architecture styles

1. BAROQUE, ROCOCO, NEO CLASSICISM

2. BAROQUE:
 PERIOD OF ARTISTIC STYLE STARTED IN 16TH CENTURY IN ROME, ITALYAND SPREAD TO MOST OF EUROPE
 ENCOURAGED BY ROMAN CATHOLIC CHURCH
 RESPONSE TO THE PROTESTANTREFORMATION
 OFTEN TO EXPRESS THE TRIUMPH OF THE CATHOLIC CHURCH AND THE ABSOLUTIST STATE
 COMPARED TO RENAISSANCE ART, IT WAS CONSIDERED TO BE
 “OVER-DRAMATIC”
 THE ARCHITECTURE, “OVERLY DECORATED”.
 THE LATE BAROQUE STYLE IS OFTEN REFERRED TO AS ROCOCO OR, IN SPAIN AND SPANISH AMERICA, AS
CHURRIGUERESQUE.

3. PERIODS:
ROUGHLY 3 PHASE :
• EARLY BAROQUE ( AD 1590 TO AD 1625)
• HIGH BAROQUE (AD 1625 TO AD 1660 )
• LATE BAROQUE (AD 1660 TO AD1725)

4. ARCHITECTURE:
• ARCHITECTURAL STYLE ORIGINATING IN LATE 16TH-CENTURY ITALY AND
LASTING IN SOME REGIONS, NOTABLY GERMANY AND COLONIAL SOUTH
AMERICA, UNTIL THE 18THCENTURY.
• IT HAD ITS ORIGINS IN THE COUNTER-REFORMATION, WHEN THE CATHOLIC
CHURCH LAUNCHED AN OVERTLY EMOTIONAL AND SENSORYAPPEAL TO THE
FAITHFUL THROUGH ART AND ARCHITECTURE.
• BAROQUE WAS MORE SERIOUS, PLACING AN EMPHASIS ON RELIGION, AND
WAS OFTEN CHARACTERIZED BY CHRISTIAN THEMES (AS A MATTER OF FACT,
THE BAROQUE BEGAN IN ROME AS A RESPONSE TO THE PROTESTANT
REFORMATION

5. PRECURSOR AND FEATURES
• MICHENLENGELO’S LATE ROMAN
BUILDINGS, PARTICULARLY ST. PETER’S
BASILICA, MAY BE CONSIDERED PRECURSOR
TO BAROQUE ARCHITECTURE.
• HIS PUPIL GIACOMO DELLA PORTA CONTINUED
THIS WORK IN ROME, PARTICULARLY IN THE
FAÇADE OF THE JESUIT CHURCH ILGESÙ,
WHICH LEADS DIRECTLY TO THE MOST
IMPORTANT CHURCH FAÇADE OF THE EARLY
BAROQUE, SANTA SUSANA (1603) BY CARLO
MADERNO

6. CHARACTERISTICS
DISTINCTIVE FEATURES OF BAROQUEARCHITECTURE:
 BOLD MASSIVE COLONNADE AND DOMES
 BROADER NAVES AND SOMETIMES OVAL FORMS
 FRAGMENTARY OR DELIBERATELY INCOMPLETE ARCHITECTURALELEMENTS
 BOLD PLAY OF VOLUMES AND VOIDS
 DRAMATIC USE OF LIGHT; EITHER STRONG LIGHT-AND-SHADE CONTRASTS
(CHIAROSCURO EFFECTS) AS AT THE CHURCH OF WELTENBURG ABBEY, OR UNIFORM
LIGHTING BY MEANS OF SEVERAL WINDOWS (E.G. CHURCH OF WEINGARTENABBEY)
 OPULENT/RICH USE OF COLOR AND ORNAMENTS (FIGURES MADE OF WOOD (OFTEN
GILDED), PLASTER OR STUCCO, MARBLE OR FAUX FINISHING)

7.  LARGE-SCALE CEILING FRESCOES
 AN EXTERNAL FAÇADE OFTEN CHARACTERIZED BY A DRAMATIC CENTRAL
PROJECTION
 THE INTERIOR IS A SHELL FOR PAINTING, SCULPTURE AND STUCCO
(ESPECIALLY IN THE LATE BAROQUE)
 ILLUSORY (DECEPTIVE/FALSE) EFFECTS LIKE TROMPE L'OEIL
 THE BLENDING OF PAINTING ANDARCHITECTURE
 PEAR-SHAPED DOMES IN THE BAVARIAN, CZECH, POLISH AND UKRAINIAN
BAROQUE

8. ROCOCO:
ROCOCO IS A SUBSET/DIVISION OF BAROQUE ( LATE BAROQUE OF 18TH
CENTURY) IN THE FIELD OF PANTING, SCULPTURE , ARCHITECTURE , INTERIOR
DESIGNAND DECORATION, LITERATURE , MUSIC AND THEATRE.

9.  Display shapes of nature – leaves, shells, scrolls
(floral elements) in surface ornament
 More simplified forms
 Worked on asymmetry of forms
 Diffuse light flooded the building volume;
 Violent surface relief was replaced by smooth
flowing masses with emphasis only at isolated points.
 Mirror surfaces multiplied & angles softened
 Painted Details over built forms
 Compiled with Painting to create illusion of depth
 Predominately used in Secular Buildings
 France, Germany, Austria, 18th Century
CHARACTERISTICS

10. FAMOUS BUILDINGS
Igreja de São Francisco
de Assis in São João del
Rei, 1749–1774, by the
Brazilian
masterAleijadinho
Czapski Palace in Warsaw, 1712–
1721, reflects rococo's
fascinations of oriental
architecture St.Andrew's
Church in Kiev, 1744–
1767, designed
by Francesco
Bartolomeo Rastrelli

11. NEOCLASSICISM:
 ARCHITECTURAL STYLE PRODUCED BY THE NEOCLASSICAL MOVEMENT
 LASTED 1850-1900.
 REACTION AGAINST THE ROCOCO STYLE OF NATURALISTIC ORNAMENT
 IN ITS PUREST FORM IT IS A STYLE PRINCIPALLY DERIVED FROM THE
ARCHITECTURE OF CLASSICAL GREECE & ROME, THE VITRUVIAN PRINCIPLES
AND THE ARCHITECTURE OF THE ITALIAN ARCHITECT ANDREA PALLADIO.

12. A NEOCLASSICAL BUILDING IS LIKELY TO HAVE SOME (BUT
NOT NECESSARILYALL) OF THESE FEATURES:
 CLEAN, ELEGANT LINES
 UNCLUTTERED APPEARANCE
 GRANDEUR OF SCALE, MASSIVE BUILDINGS
 SYMMETRICAL FORM/SHAPE
 DRAMATIC USE OF COLUMNS (TALL/HEIGHTED COLUMNS,
FREE STANDING COLUMNS)
 TRIANGULAR PEDIMENT
 DOMED ROOF
CHARACTERISTICS

13.  INTERNATIONAL MOVEMENT-NEOCLASSICAL IDEAS IN ARCHITECTURE SPREAD
QUICKLY THROUGHOUT EUROPE.
 EMPHASIZE ITS PLANAR QUALITIES, RATHER THAN SCULPTURAL VOLUMES.
 PROJECTIONS AND RECESSIONS AND THEIR EFFECTS OF LIGHT & SHADE ARE MORE
FLAT; SCULPTURAL BAS- RELIEFS ARE FLATTER AND TEND TO BE FRAMED IN
FRIEZES, TABLETS OR PANELS.
 IN FORM, NEOCLASSICAL ARCHITECTURE EMPHASIZES THE WALL RATHER THAN
CHIAROSCURO (THE DRAMATIC EFFECT OF LIGHT AND SHADE IN DRAWING AND
PAINTING) AND MAINTAINS SEPARATE IDENTITIES TO EACH OF ITS PARTS.
 CLEARLY ARTICULATED/EXPRESSED INDIVIDUAL FEATURES – ISOLATED.

14.  The ideal form that Neoclassical architecture looks at was the
Temple. Which was represented classical architecture in itspurest
form.
 Columns were used to carry the weight of the building's
structure. But later they became used as a graphical element.
 Roof is usually flat and horizontal and often is visible fromthe
ground.
 Neoclassical architecture style had no domes or towers.
 Building's facade is flat and long. Often having a screen of free-
standing columns.
 Exterior was built in such ways as to represent classical perfection.
Doors and windows were built to represent that perfection.
Decorations were reduced to a minimum on outside.
 There were often gardens around buildings completed in
geometric patterns. The cathedral of Vilnius