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Understanding Architecture Chapter 15 Baroque and Rococo Architecture “The Baroque building can only be grasped through one’s experiencing it in its variety of effects….”

Understanding Architecture Chapter 15 Baroque and Rococo Architecture “The Baroque building can only be grasped through one’s experiencing it in its variety

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  • Understanding ArchitectureChapter 15 Baroque and Rococo ArchitectureThe Baroque building can only be grasped through ones experiencing it in its variety of effects.

  • *Baroque ArchitectureWhereas Renaissance architecture gave the visual impression of being simple, Baroque architecture was deliberately complexInstead of clarity there was conflictInstead of uniformity of the elements and overall effect, there was studied varietyInstead of regularity, there was contrast

  • *Baroque ArchitectureDuring the Renaissance there had been planar forms with an emphasis on the surface, the Baroque emphasis was on plasticity and spatial depthRenaissance was human in scale; Baroque became superhuman in scaleRenaissance stressed easily perceived forms; Baroque projected a sense of mystery

  • *Baroque ArchitectureRenaissance, the interest was in intellectural comprehension and cerebral satisfaction; in Baroque, it shifted to creating an emotional impactThe term baroque was used to denigrate the architecture of 17th and 18th century architecture and was derived from the Portugese term for misshapen pearl barocco

  • *Baroque ArchitectureThe reasons for the shift toward visual complexity are several:During any period of artistic creativity, where the goal is to reach absolute balance, once the goal is reached, a reaction sets inThe Counter Reformation of the Catholic Church reacted to the tenets of the Protestant Reformation, eg. the Church insisted that music, painting, sculpture and architecture, when properly handled, were among the most powerful instruments enhancing religious devotion

  • Jesuits Counter-reformationThe original countries that initiated the Baroque style remained faithful to the Catholic church after the reformationThe Jesuits enlisted the leading figure of the Baroque movement for their projectsThe exciting forms in the Baroque style was used for the purpose of religion

  • Unquestionably dramaticAsymmetricalExperimentation with new and dynamic massing

    1st breakaway point from the Renaissance

  • 2nd breakaway point from the RenaissanceEmployed swirling S-curves and shapes that represents movementDeserted the static form of the square and circleUndulating facades and plans based on the oval shapeThe Council of Trent decalred the square and circle as too pagan for Christian Churches (1545)

  • Baroque had an extreme form of theatricality which involved the creation of illusionTrompe-loeilMusic Room, Chatsworth DerbyshireHarewood House3rd breakaway point from the Renaissance

  • Baroques IntentionBrunelleschi and Bramantes concern in adhering to the standards set in the renaissance is of no concern for Bernini and Borrominis baroqueIt seeks to carry the audience away with emotionNo pedantic desire to teachNo moralistic desire to judge against standards

  • *Giacomo della Porta Faade of the Gesu 1573-77

  • *Church of Saints Vincent and Anastasius

  • *Sacristy of La Cartuja Granada, Spain

  • *Cornaro Chapel, Santa Maria della Vittoria, Rome 1657-52

  • Berninis Ecstasy of St. Theresa 1646Staged a little play with his sculptureMembers of the Cornaro family watching the scene

  • *Altar of the Priory Church of the Assumption Rohr, Germany

  • *

  • ompSt John Nepomuk, Munich, 1733-46Egid Quirin AsamThirty feet wideWith swirling balconies, twisted pillarsThrobbing in gold, dark browns and red

  • Window over the high altar in St John Nepomuk

  • St John Nepomuk, Munich, 1733-46Exterior

  • *Church of Sant Andrea al Quirinale, Rome 1658-70

  • *Church of Sant Andrea al Quirinale

  • *Piazzo of Saint Peters Rome, Bernini, 1656-67

  • *San Carlo alle Quattro Fontane, Rome 1634-67

  • *San Carlo alle Quattro Fontane

  • *Sant Ivo della Sapienza

  • *Guarini, Santa Maria della Divina Providenza, Lisbon, Portugal, 1652-63 (destroyed 1755)

  • *Neumann, Prince-Bishops Palace, Wrzburg, Germany 1737-42

  • *Prince-Bishops Palace, Wrzburg

  • *Amalienburg Pavilion, Nymphenburg Palace, Munich 1734-39

  • *Vierzehnheiligen, Planhttp://www.vierzehnheiligen.de/fr_rundum.htm

  • *Vierzehnheiligen

  • *Baroque Architecture: ConclusionIn their striving for the fullest possible effects of molded space, manipulated light, brilliant colour, and sensuous detail, Baroque and later Rococo, was concerned predominantly with the shaping of space and not with the fundamental structure of architecture