGHT BUILDING - Louis H. Sullivan
"Chicago window“
• It is a three-part window consisting of a
large fixed center panel flanked by two
smaller double-hung sash windows.
• The arrangement of windows on the
facade typically creates a grid pattern,
with some projecting out from the facade
forming bay windows.
• They combined the functions of light-
gathering and natural ventilation;
• A single central pane was usually fixed,
while the two surrounding panes were
operable
Advantages
The new construction, while costly, had overwhelming advantages:
• Almost fireproof
• The thin curtain walls hung from the steel frame allowed for more interior rental space
• New floors could be added easily
• Exterior walls were no longer essential
• Replaced by ever larger expanses of glass, an important consideration in the early era of 44
electrical lighting
THEORY OF SKYSCRAPERS – Louis H Sullivan
BACKGROUND
• Offices are necessary for the transaction of business;
• The invention and perfection of the high-speed elevators make vertical travel easy and comfortable.
• Development of steel manufacture has shown the way to safe, rigid, economical constructions rising to
a great height
• Continued growth of population in the great cities, consequent congestion of centers and rise in value
of ground, stimulate an increase in number of stories
SULLIVAN'S SOLUTION
Sullivan's list of solutions to the many problems associated with building tall:
1. A story below-ground, containing boilers, engines of various sorts, etc., — in short, the plant
for power, heating, lighting, etc.
2. A ground floor, so called, devoted to stores, banks, or other establishments requiring large
area, ample spacing, ample light, and great freedom of access.
3. A second story readily accessible by stairways, — this space usually in large subdivisions,
with corresponding liberality in structural spacing and expanse of glass and breadth of external
openings.
4. Above this an indefinite number of stories of offices piled tier upon tier, one tier just like
another tier, one office just like all the other offices, — an office being similar to a cell in a honey-
comb, merely a compartment, nothing more.
5. Fifth and last, at the top of this pile is placed a space or story that, as related to the life and
usefulness of the structure, is purely physiological in its nature, — namely, the attic. In this the
circulatory system completes itself and makes its grand turn, ascending and descending.
The space is filled with tanks, pipes, valves, sheaves, and mechanical etc. that supplement
and complement the force originating plant hidden below-ground in the cellar.
6. Finally, or at the beginning rather, there must be on the ground floor a main aperture or entrance
common to all the occupants or patrons of the building.
45
THE CHICAGO SCHOOL

WAINWRIGHT BUILDING - Louis H. Sullivan
"Form follows function” - Louis H. Sullivan
Wainwright Building among the first skyscrapers built in the world, the Wainwright Building by Louis
Sullivan and partner Adler Dankmar is regarded as an influential prototype of a modern office
architecture.
The Wainwright building upholds the theory of Sullivan's tall building, with the tripartite composition of
base, shaft and attic.
Plan
• With the intention of opening up the corner of the building to
the street, the first floor was dedicated to street-level Inset
windows Prominent
shops and the second to be easily accessible public frieze
offices.
• Higher floors of the were for offices, and the top houses
water tanks and building machinery. Brick
Elevation
• Retail openings required large glazed openings. Brown
• Windows are all inset slightly behind their surrounding stone
columns and piers, to withhold Sullivan's vertical
aesthetic.
• Construction system is based on a steel frame that is clad
in masonry; this is credited for being the first successful
utilization of steel frame construction.
• Organic ornamentation and carvings
o The most prominent being the frieze that rests
below the deep cornice, the surface around the
door of the main entrance, and the spandrels
between the windows on different floors.
o The celery-leaf foliage varies in design and scale

with each story, embellished in terra cotta.
o Brown sandstone is the facing for the first two
floors, and the following seven stories are
continuous brick piers.
o Ornate foliage reliefs are carved in terra cotta
panels, decorating each floor.
THE CHICAGO SCHOOL

THE CHICAGO AUDITORIUM 1890- Louis H. Sullivan & Adler
The Auditorium is one of Chicago's architectural
masterpieces.
Built in 1888, it combines Adler's engineering ingenuity
with Louis Sullivan's architectural virtuosity. Frank Lloyd
Wright joined as a draughtsman.
A hotel and office block were added in 1890 to ensure
the theater's economic viability.
Plan
• In the center of the building was a 4,300 seat Lighter
limestone
auditorium, originally intended primarily for
production of Grand Opera.
• Around the central space an addition of 136 offices
and a 400-room hotel
Exterior
• Sullivan emphasized both massing and the rhythm
of repetitive window patterns
• Load-bearing stone walls on the perimeter of
various textures and colors.
• The bottom three floors of the building were made
of large rough-cut blocks of dark granite stone
while the remaining seven floors and the tower above
are made of lighter limestone
• The building had separate entrances for theater,
office building and hotel. Dark Granite
Interior
Elements meticulously woven into the architectural
design of the Auditorium Theatre include organic
architecture, nature, form follows function.
Spatial flexibility : The theatre was designed with
multiple elements that allowed the theatre to change
size, shape, and purpose.

DESTIJL MOVEMENT 1917-1931
De Stijl means “The Style”
Introduction
• Artistic movement founded in Netherlands. Also called “Neoplasticism”
• Group of architects, sculptors and painters. Headed by Dutch artists Piet Mondrian, Theo van
Doesburg and architect Gerrit Reitveld.
• It came into effect after the World War 1 and rejected the decorative approach.
• Total abstraction consisting of only the most basic design components.
• Designs were with a social intent more than individualistic.
• The group’s monthly journal called ‘De-Stijl’ started in 1917. The publication discussed the groups
theories which was published by van Doesburg.
MANIFESTO OF DE STIJL, 1918

• Ultimate simplicity and abstraction
• Philosophy based on functionalism - form and function
• Harmony and order - established through a reduction of elements to pure geometric forms and
primary colours
• Primary colours – yellow, red and blue and black and white
• Asymmetrical balance and composition
• Vertical and Horizontal planes
• Distill art and architecture to a level of almost scientific precision and perfection.
De Stijls principles were based on:
• A grid layout with vertical and horizontal lines that did or didn’t intersect each other.
• Use of squares and triangles arranged in a vertical/horizontal layout to convey abstract
simplicity with rectilinear forms.
• There is also a relationship of positive and negative space
Mies van der Rohe was among the most important proponents of its ideas.

DESTIJL MOVEMENT 1917-1931

SCHRÖDER HOUSE 1925 - Gerrit Reitveld.
The Schroder House is the only building that was

designed in complete accordance with the De Stijl
style, which was marked by primary colors and
pure ideas.
Located in Utrecht, Netherland.
Architectural Characteristics
• Flexible and open interior spaces
o The two-story house contains a
transformable kitchen/dining/living area.
o Studio space and reading room on the
lower mezzanine, and the second floor
contained bedrooms and storage space,
only separated by portable partitions.
o No hierarchical arrangement of rooms
in the floor plan
o Collapsible walls upstairs positioned
around a central staircase were designed
to provide an option of pushing the
partitions in during the day for an open
play space and closing them at night
for private bedrooms.
• Planar quality in all aspects
o To preserve the strict design standards
about intersecting planes, the windows
are hinged so that they are only able to
open 90 degrees to the wall.
o The main structure of the house is of
reinforced concrete slabs and steel
profiles.
o Walls are made of brick and plaster;
window frames, doors, and floors were
made from wood
• Specific paint colors to distinguish different
spaces or functions. For example the front door,
where black paint is used because it would be
accessed the most and be easily soiled.
• Initially considered the outskirts of Utrecht, the site
on which the house is built opened up to only a
few views worth framing.
THE BAUHAUS 1919 - 1933
Introduction
The Bauhaus, a German word meaning "house of building", was a school founded in 1919 in Weimar,
Germany by architect Walter Gropius
• Stressed on uniting art and industrial design.
• Gropius envisioned the Bauhaus encompassing the totality of all artistic media, including fine art,
industrial design, graphic design, typography, interior design, and architecture.
• The school is also renowned for its faculty, which included artists Wassily Kandinsky, Josef Albers,
Laszlo Moholy-Nagy, Paul Klee and Johannes Itten, architects Walter Gropius and Ludwig Mies van
der Rohe, and designer Marcel Breuer.
The Bauhaus School Philosophy

• The students learn a way of design that can be applied to many fields such as graphics, textiles,
products.
• Production of everyday objects and design works that would be handcrafted yet would resemble a
mass produced merchandise.
• Use of simple geometric shapes and basic primary colours.
• Producing functionality that would follow the modern ideas of looking at art and technology.
• Movement teaches “truth to materials” as a core tenet, which means that material should be
used in its most appropriate and “honest” form,
• Bauhaus movement transformed the design and production of modern furniture by incorporating the
use of steel as frames and supports for tables, chairs, sofas and even lamps.
WALTER GROPIUS - Father of Bauhaus (1883-1969)
CHARACTER OF WORKS:
o Simple geometry, often rectangular
o Use of modern materials like steel and glass
o Smooth surfaces
o Primary colors
o Linear and horizontal elements
• Walter Gropius wanted his buildings to stand there, bare, and radiate from within: modern,
geometric, bright.
• The combination of life, craft and art under one roof became the credo of the art school.
• In 1911, Gropius worked with architect, Adolf Meyer, to design the FagusWerk Factory for a shoe
company in Germany.
• It was his first notable building, made of steel and glass with large banks of windows to let light in
from the exterior to interior spaces.
• Gropius kept it simple and did not add any decoration to surfaces, unlike many building styles of the
time.
• With its clean, spare surfaces and use of industrial materials, The FagusWerk Factory is often
considered the first 'modern' building
• With this aesthetic understanding of architecture, Gropius founded the Bauhaus in 1919

FAGUS WERK (SHOE) FACTORY, Germany 1911-25
Introduction
The Fagus Factory is In Alfeld
Germany and is an important example
of early modern architecture
The Fagus factory is still in use today
and was included on the list Of
UNESCO World Heritage Sites In
2011.
Plan
• The Fagus Factory is a complex
with many buildings, which contain
various functions such as
manufacturing, storage, and
offices.
• It Was Called An Artistic And
Practical Design By Gropius.
• According to Gropius, the factory • The office and is one of the most important and characteristic of
should be a kind of palace for the the complex. The main building, rectangular in shape, was
workers who were offered light, designed as a structural framework without pillars in the corners,
air and hygienic atmosphere with a front metal grid cut by glass covers, one of the first
examples of curtain wall.
Construction
• A Hybrid Construction Of Brick Columns, Steel Beams
And Concrete Floor Slabs And Stairways
• The supports of the building are Hidden slender piers iron
frame
• It was a steel frame supporting the floors, glass screen
external walls.
• Pillars are set behind the façade so that its curtain
character is fully realized.
• Glass screen was used all over the walls to have proper
view from inside.
• Walls are no longer supporters of the building but simple
curtain projecting.
Elevation
• Flat-roof, three-story building features a façade that is
comprised of more glass than brick.
• It was domination of voids over solids.
• Plane surfaces predominate in this factory.
• Fully glazed exterior corners, which are free of structural
elements.
• All buildings have A base of about 40cm of black brick
and the rest is built of yellow bricks

• In order to enhance this feeling of lightness, Gropius and
Meyer used optical refinements like:
o Greater horizontal than vertical elements on the
windows,
o Longer windows on the corners
o Taller windows on the last floor

BAUHAUS SCHOOL OF DESIGN, DESSAU 1925
INTRODUCTION
• Designed by Walter Gropius and his partner
Meyer with certain amount of participation from
students.
• Bauhaus, was an art school in Germany that
combined crafts and the fine arts.
• Aesthetically Bauhaus was an advanced
building but technologically- probably because
of the limited funds
ARCHITECTURAL CHARACTERISTICS
Planning
The complex consists of five main elements:
o Workshop Block.
o Teaching Block.
o Social Areas (dining/stage/auditorium)
o A 5-storeyed Study Block.
o An Administrative Wing
• Plan show the linear nature of the individual
structures. Open floor plans
• The building was distributed in three main wings
connected by a bridge element, CONCEPT
o The studio wing are connected by 1. Innovative use of new materials such as curtain wall
auditorium, canteen, kitchens and glass facades
gymnasium 2. Horizontal windows
o The wing on left is the school of arts 3. No ornamentation
and crafts, 4. Overall design of all elements
o Wing on the right accommodate the 5. Spaces that interplay between inside and outside
workshop noticeably more industrial through the glass wall
• Concept was to produce a separation of each
of these functions from others, at the same
Horizontal individual
time not isolating them but bringing them windows for openings
together into efficient integration. maximum light for privacy
Facade
• Each facade responds to the activity
corresponding to it; Smooth facades cubic
shapes
• The front of the classroom block is composed
of horizontal windows, whose function is to
ensure adequate lighting,
• The apartments shows individual openings
designed to increase privacy.
• The workshops have a significant glass
front, allowing maximum light and view of the
interior from outside
Interior
light and airy; Flat Roofs ; Colours Are White,
Gray, Beige Or Black ; Furniture is functional
Structure An iron and concrete structure forms

the skeleton of the building ensuring the unity of
the whole
Materials
1. New industrial materials like reinforced concrete, rolled steel and plate glass in large sizes.
52
2. The walls have the typical smooth white plaster, but also have a base with rough plaster and gray.
3. The windows of the Bauhaus are all steel and simple & dark gray (create an illusion of a large area)

HARVARD GRADUATE CENTER
Introduction
Location: Cambridge, Massachusetts, New England
The Harvard Graduate Centre, also known as "the Gropius Complex" was commissioned of The
Architects Collaborative by Harvard University in 1948.
The first modern building on the campus.
• It is a group of eight buildings arranged around small and large courtyards on the Oxbridge
pattern.
• No building is more than four stories high
• Has a good community feel about it and is humanly scaled.
• Buildings: dormitories, common rooms, refectory and a lounge convertible into a meeting hall for
250 people.
• The dormitory blocks are constructed in reinforced concrete and the community buildings in steelwork.
The planning of the dormitories is of the conventional central-corridor type with single and double
rooms off either side.
• Horizontal emphasis which is balanced by verticals together with the rectangular windows moving
towards square and large areas of plain walls always well proportioned to create a feeling of repose
and simplicity.
• Materials used are concrete with brick exterior of buff-colored brick or limestone.

LUDWIG MIES VAN DER ROHE
About
A German-born architect and educator acknowledged as one of the 20th century's greatest architects.
By emphasizing open space and revealing the industrial materials used in construction, he helped define
modern architecture.
Along with Le Corbusier, Walter Gropius and Frank Lloyd Wright, he is widely regarded as one of the
pioneers of modern architecture
Philosophy - LESS IS MORE

• Buildings were free of ornamentation.
• Buildings radiate the confidence, rationality, and elegance of their creator.
• Followed the reductionist approach.
• "Skin and bones" architecture.
• Use of simple rectilinear and planar forms, clean lines, pure use of color
• Extension of space around and beyond interior walls.
Characteristics
• Simplicity and clarity of forms
• Elimination of "unnecessary detail“
• Use of industrially-produced materials; adoption of the machine aesthetic
• True to materials - Widespread use of glass
• Open functional and multipurpose spaces
SEAGRAM BUILDING
Architects: Mies van der Rohe + Philip Johnson
Location: 375 Park Avenue, New York ,USA
Commissioners: Seagram Liquor Company
• 39-story ; 516-foot tall office
• Use of modern materials and setback from the city
grid, became a prototype for future office buildings.
Noted for windows
• Public plaza that features a monumental sculpture by
alexander calde
Planning
• Emphasis on the steel frame structure, curtain wall,
and rational floor
• The building became a monumental continuity of bronze
and dark glass
• These floors also get maximum natural lighting with
the exterior being glass panes of gray topaz that were
used for sun and heat protection.
• PLAZA
o Mies’ response to the city with the Seagram
building was the grand gesture of setting back the
building 100 feet from the street edge, which
created a highly active open plaza.
o The generous plaza to the building the tower itself

only takes up 40%of the site
o The plaza attracts many people and creates a
procession from the city streets to the entry,
consists of two large fountains and plenty of
sitting space.
o Large granite surface of the plaza
LE CORBUSIER
About
Charles-Édouard Jeanneret, known as Le Corbusier was a Swiss-French architect, designer, painter,
urban planner, writer, and one of the pioneers of called modern architecture.
His career spanned five decades and he designed buildings in Europe, Japan, India, and North and South
America.
Le Corbusier was influential in urban planning, and was a founding member of the Congrès International
d'Architecture Moderne (CIAM).
LE CORBISIER’S FIVE POINTS OF ARCHITECTURE

1) ONE: Lift The Building Over Pilotis or pylon : The building is raised up on reinforced concrete
pylons, which allows for free circulation on the ground level, and eliminates dark and damp parts
of the house.
2) TWO: Free Designing Of The Ground Plan. A building floor plan should be free from structural
condition, so partitions can be organized in any way.
3) THREE: The Free Facade. The structure separates from the facade, relieving it of its structural
function. the façade can be much lighter and more open, or made entirely of glass.
4) FOUR: The Horizontal Window/ The Ribbon Window: Since the walls do not support the house, the
windows can run the entire length of the house, so all rooms can get equal light.
5) FIVE: The Roof Garden. A building should give back the space it takes up on the ground by replacing
it with a garden in the sky. The sloping roof is replaced by a flat roof; the roof can be used as a garden,
for promenades, sports or a swimming pool.
VILLA SAVOYE
Introduction
• Villa Savoye is a modernist villa in Poissy, on the outskirts of Paris, France.
• It was built between 1928 and 1931 using reinforced concrete.
• The house was originally built as a country retreat on behest of the Savoye family.
• It was designated as an official French historical monument in 1965.
• It was designed addressing his emblematic "Five Points“
• The site was on a green field on an otherwise wooded plot of land with a magnificent landscape view to
the north west that corresponded with the approach to the site along the road.
• The Villa Savoye is a reflection of the five points of architecture of Le Corbusier:
o The building which rests on pilotis (columns), leaving the area mostly free so that the landscape
is integrated to the building.
o Instead of sloping roofs, terraces are another garden more.
o Free interior space, not rigidly distributed by fixed partitions.
o The continuous window developed horizontally to achieve a profuse natural lighting.
o The free façade, i.E. Independent of the supporting structure.
• Free and fluid internal spaces. Natural illumination of spaces organization revolves around circulation.
• FLOATING EFFECT: The house appears to be floating supported by slender pilotis that seem to
dissolve among the tree line, as the lower level is also painted green to allude to the perception of a
floating volume.
• It contains ramps, elegant curves, splashes of color, and a clever interplay between interior and
exterior.
• The lower level serves as the maintenance and service programs of the house.
• The curved glass facade on the lower level that is formed to match the turning radius of automobiles of
1929.
• RAMP : The ramp is a subtle spatial experience that takes the observer from the darker lower level
to the more brightly illuminated main floor and then on up to the completely exposed roof garden.
• ENTRANCE: The four column at the entrance leads the visitor to the ramp. The ramp makes the
inhabitants to slow down and experience the movement between spaces.
LE CORBUSIER
VILLA SAVOYE
FACADES
• Ribbon windows that blend seamlessly into the stark, white facade.
• Rooftop windows form voids in the ceiling are employed to bring light into the structure in calculated
spots to create specific pools of light.
• Pilotis perform a number of functions around the house, both inside and out.
• On the two longer elevations they are flush with the face of the façade and imply heaviness and support,
but on the shorter sides they are set back giving a floating effect that emphasizes the horizontal feeling
of the house.
• He used wooden framed windows to allow for the glass to be pushed near the edges
ROOF GARDEN
RIBBON WINDOWS
FREE FACADE
Use of green to blend

with the surrounding
PILOTIS OR PYLON

LE CORBUSIER
• An idea for mass production houses.

• Uses reinforced concrete structure to allow the architect to apply non load
bearing walls according to need.
• Intended to show how technology could be used to free the architect from
the constraints of traditional building materials.
• Allows for construction of varied spaces using one basic skeleton.

FRANK LLOYD WRIGHT
PHILOSOPHY - "FORM AND FUNCTION ARE ONE"

• Pioneered a bold new approach to domestic architecture
• Dramatic shift in design
• Inspired by his mentor Louis Sullivan whose slogan “form follows function” became the mantra of
modern architecture.
• Wright changed this phrase to “form and function are one,” using nature as the best example of this
integration.
• Developed a unique vocabulary of Form, Space and Pattern
Organic Architecture - Environmentally integrated approach to architectural design

• Organic architecture is architecture appropriate to time, place, and people
• Appropriate to place means a building in harmony with its natural environment—a building that in its
proportions, materials and design, belongs to its site.
• Appropriate to people means a humane architecture, in human scale
Principles of Organic Architecture
• The belief that a building should appear to grow easily from its site
• Choosing one dominant form for a building and integrating that form throughout
• That architecture should reflect nature and exhibit the same amount of unity as prevails in nature.
• Revealing the nature of materials – (natural materials such as wood and stone )
• Opening up spaces
• Providing a place for natural foliage
Prairie Style Houses

Wright’s work with space and construction possibilities in these houses had an effect on the design of his
subsequent buildings. The typical characteristics of these free-standing houses were a broad,
overhanging roof and horizontal window bands.
A free plan was developed around a central chimney.
The building had low proportions (not very high), which was related to the ground. It had a gently
sloping roof. All these formed the characteristic features of domestic architecture.
The first step was the development of the plan of the house which had a plenty of open spaces
separated from one another by simple architectural devices instead of partitions, walls or doors.
This was called the open plan. The integration of building with nature was another innovation. This helped
Frank Lloyd Wright to develop the concept of organic architecture.

FRANK LLOYD WRIGHT

ROBIE HOUSE, CHICAGO 1908-1909
Introduction
• The last and best of the houses in Wright’s prairie era.
• It was designed for a narrow corner lot where it is
located in Hyde Park, a suburb of Chicago.
• Its elongated horizontal profile seemed an
exceedingly strange appearance among its
conventional and vertical neighbors.
• The house occupies almost the entire plot.
• “Defined Spaces” And “Closed Spaces”
o Wright rejected the popular view that indoor
spaces should be closed and isolated from
each other
o Space in each room or hall was open to the
other, so that the feeling in the house was one
of immense light and space.
o Wright resorted to lightweight divisions or
different height ceilings, avoiding unnecessary
solid room divisions.
• Rejected boxes in a box concept (“explosion of
the box”)
The interior space is fluid and transparent,
allowing the entry of light without obstructing the
view
1. Ground Floor – Access; utility equipment, laundry,
pantry space, and a 3-car garage ; A game room and
billiard room separated by a fireplace.
2. Second level – Kitchen and the servants quarters ;
living and dining rooms, separated by a massive
central space fireplace but visually connected
3. Third level - The bedrooms are at this level,
overlooking the house in a sort of tower style.
Elevation
• The house has no façade ; conventional windows,
nor a principal entrance or front door.
• The horizontal feel of the edifice is reinforced by the
window sills and stone thresholds, as well as by
the thin mortar joints of the brick work.
• Wright organized symmetric forms in asymmetric
groupings.
• The basis of the composition is a long two story
block, with apparently symmetrical porches, each
featuring a sloped roof, at each end.
• There is a row of large doors opening onto a large
balcony that projects outward from the house. The
balcony provides shade to a series of similar windows
on the ground floor.
Materials
• Roman brick and limestone cladding.

• Use of steel in the structure of the house by using two
main beams that run lengthwise
Interiors
• Wood strips arranged perpendicularly to the direction of the room and rhythmically placed lights reduce
the feeling of a long narrow space.
• All the furniture was designed by Wright such as the dining table and chairs
FRANK LLOYD WRIGHT

FALLINGWATER, BEAR RUN, PENNSYLVANIA 1935-1937
Introduction
The building bears a relationship with the environment that becomes of respect or adaptation to the
environment. Falling water is a house built over the waterfall
The building grows from within outwards and is spreading according to the needs of its residents.
In the organic architecture building is conceived as a living thing and that can change.
Planning
• Delicate synthesis of nature and the built environment.
• The contouring of the house into cantilevered ledges responds to the rock strata of the stream banks
• The building, constructed in three levels, is built on a rock on a natural waterfall.
• The interior space is comprehensive and free.
• The large living area has a wall of glass that lets you enjoy the view and sound of the waterfall.
• He boldly extended the balcony of the second floor master bedroom soaring six feet beyond the living
room below.
Construction
• Use of rocks on the site for foundation.
• Terrain of the site were removed rocks that make up the bottom of masonry facades of the building,
placed there to create a natural progression from rock to the concrete floor of the parties to highlands.
Elevation
• Much of the house is in overhang at the top of the creek
• Composition is horizontal, although somewhat complex.
• Use of Orthogonal forms that have overhangs and walls
• The vertical axis is defined by the chimney that stands out above the deck.
• Pergolas are used as entrance awning along the slope and in other places to use their shadows as a design
element
• Creative use of “corner turning windows” without mullions causes corners to vanish
• Cream colored, contrasting with the color green or brown (depending on the season)
Structure
• Aporticado type of structure because there are columns and beams to form porches, and the plates, the
horizontal elements that stretch as terraces on the waterfall, were made with concrete.
• Some walls, vertical elements and space defining elements like the floor, were lined with native stone
from the site
Materials
concrete, stone rugosa, native stone, wood and steel
Vertical axis defined by

chimney
Native stone
Pergolas
Corner turning windows
Overhangs
Emphasizing
Horizontality
Adapting to the Waterfall

FRANK LLOYD WRIGHT

FALLINGWATER, BEAR RUN, PENNSYLVANIA 1935-1937

FRANK LLOYD WRIGHT

Solomon R Guggenheim Museum, 1959 New York
Introduction
The Museum’s proximity to Central
Park was key; as close to nature as
one gets in New York, the park
afforded relief from the noise and
congestion of the city.
Nature not only provided the museum
with a respite from New York’s
distractions but also lent it inspiration.
• Geometry and Patterns – brickwork,
flooring, atrium
• Completely open Atrium by
cantilevering ramps – main
exhibition space
• Innovative use of concrete
• Wright has based his design on the
idea of a spiral ramped building
topped by a large skylight.
• He conceived of the museum as an
airy, open place where visitors
would not have to retrace their steps.
• He planned a continuous ramp
curling around a great central
space. The rotunda floor
functions almost like a town
plaza.
• Visitors on the ramps not only view
the art, but also are aware of people
in other areas of the museum.
• Wright described his plan as one in
which the visitor would enter the
building on the ground level, take
an elevator to the top, and
descend the gradually sloped
ramp, enjoying the art on display,
until returning to the entrance.
Planning 1. ROTUNDA
• Externally the main volume is 2. EGG WASH
composed of a continuous 3. THE SPIRAL
concrete ribbon which surrounds 4. THE ENTRANCE
the ramp and which is inclined 5. LANDSCAPE
outwards, thus breaking this large 6. THE THEATER THE FIFTH AVENUE
volume.
• Another smaller the cylinder
located in the opposite corner,
and both volumes are connected by
a horizontal slab, forming a canopy.

• The ramp, which rises 6 laps, gets closer to the center as it
• The museum is sunk from the level
ascends in height, which makes the higher levels much wider than
of the street, and separated by a
the lower ones. This also increases the effect of internal
planter creating a sense of
perspective, so that the space seems higher than it actually is.
stability.
• It is therefore a cone-shaped space within an inverted cone.
• Outside walls lean outward, but the
• The dome emphasizes the centrality of the design by means of
inner ramp's 1 m parapet tilts inward
radial beams that arise from the walls
FRANK LLOYD WRIGHT

Solomon R Guggenheim Museum, 1959 New York
Construction
Three types of concrete were used:
reinforced for the superstructure,
lightened concrete for the ramps
and floors, and concrete with
stones was used for the interior
walls.
Materials
The materials used in its construction were precast
concrete blocks.
The white paint used on the internal walls makes
the works of art stand out.
The skylight is supported by steel joints.

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15ARC 5.

RENAISSANCE ARCHITECTURE (c.1400-1600)

Where did it begin?

REASON FOR THE RENAISSANCE REBIRTH

IMPORTANT RENAISSANCE NAMES

Historians often divide the Renaissance in Italy into three phases.

Historians often use the following designations:

Quattrocento/ Early High Renaissance Mannerism

By Ar Aishwarya K, RRSA, 2019-20

Renaissance Architecture (Early) - St ANDREA CHURCH

Location Mantua, Italy

Date 1470 to 1476 timeline

Building Type Church

Construction System Brick Bearing Masonry and

Style Early Renaissance

Key features Tremendous Interior Vault

• The sections of the building

with its tall central arch and

Renaissance Architecture (Early) - St ANDREA CHURCH

Renaissance Architecture (High) - PALAZZO RUCELLI

FACADE DESIGN - SKIN/SCREEN FAÇADE

By Ar Aishwarya K, RRSA, 2019-20

Renaissance Architecture (High) - PALAZZO RUCELLI

By Ar Aishwarya K, RRSA, 2019-20

Renaissance Architecture (MANNERISM) - VILLA ROTONDA

cardinal point of the compass

Renaissance Architecture (MANNERISM) - VILLA ROTONDA

By Ar Aishwarya K, RRSA, 2019-20

Architect Donato Bramante; Michelangelo;

2. Peruzzi strengthened the foundation

Bramante Design Michelangelo Design Carlo Maderno Design

• The new design was

layout of the great

• The shells of the dome were made almost entirely

Renaissance Architecture – ST PETER’S BASILICA, ROME

By Ar Aishwarya K, RRSA, 2019-20

Late Renaissance (English Baroque) – ST PAUL’S CATHEDRAL, LONDON

Late Renaissance (English Baroque) – ST PAUL’S CATHEDRAL, LONDON

2. An intermediate cone of brick

Late Renaissance (English Baroque) – ST PAUL’S CATHEDRAL, LONDON

Inner brick dome

with an order of pilasters and square openings between.

CHARACTERISTICS OF BAROQUE ARCHITECTURE

TIME PERIODS OF BAROQUE

EARLY BAROQUE HIGH BAROQUE LATE BAROQUE

columns, colossal columns curved-wall architecture. • walls are characterized largely

BAROQUE ARCHITECTURE - ST PETER’S BASILICA - MADERNO’S FAÇADE AND

By Ar Aishwarya K, RRSA, 2019-20

• Period of Enlightenment - Orderly, symmetrical Neoclassical architecture reflected the intellectual

By Ar Aishwarya K, RRSA, 2019-20

Architect William Kent & Lord Burlington

rooms around its perimeter.

Central axis Serlian windows

Temple front - pediment

Architect Colen Campbell

GARDENS AND PLEASURE GROUNDS

ST.PANCRAS CHURCH, LONDON

Architect William and Henry William