Baroque operated on the idea that man and nature interacted but were distinct.

This is particularly true in France where Petit Trianon was set in a rigidly rational garden with geometric purity and plant motifs in the details purely for ornamentation and to show prestige. The English view at this time proposed that there was a purposefulness in nature and that architecture while separate from nature interacted with it in a contemplative way. We will see this more in the next lecture. One should keep in mind the ideas at this time we evolving. The Baroque idea of man in nature as a contemplative idea was being replace by the idea that there needed to be a distance between man in nature in order to have the ability to contemplate. On the one hand man has always tried to control nature for economic gain and would continue to do so, but in the act of designing houses and parks architecture was to work towards reconciliation (wakai ) The idea of Neo-Classicism arises from two different but related developments that changed the relationship between man and nature. First was the technological advances that allowed man to exercise greater control over nature. The second was the fundamental shift in how humans viewed their place in the cosmos. Major changes were occurring in society economically and politically and thereby sociologically. Technology increased infrastructure and production of economies (I,e, roads and canal in England and across Europe and the US). Philosophical debates arose about the ideas of beauty and purpose and with the advent of archeology and historical understanding people were beginning to become aware. Think about it like this before this time most people were conned to the act of working. This is what people did usually from dawn to dusk. With the advancement of technology and growing economies and political freedoms people nally had a chance to actually think. Think about this as mentioned before there are always reactions to movements political economic social etc. Architecture is no different. The Baroque and the Rococo periods showed the power of the Catholic church and the wealth of the patrons like Louis XVI. When this period met with the fact that there were advancements all around in terms of technology and enlightened thought Baroque and Rococo were over as movements. Architects were aware of this and this emerging secular and enlightened thought forced architects to search for the true style based on historical fact and study. This is what the grand tour was all about and many architects and dilettantes embark in these long tours to Italy, Greece, Egypt and

even Mesopotamia in search of the true meaning of architecture. The measured precisely the temples and building and took back many artifacts. (stole)

From this the idea of architectural parlante and the notions of an Architectural Language take form. In this period the concern was when and where should the correct column be used what sort of facade should a building have? In the late 1600s and early 1700s the idea of positive and arbitrary beauty where the former (positive beauty) is dictated by the rules of standardization and economy to equal perfection. The latter ( arbitrary beauty) was dictated by circumstance or character. Vitruvius stated the architecture needed three things: utility, strength and beauty. The architects of this time started to promote the idea of order, distribution and appropriateness. So, correct proportioning and proper disposition joined the idea of where and when to use particular elements of architecture associated with classic Greek and Roman architecture. Therefore utilitarian buildings should not employ the classical orders for the orders were too important to just be used anywhere. Also one should keep in mind that it was at about this time architecture wa]s becoming a trained discipline. Although most architects received training in an apprentice like way The ecole polytechnique in France was established and trained many the science of construction and also design. Durand was one such architect.

Laugier is best known for his Essay on Architecture published in 1753.[1] In 1755 he published the second edition with a famous, often reproduced illustration of a primitive hut. His approach is to discuss some familiar aspects of Renaissance and postRenaissance architectural practice, which he describes as 'faults'.
These 'faults' induce his commentary on columns, the entablature, and on pediments. Essai sur l'Architecture, frontispiece by Charles-Dominique-Joseph Eisen Among faults he lists for columns are that of "being engaged in the wall", the use of pilasters, incorrect entasis (swelling of the column), and setting columns on pedestals. Being embedded in the wall detracts from the overall beauty and aesthetic nature of columns; Laugier states that columns should be free. He goes on to assert that the use of pilasters should strictly be frowned upon especially since nearly in every case columns could be used instead. The second fault is created by incorrect proportion, and the last he believes is more of an unintelligible design. Resting columns on pedestals, he says, is like adding a second set of legs beneath the rst pair.

The Essai sur l'Architecture includes his thoughts on several other topics, ranging from solidity, the different orders, and how to construct different buildings. Boullee
Born in Paris, he studied under Jacques-Franois Blondel, Germain Boffrand and Jean-Laurent Le Geay, from whom he learned the mainstream French Classical architecture in the 17th and 18th century and the Neoclassicism that evolved after the mid century. He was elected to the Acadmie Royale d'Architecture in 1762 and became chief architect to Frederick II of Prussia, a largely honorary title. He designed a number of private houses from 1762 to 1778, though most of these no longer exist; notable survivors include the Htel Alexandre and Htel de Brunoy, both in Paris. Together with Claude Nicolas Ledoux he was one of the most inuential gures of French neoclassical architecture.

Geometric style It was as a teacher and theorist at the cole Nationale des Ponts et Chausses between 1778 and 1788 that Boulle made his biggest impact, developing a distinctive abstract geometric style inspired by Classical forms. His work was characterised by the removal of all unnecessary ornamentation, inating geometric forms to a huge scale and repeating elements such as columns in huge ranges.

Boulle promoted the idea of making architecture expressive of its purpose, a doctrine that his detractors termed architecture parlante ("talking architecture"), which was an essential element in BeauxArts architectural training in the later 19th century. His style was most
notably exemplied in his proposal for a cenotaph for the English scientist Isaac Newton, which would have taken the form of a sphere 150m (490ft) high embedded in a circular base topped with cypress trees. Though the structure was never built, its design was engraved and circulated widely in professional circles. Boullee's Cenotaph for Isaac Newton is a funerary monument celebrating a gure interred elsewhere. Designed in 1784, for all its apparent originality, it actually derives from contemporary archaeology. The small sarcophagus for Newton is placed at the lower pole of the sphere. The design of the memorial creates the effect of day and night. The effect by night, when the sarcophagus is illuminated by the starlight coming through the holes in the vaulting. The effect by day is an armillary sphere hanging in the center that gives off a mysterious glow. For Boulle symmetry and variety were the golden rules of architecture.

Claude-Nicolas Ledoux (March 21, 1736 November 18, 1806) was one of the earliest exponents of French Neoclassical architecture. He used his knowledge of architectural theory to design not only in domestic architecture but town planning; as a
consequence of his visionary plan for the Ideal City of Chaux, he became known as a utopian.[1] His greatest works were funded by the French monarchy and came to be perceived as symbols of the Ancien Rgime rather than Utopia. The French Revolution hampered his career; much of his work was destroyed in the nineteenth century. In 1804 he published a collection of his designs under the title "Architecture considered in relation to art, morals, and legislation." [2] In this book he took the opportunity of revising his earlier designs, making them more rigorously neoclassical and up to date. This revision has distorted an accurate assessment of his role in the evolution of Neoclassical architecture.[3] His most ambitious work was the uncompleted Royal Saltworks at Arc-et-Senans, an idealistic and visionary town showing many examples of architecture parlante.[4] Conversely his works and commissions also included the more mundane and everyday architecture such as approximately sixty elaborate toll gates in the Wall of the Farmers-General around Paris.

Jean-Nicolas-Louis Durand (Paris, September 18, 1760 Thiais, December 31, 1834) was a French author, teacher and architect. He was an important gure in Neoclassicism, and his system of design using simple modular elements anticipated modern industrialized building components. Having spent periods working for the architect tienne-Louis Boulle and the civil engineer Jean-Rodolphe Perronet, in 1795 he
became a Professor of Architecture at the cole Polytechnique.

Sir John Soane, RA (10 September 1753 20 January 1837) was an English architect who specialised in the Neo-Classical style. The son of a bricklayer he rose to the top of his profession, becoming professor of architecture at the Royal Academy, an ofcial
architect to the Ofce of Works and received a knighthood in 1831. His architectural works are distinguished by their clean lines, massing of simple form, decisive detailing, careful proportions and skillful use of light sources. The inuence of his work, coming at the end of the Georgian era, was swamped by the revival styles of the 19th century. It was not until the late 19th century that the inuence of Sir John's architecture was widely felt. His best-known work was the Bank of England (his work there is largely destroyed), a building which had widespread effect on commercial architecture. He also design Dulwich Picture Gallery, with its top lit galleries it was a major inuence on the planning of subsequent art galleries and museums. His major legacy is Sir John Soane's Museum, in Lincoln's Inn Fields, London, formed from his former home and ofce that he designed to display art works and architectural artifacts that he collected during his lifetime.

Architecture in English II
Lecture 1: The Search for Architectural Language

When does Modernism begin?

In 1439 Gutenberg invents the printing

press.

1492 Columbus discovers a New World. In 1517 The Protestant Reformation

begins.

1439 Johannes Gutenberg invents the printing press.

1492 Christopher Columbus discovers America.

In 1517 Martin Luther begins the Protestant Reformation.

Transition From Renaissance to Baroque

Renaissance started with Brunelleschi

in the late 14th century.

Ended with Palladio and Micheangelo

in the early to middle 17th century (1623).

Transition From the Baroque to NeoClassicism

Renaissance related to Humanism and

rational thought based on Greek and Roman ideas.

Baroque was a reaction to this thinking. Neo-Classicism was based on a search

for truth.

What is Architectural Language: Architecture Parlante

Petit Trianon at Versailles (1762-68 ) France Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France Ange-Jacques Gabriel

Versailles, France

Petit Trianon at Versailles (1762-68 ) France Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France Ange-Jacques Gabriel

The Grand Tour

Abbe Laugier Etienne Louis Boullee Claude Nicolas Le Doux Jean Nicolas Louis Durand John Soane

The Grand Tour

The French Revolution ended the

Baroque/Rococo period. place in the cosmos.

The Enlightenment questioned mans Technology affected not only how

things were built but also new types.

The Grand Tour

Looking at the past for the true ideas of

architecture.

Architects traveled to Italy, Greece, and

Egypt to study closely the buildings of the past.

Why?

The Grand Tour

Searching for the truth. Searching for the proper architectural

response for the new age.

The Primitive Hut

Date: 1753 AD Architect: Laugier

Bibliotheque National
Date: 1785 AD Architect: Etienne

- Louis Boullee

San Andrea: Florence, Italy

Date: 1462 AD Architect: Leon Battista Alberti

Bibliotheque National
Date: 1785 AD Architect: Etienne

- Louis Boullee

Bibliotheque National
Date: 1785 AD Architect: Etienne

- Louis Boullee

Bibliotheque National
Date: 1785 AD Architect: Etienne

- Louis Boullee

Musee National
Date: 1783 AD Architect: Etienne

- Louis Boullee

Musee National
Date: 1783 AD Architect: Etienne

- Louis Boullee

Musee National
Date: 1783 AD Architect: Etienne

- Louis Boullee

Musee National
Date: 1783 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph for Newton

Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph
Date: 1784 AD Architect: Etienne

- Louis Boullee

Cenotaph
Date: 1784 AD Architect: Etienne

- Louis Boullee

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

The Salt Works at Chaux: Arc - en Senans, France

Date: 1775 - 79 Architect: Claude

Nicholas LeDoux

Barrieres de Paris
Date: 1784- 89 Architect: Claude

Nicholas LeDoux

Barrieres de Paris
Date: 1784 - 89 Architect: Claude

Nicholas LeDoux

Barrieres Saint Denis, Paris

Date: 1784 - 89 Architect: Claude

Nicholas LeDoux

Barrieres Saint Denis, Paris

Date: 1784 - 89 Architect: Claude

Nicholas LeDoux

Barriere Rotunde de Monceau, Paris

Date: 1784 - 89 Architect: Claude

Nicholas LeDoux

Barriere de la Villette, Paris

Date: 1784 - 89 Architect: Claude

Nicholas LeDoux

Barriere de la Villette, Paris

Date: 1784 - 89 Architect: Claude

Nicholas LeDoux

Barriere de la Villette, Paris

Date: 1784 - 89 Architect: Claude

Nicholas LeDoux

Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Soane Museum, London

Date: 1812 - 13 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane

Bank of England, London

Date: 1788 Architect: John

Soane