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 confined 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 finally 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 was
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 first 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 influential figures 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, inflating 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 exemplified 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
figure 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 figure 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 official
architect to the Office 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 influence 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 influence 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 influence 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 office that he designed to display art works and architectural artifacts that
he collected during his lifetime.

Architecture in
English II
Lecture 1: Baroque and Rococo

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 Renaissance to

Baroque

Renaissance related to Humanism and

rational thought based on Greek and
Roman ideas.

Baroque was a reaction to this thinking.

Palazzo Rucellai: Florence, Italy

Date: 1446-1451 AD Architect: Leon Battista Alberti

San Andrea: Florence, Italy

Date: 1462 AD Architect: Leon Battista Alberti

Pazzi Chapel: Florence, Italy

Date: 1441 AD Architect: Filippo Brunelleschi

Pazzi Chapel: Florence, Italy

Date: 1441 AD Architect: Filippo Brunelleschi

Transition From Renaissance to

Baroque

Politics (Religion) and architecture have

a strong relationship.

Protestant Countries reject the

Baroque.

Catholic Countries Embrace the

Baroque.

All Movements have an

End.
Baroque ends in Italy 1660s - 1680s
Spreads to Catholic countries in Europe
Changes into Rococo and is known for
playfulness and excess ornamentation.

Transition From Renaissance to

Baroque

Baroque is known for its use of complex

geometries together.

Breaking the rules of the Renaissance

architecture.

Italian Baroque
Micheangelo,
Bernini
Borromini

Italian Baroque
St Peters Basilica by Micheangelo
St. Andrea Quirinale by Bernini
San Carlo alle Quattro Fontana by
Borromini

St. Peters Basilica (1473-83) Rome, Italy

Micheanglo

St. Peters Basilica (1473-83) Rome, Italy

Micheanglo

St. Peters Basilica (1473-83) Rome, Italy

Micheanglo

St. Peters Basilica (1473-83) Rome, Italy

Micheanglo

St. Peters Basilica (1473-83) Rome, Italy

Micheanglo

St. Peters Basilica (1473-83) Rome, Italy

Micheanglo

San Carlo alle Quattro Fontane Rome, Italy

Borromini

San Carlo alle Quattro Fontane Rome, Italy

Borromini

San Carlo alle Quattro Fontane Rome, Italy

Borromini

San Carlo alle Quattro Fontane Rome, Italy

Borromini

San Carlo alle Quattro Fontane Rome, Italy

Borromini

San Andrea Quirinale ( ) Rome

Bernini

San Andrea Quirinale ( ) Rome

Bernini

San Andrea Quirinale ( ) Rome

Bernini

San Andrea Quirinale ( ) Rome

Bernini

San Andrea Quirinale ( ) Rome

Bernini

Gardens of Versailles ( ) France

The End of Baroque and

Beginning of Rococo
Ends in Italy 1660s - 1680s
Spreads to Catholic countries in Europe
Rococo is known for its playfulness and
excessive ornamentation.

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Petit Trianon at Versailles (1762-68 ) France

Ange-Jacques Gabriel

Vierzehnheiligen Pilgrimage Church (1743-72)

Bad Staffelstein, Germany by Neumann

Vierzehnheiligen Pilgrimage Church (1743-72)

Bad Staffelstein, Germany by Neumann

Vierzehnheiligen Pilgrimage Church (1743-72)

Bad Staffelstein, Germany by Neumann

Vierzehnheiligen Pilgrimage Church (1743-72)

Bad Staffelstein, Germany by Neumann

Wurzburg Residenz

Wurzburg Residenz