Arch 218 Final Module 1

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Whatare the basic elements of a mosque?

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Minaret: towers so someone could let everyone know what time to pray

Courtyard: usually contained a well or basin to wash hands and feet and mouth before starting to pray.

Covered prayer hall: similar to the nave of a church in certain ways. Necessity in places that are very hot.

Minbar: small platform for someone to lead the prayer

Qibla: direction toward Mecca.

Mihrab: niche or small room on the qibla, extenuation of the direction toward mecca. Not meant to house things, only to show direction.

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Compare and contrast the functions of amosque and its related buildings with those of Christian church complexes. Howare religious needs embodied in buildings?

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A Mosque functioned more for the people. Generally wider spaces for larger crowds of people, no visual component, other than orienting direction to Mecca. Lower ceilings, less drama. No idol like images in mosques, such as paintings or sculptures of people.

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What meanings did the gardens,courts, and rooms ofthe Alhambra hold?

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Alhambra emphasized water, light, and texture.Courtyards were added over several generations.Scientists memorized manuscripts in the rooms.Alhambra is very lush, and the idea of the paradise gardens was important to islamic building since the beginning, partially because of the climate.

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Howdid the Hagia Sophia influence Ottoman mosques in Istanbul? In what ways didSinan ultimately depart from the model of the Hagia Sophia?

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-Mosques built after Hagia Sophia tried to resolve the dissimilarities between certain parts of Hagia Sophia. They were made to be more uniform. Sinan got rid of the square plan and round dome, and made everything round.

-Hagia Sophia initially inspired all of Sinan's works, who was the primary architect of the Ottoman empireSinan wanted to outdo the Hagia Sophia, wanted to rationalize and unify the spaces and structures of a domed mosque

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-Alhambra, Grenada, Spain

-13th-14th centuries

-Islamic Architecture

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-Plan of Comares and Lions Palaces

-Alhambra, Grenada, Spain

-Organizationis based on rectangular courtyards and rooms, but not on an overall geometricor regular plan.

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-Court of the Lions. Alhambra.Granada, Spain (13th-14th c)

-StiltedArches are used to look elegant and take many shapes.

-InParadise, there are 4 rivers represented by the four water channels coming offof the fountain.

-Ornamentationderived from Arabic calligraphy, geometry and plants.

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-Palace of the Lions. Alhambra. Granada, Spain.

-Hallof the Abencerrajes withmuqarnas vault

(Starshaped vault at the top of the room with smaller cove shaped vaults withornamentation).

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-Court of the Myrtles, Alhambra.Granada, Spain (13th-14th c).

-Nopictures of people

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Hall of the Ambassadors. Alhambra.Granada, Spain (13th-14th c.)

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-Great Mosque of Djenné. Mali (ca. 1240 and later)

-Localbuilding materials: mud plaster and sun dried brick: need constant maintenancedue to rain or water exposure.

- Thelarge blocks coming out of the wall act as ornaments as well as a type ofscaffolding that can be used to make repairs to the deteriorating building.

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Constantinople

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-Capital of Ottoman Empire

-Renamed Istanbul

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-Hagia Sophia. Istanbul (Constantinople),Turkey (532-37).

-Ottomans

-TheHagia Sophia wasthe greatchallenge and inspiration for builders of mosques in Istanbul. It was remodeled as a mosque, with minarets added.

-Greatestchurch in Eastern Mediterranean.

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-Sinan was born a Christian peasant, the son of a stonemason, but raised as a Muslim. He entered infantry as an engineer.

-Wasthere a connection between Sinan and Renaissance architecture in Italy?Bornbetween Michelangelo and Palladio, Sinan may have known of Palladio’s treatise;Venice and Istanbul were closely linked by trade and diplomacy. Certainly Sinanwas familiar with Michelangelo’s plans for St. Peter’s.

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-Suleymaniye Mosque. Istanbul (1550-57).

-Sinan.

-Domeand Arches from Classical Architecture. Room is filled with light.-However,the interior ornamentation does not relate to Classical architecture.-Senseof space that has a Gothic feel.

-Calligraphyemphasizes idea of paradise.

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-Madrasa, Suleymaniye Mosque.Istanbul (1550-57).

-Sinan.

-Mosquecomplexes typically contain various other functions, notably schools.

-TheSuleymaniye complex also contains tombs.

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What influence did the architecture ofthe Timurids have on later builders and patrons?

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-The mausoleum for Timur shows the distinctive dome, iwan, and pishtaq, all of which will influence later builders in Iran, India, and other Islamic areas.

-Close contact with Persia

-Safavid architecture was heavily influenced by the buildings of the Timurids

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What distinctive mosque plan was commonin Isfahan? How does it differ from other mosquesthat we’ve seen?

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The pishtaq and iwan show the influence of Timurid architecture.

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In what ways did the architecture of the Mughal Empire incorporate both local andimported architectural elements and concepts?

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-eclectic nature of Mughal architecture

-Religiously tolerant

-Encorporates pre-islamic indian elements

-Inlaid stone techniques from

-Nine-square plan of Taj Mahal derives from Timurid and Persian buildings

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-GurEmir. Samarkand, Uzbekistan (ca. 1400)

-BlueTile was a large Persian architecture trait.

-Muchof this Islamic architecture in Uzbekistan takes great influence from Persian.

-Note calligraphy and geometricornament, the latter based on grids of squares, triangles, and/or radialshapes.

-Thedecoration and tiling show close contact with the architecture of

Persia.

-Timurids

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-Isfahan, Iran

-Greatsquare, palace complex and great avenue.-Isfahangrew larger than many cities in its time with about 500,000 people.

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-Chahar Bagh Avenue and the chahar bagh garden. Isfahan, Iran.

-Chahar bagh refers to a type of garden thathas four quadrants separated by waterchannels

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-Maydan-I Shah(Royal Square). Isfahan, Iran (1590-1602).

-2story market surrounding the square-Kings presence with palace next tosquare.-Used to be sand before adding grass.

-Adjacent to Royal Mosque

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-Ali Qapu. Isfahan,Iran (ca. 1600).

-Ali Qapu functions as a gate to the palace andalso a site for audiences and assemblies. Its position on the Maydan-IShah emphasizes the presence of the ruler.

-MUSICROOM: Decorated vaultsmade out of wood and paper mace.

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-Masjid-I Shah (Royal Mosque). Isfahan,Iran (1611-37).

-Calligraphic,Geometric, and Floral designs with the blue tile.

-QurnafVault: Decorative vault

-Doubleshell dome: Inside-Smaller for balanced feel of space; Outside-Larger torepresent symbol of Mosque

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-Fatehpur Sikri, India (1570s).

-A new political and religiouscenter built by Akbar at the spiritual study center of his advisor Shaik Salim Chichi.

-Akbarbecomes famed for his patronage of the arts as well as for his politicaland military abilities.

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-Anup Talao. Fatehpur Sikri, India (1570s).

-Akbartakes a deep interest in religion; he rules a multi-ethnic empire in whichHindus are the majority but Muslims hold political power.

-The Anup Talao isthought to be a site for discussion of Islamic law. At right,a painting of Jesuits visitingAkbar’s court.

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-Diwan-IKhas.Fatehpur Sikri, India (1570s).

-Probably used as an audience hallfor Akbar, this building shows the eclectic nature of Mughal architecture.

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-Tomb of Shaik Salim Chishti. Fatehpur Sikri, India (1569-74).

-White Marble

-The jali (lattice screens) are based onlocal wooden screens but are executed in stone. The craftsmanship suggestscentral Asian workers.

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TajMahal.Agra, India (1632-54).

-Symbolic meanings: Floral motifsrefer to the flowers of paradise; flowers are also used in Persian poetry todescribe features of the beloved;represent flowering of culture under Shah Jahan.Techniquesof inlaid stone originate in Renaissance.

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-Great Gate. Taj Mahal.Agra, India (1632-54).

-Thecalligraphy on the gate includes passages from the Qur’an on entering paradise

-9square plan

-Maybeto do with 8 levels of paradise

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Reformation

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-Reformers such as Martin Luther reactagainst Church abuses, venality, and oppressiveness. Luther nails his 95 thesesto the door of the castle church in Wittenberg in 1517. Reformation ideasspread rapidly throughout Europe among all social classes.

-Martin Luther: “Why does the pope, whosewealth today is greater than the wealth of the richest Crassus, build thebasilica of St. Peter with the money of poor believers rather than with his ownmoney!”

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Counter-Reformation

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-The religious, intellectual, andpolitical threat of the Protestant Reformation prompts the Counter Reformation(also called Catholic Reformation): an attempt to reform the church andreestablish its traditions.

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Compare and contrast the work of Berniniand Borromini. In what ways can the work of each architect be described asBaroque? How do their works differ from each others?

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-Bernini was well rounded and highly respected. Used simple shapes and lots of sculpture.

-Bernini:Color and sculpture inside churches

-Bernini’s Cornaro Chapel: A multimedia orchestration oflight, sculpture, artificial perspective, color. Strong emotional content from architectural/sculptural effects and from human expression.

-Borromini was a crazy artist, and may have had a mental disorder. Borromini uses very strange patterns and shapes, left mysterious.

-Borromini: Use plain, bright andsimple style inside churches

-Borromini’s S. Ivo: Complex forms and spaces created by combinations of geometric elements

Front 35

Whatwerethe political and religious motivations behind architecture and urbanism inRome from 1550 through the 1600s?

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Reformation vs Counter reformation

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Although both Renaissance and Baroquearchitecture and urbanism use Classical elements, the overall effect of the twostyles differs greatly. What are the basic differences in form, space, and effect?

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Renaissance has more archeological accuracy, simple, clean lines and geometryBaroque goes for curls and decoration and oval domes. Effect of grandeur. Emphasized movement, plasticity, complex geometry, and theatricality

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-Il Gesù. Rome (1568-72). Giacomo Barozzi da Vignola(nave vaulting and façade: Giacomo della Porta)

-Building plan is NOT Baroque

-Interior redone in 1600s withillusionistic paintings on ceiling,gold accents, statues, etc. Over decades, church has concluded that their besttool to draw more followers to the church is to use the awe of the architectureto capture the attention of those who see it.

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-The Rebuilding of St. Peter’sBasilica (Dome)

-Michelangelo responsible for dome and west end

-Giant order, ribbed dome

-Note Dome of St. Peters: Doublecolumns at base of dome (hidesbuttresses); circular dome; globe on top of church(represents possible salvation)

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-Nave, St. Peter’s(1606-12)

-Rebuilt by Carlo Maderno.

-Final Plan of St. Peters

-Additionof Broadened Nave transforms church into longitudinal plan to fitCounter-Reformation desires. (84 ft wide nave)

-Largestchurch in the world

-Façade hides dome from a distance

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Baroque Effects and Architects

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-Emphasize Movement

-Plasticity

-Complex geometry

-Theatricality

-The major baroque architects are Gianlorenzo Bernini and FrancescoBorromini

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Gianlorenzo Bernini (1598-1680)

-Born in Naples, moves to Rome at young age with his sculptor father,Pietro Bernini.

-Gains patronage of Cardinal Borghese

-Pope Urban VIII makes him the principal architect of St. Peters.

-The dynamism and dramatic poses in his sculptures embodythe Baroque aesthetic.

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-Baldacchino, St. Peter’s(1624).

-Gianlorenzo Bernini.

-Colossal sculpture inside the church. Twistedcolumns are influenced from the Temple of Solomon.

-Wholeidea as a temporary canopy to cover pope and made it out of bronze. -Lookdown the nave through the sculptor to see the alter.

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-Piazza, St. Peter’s(1655-57). Gianlorenzo Bernini.

-Obelisk from Ancient Rome: serve as markers to mark center of plaza

-Plazaserves as great ceremonial space of St. Peters

-4 rows of simple columns

-Bernini:On one hand he does simple architecture (as shown here) and on the other hedoes a theatrical style (as shown by interior of St. Peters)

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-Cornaro Chapel, S. Maria dellaVittoria (1644-47).

-Gianlorenzo Bernini

-Multimedia orchestration of light,sculpture, artificial perspective, color. Strong emotional content fromarchitectural/sculptural effects and from human expression.

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-S. Andrea al Quirinale (1658-70). Gianlorenzo Bernini.

-Classical vocabulary but geometry andplasticity typical of Baroque. Note “wings” of façade, layering ofelements.

-plasticity, richness, drama ofBaroque

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-1599:Born as Francesco Castelloin Northern Italy

-1619:Arrived in Rome and worked under Maderno on St Peters.

-1624:Meets Bernini

-Changedname to Borromini

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-S. Carlo alle Quattro Fontane(1638-41; façade 1665-67).

-Francesco Borromini.

-Concavestyle on top of columns

-Note complex geometries in plan andsection.

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-S. Ivo della Sapienza (1643-48).

-Borromini.

-Borromini appears to look to a widevariety of buildings for inspiration, including the Great Mosque of Samarra(left; ca. 850) and the Temple of Venus at Baalbek, Lebanon (ca. 150 CE). Heprobably knows such buildings through drawings.

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Bernini vs Borromini

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-Bernini:Color and sculpture inside churches

-Borromini: Use plain, bright andsimple style inside churches

-Bernini’s Cornaro Chapel: A multimedia orchestration oflight, sculpture, artificial perspective, color. Strong emotional content fromarchitectural/sculptural effects and from human expression.

-Borromini’sS. Ivo: Complex forms and spaces created by combinations of geometric elements

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-Piazza Navona (begun 1644).

-Bernini and Borromini.

-Origins in Roman circus, duringBaroque age this site becomes set for theatrical events both sacred and secular.

-Fountain of the Four Rivers (1651).Bernini.

-ThePamphili family (Pope Innocent X) palazzo faces the plaza.

-Bernini: Fountain

-Borromini: Façade

-Obeliskis put on top of Fountain

-Fourrivers represents four corners of the world. Shows the spread of Christianityand the power of the Pamphili family.

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-Painting of Piazza Navona

-Shows Piazza Navona flooded withwater for cooling off in August, showoff chariots/wealth, rowing small boat, etc.

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-Guarino Guarini (1624-1683)

-Guarino Guarini makes Turin a capital ofBaroque architecture.

-Guarini makes Turin a capital of BaroqueArchitecture. Guarini enters the Theatine Order, one of the new Orders thatarises in reaction to the Reformation.

-He spends time in Rome at the height of theRoman Baroque, and lives in Paris from 1662-66.

-Writes 800 page treatise coveringastronomy, geometry, etc. Well traveled-Rome, Paris (Bernini was there aswell), etc.

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Whatcity outside Rome became a center for Baroque architecture? Compare the worksof Guarini with those of Bernini and Borromini?

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Turin - creates new column order "Supreme"

-Higher level of geometric complexity

- Influences from Islamic architecture

-Much more dynamic and more ornamentation

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How did Baroque architecture change as itspread northwards?CompareBaroque architecture in Germany and Rome.

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-Many Bavarian Baroque churches are produced by architect-decorators

- High geometric complexity

-Focus on painting and decoration

Front 55

Consider variations in churches andchapels during and after the Counter Reformation in Italy, Germany, and Spain.What were some of the architectural reactions to the Reformation?

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-Italy: sculptural, mix of 3d and 2d

-Germany: painted plaster, classical motifs, undulating surfaces

-Rome: churrigueresque style-multimedia, theatrical spectacle

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-San Lorenzo.Turin, Italy (1668-87). Guarino Guarini.

-The centralized plan is based ongeometric manipulations perhaps even more complex than those seen inBorromini’s work. Concave and convex geometry also working simultaneously.

-Note the layered space of the groundfloor with convex and concave curves. Emphasis on religious faith asemotional experience. Rich marble columns and contrast of colors is influencedby Borromini.

-The plan becomes more regular athigher levels; note that the piers supporting the dome appear to be supported by arches.

-Octagonal-circulardome

-Pieractually is hollow behind picture and over the recess; structural support isfarther back in the wall.

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-Chapel of the Holy Shroud. Turin, Italy(1667-94). Guarino Guarini.

-Constructed to house the Shroud of Turin,a piece of linen claimed in the 14th century to have been used to wrap the bodyof Christ. The general plan was set before Guarini took over the project. Noteemphasis on groups of three.

-Arches skip columns: 3 columns for one arch(emphasis on groups of three)

-Darker ground level

-Bright light up in the dome(represents god in heaven)

-Seriesof arches used in dome that creates an illusion of a tall dome.

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-Palazzo Carignano. Turin, Italy(1679-92).

-Guarino Guarini.

-Guarinibrings the monumental undulating façade to residential architecture

-Center looks like its been splitopen in center.

-Large stairway: become public anddramatic way of getting to next floor. Mostdramatic part of the building. They curve and are a central part of the PalazzoCarignano.

-Arches spring up from one column up to the next in stairwell.

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The Baroque in Central Europe

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In Central Europe, Italian Renaissancearchitecture had relatively little influence; especially in Germany, Gothic wasseen as the national style. Much of Central and Northern Europe becomesProtestant, and thus does not accept the art and architecture of Italy.During the rise of the Baroque in Rome,Central Europe is ravaged by the Thirty Years’War (1618-48). This conflict, primarily a struggle between Protestants andCatholics, prevents large building campaigns. In 1683, the expansion of theOttoman Empire is checked at the Battle of Vienna.Not until the end of the 1600s doCatholic regions in Germany and Austria resume major church construction, whichpeaks from about 1710 to 1750. The Baroque style remains a Catholic style.

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-Benedictine Abbey. Weltenburg, Germany(1717-21).Cosmas D. Asam and Egid Q. Asam

-Many Bavarian Baroque churches areproduced by architect-decorators like the Asam brothers; Cosmas is trained as apainter and sculptor, Egid as an architect, stucco worker, and painter.The planning of the church, based onovals, is indebted to Roman Baroque buildings, especially to the spatialmanipulations of Borromini.

-Abbey church is dedicated to StGeorge, whose statue is backlit by thelight from the chapel. Strong influence from Bernini’s multimedia works.

-Plaster vaults over wood.Illusionistic painting of ceiling,use of hidden light sources, rich décor all indebted to Bernini, but overallfeeling is lighter and more playful.

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-Bishop’sPalace. Würzburg, Germany(1719-44). -Johann Balthazar Neumann.

-In the stairhall,a combination of dynamic space with illusionistic ceiling paintingsthat depict the prince bishop of Würzburg as the ruler of the four corners ofthe world. The hall is spanned by a colossal wooden truss.

-(Bottom Right) Ceiling Fresco by Giovanni BattistaTiepolo.Portraitof prince bishop of Würzburgbeing carried to the heavens.

-Thick wall becomes the transition fromexterior rectangle to interior ovals.

-Top Right (Chapel) -Undulatingspaces, decorative elements, polychromy, illusionistic paintings all typical ofBaroque.Compare to Bernini, less interest in orthodox Classical motifs and a greateremphasis on surfaces-most

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-Vierzehnheiligen. Franconia, Germany (1743-72).

-Johann Balthazar Neumann.

-Undulating façade typical of Baroque, butdecoration of façade is relatively austere, with many windows.

-interlockingovals of Neumann’schurch

-Note plastered brick vault rather than more expensive stone vault.

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-El Escorial.Near Madrid, Spain (1562-82). Juan Bautista de Toledo and Juan de Herrera.

-Built for Philip II, a devout Catholic,in the years just after the Council of Trent. The severity and sobriety of thearchitecture reflect Philip’s strict,ascetic faith.

-The complex was intended to contain apalace, monastery, mausoleum, school, library and church.

-Architecture of the church has simple,Classical ornament; color and decoration is concentrated at the altar end withthe retable.

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The Churrigueresque Style

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-Highly decorated surfaces, derived inpart from the bandwork of Dutch and Flemish pattern books, mark the Churrigueresque style (named after a family ofarchitects from Salamanca).

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-Hospice of San Fernando. Madrid, Spain (1722). -Pedro de Ribera.

-The Churrigueresque Style

-Extremely decorative and columnsand arches become less Classical.

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-Charterhouse Sacristy. Granada,Spain (1727-64).

-Here Churrigueresque ornament is crafted in stucco within a relativelysimple space.

-Interior covered almost completelyby ornamentation.

-Ornamental focus covers up the classical elements.