TOA II | MODULE 2- ARCHITECTURE CHARACTER AND STYLE

MODULE 2

Architecture character and style

• Concepts of character and style
• Examples from various periods in history – Prehistoric, Greek, Roman, Byzantine,
Medieval, Gothic, Renaissance
• Impact of Industrial Revolution on Architecture, new materials and technological
development

S2-ART102-TOA II, MODULE 2 | PROF.ANJANA MURALI 2

Architecture Character and Style
Concepts of character and style | Examples from various periods in history – Prehistoric,
Greek, Roman, Byzantine, Medieval, Gothic, Renaissance

PART 1
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 WHAT IS ARCHITECTURAL CHARACTER?
Character- expressiveness
• It is developed from the function of building and with consideration of
all creative principles of composition
• Throughout the development of a project, the designer must strive to
express the purpose of the building- general composition and use
of details
• Manifested character is the external expression of internal qualities
• In any architecture, the exterior of building expresses the internal
function

S2-ART102-TOA II, MODULE 2 | PROF.ANJANA MURALI 4

ARCHITECTURAL CHARACTER
FUNCTIONAL
purpose of the building
function of the structure
For example:
• Designing skylights instead of
windows can indicate a museum
• Designing a symmetrical
entrance to a central block
having a wide entrance to
express balance and rhythm
indicates public buildings
S2-ART102-TOA II, MODULE 2 | PROF.ANJANA MURALI
ASSOCIATED
character of some buildings is
expressed through elements
associated with certain influences
Cultural aspects play an important
role
We recognize a building by its
features- Symbolism
For example:
• A spire on a tower by the side
of a spacious building indicates
a church. A gopuram depicts a
Hindu Temple whereas a
crescent and a white dome is the
symbol of a mosque
PERSONAL
comparable with the attributes of
an individual- Expression
For example:
• If a building is designed in the
proper spirit, personal
characteristics such as grace,
dignity and vitality can be
expressed as an integral part of
the structure
5
FUNCTIONAL CHARACTER

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 COLOR AND LIGHTING

DESIGN OF CHILDREN’S SCHOOL

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ENTRY AND CIRCULATION AREA

DESIGN OF CHILDREN’S SCHOOL

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DESIGN OF CHILDREN’S SCHOOL
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ASSOCIATED CHARACTER
SYMBOLISM
IN ARCHITECTURAL PLA N
• communicates through its shape.
• From prehistoric times and in many cultures

• CIRCLE, with its suggestion –

• planets
• manifestations of nature
• gained a symbolic, mystical significance and was
used in the plans of houses, tombs, and
religious structures.

• Later used in memorials and shrines and for hero

cults in both the East and the West.

• symbolism often merged with that of the dome

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SYMBOLISM IN ELEVATION

Symbolism in architectural elevation

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SYMBOLISM IN ELEVATION
Towering forms

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SYMBOLISM IN ELEVATION
"great pagodas" or towers
rising high above the surrounding country, everywhere they could be seen by the people,
and thus their devotion to their idolatrous Worship was increased.

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SYMBOLISM
HINDU TEMPLES
• Idol worship – representation of god

• SQUARE (and the CROSS PLANS developed from it) –

• expressed celestial harmony.

CHRISTIAN CHURCH
• central-plan - circle, polygon, Greek cross, ellipse

fascinated the architects of the Renaissance with its symbolic and traditional values, and it is found in their
drawings and treatises to the virtual exclusion of the more practical longitudinal basilicas that architects
were often commissioned to build.

• Plan symbolism remained almost exclusively in the sphere of religion, and its traditions gradually
disappeared in the course of the 19th century.

• The modern plan is determined by problems of form (space-mass relationships, etc.) and by the practical
demands of use rather than by symbolic communication.
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SYMBOLISM
• Church buildings essentially symbolize the Ark of
the Most High God

• Nave - Church Militant (Earth)

• Chancel - Church Expectant (Purgatory
/punishment)
• Sanctuary - Church Triumphant (Heaven)

• Cross symbolically represents the mode of the

Lord's death and is accepted as the symbol of
supreme sacrifice and the shape of true Cross; the
'T' cross with its lower arm longer than the others, is
probably Latin.

• 'cruciform plan' remains to be the most favored

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SYMBOLISM IN ELEVATION

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SYMBOLI SM IN ELEVATION
DOME –
• imply the meanings of the circle, a covering
• hemisphere was associated with the heavens as a “cosmic canopy
• throughout history domes have been decorated with stars and astrological symbols.
TOWER –
PORTAL –
Ascending to heaven/almighty
• Used from the time of ancient Egyptian temple pylons and
Babylonian city gates
• communicate a heightened significance to what
lay behind them.
STAIRWAY –
monumentality” to important buildings

COLONNADE –
the classical Greek temple, the colonnade on
the exterior of buildings has borne similar
implications.

Such symbols have become archaic in modern culture and appear as a sign of resistance to new forms.

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POPUL A R S Y M B O L I S M OF D O M E S T I C A RC H I T E C T U R E

HOME –
• expressed by cottage-like roofs, shutters, trellises, mullioned windows,
grilles, and other associations with a more peaceful past.

GREEK ORDER-

• usually originate in technique and in time lose their structural

significance
to become symbols.

• Grecian orders were applied to buildings of many different techniques

as expressions of the continuing influence of Greek institutions.

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SYMBOLISM

DECORATIONS-

• using architectural elements or through the

figural arts - sculpture, painting, mosaic, reclining Sphinx is a portrait statue of the Egyptian
leader - King Khafre
stained glass, etc.

• communicates meanings

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SYMBOLISM- DECORATIONS

Nasir al-Mulk Mosque in Shiraz, Iran

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Symbolism
Open Hand Monument in Chandigarh, India

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Symbolism
Church of Light

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 Church of Light by Tadao Ando
User behavior, light as symbolism, color, texture, material use, path, elements
(Read more)
• https://issuu.com/suhaspatel93/docs/ch_2___3_
• Church of light by Edward Cheng - issuu

Watch video: https://youtu.be/7ZtfYOD5I8M

Church of the Light (Notes about architecture) – YouTube
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PERSONAL CHARACTER
Co-dependency between architectural
and human embodiment.
Peter Zumthor's Bruder Klaus Field Chapel provides an
example of architect's intentions expressed as an
experiential scenario or a spatial articulation of
affordances.
• Here, the experience of architectural space if
directly structured on the basis of interaction
between our embodiment, controlled through body
schema, and provided (designed) spatial
affordances.
(Read more)
✅ Bruder Klaus Field Chapel - Data, Photos & Plans – WikiArquitectura

EXPERIENTIAL ARCHITECTURE?

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Peter Zumthor's Bruder Klaus Field Chapel Watch video: https://youtu.be/XtWcHeFWQ1k
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Example : induce behavior and emotion through architecture
JEWISH MUSEUM BERLIN
Berlin, Germany
Daniel Libeskind

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S2-ART102-TOA II, MODULE 2 | PROF.ANJANA MURALI 27
JEWISH MUSEUM BERLIN – SPIRIT OF SPACE
Watch video:
https://libeskind.com/publishing/jewish-museum-berlin-spirit-of-space/
• The Jewish Museum is just as
emotionally moving and disorienting
• appearance and disappearance
• Jarring soundscape
• Rediscovering voids
• Between the lines
• Memories defined in space
• Experience-interpret architectural
spaces through their own schemas and
lenses of personal understanding

EXPERIENTIAL SPACE?
Scan the QR code to watch video PHENOMENOLOGY?

Watch video:
Phenomenology - Jewish Museum in Berlin by Daniel Libeskind
https://youtu.be/C36zWR9O5v4
Case Study - Jewish Museum Berlin by Daniel Libeskind by Stephen Andenmatten – issuu (Read more)
S2-ART102-TOA II, MODULE 2 | PROF.ANJANA MURALI 28
ARCHITECTURAL STYLE
• Way of classifying architecture by morphological characters:
• Form
• Materials
• Techniques
• Emphasis to characteristic features of design – leading to terminology
like gothic style
• complete chronology for the buildings and styles that keep on changing
over the time period because of :
• the changes in belief, religion, fashion
• the technology and innovation in new materials and tools for construction

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Graphic History of Architecture : Free Download, Borrow, and Streaming : Internet Archive

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PREHISTORIC (11,600 B.C. to 3,500 B.C.)
• oldest architectural styles
• Old Stone Age (Paleolithic)
• Middle Stone Age (Mesolithic)
• New Stone Age (Neolithic)
• Bronze Age and Iron Age
• creation of structures in the geometric
patterns
E.g.: Göbekli Tepe
• different monumental structures include cliff
dwellings, Stonehenge, cliff dwellings, mud structures,
thatch, etc.

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PREHISTORIC (11,600 B.C. to 3,500 B.C.)

…It was a calendar, marking the sun’s path

and celestial bodies in the sky

Read further: Stonehenge – Exploring

Architecture and Landscape Architecture
(pressbooks.pub)

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ANCIENT EGYPT (3,050 B.C. to 900 B.C.)
• impressive structures - the construction of some of the
prominent pyramids with several noticeable architectural
characteristics
• powerful rulers constructed monumental pyramids,
temples, and shrines
E.g.: the Pyramids of Giza
Materials:
• Houses in ancient Egypt were made with blocks of sun-
baked mud
• great temples and tombs were made with granite and
limestone and decorated with hieroglyphics, carvings, and
brightly colored frescoes (flooding of Nile river)
• didn't use mortar- stones were carefully cut to fit
together

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ANCIENT EGYPT (3,050 B.C. to 900 B.C.)

• didn't use load-bearing arches- columns were placed

close together to support the heavy
stone entablature above
• Brightly painted and elaborately carved, the columns often
mimicked palms, papyrus plants, and other plant forms

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CLASSICAL (850 B.C. to 476 A.D.)
• ANCIENT GREECE (700 to 323 BCE)
• HELLENISTIC (323 to 146 BCE)
• ANCIENT ROME (44 BCE to 476 CE)
Classical architecture refers to the style and design of buildings
in ancient Greece and ancient Rome.

The Roman architect Marcus Vitruvius, who lived during first century BCE, believed that builders should use
mathematical principles when constructing temples. "For without symmetry and proportion no temple can have a regular
plan," Vitruvius wrote in his famous treatise De Architectura, or Ten Books on Architecture.
In his writings, Vitruvius introduced the Classical orders, which defined column styles and entablature designs used in
Classical architecture- Doric, Ionic, and Corinthian.
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CLASSICAL (850 B.C. to 476 A.D.)

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ANCIENT GREECE (700 to 323 BCE)
• The Doric column was first
developed in Greece and it
was used for great temples-
the famous Parthenon in
Athens
• Simple Ionic columns were used
for smaller temples and
building interiors

DORIC COLUMN

Parthenon in Athens
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ANCIENT GREECE (700 to 323 BCE)

Parthenon in Athens

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ANCIENT GREECE (700 to 323 BCE)

ANCIENT GREECE- DORIC AND IONIC ORDER

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HELLENISTIC (323 to 146 BCE)
• Greece was at the height of its
power in Europe and Asia
• the empire built elaborate
temples and secular buildings
with Ionic and Corinthian
columns
• The Hellenistic period ended with
conquests by the Roman Empire

ANCIENT GREEK COLUMNS- DORIC, IONIC, CORINTHIAN

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ANCIENT ROME (44 BCE to 476 CE)
• buildings were more highly ornamented-
adopted from Hellenistic style of Greece
• used Corinthian and composite style
columns along with decorative brackets
• Used concrete to build arches, vaults, and
domes
E.g.: Roman Colosseum and the Pantheon in
Rome

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ANCIENT ROME (44 BCE to 476 CE)

The Colosseum, Rome

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ANCIENT ROME (44 BCE to 476 CE)

The Pantheon, Rome

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ANCIENT ROME (44 BCE to 476 CE)

The Pantheon, Rome

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ANCIENT ROME
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ANCIENT ROME
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ANCIENT ROME
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BYZANTINE (527 to 565 CE)
• graceful, classically-inspired style
• used brick instead of stone, domed
roofs, elaborate mosaics, and
classical forms
• Eastern and Western traditions
combined in the sacred buildings of
the Byzantine period
• Buildings were designed with a
central dome
• Style- transitional and
transformational

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BYZANTINE (527 to 565 CE)
HAGIA SOPHIA, ISTANBUL

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BYZANTINE (527 to 565 CE)

INTERIOR OF HAGIA SOPHIA, ISTANBUL

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MEDIEVAL (5th to the late 15th centuries)
• includes religious, civil, and
military buildings
• Styles include
• pre-Romanesque,
• Romanesque, and
• Gothic

Bodiam Castle, England, fourteenth century

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MEDIEVAL (5th to the late 15th centuries)
Religious architecture-
• The Latin cross plan (the Roman basilica)
• a nave, transepts, and the altar stands at the east end

Cloisters of Mont Saint-Michel, Normandy, France

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MEDIEVAL (5th to the late 15th centuries)
Military architecture-
• medieval secular architecture mainly served
for defense
• Castles and fortified walls
• Windows of cross-shape- decorative
purposes, for a crossbowman to safely shoot
at invaders from inside.
• Crenellated walls (battlements)- shelters for
archers on the roofs to hide behind when not
shooting invaders Zvolen Castle in Slovakia strongly inspired by Italian
castles of the fourteenth century

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MEDIEVAL (5th to the late 15th centuries)
Civic architecture-
• civic and even domestic architecture can be found
throughout Europe
E.g.: manor houses, town halls, almshouses and bridges,
but also residential houses

Markenfield Hall in North Yorkshire, a 14th-century

manor house with moat and gatehouse
Drawing of almshouses in Rochford, 13th-century Old Town
England, 1787 Hall in Wrocław, Poland
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MEDIEVAL STYLES
pre-Romanesque ( late 5th or early 6th century to the 10th century)
• European architecture
• "historicising" and "modernising"
elements
• Italian versus northern, Spanish,
and Byzantine elements
Early medieval secular
• the religious and political architecture in pre-
maneuverings between kings, romanesque Spain: the
palace of Santa María del
popes, and various ecclesiastic Naranco, c.850.
officials

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MEDIEVAL STYLES
Romanesque (11th and 12th centuries)
• European architecture
• invention of modern scholarship based
on its similarity to Roman Architecture
in forms and materials
• use of round or slightly pointed arches,
barrel vaults, and cruciform piers
supporting vaults
• the style emerge during the rebuilding of
many great churches, cathedrals, and
monasteries (surviving examples include
the Durham Cathedral, Norwich
Cathedral and the Peterborough The towers at the end of the nave
Cathedral) The nave

• Style- more detailed and ornamental Durham Cathedral, England

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MEDIEVAL STYLES
Gothic (late 12th to the 16th century)
• European architecture
• Emphasis on Verticality
• skeletal stone structures with great expanses of
glass, pared-down wall surfaces supported by
external flying buttresses, pointed arches using
the ogive shape, ribbed stone vaults, clustered
columns, pinnacles and sharply pointed spires
• Windows contain stained glass- showing stories
The nave
The towers at the end of the nave

from the Bible and from lives of saints

Basilica of Saint-Denis, Paris

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 GOTHIC ARCHITECTURE- Basilica of Saint-Denis, Paris

Stained glass- Abbot

Suger depicted in the Tree of
Jesse window (12th c)

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 GOTHIC ARCHITECTURE- Basilica of Saint-Denis, Paris

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 Westminster Abbey, London

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 GOTHIC ARCHITECTURE- Notre-Dame de Paris

Cross-section of the double supporting

arches and buttresses of the nave,
drawn by Eugène Viollet-le-Duc as they
would have appeared from 1220 to
1230
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 GOTHIC ARCHITECTURE- Notre-Dame de Paris

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RENAISSANCE (early 14th and early 16th centuries)
European Architecture
• demonstrating a conscious revival and
development of certain elements of ancient
Greek and Roman thought and material culture
• followed Gothic architecture and was succeeded
by Baroque architecture
• Developed first in Florence, with Filippo
Brunelleschi- widespread in Italian cities
• The style was carried to Spain, France,
Germany, England, Russia and other parts of
Europe
Tempietto di San Pietro in Montorio, Rome, 1502

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RENAISSANCE (early 14th and early 16th centuries)
• Emphasis on symmetry, proportion,
geometry and the regularity of
parts
• Orderly arrangements
of columns, pilasters and lintels
• use of semicircular arches,
hemispherical domes, niches and
aediculae
• forms that were clearly defined
and structural members that
expressed their purpose- Tuscan
Romanesque buildings: the Florence
Baptistery and Pisa Cathedral
The Romanesque Florence Cattedrale di Santa Maria Assunta
Baptistery (Pisa), vista dal Battistero
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 Santa Maria dei Miracoli, 1480s
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RENAISSANCE (early 14th and early 16th centuries)
FAÇADE
• symmetrical around their vertical axis
• CHURCH- surmounted by a pediment and
organised by a system of pilasters, arches
and entablatures
THE PLAN • columns and windows show a progression
• a square, symmetrical towards the centre
appearance in which
proportions are usually based E.g.: Cathedral of Pienza (1459–62)
on a module
• CHURCH- the module is often
the width of an aisle
E.g.: St. Andrea in Mantua, works Facade
of Filippo Brunelleschi and of Sant'Agostino,
Palladio Rome, built in
1483

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RENAISSANCE (early 14th and early 16th centuries)
ARCHES
COLUMNS AND PILASTERS
• semi-circular or (in the Mannerist style)
• Roman and Greek orders of
segmental
columns are used: Tuscan,
• used in arcades, supported on piers or
Doric, Ionic, Corinthian and
columns with capitals
Composite
E.g.: St. Andrea in Mantua
• structural, supporting an
arcade or architrave, or purely
decorative, set against a wall in
the form of pilasters
• integrated system- columns,
pilasters, and entablatures
E.g.: Old Sacristy (1421–1440)

VAULTS
• Vaults do not have ribs
• semi-circular or segmental and on a
square plan
E.g.: Barrel vault in St. Andrea in Interior of St.
Mantua Andrea in Mantua
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RENAISSANCE (early 14th and early 16th centuries)
DOMES
• used frequently- large structural
feature that is visible from the
exterior, and also as a means of
roofing smaller spaces where they
are only visible internally
• an indispensable element in church
architecture and in secular
architecture
E.g.: Basilica di Santa Maria del
Fiore, Palladio's Villa Rotonda

CEILINGS
• Roofs are fitted with flat or coffered
The Dome of St Peter's ceilings Villa Rotonda, Vicenza
Basilica, Rome • Not left open
• frequently painted or decorated

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RENAISSANCE (early 14th and early 16th centuries)
DOORS
• have square lintels
• set with in an arch or
surmounted by a triangular or
segmental pediment
• Openings that do not have doors
are usually arched and
frequently have a large or
decorative keystone

Palazzo Farnese, Rome Courtyard of Palazzo Strozzi, Florence

WINDOWS frescoes
• paired and set within a semi-circular
arch WALLS
• square lintels and triangular or • External walls are generally constructed of brick, rendered, or faced with
segmental pediments stone in highly finished ashlar masonry, laid in straight courses
• Not left open • Internal walls are smoothly plastered and surfaced with lime wash
E.g.: Palazzo Farnese in Rome • formal spaces, internal surfaces are decorated with frescoes
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Architecture Character and Style
Impact of Industrial Revolution on Architecture, new materials and technological
development
PART 2
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Reference video links
NO. TOPIC REFERENCE LINK
1 Industrial Revolution Architecture https://youtu.be/NDPO3ArwPF0

2 The Industrial Revolution (18-19th Century) https://youtu.be/xLhNP0qp38Q

3 The Industrial Revolution: European History https://youtu.be/zjK7PWmRRyg

4 The Crystal Palace and iron in architecture https://youtu.be/lx2KIYFhD4M

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