1
Q
Great Pyramids at Giza
A
- Egypt
- 2550- 2460 BC
- for Pharaoh tombs, getting higher to heaven, many iterations of form (stepped)
- several iterations of form
- looters
- positioning to the river as its easier to transport corpses from boats
- ramp for construction that would be disassembled once building ended
- perfect form reflected the perfect journey to heaven of the deceased pharaoh
2
Q
Mortuary Temple of Queen Hatshepsut
A
- Deir el-Bahari, Egypt
- 1473-1458BC
- The real tomb was hidden in the Valley of Kings
- this temple was a place for offerings and public visits
- buried into the cliff- to prevent looters
- built from stone
- aligned to winter solstice sunrise
- terraces connected via long ramps that used to have gardens surrounding them
- lengthy colonnaded terrace
3
Q
Great Temple of Ramesses II
A
- Abu Simbel
- Egypt
- 1285-1255BC
- made from stone
- giant guarding structures (to represent the pharaoh himself
- 4 of them with haunting blank stare
- thought that if he had a lot of self imagery he would be closer to heaven
- decorations of god Ra (sun god)
- such as the bird Horus at the foot
4
Q
Temple of Hera II
A
- Paestum
- 500BC
- heavy columns supporting the roof
- proportion not accurate as looked too heavy and like the columns were being squished- thicker and shorter
- fluted columns
- doric order
- 9 columns
- shadows cast emphasis the volume of the form
- limestone blocks initially- swapped into marble as time and money allowed
5
Q
Parthenon
A
- Iktinos and Kallikrates
- Athens
- part of the Acropolis
- 447-432 BC
- on a hill
- not even spacing- realized proportion and the trick of illusion
- visitors look up and see 2 sides at once- orientation idea and intention
- uneven spacing between columns and width of central columns increasing means that it looks more imposing and even from a distance
- doric order is extended to look almost ionic
6
Q
Caryatid Porch
A
- The Erechtheon
- Athens
- 421-405 BC
- used figures as pillars- crowns/headdresses as the orders
- built to represent the people of Caryae- who sided with the Persians who lost in the uprising against the greeks so the women in the statues were seen as a mean spiteful jab at the failed attempt
- women look as though they are carrying the temple on their heads- burdensome- with the weight of their shame
7
Q
Temple of Athena Nike
A
- Athens
- 425 BC
- dedicated to goddess Athena Nike- triumph in war
- on Athens acropolis
- ionic temple
- has walled inner sanctuary
- Kallikrates was the architect
- white marble material
8
Q
Stoa of Attalos II
A
- Athens
- 159-138BC (reconstructed in 1953)
- part of the Athenian agora
- column file organization
- urban building for trade to take place- for merchants and citizens
- open to the elements with the high space between the pillars
- arcaded space containing shops and facing onto important public spaces
9
Q
The Colosseum
A
Rome
1st century
- different orders on different floors Doric, ionic and corinthian as rising up levels
- arches showing roman engineering success- structure exposed
- for public ceremonies, sports and fighting- arena
- women and slaves in the upper sections
- labyrinth under the seating scaffold and the ground
- tiered seating
10
Q
Pantheon
A
Rome
118-125CE
- Corinthian columns
- Domed structure
- pediment and arcade at the front
- circular structure
- coffered ceiling - concealing arches supporting dome
- eye/ oculus in the centre as a form of skylight
- inner decoration -marble veneers
- concrete is primary material
- empty pediment on the portico at the front
- imposing exterior and overwhelming interior
11
Q
Baths of Caracalla
A
Rome
early 3rd century
- arches demonstrate Roman engineering
- complex water systems- aqueducts and viaducts
- public place for gathering and meeting
- initiated by emperor Severus and completed by his son Caracalla
- burning wood and coals under the ground heated the water provided by the aqueducts
12
Q
Arch of Constantine
A
Rome
285-337 CE
- triple arched form as an architectural motif
- central arch larger than the outer 2
- used as a route into Rome city
- attic above has relief panels carved with scenes from military victories
- uses panels from other arches
13
Q
Pont du Gard
A
Remoulins
France
20-16BC
- Arched- triumphal arches
- Viaduct for carrying water- demonstrating - Roman prowess in engineering
- to bridge gap of valley and transport water from mountains to Nimes
- constant decline to work with the pull of gravity to transport the water
- still with wooden scaffold inside incase of future construction changes
- wooden scaffold and stone structure
14
Q
Maison Carrée
A
Nimes, France 4CE - temple function, located far from Rome - roman antiquity - would have had forum around it in roman times - freestanding columns at front porch - half columns at the rear - corinthian, fluted columns - viewed from the front- to have a large and impressive lead up to it
15
Q
S. Apollinare Nuovo
A
Ravenna, Italy 493-525 CE - Painted frescos - corinthian orders on arches for aisles - 2 aisles on either side of the nave - curved vault for the crypt- semicircular apse - half dome at the apse - early christian basilica - very plain brick exterior gives little to suggest the opulence in the interior - grained marble columns - mosaics and high windows
16
Q
Hagia Sophia
A
Istanbul, formerly Constantinople
532-537 CE
- arches and domes
- Changed function- between religions frequently
- light- spiritual atmosphere
- wanted to look like it was suspended in the air- hanging lanterns helped with this also and the light reflections
- was a greek orthodox cathedral and then became an ottoman mosque
- byzantine architectural style
- ottomans added minarets that aren’t standing today
- nave covered by central dome and half domes/ arched openings extend the internal space
- buttresses added to increase stability
- made predominantly from stone
17
Q
Speyer Cathedral (nave)
A
1030 - rebuilt in 1082
- romanesque style
- semicircular arches defining bays facing onto the nave
- flat wooden ceiling was replaced with groin vaults and transverse arches when it was rebuilt in 1082
- transverse arches demonstrated success of roman engineering and construction methods
18
Q
S. Miniato al Monte
A
Florence 1013 CE - romanesque style - christian basilica shape- typical form - pair of aisles flanking nave - corinthian columns/half columns and corinthian pilasters and gables - geometric patterns in marble facade - front elevation is flat and echoes the basilica shape behind with ornamentation and pilaster use
19
Q
Dome of the Rock
A
Jerusalem
Abd al- Malik (Syrian Umayyad)
690CE
- octagonal plan
- a shrine location for most Abrahamic religions- the stone where the prophet ascended to heaven seen in footprints on the stone
- mosaic and painted patterns/ crowns of caliphs and natural imagery- shutters for light
- on the hill of Mount Moriah- a viewpoint from all around- gold dome glistens in sun and gleams
- circumnavigation around the shrine- like Mecca K’aaba and Mausoleums in Rome
- political statement as didn’t have control of Mecca at this time- new shrine for Islam
20
Q
Great Mosque of Damascus
A
Syria
Umayyad caliph- al Wahid
715 CE
- first mosque
- hypostyle plan- rectangular plan, columned prayer hall, qibla wall, minarets etc
- 4 minarets each of different style- had a presence in surroundings (height)
- many religious links: roman (jupiter temple), christian (st john the baptist), mosque
- muslims and christians worshipped together for a while
- shape dictated by roman shrine shape
21
Q
Great Mosque of Cordoba
A
Spain
Abd al- Rahman (andalusi umayyad ruler)
784CE
- horseshoe shaped arches with polychrome features
- white marble and red brick voussoirs
- 610 columns define the immense space
- extended 3 times (expanded)
- lower arch is a horseshoe shape, upper almost semicircular- has a delicate aesthetic
- built to to have a much more complex form than the mosque at Samarra
- cathedral inserted into the mosque for christian worship when moors were expelled by spanish
22
Q
Minaret- Great Mosque of Samarra
A
Iraq
Abbasid caliph al-Mutawakkil
848-852CE
-for the call to prayer
-high tower
-monumental in scale
-only one remaining but would have been 4 in the complex
-spiraled shape looking like ziggurats of Mesopotamia
- brick minaret
- burned brick wall enclosure
- hypostyle plan, rectangular plan, columned hall
23
Q
Reception Hall (Salon Rico)
A
Madinat al-Zahra’
Córdoba
First Cordoban caliph- ‘Abd al-Rahman III
c. 936 CE
- rebuilt from old hall
- horseshoe shaped arches with polychrome features
- white marble and red brick voussoirs
- 610 columns define the immense space
- extended 3 times
- lower arch is a horseshoe shape, upper almost semicircular- has a delicate aesthetic
- built to to have a much more complex form than the mosque at Samarra
24
Q
Adhai Din Ka Jhonpra Mosque
A
Ajmir,
India.
1192-1213CE
- originally a sanskrit college with a temple, then converted into a mosque
- indian islamic style
- used pieces from old hindu temples- with hindu gods and goddesses carefully removed
- square shaped exterior
- made from yellow limestone with a white marble mihrab
- 2 small fluted minarets
- floral motifs and koran inscriptions cut into the limestone
25
Humayan’s Tomb
Delhi,
India,
1565-1572CE
- first garden tomb on the Indian subcontinent
- made from red sandstone and white marble
- main tomb is preceded by smaller monuments on the route up to it
- square plan but cut away to seem octagonal
- arches, posts, lintels and beams
- double layered dome
- symmetrical
26
Yahya ibn al-Qasim Tomb
Mosul
Iraq
1239 CE
- shrine for Sheikh- around his tomb
- decorated with marble engravings and decorations, topped with conical dome
- saint was buried in a wooded coffin with arabic engravings around it
- ornamented vaulting inside- like the honeycomb ceilings
27
Sheikh Lotfollah Mosque
```
Isfahan, Iraq
1603-1619
- iranian architecture
- islamic religious architecture
- private for royal court- no minarets as not needed to summon people to prayer
- exquisite tile work
- tunnel from the palace to the mosque to avoid having to walk through the courtyard
- ornamented vaulting on entrance
```
28
The Taj Mahal
```
Agra
1632-1639
- designed to be overwhelming
- designed by emperor Shah Jahan
- silhouette considered- onion domes
- reflection in water
- symmetry
- made from white marble that is cut and coloured
- each piece of mosaic is individually cut
- minarets added later
```
29
Abbey Church of St Denis
| also the Crossing
Abbot Sugar (patron)
near Paris, France
1140 CE
- french royal monastery
- abbot sugar was brought up by monks- administrative skills meant he succeeded i raising up the church ranks
- inquired about Hagia Sophia from travelers- meant to be most beautiful Christian building and wanted to trump it
- west front and choir were additions from Sugar
- large windows inside around the apse- let light in
30
Chartes Cathedral- west facade
Chartes, France (Notre Dame at Chartes)
1194-1260
- gothic design
- seam between gothic and romanesque work- new facades on pre existing church
- new facade included triple entrances and tower blocks and lancet windows
- site of shrine for virgin mary- tunic believed to have been worn by her
31
Strasbourg Cathedral
Erwin von Steinbach
France
1277 CE
- high/late gothic
- can be seen from a long way a way- very tall structure
- west front is covered in a number of figures
- high degree of linearity cut into the stone
- rose window, one opening on elevation and tall steeple and bell tower
32
Dome of Florence Cathedral- duomo
```
Filippo Brunelleschi
Florence, Italy
1436 CE
- ancient roman and gothic styles
- the construction methods are seen from roman antiquity- double layered dome used to reduce to load needing to be supported
- white marble veneer on exterior
- the pointed arch profile of the dome speaks to gothic influence
- renaissance style
```
33
Goodrich Castle
Herefordshire
William and Joan De Valence
1250 CE
- ruined now
- built initially due to Norman conquest threat
- had entrance on 1st floor as a defensive strategy
- renovated in 13th century to make it more live-able- added kitchen, grand bedrooms, servant quarters etc
- started as a stone keep/ tower house
34
Merchant Adventurers's Hall
York
1357-1361
-Merchant guild of city funded building
- timber/ brick construction- timber framed
- prosperous city
- included main hall, undercroft, associated chapel, hospital, kitchen, male/female apartments
35
Crichton Castle
Midlothian
John Crichton
1390-1406
- higher status/ part of society
- reflected in hierarchal spaces
- vaulted cellars for prisoners, vaulted great hall for public events, private apartments
- adaptations to surrounding context so it integrated better with local people and area
- Countess Agnes Stewart responsible for this
36
Canongate Tollbooth
Sir Lewis Bellenden
1591
- administrative point for the burgh
- included a council chamber, courthouse and jail
- had a bell tower hanging over the street level
- conical spire
- stone forest air leading up to the entrance door
- gun loops on either side of the clock
37
Rievaulx Abbey
Yorkshire
1130s- 12th century
expanded by Abbot Aelred
- cistercian abbey till Henry VIII seized it in the abolition of the monasteries
- gothic in style
- gothic features seen in the abbey in the columns and arches
- traditional cross shape of the abbey plan
- complex expanded over time with the increase in funding
- good drainage and water supply
38
Palazzo Medici Riccardi
```
Michelozzo di Bartolomeo
Florence
1444-1460 CE
- grand courtyard in the centre
- exterior is masculine, interior is feminine
- heave rustication on the ground level
- battle of pirate v public
- seen to be intimidating
- medici family were very important- wealth and method for intimidation
- political statement
```
39
Ospedale degli Innocenti
| Hospital for the Innocent
Filippo Brunelleschi
Florence, Italy
1419
- renaissance style
- mathematical order- single point perspective
- proportion- width of arches= height of arches
- commissioned by silk merchants as a moral compass - seen to be doing good as giving vulnerable women and children a home- despite them working for them
40
Tempietto
```
Donato Bramante
Rome
1502
- renaissance style
- commissioned by Queen Isabella of Spain
- site where St Peter ascended to heaven
- solid forms- cylinder form
- very small tight squeeze into site
- christianity and classical
- friezes- christian forms like plates and challice
- doric columns
```
41
Palazzo Farnese
Antonio da Sangallo the Younger & Michelangelo
Rome
1517-46
- renaissance style
- michelangelo added the central cornice and window
- added windows on the 2 upper floors- like Vestibule in terms of style (alternating pediments and columns around each window with pediments)
- lower level in contrasting material to show public v private
- private residence to Pope Paul 3rd
- commands the piazza which it fronts
42
Vestibule to the Laurentian Library
```
Basilica di San Lorenzo
Michelangelo
1559
- renaissance style
- imposing scale
- against the tide of the staircase
- 3 paths converging into one
- alternating pediments- not playful but unsettling
```
43
Fugger Chapel
St. Anna,
Augsburg, Germany
1506-1512
- renaissance german architecture
- has baroque and rococo stucco work in the ceiling
- organ- painted shutters
- classical italian style and classical arcade forms
- classical pilasters with gothic style ribbing
44
Heidelberg Castle: Ext.: Heinrichsbau wing
```
Heidelberg, Germany
1556-1563
- nestled into the hill 60m above the town of Heidelberg
- now in ruins
- symbol of german romanticism
- mix of renaissance and gothic styles
- attention to materials- sandstone
- palatial architecture
- arch windows of glazing
```
45
Escorial Palace
Juan Bautista de Toledo and Juan de Herrera
1563-1584
- took a long time to be built
- austere location at the foot of a mountain
- a war victory symbol of the Spanish over the french
- grill like plan due to St Lawrence saint being roasted to death
- courtyard of the kings has 3 entranceways- one to courtyard, the other to the school and the third to the monastery
- statues adorn facade.
46
Biblioteca nazionale marciana
| 'Library of San Marco'
Sansovino + Scamozzi
Venice, Italy
1536-1554
- public library
- dedicated to Saint Mark-patron saint of Venice
- adjacent to Doje's palace
- bays defined by doric on the bottom and ionic on the upper floors
- deep frieze filled with masks- sensuality and drama unlike brittle renaissance Florence monuments
- arch openings alluding to monumental arches like Constantine/ colosseum
- corner square piers
47
Villa Rotonda
Andrea Palladio
Vicenza
1565-1569
- retired churchman was a client
- palladianism
- countryside context so had the space to experiment with views
- square plan
- looking at symmetry and proportion
- rooms similar in size, with great hall lying underneath the central dome
- palladio was a stone mason not an architect
48
il Gesu
Giacomo Barozzi da Vignola
Rome
1568-1576
- baroque architecture
- principal church of the Jesuits- global architecture as influence spreading
- reconfigure church form to make it more accessible to the public
- included getting rid of choir screens and multiple nave aisles to allow views and acoustics to travel more freely
- facade draws the eye to the centre and inwards
- welcoming as trying to get people to return to their faith
- barrel vaulted side chapels
49
Pyramid of the Sun
Teotihuacan
200CE
similar reasoning behind Egyptian tiered structures- getting closer to heaven
- whole planning of city was to act as a giant sun dial and observe sun's movement
- facing 17 degrees NW so that sun sets on it on the day of the zenith (23rd June)
- made from clay layers which are covered in stone when clay is wet
- 60 meters high monument
50
Temple of the Inscriptions
Palenque
700CE
- stepped pyramid embedded into the mountain behind it
- vaulted staircase descends from the temple to the tomb chamber at the pyramid's first stage
- tomb inside is unusual- accessed via many since cut off passages
51
The Castillo
Chichen Itza
1050CE
- tiered pyramid shape with a running staircase up each of the 4 sides
- number of steps correspond to the tuber of days in one year of the Maya calendar
- configuration in alignment to rest of the urban plan
- aligned so it gave the impression of the ancient mythical dragon running down the side of it at certain times of year because of the sun
- also known as Temple of Kulkulkan
52
St Peter’s Basilica
Rome
Church plan by Donatello Bramante, Raphael, Baldassare Peruzzi, Antonio da Sangallo the
Younger, and Michelangelo (from c. 1504/5)
dome by Michelangelo, c. 1547
Elevation by Maderno, c. 1607
Piazza and colonnade by Bernini, c. 1629
- so many design iterations- from many well acclaimed architects
- Bramante won initial dome plan, michelangelo finished it off
- inspired heavily by Pantheon except where pantheon had continuous wall supporting dome, this had 4 piers
- tallest dome in the world- around 140metres above floor level
- greek cross form
53
Karlskirche
Johann Bernhard Fischer von Erlach
Vienna
Baroque Church
1723-1739
- borrowed from history to create new design
- dome on drum on top of columned portico with strong pediment- like pantheon
- dome and minarets suggest Hagia Sophia reference
- used paintings not coffering/ vaults for inside of dome- straying away from Italian designers such as Bernini or Borromini
54
La Compañía
Cuzco
Peru
1581
Rebuilt by Fray Egidiano and Diego Martínez de Oviedo, 1651-68
- damaged in an earthquake so needed to be rebuilt
- baroque style
- influenced baroque church architecture in the Andes
- spherical ceiling
- cross shaped
- gold gilding
55
Ruins of Sao Paolo
in Santo António, Macao, China
1640
- now only the southern side facade
- 68 steps leading up to its position on the hill
- engraved with jesuit carvings with oriental influences (such as Virgin Mary stepping on a dragon)- carved by Japanese Christians in exile
56
San Francisco Monastery
Vasconcelos and Escobar
Lima
1657-74
- spanish baroque style
- granite carved portal that inspired many church designs in the future
- has a mix of moorish and Spanish designs- seen in the ornamentation and engravings
57
Sagrario Metropolitano
Lorenzo Rodriguez
Mexico City
1768
- Tabernacle built in Baroque style by Rodriguez
- inspiration from gothic spanish cathedrals
- took over 250 years to complete- meant it spanned many styles and sought inspiration from a variety of them
- brought society together as it integrated a number of different people
58
Wollaton Hall
```
Robert Smythson
Nottinghamshire
1580-1588
- elizabethan era- made for officials as they liked to commission places for her to stay as she toured the country
- medieval turrets
- gothic windows
- english renaissance and gothic revival
- inspiration from french chateaux plan
- symmetrical
- austere decoration
- rationally planned- no accidents
- detailing similar to timber construction
```
59
The Queen's House
```
Inigo Jones
Greenwich
1616-1635
- square plan
- for the queen
- ornamentation
- rejecting Villa Rotunda Palladio ideals
- no dome or decoration
- neo-palladian
- arcades on each side
- circular staircase
- balustrades cover the parapet in the ceiling
- porticos act as a bridge through the building- seen in the plan threading all the way through
```
60
The Banqueting House
Inigo Jones
Whitehall, London
1619-1622
- inspired by Italian classical archietcture- seen on his grand tour
- difference in upper and lower registers
- rustication, orders change from ionic to corinthian, alternating pediments, half columns, full columns in the centre and pediments on the corners
- varied pediments has a playful quality to the building
- celebrated for its elevation
61
St Paul's Church
Inigo Jones
Covent Garden, London
1631
- piece of integrated town planning- into covent garden market place
- 1st new church in london since reformation
- wanted something simple
- tuscan order was simple- solid inaffected architecture- wanted plain things (Jones theory)
62
Sheldonian Theatre
Sir Christopher Wren
Oxford
1664-1669
- u shaped plan
- rusticated arches- street elevation
- built to house large numbers of people for secular events- not a previous church
- 14 sided plan enabled people to hear well- but expensive (so shifted to u shaped design)
- roman amphitheater inspiration
- interior is not open to the sky but ceiling painted to look like the canvas can be pulled back- roman method for weather proofing their venues.
- no intermediate columns supporting ceiling - open space
63
St Paul's Cathedral
Sir Christopher Wren
London
1675-1711
- rethinking of what a cathedral for CoE is- after great fire burning it down
- not traditional cross shape
- dome addition inspired by French
- 1673- Great Model- centralized approach but wasn't liked so went back and rethought it- became more similar to traditional cross shaped plans
- symmetry gave strong centralized feeling all the way through it
- innovates elevation as layer change hides flying buttresses supporting the dome
- need enough mass to support the dome- would be too heavy otherwise
- 3 layered dome
- London skyline was a consideration
64
St Mary-Le-Bow
Sir Christopher Wren
Cheapside, London
1670-1673
- inspired by ancient Rome- ancient Basilica of Maxentius
- no apse at one end
- set behind the street so steeple and tower are important
- scalloped arched openings
- circular ring of columns supporting the spire
-circular plan above a square plan tower
65
St James, piccadilly
Sir Christopher Wren
Piccadilly, London
1676-1684
- wasn't damaged in the fire as wasn't in the city of london
- basilica type- long nave, side galleried and above
- same space for congregation
- good acoustics
- light brought in well
- seen as ideal Church of England model
- Grinling Gibbons was the wood carver- for the ornate interiors of the church
- golding gilding of corinthian orders and decoration of the church
66
Blenheim Palace
John Vanbrugh & Nicholas Hawksmoor
1704-1720
- partnership famous building
- built to commemorate war victory in battle of Blenheim of Duke of Marlborough
- large and pompous because of this
- exterior: corinthian columns and great corner pavilions, entrance from north side,
- kitchen and stables on either side of main block- connected through colonnades - functionality is a challenge
- transition from english renaissance to english baroque
- temple front- with 2 colonnettes
- u shaped plan
67
Christ Church
Nicholas Hawksmoor
Spitalfields, London
1714-1729
- over scaled in size
- intimidating because of this large scale
- sought inspiration from roman (arches), greeks (columns), gothic (pointed tower)
- was english baroque seen in the arches, windows and flying buttresses
- plain friezes, doric columns and venetian windows
68
St Mary le Strand
James Gibbs
London
1714-1717
- strongly sculptural quality- seen in the dramatic niches and windows
- 3D wall surface
- alternating pediments
- Italian baroque inspiration- more ornate than Wren
- one steeple- meant to have none and instead be a statue of queen Anne (this was abandoned with her death thought)
69
Chateau at Chenonceau
1515
- not built for the king
- for a wealthy courtier
- regulated plan with all main rooms coming off a central corridor
- straight run staircase- renaissance feature
- but.. medieval features include; moat, turreted corners, rib vaults in the chapel, buttresses and pointed arches (medieval/ gothic reference)
70
Chateau at Blois, courtyard staircase
1515-1524
- built for King Louis the 12th
- redbrick with light coloured stone trim
- windows align over each other- with elaborate gothic dormers
- additional north wing to the medieval hall included the taking down of an old tower
- used old foundations to add in the open spiraled staircase
- carvings of wreaths, porcupines, royal family emblems etc
- vertical elements clash with horizontal
- strongly pitched roof
- classical v gothic elements
71
Chateau at Chambord
Domenico da Cortona (italian)
1519-1547
- in countryside in style of a fortified castle
- within an outer wall
- echoes renaissance symmetry and medieval structural techniques
- simple cylindrical towers
- 2 staircases and can not be seen from the other staircase- double helix structure
- cones, chimneys and dormers on the roof
- almost a medieval profile against the sky
- roof terrace for ladies to view the hunt (wild activity v linearity of building shows contrast in styles)
72
Villandry (Indre-et-Loire), chateau
1532
- not the residence of a king but of a wealthy minister
- horseshoe shape opening out onto the river
- steeply sloping slate roofs
- richly decorated pilasters above the windows
- linked the house to its natural setting- made progress in this new fashion and popular style
73
Place Royale (Place des Vosges)
Louis Metezeau
Paris
1605-1612
- residential function
- all individual residences are linked with ground level arcade
- all inward facing towards the inner central square landscaped garden
- courtyard allowed for light to access the palace rooms- enlarged to let more light in
74
Hôtel du Sully
```
Jean du Cerceau
1624-1629
- private mansion
- site chosen to give access to the Place Royale
- larger and more vertical windows
- window niches, and door ornamentation
- contrasting materials
- impressive stonework
- extravagance
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75
East quarter of Louvre
Louis le Vau & Claude Perrault
Paris
1667-1670
- baroque french style
- horizontal emphasis of elevation seen in balustraded parapet hiding the roof
- paired corinthian columns= key baroque feature
76
George Heriot’s Hospital
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William Wallace
Edinburgh
1628
- renaissance architecture
- sandstone sourced locally
- 1st large building built out of the city of Edinburgh
- now a school building
- intricate decoration above each window
- large quadrangle plan
- turreted building with chimneys
- north facade has central tower
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77
Hopetoun House
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Sir William Bruce
West Lothian- west front
1699
- said to be the founder of classical architecture in scotland
- was a merchant and messenger for the king- his loyalty was rewarded by becoming the surveyor of the king
- dutch influence amongst others
- grandest country house of his
- stone and masonry work
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78
Wentworth Woodhouse
Henry Flitcroft
1733
- longest facade of any country house in England
- built for Marquess of Rockingham
- 2 back to back houses- east and west
- Flitcroft responsible for East facade
- palladian style with sandstone rather than English Baroque west facade made from brick
- inspired by colen campbell and other contemporaries
79
Chiswick House
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Lord Burlington
London
1726
- palladio inspired
- villa rotunda on a smaller scale
- elements borrowed from other sources also- Scamozzi- chimneys concealed in obelisks
- symmetrical design
- only one portico- more emphasis on detailed stair design
- classical influences- corinthian order
- octagonal dome
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80
Mereworth Castle
Colen Campbell
Kent
1722-1725
- palladio inspired from Villa Rotunda but the english version
- square plan but only accessible via one side- unlike Palladio
- not exactly symmetrical
- 4 porticos
- more overcalled with a heightened dome- more conical in shape
- slightly larger scale than Villa Rotunda
81
Holkham Hall
William Kent
Norfolk
1734-65
- roman influence again- antiquity focussed
- Worked for Lord Burlington on landscaping for chiswick house- then set up own practice
- english baroque style- not Palladian
- symmetrical with 2 wings either side connecting galleries to 2 self contained structures either side
- temple front- ionic order with 2 floor height colonnettes
- venetian windows
- baroque style landscaping
- pitched roofs
- rustication on the ground floor- masonry stone work
82
Holkham Hall (interior)
William Kent
Norfolk
1734-65
- important to have atrium open to the sky- roman influence- so as it couldn't because of weather it was painted pale blue instead
- coffered ceiling- like Pantheon ceiling in Rome
- Neoclassical with roman antiquity references, ionic columns (red marbling on fluted shafts of columns)- grandeur
- half dome at the apses like Basilica Sant' Apollianare in Ravenna
83
Daigo-ji Temple
Kyoto, Japan
936-951 CE
- 5 levels with 10 tiers seen in the roofs and galleries
- large curvature of the roofs to reveal complex bracketting
- inherent chinese techniques visible
- buddhist temple in japan- adopted chinese religious practice
- pagoda so holds shrines
- insisted that every province has at least one pagoda
- timber structure
- raised platform- access
84
Yoshijima House
Takayama, Japan
1908
- house for a sake merchant
- also functioned as a brewery- had plastered storehouses at the rear of the site
- feminine subtlety in beams
- complex interior beam support structures
- privacy seen as it sits on the street- paper window and partitions
- earth floor with raised levels/ mats to be used in the communal areas
85
Nanchan Temple
Shangxi
782 CE
- raised on white marble podium- inaccessible
- once accessed by emperors or religious personnel e.g. priests etc
- doors always open to allow inside to be seen (shrines and religious pictures/ statues)
- echoes greek temple architecture with post and lintel structure
- cantilevered roof to show bracketing underneath- complex Chinese craftsmanship - slight roof curvature- for showing off and for weather considerations
- single entrance up steps
- brackets have wooden blocks on top of them- not unlike greek capitals
86
Timber Pagoda
Fogong Temple
Yingxian
1056
- oldest surviving fully timber structure in the world
- 220 feet tall
- octagonal plan- 5 levels in 10 tiers
- cantilevered roofs and galleries, overhanging and raised upwards to show bracketing underneath
- tapers to the centre for stability
- upper levels are inaccessible to the masses
87
Hall of Heavenly Purity
Forbidden City
Beijing
15th c
- Qing dynasty- Emperor's audience room and where he met with his grand council
- Ming dynasty- palace and Emperor's residence- had many beds to choose from for security
- raised on a white marble platform- inaccessible to the masses
- roof has gilded dragon on tip as a symbol of protection
- red and gold gilding- wealth and opulence
- 2 tiered structure- curved roofs to show complex bracketing systems underneath
88
Tomb of Newton
E L Boullee
1784
- cenotaph (empty tomb) for Newton
- 500m in diameter- top half perforated to give star effect from inside
-inside is a suspended lamp to describe the sun
- vast scale as a well acclaimed monument
- newton chosen as a symbol of enlightenment within the universe- scientific discovery
89
Barrière de la Villette
C N Ledoux
Paris
'architecture parlante'
villette- small town
1784-1788
- toll booth- seen as a break in the urban fabric
- referred as controlling and a symbol of taxation and control
- wanted gateways like Arch of Constantine but instead had to design new form as they had to house rooms on multiple floors
- has no dome, cylinder structure
- ancient and renaissance precedents
- Palladian square block form- cylinder rising up from it
- tuscan columns- ponderous (emblematic of tollbooth function)
- cylinder is ringed with an arcade of arched openings
90
Place de la Concorde
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A J Gabriel
Paris
1743-1770
- largest public square in Paris
- was the kings architect (Louis 15th)
- moat skirted octagon plan with statues showing military prowess and landscaping
- classical influence in decoration
- attached columns not pilasters and pediments
- harmonious proportions and symmetry
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91
Ste Geneviève (Panthéon)
J G Soufflot
Paris
1757-1790
- was dedicated to patron saint of Paris before being made secular and called the Pantheon
- inspired by roman ancient ruins, when he travelled south to Italy
- used post and lintel idea (not pilasters and pediments)- corinthian columns free standing
- experimented with concealed flying buttresses to support the dome
- idea of gothic space being created- open spaces
- traveling companion Marquis de Marigny who commissioned the build
92
Dundas House
William Chambers
Edinburgh
1771-1774
- built as a private house on the site of a proposed church (only for 9years after completion as client died)
- neoclassical style with Palladian influences
- made from cream sandstone- weathered light grey over time
- corinthian palmisters supporting large central pediment
- rusticated ground floor
- large blue dome with star skylights added later when it became the Royal Bank of Scotland Headquarters
93
Somerset House
William Chambers
London
1776-1796
- neo classical english architect trained in France
- as joint architect for the king w Adam
- to centralize all governmental buildings/offices
- c shaped plan- to help combat the politics of prime locations
- heavily rusticated lower level with Piranesian arch (french influence)
- sculptures showing maritime prowess around site
- reflects green residential squares around London
94
Kedleston Hall (south front)
Robert Adam
Derbyshire
1760-1770
- Curzon (client) was so impressed by his garden temple designs that he commissioned Adams to design manor house
- palladio inspired previously- central symmetrical form, proportion, square
- connecting galleries linking central square to 4 self contained houses for family functions (chapel, gallery, etc)
- corinthian columns topped with classical statues
- low dome only visible from a distance
- 2 distinct bays
- triumphal arch inspired by Arch of Constantine, Rome
- curved double staircase rising above rusticated lower level to pedimented glass door
- MOVEMENT
95
Syon House Middlesex (hall)
Robert Adam
Middlesex, London
1762-1769 (and 1773)
- crossword in the ceiling is reflected in the black and white marble tiling on the floor
- doric columns and decorative stuccos allude to ancient antiquity
- statues and bronze sculpture replicas add status and grandeur
- semidome- ancient roman church influence such as the Basilica Sant' Apollinare, Ravenna (went to Rome on a trip)- studied religious architecture of the antiquity to inform house architecture
96
Ante Room
| Syon House Middlesex
Robert Adam
Middlesex, London
1762-1769 (and 1773)
- ante room functions as a waiting room
- deep and vivid colors contrast the rest of the interiors
- golds and greens
- 12 ionic columns that are veneered in green scagliola (marbled lacquer)
- column positions allude to square space
- gilded greek statues of gods and goddesses add grandeur and status- seen in the golden shadows cast
97
Charlotte Square- north side
Robert Adam
Edinburgh
1791
-neoclassical style
- inspiration from ancient antiquity- saw a demand for housing design rather than temples and churches (as that was what clients would pay him to deliver on)
- designed in blocks with regal frontage
- classical features seen in the heavy rustication on the lower registers, the intended movement along the axis of the building and the arches
- finishes of the stone indicate the position of servants quarters and grand family rooms (rusticated or smooth stone)
- fanlight features for Georgian town houses to let light into the hallways behind.
98
Guildhall
George Dance (facade)
London
1785-1788
- gothic revival style
- an administrative centre for the city of london
- dance succeeded his father in becoming the Architect and surveyor for the City of London
- destroyed in the great fire so his new facade was a rebuild and revamp of what was previously there
99
13 Lincoln’s Inn Fields- Breakfast Room
Sir John Soane
John Soane's Museum
1793
Museum for his collections
- skylight feature used from the Bank of England design (had to let light in but also be secure)
- shallow saucer shape of the breakfast room
- neoclassical with ornamentation and pilasters supporting dome
- classical references engraved into the structure (cut into the surface to emphasis the volumes)
- life collection- looking at concealing and opening up (thresholds and layers).
Arch- 100 buildings
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Decks in class (2)
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