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ORGANIZATION IN
 ARCHITECTURE
by: Mary Angelique C. Andrade
           BSA-II
Art in ancient Egypt continued strangely
unchanged through the various phases of
foreign             influence            from
Assyria, Persia, Greece, and Rome.
The close connection between religious rites
and architecture is everywhere manifested.
Egyptian architecture persistently maintained
its traditions.
Egyptian monumental architecture- which is essentially a
  columnar and trabeated style is expressed mainly in
  pyramids and in temples:
o   impressive avenue of sphinxes
§ Mythical monster (A sphinx (Greek: Σφίγξ /sphinx, Bœotian:
  Φίξ /Phix) is a mythical creature with, as a minimum, the
  body of a lion and the head of a human or a cat.)
o   possessed in their massive
§ pylons , great courts, hypostyle halls, inner sanctuaries, and
  dim, secret rooms, a special character.
Pylon is the Greek term for a monumental
gateway of an Egyptian temple consists of two
tapering towers, each surmounted by a
cornice, joined by a less elevated section which
enclosed the entrance between them.
Hatshepsuts temple
Organization in architecture humanities report final
Great Sphinx of Giza
Khufu's pyramid
The well preserved Temple of Horus at Edfu is an example of
Egyptian architecture and architectural sculpture.
The Pyramids of Giza
Temple of Queen Hatshepsut
Queen Hetepheres II
MESOPOTAMIAN
ARCHITECTURE
MESOPOTAMIAN ARCHITECTURE
The distinguishing characteristic of a Mesopotamian
 Architecture is the ziggurat, or tower, built at successive levels,
 with ramps leading one platform to the next.
Ziggurats (Akkadian ziqqurat, D-stem of zaqāru "to build on a
 raised area") were massive structures built in the ancient
 Mesopotamian valley and western Iranian plateau, having the
 form of a terraced step pyramid of successively receding stories
 or levels.
In many respects, it is like a modern building with seatbacks.
The ziggurat in Mesopotamia pointed north, south, east and west
 and the vertical walls of each story were closed, in the temple of
 Babylon, built by Nebuchadnezzar (6th century B.C.), the
 stones were colored white, black, blue, yellow, silver, and gold
 from bottom to top.
Zigurrat
MESOPOTAMIA_A reconstruction of the ishtar Gate at Babylon (beginning of the
    sixth century BC), decorated with enameled brick reliefs. Vorderasiatisches
                                                               Museum, Berlin.
_A ziggurat in Iraq
An Assyrian winged bull, also known as a shedu, Bas-relief c. 713–716 BC
A bronze head attributed to Naram-Sin from Nineveh, Akkadian period, c. 2250
                                            BC. National Museum, Baghdad.
GREEK ARCHITECTURE
    (1100 - 100 B.C.)
GREEK ARCHITECTURE


Its most characteristic is found on its temple- a
   low building of post-and lintel construction.
   In this type of construction, two upright
   pieces or posts are surmounted by a
   horizontal piece, the lintel, long enough to
   reach from one to the other. (Ex. temple of
   Apollo at old Corinth )
post-and lintel construction greek
There are three types of Greek architecture:

1.   Doric column- its column has no base; the bottom of the
     column rests on the top step. The freeze is divided into
     triglyphs and metopes.

•    Triglyph is an architectural term for the vertically
     channeled tablets of the Doric frieze, so called because of
     the angular channels in them, two perfect and one
     divided, the two chamfered angles or hemiglyphs being
     reckoned as one.

* The rectangular recessed spaces between the triglyphs on a
   Doric frieze are called metopes
Parts of a column
Organization in architecture humanities report final
Doric
Triglyph centered over the last column in the Roman Doric order of the Theater
                                                                  of Marcellus
There are three types of Greek architecture:

2.              Ionic
     column- is taller
     and slender than
     Doric. It has a
     base, and the
     capital        is
     ornamented with
     scrolls on each
     side and its
     frieze         is
     continuous.
There are three types of Greek architecture:

3.         Corinthian
     column- with
     the base and
     shaft resembling
     the Ionic, tended
     to        become
     slender.      The
     distinctive
     feature is the
     capital, which is
     much       deeper
     than the ionic
Parthenon, Greek architecture
Acropolis
Temple of Hephaestos, fluted Doric columns with abacuses
              supporting double beams of the architrave
Erechtheion: masonry, door, stone lintels, coffered ceiling
                                                    panels
At the Temple of Aphaia the hypostyle columns rise in two
 tiers, to a height greater than the walls, to support a roof
                                              without struts.
ROMAN
   ARCHITECTURE
(1000 B.C. – A.D., 4000)
ROMAN ARCHITECTURE
              (1000 B.C. – A.D., 4000)

The Romans adopted the Columnar and trabeated
  style of the Greeks and developed also the arch and
  vault from beginnings made by the Etruscans (the
  early inhabitants of west-central Italy).
The combined use of column, beam, and arch is the
  keynote of the Roman style in earliest ages.
   Another characteristic of Roman architecture is the
  flat round dome that covers an entire building
ROMAN ARCHITECTURE
           (1000 B.C. – A.D., 4000)

Example is Pantheon. The building is two tiers high
 to the springing of the hemispherical dome
 inside, but there is an extra tier on the
 outside, providing rigid and weighty haunches to
 prevent the dome from splitting outwards; and, as
 an extra precaution, a further series of steps of
 concrete rises two-thirds the height of a dome. For
 this reason, Roman domes are always
 saucer-shaped outside, though hemispherical
 within.
Pantheon
Dome of the Pantheon, inner view
Interior of Pantheon
BYZANTINE
ARCHITECTURE
(A.D. 200 - 1453)
BYZANTINE ARCHITECTURE
           (A.D. 200 - 1453)


Byzantine takes its name from Byzantium later
called Constantinople and now called Istanbul.
Is characterized by a great central dome which
had always been a traditional feature in the East.
One of the characteristic features of Byzantine
churches was that the forms of the vaults and
domes were externally, undisguised by any
timbered roof; thus in the Byzantine style, the
exterior closely corresponds with the interior.
The 11th-century monastery of Hosios Lukas in Greece is representative of the
                   Byzantine art during the rule of the Macedonian dynasty.
Interior of the Hagia Sophia under renovation, showing many
               features of the grandest Byzantine architecture.
The apse of the church with cross at Hagia Irene. Nearly all the decorative
                                    surfaces of the church have been lost.
The Basilica of Sant'Apollinare Nuovo
WESTERN
ARCHITECTURE
     IN THE
 MIDDLE AGES
 (A.D 400 - 1500)
WESTERN ARCHITECTURE IN THE
             MIDDLE AGES
             (A.D 400 - 1500)
Western architecture passed through three stages of
   development during the middle ages. These are the Early
   Christian, Romanesque, and Gothic. These three styles
   developed one another: The Romanesque was an
   outgrowth of the early Christian, and the Gothic, of the
   Romanesque.
The Western Styles follow the general type of the Roman
   Basilica, a long rectangular building divided by pillars
   into a central nave and aisles.
o    Nave is the central approach to the high altar, the main
   body of the church.
Roman Basilica
Late Gothic Fan vaulting (1608, restored 1860s) over the nave at Bath Abbey,
Bath, England Suppression of the triforium offers a great expanse of clerestory
                                                                     windows.
Romanesque nave of the abbey church of Saint-Georges-de-
Boscherville, Normandy, France has a triforium passage above the aisle
                                                              vaulting
Sometimes, there is one aisle on each side of the
nave; sometimes there are two. Often, the nave is
higher than the aisles, and, therefore, there is an
opportunity for clerestory lighting
o        Clerestory is an architectural term that
historically denoted an upper level of a Roman
basilica or of the nave of a Romanesque or Gothic
church, the walls of which rise above the rooflines of
the lower aisles and are pierced with windows. In
modern usage, clerestory refers to any high windows
above eye level. In either case, the purpose is to bring
outside light, fresh air, or both into the inner space.
The wallof the clerestory of the "Basilica" style Monreal cathedral are covered
                                                                   with mosaic
EARLY CHRISTIAN
 ARCHITECTURE
  (A.D. 400 - 700)
EARLY CHRISTIAN ARCHITECTURE
             (A.D. 400 - 700)
The early Christian Basilica has grown in part from the
Roman house where the earliest Christians met for
worship, and in part from pagan basilicas.
In the classic temples, the emphasis lay on the exterior; in the
Christian Church, on the inside. A second form of
building, known as the central type, was designed around a
central vertical axis instead of longitudinal.
The long, internal lines of the basilica carried the eye of the
visitor from the door to the altar as their ritualistic climax of
the structure.
On the other hand, the circular or octagonal buildings focused
on the center. The interiors of early Christian churches were
often decorated with mosaics.
•   Santa Sabina, Rome, interior (5th century).
• All Saints
                          All Saints Church,
  Church, (14th century
                          general view from
  bell tower), general    northwest
  view from southwest
Abbey Church, interior: nave towards east




                                            San Vitale, general view
ROMANESQUE
      ARCHITECTURE
(11th and 12th CENTURIES)
ROMANESQUE ARCHITECTURE
(11th and 12th CENTURIES)
ROMANESQUE:
• Is an extension and development of the Early Christian
  Basilica.
• Romanesque has very heavy walls with small window
  openings and a heavy stone arched or vaulted roof
  inside. In this respect, it resembles the Roman
  style- hence the name Romanesque (“Roman-ish”).
• In the Romanesque Cathedral, several small windows
  were combined in a compound arch.
• In the Romanesque church, the façade sometimes has
  one doorway, sometimes three.
• They were relatively simple moldings, with or without
  carvings or conventional designs, figures animals or
  fruit.
ROMANESQUE ARCHITECTURE
(11th and 12th CENTURIES)
GOTHIC:
• The arches appeared only as stone tracery.
  Eventually, the windows became so large that the walls
  ceased to have any function as walls; the roof was
  supported by the huge buttresses and the entire wall
  space was filled with stained-glass windows. The
  triforium space was regularly filled with small
  arches, and the rose window became large and
  important. The doorways became spacious.
• The Gothic façade regularly had three doorways.
• In Gothic, the human figure became the characteristic
  decoration, a recessed doorway being filled with rows
  or saints or kings.
• Is known primarily for its cathedrals and churches.
La Sagrada Familia
Basilica In Barcelona
        Spain




                    St. Michael's Church, Hildesheim has similar characteristics
                    to the church in the Plan of Saint Gall.
The façade of the
  cathedral of
     Lisbon.




               Interior of St. Michael's, Hildesheim, (1001-31) with
               alternating piers and columns and a C.13th painted
               wooden ceiling
Charlemagne's Palatine
                                    Chapel, Aachen, C. 9th, modelled on the
                                    octagonal Byzantine church of San Vitale
                                    in Ravenna

South transept of Tournai
Cathedral, Belgium, 12th century.
Facade of Angoulême
Cathedral, France.
                      Santa Maria in Cosmedin, Rome
                      (8th — early 12th century) has a basilical
                      plan and reuses ancient Roman
                      columns.
RENAISSANCE ARCHITECTURE
(Fifteenth and Sixteenth Centuries)
RENAISSANCE ARCHITECTURE
  (Fifteenth and Sixteenth Centuries)
• The cathedral or temple is no longer the
  typical building; secular architecture comes to
  the fore, as in Roman times.
• It is not a slavish imitation, but rather a free
  use of the materials found in classic
  architecture.
Tempietto di San Pietro in
 Montorio, Rome, 1502, by Bramante. This small
temple marks the place where St Peter was put to
                     death.




                                Temple of Vesta, Rome, 205 AD. As the most important temple
                                of Ancient Rome, it became the model for Bramante's Tempietto
The Dome of St Peter's Basilica, Rome.




Sant'Agostino, Rome, Giacomo di
       Pietrasanta, 1483
BAROQUE ARCHITECTURE
    (1600 - 1750)
BAROQUE ARCHITECTURE
            (1600 - 1750)
• It is characterized primarily as a period of
  elaborate sculptural ornamentation.
• It had a profusion of carved decoration. Columns
  and entablatures were decorated with garlands of
  flowers and fruits, shells and waves.
• Surfaces were frequently carved.
• The churches no longer used the Gothic nave and
  aisles. They have often domes or corpulas.
Façade of the Church
of the Gesù, the first
truly baroque façade




                         Santa Susanna in Rome, Italy
Peter and Paul Cathedral in Saint
       Petersburg, Russia




                                    Saints Peter and Paul Church in Krakow, Poland
THE
NINETEENTH-CENTUR
  Y ARCHITECTURE
THE NINETEENTH-CENTURY
             ARCHITECTURE
• The nineteenth century is known as a period of
  eclecticism. Eclecticism in architecture implies freedom
  on the part of the architect or client to choose among
  the styles of the past that which seems to him most
  appropriate.
• Modern eclectism was not only pure in style; it
  understood something of the flavor of the past as well
  as its forms.
• At best, modern eclectism was marked by
  scholarship, taste, and sympathy for the forms of the
  past and remarkable ingenuity in adapting central
  heating, plumbing, and electric lighting to those forms.
19th century architecture at
    Freemantle, Perth.
Malaga
MODERN
ARCHITECTURE
MODERN ARCHITECTURE
• Is an attempt to interpret man’s purpose through his
  building in a style free in relation to change and
  independent of fix symmetries.
• New materials came to be utilized-prestressed steel in
  tension, high-pressure concrete, glass
  block, wood, metal, chromium, plastics, copper, cork, steel,
  gypsum lumber, real and artificial stone, and all varieties of
  synthetic and compressed materials, and the versatile
  plywood.
• Strength is no longer synonymous with massiveness
  because the supporting function is created by a light, cage
  like skeleton of steel and reinforced concrete, which is
  faster and easier to build.
Contrasts in modern architecture, as shown by adjacent
  high-rises in Chicago, Illinois. IBM Plaza (right), by Ludwig
Mies van der Rohe, is a later example of the clean rectilinear
 lines and glass of the International Style, whereas Marina
City, (left), by his student Bertrand Goldberg, reflects a more
           sculptural Mid-Century Modern aesthetic.




                                                The Salk Institute complex in La Jolla, California,
                                                by architect Louis Kahn.
The Second Goetheanum, 1924-1928, in Basel,
                                           Switzerland, is an example of architectural
                                           Expressionism.




   The AEG Turbinenfabrik ("turbine
  factory"), 1909, designed by Peter
Behrens, illustrating the combination of
          industry and design.
Greyhound Bus Station in Cleveland, Ohio, showing
                               the Streamline Moderne aesthetic.




   The Bauhaus building at
Dessau, Germany, designed by
       Walter Gropius
PHILIPPINE
ARCHITECTURE
PHILIPPINE ARCHITECTURE
• The Philippines has shown knowledge and expertise in
  all the arts.
• In this country, along Roxas Boulevard, the Ayala, and
  Escolta, one can seethat the architecture in the
  Philippines has come with the times.
• Those architectures reflect not only the living proofs of
  the antiquity of architecture in the country but also
  trace back the influence of Europe on this particular art
  at a time.
• One can note the predominance of native products
  used, as materials for edifices of apparently western
  architectural forms.
PHILIPPINE ARCHITECTURE
• Salazar F., in her article “RP architecture captured
  in churches,” says that the most modern
  architects and writers doing analyses of
  Philippine says that most modern architects and
  writes doing analyses of Philippine churches
  marvel at the majestic structures which were
  designed and built during the Spanish regime.
• The Filipinos’ spontaneous and inventive
  attitudes created a kind of architecture that was
  unique from Western architectural idioms.
The front entrance of Fuerza de
Santiago towering 40 metres high




                                   San Augustin church Paoay, Ilocos Norte,
                                   July 2005
Emilio Aguinaldo's house in Kawit,
                                            Cavite, renovations designed by Aguinaldo himself,
                                            the first President of the Philippines, in 1919.




The interior of the San Agustín Church in
 Intramuros, with magnificent trompe
   l'oeil mural on its ceiling and walls
Cebu Metropolitan Cathedral




                              Dingras Church
JAPANESE
ARCHITECTURE
JAPANESE ARCHITECTURE
• Like the Egyptians, the religious rites of the
  Japanese are merely traditional and the traits
  were reproduced in the architecture, both in
  tombs and temples.
• A Juto (“longevity tower”) is a kind of mausoleum
  in ancient times erected during one’s lifetime to
  celebrate his own or another longevity
  – Hideyoshi Toyotomi built the Tensuiji Temple in the
    courtyard of Daitokuji Temple in Kyoto to pray for his
    mother while she was seriously ill. Grateful for her
    subsequent successful recovery, he constructed a Juto
    at Tensuiji in 1452.
Kinkaku-ji, Kyoto, originally
 built in 1397 (Muromachi
           period)




                                The roof is the dominant feature of traditional
                                Japanese architecture.
Main building of Tokyo National
                             Museum, built in 1937




Tenshu of Matsue Castle in
Matsue, Shimane Prefecture
       Built in 1607
Osaka Prefectural Nakanoshima
   Library, Osaka, Magoichi
    Noguchi, built in 1904




                                Nakagin Capsule Tower, Tōkyō,
                                built in 1972
Organization in architecture humanities report final

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Organization in architecture humanities report final

  • 1. ORGANIZATION IN ARCHITECTURE by: Mary Angelique C. Andrade BSA-II
  • 2. Art in ancient Egypt continued strangely unchanged through the various phases of foreign influence from Assyria, Persia, Greece, and Rome. The close connection between religious rites and architecture is everywhere manifested. Egyptian architecture persistently maintained its traditions.
  • 3. Egyptian monumental architecture- which is essentially a columnar and trabeated style is expressed mainly in pyramids and in temples: o impressive avenue of sphinxes § Mythical monster (A sphinx (Greek: Σφίγξ /sphinx, Bœotian: Φίξ /Phix) is a mythical creature with, as a minimum, the body of a lion and the head of a human or a cat.) o possessed in their massive § pylons , great courts, hypostyle halls, inner sanctuaries, and dim, secret rooms, a special character.
  • 4. Pylon is the Greek term for a monumental gateway of an Egyptian temple consists of two tapering towers, each surmounted by a cornice, joined by a less elevated section which enclosed the entrance between them.
  • 9. The well preserved Temple of Horus at Edfu is an example of Egyptian architecture and architectural sculpture.
  • 11. Temple of Queen Hatshepsut
  • 14. MESOPOTAMIAN ARCHITECTURE The distinguishing characteristic of a Mesopotamian Architecture is the ziggurat, or tower, built at successive levels, with ramps leading one platform to the next. Ziggurats (Akkadian ziqqurat, D-stem of zaqāru "to build on a raised area") were massive structures built in the ancient Mesopotamian valley and western Iranian plateau, having the form of a terraced step pyramid of successively receding stories or levels. In many respects, it is like a modern building with seatbacks. The ziggurat in Mesopotamia pointed north, south, east and west and the vertical walls of each story were closed, in the temple of Babylon, built by Nebuchadnezzar (6th century B.C.), the stones were colored white, black, blue, yellow, silver, and gold from bottom to top.
  • 16. MESOPOTAMIA_A reconstruction of the ishtar Gate at Babylon (beginning of the sixth century BC), decorated with enameled brick reliefs. Vorderasiatisches Museum, Berlin.
  • 18. An Assyrian winged bull, also known as a shedu, Bas-relief c. 713–716 BC
  • 19. A bronze head attributed to Naram-Sin from Nineveh, Akkadian period, c. 2250 BC. National Museum, Baghdad.
  • 20. GREEK ARCHITECTURE (1100 - 100 B.C.)
  • 21. GREEK ARCHITECTURE Its most characteristic is found on its temple- a low building of post-and lintel construction. In this type of construction, two upright pieces or posts are surmounted by a horizontal piece, the lintel, long enough to reach from one to the other. (Ex. temple of Apollo at old Corinth )
  • 23. There are three types of Greek architecture: 1. Doric column- its column has no base; the bottom of the column rests on the top step. The freeze is divided into triglyphs and metopes. • Triglyph is an architectural term for the vertically channeled tablets of the Doric frieze, so called because of the angular channels in them, two perfect and one divided, the two chamfered angles or hemiglyphs being reckoned as one. * The rectangular recessed spaces between the triglyphs on a Doric frieze are called metopes
  • 24. Parts of a column
  • 26. Doric
  • 27. Triglyph centered over the last column in the Roman Doric order of the Theater of Marcellus
  • 28. There are three types of Greek architecture: 2. Ionic column- is taller and slender than Doric. It has a base, and the capital is ornamented with scrolls on each side and its frieze is continuous.
  • 29. There are three types of Greek architecture: 3. Corinthian column- with the base and shaft resembling the Ionic, tended to become slender. The distinctive feature is the capital, which is much deeper than the ionic
  • 32. Temple of Hephaestos, fluted Doric columns with abacuses supporting double beams of the architrave
  • 33. Erechtheion: masonry, door, stone lintels, coffered ceiling panels
  • 34. At the Temple of Aphaia the hypostyle columns rise in two tiers, to a height greater than the walls, to support a roof without struts.
  • 35. ROMAN ARCHITECTURE (1000 B.C. – A.D., 4000)
  • 36. ROMAN ARCHITECTURE (1000 B.C. – A.D., 4000) The Romans adopted the Columnar and trabeated style of the Greeks and developed also the arch and vault from beginnings made by the Etruscans (the early inhabitants of west-central Italy). The combined use of column, beam, and arch is the keynote of the Roman style in earliest ages. Another characteristic of Roman architecture is the flat round dome that covers an entire building
  • 37. ROMAN ARCHITECTURE (1000 B.C. – A.D., 4000) Example is Pantheon. The building is two tiers high to the springing of the hemispherical dome inside, but there is an extra tier on the outside, providing rigid and weighty haunches to prevent the dome from splitting outwards; and, as an extra precaution, a further series of steps of concrete rises two-thirds the height of a dome. For this reason, Roman domes are always saucer-shaped outside, though hemispherical within.
  • 39. Dome of the Pantheon, inner view
  • 42. BYZANTINE ARCHITECTURE (A.D. 200 - 1453) Byzantine takes its name from Byzantium later called Constantinople and now called Istanbul. Is characterized by a great central dome which had always been a traditional feature in the East. One of the characteristic features of Byzantine churches was that the forms of the vaults and domes were externally, undisguised by any timbered roof; thus in the Byzantine style, the exterior closely corresponds with the interior.
  • 43. The 11th-century monastery of Hosios Lukas in Greece is representative of the Byzantine art during the rule of the Macedonian dynasty.
  • 44. Interior of the Hagia Sophia under renovation, showing many features of the grandest Byzantine architecture.
  • 45. The apse of the church with cross at Hagia Irene. Nearly all the decorative surfaces of the church have been lost.
  • 46. The Basilica of Sant'Apollinare Nuovo
  • 47. WESTERN ARCHITECTURE IN THE MIDDLE AGES (A.D 400 - 1500)
  • 48. WESTERN ARCHITECTURE IN THE MIDDLE AGES (A.D 400 - 1500) Western architecture passed through three stages of development during the middle ages. These are the Early Christian, Romanesque, and Gothic. These three styles developed one another: The Romanesque was an outgrowth of the early Christian, and the Gothic, of the Romanesque. The Western Styles follow the general type of the Roman Basilica, a long rectangular building divided by pillars into a central nave and aisles. o Nave is the central approach to the high altar, the main body of the church.
  • 50. Late Gothic Fan vaulting (1608, restored 1860s) over the nave at Bath Abbey, Bath, England Suppression of the triforium offers a great expanse of clerestory windows.
  • 51. Romanesque nave of the abbey church of Saint-Georges-de- Boscherville, Normandy, France has a triforium passage above the aisle vaulting
  • 52. Sometimes, there is one aisle on each side of the nave; sometimes there are two. Often, the nave is higher than the aisles, and, therefore, there is an opportunity for clerestory lighting o Clerestory is an architectural term that historically denoted an upper level of a Roman basilica or of the nave of a Romanesque or Gothic church, the walls of which rise above the rooflines of the lower aisles and are pierced with windows. In modern usage, clerestory refers to any high windows above eye level. In either case, the purpose is to bring outside light, fresh air, or both into the inner space.
  • 53. The wallof the clerestory of the "Basilica" style Monreal cathedral are covered with mosaic
  • 54. EARLY CHRISTIAN ARCHITECTURE (A.D. 400 - 700)
  • 55. EARLY CHRISTIAN ARCHITECTURE (A.D. 400 - 700) The early Christian Basilica has grown in part from the Roman house where the earliest Christians met for worship, and in part from pagan basilicas. In the classic temples, the emphasis lay on the exterior; in the Christian Church, on the inside. A second form of building, known as the central type, was designed around a central vertical axis instead of longitudinal. The long, internal lines of the basilica carried the eye of the visitor from the door to the altar as their ritualistic climax of the structure. On the other hand, the circular or octagonal buildings focused on the center. The interiors of early Christian churches were often decorated with mosaics.
  • 56. Santa Sabina, Rome, interior (5th century).
  • 57. • All Saints All Saints Church, Church, (14th century general view from bell tower), general northwest view from southwest
  • 58. Abbey Church, interior: nave towards east San Vitale, general view
  • 59. ROMANESQUE ARCHITECTURE (11th and 12th CENTURIES)
  • 60. ROMANESQUE ARCHITECTURE (11th and 12th CENTURIES) ROMANESQUE: • Is an extension and development of the Early Christian Basilica. • Romanesque has very heavy walls with small window openings and a heavy stone arched or vaulted roof inside. In this respect, it resembles the Roman style- hence the name Romanesque (“Roman-ish”). • In the Romanesque Cathedral, several small windows were combined in a compound arch. • In the Romanesque church, the façade sometimes has one doorway, sometimes three. • They were relatively simple moldings, with or without carvings or conventional designs, figures animals or fruit.
  • 61. ROMANESQUE ARCHITECTURE (11th and 12th CENTURIES) GOTHIC: • The arches appeared only as stone tracery. Eventually, the windows became so large that the walls ceased to have any function as walls; the roof was supported by the huge buttresses and the entire wall space was filled with stained-glass windows. The triforium space was regularly filled with small arches, and the rose window became large and important. The doorways became spacious. • The Gothic façade regularly had three doorways. • In Gothic, the human figure became the characteristic decoration, a recessed doorway being filled with rows or saints or kings. • Is known primarily for its cathedrals and churches.
  • 62. La Sagrada Familia Basilica In Barcelona Spain St. Michael's Church, Hildesheim has similar characteristics to the church in the Plan of Saint Gall.
  • 63. The façade of the cathedral of Lisbon. Interior of St. Michael's, Hildesheim, (1001-31) with alternating piers and columns and a C.13th painted wooden ceiling
  • 64. Charlemagne's Palatine Chapel, Aachen, C. 9th, modelled on the octagonal Byzantine church of San Vitale in Ravenna South transept of Tournai Cathedral, Belgium, 12th century.
  • 65. Facade of Angoulême Cathedral, France. Santa Maria in Cosmedin, Rome (8th — early 12th century) has a basilical plan and reuses ancient Roman columns.
  • 67. RENAISSANCE ARCHITECTURE (Fifteenth and Sixteenth Centuries) • The cathedral or temple is no longer the typical building; secular architecture comes to the fore, as in Roman times. • It is not a slavish imitation, but rather a free use of the materials found in classic architecture.
  • 68. Tempietto di San Pietro in Montorio, Rome, 1502, by Bramante. This small temple marks the place where St Peter was put to death. Temple of Vesta, Rome, 205 AD. As the most important temple of Ancient Rome, it became the model for Bramante's Tempietto
  • 69. The Dome of St Peter's Basilica, Rome. Sant'Agostino, Rome, Giacomo di Pietrasanta, 1483
  • 70. BAROQUE ARCHITECTURE (1600 - 1750)
  • 71. BAROQUE ARCHITECTURE (1600 - 1750) • It is characterized primarily as a period of elaborate sculptural ornamentation. • It had a profusion of carved decoration. Columns and entablatures were decorated with garlands of flowers and fruits, shells and waves. • Surfaces were frequently carved. • The churches no longer used the Gothic nave and aisles. They have often domes or corpulas.
  • 72. Façade of the Church of the Gesù, the first truly baroque façade Santa Susanna in Rome, Italy
  • 73. Peter and Paul Cathedral in Saint Petersburg, Russia Saints Peter and Paul Church in Krakow, Poland
  • 74. THE NINETEENTH-CENTUR Y ARCHITECTURE
  • 75. THE NINETEENTH-CENTURY ARCHITECTURE • The nineteenth century is known as a period of eclecticism. Eclecticism in architecture implies freedom on the part of the architect or client to choose among the styles of the past that which seems to him most appropriate. • Modern eclectism was not only pure in style; it understood something of the flavor of the past as well as its forms. • At best, modern eclectism was marked by scholarship, taste, and sympathy for the forms of the past and remarkable ingenuity in adapting central heating, plumbing, and electric lighting to those forms.
  • 76. 19th century architecture at Freemantle, Perth.
  • 79. MODERN ARCHITECTURE • Is an attempt to interpret man’s purpose through his building in a style free in relation to change and independent of fix symmetries. • New materials came to be utilized-prestressed steel in tension, high-pressure concrete, glass block, wood, metal, chromium, plastics, copper, cork, steel, gypsum lumber, real and artificial stone, and all varieties of synthetic and compressed materials, and the versatile plywood. • Strength is no longer synonymous with massiveness because the supporting function is created by a light, cage like skeleton of steel and reinforced concrete, which is faster and easier to build.
  • 80. Contrasts in modern architecture, as shown by adjacent high-rises in Chicago, Illinois. IBM Plaza (right), by Ludwig Mies van der Rohe, is a later example of the clean rectilinear lines and glass of the International Style, whereas Marina City, (left), by his student Bertrand Goldberg, reflects a more sculptural Mid-Century Modern aesthetic. The Salk Institute complex in La Jolla, California, by architect Louis Kahn.
  • 81. The Second Goetheanum, 1924-1928, in Basel, Switzerland, is an example of architectural Expressionism. The AEG Turbinenfabrik ("turbine factory"), 1909, designed by Peter Behrens, illustrating the combination of industry and design.
  • 82. Greyhound Bus Station in Cleveland, Ohio, showing the Streamline Moderne aesthetic. The Bauhaus building at Dessau, Germany, designed by Walter Gropius
  • 84. PHILIPPINE ARCHITECTURE • The Philippines has shown knowledge and expertise in all the arts. • In this country, along Roxas Boulevard, the Ayala, and Escolta, one can seethat the architecture in the Philippines has come with the times. • Those architectures reflect not only the living proofs of the antiquity of architecture in the country but also trace back the influence of Europe on this particular art at a time. • One can note the predominance of native products used, as materials for edifices of apparently western architectural forms.
  • 85. PHILIPPINE ARCHITECTURE • Salazar F., in her article “RP architecture captured in churches,” says that the most modern architects and writers doing analyses of Philippine says that most modern architects and writes doing analyses of Philippine churches marvel at the majestic structures which were designed and built during the Spanish regime. • The Filipinos’ spontaneous and inventive attitudes created a kind of architecture that was unique from Western architectural idioms.
  • 86. The front entrance of Fuerza de Santiago towering 40 metres high San Augustin church Paoay, Ilocos Norte, July 2005
  • 87. Emilio Aguinaldo's house in Kawit, Cavite, renovations designed by Aguinaldo himself, the first President of the Philippines, in 1919. The interior of the San Agustín Church in Intramuros, with magnificent trompe l'oeil mural on its ceiling and walls
  • 88. Cebu Metropolitan Cathedral Dingras Church
  • 90. JAPANESE ARCHITECTURE • Like the Egyptians, the religious rites of the Japanese are merely traditional and the traits were reproduced in the architecture, both in tombs and temples. • A Juto (“longevity tower”) is a kind of mausoleum in ancient times erected during one’s lifetime to celebrate his own or another longevity – Hideyoshi Toyotomi built the Tensuiji Temple in the courtyard of Daitokuji Temple in Kyoto to pray for his mother while she was seriously ill. Grateful for her subsequent successful recovery, he constructed a Juto at Tensuiji in 1452.
  • 91. Kinkaku-ji, Kyoto, originally built in 1397 (Muromachi period) The roof is the dominant feature of traditional Japanese architecture.
  • 92. Main building of Tokyo National Museum, built in 1937 Tenshu of Matsue Castle in Matsue, Shimane Prefecture Built in 1607
  • 93. Osaka Prefectural Nakanoshima Library, Osaka, Magoichi Noguchi, built in 1904 Nakagin Capsule Tower, Tōkyō, built in 1972