Hist Arch Exam 2

• San Pietro Basilica
• Vatican City / Rome
• 1506-1656
• Bramante, Michelangelo, della Porta, Vignola, Maderna, Bernini

• -Bronze baldacchino over St. Peter's tomb with columns from Constantine's basilica, which were from the Temple of Solomon: connection between the Holy Land and St. Peter's
• -Cathedra Petri: chair of St. Peter
• -Scala Regia: Regal stair; tapers in width from top to bottom
• -Piazza Obliqua: actually two semicircles and a square with a freestanding Tuscan colonnade
• -Piazza Retta: trapezoidal plaza; flanking colonnade gets shorter toward church to make the cathedral proper seem more vertical
• -Not facing East, as was tradition, but facing West
• -Axis lines up with the obelisk in the center of the plaza

• Il Gesu
• Rome
• 1568-75
• Vignola & della Porta

• -Created for the Jesuits: missionaries and educators
• -Transverse barrel-vaulted chapels instead of aisles with columns flanking a longitudinal barrel vaulted nave
• -strong axial emphasis and three-dimensionality of elements on the west facade
• -Classical orders replace Florentine subdivisions on the facade
• -Interior was originally plain but now decorated from 17th century endeavor
• -Wall-pillar church
• -Other side of entrance, engaged columns support a triangular pediment, which is framed by a segmental pediment supported by flanking pilasters

• San Carlo alle Quattro Fontane
• Rome
• 1638-67
• Borromini

• -Built on one of the grand routes Sixtus had built for the city
• -Undulating oval in plan with a long axis leading to the main ltar
• -Curving side walls swell to form side chapels which evoke a stretched Greek-cross plan
• -Conceived from interlocking geometric figures
• -Reliance on geometry instead of Renaissance arithmetic
• -Pendentives above entablature reduce plan to an oval drum supporting an oval dome coffered with octagons, hexagons, and trinitarian crosses with an oval occulus in the cetner

• San Ivo alla Sapienza
• Rome
• 1642-1660
• Borromini

• -Lantern tower symbolic of the papal crown and a conch shell (corona papal)
• -Built under the patronage of Urban VIII, who was a member of the Barbarini family; used the shape of a flying bee in the floor plan to glorify the family symbol
• -Spatial fluidity later influenced modernism

• San Andrea al Quirinale
• Rome
• 1653-70
• Bernini

• -Small oval plan
• -Entry between corinthian pilasters supporting a pediment
• -Convex curving portico supported by ionic columns
• -Volute-like buttresses support dome on exterior
• -Architecture as theatre
• -Scenographic facade

• BELVEDERE
• Vienna, AUSTRIA
• 1714 - 1723
• HILDEBRANDT

• -Palace for the Hapsburgs
• -Variation on Baroque themes of centralization and -extension without Cartesian geometry
• -Means "Rising landscape with a view"
• -Transformation of gardens to enclosed spaces: more independent, intimate, private
• -Fusion of Gothic membrane-like walls and Italian thick walls
• -Fairy tale

• Chapel Smirice
• Bohemia (Czech Republic)
• 1700-13
• Dientzenhofer

• -Stands as a carved object instead of a built structure
• -Combines Guarini's ideas of spatial juxtaposition (San Lorenzo) with the Central European system of wall-pillars
• -Elongated octagon with internally convex sides, undulating surface as like an organism
• -First example of a reduced central church
• -Answer to desire synthesis of centralized and longitudinal space; introduction of wall-pillars

• Vierzehnheiligen
• Staffelstein
• 1743-63
• Neumann

• -Basilican ground plan transformed into circles and ovals
• -Oval overhead vaults
• -Shape of a Latin-cross
• -Infinite, luminous space with series of oval baldacchins
• -Spatial syncopation

• Die Wies
• Steingaden
• 1746-54
• Zimmerman

• -"Wies" means "meadow"
• -Wanted to try and be embedded in the landscape-----Volume of church repeats the shape of the hills and appears a humanized and spiritualized natural element
• -Walls as a light membrane; freely-shaped windows
• -Rococo architecture: lighter colors

• Church for Benedictine Convent
• Neresheim - Swabia
• 1746-1790
• Neumann

• -Large oval crossing supported by four paired columns
• -Oval transept arms (centered on long axis)
• -Nave - Two cross-axial ovals set tangent to each other
• -Width is narrowed toward the alter
• -Walls – double layered plane

• Chateau
• Vaux-le-Vicomte
• 1657-61
• Le Vau, Le Brun, Le Norte

• -Emphasis on more windows than wall
• -Main element: longitudinal axis forms the way through the gardens; infinite space
• -Chateau is a freestanding block with pavillions at each corner
• -An axial entrance across a moat to the terrance and through a triple-arched entrance leads into vestibule
• -Center oval salon opened up on all side
• -Black Gate

• Chateau et Jardin
• Versailles, France
• 1626-1710
• Le Vau, Le Brun, Le Notre, J.H. Mansart

• -Extension of an old hunting lodge on swampy land
• -1400 fountains (had to redirect river to supply water to 37000 acres of land)
• -Town and gardens arranged as if radiating from the palace
• -Hall of mirrors continuing idea of infinity found in gardens
• -Gold gate
• -Stairway to heaven

-The Counter Reformation: Martin Luther's nailing of the 95 Theses to the door of All Saint's Church in 1517

-1545, aiming to spread the prestige of the church and bring members back

• Didactic, theatrical, dynamic, dramatic style
• Concave vs. convex
• Preference for axial and centralized spaces
• Ellipses and ovals

• Italy, France, German states (Bavaria, Saxony, Franconia), Austria, Bohemia, Spain, England, and Russia
• Influence of the Jesuits in South America

"All encompassing culture" -Applied to the Baroque movement

• -Baroque: Italy, Rome and Torino
• -Style Classique: France, particularly Paris and the surrounding vicinity
• -Late Baroque: Austria, particularly Salzburg and Vienna, Bavaria, Bohemia, Franconia, Switzerland
• -Rococo: France, Bavaria

-To symbolize the strict organization of the system and its persuasive power; appears as a synthesis of dynamism and sysstematization

-Urban space centered on and developed around a statue of the sovereign

• -Italian influences meshed with craft-guild traditions
• -Support of the style from the church and royalty (wanted a progressive image), along with the people (deep religious beliefs)
• -Number symbolism, images of the saints as intercessors
• -Light and airy churches
• -Wandpfeiler (wall pillar, establish concept of centrality with longtitudal plans)

• -Wall seen as a membrane instead of a thick piece as in italy
• -Sense of verticality derived from Gothic
• -Based on the idea of extension similar to that occurring at an urban level
• -France--City--House
• -Interior organization became more differentiated and comfortable (commodite)
• -Villa (chateau)
• - City Palace (hotel)

• 1) Decartes
• -discourse of method (1637)
• -world as geometric extensions
• -"mechanistic"
• -looks like cells

• 2) Leibniz
• -monanology
• -world as self-containing monads
• -"organic"
• -dots

• 1)adhereing to classicism of high renaissance
• -Rome: bernini
• -France: where it was transmutated into Gallic made of severe Boroque (le vau, le notre, mansart
• -England
• -related to french gothic

• 2)combo of Bernini theatrical side and pure arch. expressionism
• -Rome: Borromini
• -Torino, Bavaria, Bohemia, Austria, (Guarini, Neumann, Von Erlach, Hildebrandt, Zimmermann)
• -Related to German Gothic