History of Architecture - V R01-Compressed

History of Architecture – V
18HUM5.1
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Renaissance and Baroque
Renaissances : Background and influences on renaissance Architecture.
Critical Appreciation of works and Synoptic study of Architectural characteristic feature: eg
St. Andrea, Mantua and Palazzo Rucellai, Florence By Leon Batista Alberti
Villa Rotunda ( Capra), Vicenza by Andrea Palladio
St. Peter,Rome by Michelangelo and
St Paul’s Cathedral, London by Christopher Wren.
Baroque : Critical Appreciation of works and Synoptic study of Architectural characteristic feature:
eg
St. Peter’s Piazza, Rome by Bernini
Palace of Versailles, Paris by Louie Le Vau
S.L.T:- Study of Domes of Florence by Fillipo Brunelleschi
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Renaissance :
Background and influences on renaissance Architecture
Medieval Europe The Renaissance
https://qrgo.page.link/mqo7j https://qrgo.page.link/srCwg
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Renaissance :
originating in late 14th-century —
until the 16th century
Features of Renaissance Buildings
• Renaissance architecture adopted distinguishing features of

classical Roman architecture. However, the forms and purposes of
buildings had changed over time, as had the structure of cities,
which is reflected in the fusion of classical and 16th century forms.
• The primary features of 16th century structures, which fused
classical Roman technique with Renaissance aesthetics , were Cathedral of Pienza: This
based in several foundational architectural concepts: facades, Cathedral demonstrates one
columns and pilasters , arches , vaults , domes , windows, and of the first true Renaissance
façades.
walls.
• Although studying and mastering the details of the ancient Romans
was one of the important aspects of Renaissance architectural
theory, the style also became more decorative and ornamental,
Classical Roman Columns: Orders of
with a widespread use of statuary, domes, and cupolas. Architecture in the Greek Columns
Dome of St. Peter’s Basilica: The Dome

of St Peter’s Basilica, Rome is often
cited as a foundational piece of
Renaissance architecture.
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Renaissance : Dome of St. Peter’s
Basilica: The Dome of St
Peter’s Basilica, Rome is
often cited as a
foundational piece of
• The Renaissance style of architecture emerged in Florence not as a

slow evolution from preceding styles, but rather as a conscious
development put into motion by architects seeking to revive the
golden age of classical antiquity .
• The Renaissance style eschewed the complex proportional systems
and irregular profiles of Gothic structures, and placed
emphasis on symmetry , proportion, geometry, and
regularity of parts. Santa Maria Novella: Façade of Santa
• 15th century architecture in Florence featured the use of classical Maria Novella church in Florence,
designed by Alberti
elements such as orderly arrangements of columns , pilasters ,
lintels , semicircular arches , and hemispherical domes . Palazzo Rucellai,
• Filippo Brunelleschi was the first to develop a true Renaissance Florence: Designed by
architecture. Leon Battista Alberti
between 1446–1451.
• While the enormous brick dome that covers the central space of
the Florence Cathedral used Gothic technology, it was the first
dome erected since classical Rome and became a ubiquitous
feature in Renaissance churches.
• The buildings of the early Renaissance in Florence expressed a new
sense of light, clarity, and spaciousness that reflected the
enlightenment and clarity of mind glorified by the philosophy of
Humanism .
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Renaissance :
• Roman Renaissance architects derived their main designs and

inspirations from Roman and Greek classical models.
• Donato Bramante (1444–1514) was a key figure in Roman Palazzo Farnese: The Palazzo Farnese
in Rome demonstrates the Renaissance
architecture during the High Renaissance . window’s particular use of square lintels
• The Palazzo Farnese, one of the most important High Renaissance and triangular and segmental pediments
palaces in Rome , is a primary example of Renaissance Roman The Tempietto, c. 1502, used alternatively.
Rome, Italy. : Designed by
architecture. Donato Bramante, the
• Architecture in Venice and the Veneto was largely based on the Tempietto is considered the
premier example of High
work of Andrea Palladio, who designed and completed some highly Renaissance architecture.
influential works, including Villas in the mainland, Vicenza, Padua,
and Treviso.
• Palladian architecture , in masterpieces such as Villa Emo, Villa
Barbaro, Villa Capra, and Villa Foscari, evoked the imagined
grandeur of antique classical Roman villas.
• Palladio created an architectural movement called Palladianism,
which had a strong following in the next three centuries, inspiring Villa Foscari: The front
a new generation of architects who completed several works that façade of the Villa Foscari
features several
echo Palladio’s aestheticism. neoclassical columns.
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Renaissance :
Renaissance architecture had some distinct features that

were fairly common to major construction:
Square or Rectangle Plan
• Square - Many buildings were built as square or rectangle
symmetrical shapes. symmetrical around the vertical axis.
• Front - The front or "façade" of the buildings were generally
symmetrical around the vertical axis.
• Columns - They used Roman type columns.
• Arches and Domes - Arches and domes were popular. This was again
taken from Roman and Greek architecture.
• Ceilings - The ceilings of buildings were generally flat. Previously in
Domes of Renaissance.
the Middle Ages ceilings were often left open.
Examples of Renaissance Buildings :
1. Pallazo Rucellai, Leon batista Alberti

2. Basilica of St.Andrea, Mantua , Leon batista Alberti
3. Villa Rotunda ( Capra ), Andrea palladio
4. St. Peters at Vatican city, Rome, Michelangelo Roman columns Ceilings
5. St. Paul's Cathedral, London, Sir Christhoper Wren
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Leon Battista
born Feb. 14, 1404, Genoa—
Alberti:
died April 25, 1472, Rome
• Italian humanist, architect, and principal initiator of Renaissance

art theory. In his personality, works, and breadth of learning,
he is considered the prototype of the Renaissance
“universal man.”
• He belonged to one of the wealthy merchant-banker families of
Florence. At the time of his birth, the Alberti were in exile,
expelled from Florence by the oligarchical government then
dominated by the Albizzi family.
• Alberti embarked upon a study of the architectural and
engineering practices of antiquity that he continued when he
returned to Rome in 1443 with the papal court.
• By the time Nicholas V became pope in 1447, Alberti was
knowledgeable enough to become the Pope’s architectural adviser.
The collaboration between Alberti and Nicholas V gave rise to the
first grandiose building projects of Renaissance Rome, initiating
among other works the reconstruction of St. Peter’s and the
Vatican Palace.
• As the Este prince was now dead, it was to Nicholas V that Alberti
dedicated in 1452 the monumental theoretical result of his long
study of Vitruvius. This was his De re aedificatoria (Ten Books on
Architecture), not a restored text of Vitruvius but a wholly new
Leon Battista Alberti
work, that won him his reputation as the “Florentine Vitruvius.”
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Pallazo Rucellai:
Leon Batista Alberti, 1446 and 1451
• Palazzo Rucellai is a palatial fifteenth-century townhouse on the

Via della Vigna Nuova in Florence, Italy.
• The Rucellai Palace is believed by most scholars to have been
designed for Giovanni di Paolo Rucellai by Leon Battista Alberti
between 1446 and 1451 and executed, at least in part, by
Bernardo Rossellino.
• Its splendid facade was one of the first to proclaim the new ideas
of Renaissance architecture based on the use of pilasters and
entablatures in proportional relationship to each other.
ARCHITECTURAL CHARACTERASTICS:
• The Rucellai Palace demonstrates the impact of the antique
revival
but does so in a manner which is full of Renaissance originality.
• The grid-like facade, achieved through the application of a scheme
of trabeated articulation, makes a statement of rational humanist
clarity.
• The stone veneer of this facade is given a channeled rustication
and serves as the background for the smooth-faced pilasters
and entablatures which divide the facade into a series of
three-story bays.
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Pallazo Rucellai:
• The three stories of the Rucellai facade have different classical
orders, as in the Colosseum, but with the Tuscan order at the
base, a Renaissance original in place of the Ionic order at the
second level, and a very simplified Corinthian order at the top
level.
Corinthian
order
• Twin-lit, round-arched windows in the two upper stories are set
within arches with highly pronounced voussoirs that spring
from pilaster to pilaster.
• The facade is topped by a boldly projecting cornice.
Ionic order
• The ground floor was for business and was flanked by benches
running along the street facade.
• The second story (the piano nobile) was the main formal reception
floor and the third story the private family and sleeping quarters. A
Tuscan order
fourth "hidden" floor under the roof was for servants; with almost
no windows.
• The palace contains an off-center court (three sides of which
originally were surrounded by arcades).
• In the triangular Piazza dei Rucellai in front of the palace and set at
right angles to it is the Loggia de' Rucellai, which was used for
family celebrations, weddings, and as a public meeting place. The Elevation of Palazzo Rucellai
two buildings (palace and loggia) taken together with the open space
between them (the piazza), form one of the most refined urban
compositions of the Italian Renaissance.
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Pallazo Rucellai:
• The palace contains an off-center court (three sides of which

originally were surrounded by arcades).
• In the triangular Piazza dei Rucellai in front of the palace and set
at right angles to it is the Loggia de' Rucellai, which was used for
family celebrations, weddings, and as a public meeting place. The
two buildings (palace and loggia) taken together with the open
space between them (the piazza), form one of the most refined
urban compositions of the Italian Renaissance.
Street level Plan of Palazzo Upper level Plan of Palazzo

Rucellai Rucellai Ground floor Plan of Palazzo Rucellai
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Basilica of St.Andrea, Mantua :
Leon Batista Alberti, 1472
• Alberti's capital work in church architecture is Sant' Andrea of
Mantua, begun in 1472.
• The plan is cruciform, and the dome over the crossing is supported
in the Byzantine manner on pendentives.
• The nave has a barrel vault on massive square piers connected by
arches, the intervals between the piers forming side chapels, and
the lower part of each pier having a small square chamber within
it, so that it does not look as massive onthe plan as it does in
elevation. Façade of Basilica of St. Andrea, Mantua
• The east end has the strictly Roman form of a semicircular apse
with a half-dome vault.
• The details of the interior consist of a single order of pilasters, on
high pedestals, set on the angles of the piers, and of rich Roman
coffering on the surfaces of the vaulting.
• The justness of its proportions, the simplicity of the structural
scheme, and the quietness of the ornamental details are all
admirable.
• The incongruity between the structural and ornamental systems,
the entirely superficial use of the order, and its unfitness as
ornament where it has no structural meaning, are fundamental
defects of this as of most other Renaissance designs.
Barrel vault on nave
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Basilica of St.Andrea, Mantua :
• The west front of this church is again an adaptation of a Roman
triumphal arch design.
• It is, in fact, as the plan shows, a great porch set against the true
front, and has no correspondence in its parts with those of the
building itself.
• In outline it is an unbroken rectangle crowned with a pediment. A
very shallow order of Corinthian pilasters divides it into a wide
central bay and two narrow ones.
• A great arch over a smaller order opens into a barrel-vaulted
recess, on the three sides of which the entablature is returned.
• A rectangular portal, with square jambs and a cornice, opens into
the nave, and an arch reaching to the entablature opens into the
lateral compartment on each side, and each of these
compartments has a barrel vault with its axis perpendicular to that
of the great central one.
• The entablature of the small order is carried across the front of
each lateral bay, dividing it into two stages, and the great order
rises through it, embracing both stages, and forming an early
instance of the so-called colossal order that became common in
the later Renaissance.
Cruciform Plan of basilica of St.
Andrea
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Basalica of St.Andrea, Mantua :
• Alberti derived all these facades, and especially that of St. Andrea,
from the Roman triumphal arch scheme a direct comparison will
show ; and the arch of Septimius Severus.
• In St. Andrea at Mantua the use of pilasters instead of columns,
and the absence of ressauts in the great order, as well as the
substitution of a pediment for the attic, make a great difference in
the general character of the design ; and yet the triumphal arch
idea is even more strongly marked in this case, because it is not
confined to the mere facade but extends to the form of the whole Elevation of Basilica of St.
porch. Andrea
• The great barrel-vaulted recess is an exact reproduction of the
central passageway of the Roman arch, and so are the lesser
arches which open out of this recess on either side.
• The triumphal arch idea applied to church fronts appears to be
peculiar to Alberti.
Section of Basilica of St. Andrea
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Andrea palladio :
Born Nov. 30, 1508, Padua, Republic of Venice,Italy
Died August 1580, Vicenza
Andrea Palladio, original name Andrea di Pietro Della Gondola, (),

• Italian architect, regarded as the greatest architect of
16th- century northern Italy.
• His designs for palaces (palazzi) and villas, notably the Villa
Rotonda (1550–51) near Vicenza, and his treatise I quattro libri
dell’architettura (1570; The Four Books of Architecture) made him
one of the most influential figures in Western architecture.
PALLADIAN STYLE:
• The style of Palladio employed a classical repertoire of elements in

new ways.
• He clearly expressed the function of each part of the building by
its form, particularly elevating giving precedence to the piano
nobile, the ceremonial floor, of his villas and palaces.
• As much as possible he simplified the forms, as he did at Villa
Capra "La Rotonda", surrounding a circular dome and interior with
perfectly square facades, and placing the building pedestal to be
more visible and more dramatic.
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Andrea palladio :
born Nov. 30, 1508, Padua, Republic of Venice,Italy
died August 1580, Vicenza
• Palladio was inspired by classical Roman architecture, but he did

not slavishly imitate it. He chose elements and assembled them in
innovative ways appropriate to the site and function of the
building.
• His buildings were very often placed on pedestals, raise them up
and make them more visible, and so they could offer a view.
• The villas very often had loggias, covered arcades or walkways on
the outside of upper levels, which gave a view of the scenery or
city below, and gave variety to the facade.
• When he designed his rustic villas and suburban villas, he paid
attention to the site, integrating them as much as possible into
nature, either by sites on hilltops or looking out at gardens or
rivers.
• The Sarlian window, or Venetian window, also known as a Palladian
window, was another common feature of his style, which he used
both for windows and the arches of the loggias of his buildings.
• It consists of an arched window flanked by two smaller square
windows, divided by two columns or pilasters and often topped by
a small entablature and by a small circular window or hole, called
an oculus.
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Villa Rotunda:
1566 AD: Andrea palladio
3 WAYS PALLADIO INFLUENCED WESTERN ARCHITECTURE
• Palladian Windows: You know you're famous when everyone knows

your name. One of the many architectural features inspired by
Palladio is the popular Palladian window, readily used and misused
in today's upscale suburban neighborhoods.
• Writing: Using the new technology of movable type, Palladio

published a guide to the classical ruins of Rome. In 1570, he
published his masterwork: I Quattro Libri dell' Architettura, or
The Four Books of Architecture. This important book outlined
Palladio's architectural principles and provided practical advice for
builders. Detailed woodcut images of Palladio's drawings illustrate
the work.
• Residential Architecture Transformed: American statesman and

architect Thomas Jefferson borrowed Palladian ideas from Villa
Capra when he designed Monticello (1772), Jefferson's home in
Virginia. Palladio brought columns, pediments, and domes to all of
our domestic architecture, making our 21st century homes like
temples.
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Villa Rotunda:
• There were more than 20 Villas built by Palladio in the Véneto

region, and nowadays they are World Heritage sites.
• The Villas are inserted in the landscape, and they produce a
harmony between the solid volume and the natural space which
surrounds them.
• Their stunning façades have a classic style and are dominated by
columns and gables. They are open to the landscape to enjoy
the views from the inside part of the villas and their
galleries.
• Amongst all of them, the Villa Capra, another name used for La
Rotonda, is the most important model, where nature and the
architectural volume are fused under ideal proportions.
• The beginning of Villa Capra was in 1565, when the priest and
count Paolo Almerico retired from the Papal Court in Rome and
moved to Vicenza. He considered that there was no need to have a
big palace, so he commanded a countryside house to Palladio in
order to be able to study and meditate.
• The architect looked for inspiration in religious architecture, based
on plans like San Pietro in Montorio, by Bramante. Finally, Palladio
projected a building of square plan and utterly symmetric,
organized by means of a central round hall.
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Villa Rotunda:
• This particular room is covered with a domed vault illuminated by

a central oculus, and it gives the famous name of La Rotonda to
the whole building. All the other rooms are perfectly rectangular
and are placed around the round hall, so that they can enjoy the
beautiful views towards the landscape.
• The interior decoration corresponds to the Italian Cinquecento
period. There are magnificent frescos and stuccoes which
represent religious scenes, and even an allegory about Paolo
Almerico’s life, the first owner.
• The round central hall is the most spectacular, with balconies and
incredible frescos which pretend to be colonnades and huge figures
of the Greek mythology
• The building is raised by means of a base, and each front has a big
staircase to go into the house.
• The four façades are identical, except for the few variations they
can have to adapt to the land, and they are inspired on the
Greek and Roman temples.
• These are spun 45 degrees regarding the cardinal points, so that all
the rooms are oriented in order to have natural light at any time of
the day. Each façade has entablature and pediment supported by
six ionic columns, which give way to the galleries, named loggias.
Plan of Villa Rotunda
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Villa Rotunda:
• These loggias, used as meeting points and to rest enjoying the

fantastic views, ends up to shaping a Greek-cross plan.
• The Villa Capra follows the trend of the Mannerist Architecture,
which ruled at the end of the Renaissance. This trend rejects the
equilibrium and the harmony of the Classic Architecture, so that
it seeks provocation by breaking the rules. In La Rotonda, the Elevation of Villa Rotunda
concept of unity and proportion were taken to the extreme by
Palladio, and the Villa even loses its functional character.
• He follows a severe symmetry and so the traditional idea of the
principal and only façade disappears, what is a clear example of
provocation.
• This Villa had the biggest influence in the neoclassic architecture
of the 18th and 19th centuries. It was a source of inspiration for
many buildings in Europe and the United States, and even for the
White House.
Section of Villa Rotunda
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Michelangelo :
born March 6, 1475 -
died February 18, 1564
• Michelangelo, in full Michelangelo di Lodovico Buonarroti Simoni,

Italian Renaissance sculptor, painter, architect, and poet who
exerted an unparalleled influence on the development of Western
art.
• Michelangelo was considered the greatest living artist in his
lifetime, and ever since then he has been held to be one of the
greatest artists of all time. Several of his works in painting,
sculpture, and architecture rank among the most famous in
existence.
• Although the frescoes on the ceiling of the Sistine Chapel are
probably the best known of his works today, the artist thought of
himself primarily as a sculptor. Statue of David Michelangelo
• Michelangelo worked in marble sculpture all his life and in the
other arts only during certain periods.
• A side effect of Michelangelo’s fame in his lifetime was that his
career was more fully documented than that of any artist of the
time or earlier.
FAMOUS WORKS:
• The ceiling of the Sistine Chapel (1510–11)
• The Pietà (1498), now in St. Peter’s Basilica.
• The Statue of David (1501) for the cathedral of Florence
The painting of Sistine Chapel
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St. Peters at Vatican city, Rome:
Michelangelo ,1546–1564
INTRODUCTION AND ARCHITECTURAL CHRONOLOGY:

• St. Peter’s Basilica was built over the traditional burial place of
the apostle Peter, from whom all popes claim succession. The spot
was marked by a three-niched monument (aedicula) of 166–170
CE. Bramante's Raphael's
plan plan
• Excavations in 1940–49 revealed well-preserved catacombs, with
both pagan and Christian graves dating from the period of St.
Peter’s burial.
• Constantine enclosed the aedicula within a shrine, and during
the last 15 years of his life (c. 322–337) he built his basilica around
it.
• The shrine was sheltered by a curved open canopy supported by
four serpentine pillars that he brought from the Middle East.
• The design, enormously magnified, was followed in making the
baldachin (1623–33) over today’s papal altar.
• Despite fires, depredations by invaders, and additions by various
popes, the original basilica stood for more than a millennium much
as it had been built, but in 1506 Pope Julius II ordered it razed and
a new St. Peter’s built.
Michelangelo's plan
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• His architect was Donato Bramante, who in 1502 had completed

the first great masterpiece of the High Renaissance, the Tempietto
chapel in the courtyard of San Pietro in Montorio. Bramante’s
ground plan for St. Peter’s was central: a Greek cross, all the arms
of which are equal, around a central dome. Both he and the pope
died before much could be built.
• Successive architects, including Raphael, drew fresh plans.
• The last of them, Antonio da Sangallo the Younger, died in 1546,
and the 71-year-old Michelangelo was solicited to complete
Sangallo’s projects. He accepted but refused payment for his work
on the basilica.
• Michelangelo adapted Bramante’s original plan, the effect being
more emotional and mightier, less classically serene.
• Of the exterior, only the back of the church, visible from the
Vatican Gardens, and the dome are Michelangelo’s.
• After his death Giacomo della Porta and Domenico Fontana, who
executed the dome, altered the shape, making it taller and
Section of St. Peters Rome by Michelangelo
steeper than the original design.
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• The east end remained unfinished, and it was there that Carlo
Maderno was ordered to construct a nave, the clergy having won
its century-long battle to have a longitudinal church (one in the
shape of a Latin cross, rather than a Greek cross) for liturgical
reasons.
• Maderno added a Baroque facade in 1626. He was followed by
Gian
Lorenzo Bernini, who worked on both the inside and the
outside.
• His pontifical crowd-funneling colonnade in the shape of a keyhole
around the piazza, a fountain for the piazza, the breathtaking Exterior View of dome by Michelangelo
baldachin, his several major pieces of sculpture, his interior
arrangements for the church, and his dazzling Scala Regia (“Royal
Stair”) to the Vatican exhibit his legendary technical brilliance and
his masterful showman’s flair.
• In the end, all the planning, labour, and faith of numerous popes,
priests, artists, and artisans produced a vast, gorgeous ceremonial
chamber.
Interior view St. Peters Rome by Michelangelo
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Christopher Wren :
born October 20, 1632, East Knoyle, Wiltshire, England—
died February 25, 1723, London
• Christopher Wren, in full Sir Christopher Wren was a designer,

astronomer, geometrician, and the greatest English architect of his
time.
• Wren designed 53 London churches, including St. Paul’s Cathedral,
as well as many secular buildings of note.
• He was a founder of the Royal Society (president 1680–82), and
his scientific work was highly regarded by Isaac Newton and Blaise
Pascal. He was knighted in 1673.
• Reasons why Wren turned to architecture may have been the
almost complete absence of serious architectural endeavor in
England at the time.
• At Oxford in the spring of 1666, he made his first design for a
dome
for St. Paul’s.
• It was accepted in principle on August 27, 1666. One week
later, however, London was on fire. The Great Fire of London
reduced two-thirds of the City to a smoking desert and old St.
Paul’s Cathedral to a ruin.
• Wren was not only the chief architect of St. Paul’s and the City
churches but also the head of the King’s Works and thus the
responsible officer for all expenditure on building issuing from the
royal exchequer.
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St. Paul's Cathedral, London :
Sir Christopher Wren, (1675 – 1710)
• Saint Paul’s Cathedral, in London, cathedral of the Anglican

bishop. It is located within the central City of London, atop
Ludgate Hill and northeast of Blackfriars.
• A Roman temple to Diana may once have stood on the site, but the
first Christian cathedral there was dedicated to St. Paul in ad
604, during the rule of King Aethelberht I.
• That cathedral burned, and its replacement (built 675–685) was
destroyed by Viking raiders in 962. In 1087 a third cathedral Front view of St. Pauls London
erected on the site also burned.
• The fourth cathedral, now known as Old St. Paul’s, was
constructed of Caen stone beginning in the late 11th century. It
was one of the more massive buildings in the British Isles at that
time, and its spire stood higher than the dome of the present
cathedral
• During the English Reformation (16th century) the edifice fell into
disrepair, and its nave was used as a marketplace. The spire was
destroyed by lightning (and a resulting fire) in 1561 and never
replaced.
• Major repairs were initiated in the 1630s by Inigo Jones, who
oversaw the removal of shops, the renovation of walls, and the
building of a much-admired portico on the western side.
Ariel view of St. Pauls London
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• During the English Civil Wars (1642–51), however, the structure was
severely damaged by Cromwellian cavalry troops who used it as a
barracks.
• In the 1660s Christopher Wren was enlisted to survey and repair
the cathedral, but it was destroyed in the Great Fire of
London (1666) before work could begin.
• Wren subsequently designed and oversaw the construction of the
present cathedral, which was built mainly of Portland stone. His
plans were approved in 1675, and work was carried out until 1710. Old church destroyed by Great fire of London
• Wren’s design combined Neoclassical, Gothic, and Baroque
elements in an attempt to symbolize the ideals of both the English
Restoration and 17th-century scientific philosophy.
• His finished cathedral differed greatly from the plan approved in
1675, however. Wren apparently based many of his modifications
on an earlier (1673), unapproved plan for St. Paul’s, which was
first given shape in his 20-foot-long “Great Model,” now kept on
display in the crypt.
Great Model of St. Pauls London, displayed in crypt.
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ARCHIITECTURAL CHARACTERISTICS:
• St. Paul’s famous dome, which has long dominated the London
skyline, is composed of three shells: an outer dome, a concealed
brick cone for structural support, and an inner dome.
• The cross atop its outer dome stands nearly 366 feet (112 Section of St. Paul's
metres) above ground level (some 356 feet [109 metres] above the cathedral dome,
London.
main floor of the cathedral).
• Below the cross are an 850-ton lantern section and the outer, lead-
encased dome, both of which are supported by the brick cone.
• At the base of the lantern (the apex of the outer dome) is the
famous Golden Gallery, which offers panoramas of London some
530 steps (and some 280 feet [85 metres]) above the ground.
• To the north and south of the dome section are wide transepts,
each with semicircular porticoes; to the east lie the choir and the
Jesus Chapel, while the nave and the “front” entrance are to the
west.
• Framing the western facade, twin bell towers rise nearly 213 feet
(65 metres) above the floor. The southwest tower is known for the
Geometrical Staircase (with its balustrade by Tijou), which leads
to the cathedral library and archives.
• Accessible from the nave, the chapel of the Order of St. Michael
and St. George adjoins the southwest tower, while St.
Dunstan’s Chapel adjoins the northwest tower. Longitudinal section of St. Paul’s cathedral London.
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ARCHIITECTURAL CHARACTERISTICS:
• There are some 300 monuments within the cathedral.
• In the Apse to the east of the Chancel is the American Memorial
Chapel (formerly the Jesus Chapel), which was dedicated in 1958
to U.S. soldiers killed in World War II. Original plan of Sir Wren
• From the western facade to the eastern end of the Apse, St.
Paul’s measures nearly 515 feet (157 metres); including the
western steps, the total length of the structure is 555 feet (170
metres).
• Many notable soldiers, artists, and intellectuals have been buried
in the crypt, including Lord Nelson, the duke of Wellington,
and Wren himself, who was one of the first to be
entombed there.
• Above his resting place is the epitaph composed by his son, ending
with the oft-quoted sentence “Lector, si monumentum requiris,
circumspice,” which may be translated “Reader, if you seek a
monument, look about you.”
Plan as existing of St. Pauls London, displayed in crypt.
29
Baroque architecture:
The birth of Baroque The Palace of Versailles
https://youtu.be/5z2yUX5xiq0 https://www.youtube.com/watch?v=i3a72XmInag
30
originating in late 16th-century
—
• Baroque architecture, architectural style originating in late 16th-
century Italy and lasting in some regions, notably Germany and
colonial South America, until the 18th century.
• It had its origins in the Counter-Reformation, when the Catholic Pediments used in Baroque
Church launched an overtly emotional and sensory appeal to architecture
the faithful through art and architecture.
• Complex architectural plan shapes, often based on the oval, and
the dynamic opposition and interpenetration of spaces were
favored to heighten the feeling of motion and sensuality.
• Other characteristic qualities include grandeur, drama and contrast Plan of Church of San
(especially in lighting), curvaceousness, and an often-dizzying Carlo alle Quattro
Fontane
array of rich surface treatments, twisting elements, and gilded
statuary.
• Architects unabashedly applied bright colours and illusory, vividly
painted ceilings. Outstanding practitioners in Italy included Gian
Lorenzo Bernini, Carlo Maderno, Francesco Borromini, and Guarino
Guarini.
• Classical elements subdued Baroque architecture in France.. Its
impact in Britain can be seen in the works of Christopher Wren.
• The late Baroque style is often referred to as Rococo or, in
Spain Double columns usedin Louvre museum :
and Spanish America, as Churrigueresque.
31
Baroque architecture: Interiors of St. Peters
Basilica : Orders of
Architecture in the Greek
— Columns
Early Baroque
• The foremost pioneer of Baroque architecture was Carlo Maderno,
whose masterpiece is the facade of Saint Peter's Basilica, Vatican
City.
• Constructed under various architects throughout the sixteenth and Dome of St. Peter’s Basilica: The Dome
of St Peter’s Basilica, Rome
seventeenth centuries, Saint Peter's features a mixture of
Renaissance and Baroque components, the facade being one of
the latter.
• Prior to Maderno, Saint Peter's had featured a central plan design,.
Maderno converted the building into a Latin cross basilica by Broken pediment and layered Pilaster:
extending the nave, thus pushing the main entrance of the church Characteristic of Baroque Architecture
forward.
• The great dome of Saint Peter's is also chiefly Michelangelo's work,
though Maderno did adjust its proportions
• The facade of Saint Peter's contains a number of typical Baroque
elements, including double columns (close-set pairs of columns),
layered columns, colossal columns (columns that span multiple
stories), and broken pediments (in which the bottom and/or top
of a pediment features a gap, often with ornamentation that
"bursts through" the pediment).
• St Peter's also makes extensive use of coffered ceilings, a common
feature of monumental Western architecture.
32
Baroque architecture: Berninis work in St. Peters Basilica
1) St Peter's Square:
2) Baldachin of
—
High Baroque:
• The two foremost names in Baroque architecture are Bernini and
Borromini, both of whom worked primarily in Rome.
• Two masterpieces of Gian Lorenzo Bernini are found at St Peter's.
One is the four-story baldachin that stands over the high altar.(A
baldachin is an indoor canopy over a respected object, such as an
altar or throne.) The other is the curving colonnades that frame St
Peter's Square.
• Bernini's most famous building is likely the small church of
Sant'Andrea al Quirinale.
• Francesco Borromini was the master of curved-wall architecture.
Though he designed many large buildings, Borromini's most famous
and influential work may be the small church of San Carlo alle
Quattro Fontane. This building is also found on Quirinal Hill.
Church of San Carlo alle

Quattro Fontane,
Borromini
33
—
Late Baroque:
• The Late Baroque marks the ascent of France as the heart of
Western culture.
• Baroque art of France tends to be restrained, such that it can be
Baroque French Chateau
described as a classical-Baroque compromise. The most distinctive
element of French Baroque architecture is the double-sloped
mansard roof.
• The most famous Baroque structures of France are magnificent
chateaux , greatest of which is the Palace of Versailles.
• Versailles was built mainly under Louis XIV, whose patronage of
the arts helped propel France to the crest of Western culture.
• The palace facade admirably illustrates the classical-Baroque
compromise of northern Europe.
• The walls are characterized largely by simple planar classicism,
although they do contain such Baroque elements as sculpted
busts, a triple stringcourse, double pilasters, and colossal pilasters. Facade of Versailles
• The mansard roof features a sinuous metal railing and rich
moldings around the dormer windows.
34
Gian Lorenzo Bernini:
born December 7, 1598, Naples, Kingdom of Naples [Italy]—
died November 28, 1680, Rome, Papal States
• Gian Lorenzo Bernini,, Italian artist who was perhaps the greatest
sculptor of the 17th century and an outstanding architect as
well.
• Bernini created the Baroque style of sculpture and developed it to
such an extent that other artists are of only minor importance
in a discussion of that style.
• He was strongly influenced by his close study of the antique
Greek and Roman marbles in the Vatican, and he also had an
intimate knowledge of High Renaissance painting of the early 16th
century.
• His study of Michelangelo is revealed in the St. Sebastian (c. 1617),
carved for Maffeo Cardinal Barberini, who was later Pope Urban
VIII and Bernini’s greatest patron.
• With the pontificate of Urban VIII (1623–44), Bernini entered a
period of enormous productivity and artistic development. Urban
VIII urged his protégé to paint and to practice architecture.
• His first architectural work was the remodeled Church of Santa
Bibiana in Rome. At the same time, Bernini was commissioned to
build a symbolic structure over the tomb of St. Peter in St. Peter’s
Basilica in Rome.
35
St. Peter's Basilica :
Gian Lorenzo Bernini
• Bernini’s greatest architectural achievement is the colonnade

enclosing the piazza before St. Peter’s Basilica.
• The chief function of the large space was to hold the crowd
that gathered for the papal benediction on Easter and other
special occasions.
• Bernini planned a huge oval attached to the church by a
trapezoidal forecourt—forms that he compared to the encircling
arms of the mother church.
• The freestanding colonnades were a novel solution to the need Piazza of St. Peters Basilica
for a penetrable enclosure.
• The piazza guides the visitor toward the church and
counterbalances the overly wide facade of St. Peter’s.
• Bernini’s oval encloses a space centered on the Vatican obelisk,
which had been moved before the church by Sixtus V in 1586.
• Bernini moved an older fountain by Maderno into the long axis
of the piazza and built a twin on the other side to make a
scenographic whole.
• The analogies to Bernini’s oval plan of Sant’Andrea al Quirinale are
fascinating, as are the differences in meaning and function.
36
• Commissioned by Alexander VII in the summer of 1656, Bernini's

Colonnade may very well constitute the most successful
architectural work known to mankind.
• Entering St. Peter's Piazza, the pilgrim is confronted with a
"symbolic heaven", with 96 of Bernini's saints and martyrs situated
above individual travestine columns.
• The viewer is enveloped by the spaciousness yet is not
overwhelmed.
• Bernini described his Colonnade as the arms of the Mother Church Neighborhood Plan Piazza of St. Peters Basilica
"stretching out to receive Catholics, so as to confirm them in their
faith, heretics to reunite them with the Church, and infidels to
enlighten them in the true faith."
• The transverse oval design provided maximum amount of
unobstructed views of the windows from which the pope gave his
blessings urbi et orbi (to the city and the world)
• In order to compensate for the wide facade of St. Peter's Basilica,
Bernini "made it appear taller by contrast" by constructing
relatively low (39 foot) columns. He also connected the curved
colonnades to the basilica by a pair of straight, enclosed corridors
of the same style and height in order to provide a further optical
"pinching" effect of the broad facade.
Plan of Piazza in context of St. Peters Basilica
37
• The colonnades all reach 39 feet, but each of the columns varies
in level of foundation, as the ground slopes down away from
the basilica. St. Peters piazza Statues of saints
• The individual statues of saints and martyrs atop the columns were
designed by Bernini but executed by many sculptors, with Lazzaro
Morelli carving 47 of the 96 saints.
• Each of the 15-foot-tall saints piece together to constitute a
whole, creating an outdoor "pantheon" (if you will) of Catholic
saints to welcome approaching pilgrims on their journey.
• Originally, the piazza was to be enclosed by a "terzio baccio", or
"third arm." Bernini later decided to place this back and allow for
an entrance court - a "theatrum mundi" (world theater) resembling
the ancient ampitheaters such as the Colosseum.
• This third arm was never built, but Bernini still successfully
displays a construction that is both open and closed, a "teatro"
that recalls the greatness of Ancient Rome.
Plan of Vatican city in context of St. Peters Basilica
38
Louis Le Vau:
born 1612, Paris, France
died 11 October 1670, Paris, France
• One of the greatest architects in 17th century France, Louis Le Vau

was part of a trio of Baroque architects - the others being Jules
Hardouin Mansart and Andre Le Notre.
• First architect to King Louis XIV and superintendent of royal
constructions, Louis Le Vau performed an important role in the
evolution of 17th-century French architecture.
• His training period included an important trip to Italy with visits to
Genoa and Rome; in 1650 he began working for the French crown,
building the pavilions of the king and queen at Vincennes.
• Le Vau was responsible for the central nucleus of the palace, the
two wings of the courtyard, the cour d'honneur, where the roads
from Paris converge, the garden facade, and the unusual adoption
of the flat 'Italian-style' roof, perhaps derived from Bernini's
proposed plan for the Louvre.
• The selection of Le Vau, who had already made the revolutionary
chateau of Vaux-le-Vicomte, reveals the desire for a structure with
close ties to the surrounding nature as in the concept of 'between
court and garden', exemplified by the planning of an axial system
and the arrangement of the park.
39
Palace of Versailles, France :
Louis Le Vau (built c.1624-98),
• The Palace of Versailles (built c.1624-98), a magnificent example

of French Baroque architecture, is the most famous royal
chateau in France. Ariel View of Palace of
• The gigantic scale of Versailles exemplifies the architectural Versailles
theme of 'creation by division' - a series of simple repetitions
rhythmically marked off by the repetition of the large windows -
which expresses the fundamental values of Baroque art and in
which the focal point of the interior, as well as of the entire
building.
• Among its celebrated architectural designs is the Hall of The Marble Court and
Mirrors (Galerie des Glaces), which is one of the most facades of the first
famous rooms in the world. Chateau, embellished
• by Louis Le Vau
Located some 20 kilometers southwest of Paris, and set
amidst
extensive grounds, the palace and its decoration stimulated a
mini-renaissance of interior design, as well as decorative art,
during the 17th and 18th centuries.
• From 1682 to the beginning of the French Revolution in 1789, the
Palace of Versailles housed the King and the entire French royal
court, a total of some 3,000 residents, making it a symbol of the The Galerie des Glaces
absolutism and decadence of the Ancient Regime in general, and or Hall of Mirrors
the French monarchy in particular.
40
Grand plan of garden and Palace of Versailles Plan of Palace of Versailles under King Louie XIV
41
Plan of the main floor (c. 1837, with north to the right), showing the Hall of Mirrors in red, the Hall of Battles in green, the Royal Chapel in
yellow, and the Royal Opera in blue
42
Palace of Versailles in
Palace of Versailles, France : the first half of the 17th
century during the
Louis Le Vau (built c.1624-98), reign of Louis XIII
• The first phase of the expansion (c. 1661–1678) was designed and
supervised by the architect Louis Le Vau.
• Initially he added two wings to the forecourt, one for servants'
quarters and kitchens, the other for stables.
• In 1668 he added three new wings built of stone, known as the
envelope, to the north, south and west (the garden side) of the
original château.
• These buildings had nearly-flat roofs covered with lead. The king
also commissioned the landscape designer André Le Nôtre to
create the most magnificent gardens in Europe, embellished with
fountains, statues, basins, canals, geometric flower beds and
groves of trees.
• He also added two grottos in the Italian style and an immense
orangerie to house fruit trees, as well as a zoo with a
central pavilion for exotic animals.
• After Le Vau's death in 1670, the work was taken over and
completed by his assistant François d'Orbay.
View of the east facade of the Palace of Versailles from

the Royal Court
43
• The main floor (above the ground floor) of the new palace
contained two symmetrical sets of apartments, one for the king
and the other for the queen, looking over the gardens. Model of the former
• The two apartments were separated by a marble terrace, Ambassador's
overlooking the garden, with a fountain in the center. Staircase
• Each set of apartments was connected to the ground floor
with a ceremonial stairway, and each had seven rooms, aligned in
a row; a vestibule, a room for the guards, an antechamber,
chamber, a large cabinet or office; a smaller bedroom, and a
smaller cabinet.
• On the ground floor under the King's apartment was another
apartment, the same size, designed for his private life, The King's bedchamber
and decorated on the theme of Apollo, the Sun god,
his personal emblem.
• Under the Queen's apartment was the apartment of the Grand
Dauphin, the heir to the throne.
The Galerie des Glaces

or Hall of Mirrors
44
Revivals
A brief account of situation before the change over to modern Architecture in
Europe Palladian Revival: eg; Chiswick House, London
Greek Revival: eg; St. Pancras Church, London
Gothic Revival: eg; palace of West Minister, London
S.L.T:- Study of Mereworth castle, Kent and Arc de Triomphe, Paris
45
Palladian Revival :
Chiswick House:
Lord Burlington built between 1727 and 1729
• Chiswick House is an example of English Palladian Architecture in

Burlington Lane, Chiswick, in the London Borough of
Front view of Chiswick House
Hounslow in England.
• It was Inigo Jones who introduced Palladian architecture into
England. Upon his return from a trip to Italy (1613–14), Jones
created a Palladian style in London; this style was based upon the
knowledge he had acquired from his study of Palladio’s writings
and from his own first-hand examination of ancient and
• Arguably the finest remaining example of Neo-Palladian
architecture in London, the Chiswick House was designed by Lord
Burlington, and built between 1727 and 1729. Statue of Central gallery Coffered ceiling in the
• The house is often said to be directly inspired by Palladio's Villa Palladio Domed Hall
Capra "La Rotunda" near Vicenza.
• The House, also referred to as the Villa, was inspired by Lord
Burlington's Grand Tours of Europe in 1714 and 1719.
• Throughout his trip he had encountered the works of many
Renaissance architects but was most taken by those created by the
16th Century Italian architect Andrea Palladio (1508–1580) who had
reconstructed many ancient Roman buildings and built new ones
using traditional Roman principles and methods. Rear view of Chiswick House
46
Palladian Revival :
Chiswick House:
INFLUENCE OF PALLADIAN ARCHITECTURE: The influence of

Palladio's work and ancient Roman culture and architecture
can be seen throughout the Villa:
• The dome from the Pantheon.

• Corinthian capitals on the portico columns from the
Temple of Castor and Pollux in Naples. Elevation of Chiswick House
• A bust of the Emperor Augustus in the Domed Hall, who in
the 18th Century was often regarded as the greatest
Roman Emperor.
• Statues inspired by the Roman gods and goddesses such as
Terminus, Hermes, and Venus inside the Villa and Gardens.
• Chimneys disguised as obelisks.
• The use of geometric shapes such as the octagon,
circle, and rectangle, for the rooms of the Villa.
Section of Chiswick House
47
Palladian Revival :
Chiswick House:
ARCHITECTURAL CHARACTERISTICS:
• The building itself is made of brick with the façade fronted in
Portland stone, it measures 70 ft × 70ft × 35 ft with eight rooms in
total on the ground and upper floor.
• With no space for a kitchen and limited space for beds, it's
assumed that the building was not intended for living in but used
as an art gallery to house the collection of paintings and furniture
that Lord Burlington had accumulated throughout his life.
• Following in the footsteps of Palladio and Inigo Jones, Lord
Burlington designed Chiswick House with a plain and simple-looking
exterior with Venetian or ‘Serlian’ windows and the half-moon
lunette windows in the dome inspired by those in the Baths of
Diocletian.
• Lord Burlington carried his fascination with the Classical period
into the Gardens, and together with William Kent created features
that were original yet echoed the design of the Villa so that the
two were seen as one entity.
• All of the garden features contributed towards a vision; ranging
from the Obelisk Pond with its classical temple to the
Exedra, a semi-circular hedge with statues of Caesar, Cicero,
and Pompey. Plan of Chiswick House
48
Greek Revival architecture :
St Pancras New Church:
1819–22 to the designs of William and Henry William Inwood
• The Greek Revival was an architectural movement of the late 18th

and early 19th centuries, predominantly in Northern Europe and
the United States.
• It revived the style of ancient Greek architecture, in particular the St Pancras New Church,
Greek temple, with varying degrees of thoroughness and 19th century, in
consistency. Bloomsbury, London
• A product of Hellenism, it may be looked upon as the last phase
in the development of Neoclassical architecture, which had for
long mainly drawn from Roman architecture.
• St Pancras Church is a Greek Revival church in Bloomsbury/St
Pancras, London, built in 1819–22 to the designs of William and
Henry William Inwood.
• It was historically often referred to as St Pancras New Church, in
order to distinguish it from St Pancras Old Church, which stands
some way to the north.
• It was intended as a new principal church for the parish of St
Pancras, which once stretched almost from Oxford Street to
Highgate.
Caryatids of St. Pancras
church
49
• The church is in a Greek revival style, using the Ionic order. It is

built from brick, faced with Portland stone, except for the portico
and the tower above the roof, which are entirely of stone.
• All the external decoration, including the capitals of the columns
is of terracotta.
• The Inwoods drew on two ancient Greek monuments, the
Erechtheum and the Tower of the Winds, both in Athens, for their
inspiration.
• The doorways are closely modelled on those of the Erechtheum,
as
is the entablature, and much of the other ornamentation.
• The west end follows the basic arrangement of portico, vestibules
and tower.
• The octagonal domed ceiling of the vestibule is in imitation of the
Tower of the Winds, and the tower above uses details from the
same structure.
• At the east end is an apse, flanked by the church's most original
features: two tribunes designed in imitation of the
Erechtheum, with entablatures supported by Ground floor plan of St. Pancras church
caryatids.
50
• Unlike those on the Erechtheum, each caryatid holds a symbolic

extinguished torch or an empty jug, appropriate for their positions
above the entrances to the burial vault,
• There is a stone sarcophagus behind the figures in each tribune,
and the cornices are studded with lion's heads.
• The caryatids are made of terracotta, constructed in sections
around cast-iron columns, and were modelled by John Charles
Felix Rossi, who provided all the terracotta on the building. The
upper levels of the tribunes were designed as vestries.
• Access to the church is through three doorways ranged under the
portico. There are no side doors.
• Inside, the church has a flat ceiling with an uninterrupted span of
60 feet (18 m), and galleries supported on cast-iron columns.
• The interior of the apse is in the form of one half of a circular
temple, with six columns, painted to imitate marble, raised on a
plinth.
• The crypt, which extends the whole length of the church, was
designed to contain 2,000 coffins, but fewer than five hundred
interments had taken place by 1854, when the practice was ended
in all London churches.
Rear view of Chiswick House
51
Gothic Revival:
Palace of Westminster :
designed by Sir Charles Barry and A.W.N. Pugin (1840)
• Gothic Revival, architectural style that drew its inspiration from

medieval architecture and competed with the Neoclassical revivals
Victoria Terminus Station
in the United States and Great Britain.
• In many of the early Gothic Revival buildings, the Gothic was used
for its picturesque and romantic qualities without regard for its
structural possibilities or original function.
• There were several reasons for the change of direction from
Neoclassicism to the Gothic Revival, but three stand out as, by far,
the most important.
• The first, sparked by the general Romantic revolution, was the
literary interest in medieval times that produced Gothic tales and
romances. Novels inspired by Gothic Romanticism
• By setting their stories in medieval times, authors such as Horace
Walpole and especially Sir Walter Scott helped to create a sense of
nostalgia and a taste for that period.
• The ruins of medieval castles and abbeys depicted in landscape
paintings were another manifestation of this spirit.
• The second was the writing of the architectural theorists who were
interested, as part of church reform, in transferring the liturgical
significance of Gothic architecture to their own times.
Strawberry hill house, Fonthill Abbey, England
Horace Walpole
52
Gothic Revival:
• The third, which strengthened this religious and moral impetus,

was the writings of John Ruskin, whose Seven Lamps of
John Ruskin and his works
Architecture (1849) and Stones of Venice (1853) were widely
read and respected.
• The writings of the French architect Eugène-Emmanuel Viollet-
le-Duc provided the inspiration to sustain the Gothic Revival
movement.
• The Gothic Revival was to remain one of the most potent and long- French architect Eugène-
Emmanuel Viollet-le-Duc
lived of the 19th-century revival styles. Although it began to lose
and his works
force after the third quarter of the 19th century, buildings such as
churches and institutions of higher learning were constructed in
the Gothic style in England and in the United States until well into
the 20th century.
• Only when new materials and concern for functionalism began to
take hold did the Gothic Revival disappear.
53
Gothic Revival:
• Houses of Parliament, also called Palace of Westminster, in the

United Kingdom of Great Britain and Northern Ireland, the seat of
the bicameral Parliament, including the House of Commons and
the House of Lords.
• It is located on the left bank of the River Thames in the
borough
of Westminster, London.
• A royal palace was said to have existed at the site under the Danish
king of England Canute. The building, however, spoken of by
William Fitzstephen as an “incomparable structure,” was built for
Edward the Confessor in the 11th century and enlarged by William I
(the Conqueror) Ariel view of Place of West minister - House of Parliament
• A fire in 1834 destroyed the whole palace except the historic
Westminster Hall, the Jewel Tower, the cloisters, and the crypt of
St. Stephen’s Chapel.
• Sir Charles Barry, assisted by A.W.N. Pugin, designed the present
buildings in the Gothic Revival style. Construction was begun in
1837, the cornerstone was laid in 1840, and work was finished in
1860.
Sir Charles Barry A.W.N. Pugin Big Ben clock
54
Gothic Revival:
ARCHITECTURAL CHARACTERISTICS :
• It is a mixture of old and new, where the old buildings
(Westminster Hall, the Cloisters and Chapter House of St Stephen's,
and the Undercroft Chapel) and the new ones formed an integral
part of the whole.
• The location of the Sovereign's throne, the Lords Chamber and the
Elevation of Palace of West ministers
Commons Chamber were in a straight line, so the three elements
of Parliament were linked in continuous form.
• Balance of the horizontal and vertical by emphasizing continuous
bands of panelling and turrets that ended high above the walls.
Steeply-pitched iron roofs were introduced to emphasize the
Palace´s skyline.
• The palace contains three Towers: Victoria Tower, Central Tower
and Elizabeth Tower.
• Victoria Tower: It is the tallest tower in the Palace of Westminster.
Named after Queen Victoria, it was for many years the tallest and
largest stone square tower in the world, with a height of 98.5
meters. The tower was originally designed as a royal entrance and
a repository for the records of Parliament.
Plan of Palace of West ministers
55
Gothic Revival:
• Central Tower: Over the middle of the Palace, above the Central
Lobby, stands the octagonal Central Tower (91.4m, 300ft). It has a
spire and contains the largest known octagonal Gothic vault
without a central pillar. The tower was originally designed to serve Victoria Tower
as a ventilating chimney for stale air and smoke from fireplaces.
Due to its position in the center of the building, the tower was the
first to be completed.
• Elizabeth Tower: At the north-eastern end of the Palace is the
most famous of its towers, the Elizabeth Tower (96.3m, 316ft),
commonly known as Big Ben after its main bell. The tower houses
a large, four-faced clock designed by Augustus Pugin.
• House of Lords :The House of Lords is an ornate chamber 97 feet
(29.5 metres) in length;
• The Commons :the Commons is 70 feet (21 metres) long hall.
• Along with Westminster Abbey and St. Margaret’s Church, the Central Tower
Houses of Parliament were designated a UNESCO World Heritage
site in 1987.
Section and plan of Elizabeth Tower (big ben - clock tower)
56
Gothic Revival:
A • A: Sovereign's
H entrance (Victoria Tower
above)
• B: Sovereign's
B
C D F robing room
E • C: Royal gallery
• D: Chamber of
the House of Lords
• E: Central lobby
• F: Chamber of the
House of
Commons
• G: Westminster
Hall
• H: Clock Tower
Plan of Palace of West ministers' complex (containing Big Ben)
57
Impact of Industrial Revolution in Europe
Social , Economic , Political, technological and material changes affecting society and architecture
Early Industrial Buildings: eg; Crystal Palace, London and Eiffel Tower, Paris.
Movements after Industrial Revolution:

Art and craft movement – Ideas and Works of William Morris eg: Red House,
Kent
Art Nouveau Movement – Ideas and works of Antonio Gaudi and Victor Horta eg: Casa mila,
Tassel House, Brussels, Paris Metro Station.
58
Impact of Industrial Revolution in Europe
The Industrial Revolution | BBC William Morris Short Film – “People,
Documentary Places & Nature”
https://youtu.be/GYln_S2PVYA https://youtu.be/S8VSUDa2nOU
59
Early Industrial Buildings :
Crystal Palace, London :
designed by Sir Joseph Paxton (1851)
• The Crystal Palace was a glass and cast-iron structure built in
London, England, for the Great Exhibition of 1851. The building
was designed by Sir Joseph Paxton, an architect and gardener, and
revealed breakthroughs in architecture, construction and design.
• In January 1850, a committee was formed to choose the design for
a temporary exhibition building that would showcase the latest
technologies and innovations from around the world: The “Great
Exhibition of the Works of Industry of all Nations.” The structure
had to be as economical as possible and be built before the
exhibition was scheduled to open on May 1st, 1851.
• Within 3 weeks the committee received 245 entries, all of which
View of Crystal Palace , London
were rejected. It was only after this that Paxton showed his
first interest in the project.
• Already a famous gardener at the time, Paxton experimented
extensively with glasshouse construction. Using combinations of
prefabricated cast iron, laminated wood, and standard sized glass
sheets, Paxton created the “ridge-and-furrow” roof design.
• Paxton proceeded to visit Hyde Park, where he quickly doodled his
famous concept drawing of the Palace (the sketch is now held in
the Victoria and Albert Museum). The drawing included all the
basic elements of the building, and within two weeks all
Sir Joseph Paxton The Great Exhibition
calculations and detailed plans were submitted.
60
Crystal Palace, London :
designed by Sir Joseph Paxton (1851)
ARCHITCTURAL CHARACTERISTICS
• Paxton’ design was based on a 10in x 49in module, the size of the
largest glass sheet available at the time.
• The modular system consisted of right-angled triangles, mirrored
and multiplied, supported by a grid of cast iron beams and pillars.
These basic units were extremely light and strong and were
extended to an incredible length of 564 meters.
• 5000 workers handled more than 1000 iron columns and 84,000
Plan and central elevation of
square meters of glass. All parts were prefabricated and easy to central axis of Crystal Palace
erect, and every modular unit was self supporting, allowing the
workers freedom in assembling the pieces.
• Thanks to Paxton’s simple and brilliant design, over 18,000 panes
of glass sheets were installed per week, and the structure was
completed within 5 months.
• When the exhibition was closed 6 months later, the structure was
disassembled and then reassembled in the south London suburb of
Sydenham Hill. Tragically, the building was destroyed in a fire in
1936.
Various views of Details of central axis of Crystal
Crystal Palace Palace
61
Eiffel Tower, Paris , France :
designed by Alexandre Gustave Eiffel (1889)
• The “Eiffel Tower,” built as a temporary installation for the

Exposition Universelle de 1889, became an immediate sensation Expo universelle Paris 1889
for its unprecedented appearance and extraordinary height.
• It has long outlasted its intended lifespan and become not only one
of Paris’ most popular landmarks, but one of the most
recognizable structures in human history.
• In 1884, the French government announced the planning of an
international exposition to honor the hundredth anniversary of
the French Revolution of 1789 – the fourteenth such fair to be
held in France since the close of the 18th Century.
• Shortly afterward, the French civil engineer Gustave Eiffel
proposed the construction of an iron tower 300 meters (984 feet)
tall as a ceremonial gateway for the Exposition.
• Eiffel was well established in the field of ironworking in the mid-
1880s. His firm, one of the largest in France, had designed a
number of significant structures, including the internal framework
for the Statue of Liberty.
• Eiffel had also aided in the engineering of cavernous galleries and
pavilions for the Expositions of 1867 and 1878.
• Despite this illustrious portfolio, the firm was best known for
its major railway bridges, most notably the Viaduct of Garabit –
then the world’s tallest bridge. Stages of Construction of Eiffel tower
62
• The Eiffel Tower’s design was initially conceived by three of his

employees. The initial sketches and calculations of the proposed
tower were made by office manager Emile Nouguier and engineer
Maurice Koechlin in collaboration with architect Stephen
Sauvestre.
• Sauvestre, in particular, was responsible for many of the design
elements intended to turn what was essentially an oversized bridge
pylon into an aesthetically-pleasing building.
• These design gestures, including the arches at the base of the
tower and the bulbous finial at its summit, were intended to
appeal not only to the public, but to Eiffel himself.
• Later in 1884, Eiffel working directly with Sauvestre Refined the
tower’s aesthetics. It was this iteration of the design that the two View and Elevation of Gustav Eiffel tower
men submitted for consideration in 1886, and which was one of the
three entries chosen among 107 submissions.
• In the end, the designers responsible for the other two winning
designs were commissioned to build other major structures for the
Exposition, while Eiffel and Sauvestre emerged as the final victors
in the competition for the tower.
Er. Gustave Eiffel Lattice work bottom view
63
ARCHITCTURAL CHARACTERISTICS:
• The Eiffel Tower comprises four iron lattice piers laid out in a
square, rising from an initial slope of 54° and curving upward until
they meet, at which point the tower rises as a single, subtly
pyramidal form until the campanile at its summit.
• Its form was dictated primarily by concerns about wind at high
altitudes, a matter which affected even the size and placement of
rivet holes in the tower’s iron members.
• Three floors are open to visitors, with the first and second levels
suspended between the four piers and the third housed in the Intermediate 1st level plan of Eiffel
campanile, 324 meters (1063 feet) above the ground. tower
• Before construction began, Eiffel calculated that the tower would
weigh 6,500 metric tons and cost 3,155,000 francs; as built, the
Eiffel Tower weighs 7,300 tons, and cost two and a half times as
much as was expected.
• Despite its unprecedented height, the Eiffel Tower took a relatively
small force of 300 workers only two years to build.
• 18,000 pieces of ironwork were fabricated in Eiffel’s foundry in the
suburb of Levallois-Perret, at which point they were
transported to the Champ de Mars and lifted into place by
steam cranes. Plans at Various
• Many of Sauvestre’s decorative flourishes were abandoned as the work Intermediate 2nd level
sublevels
proceeded, reducing both the construction cost and the weight of the plan
tower.
64
Arts and Crafts movement:
most popular between 1861 and 1910
• The founders of the Arts & Crafts Movement were some of the
first major critics of the Industrial Revolution. Disenchanted with
the impersonal, mechanized direction of society in the 19th
century, they sought to return to a simpler, more fulfilling way of
living.
• The movement is admired for its use of high-quality materials and
for its emphasis on utility in design.
• The Arts & Crafts emerged in the United Kingdom around 1860,
at roughly the same time as the closely related Aesthetic
Movement, but the spread of the Arts & Crafts across the
Atlantic to the United States in the 1890s, enabled it to last
Typical interiors of arts and craft movement
longer - at least into the 1920s.
• Although the movement did not adopt its common name until
1887, in these two countries the Arts & Crafts existed in many
variations and inspired similar contemporaneous groups of artists
and reformers in Europe and North America, including Art
Nouveau, the Wiener Werkstatte, the Prairie School, and many
others.
• The practitioners of the movement strongly believed that the
connection forged between the artist and his work through
handcraft was the key to producing both human fulfillment and
Tulip and Rose Geoffrey Chaucer's Canterbury
beautiful items that would be useful on an everyday basis. curtain Tales
65
• As a result, Arts & Crafts artists are largely associated with the
vast range of the decorative arts and architecture as opposed to
the "high" arts of painting and sculpture.
• The Arts & Crafts movement grew out of several related strands of
thought during the mid-19th century. It was first and foremost a
response to social changes initiated by the Industrial Revolution,
which began in Britain and whose ill effects were first evident
there.
• The spark for the Arts & Crafts movement was the Great Exhibition
of 1851, the first world's fair, held in London. The chief criticism of
the manufactured objects on display was the riot of unnecessary
Pugin's house "The Grange" in Ramsgate, 1843.
ornament with little concern for utility.
• Industrialization moved large numbers of working-class laborers
into cities that were ill-prepared to deal with an influx of
newcomers, crowding them into miserable ramshackle housing and
subjecting them to dangerous, harsh jobs with long hours and low
pay.
• The main controversy raised by the movement was its practicality
in the modern world. The progressives claimed that the movement
was trying to turn back the clock and that it could not be done,
that the Arts and Crafts movement could not be taken as practical The stones of The nature of
John Ruskin
in mass urban and industrialized society. Venice gothic
66
Red House: designed by Philip Webb and William Morris 1859–1865
• Morris desired a new home for himself and his daughters resulting
in the construction of the Red House in the Kentish hamlet of
Upton near Bexleyheath, ten miles from central London.
• The building's design was a co-operative effort, with Morris
focusing on the interiors and the exterior being designed by Webb,
for whom the House represented his first commission as an
independent architect.
• Named after the red bricks and red tiles from which it was
constructed, Red House rejected architectural norms by being L- Red House by William Morris
shaped.
• Influenced by various forms of contemporary Neo-Gothic
architecture, the House was nevertheless unique, with Morris
describing it as "very mediaeval in spirit“.
• Situated within an orchard, the house and garden were intricately
linked in their design.
• Residences, viewed by the Arts & Crafts practitioners as a bulwark
against the harsh conditions of industrialization, a regenerative
spiritual haven, and the locus of the traditional family unit,
became the building type most associated with the movement.
William Morris Close up of Red
house
67
Red House: designed by Philip Webb and William Morris 1859–1865
• Often called the first Arts & Crafts building, Red House was
appropriately the residence of William Morris and his family, built
within commuting distance of central London but at the time still
in the countryside.
• It was the first house designed by Webb as an independent
architect, and the only house that Morris built for himself.
• Its asymmetrical, L-shaped plan, pointed arches and picturesque
set of masses with steep rooflines recall the Gothic style, while its
tile roof and brick construction, largely devoid of ornament speak
to the simplicity that Morris preached and its function as a mere
residence, though the interiors were in places richly decorated
with murals by Edward Burne-Jones.
• The house represented a sharp contrast to suburban or country
Victorian residences, most of which were elaborately and
pretentiously decorated.
• Its location allowed Morris to remain in touch with nature, away
from London's dirty, polluted core.
• The design, which included unusually large servants' quarters,
spoke to Morris and Webb's budding Socialist inclinations towards Plan of Red house
erasing class distinctions.
68
Art Nouveau :
• Art Nouveau, ornamental style of art that flourished between

about 1890 and 1910 throughout Europe and the United States.
• Art Nouveau is characterized by its use of a long, sinuous, organic
line and was employed most often in architecture, interior design,
jewelry and glass design, posters, and illustration.
• It was a deliberate attempt to create a new style, free of the
imitative historicism that dominated much of 19th-century art and
design. Stairway of Hôtel Tassel by Victor
• About this time the term Art Nouveau was coined, in Belgium by Horta
the periodical L’Art Moderne to describe the work of the artist
group Les Vingt and in Paris by S. Bing, who named his gallery L’Art
Nouveau.
• The style was called Jugendstil in Germany, Sezessionstil in
Austria, Stile Floreale (or Stile Liberty) in Italy, and Modernismo
(or Modernista) in Spain.
• Art Nouveau was influenced by experiments with expressive line
by the painters Paul Gauguin and Henri de Toulouse-Lautrec.
• Notable people influencing art Nouveau : Scottish architect and
designer Charles Rennie Mackintosh, Belgian architects Henry van
de Velde and Victor Horta, French architect Hector Guimard,
American architect Louis Henry Sullivan, and the Spanish
architect and sculptor Antonio Gaudí, perhaps the most original
Stained glass ceiling of Palau de la Lowboy by Antoni
artist of the movement. Música Catalana by Antoni Rigalt Gaudí
69
Art Nouveau :
CHARACTERASTICS OF ART NOVEAU

STYLE
• The distinguishing ornamental characteristic of Art Nouveau is its
undulating asymmetrical line, often taking the form of flower
stalks and buds, vine tendrils, insect wings, and other delicate and
sinuous natural objects; the line may be elegant and graceful or
infused with a powerfully rhythmic and whiplike force.
• In the graphic arts the line subordinates all other pictorial
elements—form, texture, space, and colour—to its own decorative
effect. Paris Métro Entrance by Hector Guimard
• In architecture and the other plastic arts, the whole of the three-
dimensional form becomes engulfed in the organic, linear
rhythm, creating a fusion between structure and ornament.
• Architecture particularly shows this synthesis of ornament and
structure; a liberal combination of materials—ironwork, glass,
ceramic, and brickwork—was employed, for example, in the
creation of unified interiors in which columns and beams became
thick vines with spreading tendrils and windows became both
openings for light and air and membranous outgrowths of the
organic whole.
• This approach was directly opposed to the traditional Cast iron and glass Detail of casa Batlo by Anthonio
architectural entrance of Paris Gaudi
values of reason and clarity of structure. metro
70
Art Nouveau :
LEGACY & INFLUENCE OF ART

NOUVEAU
• While Art Nouveau promoted a more widespread adoption of
"beautiful" design, it did not diminish the value of the machine or
mass-production (as the Arts and Crafts Movement did), but instead
took advantage of many technological innovations from the late
19th century. Even so, by World War I, it too succumbed to the
more streamlined design processes that were beginning to become
La Goulue at the Cover design for Wren's
available.
Moulin Rouge City Churches
• Possibly its greatest influence was on

I. 20th-century advocates of integrated design, such as the German
Bauhaus design school and
II. the Dutch design movement De Stijl;
III. Graphic art such as illustration and poster-design.
• Nowadays, Art Nouveau is viewed as an important bridge between

Neoclassicism and modernism, and several of its monuments are on
the UNESCO World Heritage List, notably the historic centre of
Riga, Latvia with over 750 buildings in the Art Nouveau style.
Alphonse Mucha - Four Seasons, 1896
71
Arts Nouveau :
Casa Milà: designed by Antoni Gaudí 1852–1926
• Constructed in 1912 for Roser Segimon and Pere Milà, the building
is divided into nine levels: basement, ground floor, mezzanine,
main floor, four upper floors, and attic.
• The ground floor acted as the garage, the mezzanine for entry, the
main floor for the Milàs, and the upper floors for rent.
• The building surrounds two interior courtyards, making for a
figure-eight shape in plan.
• On the roof is the famous sculpture terrace. Practically, it houses
skylights, emergency stairs, fans, and chimneys, but each Detail of Balcony
function’s envelope takes on an autonomously sculptural quality
which has become a part of the building itself.
• Structurally, the building is divided between structure and skin.
The stone façade has no load-bearing function. Façade of Casa Mila
• Steel beams with the same curvature support the facade’s weight
by attaching to the structure. This allowed Gaudi to design the
façade without structural constraints, and ultimately enabled his
conception of a continuously curved façade.
• The structure holding up the roof, too, allows for an organic
geometry. Composed of 270 parabolic brick arches of varying
height, the spine-like rib structure creates a varied topography
above it.
Central court of Casa Mila Antoni Gaudi
72
Arts Nouveau :
Casa Milà: designed by Antoni Gaudí 1852–1926
• Formally, the façade can be read in three sections:
I. the street façade, spanning the ground floor;
II. the main façade, including the main and upper floors; and
III. the roof structure, which houses the attic and supports the roof
garden.
• Made of limestone blocks, the curve of the main façade has a Façade of Casa Mila
weighty and textured quality of the organic.
• Above it is a curvaceous mass on which surrealist anthropomorphic
sculptures perch.
• Their presence contributes to the almost flowing dynamism of the
building’s aesthetic.
• The Casa Milà, which was ultimately a controversial building,
contributed greatly to the Modernista movement and modernism.
It pushed formal boundaries of rectilinearity and, as Gaudi Apartment floor plan
intentionally drew from natural and organic forms for the
building’s shape, significantly inspired practices of biomimicry.
Ground floor plan Ground floor plan
73
Arts Nouveau :
Tassel House : designed by Victor Horta 1892–1894
• Tassel House is considered the first architectural work of this
movement. It would revolutionize not only the artistic aspect but
also the technical. It is one of the classic monuments in the history
of architecture.
• It is the product of a time and of a country, characterized by the
economic progress of the bourgeoisie, strong artisanal
traditions and increased industrialization. Victor Horta
• The work proposes a total revision of the spatial organization and a
continual dialogue between the flexibility of iron and the
durability of stone. For the first time in a house, the potential of
iron as a constructive and decorative material are explored.
• The style and the ornamental elements are not added to the new Victor Horta
cast iron construction, but are part of it, and are seen
throughout the space.
• Although the house is of the traditional typology of Brussels, it
establishes not only a new vocabulary but a new syntax. It breaks
away entirely from the classic layout of the rooms, which are
generally found one after the other, accessed by the main corridor,
leaving the central areas in darkness.
• It was built by architect, Victor Horta, at the age of 31, and was
one of his first works. The house is also known as Maison or Hotel
Tabelgssel. Entrance lobby of Present day view of Tassel House
Tassel House
74
Arts Nouveau :
• It was commissioned by Emile Tassel, a professor of descriptive
geometry at the University of Brussels and collaborator with the
firm, Solvay (for whom Horta would later construct the Hotel
Solvay between 1895 and 1900).
• Once completed, the architect worked for a number of years on its
furniture. He also made a number of minor changes (e.g. to the Mosaic Flooring of
decoration and heating system). Tassel House
• The key conventions in the planning of the work were: a
renovation of the floorplan, elimination of the corridor and of the
rooms in one line, emphasis of the curved line and use of iron for
the architectural structure.
• Removal of the corridor and of the line of rooms results in flowing
spaces. Staircase in Tassel House
• Iron is used for structural elements, as well as decorative ones.
• ‘Whiplash lines’, also known as ‘Horta lines’, can be seen
throughout the property.
Gallery Artisan Glass Work
75
Arts Nouveau :
• The entrance is found in the centre of the façade. The space is Entrance level
distributed in two zones. The first, reached by the main staircase, plan
which connects the hallway with two main, large spaces, with
views over the street.
• The second, towards the garden, is accessed by another staircase.
• The two zones of the house surround a central courtyard which
Section of Tassel House
illuminates the public areas of the space.
• A breakdown of the levels is created. The second area of the
building, located toward the back, is above the entrance hall,
giving the internal space a contrasting dynamic to the narrowness
of the plot.
• The house offers an inexhaustible array of bidimensional forms,
inspired by the study of plants and flowers.
• Floors, walls and ceilings are covered in ‘whiplash lines’: snaking,
intertwining, rippling and climbing up the frames of the
windows, around the legs of the furniture and returning on
themselves.
• In the interior, the new figurative movement is visibly manifest. A
unifying sense links the structural elements to the visual.
• The principal staircase is a clear example, with its metal frame on
Semi basement Elevation of Tassel House
show. From it, curved iron mouldings split off to form railings and plan
decorative motifs.
76
Arts Nouveau :
• The sinuous development of these elements determines a very

particular definition of the space. Analogous forms of these
elements appear traced on the surfaces, from the design of the
stained-glass windows to the mosaics of the floor tiles.
• In this way, the concave-convex articulation favoured by Art
Nouveau is present in the body of the staircase, as well as in the
empty spaces, such as the lines of its structure and the meandering
mosaic of the floor.
• At the foot of the staircase, a slim column of iron rises as if it were
the stem of a flower. From its “spire” grow bands in the shape of
plants, which extend through the space.
• The imagery is repeated in the corbels and the visible iron
supports, and in the objects, which climb the stairs, forming the
railing.
• These ornamental details extend across the ceiling and walls, and
also the mosaic of the floor, like rings of water which expand from
a central point. The design is not repeated like a stamp on paper,
but as though every shape is individual.
77
Early Modern Movements
Chicago School: Ideas and Works of Louis Sullaivan eg: Wain Wright Building and Guarantry Building ,Chicago.
Bauhaus School: eg; Ideas and Works of Walter Gropius eg: Fagus Factory and Bauhaus School at Dessau.
De Stijl movement: Ideas and Works of Gerrit Reitveld eg: Schroder House, Netherlands
78
Chicago school of architecture:
at the turn of the 20th century.
• Chicago's architecture is famous throughout the world and one

style is referred to as the Chicago School, also known as
'commercial style’.
• In the history of architecture, the Chicago School was a school of
architects active in Chicago at the turn of the 20th century.
• They were among the first to promote the new technologies of
steel-frame construction in commercial buildings, and developed
a spatial aesthetic which co-evolved with, and then came to
influence, parallel developments in European Modernism.
• One of the distinguishing features of the Chicago School is the use
of steel-frame buildings with masonry cladding (usually terra Carson Pirie Scott building Monadnock building
cotta), allowing large plate-glass window areas and limiting the
amount of exterior ornamentation.
• Sometimes elements of neoclassical architecture are used in
Chicago School skyscrapers
• Many Chicago School skyscrapers contain the three parts of a
classical column.
• The first-floor functions as the base, the middle stories, usually
with little ornamental detail, act as the shaft of the column, and
the last floor or so represent the capital, with more ornamental
detail and capped with a cornice.
Auditorium Building in Chicago Mills Building and Tower
79
Chicago school of architecture:
at the turn of the 20th century.
• The "Chicago window" originated in this school. It is a three-part

window consisting of a large fixed center panel flanked by two
smaller double-hung sash windows. Chicago School window
• The arrangement of windows on the facade typically creates a grid grid
pattern, with some projecting out from the facade forming bay
windows.
• The Chicago window combined the functions of light-gathering and
natural ventilation; a single central pane was usually fixed, while
the two surrounding panes were operable.
• These windows were often deployed in bays, known as
oriel windows, that projected out over the street.
Classical order of column in
• Architects whose names are associated with the Chicago School Chicago building style
include Henry Hobson Richardson, Dankmar Adler, Daniel
Burnham, William Holabird, William LeBaron Jenney, Martin
Roche, John Root, Solon S. Beman, and Louis Sullivan.
• Frank Lloyd Wright started in the firm of Adler and Sullivan but
created his own Prairie Style of architecture.
Chicago Savings Bank Brick cladding of Chicago school

Building building
80
Ideas and Works of Louis Sullaivan :
Wainwright Building : by Dankmar Adler and Louis Sullivan
• The Wainwright Building is a 10-story, 41 m (135 ft) terra cotta
office building at 709 Chestnut Street in downtown St. Louis,
Missouri.
• The Wainwright Building is considered to be one of the first
aesthetically fully expressed early skyscrapers. It was designed
by Dankmar Adler and Louis Sullivan and built between 1890
and 1891.
• Louis Henry Sullivan (September 3, 1856 – April 14, 1924)was an
American architect and has been called a "father of
skyscrapers" and "father of modernism".
• He was an influential architect of the Chicago School, a mentor to
Frank Lloyd Wright, and an inspiration to the Chicago group of
architects.
• The building was named for local brewer, building contractor, and
financier Ellis Wainwright.
• The building, listed as a landmark both locally and nationally, is
described as "a highly influential prototype of the modern
office building" by the National Register of Historic Places.
• Architect Frank Lloyd Wright called the Wainwright Building "the
very first human expression of a tall steel office-building as Wainwright Building
Architecture.“
• The building is currently owned by the State of Missouri and
houses
state offices.
81
• The Wainwright Building exemplifies Sullivan's theories about the

tall building, which included a tripartite (three-part) composition
(base-shaft-attic) based on the structure of the classical
column,and his desire to emphasize the height of the building.
• Despite the classical column concept, the building's design was
deliberately modern, featuring none of the neoclassical style that
Sullivan held in contempt. Wainwright Building
• The base contained retail stores that required wide glazed
openings.
• Sullivan's ornament made the supporting piers read as
pillars. The Wainwright Building in 2012.
• Above it the semi-public nature of offices up a single flight of
stairs are expressed as broad windows in the curtain wall.
• A cornice separates the second floor from the grid of identical
windows of the screen wall, where each window is "a cell
in a honeycomb, nothing more".
• The building's windows and horizontals were inset slightly behind
columns and piers, as part of a "vertical aesthetic" to create what
Sullivan called "a proud and soaring thing.“
Ground floor entrance Windows Louis Sullivan
82
• The ornamentation for the building includes a wide frieze below

the deep cornice, which expresses the formalized yet naturalistic
celery-leaf foliage typical of Sullivan and published in his System of
Architectural Ornament, decorated spandrels between the
windows on the different floors and an elaborate door surround at The piers read as Bulls eye window
the main entrance. pillars
• Apart from the slender brick piers, the only solids of the wall
surface are the spandrel panels between the windows, and they
have rich decorative patterns in low relief, varying in design and
scale with each story.
• The frieze is pierced by unobtrusive bull's-eye windows that light
the top-story floor, originally containing water tanks and
elevator machinery.
• The building includes embellishments of terracotta, a building
material that was gaining popularity at the time of
construction.
• One of Sullivan's primary concerns was the development of an
architectural symbolism consisting of simple geometric, structural
forms and organic ornamentation.
• The building is considered the first skyscraper to forgo the normal
ornamentation used on skyscrapers at the time. Intricate frieze with the bull's-eye windows
83
Guaranty Building: by Dankmar Adler and Louis Sullivan (1896)
• The Guaranty Building, formerly called the Prudential Building, is

an early skyscraper in Buffalo, New York. Designed by Louis
Sullivan and Dankmar Adler, it was completed in 1896. The
building has been declared a National Historic Landmark.
• The building was the brainchild of a Buffalonian businessman and
entrepreneur Hascal T. Taylor. He planned to construct a
speculative office building called "The Taylor Building" in the
developing downtown district. Prudential Building as
• know today
The site Taylor chose was strategically located adjacent to the
then County and City Municipal building and near a
number of institutional structures.
• The intention was to attract high quality tenants such as lawyers
through proximity, desirable amenities, and the captivating design
Guaranty Building, 1896
of an avant garde architect like Sullivan.
• The Guaranty Construction Company was contracted to build it.
The untimely demise of Mr. Taylor as the project was reaching its Cornice detail
apogee resulted in the Guaranty's decision to take on the project
alone.
Capital detail Window detail
84
• Sullivan's design for the building was based on his belief that "form
follows function".
• He and Adler divided the building into four zones.
• The basement was the mechanical and utility area; since this level
was below ground, it did not show on the face of the building.
• The next zone was the ground-floor zone which was the public
areas for street-facing shops, public entrances and lobbies.
• The third zone was the office floors with identical office cells
clustered around the central elevator shafts.
• The final zone was the terminating zone, consisting of elevator
equipment, utilities and a few offices.
• The supporting steel structure of the building was embellished with
terra cotta blocks. Different styles of block delineated the three
visible zones of the building.
• The building is essentially a U-shaped plan stacked upon a
rectangular solid. The interstitial spaces between wings of the "U"
create opportunities to introduce skylights to the lobby below, and
to cover the ceilings with stained glass.
• The plan contained a single vertical circulation core with four
elevators, a mail slot, and staircase. No fire-stair was provided or Typical plan of Guaranty Building
necessary.
85
• The internal portion of the "U" faces south so as to collect light for
the interior recesses of the building- light being a necessary
commodity to attract good tenants.
• The first and second floors are united both spatially and visually
through additional staircases and the intention of retail
occupation.
• Mechanical systems were relegated to the basement, including
the
motors for the elevators, boilers, and electrical "dynamos.“
• Entrances were provided on both Church and Pearl Streets. A
concierge desk offered services to tenants and guests including
mail delivery. Above the "base" of the building a series of office
floors of identical plan were placed.
• These floors featured private lavatories in reconfigurable office
spaces. The halls were defined by wood and glass partition walls,
intended to give the interior a bright and "club" like feeling.
• The elevators and staircases were enclosed not by walls, but metal
cages permitting southern light to penetrate through the
circulatory systems and into the hallways. Section and
• The only exception to the rise of offices was the seventh floor with Elevation of Guaranty Building
lavatories and a barbershop, and the top floor with a US Weather
Service Bureau office and spaces for building attendants.
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Bauhaus German school of design:
from 1919 to 1933
• Bauhaus, in full Staatliches Bauhaus, school of design,

architecture, and applied arts that existed in Germany from 1919
to 1933. It was based in Weimar until 1925, Dessau through 1932,
and Berlin in its final months.
• The Bauhaus was founded by the architect Walter Gropius, who
combined two schools, the Weimar Academy of Arts and the
Weimar School of Arts and Crafts, into what he called the
Bauhaus, or “house of building,” a name derived by inverting the
German word Hausbau, “building of a house.”
• Gropius’s “house of building” included the teaching of various
The Bauhaus School at Dessau, Germany
crafts, which he saw as allied to architecture, the matrix of the
arts.
• By training students equally in art and in technically expert
craftsmanship, the Bauhaus sought to end the schism between the
two.
• The forward-looking Bauhaus rejected the Arts and Crafts emphasis
on individually executed luxury objects.
• Realizing that machine production had to be the precondition of
design if that effort was to have any impact in the 20th century,
Gropius directed the school’s design efforts toward mass
manufacture.
The Bauhaus School at Dessau, Germany
87
from 1919 to 1933
• On the example of Gropius’s ideal, modern designers have since

thought in terms of producing functional and aesthetically pleasing
objects for mass society rather than individual items for a wealthy
elite.
• Before being admitted to the workshops, students at the Bauhaus
were required to take a six-month preliminary course taught Johannes Itten Josef Albers
variously by Johannes Itten, Josef Albers, and László Moholy-
Nagy.
• The workshops—carpentry, metal, pottery, stained glass, wall
painting, weaving, graphics, typography, and stagecraft—were
generally taught by two people: an artist (called the Form Master),
who emphasized theory, and a craftsman, who emphasized
techniques and technical processes.
• The Bauhaus included among its faculty several outstanding artists
of the 20th century. In addition to the above-mentioned, some of
its teachers were Paul Klee (stained glass and painting), Wassily
Kandinsky (wall painting), Lyonel Feininger (graphic arts), Oskar
Schlemmer (stagecraft and also sculpture), Marcel Breuer
László Moholy-Nagy Walter Gropius
(interiors), Herbert Bayer (typography and advertising), Gerhard
Marcks (pottery), and Georg Muche (weaving).
88
from 1919 to 1933
• Although Bauhaus members had been involved in architectural

work from 1919 (notably, the construction in Dessau of
administrative, educational, and residential quarters designed
by Gropius), the department of architecture, central to Gropius’s
program in founding this unique school, was not established until Paul Klee Wassily Kandinsky
1927; Hannes Meyer, a Swiss architect, was appointed chairman.
• Upon Gropius’s resignation the following year, Meyer became
director of the Bauhaus until 1930.
• He was asked to resign because of his left-wing political
views, which brought him into conflict with Dessau
authorities.
• Ludwig Mies van der Rohe became the new director until the
Nazi regime forced the school to close in 1933.
• The Bauhaus had far-reaching influence. Its workshop products
Oskar Schlemmer Marcel Breuer
were widely reproduced, and widespread acceptance of
functional, unornamented designs for objects of daily use owes
much to Bauhaus precept and example.
• Bauhaus teaching methods and ideals were transmitted throughout
the world by faculty and students.
• Today, nearly every art curriculum includes foundation courses in
which, on the Bauhaus model, students learn about the
fundamental elements of design.
Lyonel Feininger Herbert Bayer
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from 1919 to 1933
• Among the best known of Bauhaus-inspired educational efforts was

the achievement of Moholy-Nagy, who founded the New Bauhaus
(later renamed the Institute of Design) in Chicago in 1937, the
same year in which Gropius was appointed chairman of the Harvard
School of Architecture.
• A year later Mies moved to Chicago to head the department of
architecture at the Illinois Institute of Technology (then known as László Moholy-Nagy Marcel Breuer
the Armour Institute), and eventually he designed its new
campus.
Paul Klee
Herbert Bayer Lyonel Feininger Oscar Schimlar Wassily Kandinsky
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Dessau Bauhaus :
by Walter Gropius (1926)
• Interested in creating a new form of design found at the

intersection of architecture, art, industrial design, typography,
graphic design, and interior design, Walter Gropius was inspired to
create an institution known as the Bauhaus at Dessau, with an
emerging style that would forever influence architecture.
• Initially a school in Weimar, growing political resentment forced
the move to Dessau. Gropius took this as an opportunity to build a
school that reflected his hopes for the education that would be
had within its walls. Bauhaus school main
• The style of the Dessau facilities hints at the more futuristic style block
of Gropius in 1914, also showing similarities to the International
style more than the Neo-classic style.
• The extensive facilities in the plans of the Bauhaus at Dessau Bauhaus school main block
include spaces for teaching, housing for students and faculty
members, an auditorium and offices, which were fused together in
a pinwheel configuration.
• From the aerial view, this layout hints at the form of airplane
propellers, which were largely manufactured in the surrounding
areas of Dessau.
Hostel block Enterance
91
Dessau Bauhaus:
• The housing units and school building are connected through a

wing to create easy access to the assembly hall and dining
rooms.
• The educational wing contains administration and classrooms, staff
room, library, physics laboratory, model rooms, fully finished
basement, raised ground-floor and two upper floors.
• As a practiced architect, Gropius was interested in including
structural and technological advancements as he designed
this revolutionary school for architecture and design students.
• Some of the various progressions include a window glazing, a
skeleton of reinforced concrete and brickwork, mushroom-like
ceilings of the lower level, and roofs covered with asphalt
tiles that were meant to be walked on.
• The total area for construction of the Dessau Bauhaus was 113,400
Plan of Bauhaus School
sq ft, the building itself containing approximately 250,600 sq ft.
The total cost was around 902,500 marks, or 27.8 mars per cubic m
of space.
• It's size "belied the enormous symbolic significance it was to gain
as its national and international reputation grew as an
experimental and commercial laboratory for design after 1927 as a
hotbed of architecture and urban design."
Elevation of Bauhaus School
92
Dessau Bauhaus :
• With the Bauhaus building, Gropius thoughtfully laid out his notion
of the building as a 'total work' of compositional architecture.
• The huge curtain window facade of the workshop building became
an integral part of the building's design. Hoping to create
transparency, the wall emphasized the 'mechanical' and open
spatial nature of the new architecture.
• These vast windows enabled sunlight to pour in throughout the day,
although creating a negative effect on warmer summer days. In
order to preserve the curtain wall as one expanse, the load bearing Axonometric of Bauhaus School
columns were recessed back from the main walls.
• "Like De Stijl painting, in a sense the Bauhaus was composed of
basically related functional elements that produced a
cohesive interrelated asymmetric whole."
Section of Bauhaus School
93
Fagus Factory :
• The Fagus Factory is one of the earliest built works of modern

architecture, and the first project of Walter Gropius.
• The commission provided Gropius with the opportunity to put his
revolutionary ideas into practice, and the stunning rectilinear
volume with its primarily glazed façade would guide the course of
Modernism through the coming decades.
• Before working on the Fagus Factory, Gropius was working under
Peter Behrens, the architect who designed the AEG turbine
building. Front view of Fagus factory by Walter Groupius
• Although both German architects were very interested in industrial
architecture, their design philosophy differed.
• While Behrens introduced a sense of nobility to industrial
architecture with the AEG building, Gropius was critical of the
project and felt that it lacked authenticity with regards to the
exterior design masking its construction elements.
• Gropius felt that exterior design should reveal the construction
logic of a building.
• It would become his mandate to discover artistic solutions of
constructing industrial buildings in a variety of contexts.
• Gropius formally expressed his design ideals during a lecture at the
Folkwang Museum in April 1911.
Rear view of Fagus Werk factory
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Fagus Factory :
by Walter Gropius (1925 )
• In his lecture, ‘Monumental Art and Industrial Construction’, he
explained that train stations, departments stores, and factories
should no longer be built like those from previous decades and
needed to evolve to suit changing societal and cultural dynamics.
Elevation of Fagus factory
• Gropius emphasized the social aspect to architectural design,
suggesting that improving working conditions through increased
daylight, fresh air, and hygiene would lead to a greater satisfaction
of workers, and therefore, increase overall production.
• These are the theories that would guide his design of the Fagus
Factory.
• The Fagus Factory is a complex with many buildings, which contain
various functions such as manufacturing, storage, and offices, and
Gropius felt it was important to design an exterior design aesthetic
that could be applied to various structures.
• The use of brick — more specifically, a 40-centimeter high, dark
brick base which projects 4-centimeters from the facade — can be
seen repeatedly throughout the complex.
• The most architecturally-significant aspect of Gropius’
contribution
to the project is the office building.
• Unlike the other buildings, this flat-roof, three-story building
features a façade that is comprised of more glass than brick.
Instead of conventional load-bearing exterior walls, Gropius had
Plan of Fagus factory
made the bold and innovative decision to place reinforced
concrete columns inside the building to free the façade.
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Fagus Factory :
by Walter Gropius (1925 )
• Instead of conventional load-bearing exterior walls, Gropius had

made the bold and innovative decision to place reinforced
concrete columns inside the building to free the façade.
• A series of brick piers suspend iron frames between that supports Perspective of the entire property from south-west
glass inserts.
• Metal panels were placed within the iron frame to conceal the
floor slabs behind.
• The most innovative feature of the building is the fully glazed
exterior corners, which are free of structural elements.
• The exterior design of the office building effectively demonstrated
Gropius’ ambition to improve interior conditions while exposing
contemporary construction techniques as an architectural image.
• The Fagus Factory was architecturally completed in 1911, though
the interiors were not completed until 1925.
• It became a UNESCO World Heritage Site in 2011 for its early
influence on the development of modern architecture.
• Design elements of the factory, such as its simple geometric forms,
generous use of glazing, and perceived weightlessness, became
inseparable from the vocabulary of Modernism and remain common
principles in contemporary construction.
Detail of facade Detail of facade
96
De Stijl movement :
from 1917 to 1931
• In 1917, Theo van Doesburg founded the contemporary art journal

De Stijl as a means of recruiting like-minded artists in the
formation of a new artistic collective that embraced an expansive
notion of art, infused by utopian ideals of spiritual harmony.
• The journal provided the basis of the De Stijl movement, a Dutch
group of artists and architects whose other leading members
included Piet Mondrian, J. J. P. Oud and Vilmos Huszar.
• Adopting the visual elements of Cubism and Suprematism, the anti-
sentimentalism of Dada, and the Neo-Platonic mathematical theory
of M. H. J Schoenmaekers, a mystical ideology that articulated the
concept of "ideal" geometric forms, the exponents of De Stijl
aspired to be far more than mere visual artists.
• At its core, De Stijl was designed to encompass a variety of artistic
influences and media, its goal being the development of a new
aesthetic that would be practiced not only in the fine and applied Theo van Doesburg First Edition of De Stijl in 1917
arts but would also reverberate in a host of other art forms as
well, among them architecture, urban planning, industrial
design, typography, music, and poetry.
• The De Stijl aesthetic and vision was formulated in large response
to the unprecedented devastation of World War I, with the
movement's members seeking a means of expressing a sense of
order and harmony in the new society that was to emerge in the
wake of the war. Theo van Doesburg artwork
97
De Stijl movement :
from 1917 to 1931
• The Netherlands-based De Stijl movement embraced an abstract,

pared-down aesthetic centered in basic visual elements such as
geometric forms and primary colors.
• Partly a reaction against the decorative excesses of Art Deco,
the reduced quality of De Stijl art was envisioned by its creators as
a universal visual language appropriate to the modern era, a time
of a new, spiritualized world order.
• Led by the painters Theo van Doesburg and Piet Mondrian - its
central and celebrated figures - De Stijl artists applied their style
to a host of media in the fine and applied arts and beyond.
Dress inspired by
• Promoting their innovative ideas in their journal of the same Piet Mondrian
name, the members envisioned nothing less than the ideal fusion
of form and function, thereby making De Stijl in effect the
ultimate style. Artwork of Piet Mondrian
• To this end, De Stijl artists turned their attention not only to fine
art media such as painting and sculpture, but virtually all other art
forms as well, including industrial design, typography, even
literature and music.
• De Stijl's influence was perhaps felt most noticeably in the realm
of architecture, helping give rise to the International Style of the
1920s and 1930s.
Piet Mondrian Studio of Piet Mondrian
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De Stijl movement:
from 1917 to 1931
• Like other avant-garde movements of the time, De Stijl, which

means simply "the style" in Dutch, emerged largely in response to
the horrors of World War I and the wish to remake society in its
aftermath. Viewing art as a means of social and spiritual
redemption, the members of De Stijl embraced a utopian vision of
art and its transformative potential.
Gerrit Rietveld Zig-zag Chair
• Among the pioneering exponents of abstract art, De Stijl artists
espoused a visual language consisting of precisely rendered
geometric forms - usually straight lines, squares, and rectangles-
-and primary colors.
• Expressing the artists' search "for the universal, as the individual
was losing its significance," this austere language was meant to
reveal the laws governing the harmony of the world.
• Even though De Stijl artists created work embodying the
movement's utopian vision, their realization that this vision was
unattainable in the real world essentially brought about the
group's demise.
• Ultimately, De Stijl's continuing fame is largely the result of the
enduring achievement of its best-known member and true modern
master, Piet Mondrian.
Red and Blue Chair by Gerrit Rietveld
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Schroder House, Netherlands :
By Gerrit Reitveld (1920)
• Still as visionary and eccentric as it was when it was built in the

1920s, the Schroder House by Gerrit Rietveld continues to impress
architects and interior designers with its innovative solutions to
prominent design questions of its time.
• The flexibility of the interior spaces and the obviously planar
quality of the house both give it an edge that makes it
distinguishable and unique on every level.
• The Schroder House is the only building that was designed in
complete accordance with the De Stijl style, which was marked by
primary colors and pure ideas.
Schroder house Exterior
• Founded in 1917, the movement was named after a periodical that
became the most influential voice for the ideals of modern art and
architecture in the Netherlands; other famous people of the
movement include Piet Mondrian and J.J.P. Oud.
• The group of artists and architects “sought for the universal, as the
individual was losing its significance... abstraction, precision,
geometry, striving towards artistic purity and austerity.”
• Upon the death of Mr. Schroder Schrader, his wife felt the need to
move into a smaller house with their three kids, where she
would live until her death in 1985.
Formation of Schroder Schroder house interior

house
100
• The two-story house contains a transformable kitchen/dining/living

area, studio space and reading room on the bottom, and the
second floor contained bedrooms and storage space, only
separated by portable partitions.
• The flexibility of space meant that there was no hierarchical
arrangement of rooms in the floor plan.
• The collapsible walls upstairs positioned around a central staircase
were designed to provide the children with an option of pushing
the partitions in during the day for an open play space and closing Upper floor plan
them at night for private bedrooms.
• The three criteria given by Mrs. Schroder about the rooms for her
kids stated that a bed should be able to fit in two different
positions, each room should have access to the water supply and
drainage, and all should have a door to access the outdoors
directly.
• This kind of detail was well planned by Rietveld and was prominent
in other areas of the design, like specific paint colors to
distinguish different spaces or functions.
• An interesting example of this is the front door, where black paint
is used because Rietveld anticipated it would be accessed the most
and would therefore be easily soiled.
Ground floor plan
101
• What makes the Schroder House an icon of the Modern Movement

is its radical approach to design, the use of space, and the purity
of its concepts and ideas as represented in the De Stijl movement.
• Its transformational quality of evenly matched spaces composed of
independent planes perfectly met the goals of the De Stijl South west elevation North east elevation
movement.
• “As with his early chairs, Rietveld gave a new spatial meaning to
the straight lines and rectangular planes of the various
architectural structural elements, slabs, posts and beams, which
were composed in a balanced ensemble.”
• The main structure of the house is of reinforced concrete slabs and
steel profiles. Walls are made of brick and plaster; window
frames, doors, and floors were made from wood.
• To preserve the strict design standards about intersecting planes,
the windows are hinged so that they are only able to open 90
degrees to the wall.
Perspective view of Schroder House
102
Modern Architecture – Theories and Works of Great Masters
Le Corbusier: Humanist Mechanomorphism and Five Point of Architecture eg:

Villa Savoye, Paris.
Brutalism – Eg Unite De Habitation, Marseilles
and Notre Dame du Haut, Ronchamp, France.
Frank Lloyd Wright: Organic Architecture eg:

Robie House, Chicago
Falling Waters, Pennsylvania
Mies van der Rohe: Less is More – eg:
Barcelona Pavilion, Barcelona
Dr Fransworth House, Illinois
God is in Details: eg. Seagram Building,
Manhattan
Oscar Niemeyer : Sculptor of Monuments eg:
National Congress Complex, Brasilia and
Metropolitan Cathedral, Brasilia
103
Le Corbusier:
Humanist Mechanomorphism and Five Point of Architecture
• Born in the small Swiss city of La Chaux-de-Fonds, Charles-

Édouard Jeanneret-Gris—better known by his pseudonym Le
Corbusier (October 6, 1887 – August 27, 1965)—is widely regarded
as the most important architect of the 20th century.
• As a gifted architect, provocative writer, divisive urban planner,
talented painter, and unparalleled polemicist, Le Corbusier was
able to influence some of the world’s most powerful figures,
leaving an indelible mark on architecture that can be seen in
almost any city worldwide.
• After studying architecture in his hometown the young Jeanneret
rejected the provincial atmosphere of Chaux-de-Fonds,
traveling to Italy then on to Budapest and Vienna.
• He finally came to Paris, where he spent time working for August
Perret, then learned German in order to work in the Berlin office
of Peter Behrens, the proto-modernist who is often cited as the
first ever industrial designer thanks to his work for AEG.
• After a further period of travel around the Balkans and Greece,
Jeanneret returned to Chaux-de-Fonds to teach and remained
there throughout the First World War.
• In 1914–15 he developed his first major theoretical work, the
Domino house: a reinforced concrete frame which he posited as a
mass production system for free-plan housing. Charles-Édouard Jeanneret - Le Corbusier
104
Le Corbusier:
• After the war, Jeanneret returned to Paris, where he began an

architectural practice with his cousin, Pierre Jeanneret, with
whom he would continue to collaborate for most of his career.
• He also met Amédée Ozenfant, a French cubist painter with
whom he developed the manifesto of “Purism,” and the pair
went on to publish the journal L’Esprit Nouveau from 1920.
• It was in L’Esprit Nouveau that Jeanneret first adopted the
pseudonym of Le Corbusier, following the fashion among
Parisian artists of the time.
• It was also in L’Esprit Nouveau that Le Corbusier first developed
his famous “five points of architecture,” which can be briefly
summarized as follows:
i. Raise the building on “pilotis,” freeing the walls of their

structural function.
ii. With the walls freed of their structural role, a free plan
should be employed.
iii. Similarly, the facade should be designed freely.
iv. The horizontal ribbon window, enabled by the free
facade,
should be used to light rooms evenly.
v. The roof should be flat and host a roof garden, replacing the
The Five points of architecture
ground space that is occupied by the building.
105
Le Corbusier:
• In 1923, Le Corbusier published his seminal book Vers une

architecture, commonly translated into English as “Towards a New
Architecture.” View of Villa Savoy
• In this book he elucidated his vision for architecture inspired by
the emerging modern era, applying the principles of cars, planes,
and ships to buildings.
• It was here that he proclaimed the house as a “machine for living
in,” summarizing his early approach to design and defining the Vers une architecture
fundamental attitude of Modernist architecture.
• Of the many structures completed by Le Corbusier in his early
period, none is more successful in demonstrating his five points
View of Villa Savoy
of architecture than the Villa Savoye, completed in 1931.
• During the 1930s and the Second World War, Le Corbusier
completed fewer buildings than in his fertile early years, but the
end of the war saw an explosion in commissions.
• By now, however, he was working in a very different style to the
smooth, machine-like modernism of the 1920s, favoring exposed
concrete and monumental scale. Widely adopted and adapted
by Le Corbusier’s many followers, the style came to be known as
“Brutalism,” so named for the French Béton Brut meaning raw
concrete.
Staircase and the Ramp in Villa Savoy
106
Le Corbusier:
• It was during this period of around 15 years that Le Corbusier

completed many of his most admired works, including the Unité
d’habition in Marseille, the chapel of Notre Dame du Haut in
Ronchamp, the convent of La Tourette and the Carpenter Center
for the Visual Arts, his only building in the United States.
• In the 1950s, Le Corbusier was finally able to realize a synthesis of
his architectural and urban planning visions when he was
invited to complete the design of Chandigarh, the new capital of
the state of Punjab in India.
• Le Corbusier designed a functional city layout, and for the city’s
Capitol he designed three buildings himself: the Secretariat
Building, the Palace of the Assembly, and the High Court.
Unité d’habition in Marseille
Chandigarh city Capital Complex – Assembly and Secretariat Building The chapel of Notre Dame du Haut in Ronchamp
107
Le Corbusier:
Villa Savoye : Le Corbusier (1929)
• Situated in Poissy, a small commune outside of Paris, is one of the
most significant contributions to modern architecture in the 20th
century, Villa Savoye by Le Corbusier.
Front view of Villa Savoy
• Completed in 1929, Villa Savoye is a modern take on a French
country house that celebrates and reacts to the new machine age.
• The house single handedly transformed Le Corbusier’s career as
well as the principles of the International Style; becoming one
of the most important architectural precedents in the history.
• Villa Savoye’s detachment from its physical context lends its design
to be contextually integrated into the mechanistic/industrial
context of the early 20th century, conceptually defining the house
as a mechanized entity.
• View of Terrace from Lounge
Le Corbusier is famous for stating, “The house is a machine for
living.” This statement is not simply translated into the design of
a human scaled assembly line; rather the design begins to take on
innovative qualities and advances found in other fields of industry, Lounge Area
in the name of efficiency.
• In response to his aspirations and admiration of mechanized
design, Le Corbusier established “The Five Points” of
architecture, which is simply a list of prescribed elements to be
incorporated in design.
Terrace Gardens Connecting Ramps
108
Le Corbusier:
• The Five Points of architecture can be thought of as Le Corbusier’s
modern interpretation of Vitruvius’ Ten Books on Architecture, not
literally in the sense of an instructional manual for architects, but
rather a checklist of necessary components of design i.e. Pilotis,
Flat Roof Terrace, Open Plan, Ribbon Windows and Free Façade.
• At this point in Le Corbusier’s career, he became intrigued by the
technology and design of steamships. The simplistic, streamlined
result born out of innovative engineering techniques and modular
design had influenced Corbusier’s spatial planning and minimalistic
aesthetic.
• The pilotis that support the decks, the ribbon windows that run
alongside the hull, the ramps providing a moment of egress from
deck to deck; all of these aspects served as the foundation of the
Five Points of Architecture and are found in the overall
composition of Villa Savoye.
• Upon entering the site, the house appears to be floating above the
forested picturesque background supported by slender pilotis that
seem to dissolve among the tree line, as the lower level is also
painted green to allude to the perception of a floating volume.
Lower Level or Parking Space / Maintainance
109
Le Corbusier:
• The lower level serves as the maintenance and service programs of
the house. One of most interesting aspects of the house is the
curved glass façade on the lower level that is formed to match the
turning radius of automobiles of 1929 so that when the owner
drives underneath the larger volume they can pull into the garage
with the ease of a slight turn.
• The living quarters, or the upper volume, are fitted with ribbon
windows that blend seamlessly into the stark, white façade, which
void the façade(s) of any hierarchy.
• The ribbon windows begin to play with the perception of interior
and exterior, which does not fully become expressed until once
inside.
• Once inside, there becomes a clear understanding of the spatial
interplay between public and private spaces.
• Typically, the living spaces of a house are relatively private, closed
off, and rather secluded. Yet, Le Corbusier situates the living
spaces around a communal, outdoor terraced that is separated
from the living area by a sliding glass wall.
• This notion of privatized areas within a larger communal setting is
a common thread later on in Le Corbusier’s housing projects.
Upper Level or Living Quarters
110
Le Corbusier:
• Both the lower level and the upper living quarters are based off an
open plan idea that provokes the inhabitant to continuously
meander between spaces.
• As an architectural tour de force, Le Corbusier incorporates a
series of ramps moving from the lower level all the way to the
rooftop garden, which requires the inhabitant to slow down and
experience the movement between spaces.
• Villa Savoye is a house designed based on the architectural
promenade. Its experience is in the movement through
the spaces.
• It is not until one becomes familiar with the subtle peculiarities
that the movement and proportionality of the spaces evokes a
sense of monumentality within the Parisian suburb.
Terrace Level Plan
111
Le Corbusier:
Unite d' Habitation: Le Corbusier (1952 )
• After World War II, the need for housing was at an unprecedented
high. The Unite d’Habitation in Marseille, France was the first
large scale project for the famed architect, Le Corbusier.
• In 1947, Europe was still feeling the effects of the Second World
War, when Le Corbusier was commissioned to design a multi-family
residential housing project for the people of Marseille that were
dislocated after the bombings on France.
• Completed in 1952, the Unite d’ Habitation was the first of a new
housing project series for Le Corbusier that focused on communal
living for all the inhabitants to shop, play, live, and come together
in a “vertical garden city.”
• The Unite d’Habitation was a first, both for Le Corbusier and the Front view of Unite d’Habitation
ways in which to approach such a large complex to
accommodate roughly 1,600 residents.
• Le Corbusier did not have many buildings of such a substantial
scale when compared to the villas.
• When designing for such a significant number of inhabitants,
instinct is to design horizontally spreading out over the landscape,
rather Le Corbusier designed the community that one would
encounter in a neighborhood within a mixed use, modernist,
residential high rise.
Details of Balcony Side view
112
Le Corbusier:
• Le Corbusier’s idea of the “vertical garden city” was based on
bringing the villa within a larger volume that allowed for the
inhabitants to have their own private spaces, but outside of that
private sector they would shop, eat, exercise, and gather together.
• With nearly 1,600 residents divided among eighteen floors, the
design requires an innovative approach toward spatial organization
to accommodate the living spaces, as well as the public, communal
spaces.
• The majority of the communal aspects do not occur within the
building; rather they are placed on the roof.
• The roof becomes a garden terrace that has a running track, a
club, a kindergarten, a gym, and a shallow pool.
• Beside the roof, there are shops, medical facilities, and even Perspective drawing of Unite d' Habitation
a
small hotel distributed throughout the interior of the building.
• The Unite d’Habitation is essentially a “city within a city” that is
spatially, as well as, functionally optimized for the residents.
• Unlike Corbusier’s usual employment of a stark, white façade,
Unite d’Habitation is constructed from reinforced beton-brut
concrete (rough cast concrete), which was the least costly in post-
war Europe.
• However, it could also be interpreted as materialistic
Reinforced beton-brut Community space on Roof
implementation aimed at characterizing the conditional state of
life after the war - rough, worn, unforgiving.
113
Le Corbusier: Community Space
on Terrace
• Even though Unite d’Habitation does not take on the same
materialistic qualities as most of Corbusier’s works, there is still a
sense of mechanistic influence, in addition to the Five Points
developed by Corbusier in the 1920s.
• For example, the buildings large volume is supported on massive
pilotis that allow for circulation, gardens, and gathering spaces
1&2 – Upper maisonette
below the building; the roof garden/terrace creates the largest
2&3 – Lower maisonette
communal space within the entire building, and the incorporated
patio into the façade system minimizes the perception of the
buildings height, as to create an abstract ribbon window that
emphasizes the horizontality of such a large building.
• Also, it is apparent that Le Corbusier’s mechanized influences from
other industries have not been lost in design. As massive as the
Pilotis
Unite d’Habitation is, it begins to resemble the steamship that
Corbusier is so intrigued with.
• The massive volume appears to be floating, the ribbon windows Section of Unite d' Habitation showing split floor
resemble the cabin windows running along the hull, while the roof level
garden/terrace and sculptural ventilation stacks appear as the top
deck and the smokestacks.
• Even though that these elements are quite figural and open to
interpretation based on perception, there is an inherent
connection between the two.
114
Le Corbusier:
Unite d' Habitation: Le Corbusier (1952 ) 1
• One of the most interesting and important aspects of the Unite

2
d’Habitation is the spatial organization of the residential units.
• Unlike most housing projects that have a “double-stacked”
3
corridor (a single hallway with units on either side), Le Corbusier
Section showing Split floor
designed the units to span from each side of the building, as well
1&2 – Upper maisonette and
as having a double height living space reducing the number of 2&3 – Lower maisonette
required corridors to one every three floors.
• By narrowing the units and allowing for a double height space,
Corbusier is capable of efficiently placing more units in the
building and creating an interlocking system of residential
volumes.
• At each end of the unit there is a balcony protected by a brise-
soleil that allows for cross ventilation throughout the unit flowing
through the narrow bedrooms into the double height space;
emphasizing an open volume rather than an open plan.
• Unite d’Habitation is one of Le Corbusier’s most important
projects, as well as one of the most innovative architectural
responses to a residential building.
• So much so, that the Unite d’ Habitation is said to have
influenced
the Brutalist Style with the use of beton-brut concrete.
Plans showing Split floor
115
Le Corbusier:
• Unite d’Habitation has since been the example for public housing
across the world; however, no venture has been as successful as
the Unite d’Habitation simply because the Modular proportions
that Corbusier established during the project.
• Nonetheless, Le Corbusier’s first large scale project has proved
to
be one of his most significant and inspiring.
Façade derivation Section of Residential Units
Plan of Residential Units
116
Le Corbusier:
Notre Dame du Ronchamp: Le Corbusier (1954 )
• In the commune of Ronchamp, slightly south of east of Paris, sits

one of Le Corbusier’s most unusual projects of his career, Notre
Dame du Ronchamp, or more commonly referred to as Ronchamp.
• In 1950, Le Corbusier was commissioned to design a new Catholic
church to replace the previous church that had been destroyed
during World War II.
• The site of Ronchamp has long been a religious site of pilgrimage
that was deeply rooted in Catholic tradition, but after World War II
the church wanted a pure space void of extravagant detail and
ornate religious figures unlike its predecessors. View of Notre Dame du Ronchamp
• Ronchamp is deceptively modern such that it does not appear as a
part of Corbusier’s aesthetic or even that of the International
Style; rather it sits in the site as a sculptural object.
• The inability to categorize Ronchamp has made it one of the most
important religious buildings of the 20th Century, as well as
Corbusier’s career.
• In 1950, when Corbusier was commissioned to design Ronchamp,
the church reformists wanted to clear their name of the decadence
and ornamental past by embracing modern art and architecture.
• Spatial purity was one of Corbusier’s main focuses by not over
complicating the program and removing the typical modern
aesthetic from the design. Bastion wall Rear view
117
Le Corbusier:
• Instead, Corbusier wanted the space to be meditative and

reflective in purpose.
• The stark white walls add to this purist mentality that when the
light enters into the chapel there becomes this washed out,
ethereal atmosphere.
• The effect of the light evokes expressive and emotional qualities
that create heightened sensations in tune with the religious
activities.
• Ronchamp sits among a wooded terrain secluded from the rest of
the commune; the chapel is placed atop a hill on the site setting Side view of Notre Dame du Ronchamp
itself on a metaphorical pedestal giving Ronchamp added
importance.
• Unlike most of Corbusier’s other works consisting of boxy,
functional, and sterile volumes, Ronchamp is more of an irregular
sculptural form where the walls, the roof, and the floor slope.
• Stylistically and formally it is fairly complex; however,
programmatically it is relatively simple: two entrances, an altar,
and three chapels.
• The walls of Ronchamp give the building its sculptural character.
The thick (4’-12’ thick), gentle curving walls act as a practical
method of supporting the concrete and masonry construction, as
well as the massive curvilinear roof. Effect of Light in Interiors
118
Le Corbusier:
• However, the walls do not solely act as structural and sculptural

elements; they also act as acoustic amplifiers, especially in the
case of the eastern exterior wall that reflects the sound out over
the field from the outdoor altar.
• The most striking part of Ronchamp is the curved roof that peels
up towards the heavens.
• The curving roof appears to float above the building as it is
supported by embedded columns in the walls, which creates a 10
cm gap between the roof and the walls, which allow for a sliver of
clerestory light.
• The roof is actually the only glimpse of mechanized influence in
the overall design of Ronchamp; the roof’s curvature mimics Plan of Ronchamp
the curves of an airplane wing.
• It’s aerodynamic in design and in all of its massive and heavy
qualities it still appears weightless.
• One of the most interesting aspects of the design is the sporadic
window placement on the walls.
• Corbusier implemented small puncturing apertures on the façade
that amplified the light within the chapel by tapering the
window well in the wall cavity. Rear side elevation
• Each wall becomes illuminated by these differing window frames,
which in conjunction with the stark whitewashed walls gives the
walls luminous qualities punctuated by a more intense direct light. Front side Elevation
119
Le Corbusier:
• On the wall behind the altar in the chapel, the lighting effects
create a speckled pattern, almost like a starry night, of sparse
openings that are complimented by a larger opening above the
cross that emits a flood of light, creating a powerful religious
image as well as a transformative experience.
• From the field below Ronchamp, the curving walls and roof are
what define the chapel formally. It appears as if it is growing
directly from the hill itself as the curve of the roof seems to be a
mirror of the curve that the chapel sits on.
• However once inside, the curving walls and roof no longer define Section of Notre Dame du Ronchamp
the pure essence of the project, rather the light is what defines
and gives meaning to the chapel experientially.
• Even though, Ronchamp was a radical derivation from Le
Corbusier’s other works, it still maintains some of the same
principles of purity, openness, and communal sense of coming
together.
• Ronchamp was less of a move away from the mechanistic,
International Style, as it was more of a contextual response to a
religious site.
• Ronchamp is an architecture rooted in context that’s based on
modern principles, which makes Ronchamp one of the most
interesting buildings of the 20th Century and of Le Corbusier’s
career. Isometric Notre Dame du Ronchamp
120
Frank Lloyd Wright :
Organic Architecture
• Frank Lloyd Wright, original name Frank Wright, (born June 8,

1867, Richland Center, Wisconsin, U.S.—died April 9, 1959,
Phoenix, Arizona), architect and writer, an abundantly creative
master of American architecture.
• His “Prairie style” became the basis of 20th-century
residential
design in the United States.
• The young Wright attended the University of Wisconsin at Madison
for a few terms in 1885–86 as a special student, but as there was
no instruction in architecture, he took engineering courses.
• In order to supplement the family income, Wright worked for the
dean of engineering, but he did not like his situation nor the
commonplace architecture around him.
• He dreamed of Chicago, where great buildings of unprecedented
structural ingenuity were rising.
• Wright left Madison early in 1887 for Chicago, where he found
employment with J.L. Silsbee, doing architectural detailing.
Silsbee, a magnificent sketcher, inspired Wright to achieve a
mastery of ductile line and telling accent.
• In time Wright found more rewarding work in the important
architectural firm of Dankmar Adler and Louis Sullivan.
• Wright soon became chief assistant to Sullivan Frank Lloyd Wright
121
• He worked under Sullivan until 1893, at which time he opened his

own architectural practice.
• The first work from the new office, a house for W.H. Winslow, was
sensational and skillful enough to attract the attention of the most
influential architect in Chicago, Daniel Burnham, who offered to
subsidize Wright for several years if Wright would study in Europe
to become the principal designer in Burnham’s firm.
• It was a solid compliment, but Wright refused, and this difficult
decision strengthened his determination to search for a new and
appropriate Midwestern architecture.
• Other young architects were searching in the same way; this
trend Larkin Administration Building
became known as the “Prairie school” of architecture.
• By 1900 Prairie architecture was mature, and Frank Lloyd Wright,
33 years old and mainly self-taught, was its chief practitioner.
• The Prairie school was soon widely recognized for its radical
approach to building modern homes.
• Utilizing mass-produced materials and equipment, mostly
developed for commercial buildings, the Prairie architects
discarded elaborate compartmentalization and detailing for bold,
Taliesin West, Scottsdale, The Unitarian church of
plain walls, roomy family living areas, and perimeter heating Arizona. Oak Park, Illinois
below broad glazed areas.
122
• Comfort, convenience, and spaciousness were economically

achieved.
• Wright alone built about 50 Prairie houses from 1900 to
1910.
• The typical Wright-designed residence from this period displayed a
wide, low roof over continuous window bands that turned
corners, defying the conventional boxlike structure of most
houses, and the house’s main rooms flowed together in an
uninterrupted space. Fallingwater, near Mill Run, Southwestern Pennsylvania
• During this period Wright lectured repeatedly; his most famous
talk, The Art and Craft of the Machine, was first printed in 1901.
His works were featured in local exhibitions from 1894 through
1902.
• Wright’s practice encompassed apartment houses, group
dwellings,
and recreation centres.
• Most remarkable were his works for business and church.
• Notable works include: -
1. Administrative block for the Larkin Company, Buffalo, New York.
2. The Unitarian church of Oak Park, Illinois, Unity Temple. The Guggenheim Museum The Unitarian church of
3. Fallingwater, near Mill Run, southwestern Pennsylvania. in New York City Oak Park, Illinois
4. Administrative center for S.C. Johnson, wax manufacturers, at
Racine, Wisconsin.
5. The Guggenheim Museum in New York City.
6. Taliesin West, Scottsdale, Arizona. 123
ORGANIC ARCHITECTURE:
• Organic Architecture is a belief that the natural life that exists
in a space should flow into, peacefully coexist with and benefit
from whatever is constructed there.
• Frank Lloyd Wright introduced the word ‘organic’ into his
philosophy of architecture as early as 1908.
• It was an extension of the teachings of his mentor Louis Sullivan
whose slogan “form follows function” became the mantra of
modern architecture. Wright changed this phrase to “form and
function are one,” using nature as the best example of this
integration.
• Although the word ‘organic’ in common usage refers to something
which has the characteristics of animals or plants, Frank Lloyd Taliesin, Spring Green, Wisconsin
Wright’s organic architecture takes on a new meaning.
• It is not a style of imitation, because he did not claim to be
building forms which were representative of nature.
• Instead, organic architecture is a reinterpretation of nature’s
principles as they had been filtered through the intelligent minds
of men and women who could then build forms which are more
natural than nature itself.
• Organic architecture involves a respect for the properties of the
materials—you don’t twist steel into a flower—and a respect
for the harmonious relationship between the form/design and
Taliesin West, Scottsdale Arizona.
the
function of the building.
124
• Organic architecture is also an attempt to integrate the spaces
into a coherent whole: a marriage between the site and the
structure and a union between the context and the structure.
• Throughout his 70-year career, Frank Lloyd Wright published
articles, gave lectures, and wrote many books.
• The philosophy of organic architecture was present consistently in
his body of work and the scope of its meaning mirrored the Fallingwater, near Mill Run, Southwestern Pennsylvania
development his architecture.
• The core of this ideology was always the belief that architecture
has an inherent relationship with both its site and its time.
• In 1957, two years before his death, Frank Lloyd Wright published
the book, A Testament, which was a philosophical summation of
his architectural career.
• In an essay entitled “The New Architecture: Principles”, he put
forth nine principles of architecture that reflected the
development of his organic philosophy.
• The principles addressed ideas about the relationship of the human
Robie House, Chicago, Illinois
scale to the landscape, the use of new materials like glass and
steel to achieve more spatial architecture, and the development of
a building’s architectural “character,” which was his answer to the
notion of style.
125
Robie House, Chicago, Illinois (1910)
• Designed and built between 1908-1910, the Robie House for client
Frederick C. Robie and his family was one of Wright's earlier
projects.
• Influenced by the flat, expansive prairie landscape of the
American Midwest where he grew up, Wright's work redefined
American housing with the Prairie style home. Robie house from Road
• According to Wright, "The prairie has a beauty of its own and we
should recognize and accentuate this natural beauty, its quiet
level. Hence, gently sloping roofs, low proportions, quiet sky
lines, supressed heavy-set chimneys and sheltering overhangs,
low terraces and out-reaching walls sequestering private
gardens.“
• The Robie House creates a clever arrangement of public and
private spaces, slowly distancing itself from the street in a series Inconspicuous entrance View from street level
of horizontal planes.
• By creating overlaps of the planes with this gesture, it allowed for
interior space expanded towards the outdoors while still giving
the space a level of enclosure.
• This play on private spaces was requested by the client, where he
insisted on the idea of "seeing his neighbors without being seen."
Model of Robie house from road
126
• As is seen in many of Wright's project, the entrance of the house is

not clearly distinguishable at first glance due to the fact
that Wright believed the procession towards the house should
involve a journey. Second floor
• Wright also expressed the importance of the hearth in a home with
a fireplace that separated the living and dining room that is open
to the ceiling above the mantelpiece for the billiard room and
playroom.
• The program of the house includes a living room, a dining room, a
kitchen, a billiards room, four bedrooms, and a servant's wing
which are defined while still flowing into one another.
• The rooms were determined through a modular grid system which
was given order with the 4' window mullions. First floor (Living Quarters)
• Wright, however, did not use the standard window in his design,
but instead used "light screens" which were composed of pieces
of clear and colored glass, usually with representations of nature.
• The purpose for these windows was to allow light into the house
while still giving a sense of privacy.
• Wright also stated about the light screens, "Now the outside
may
come inside, and the inside may, and does, go outside.“
• There are 174 art glass windows in the Robie House Ground floor (semi basement – recreation and parking)
made of polished plate glass, cathedral glass, and copper-
plated zinc cames, which are metal joints that hold the
glass in place. 127
• The protrusions of these windows on the East and West facade,

along with low ceilings, emphasized the long axis of the house
and directed views towards the outside.
• These windows were also stretched on French doors along the
entire south wall on the main level, opening up to a balcony.
• The sun angles were calculated so perfectly with this cantilever
that a midsummer noon's sun hits just the bottom of the entire
facade while still allowing light to flood in to warm the house
during the spring and autumn months.
• The entire house is sheathed in Roman brick with yellow mortar, Section of balcony and view of street
and only the overhangs and the floating brick balcony have
steel beams for structural support.
• Using the horizontality of the brick, Wright added the finishing
touches to the Robie House to create the ideal modern Prairie style
home where he was able to build with the principles he believed
in.
• The sweeping horizontal lines, extensive overhangs, warm well-lit
interiors with furniture designed by Wright himself, and the
balance of public and private spaces made the Robie House, in the Living room interiors Fire place central to the
words of Frederick C. Robie, "...the most ideal place in the house
world."
128
Fallingwater House , Mill Run, Pennsylvania (1939 )
• In Mill Run, Pennsylvania in the Bear Run Nature Reserve where a

stream flows at 1298 feet above sea level and suddenly breaks to
fall at 30 feet, Frank Lloyd Wright designed an extraordinary house
known as Fallingwater that redefined the relationship between
man, architecture, and nature.
• The house was built as a weekend home for owners Mr. Edgar
Kaufmann, his wife, and their son, whom he developed a
friendship with through their son who was studying at Wright's
school, the Taliesin Fellowship.
• The waterfall had been the family's retreat for fifteen years and
when they commissioned Wright to design the house they
envisioned one across from the waterfall, so that they could have
View of Falling waters in Autumn from waterfalls
it in their view.
• Instead, Wright integrated the design of the house with the
waterfall itself, placing it right on top of it to make it a part of the
Kaufmanns' lives.
• Wright's admiration for Japanese architecture was
important in his inspiration for this house, along with most of his
work.
• Just like in Japanese architecture, Wright wanted to create
harmony between man and nature, and his integration of the house
with the waterfall was successful in doing so. Floating cantilevers Falling waters in Spring
129
• The house was meant to compliment its site while still competing
with the drama of the falls and their endless sounds of crashing
water.
• The power of the falls is always felt, not visually but through
sound, as the breaking water could constantly be heard throughout
the entire house.
• Wright revolved the design of the house around the fireplace, the P1: First floor plan
hearth of the home which he considered to be the gathering place
for the family.
• Here a rock cuts into the fireplace, physically bringing in the
waterfall into the house.
• He also brings notice to this concept by dramatically extending the
chimney upwards to make it the highest point on the exterior of
the house.
• Fallingwater consists of two parts: The main house of the clients Specific details Low height ceilings
which was built between 1936-1938, and the guest room which was
completed in 1939.
• The original house contains simple rooms furnished by Wright
himself, with an open living room and compact kitchen on the first
floor, and three small bedrooms located on the second floor.
Living room Floating above water
130
• The third floor was the location of the study and bedroom of Edgar
Jr., the Kaufmann's son.
• The rooms all relate towards the house's natural surroundings, and
the living room even has steps that lead directly into the water
below.
• The circulation through the house consists of dark, narrow
passageways, intended this way so that people experience a
P1: Second floor plan
feeling of compression when compared to that of expansion the
closer they get to the outdoors.
• The ceilings of the rooms are low, reaching only up to 6'4" in some
places, in order to direct the eye horizontally to look outside.
• The beauty of these spaces is found in their extensions towards
nature, done with long cantilevered terraces.
• Shooting out at a series of right angles, the terraces add an
element of sculpture to the houses aside from their function.
• The terraces form a complex, overriding horizontal force with their
protrusions that liberated space with their risen planes parallel to
the ground.
• In order to support them, Wright worked with engineers Mendel
Glickman and William Wesley Peters. Their solution was in the P1:Third floor plan
materials.
131
• The house took on "a definite masonry form" that related to the
site, and for the terraces they decided on a reinforced-
concrete structure.
• It was Wright's first time working with concrete for residences and
though at first he did not have much interest in the material, it
had the flexibility to be cast into any shape, and when reinforced
with steel it gained an extraordinary tensile strength.
P2: Guest second floor plan
• The exterior of Fallingwater enforces a strong horizontal pattern
with the bricks and long terraces.
• The windows on the facade have also have a special condition
where they open up at the corners, breaking the box of the house
and opening it to the vast outdoors.
• The perfection of these details perfected the house itself, and
even though the house tends to have structural problems that need
constant maintenance due to its location, there is no question that
Fallingwater, is a work of genius.
• From its daring cantilevers to its corner window detail and
constant sound of the waterfall, Fallingwater is the physical and
spiritual occurrence of man and architecture in harmony with
nature. P2: Guest First floor plan
132
Mies van der Rohe:
Less is more
• Ludwig Mies van der Rohe (27 March 1886 – 17 August 1969) is one
of the most influential architects of the 20th century, known for
his role in the development of the most enduring architectural
style of the era: modernism.
• Born in Aachen, Germany, Mies' career began in the influential
studio of Peter Behrens, where Mies worked alongside other two
other titans of modernism, Walter Gropius and Le Corbusier.
• For almost a century, Mies' minimalist style has proved very
popular; his famous aphorism "less is more" is still widely used,
even by those who are unaware of its origins.
• Mies began to develop this style through the 1920s, combining the
functionalist industrial concerns of his modernist contemporaries
and an aesthetic drive toward minimal intersecting planes—
rejecting the traditional systems of enclosed of rooms and relying
heavily on glass to dissolve the boundary between the building's
interior and exterior.
• The decade was bookended by his proposal for the Friedrichstraße
skyscraper, an unrealized all-glass tower designed in 1921 which
cemented his fame within the architectural avant-garde, and by
his 1929 German Pavilion at the Barcelona Exposition which
remains one of his most well-known and popular works.
Ludwig Mies van der Rohe
133
Mies van der Rohe:
Less is more
• In 1930, Mies took over from Hannes Meyer as director of the

Bauhaus—the school founded by and most commonly associated
with its founder Walter Gropius—serving as its leader until it was
forced to close in 1933 under pressure from the Nazi government.
• In 1932, the work of Mies formed a cornerstone of the Museum of
Modern Art's exhibition on "The International Style" curated by
Philip Johnson and Henry-Russell Hitchcock, an exhibition that not
only reinforced Mies' role as a leader of the modernist movement,
but also brought the movement itself to a wider, more
international audience. Barcelona Pavallion
• After the closure of the Bauhaus and the continued rise of the
Nazis in Germany, Mies found work in his home country increasingly
difficult.
• He eventually decided to emigrate to the United States in 1937,
where he settled in Chicago and became the head of the
Illinois Institute of Technology.
• During his 20 years at IIT, Mies developed what became known as
"the second Chicago school of architecture," a style of simplified,
rectilinear high-rise buildings exemplified by projects such as 860-
880 Lakeshore Drive and the Seagram Building.
Seagram Building IIT Crown Hall
134
Mies van der Rohe:
Less is more
• Alongside this new skyscraper typology, he also continued to

develop his low-slung, pavilion typology that he first tested in
projects like the Barcelona Pavilion—with his entirely transparent
Farnsworth House, completed in 1951, probably the most
enduring example in the United States.
• At times, Mies was also able to combine both typologies into one
composition, as he did in the three-building complex of the
Chicago Federal Center.
Farnsworth House 860-880 Lakeshore Drive
135
Mies van der Rohe:
Barcelona Pavilion, Barcelona, Spain (1939 )
• As part of the1929 International Exposition in Barcelona Spain, the

Barcelona Pavilion, designed by Mies van der Rohe, was the
display of architecture's modern movement to the world.
• Originally named the German Pavilion, the pavilion was the face of
Germany after WWI, emulating the nation’s progressively modern
culture that was still rooted in its classical history.
• Its elegant and sleek design combined with rich natural material
presented Mies’ Barcelona Pavilion as a bridge into his future
career, as well as architectural modernism.
• After several architectural triumphs in Germany, Mies was View of Barcelona Pavilion from reflecting pool
commissioned to design the German Pavilion for the International
Exposition in Barcelona, Spain.
• The pavilion was intended to be the face of the German section
that would host King Alphonso XIII of Spain and German officials
at the inauguration of the exposition
• Unlike other pavilions at the exposition, Mies understood his
pavilion simply as a building and nothing more, it would not house
art or sculpture rather the pavilion would be a place of tranquility
and escape from the exposition, in effect transforming the pavilion
into an inhabitable sculpture.
Support walls Marble Walls
136
Mies van der Rohe:
• Situated at the foot of the National Art Museum of Catalonia and

Montjuic, the Barcelona Pavilion resides on a narrow site in a quiet
tucked away corner secluded from the bustling city streets of
Barcelona.
• Raised on a plinth of travertine, the Barcelona Pavilion separates
Low floating volumes of Barcelona pavilion
itself from its context create atmospheric and experiential effects
that seem to occur in a vacuum that dissolves all consciousness of
the surrounding city.
• The pavilion’s design is based on a formulaic grid system developed
by Mies that not only serves as the patterning of the travertine
pavers, but it also serves as an underlying framework that the wall
systems work within.
• By raising the pavilion on a plinth in conjunction with the narrow
profile of the site, the Barcelona Pavilion has a low horizontal
orientation that is accentuated by the low flat roof that appears to
float over both the interior as well as the exterior.
• The low stature of the building narrows the visitor’s line of vision
forcing one to adjust to the views framed by Mies.
• When walking up onto the plinth, one is forced under the low roof
plane that captures the adjacent outdoor court as well as the Plan of Barcelona pavilion
interior moments that induce circulation throughout the pavilion.
137
Mies van der Rohe:
• The interior of the pavilion consists of offset wall places that work
with the low roof plane to encourage movement, as well as
activate Mies’ architectural promenade where framed views would
induce movement through the narrow passage that would open
into a larger volume.
• This cyclical process of moving throughout the pavilion sets in Plan of Plaza level
motion a process of discovery and rediscovery during ones
experience; always offering up new perspectives and details that
were previously unseen.
• Every aspect of the Barcelona Pavilion has architectural
significance that can be seen at the advent of modern architecture
in the 20th Century; however, one of the most important aspects
of the pavilion is the roof.
• The low profile of the roof appears in elevation as a floating plane
above the interior volume.
• The appearance of floating gives the volume a sense of
weightlessness that fluctuates between enclosure and
canopy.
• The roof structure is supported by eight slender cruciform columns
that allow the roof to as effortlessly floating above the volume
while freeing up the interior to allow for an open plan.
Elevation and section
138
Mies van der Rohe:
• With the low roof projecting out over the exterior and the
openness of the pavilion, there is a blurred spatial demarcation
where its interior becomes and exterior and exterior becomes
interior.
• The pavilion is designed as a proportional composition where
the
Floating roofs
interior of the pavilion is juxtaposed to two reflecting pools.
• The smaller reflecting pool is located directly behind the interior
space which allows for light to filter through the interior volume as
well illuminate the marble and travertine pavers.
• The larger, shallow reflecting pool compliments the volume as it
stretches across the rest of the plinth.
• Its elegance and sleek lines establish a place of solitude and
reflection. Pavilion level
• In addition to the design, the materials are what give the
Barcelona Pavilion its true architectural essence as well as the
ethereal and experiential qualities that the pavilion embodies.
• The pavilion meshes the man-made and the natural employing four
types of marble, steel, chrome, and glass
• The marble originates from the Swiss Alps and the Mediterranean.
• Mies’ implementation of the marble is created through a process of
splitting, called broaching, that creates a symmetrical Night view of pavilion Entrance to Pavilion
patternization that’s found in the marble.
139
Mies van der Rohe:
• However, the most used material is the Italian travertine that

wraps the plinth and the exterior walls adjacent to the reflecting
pool.
• When exposed to the sun, the travertine becomes illuminated
almost as a secondary light source that dissolves the natural stone
Interior of Barcelona Pavilion
and washes the light over the space.
• The travertine’s inherent luminous qualities as well as Mies’
seamless employment of the material over the plinth adds to the
dissolution of spatial demarcation transforming the pavilion into
one continuous volume rather than two separate entities.
• In 1930, the original Barcelona Pavilion was dismantled after the
International Exposition was over; however; in 1983 a group of
Catalan architects began working on rebuilding the pavilion from Different types of stones used in Barcelona Pavilion
photographs and what little salvaged drawings that remained.
• Today it is open daily and can be seen in the same location as in
1929.
Column detail Barca lounger
140
Mies van der Rohe:
The Farnsworth House, Plano, Illinois.(1951 )
• The Farnsworth House, built between 1945 and 1951 for Dr. Edith
Farnsworth as a weekend retreat, is a platonic perfection of order
gently placed in spontaneous nature in Plano, Illinois.
• Just right outside of Chicago in a 10-acre secluded wooded site View of Farnsworth residence from front
with the Fox River to the south, the glass pavilion takes full
advantage of relating to its natural surroundings, achieving Mies'
concept of a strong relationship between the house and nature.
• The single-story house consists of eight I-shaped steel columns
that support the roof and floor frameworks, and therefore are both
structural and expressive.
• In between these columns are floor-to-ceiling windows around the
entire house, opening up the rooms to the woods around it.
Entrance From interior Winter view Lounge
• The windows are what provide the beauty of Mies' idea of tying
the
residence with its tranquil surroundings.
• His idea for shading and privacy was through the many trees that
were located on the private site.
• Mies explained this concept in an interview about the glass pavilion
stating, "Nature, too, shall live its own life. We must beware not
to disrupt it with the color of our houses and interior fittings.
Yet we should attempt to bring nature, houses, and human
beings together into a higher unity." View of Farnsworth residence from Rear
141
Mies van der Rohe:
• Mies intended for the house to be as light as possible on the land,
and so he raised the house 5 feet 3 inches off the ground, allowing
only the steel columns to meet the ground and the landscape to
extend past the residence.
• In order to accomplish this, the mullions of the windows also
provide structural support for the floor slab.
• The ground floor of the Farnsworth House is thereby elevated, and
wide steps slowly transcend almost effortlessly off the ground, as
if they were floating up to the entrance.
• Aside from walls in the center of the house enclosing bathrooms,
the floor plan is completely open exploiting true minimalism.
• With the Farnsworth house constructed about 100 feet from the Plan of Farnsworth House in natural setting
Fox River, Mies recognized the dangers of flooding.
• He designed the house at an elevation that he believed would
protect it from the highest predicted floods, which are anticipated
every hundred years.
• Although there were some problems with the maintenance of the
house due to flooding and livability of the design that involved
complaints about the poor ventilation of the interior as well as
cost overruns, there is no doubt that the Farnsworth House is the
essence of simplicity in its purest form.
• The brilliance in its artistic design became the inspiration for other
works, such as Philip Johnson's Glass House. Elevation of Farnsworth house in Natural setting
142
Mies van der Rohe:
• The man-made geometric form creates a relationship the
extraneous landscape surrounding it to exemplify "dwelling" in its
simplest state.
• As Mies stated on his achievement, "If you view nature through
the glass walls of the Farnsworth House, it gains a more
profound significance than if viewed from the outside. That
way more is said about nature---it becomes part of a larger
whole."
Elevations of Farnsworth House
Plan of Farnsworth House Section of Farnsworth House
143
Mies van der Rohe:
Seagram Building, New York City (1958)
• Located in the heart of New York City, the Seagram Building

designed by Mies van der Rohe epitomizes elegance and
the principles of modernism.
• The 38-story building on Park Avenue was Mies' first attempt at tall
office building construction.
• Mies' solution set a standard for the modern skyscraper.
• The building became a monumental continuity of bronze and dark
glass climbing up 515 feet to the top of the tower, juxtaposing
the large granite surface of the plaza below.
• Mies' response to the city with the Seagram Building was the grand
gesture of setting back the building 100 feet from the street
edge, which created a highly active open plaza. Model Seagram Building
• The plaza attracts users with its two large fountains surrounded
by
generous outdoor seating.
• By making this move, Mies distanced himself from New York urban
morphology, lot line development, and the conventional economics
of skyscraper construction.
• The plaza also created a procession to the entry of the building,
providing the threshold that linked the city with the skyscraper.
• This threshold continues into the building as a horizontal plane
in Plaza in refence to New York road
the plaza that cuts into the lobby.
144
Mies van der Rohe:
• The lobby also has a white ceiling that stretches out over the entry
doors further eroding the defined line between interior and
exterior.
• The office spaces above the lobby, furnished by Philip Johnson,
have flexible floor plans lit with luminous ceiling panels.
• These floors also get maximum natural lighting with the exterior
being glass panes of gray topaz that provide floor-to-ceiling
windows for the office spaces.
• The gray topaz glass was used for sun and heat protection, and Entrance porch Plaza of Seagram building
although there are Venetian blinds for window coverings, they
could only be fixed in a limited number of positions so as to
provide visual consistency from the outside.
• The detailing of the exterior surface was carefully determined
by
the desired exterior expression Mies wanted to achieve.
• The metal bronze skin that is seen in the facade is nonstructural
but is used to express the idea of the structural frame that is
underneath.
• Additional vertical elements were also welded to the window
panels not only to stiffen the skin for installation and wind loading,
but to aesthetically further enhance the vertical articulation of the
building. View of lobby interiors Interiors of Seagram building
145
Mies van der Rohe:
• The Seagram Building, with its use of modern materials and

setback from the city grid, became a prototype for future office
buildings designed by Mies as well as a model for many buildings
erected in its surroundings. Detail of facade
• This building, fifty years after its completion, is still admired by
many visitors everyday and sets an example of an International
style skyscraper amidst the New York skyline.
Detail of column
Plaza level plan Plan of individual floors Elevation of Seagram building
146
Oscar Niemeyer:
Sculptor of Monuments
• Oscar Ribeiro de Almeida Niemeyer Soares Filho, or simply Oscar

Niemeyer, (December 15, 1907 – December 5, 2012) was one of the
greatest architects in Brazil's history, and one of the greats of the
global modernist movement.
• After his death in 2012, Niemeyer left the world more than five
hundred works scattered throughout the Americas, Africa, and
Europe.
• Niemeyer attended the National School of Fine Arts in Rio
de Janeiro in 1929, graduating in 1934.
• He began working with the influential Brazilian architect and urban
planner Lúcio Costa in 1932, a professional partnership that would
last decades and result in some of the most important works in the
history of modern architecture.
• He worked with Costa from 1937 to 1943 on the design for the
Ministry of Education and Health building, considered by many
to be Brazil’s first masterpiece of modern architecture.
• The design reveals the influence of the Swiss-born French
architect
Le Corbusier, who was a consultant on the construction.
• Niemeyer also worked with Costa on the plans for the Brazilian
Pavilion at the New York World’s Fair of 1939–40.
• In 1947 Niemeyer represented Brazil in the planning of the United Oscar Niemeyer
Nations buildings in New York City.
147
Oscar Niemeyer:
• When in 1956 Kubitschek was elected president of Brazil, he asked

Niemeyer to design the new capital city of Brasília.
• Niemeyer agreed to design the government buildings but suggested
a national competition for the master plan, a competition
subsequently won by his mentor, Lúcio Costa.
• Niemeyer served as chief architect for NOVA-CAP, the government
building authority in Brasília, from 1956 to 1961.
• Among the Brasília buildings designed by Niemeyer are the
President’s Palace, the Brasília Palace Hotel, the Ministry of Justice
building, the presidential chapel, and the cathedral.
• In 1961 Niemeyer returned to private practice and for a time lived The palace of the National Congress
in Paris and Israel.
• In 1966 he designed an urban area in Grasse, near Nice, France,
and a building for the French Communist Party in Paris.
• From 1968 he lectured at the University of Rio de Janeiro.
• Niemeyer’s other architectural projects include the Ministry of
Defense building in Brasília in 1968 and Constantine University in
Constantine, Algeria, in 1969.
• In the mid-1980s he began rethinking and renovating some of his
former designs in Brasília.
• He changed the shape of the exterior arches on the Ministry of
Justice building and replaced the windows of the cathedral with
stained-glass panels. Niterói Contemporary Art Museum
148
Oscar Niemeyer:
• He continued to design new buildings, including the Museum

of Contemporary Art in Niterói, Brazil, which opened in 1996.
• Even after celebrating his 100th birthday and despite criticism that
his newer work lacked the elegance of his earlier projects, in 2007
he began designing a cultural center for Avilés, Spain, where in
1989 he had received the Prince of Asturias Award for the Arts.
• Niemeyer was the recipient of many other international awards,
including the Lenin Peace Prize in 1963, the Pritzker Architecture
Prize in 1988 (cowinner with Gordon Bunshaft), and the Japan Art
Association’s Praemium Imperiale prize for architecture in 2004.
Cathedral of Brasilia
• The Oscar Niemeyer Foundation, dedicated to architectural
preservation and research, was founded in 1988, and a new
headquarters designed by Niemeyer opened in Niterói in 2010.
Cultural center for Avilés, Spain
149
Oscar Niemeyer :
National Congress Complex, Brasília (1960)
• Located at the head of the abstract bird-shaped city plan by Lúcio

Costa, and as the only building within the central greensward of
the eastern arm of the Monumental Axis, the palace of the
National Congress enjoys pride of place among Oscar Niemeyer’s
government buildings in Brasília.
• The most sober of the palaces on the Plaza of the Three Powers,
the National Congress reflects the strong influence of Le Corbusier,
while hinting at the more romantic and whimsical forms that
characterize Niemeyer’s trademark Brazilian Modernism. National Congress Complex
• The concept of a purpose-built capital city in the interior of the
country dates back to Brazil’s independence from Portugal
following the Napoleonic Wars and was even enshrined in Brazil’s
first Republican Constitution in 1891.
• It was not until Niemeyer’s friend and patron Juscelino
Kubitschek
was elected president in 1956 that progress truly began in
earnest.
• Appointed director of Brasília’s works, “Niemeyer enjoyed a
virtual carte blanche over artistic decision making in the
creation of the city’s major monuments.”
• To quiet criticism that Kubitschek had defied a law mandating open
competitions for public buildings the project for the master plan of
National Congress complex monumentality
Brasília was opened to a national competition, but Niemeyer was a
member of the jury, and the project was awarded to his mentor
Lúcio Costa in 1957. 150
Oscar Niemeyer :
• As part of Kubitschek’s “Fifty years of progress in five” plan, the

new capital city was designed and constructed with seemingly
impossible speed and was inaugurated on April 21, 1960.
• Perhaps not the most famous or popular of Brasília’s monumental
structures ,the National Congress is certainly the most prominent,
and the most symbolic of Brasília as the seat of the national
government.
• Here Costa’s city plan and Niemeyer’s architecture are literally
joined together: the two wide avenues that mark the Monumental
Axis are raised on artificial berms to match the roof level of the Brasilia Plan as envisioned by Lucio Costa
two-story plinth of the National Congress building, and triangular
segments extend from each corner of the long, flat, overhanging
roof to just barely touch the edges of the roadways.
• Rising above the flat roof, two “cupolas” indicate the assembly
chambers of Brazil’s bicameral legislature.
• Previously housed in two separate buildings in Rio de Janeiro,
Niemeyer brought the two legislative chambers together in
Brasília.
• Reflective of other seats of power, such the U.S. Capitol in
Washington, DC, or St. Peter’s Basilica in Rome, the cupola over
the Senate chamber takes the shape of a shallow parabolic dome.
Brasalia Central Axis
151
Oscar Niemeyer :
• In contrast, for the larger Chamber of Deputies, Niemeyer inverted

the symbolic dome to create a bowl shape.
• A long ramp leads from a driveway to the building. Split into two
segments, one section of ramp leads to the entrance of the Office floor
building, while the other section leads to the marble clad roof of
the plinth.
• Beyond the assembly chambers, legislators’ offices and other
administrative functions are housed in twin twenty-seven story
towers.
• Set just north of center, the towers preserve uninterrupted views
along the center of the Monumental Axis, between the two
cupolas, and balance the visual weight of the bowl-shaped cupola Assembly floor
to the south.
• Though they appear to be basic slab towers, the buildings are
actually five-sided in plan, each with two slightly angled façades,
coming to a point in the narrow space between the two towers.
• The towers are also connected by a three-story bridge on the
fourteenth through sixteenth floors.
• Offices and meeting rooms are located along the outer edges of
the towers, while elevators and other service spaces face into the
space between the towers.
Public floor
152
Oscar Niemeyer :
• Ostensibly one part of the Plaza of the Three Powers , the National
Congress turns its back on the plaza, further distinguishing it from
the other government buildings.
• The grand entry ramp is on the opposite side of the building, and a
large reflecting pool separates it from the plaza.
• Perceptions of the individual buildings in Brasília are difficult to
divorce from opinions of the city as whole. Longitudinal Sectional Elevation of National congress
• At the inauguration of Brasília, President Kubitschek was elated,
proclaiming the city a national utopia.
• Four years after the inauguration of Brasília, a military coup
ousted the government, and the dictatorship soon took comfort in
the capital city’s distance from Brazil’s population centers.
• Niemeyer spent most of the dictatorship period in a self-imposed
exile in Paris following harassment from the military government. Section through Lower house
• The association with the dictatorship did not aid Brasília’s
reputation, and after the return of democracy in the 1980s, there
were efforts to bring the seat of government nearer to the urban
centers of Rio de Janeiro and São Paulo.
• The passage of time has allowed for more nuance in the views of
Brasília. In 1987 Brasília was declared a UNESCO world heritage
site, made more significant by the fact that it was the first site
less than 100 years old, and the first example of the Modernist Section through Upper house
movement to achieve this distinction.
153
LEGEND:
1. Grand auditorium
2. Garden
3. Terrace
4. Platform
5. Public mezzanine
6. hall of public
7. Semi open space
8. Vehicular passage
9. annexes
Section of National Congress Complex View of Assembly Complex
LEGEND
1. Access terrace
2. Hall of public
3. Upper house
4. Lower house
5. Elevators
6. Annexes
Roof plan of National Congress Complex Plan of Assembly building and Annexes building
154
Oscar Niemeyer :
Metropolitan Cathedral , Brasília (1960)
• Having such a significant history, it can be expected that the

architecture of Brasilia reflects the richness and prominence of the
culture as a planned city.
• The church bears much importance in the society, so the design
had to have significance and personality against its surroundings.
• Oscar Niemeyer was sure to make a statement with the powerful
expression and unique form of the Cathedral of Brasilia, which led
Cathedral of Brasilia Ariel view
to his acceptance of the Pritzker Prize in 1988.
• The Cathedral of Brasília is the Roman Catholic cathedral serving
Brasília, Brazil, and serves as the seat of the Archdiocese of National Congress Complex
Brasília.
• It was designed by Brazilian architect Oscar Niemeyer and
projected by Brazilian structural engineer Joaquim Cardozo, was
completed and dedicated on May 31, 1970.
• The cathedral is a hyperboloid structure constructed from 16
concrete columns, weighing 90 tons each.
• The cornerstone was laid on September 15, 1958, and the
structure was finished on April 21, 1960, with only the roof
structure visible above ground.
• Once the presidential term of Juscelino Kubitschek ended, the big
push to finish many structures in Brasilia stalled.
Cathedral of Brasilia
155
Oscar Niemeyer :
• Although it is likely that Kubitschek intended the cathedral as an

"ecumenical cathedral" to be paid for by the state and open to all
faiths, governments after that did not provide funding, and the
building was eventually turned over to the Catholic Church to
complete.
• In the square access to the cathedral, are four 3-meter (9.8 ft) tall
bronze sculptures representing the four Evangelists created by
sculptor Dante Croce in 1968.
• A 20-meter (66 ft) tall bell tower containing four large bells National Congress Complex
donated by Spanish residents of Brazil and cast in Miranda de Ebro
also stands outside the cathedral, to the right as visitors face the
entrance. Hyper bolide shell of glass
• At the entrance of the cathedral is a pillar with passages from the
life of Mary, mother of Jesus, painted by Athos.
• A 12-meter (39 ft) wide, 40-centimeter (16 in) deep reflecting pool
surrounds the cathedral roof, helping to cool the cathedral.
Visitors pass under this pool when entering the cathedral.
• The cathedral can hold up to 4,000 people.
• The baptistery is to the left of the entrance and can be entered
either from the cathedral or via a spiral staircase from the
entrance plaza.
• The walls of the oval baptistery are covered in ceramic tiles
painted in 1977 by Athos Bulcão. Statues in the square
156
Oscar Niemeyer :
• Offices for the Archdiocese of Brasilia were completed in 2007 next

to the cathedral.
• The 3,000-square-metre building connects directly to the cathedral
underground.
• Visitors enter the cathedral through a dark tunnel and emerge into
a bright space with a glass roof.
• The outer roof of the cathedral is composed of sixteen pieces of
fiberglass, each 10 meters wide at the base and 30 meters long
inserted between the concrete pillars.
• Under this is suspended a 2,000sq.meter stained glass work
originally created in 1990 by Marianne Peretti, in shades of blue,
green, white, and Brown.
• Inside the cathedral over the nave are sculptures of three
angels,
suspended by steel cables.
• The shortest is 2.22 meters long and weighs 100 kilograms, the
middle one 3.4 meters long and weighs 200 kilograms, and
the largest is 4.25 meters long and weighs 300
kilograms.
• The sculptures are by Alfredo Ceschiatti, with the collaboration
of Dante Croce in 1970.
• The altar was donated by Pope Paul VI and the image of the patron
saint Our Lady of Aparecida is a replica of the original which is in Plan of Cathedral of Brasalia
Aparecida - São Paulo.
157
Oscar Niemeyer :
• Under the main altar is a small chapel accessible by steps from on
either side of and behind the altar.
• Coinciding with the 50th anniversary of Brasilia, major renovations
were begun on April 21, 2012 to update and repair the building
and infrastructure, and address issues with the roof.
• This concrete-framed hyperboloid structure, appears with its glass
roof to be reaching up, open, to heaven.
• Most of the cathedral is below ground, with only the 70-meter
diameter 42-meter roof of the cathedral, the ovoid roof of
the baptistry, and the bell tower visible above ground.
• The shape of the roof is based in a hyperboloid of revolution with
Conceptual view of Cathedral of Brasalia
asymmetric sections.
• The hyperboloid structure consists of 16 identical concrete
columns assembled on site. These columns, having hyperbolic
section and weighing 90 tons, represent two hands moving upwards
to heaven.
Section of Cathedral of Brasalia
158

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History of Architecture – V

S.L.T:- Study of Domes of Florence by Fillipo Brunelleschi

Medieval Europe The Renaissance

Features of Renaissance Buildings

• Renaissance architecture adopted distinguishing features of

Dome of St. Peter’s Basilica: The Dome

• The Renaissance style of architecture emerged in Florence not as a

Features of Renaissance Buildings

• Roman Renaissance architects derived their main designs and

Features of Renaissance Buildings

Renaissance architecture had some distinct features that

Examples of Renaissance Buildings :

1. Pallazo Rucellai, Leon batista Alberti

• Italian humanist, architect, and principal initiator of Renaissance

• Palazzo Rucellai is a palatial fifteenth-century townhouse on the

• The palace contains an off-center court (three sides of which

Street level Plan of Palazzo Upper level Plan of Palazzo

Section of Basilica of St. Andrea

Andrea Palladio, original name Andrea di Pietro Della Gondola, (),

• The style of Palladio employed a classical repertoire of elements in

• Palladio was inspired by classical Roman architecture, but he did

3 WAYS PALLADIO INFLUENCED WESTERN ARCHITECTURE

• Palladian Windows: You know you're famous when everyone knows

• Writing: Using the new technology of movable type, Palladio

• Residential Architecture Transformed: American statesman and

• There were more than 20 Villas built by Palladio in the Véneto

• This particular room is covered with a domed vault illuminated by

• These loggias, used as meeting points and to rest enjoying the

Section of Villa Rotunda

• Michelangelo, in full Michelangelo di Lodovico Buonarroti Simoni,

INTRODUCTION AND ARCHITECTURAL CHRONOLOGY:

• His architect was Donato Bramante, who in 1502 had completed

Interior view St. Peters Rome by Michelangelo

• Christopher Wren, in full Sir Christopher Wren was a designer,

• Saint Paul’s Cathedral, in London, cathedral of the Anglican

Great Model of St. Pauls London, displayed in crypt.

The birth of Baroque The Palace of Versailles

Church of San Carlo alle

• Bernini’s greatest architectural achievement is the colonnade

• Commissioned by Alexander VII in the summer of 1656, Bernini's

Plan of Vatican city in context of St. Peters Basilica

• One of the greatest architects in 17th century France, Louis Le Vau

• The Palace of Versailles (built c.1624-98), a magnificent example

View of the east facade of the Palace of Versailles from

The Galerie des Glaces

S.L.T:- Study of Mereworth castle, Kent and Arc de Triomphe, Paris

• Chiswick House is an example of English Palladian Architecture in

INFLUENCE OF PALLADIAN ARCHITECTURE: The influence of

• The dome from the Pantheon.

Section of Chiswick House

• The Greek Revival was an architectural movement of the late 18th

• The church is in a Greek revival style, using the Ionic order. It is

• Unlike those on the Erechtheum, each caryatid holds a symbolic

• Gothic Revival, architectural style that drew its inspiration from

• The third, which strengthened this religious and moral impetus,

• Houses of Parliament, also called Palace of Westminster, in the

Sir Charles Barry A.W.N. Pugin Big Ben clock

Plan of Palace of West ministers

Section and plan of Elizabeth Tower (big ben - clock tower)