College of Architecture + PlanningArchitecture 3210/6210 – Survey of World ArchitectureExamination #3

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Essays .(50 points total)

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Architecture 3210/6210 – Survey of World ArchitectureExamination #3

Student: .

In the architecture we studied in this last section of the courses, Roman building types provided the precedents for the development of Christian architectural spaces and forms in the Early Christian times as well as the Renaissance. In answering both questions, make sure to include discussion of the appropriate Roman precedents as well as the developments that occurred throughout the evolution of Christian architecture

1. The central planned church was a significant form used during the Early Christian and Byzantine period, the Carolingian period, and then again, importantly, in the Renaissance. Discuss the evolution and development of the Central Plan form, and the architectural changes that distinguish the Early Christian, Byzantine, and Carolingian periods from the Renaissance. Discussion should include which Roman precedents were used and why, as well as developments in the plan form, the interior spatial elements and qualities, the exterior formal elements and qualities, the structure, and the associated meanings. (20 points)

The basic set of ideas –

Roman Precedents: Pantheon with is dome symbolizing the heavens; and tombs.

Early Christian: The primary church form was the Latin Cross plan, but central plan forms were used for:

martyria – which commemorated saints or site of special importance to the Christian faith; an example would be the Church of the Nativity.

mausolea – erected to contain tombs of important people (centralized form followed Roman practice); examples include S. Costanza, Galla Placidia.

baptisteries – organized around the baptismal pool or font, and often octagonal in form; example is Baptistery of the Orthodox.

These buildings had plan brick exteriors, domed spaces, and were often decorated with mosaics.

Byzantine Domed Churches: Byzantine architecture exhibited a clear preference for domes on their churches. Like the Romans, the Byzantines saw the dome as symbolic of the heavenly sphere, complimentary to the earthly realm of the walls and floor below.

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Architecture 3210/6210 – Survey of World ArchitectureExamination #3

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The issue in dome construction was how to support a round form on a square base – developed domes on pendentives (created curved triangular surfaces as the transition) or squinches (created an octagon as the transition with arches supporting the octagon).

The plans of these churches were either circular, octagonal, or Greek-cross plans – surmounted with a dome. The was usual an apsidal element (apse) in the composition.

The interior nave elevations differed depending on the size of the church, but incorporated niches or arcades and clerestories. Often, clerestories were located at the base of the dome to provide a weightless feeling – providing the dome with a heavenly presence. The interior surfaces of the spaces were covered with colored, glass mosaics, which provided a heavenly, luminous interior (other worldly).

The exteriors were direct expressions of the interior spatial order, and usually executed in brick – very little decoration was used, as the exteriors represented the profane or earthly world.

Examples are Hagia Sophia in Constantinople, S. Vitale in Ravenna, and S. Marco in Venice.

Carolingian: Charlemagne aspired to create a renaissance of Roman achievements during the early middle ages – and developed his Palatine Chapel in Aachen on models from Early Christian buildings he saw on his travels. His chapel was modeled on S. Vitale in Ravenna – the chapel had a central plan – an octagon surmounted by a dome. He added a gallery for the second level for the royal court. Reflects late Roman construction practices – not as sophisticated in development as S. Vitale.

One new feature was added in the exterior – the development of a westwork, a western façade with an entrance vestibule and towers (including the belfry).

Renaissance: Architects were not only interested in ratios and harmonies, they were convinced that God’s cosmic order could be expressed through the use of the circular form – it represented the most perfect form, echoing celestial harmony. Renaissance architects favored simple forms like circles and squares -- expressed human proportions that reflected divine ratios (Vitruvian Man – Leonardo).

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Architecture 3210/6210 – Survey of World ArchitectureExamination #3

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Initially, Renaissance architects (Brunelleschi and Alberti) would put centralizing elements – domes – at the crossing of the nave and transept of their Latin Cross plans – S. Lorenzo, S. Spirito, S. Andrea, etc. Even Bramante’s early works – S. Maria delle Grazie and S. Maria presso S. Satiro – have elaborated domed apses.

With Brunelleschi’s Pazzi Chapel and design for S. Maria degli Angeli , you have developed centralized space based on circles and squares with domes surmounting the space.

Leonardo da Vinci developed numerous designs for central plan churches, and S. Maria della Consolazione in Todi exemplifies his ideas. In these works, as the ones above, the interiors use the architectural orders as decoration, and often have contrasting materials articulating the surfaces (darker elements on lighter walls). The exteriors are direct expressions of the geometric form of the plan – with the dome hierarchically expressing the central space.

Bramante’s Tempietto and the design for St. Peters – by both Bramante and Michelangelo – are the culminating examples of the central plan. The Tempietto is the centralized “temple” par excellance. The plans for St. Peters demonstrate a new complex spatial ordering – based on the precedent of the Roman bath – with domed central space and open circulation. Here the dome becomes an important exterior landmark element.

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Architecture 3210/6210 – Survey of World ArchitectureExamination #3

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2. The Latin Cross plan was the primary form used in church architecture throughout Western Christendom from Early Christian times through the Renaissance. Discuss the evolution and development of the Latin Cross form, and the architectural changes it went through, from its Roman precedents and the Early Christian Basilica through the middle ages (Romanesque and Gothic periods) to the Renaissance. The discussion should include developments and refinements in the plan form, the interior spatial elements and qualities, the exterior formal elements and qualities, the structure, and the associated meanings. (30 points)

The basic set of ideas –

Roman precedent: Because Christians needed to accommodate large crowds for congregational worship, they chose the Roman Basilica as the model for their church buildings. It also had the ability to become a processional space – for the worship service. Its association with assembly and courts meant it was not associated with pagan worship like Roman temples were.

Early Christian Basilica: Evolved the Roman basilica into the Latin Cross plan – with an atrium/courtyard, narthex, nave, side aisles, transept, apse and an alter (with a baldacchino above). Symbolized the cross Christ was crucified upon, and so the sanctuary symbolically held the body of Christ in it. The axial order from west to east – from the profane world to the heavenly world – symbolized the “path of life” as the “path to salvation”.

The interior nave elevation was composed of the nave arcade, triforium, and clerestory. The horizontal emphasis of the space reinforced the idea of the path or journey to the apse end (salvation). Often a triumphal arch (Roman influence) separated the nave and transept. A baldacchino often was placed over the alter – a vertical emphasis making the connection to heaven. Usually had a wooden trussed ceiling; sometimes with coffers.

The interior space made use of mosaics on the triforium – creating a shimmering, luminous, heavenly interior – here the heavenly world of paradise presented itself in contrast to the profane world outside.

The exterior was a direct hierarchical expression of the interior spatial organization – with the nave and transept being the tallest spaces and the aisles lower. Often there was a bell tower of campanile, standing as an independent element. The exterior was of masonry construction with little or no

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Architecture 3210/6210 – Survey of World ArchitectureExamination #3

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decoration. It symbolized the profane world without – verses the heavenly world with.

Romanesque: The medieval church continued the evolution of the Latin Cross plan. With the advent of pilgrimages, the plan expanded in several ways. First, there was the addition of ambulatories around the transept arms and the apse. This allowed pilgrims to view relics while services were being conducted. Because relics required chapels, there are now chapels added to the transept and apse – known as transept chapels and apsidal chapels – and often an axial chapel terminating the space. The crossing of the nave and transept become a square bay that is the lantern crossing. The westwork now forms the transition between inside and outside.

The interior space is defined by “bays of space” articulated by the barrel or tunnel vaulting with ribs creating the bays. Often pilasters run up the surface of the façade and connect with the ribs. The nave elevation now has a nave arcade, either a gallery or triforium, and a clerestory – this varies depending on the particular church or the regional. But the spatial feeling is one of progressing from bay to bay.

Gone is the luminous interior – the masonry is heavy, smaller clerestories lets less light in, etc.

The exterior assumes more vertical expression – the westwork has the entry and one or two towers, one is the belfry. The buttresses on the exterior – to support the vaulting – add vertical emphasis, as does the addition of a vertical tower over the lantern crossing. This may have clerestory lighting.

The western entry develops a sculpture program which has the last judgment as the primary theme.

Gothic: The Gothic is the culmination of medieval design and construction – here the wall have dissolved to being only perpendicular piers holding the vaulting. What creates this condition is the development of the pointed arch, ribbed vaulting, and the flying buttress.

The pointed arch can cover any configuration of space, as the ribs work for a centering point and go down to the columns or piers holding them – can do polygonal shapes. The pointed form also carries the structural thrust down more vertically.

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Architecture 3210/6210 – Survey of World ArchitectureExamination #3

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Gothic cont’d.

The ribs create the structure, and are in-filled with webs. On the exterior, the horizontal thrust of the vaulting is absorbed thought flying buttresses and vertical piers.

Beside the reduction of the wall, the apse end of the cathedral elongates to become a full choir, and in some cases the transept is embedded into the plans, other times it continues to be expressed as a cross.

This structural combination creates the ability to reduce the wall of the interior to almost nothing. Originally, the nave elevation had four parts – the nave arcade, gallery, triforium and clerestory; but this evolved into three stories in the mature gothic – nave arcade, triforium and clerestory. Stained glass now filled the clerestories creating a luminous, dematerialized interior.

The exterior of the cathedral is created in the image of the city of god – as expressed in the increased vertical emphasis of the exterior elements. The westwork is more vertical with pointed towers, a spire acknowledges the lantern crossing, and the north and south portals have vertical elements – and there are also the flying buttresses.

The portals have a developed sculpture program – the west continues to be the last judgment; the north the old testament and the Virgin Mary, and the South, the new testament with Christ as the new sun. Stained glass windows carry out the teaching program – rose window too.

Renaissance: Several changes occur in the Renaissance – first, with the emphasis on using precedents from antiquity (Classical Rome), the interior spaces return to the more traditional basilica form. The nave elevation, while having an arcade and clerestory, are elements more explicitly Roman in inspiration – Corinthian columns, half round arches, and clerestories in framed window openings. The ceilings return to coffered wooden ones. The articulation is one of darker stone details on white or light colored walls. There is a coolness – not the expressiveness of the gothic – with the interiors are much lighter experientially.

In the plan, centered, domed spaces are developed for the nave and transept crossing, or added as a unique centered space on the end of the nave.

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Architecture 3210/6210 – Survey of World ArchitectureExamination #3

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Renaissance cont’d.

In elevation, Roman precedents are used as the major form of expression – most often the temple form or triumphal arch form; or some combination of the two. The triumphal arch theme appears in a number of church interiors.

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