Understanding Architecture

1
Understanding Architecture

• Chapter 15
• Baroque and Rococo Architecture
• The Baroque building can only be grasped through
  ones experiencing it in its variety of effects.

2
Baroque Architecture

• Whereas Renaissance architecture gave the visual
  impression of being simple, Baroque architecture
  was deliberately complex
• Instead of clarity there was conflict
• Instead of uniformity of the elements and overall
  effect, there was studied variety
• Instead of regularity, there was contrast

3
Baroque Architecture

• During the Renaissance there had been planar
  forms with an emphasis on the surface, the
  Baroque emphasis was on plasticity and spatial
  depth
• Renaissance was human in scale Baroque became
  superhuman in scale
• Renaissance stressed easily perceived forms
  Baroque projected a sense of mystery

4
Baroque Architecture

• Renaissance, the interest was in
  intellectural comprehension and cerebral
  satisfaction in Baroque, it shifted to creating
  an emotional impact
• The term baroque was used to denigrate the
  architecture of 17th and 18th century
  architecture and was derived from the Portugese
  term for misshapen pearl barocco

5
Baroque Architecture

• The reasons for the shift toward visual
  complexity are several
• During any period of artistic creativity, where
  the goal is to reach absolute balance, once the
  goal is reached, a reaction sets in
• The Counter Reformation of the Catholic Church
  reacted to the tenets of the Protestant
  Reformation, eg. the Church insisted that music,
  painting, sculpture and architecture, when
  properly handled, were among the most powerful
  instruments enhancing religious devotion

6
Jesuits Counter-reformation

• The original countries that initiated the Baroque
  style remained faithful to the Catholic church
  after the reformation
• The Jesuits enlisted the leading figure of the
  Baroque movement for their projects
• The exciting forms in the Baroque style was used
  for the purpose of religion

7
1st breakaway point from the Renaissance

• Unquestionably dramatic
• Asymmetrical
• Experimentation with new and dynamic massing

8
2nd breakaway point from the Renaissance

• Employed swirling S-curves and shapes that
  represents movement
• Deserted the static form of the square and circle
• Undulating facades and plans based on the oval
  shape
• The Council of Trent decalred the square and
  circle as too pagan for Christian Churches (1545)

9
3rd breakaway point from the Renaissance

• Baroque had an extreme form of theatricality
  which involved the creation of illusion
• Trompe-loeil
• Music Room, Chatsworth Derbyshire
• Harewood House

10
Baroques Intention

• Brunelleschi and Bramantes concern in adhering
  to the standards set in the renaissance is of no
  concern for Bernini and Borrominis baroque
• It seeks to carry the audience away with emotion
• No pedantic desire to teach
• No moralistic desire to judge against standards

11
Giacomo della Porta Façade of the Gesu 1573-77
12
Church of Saints Vincent and Anastasius
13
Sacristy of La Cartuja Granada, Spain
14
Cornaro Chapel, Santa Maria della Vittoria, Rome
1657-52
15
Berninis Ecstasy of St. Theresa 1646

• Staged a little play with his sculpture
• Members of the Cornaro family watching the scene

16
Altar of the Priory Church of the Assumption
Rohr, Germany
17
(No Transcript)
18
omp
St John Nepomuk, Munich, 1733-46 Egid Quirin Asam
Thirty feet wide With swirling balconies, twisted
pillars Throbbing in gold, dark browns and red
19
Window over the high altar in St John Nepomuk
20
St John Nepomuk, Munich, 1733-46 Exterior
21
Church of Sant Andrea al Quirinale, Rome 1658-70
22
Church of Sant Andrea al Quirinale
23
Piazzo of Saint Peters Rome, Bernini, 1656-67
24
San Carlo alle Quattro Fontane, Rome 1634-67
25
San Carlo alle Quattro Fontane
26
Sant Ivo della Sapienza
27
Guarini, Santa Maria della Divina Providenza,
Lisbon, Portugal, 1652-63 (destroyed 1755)
28
Neumann, Prince-Bishops Palace, Würzburg,
Germany 1737-42
29
Prince-Bishops Palace, Würzburg
30
Amalienburg Pavilion, Nymphenburg Palace, Munich
1734-39
31
Vierzehnheiligen, Plan
http//www.vierzehnheiligen.de/fr_rundum.htm
32
Vierzehnheiligen
33
Baroque Architecture Conclusion

• In their striving for the fullest possible
  effects of molded space, manipulated light,
  brilliant colour, and sensuous detail, Baroque
  and later Rococo, was concerned predominantly
  with the shaping of space and not with the
  fundamental structure of architecture