Fluent Essays

please, please (!) resist the temptation of searching for answers on the Internet Discuss the emergence of the Baroque art  in the context of various developments in politics, religion, and science. Why did some of these development present challenges to the ruling Church? Discuss various strategies developed by Baroque architects to deal with the challenges presented by the above developments. Explain the role of the Jesuit order in the evolution of the 17th century art and architecture. Give examples. How do you understand the term such as “Skepticism” as applied to 17th century’s philosophy? Also, explain why the 17th century development of Western-European philosophy is often described as a “shift from ontology to epistemology.” How can the concept such as “Skepticism” help explain the architecture of the Baroque period? Discuss the essence of the “Debate between the Ancients and the Moderns.” Why did “the Ancients” think that the use of double columns was not acceptable? How did Claude Perrault justify his belief that the use of double-columns was acceptable? Explain the notion of “natural beauty” vs. “customary beauty” as applies to the “Debate between the Ancients and the Moderns.” Describe the difference between “the Ancients” and “the Moderns” in terms of the attitude they had toward the relationship between the theory and practice. Explain the term such as “the society of the spectacle.” What is the essence of Guy Debord’s critique of the “the society of the spectacle.” Explain the shift away from mathematics that took place in Western-European architectural theory in the seventeenth century in the context of Guy Debord’s critique of the “the society of the spectacle.” Explain the term such as “the Architectural Grand Tour.” Describe the paradigm shift (a significant change in the ways the entire society interprets the natural and the social laws that govern their life) that produced a phenomenon such as “the Architectural Grand Tour.” Explain the shifts in 18th century philosophy of knowledge and society that prompted the interest towards “the primitive.” Describe the significance of eighteenth century’s voyages to Greece, such as those by Revett and Stuart, and Julien-David Le Roy. What was Johann Joachim Winckelmann’s major contribution to art history? How did Johann Joachim Winckelmann come to his conclusion that the ancient Roman art was inferior to the ancient Greek art? How do you interpret Winckelmann’s phrase “Noble simplicity and quiet grandeur?” Describe how the “search for origins” that emerged in the eighteenth century is related to the value our culture accords to the “originality” of a piece of art. Discuss how the tradition of architectural travels affected architectural education Why did Peter Eisenman argue that his architectural tour with Colin Rowe was “the last grand tour?” Movement continues, search for origins begins Rene Descartes, 1596 – 1650 Skepticism 17th Century Philosophy: A Shift from Ontology to Epistemology Ergo sum I think, therefore I am Francis Bacon, 1561- 1626 Science is no longer remains a contemplative state, it becomes a pursuit of practical solutions directed towards gradual improvement Jean-Baptiste Colbert, 1561- 1626 Minister of Finances of King Louis XIV, Founder of French Academies 17th century, philosophy shift towards epistemology (separation between natural sciences and philosophy). Skepticism, and the emergence of the scientific method The emergence of experimental sciences Left: Edme Mariotte, 1620- 1684 Right: Robert Boyle, 1627- 1691 The Rise of the Renaissance Architectural Treatise: Leon Battista Alberti, De re aedificatoria, c. 1450 Sebastiano Serlio, The Five Books of Architecture, 1537 – 1550 Vicenzo Scamozzi, L’Idea della archittetura universale …, 1615. Francesco di Giorgio di Martino, Codicetto (c. 1465) and Trattati (c. 1490, 1500). Antonio Averlino, called Filarete, Libro architettonico, c. 1460 Andrea Palladio, The Four Books of Architecture, 1570 Jacopo Barozo da Vignola, The Rules of the Five Orders of Architecture, 1562. The Dispute between the Ancients and the Moderns. The Essence of Architecture: Blondel: Architecture is a theoretical discourse. Perault: Architecture is a flexible implementation of theoretical principles. The Essence of Architectural Theory and Practice: Blondel: Architectural theory is the province of mathematics and a transcendental justification of practice. Perault: Architectural theory is a rational inquiry. The distance between theory and practice should be reduced. The Essence of Beauty: Perault: The notion of beauty is partly based on relative cultural principles and particular historical conditions. Blondel: There is the absolute natural beauty and questioning its foundations is fraught with most devastating consequences. Moderns: Claude Perrault. Antoine Desgodetz, Edifices dessinés et mesurés tres exactement, 1682. Ancients: Francois Blondel. Nicolas Boileau. Left: The frontispiece of Claude Perrault’s translation of Vitruvius’s Ten Books, 1673, representing Perrault’s own major works. Right: Claude Perrault et al, east façade of the Louvre, Paris, 1667 - 1674. The Debate between the Moderns and the Ancients Above: Gate Saint-Denis, Francois Blondel, 1675 Above right: The building of the Institute de France (originally College de Quatre Nations), Louis Le Vau, 1665 Right: East façade of the Louvre. Claude Perrault and others, 1667-74. Left: Francis Bacon, 1561- 1626 Right: Jean-Baptiste Colbert, 1561- 1626 Minister of Finances of King Louis XIV Founder of French Academies Shift towards the modern scientific method. Science is no longer remains a contemplative state, it becomes a pursuit of practical solutions directed towards a gradual improvement of human-built environment. A sketch made by Jacques Carrey, expedition funded by Colbert, 1673 View of Acropolis in Athens as viewed by Venetian army’s officer in 1687 “Discovery” of Greece Richard Dalton’s drawings produced during the Grand Tour of the future Earl Charlemont. A View of Parthenion, an engraving by Edward Rooker, after Richard Dalton, 1751. The Principal Parts of the Temple of Erichteus, engraving by Richard Dalton, 1751. View of the Parthenon from Jacopo Spon, Voyage d’Italie, de Dalmatie, de Grece et de Levant, 1678 Johann Joachim Winckelmann, 1717- 1768. “Noble simplicity and quiet grandeur” Giorgio Vasari (1511-1574) Art Historian: Lives of the Painters, Sculptors, and Architects Founder of the first Academy (Academia) of Art in Florence Painter: St. Luke Painting the Virgin and Child Architect: Uffizi Three periods of the Renaissance: Early, middle, and high Renaissance Presentation of Mary in the Temple Below: Giotto di Bondone (1267-1337) Right: Domenico Ghirlandaio (1449-11494) Right below: Titian (or Tiziano) Vicelli (1485-1576) Primitive Form of the Cooper Vessel Decadent Form of the Cooper Vessel Developed Form of the Cooper Vessel The Archaic Period of Ancient Greek Architecture, 8th- 5th Centuries BC The Classical Period of Ancient Greek Architecture, 5th-4th Centuries BC The Hellenistic Period of Ancient Greek Architecture, 4th-2d Centuries BC Evolution of a style according to E.-E. Viollet-le-Duc (1814- 1879) Wurzburg Residence, Germany. Johan Lukas Hildebrandt and Maximilian Welsch, Architects The Mining Institute, St. Petersburg, Russia, 1811. Andrey Voronikhin, Architect Mikhailovski Palace, St. Petersburg, Russia, 1827. Carlo Rossi, Architect Neo-Classicism Left: Royal Salt- works Claude- Nicolas Ledoux, France 1775 Neo-Classicism Left: Doric Temple, James Stuart, Hagley, England, 1758 Above: The Royal Scottish Academy, Edinburgh, William H. Playfair, 1822 Karl Friedrich Schinkel, New Wache, Berlin, 1816. Neo-Classicism The Library of the University of Virginia, Thomas Jefferson, 1825 Neo-Classicism Virginia State Capitol, 1785. Arch. Tomas Jefferson. Influenced by Maison Carree Neo-Classicism Abbé (Abbot) M.-A. Laugier. Essai sur l’architecture, 1755 (first edition 1753) Abbé (Abbot) M.-A. Laugier. Essai sur l’architecture, 1755 (first edition 1753) Discourses on the Arts and Science The Social Contract Jean-Jacques Rouseau 1712-1778 Abbé (Abbot) M.-A. Laugier. Essai sur l’architecture, 1755 (first edition 1753) Jean-Jacques Rouseau 1712-1778 The Age of Enlightenment Discourses on the Arts and Science The Social Contract Francois-Marie Voltaire 1694 -1778 Charles-Louis de Secondat, Baron de la Brede et de Montesqieu 1689 -1755 Denis Diderot 1713 -1784 Tomb of Rouseau in the Pantheon Discourses on the Arts and Science The Social Contract Jean-Jacques Rouseau 1712-1778 Abbé (Abbot) M.-A. Laugier. Essai sur l’architecture, 1755 (first edition 1753) Tomb of Rouseau in the Pantheon Discourses on the Arts and Science The Social Contract Jean-Jacques Rouseau 1712-1778 Death of general Wolfe, Benjamin West Уест, 1771, fragment Design for a Primitive Hut, Jean-Jacques Lequeu, 1792 The First Building, E.- E. Viollet-le-Duc Histoire de l’habitation humaine, 1872 The primitive hut and the origins of architecture, after William Chambers. The primitive hut and the origins of Architecture, after William Chambers. Search for Origins Grand Tour, ca.1660’s--ca.1860’s Robert Spencer, the future 2nd Earl of Sunderland (1640-1702), wearing “antique” garbs during his Grand Tour Painting by Carlo Maratti Right: “A Stoa or Portico, Commonly Supposed to be the Remains of the Temple of Jupiter Olympian,” from Stuart and Revett, Antiquities of Athens. Left: “Ruins of a Building that one sees as a Bazaar in Athens” (in the first edition, “View of the Temple of Jupiter Olympian”), from Julien-David Leroy, Les Ruines Architectural Grand Tour as a Competition Above: Monument of Lysikrates, drawing from Antiquities of Athens, James Stuart and Nicolas Revert, 1762. Above: View of the Parthenon. Right: Monument of Lysikrates, From Ruines des plus beaux monuments de la Grece, Julien- David Leroy,1758. Monument of Lysikrates, from Antiquities of Athens by James Stuart and Nicolas Revert. Discovery Monument of Lysikrates, from Antiquities of Athens by James Stuart and Nicolas Revert. Discovery Drawing as a Dangerous Adventure. A drawing from Antiquities of Athens by James Stuart and Nicolas Revert. William Chambers Above: Somerset House, 1776 -96 Right: Roehampton Villa Architectural Grand Tour and the Architect’s Rite of Passage. Sir William Chambers, Project for the mausoleum of Frederick, Prince of Wales, 1754-52.c Robert Adam, 1728-1792 An Invitation to a Grand Tour. Top: Antionio Visentini after Canaletto, Campo San Rocco, from Prospectus magnus Canalis venetiarum, Venice, 1742, part III, plate 5. Bottom: Huquier after Giovanni Paolo Panini, Ruins, ca1720. An Invitation to a Grand Tour. Giovani Battista Piranesi, Antichita Romane, 1756. Giovanni Battista Piranesi, Le Carceri, 1745 / 1761 View of a Student on a Ladder, with Rod, Measuring the Corinthian Order, Temple of Castor and Polux. Artist: Henry Parke, c. 1814. The Architect’s Sketchbook after the Photo Camera. Bellow: Henry Bacon, Azay-le- Rideau, 1887. Right: Louis Kahn, Ponte Vecchio, Florence, 1951. Right: “A Stoa or Portico, Commonly Supposed to be the Remains of the Temple of Jupiter Olympian,” from Stuart and Revett, Antiquities of Athens. Left: “Ruins of a Building that one sees as a Bazaar in Athens” (in the first edition, “View of the Temple of Jupiter Olympian”), from Julien- David Leroy, Les Ruines Architectural Grand Tour as a Competition “Ruins of a Building that one sees as a Bazaar in Athens” (in the first edition, “View of the Temple of Jupiter Olympian”), from Julien-David Leroy, Les Ruines Louis Kahn, Temple of Jupiter, Athens, travel sketch Michael Graves, Travel sketches during his Fellowship at the American Academy in Rome, !961 Peter Eisenman, “The Last Grand Tour,” 1960 Movement: Skepticism and Spectacle Plato believed that the universals existed apart from particular things, and were related to them as their prototypes Augustine of Hippo (St. Augustine), 354-430 AD Neo-Platonism Plotinus, 204-270 AD Hypatia, 370-415 AD “Ars Sine Scientia Nihil Est,” Jean Mignot, 1399 God As Architect of the Universe. From Bible Moralisee. Vienna. Luca Pacioli, 1445-1517 Luca Pacioli, 1445-1517 Andrea Palladio, Villa Capra, “La Rotonda.” Started 1567 Villa Malcontenta Andrea Palladio Villa Chiericati Le Corbusier –The Modulor and the return to proportions (based on proportion of the idealized human body) as a major principle of architectural desing The Rise of the Renaissance Architectural Treatise: Leon Battista Alberti, De re aedificatoria, c. 1450 Sebastiano Serlio, The Five Books of Architecture, 1537 – 1550 Vicenzo Scamozzi, L’Idea della archittetura universale …, 1615. Francesco di Giorgio di Martino, Codicetto (c. 1465) and Trattati (c. 1490, 1500). Antonio Averlino, called Filarete, Libro architettonico, c. 1460 Andrea Palladio, The Four Books of Architecture, 1570 Jacopo Barozo da Vignola, The Rules of the Five Orders of Architecture, 1562. Right: David, Gianlorenzo Bernini, c.1624 Left: David, Michelangelo, 1504 Renaissance vs. Baroque Right: Andrea Palladio. Villa Chiericati, Left: David, Michelangelo, 1504 Renaissance’s contemplative mode Gian Lorenzo Bernini, The Colonnade of St. Peter’s Square, 1656-67 (below) and the statue of David, c. 1624 (right) Baroque: the focus on motions and emotions Pope Clement XI in a Procession in St. Peter’s Square Gian Lorenzo Bernini, The Colonnade of St. Peter’s Square, 1656-67 Rene Descartes, 1596 – 1650 Skepticism 17th Century Philosophy: A Shift from Ontology to Ergo sum I think, therefore I am Gianlorenzo Bernini, The Colonnade of St. Peter’s Square, 1656-67 Baroque architectures resists a single view-point contemplation, In order to appreciate the complexity of the form and the space the visitor is forced to move around. Geographic Exploration 1409s – Christopher Columbus’s Voyages Scientific Revolution (astronomy) 1543: Nicolaus Copernicus’s theory of solar system 1564-1642: Galileo Galilei 1571-1630: Johannas Kepler Politics and Religion 1483 – 1546: Martin Luther 1509 – 1564: John (Jean) Calvin 1522 – 1648: The Wars of Religion (the poor Knights rebellion – the peace of Westphalia) 1545 – 1563: The Council of Trent, the beginning of the Counter Reformation Above: Painting by Huguenot painter François Dubois, borne c. 1529 St. Bartholomew’s massacre, 23-24 August, 1672. Right: One of three frescos by Giorgio Vasari, celebrating the massacre Left: 1711 illustration for the Index Librorum Prohibitorum depicts the Holy Ghost supplying the book-burning fire Above: Martin Luther at the Diet of Worm Artist: Anton von Werner, 1877 The martyrdom of Giordano Bruno (1600), Watson Heston, c. 1880 Above: Jan Hus burning at the stake (1515), from a Hussite prayer book, c. 1563 Destruction of religious images by the Reformed in Zurich, 1524: Right: Christopher Clavius, 1538-1612Left: Galileo Galilei, 1564-1642 Baroque art and architecture: Jesuit response to the challenges posed to the Catholic Church by the Scientific Revolution and by the Protestant movement St. Peter’s Square, Gianlorenzo Bernini, 1656—1666 St. Peter’s Basilica, Rome Bramante, Rafael, Michelangelo, Carlo Maderno, 1505—c.1612 St. Peter’s Square, Gianlorenzo Bernini, 1656—1666 St. Peter’s Basilica, Rome Bramante, Rafael, Michelangelo, Carlo Maderno, 1505—c.1612 Gianlorenzo Bernini, The Colonnade of St. Peter’s Square, 1656-67 Baroque architectures resists a single view point contemplation. In order to appreciate the complexity of the form and the space the visitor is forced to move around. Juan Caramuel y Lobkowitz, Architectura Civil recta y olicua … 1678. A counterproposal for the colonnade of St. Peter’s Square in Andrea Pozzo, Ceiling Painting of the Church of Sant’Ignacio, Rome, 1695. Antonio Sant’Elia: La Citta Nuova, 1914 Yona Friedman, Spatial City Right: Gianlorenzo Bernini’s project for the east Façade of the Louvre, 1664 Bellow: Gianlorenzo Bernini, St. Peter’s square, Rome (Vatican), 1656 - 1667. Right: The Palace of the Louvre in the present state Above right: Medieval castle of the Louvre Right: Wing Lescot, 1510- c. 1540 Right: Gianlorenzo Bernini’s project for the east Façade of the Louvre, 1664 Right: Gianlorenzo Bernini’s project for the east Façade of the Louvre, 1664 Left: The east Façade of the Louvre, Claude Perrault et al, 1667 - 1674. Institut de France, Le Vau, architect, ca 1660s Right: Jean-Baptiste Colbert, 1561- 1626 Minister of Finances of King Louis XIV Founder of French Academies Left: The frontispiece of Claude Perrault’s translation of Vitruvius’s Ten Books, 1673, representing Perrault’s own major works. Right: Claude Perrault et al, east façade of the Louvre, Paris, 1667 - 1674. Jacopo Barozo da Vignola, The Rules of the Five Orders of Architecture, 1562. Andrea Palladio, The Four Books of Architecture, 1570. Sebastiano Serlio, The Five Books of Architecture, 1537 – 1550. Vicenzo Scamozzi, L’Idea della archittetura universale …, 1615. Francesco di Giorgio di Martino, Codicetto (c. 1465) and Trattati (c. 1490, 1500). Leon Antonio Averlino, called Filarete, Libro architettonico, c. 1460. Leon Battista Alberti, De re aedificatoria, c. 1450’s. The Rise of the Renaissance Architectural Treatise: Left: Andrea Palladio, Plate XVII, Capital of the Corinthian Order. Right: Andrea Palladio, Plate XVI, Corinthian Order. Right: Andrea Palladio, Plate XVI, Corinthian Order. Andrea Palladio, Four Books of Architecture, Plate XVI, Corinthian Jacopo Barozo da Vignola, “The Rules of Five Orders of Architecture, Below: Claude Perrault and others, east façade of the Louvre, Paris, 1667 - 1674. Left: Hermogenes of Priene, Temple of Artemis Leukophryene, Magnesia, late 3rd-early 2nd century BCE Above: Gate Saint-Denis, Francois Blondel, 1675 Above right: The building of the Institute de France (originally College de Quatre Nations), Louis Le Vau, 1665 Right: East façade of the Louvre. Claude Perrault and others, 1667-74. The Establishment of the Royal Academy of Architecture in France (1671) The Dispute between the Ancients and the Moderns. The Essence of Architecture: Blondel: Architecture is a theoretical discourse. Perrault: Architecture is a flexible implementation of theoretical principles. The Essence of Architectural Theory and Practice: Blondel: Architectural theory is the province of mathematics and a transcendental justification of practice. Perrault: Architectural theory is a rational inquiry. The distance between theory and practice should be reduced. The Essence of Beauty: Perrault: The notion of beauty is partly based on relative cultural principles and particular historical conditions. Blondel: There is the absolute natural beauty and questioning its foundations is fraught with most devastating consequences. Moderns: Clade Perrault. Antoine Desgodets, Edifices dessines et mesures tres exactement, 1682. Ancients: Francois Blondel. Nicolas Boileau. Art Nouveau (the nineteenth-–the beginning of the twentieth centuries) Architectural design based on intuition and taste Architectural design follows intuition and obeys taste Architectural design follows intuition and obeys taste; Architecture strives to become increasingly spectacular Jacopo Barozo da Vignola, The Rules of the Five Orders of Architecture, 1562. Andrea Palladio, The Four Books of Architecture, 1570. Sebastiano Serlio, The Five Books of Architecture, 1537 – 1550. Vicenzo Scamozzi, L’Idea della archittetura universale …, 1615. Francesco di Giorgio di Martino, Codicetto (c. 1465) and Trattati (c. 1490, 1500). Leon Antonio Averlino, called Filarete, Libro architettonico, c. 1460. Leon Battista Alberti, De re aedificatoria, c. 1450’s. The Rise of the Renaissance Architectural Treatise: Sebastiano Serlio, The Five Books of Architecture, 1535 – 1550. Right: G. B. Vignola, Il Gesu, finished by G. della Porta, 1584 Bellow: Val de Grace, Francois Mansart, 1645-67 Sebastiano Serlio, The Five Books of Architecture, 1535 – 1550. Odeon of Herodes Atticus, 161 CE. Medieval Theatre: •Liturgical Dramas and Mystery Plays •Farces and Masques(Feasts of Fools) •Pageant Wagons Teatro Olimpico, Vicenza, Italy. 1580-85 Andrea Palladio (finished by Vincenzo Scamozzi) Below: Giovanni Battista Piranesi, Le Carceri, Left: Ferdinando Gali da Bibieno Paris, Opera, 1861-1868. Charles Garnier, Architect. Scream, Edvard Munch, 1893 Above: Hugh Ferris, The Metropolis of Tomorrow, 1928 Above: Hugh Ferris, The Metropolis of Tomorrow, 1928 Fritz Lang, The Metropolis, 1927 Fritz Lang, The Metropolis The Cabinet of Doctor Caligary The Cabinet of Doctor Caligary Hans Scharoun, Berlin Eero Saarinen, Kennedy International Airport and Dullas International Airpot On Growth and Form, D’Arcy Wentworth Thompson Left: Alan Voo House by Neil Denari Architects Right: Campbell Sports Center, Steven Holl Architects Jorn Utzon, Theatre of Herodes Atticus, Athens, 161 CE Le Corbusier and Promendade Architecturale Le Corbusier (Carpenter Center for arts, Cambridge, Massachusetts, 1963) and Promendade Architecturale Promendade Architecturale Agora: “Public forum” [Center of political, art, spiritual life] Origin of “Public Space” Panathenaic Procession: Agora>Pnyx>>Aeropagus>Acropolis Mnesikles, Propylaia, Acropolis, Athens, 437-432 BCE Mnesikles, Propylaia, Acropolis, Athens, 437-432 b.c. Promendade Architecturale Kallikrates, Temple of Athena Nike, Acropolis, Athens, 427-434 BCE, eastern facade Ichtinus and Kallikrates, Parthenon, Acropolis, Athens, 448-432 BCE, the northwest corner Ichtinus and Kallikrates, Parthenon, Acropolis, Athens, 448-432 BCE, the northwest corner Kallikrates, Erechtheon, Acropolis, Athens, ca. 421-405 b.c., Porch of the Maidens Kallikrates, Erechtheon, Acropolis, Athens, ca. 421-405 b.c., Porch of the Maidens Ichtinus and Kallikrates, Parthenon, Acropolis, Athens, 448-432 b.c. Atticus, Athens, 161 CE Movement continues, search for origins begins Rene Descartes, 1596 – 1650 Skepticism 17th Century Philosophy: A Shift from Ontology to Epistemology Ergo sum I think, therefore I am Francis Bacon, 1561- 1626 Science is no longer remains a contemplative state, it becomes a pursuit of practical solutions directed towards gradual improvement Jean-Baptiste Colbert, 1561- 1626 Minister of Finances of King Louis XIV, Founder of French Academies 17th century, philosophy shift towards epistemology (separation between natural sciences and philosophy). Skepticism, and the emergence of the scientific method The emergence of experimental sciences Left: Edme Mariotte, 1620- 1684 Right: Robert Boyle, 1627- 1691 The Rise of the Renaissance Architectural Treatise: Leon Battista Alberti, De re aedificatoria, c. 1450 Sebastiano Serlio, The Five Books of Architecture, 1537 – 1550 Vicenzo Scamozzi, L’Idea della archittetura universale …, 1615. Francesco di Giorgio di Martino, Codicetto (c. 1465) and Trattati (c. 1490, 1500). Antonio Averlino, called Filarete, Libro architettonico, c. 1460 Andrea Palladio, The Four Books of Architecture, 1570 Jacopo Barozo da Vignola, The Rules of the Five Orders of Architecture, 1562. The Dispute between the Ancients and the Moderns. The Essence of Architecture: Blondel: Architecture is a theoretical discourse. Perault: Architecture is a flexible implementation of theoretical principles. The Essence of Architectural Theory and Practice: Blondel: Architectural theory is the province of mathematics and a transcendental justification of practice. Perault: Architectural theory is a rational inquiry. The distance between theory and practice should be reduced. The Essence of Beauty: Perault: The notion of beauty is partly based on relative cultural principles and particular historical conditions. Blondel: There is the absolute natural beauty and questioning its foundations is fraught with most devastating consequences. Moderns: Claude Perrault. Antoine Desgodetz, Edifices dessinés et mesurés tres exactement, 1682. Ancients: Francois Blondel. Nicolas Boileau. Left: The frontispiece of Claude Perrault’s translation of Vitruvius’s Ten Books, 1673, representing Perrault’s own major works. Right: Claude Perrault et al, east façade of the Louvre, Paris, 1667 - 1674. The Debate between the Moderns and the Ancients Above: Gate Saint-Denis, Francois Blondel, 1675 Above right: The building of the Institute de France (originally College de Quatre Nations), Louis Le Vau, 1665 Right: East façade of the Louvre. Claude Perrault and others, 1667-74. Left: Francis Bacon, 1561- 1626 Right: Jean-Baptiste Colbert, 1561- 1626 Minister of Finances of King Louis XIV Founder of French Academies Shift towards the modern scientific method. Science is no longer remains a contemplative state, it becomes a pursuit of practical solutions directed towards a gradual improvement of human-built environment. A sketch made by Jacques Carrey, expedition funded by Colbert, 1673 View of Acropolis in Athens as viewed by Venetian army’s officer in 1687 “Discovery” of Greece Richard Dalton’s drawings produced during the Grand Tour of the future Earl Charlemont. A View of Parthenion, an engraving by Edward Rooker, after Richard Dalton, 1751. The Principal Parts of the Temple of Erichteus, engraving by Richard Dalton, 1751. View of the Parthenon from Jacopo Spon, Voyage d’Italie, de Dalmatie, de Grece et de Levant, 1678 Johann Joachim Winckelmann, 1717- 1768. “Noble simplicity and quiet grandeur” Giorgio Vasari (1511-1574) Art Historian: Lives of the Painters, Sculptors, and Architects Founder of the first Academy (Academia) of Art in Florence Painter: St. Luke Painting the Virgin and Child Architect: Uffizi Three periods of the Renaissance: Early, middle, and high Renaissance Presentation of Mary in the Temple Below: Giotto di Bondone (1267-1337) Right: Domenico Ghirlandaio (1449-11494) Right below: Titian (or Tiziano) Vicelli (1485-1576) Primitive Form of the Cooper Vessel Decadent Form of the Cooper Vessel Developed Form of the Cooper Vessel The Archaic Period of Ancient Greek Architecture, 8th- 5th Centuries BC The Classical Period of Ancient Greek Architecture, 5th-4th Centuries BC The Hellenistic Period of Ancient Greek Architecture, 4th-2d Centuries BC Evolution of a style according to E.-E. Viollet-le-Duc (1814- 1879) Wurzburg Residence, Germany. Johan Lukas Hildebrandt and Maximilian Welsch, Architects The Mining Institute, St. Petersburg, Russia, 1811. Andrey Voronikhin, Architect Mikhailovski Palace, St. Petersburg, Russia, 1827. Carlo Rossi, Architect Neo-Classicism Left: Royal Salt- works Claude- Nicolas Ledoux, France 1775 Neo-Classicism Left: Doric Temple, James Stuart, Hagley, England, 1758 Above: The Royal Scottish Academy, Edinburgh, William H. Playfair, 1822 Karl Friedrich Schinkel, New Wache, Berlin, 1816. Neo-Classicism The Library of the University of Virginia, Thomas Jefferson, 1825 Neo-Classicism Virginia State Capitol, 1785. Arch. Tomas Jefferson. Influenced by Maison Carree Neo-Classicism Abbé (Abbot) M.-A. Laugier. Essai sur l’architecture, 1755 (first edition 1753) Abbé (Abbot) M.-A. Laugier. Essai sur l’architecture, 1755 (first edition 1753) Discourses on the Arts and Science The Social Contract Jean-Jacques Rouseau 1712-1778 Abbé (Abbot) M.-A. Laugier. Essai sur l’architecture, 1755 (first edition 1753) Jean-Jacques Rouseau 1712-1778 The Age of Enlightenment Discourses on the Arts and Science The Social Contract Francois-Marie Voltaire 1694 -1778 Charles-Louis de Secondat, Baron de la Brede et de Montesqieu 1689 -1755 Denis Diderot 1713 -1784 Tomb of Rouseau in the Pantheon Discourses on the Arts and Science The Social Contract Jean-Jacques Rouseau 1712-1778 Abbé (Abbot) M.-A. Laugier. Essai sur l’architecture, 1755 (first edition 1753) Tomb of Rouseau in the Pantheon Discourses on the Arts and Science The Social Contract Jean-Jacques Rouseau 1712-1778 Death of general Wolfe, Benjamin West Уест, 1771, fragment Design for a Primitive Hut, Jean-Jacques Lequeu, 1792 The First Building, E.- E. Viollet-le-Duc Histoire de l’habitation humaine, 1872 The primitive hut and the origins of architecture, after William Chambers. The primitive hut and the origins of Architecture, after William Chambers. Search for Origins Grand Tour, ca.1660’s--ca.1860’s Robert Spencer, the future 2nd Earl of Sunderland (1640-1702), wearing “antique” garbs during his Grand Tour Painting by Carlo Maratti Right: “A Stoa or Portico, Commonly Supposed to be the Remains of the Temple of Jupiter Olympian,” from Stuart and Revett, Antiquities of Athens. Left: “Ruins of a Building that one sees as a Bazaar in Athens” (in the first edition, “View of the Temple of Jupiter Olympian”), from Julien-David Leroy, Les Ruines Architectural Grand Tour as a Competition Above: Monument of Lysikrates, drawing from Antiquities of Athens, James Stuart and Nicolas Revert, 1762. Above: View of the Parthenon. Right: Monument of Lysikrates, From Ruines des plus beaux monuments de la Grece, Julien- David Leroy,1758. Monument of Lysikrates, from Antiquities of Athens by James Stuart and Nicolas Revert. Discovery Monument of Lysikrates, from Antiquities of Athens by James Stuart and Nicolas Revert. Discovery Drawing as a Dangerous Adventure. A drawing from Antiquities of Athens by James Stuart and Nicolas Revert. William Chambers Above: Somerset House, 1776 -96 Right: Roehampton Villa Architectural Grand Tour and the Architect’s Rite of Passage. Sir William Chambers, Project for the mausoleum of Frederick, Prince of Wales, 1754-52.c Robert Adam, 1728-1792 An Invitation to a Grand Tour. Top: Antionio Visentini after Canaletto, Campo San Rocco, from Prospectus magnus Canalis venetiarum, Venice, 1742, part III, plate 5. Bottom: Huquier after Giovanni Paolo Panini, Ruins, ca1720. An Invitation to a Grand Tour. Giovani Battista Piranesi, Antichita Romane, 1756. Giovanni Battista Piranesi, Le Carceri, 1745 / 1761 View of a Student on a Ladder, with Rod, Measuring the Corinthian Order, Temple of Castor and Polux. Artist: Henry Parke, c. 1814. The Architect’s Sketchbook after the Photo Camera. Bellow: Henry Bacon, Azay-le- Rideau, 1887. Right: Louis Kahn, Ponte Vecchio, Florence, 1951. Right: “A Stoa or Portico, Commonly Supposed to be the Remains of the Temple of Jupiter Olympian,” from Stuart and Revett, Antiquities of Athens. Left: “Ruins of a Building that one sees as a Bazaar in Athens” (in the first edition, “View of the Temple of Jupiter Olympian”), from Julien- David Leroy, Les Ruines Architectural Grand Tour as a Competition “Ruins of a Building that one sees as a Bazaar in Athens” (in the first edition, “View of the Temple of Jupiter Olympian”), from Julien-David Leroy, Les Ruines Louis Kahn, Temple of Jupiter, Athens, travel sketch Michael Graves, Travel sketches during his Fellowship at the American Academy in Rome, !961 Peter Eisenman, “The Last Grand Tour,” 1960 Movement: Skepticism and Spectacle Plato believed that the universals existed apart from particular things, and were related to them as their prototypes Augustine of Hippo (St. Augustine), 354-430 AD Neo-Platonism Plotinus, 204-270 AD Hypatia, 370-415 AD “Ars Sine Scientia Nihil Est,” Jean Mignot, 1399 God As Architect of the Universe. From Bible Moralisee. Vienna. Luca Pacioli, 1445-1517 Luca Pacioli, 1445-1517 Andrea Palladio, Villa Capra, “La Rotonda.” Started 1567 Villa Malcontenta Andrea Palladio Villa Chiericati Le Corbusier –The Modulor and the return to proportions (based on proportion of the idealized human body) as a major principle of architectural desing The Rise of the Renaissance Architectural Treatise: Leon Battista Alberti, De re aedificatoria, c. 1450 Sebastiano Serlio, The Five Books of Architecture, 1537 – 1550 Vicenzo Scamozzi, L’Idea della archittetura universale …, 1615. Francesco di Giorgio di Martino, Codicetto (c. 1465) and Trattati (c. 1490, 1500). Antonio Averlino, called Filarete, Libro architettonico, c. 1460 Andrea Palladio, The Four Books of Architecture, 1570 Jacopo Barozo da Vignola, The Rules of the Five Orders of Architecture, 1562. Right: David, Gianlorenzo Bernini, c.1624 Left: David, Michelangelo, 1504 Renaissance vs. Baroque Right: Andrea Palladio. Villa Chiericati, Left: David, Michelangelo, 1504 Renaissance’s contemplative mode Gian Lorenzo Bernini, The Colonnade of St. Peter’s Square, 1656-67 (below) and the statue of David, c. 1624 (right) Baroque: the focus on motions and emotions Pope Clement XI in a Procession in St. Peter’s Square Gian Lorenzo Bernini, The Colonnade of St. Peter’s Square, 1656-67 Rene Descartes, 1596 – 1650 Skepticism 17th Century Philosophy: A Shift from Ontology to Ergo sum I think, therefore I am Gianlorenzo Bernini, The Colonnade of St. Peter’s Square, 1656-67 Baroque architectures resists a single view-point contemplation, In order to appreciate the complexity of the form and the space the visitor is forced to move around. Geographic Exploration 1409s – Christopher Columbus’s Voyages Scientific Revolution (astronomy) 1543: Nicolaus Copernicus’s theory of solar system 1564-1642: Galileo Galilei 1571-1630: Johannas Kepler Politics and Religion 1483 – 1546: Martin Luther 1509 – 1564: John (Jean) Calvin 1522 – 1648: The Wars of Religion (the poor Knights rebellion – the peace of Westphalia) 1545 – 1563: The Council of Trent, the beginning of the Counter Reformation Above: Painting by Huguenot painter François Dubois, borne c. 1529 St. Bartholomew’s massacre, 23-24 August, 1672. Right: One of three frescos by Giorgio Vasari, celebrating the massacre Left: 1711 illustration for the Index Librorum Prohibitorum depicts the Holy Ghost supplying the book-burning fire Above: Martin Luther at the Diet of Worm Artist: Anton von Werner, 1877 The martyrdom of Giordano Bruno (1600), Watson Heston, c. 1880 Above: Jan Hus burning at the stake (1515), from a Hussite prayer book, c. 1563 Destruction of religious images by the Reformed in Zurich, 1524: Right: Christopher Clavius, 1538-1612Left: Galileo Galilei, 1564-1642 Baroque art and architecture: Jesuit response to the challenges posed to the Catholic Church by the Scientific Revolution and by the Protestant movement St. Peter’s Square, Gianlorenzo Bernini, 1656—1666 St. Peter’s Basilica, Rome Bramante, Rafael, Michelangelo, Carlo Maderno, 1505—c.1612 St. Peter’s Square, Gianlorenzo Bernini, 1656—1666 St. Peter’s Basilica, Rome Bramante, Rafael, Michelangelo, Carlo Maderno, 1505—c.1612 Gianlorenzo Bernini, The Colonnade of St. Peter’s Square, 1656-67 Baroque architectures resists a single view point contemplation. In order to appreciate the complexity of the form and the space the visitor is forced to move around. Juan Caramuel y Lobkowitz, Architectura Civil recta y olicua … 1678. A counterproposal for the colonnade of St. Peter’s Square in Andrea Pozzo, Ceiling Painting of the Church of Sant’Ignacio, Rome, 1695. Antonio Sant’Elia: La Citta Nuova, 1914 Yona Friedman, Spatial City Right: Gianlorenzo Bernini’s project for the east Façade of the Louvre, 1664 Bellow: Gianlorenzo Bernini, St. Peter’s square, Rome (Vatican), 1656 - 1667. Right: The Palace of the Louvre in the present state Above right: Medieval castle of the Louvre Right: Wing Lescot, 1510- c. 1540 Right: Gianlorenzo Bernini’s project for the east Façade of the Louvre, 1664 Right: Gianlorenzo Bernini’s project for the east Façade of the Louvre, 1664 Left: The east Façade of the Louvre, Claude Perrault et al, 1667 - 1674. Institut de France, Le Vau, architect, ca 1660s Right: Jean-Baptiste Colbert, 1561- 1626 Minister of Finances of King Louis XIV Founder of French Academies Left: The frontispiece of Claude Perrault’s translation of Vitruvius’s Ten Books, 1673, representing Perrault’s own major works. Right: Claude Perrault et al, east façade of the Louvre, Paris, 1667 - 1674. Jacopo Barozo da Vignola, The Rules of the Five Orders of Architecture, 1562. Andrea Palladio, The Four Books of Architecture, 1570. Sebastiano Serlio, The Five Books of Architecture, 1537 – 1550. Vicenzo Scamozzi, L’Idea della archittetura universale …, 1615. Francesco di Giorgio di Martino, Codicetto (c. 1465) and Trattati (c. 1490, 1500). Leon Antonio Averlino, called Filarete, Libro architettonico, c. 1460. Leon Battista Alberti, De re aedificatoria, c. 1450’s. The Rise of the Renaissance Architectural Treatise: Left: Andrea Palladio, Plate XVII, Capital of the Corinthian Order. Right: Andrea Palladio, Plate XVI, Corinthian Order. Right: Andrea Palladio, Plate XVI, Corinthian Order. Andrea Palladio, Four Books of Architecture, Plate XVI, Corinthian Jacopo Barozo da Vignola, “The Rules of Five Orders of Architecture, Below: Claude Perrault and others, east façade of the Louvre, Paris, 1667 - 1674. Left: Hermogenes of Priene, Temple of Artemis Leukophryene, Magnesia, late 3rd-early 2nd century BCE Above: Gate Saint-Denis, Francois Blondel, 1675 Above right: The building of the Institute de France (originally College de Quatre Nations), Louis Le Vau, 1665 Right: East façade of the Louvre. Claude Perrault and others, 1667-74. The Establishment of the Royal Academy of Architecture in France (1671) The Dispute between the Ancients and the Moderns. The Essence of Architecture: Blondel: Architecture is a theoretical discourse. Perrault: Architecture is a flexible implementation of theoretical principles. The Essence of Architectural Theory and Practice: Blondel: Architectural theory is the province of mathematics and a transcendental justification of practice. Perrault: Architectural theory is a rational inquiry. The distance between theory and practice should be reduced. The Essence of Beauty: Perrault: The notion of beauty is partly based on relative cultural principles and particular historical conditions. Blondel: There is the absolute natural beauty and questioning its foundations is fraught with most devastating consequences. Moderns: Clade Perrault. Antoine Desgodets, Edifices dessines et mesures tres exactement, 1682. Ancients: Francois Blondel. Nicolas Boileau. Art Nouveau (the nineteenth-–the beginning of the twentieth centuries) Architectural design based on intuition and taste Architectural design follows intuition and obeys taste Architectural design follows intuition and obeys taste; Architecture strives to become increasingly spectacular Jacopo Barozo da Vignola, The Rules of the Five Orders of Architecture, 1562. Andrea Palladio, The Four Books of Architecture, 1570. Sebastiano Serlio, The Five Books of Architecture, 1537 – 1550. Vicenzo Scamozzi, L’Idea della archittetura universale …, 1615. Francesco di Giorgio di Martino, Codicetto (c. 1465) and Trattati (c. 1490, 1500). Leon Antonio Averlino, called Filarete, Libro architettonico, c. 1460. Leon Battista Alberti, De re aedificatoria, c. 1450’s. The Rise of the Renaissance Architectural Treatise: Sebastiano Serlio, The Five Books of Architecture, 1535 – 1550. Right: G. B. Vignola, Il Gesu, finished by G. della Porta, 1584 Bellow: Val de Grace, Francois Mansart, 1645-67 Sebastiano Serlio, The Five Books of Architecture, 1535 – 1550. Odeon of Herodes Atticus, 161 CE. Medieval Theatre: •Liturgical Dramas and Mystery Plays •Farces and Masques(Feasts of Fools) •Pageant Wagons Teatro Olimpico, Vicenza, Italy. 1580-85 Andrea Palladio (finished by Vincenzo Scamozzi) Below: Giovanni Battista Piranesi, Le Carceri, Left: Ferdinando Gali da Bibieno Paris, Opera, 1861-1868. Charles Garnier, Architect. Scream, Edvard Munch, 1893 Above: Hugh Ferris, The Metropolis of Tomorrow, 1928 Above: Hugh Ferris, The Metropolis of Tomorrow, 1928 Fritz Lang, The Metropolis, 1927 Fritz Lang, The Metropolis The Cabinet of Doctor Caligary The Cabinet of Doctor Caligary Hans Scharoun, Berlin Eero Saarinen, Kennedy International Airport and Dullas International Airpot On Growth and Form, D’Arcy Wentworth Thompson Left: Alan Voo House by Neil Denari Architects Right: Campbell Sports Center, Steven Holl Architects Jorn Utzon, Theatre of Herodes Atticus, Athens, 161 CE Le Corbusier and Promendade Architecturale Le Corbusier (Carpenter Center for arts, Cambridge, Massachusetts, 1963) and Promendade Architecturale Promendade Architecturale Agora: “Public forum” [Center of political, art, spiritual life] Origin of “Public Space” Panathenaic Procession: Agora>Pnyx>>Aeropagus>Acropolis Mnesikles, Propylaia, Acropolis, Athens, 437-432 BCE Mnesikles, Propylaia, Acropolis, Athens, 437-432 b.c. Promendade Architecturale Kallikrates, Temple of Athena Nike, Acropolis, Athens, 427-434 BCE, eastern facade Ichtinus and Kallikrates, Parthenon, Acropolis, Athens, 448-432 BCE, the northwest corner Ichtinus and Kallikrates, Parthenon, Acropolis, Athens, 448-432 BCE, the northwest corner Kallikrates, Erechtheon, Acropolis, Athens, ca. 421-405 b.c., Porch of the Maidens Kallikrates, Erechtheon, Acropolis, Athens, ca. 421-405 b.c., Porch of the Maidens Ichtinus and Kallikrates, Parthenon, Acropolis, Athens, 448-432 b.c. Atticus, Athens, 161 CE