6. Baroque
Gian Lorenzo Bernini
Diagrammatic plan of the Basilica and Piazza of San
Pietro, Rome, showing Bernini's elliptical urban space and
the converging colonnades in front of the church
Sant’Andrea al Quirinale, Rome, 1650s
Plan of Sant'Andrea al Quirinale, Rome, showing
elliptical nave surrounded by chapels with high-altar
on the short axis opposite the entrance
7. Baroque
Gian Lorenzo Bernini
Sant’Andrea al Quirinale, Rome, 1650s
8. Baroque
Francesco Borromini
San Carlo alle Quattro Fontane
Plan of the Church of San Carlo alle
Quattro Fontane, Rome, showing the
centres from which arcs describing the
circles and ellipse are struck, and the
geometrical relationships of those centres
to elements within the plan.
Convex-concave arragement of the
entrance-front.
9. Palazzo Barberini Baroque
Francesco Borromini
Palazzo Barberini
The famous helicoidal staircase by Borromini.
10. Santa Maria della Salute
Baroque
The interior is less dramatic and colorful
than is usual in Baroque churches.
Figures of the prophets stand above the
tall Corinthian columns in the angles of
the octagon. An ambulatory surrounds
the octagon with rectangular chapels at
each axis except for the entrance and
altar.
The church was designed in the then
fashionable baroque style by
Baldassare Longhena, a pupil of the
Venetian architect Andrea Palladio, and
construction began in 1631. Most of the
objects of art housed in the church bear
references to the Black Death.
11. The Baroque
and the Enlightenment
Etienne-Louis Boullée 1728–1799
Born in Paris, Boullée was involved in many of the city’s
largescale symbolic buildings including the national
library. H also d i
lib He l designed visionary structures that were
d i i h
never realised including the Cenotaph dedicated to
Newton, which was a complete spherical structure.
Boullée also wrote the influential essay on the art of
architecture, which promoted neoclassical architecture.
hit t hi h t d l i l hit t
12. Symmetrical and Rational Plan of the
Château de Versailles The Baroque and the Enlightenment
This diagram shows the connection, along a
central axis, between the gardens and the
building of the Château de Versailles. Both plans
Versailles
are symmetrical along the axis. The château was
designed by the architect Louis Le Vau and the
gardens by landscape architect André Le Notre
in 1661.
The Château de Versailles, Paris,
France
Louis Le Vau, 1661–1774
Initially a small hunting lodge, The Palace
of Versailles was extended by successive
kings of France and designed to
g g
resemble its current form by Le Vau in
1661. It has been designed by architects
and landscape architects and is an
impressive connection of building and
landscape,
landscape interior and exterior linked by
carefully considered views and axis.
13. The Baroque and the Enlightenment
St Paul’s Cathedral, London, UK, Sir Christopher Wren, 1675–1710
This current cathedral was constructed after its predecessor was
destroyed by the great fire of London. The dome of St Paul’s has a great
physical presence on the skyline of London,and is an important visual
feature and reference for the city
city.
Sir Christopher Wren 1632–1723
Wren studied both astronomy and architecture at Oxford University. The Great Fire of London in 1666 gave him
University
the opportunity to be involved in the rebuilding of the city.
He designed St Paul’s Cathedral in London, was involved in the rebuilding of 51 of the city’s churches and also
designed Hampton Court Palace and Greenwich Hospital.
14. Rococo
Germain Boffrand,
Salon de la Princesse,Hotel de Soubise. Begun 1732.
Soubise 1732
15. Rococo
The Rococo style of architecture first appeared in the French court
in the early years of the 18th century
century.
The French architect François de Cuvilliés refined its exterior design in the small hunting lodge called the
Amalienburg. Built in the 1730s in the park of the Nymphenburg Palace in Munich, it was named after the
Electress Maria Amalia of Austria.
17. Romantic architecture:
Gothic Revival and Neo-Classical Style
By the early 19th century, the Gothic Revival style came to be seen as the national style of England, one that was
historically native to northern Europe and therefore more appropriate to English architecture than the equally
popular Neo-Classical style, which derived from Ancient Greece and Rome. As it gained popularity, the Gothic
Revival style developed its own p
y p philosophical underpinnings, which g
p p g , gave it g
greater social relevance than it had
held in 18th-century England
One of the best-known examples of the Gothic Revival style is the Houses of Parliament, built in London in 1836–
1880 by Charles Barry and Augustus Welby Northmore Pugin after fire destroyed Parliament’s earlier Westminster
Palace in 1834. .
18. Romantic architecture:
Gothic Revival and Neo-Classical Style
The famous “Breakers
House
House” built overlooking the ocean in Newport
Newport,
Rhode Island. Designed
by Richard Morris Hunt in the 1890s for Cornelius
Vanderbilt
20. Art Nouveau
Victor Horta, Tassel House,
Brussels, 1892
Bottom of staircase
plan of entry and vestibule showing mosaic floors
21. Art Nouveau
Vienna Secession (Sezessionsstil)
secession building Vienna - Art Nouveau
The secession building in Vienna was built in 1897 by
Joseph Maria Olbrich to accommodate the exhibitions of
Secession Patterns the Art Nouveau group secession which included the
Patterns on the exterior of leading artists and architects of the era like Gustav Klimt,
the Secession Building in Koloman Moser, Josef Hoffmann, Josef Maria Olbrich,
Vienna. Otto Wagner and others as members.
22. Art Nouveau
Vienna Secession (Sezessionsstil)
Poster for the 13th Vienna Secession exhibition
Designed by Koloman Moser, 1902.
Moser 1902
23. Art Nouveau
(Modernismo / Modernismo catalán)
Casa Milà, better known
as La Pedrera (Catalan
for “The Quarry”) is a
y)
building designed by the
Catalan architect
Antonio Gaudi.
24. Chicago School
Sullivan and Adler: Auditorium Building, Chicago, 1887-89
The Chicago Building (Chicago Savings
Bank Building), 1904-1905.
25. Frank Lloyd Wright and Organic Architecture
Frank Lloyd Wright, the best known American architect of the 20th century, designed both public buildings and
best-known
private houses to develop a uniquely modern American style of architecture. Born in Wisconsin, Wright first
studied engineering at the University of Wisconsin but left his studies to apprentice with Louis Sullivan. By 1893,
he had opened his own architectural studio, specializing in domestic structures. Wright’s goal was to create a
house design that took into account the surrounding geography in order to better integrate homes into nature. This
type of home, characterized by strong horizontal lines and large windows, is called the Prairie style house.
Frederick Robie House
26. Expressionism
Expressionist architecture originally developed p
p g y p parallel to the aesthetic ideals of the Expressionist visual and
p
performing arts in the European avant-garde from around 1910 through 1924.
Expressionism in architecture was introduced by Bruno Taut, a German painter and visionary who sought to
explore a highly utopian, socialist vision of modernist architecture. His Glass Pavilion, built for the Cologne
Werkbund Exhibition of 1914, reveals a blending of Gothic and more exotic features in its pointed dome made of
diamond-shaped panes of glass set atop a drum designed from piers that frame glass curtain walls.
27. Expressionism
Opera House in Essen, Germany, begun in 1959
Ot e
Other Expressionist a c tects include Alvar Aalto,
p ess o st architects c ude a a to,
whose Opera House in Essen, Germany, begun in
1959, features a white façade that appears to fold into
curves like a piece of paper. Such later forms of
Expressionism reveal a blending of modernist styles,
p g y ,
which formed the foundation for the work of Eero
Saarinen, Bruce Goff, Frank Lloyd Wright, and Frank
Gehry. Thus, the legacy of Expressionism continues
to inform Deconstructivism, High-Tech architecture,
, g ,
and the even more recent bulging, amoeba-styled
buildings called “Blobitecture.
The Savoy Vase, also known as the
Aalto Vase.
28. Constructivist Architecture
Constructivist art and architecture, found in the
Soviet Union in the 1920s and 1930s, grew out
of the geometric, dynamic, and kinetic styles of
both Cubism and
Futurist architecture.
One of the first Constructivist structures was
designed in 1919 for the headquarters of the
First Comintern in St. Petersburg by the
Futurist artist Vladimir Tatlin. Also called
“Tatlin’s Tower,” plans for this never-built
monument reveal a dramatic spiraling steel
high-rise enclosed with a glass curtain wall that
recalls a more dynamic version of the Eiffel
Tower in Paris
29. Functional modernism,
Rationalism (de Stijl), International Style, Purism
Walter Gropius, The Fagus Shoe Factory
Considered the founder of modernism, Loos wrote a manifesto titled
“Ornament and Crime” in 1913, which explains these connections
between excessive architectural ornamentation, decadence, and
corruption. His buildings, such as the Steiner House in Vienna, from
1910, reflect these ideas. This structure protects its inhabitants with
roofs and walls while providing light through plain windows that
puncture the exterior where they are needed on the interior. Loos’s
functionalism quickly spread across Europe. It is seen in the Fagus Adolf Loos, Steiner House, 1910.
Shoe Factory, built in Germany in 1911 by Walter Gropius, and in the
work of German architects Bruno Taut and Peter Behrens.
30. Functional modernism,
Rationalism (de Stijl), International Style, Purism
Ludwig Mies van der Rohe, German Pavilion of the International Exposition held in Barcelona in 1929.
31. Functional modernism,
Rationalism (de Stijl), International Style, Purism
Friedrichstrasse
Skyscraper, project,
Berlin, Germany, Model
Friedrichstrasse Skyscraper, project, Berlin-Mitte,
Germany, Urban context model
Ludwig Mies van der Rohe
32. Functional modernism,
Rationalism (de Stijl), International Style, Purism
Ville Savoye, Le Corbusier
The term “International style” was coined by Henry Russell Hitchcock and Philip Johnson in an exhibition they
organized at the Museum of Modern Art in New York in 1932 They called it “The International Style: Architecture
1932.
since 1922” and subsequently published it in a manifesto in which they identified three fundamental principles of
modern architecture.
33. Bauhaus
Bauhaus architecture is intricately linked to the International style, which sought to redirect architectural aesthetics
toward less opulent, more streamlined construction. The word Bauhaus (“House of Building”) was the name of a
design school that, despite its initial lack of an architectural curriculum, was fundamental in shaping modern
German architecture.
34. Toward Postmodern Architecture
Robert Venturi, Vanna
Venturi House
V t iH
Post-Modern architecture was established in the 1970s to bring historicism and playful ornamentation to the
more austere modern International style. International style was increasingly considered too intellectualized,
serious, and repetitive, and thus a style that ultimately did not respond to the needs of
the broader public. The leaders of this new movement were Robert Venturi and Denise Scott Brown, who
expressed these concerns in the book Complexity and Contradiction in Architecture, first published in 1966.
35. From High – Tech to the Present
Alberto Campo Baeza
Nursery School in Aspe, Alicante
Norman F
N Foster,
Hongkong and Shanghai Bank
42. SPIRIT OF AN AGE
All design endeavors express the zeitgeist.
Zeitgeist is a German word meaning roughly the spirit of an age The zeitgeist is
meaning, roughly, age.
the prevailing ethos or sensibility of an era, the general mood of its people, the
tenor of public discourse, the flavor of daily life, the intellectual inclinations and
biases that underlie human endeavor Because of the zeitgeist parallel (although
endeavor. zeitgeist,
not identical) trends tend to occur in literature, religion, science, architecture, art,
and other creative enterprises.
It is impossible to rigidly defi ne the eras of human history; however, we can
however
summarize the primary intellectual trends in the West as follows:
• ANCIENT ERA: a tendency to accept myth-based truths;
y p y ;
• CLASSICAL (GREEK) ERA: a valuing of order, rationality, and democracy;
• MEDIEVAL ERA: a dominance of the truths of organized religion;
• RENAISSANCE: holistic embracings of science and art;
g
• MODERN ERA: a favoring of truths revealed by the scientifi c method;
• POSTMODERN (CURRENT) ERA: an inclination to hold that truth is relative or
impossible to know.
43. THE HISTORY AND MEANING OF ARCHITECTURE:
”Chronological table”; styles and periods - review with examples
(…..from baroque to contemporary architecture)
Exam preparation:
p p
Professor’s lecture and presentation
Ching,
Ching Francis D., A Visual Dictionary of Architecture Van Nostrand Reinhold 1997.,
D Architecture, Reinhold, 1997
“History”, pages: 128-135.
Farrelly, L.,
Farrelly L The Fundamentals of Architecture, AVA Publishing SA 200 Chapter 2
Architecture SA, 200., 2,
"History and Precedent", pages: 34-61.
Hamlin, A.D., History of Architecture, Longmans, Geen, and Co
.
44. Prepared by:
Dr. Sc. Nermina Mujezinović
architect
Literature that was used for lecture preparation / Credits & References
1. Palmer, A.L., Historical Dictionary of Architecture, The Scarecrow Press, Inc., 2008
2. Hamlin, A.D., History of Architecture, Longmans, Geen, and Co, 1909.
3. Farrelly, L., The Fundamentals of Architecture, AVA Publishing SA, 2007.
