Modul 12
GOTHIC, RENAISSANCE & BAROQUE
ARCHITECTURE
GOTHIC ARCHITECTURE (BEING GOD)
• Arsitektur Gothic merupakan salah satu periode arsitektur yang
berkembang di Eropa pada masa pertengahan dan terpengaruh
oleh arsitektur Romawi.
• Ciri Khasnya adalah Pointing Arch, Ribbed Vault dan Flying Buttress.
• Bangunan yang khas adalah Cathedral, Abbeys, Church dan
Castles.
•
Tidak ada hubungannya dengan bangsa Goth, tetapi hanya
ungkapan yang dipopulerkan oleh
Giorgio Vasari pada tahun
1930-an untuk mendeskripsikan culture yang berhubungan dengan
rude dan barbar.
Dimulai di Abbey of St. Dennis, Paris Pada tahun 1140 dan berakhir
dengan a last great flourish at Henry VII’s chapel di Westminster pada
awal abad ke-16 (walaupun demikian Gothic belum benar-benar mati, ia
masih bertahan di Inggris, Prancis, Spanyol, Jerman dan Polandia_
commonwealth.
Symbolism and ornamentation
• The Gothic cathedral represented the universe in microcosm and
each architectural concept, including the loftiness and huge
dimensions of the structure, were intended to convey a theological
message: the great glory of God.
‘12
1
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
• The building becomes a microcosm in two ways. Firstly, the
mathematical and geometrical nature of the construction is an
image of the orderly universe, in which an underlying rationality and
logic can be perceived.
Secondly, the statues, sculptural
decoration, stained glass and murals
• Many churches were very richly decorated, both inside and out.
Sculpture and architectural details were often bright with coloured
paint of which traces remain at Chartres cathedral. Wooden
ceilings and panelling were usually brightly coloured. Sometimes the
stone columns of the nave were painted, and the panels in
decorative wall arcading contained narratives or figures of saints.
These have rarely remained intact, but may be seen at the
Chapterhouse of Westminster Abbey.
• A further regional influence was the availability of materials. In
France, limestone was readily available in several grades, the very
fine white limestone of Caen being favoured for sculptural
decoration. England had coarse limestone, red sandstone as well
as dark green Purbeck marble which was often used for
architectural features.
• In Northern Germany, Netherlands, Scandinavia, Baltic countries
and northern Poland local building stone was unavailable but there
was a strong tradition of building in brick. The resultant style, Brick
Gothic, is called "Backsteingotik“
• In Italy, stone was used for fortifications, but brick was preferred for
other buildings. Because of the extensive and varied deposits of
marble, many buildings were faced in marble.
• The availability of timber also influenced the style of architecture.
‘12
2
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
• The pointed arch had its origins in ancient Assyrian architecture
where it occurs in a number of structures as early as 720 BC. It
passed into Sassanian-Persian architecture and from the conquest
of Persia in 641 AD, became a standard feature of Islamic
architecture.
• The Norman conquest of Islamic Sicily in 1090, the Crusades which
began in 1096 and the Islamic presence in Spain all brought about
a knowledge of this significant structural device. It is probable also
that decorative carved stone screens and window openings filled
with pierced stone also influenced Gothic tracery. In Spain in
particular individual decorative motifs occur which are common to
both Islamic and Christian architectural mouldings and sculpture.
• Concurrent with its introduction and early use as a stylistic feature in
French churches, it is believed that the pointed arch evolved
naturally in Western Europe as a structural solution to a purely
technical problem.
• In Gothic architecture, new technology stands behind the new
building style. That new technology was the ogival or pointed arch.
Other characteristics developed as the consequence of the use of
the pointed arch.
• The Gothic style, when applied to an ecclesiastical building,
emphasizes verticality and light. This appearance was achieved by
the development of certain architectural features, which together
provided an engineerical solution. The structural parts of the
building ceased to be its solid walls, and became a stone skeleton
comprised of clustered columns, pointed ribbed vaults and flying
buttresses
‘12
3
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
• In some churches with double aisles, like Notre Dame, Paris, the
transept does not project beyond the aisles. In English cathedrals
transepts tend to project boldly and there may be two of them, as
at Salisbury Cathedral, though this is not the case with lesser
churches.
• In some churches with double aisles, like Notre Dame, Paris, the
transept does not project beyond the aisles. In English cathedrals
transepts tend to project boldly and there may be two of them, as
at Salisbury Cathedral, though this is not the case with lesser
churches.
‘12
4
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
Height
• A characteristic of Gothic church architecture is its height, both real
and proportional. A section of the main body of a Gothic church
usually shows the nave as considerably taller than it is wide.
• In England the proportion is sometimes greater than 2:1, while the
extreme is reached at Cologne Cathedral with a ratio of 3.6:1.
• The extreme of actual internal height was achieved at Beauvais
Cathedral at 157' 6" (48 meters).
• Externally, towers and spires are characteristic of Gothic churches
both great and small, the number and positioning being one of the
greatest variables in Gothic architecture.
• Smaller churches usually have just one tower, but this may also be
the case at a very large cathedral like Salisbury or Ulm Cathedral,
which has the tallest spire in the world at 527 feet (160 metres).
‘12
5
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
LIGHT
One of the most distinctive characteristics of Gothic architecture is the
expansive area of the windows
• The facade of a large church or cathedral, often referred to as the
West Front, is generally designed to create a powerful impression on
the approaching worshipper, demonstrating both the might of God,
and the might of the institution that it represents. One of the best
known and most typical of such facades is that of Notre Dame de
Paris.
Equilateral arch
• Many Gothic openings are based upon the equilateral form. The
Equilateral Arch gives a wide opening of satisfying proportion useful
for doorways, decorative arcades and big windows.
‘12
6
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
• The structural beauty of the Gothic arch means, however, that no
set proportion had to be rigidly maintained.
• The Equilateral Arch lends itself to filling with tracery of simple
equilateral, circular and semi-circular forms.
The Flamboyant
• The Flamboyant Arch is one that is draughted from four points, the
upper part of each main arc turning upwards into a smaller arc and
meeting at a sharp, flame-like point.
RENAISSANCE ARCHITECTURE (ENLIGHTMENT)
Humanism was the most significant intellectual movement of the
Renaissance. It blended concern for the history and actions of human
beings with religious concerns.
The humanists were scholars and artists who studied subjects that
they believed would help them better understand the problems of
humanity.
These subjects included literature and philosophy. The humanists
shared the view that the civilizations of ancient Greece and Rome had
excelled in such subjects and thus could serve as models. They believed
that people should understand and appreciate classical antiquity to learn
how to conduct their lives.
Quote by Professor Nikolaus Pevsner, ‘the Gothic style was created for
Suger, Abbot of St. Denis, counselor of the kings of France, the
Renaissance for the merchants of Florence, bankers to the kings of
Europe.’
Gothic and Renaissance architecture, great as they are were not
created overnight. They have periods of gestation and are the product of
functional necessity and of historical forces. It is true that Gothic
architecture was primarily ecclesiastical (places of worship) in nature and
that Renaissance was primarily royal and mercantile (even for the places
‘12
7
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
of worship). The development of architecture was influenced by the
political development of the country and region.
During the Middle Ages, the most important branch of learning was
theology (the study of God). However, many Renaissance thinkers paid
greater attention to the study of humanity. They examined the great
accomplishments of different cultures, particularly those of ancient
Greece and Rome.
Medieval artists painted human figures that looked stiff and
unrealistic and which often served symbolic, religious purposes. But
Renaissance artists stressed the beauty of the human body. They tried to
capture the dignity and majesty of human beings in lifelike paintings and
sculptures. For centuries, most scholars have agreed that the modern era
of human history began with the Renaissance.
For example, Leonardo da Vinci who painted two of the most famous
works of Renaissance art, the wallpainting The Last Supper (about 1497)
and the portrait Mona Lisa (about 1503) was such a person.
Leonardo had one of the most searching minds in all history. He
wanted to know the workings of everything he saw in nature. In more
than 4,000 pages of notebooks, he drew detailed diagrams and wrote
down observations.
Leonardo made careful drawings of human skeletons and muscles,
trying to discover how the body worked. Because of his inquiring mind,
Leonardo has become a symbol of the Renaissance spirit of learning and
intellectual curiosity.
Renaissance architecture is the architecture of the period between the
early 15th and early 17th centuries in different regions of Europe, in which
there was a conscious revival and development of certain elements of
Classical Greek and Roman thought and material culture.
‘12
8
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
The Renaissance style places emphasis on symmetry, proportion,
geometry and the regularity of parts as they are demonstrated in the
architecture of Classical antiquity and in particular, the architecture of
Ancient Rome.
Orderly arrangements of columns, pilasters and lintels, as well as the
use of semicircular arches, hemispherical domes, niches and aedicules
replaced the more complex proportional systems and irregular profiles of
medieval buildings. Developed first in Florence, with Filippo Brunelleschi as
one of its innovators, the Renaissance style quickly spread to other Italian
cities and then to France, Germany, England, Russia and elsewhere.
Quattrocento
• In the Quattrocento, concepts of architectural order were explored
and rules were formulated. The study of classical antiquity led in
particular to the adoption of Classical detail and ornamentation.
• Space was organised by proportional logic, its form and rhythm
subject to geometry, rather than being created by intuition as in
Medieval buildings. The prime example of this is the Basilica di San
Lorenzo in Florence by Filippo Brunelleschi (1377–1446).
‘12
9
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
High Renaissance
• During the High Renaissance, concepts derived from classical
antiquity were developed and used with greater surety. The most
representative architect is Bramante (1444–1514) who expanded
the applicability of classical architecture to contemporary buildings.
His San Pietro in Montorio (1503) was directly inspired by circular Roman
temples. He was, however, hardly a slave to the classical forms and it was
his style that was to dominate Italian architecture in the 16th century
Mannerism
‘12
10
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
During the Mannerist period, architects experimented with using
architectural forms to emphasize solid and spatial relationships.
The Renaissance ideal of harmony gave way to freer and more
imaginative rhythms.
The best known architect associated with the Mannerist style was
Michelangelo (1475–1564), who is credited with inventing the giant order,
a large pilaster that stretches from the bottom to the top of a facade. He
used this in his design for the Campidoglio in Rome.
• Giulio Romano
• Baldassare Peruzzi
• Giacomo della Porta
• Andrea palladio
Characteristics of Renaissance architecture
The obvious distinguishing features of Classical Roman architecture were
adopted by Renaissance architects. However, the forms and purposes of
buildings had changed over time. So had the structure of cities. Among
the earliest buildings of the reborn Classicism were churches of a type that
the Romans had never constructed. Neither were there models for the
type of large city dwellings required by wealthy merchants of the 15th
century. Conversely, there was no call for enormous sporting fixtures and
public bath houses such as the Romans had built. The ancient orders were
a n a l y s e d and r e c o n s t r u c t e d t o s e r v e
es
PLANS
‘12
11
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
new
purpos
The plans of Renaissance buildings have a square, symmetrical
appearance in which proportions are usually based on a module. Within a
church the module is often the width of an aisle. The need to integrate
the design of the plan with the façade was introduced as an issue in the
work of Filippo Brunelleschi, but he was never able to carry this aspect of
his work into fruition. The first building to demonstrate this was St. Andrea in
Mantua by Alberti. The development of the plan in secular architecture
was to take place in the 16th century and culminated with the work of
Palladio
FASCADE
Façades are symmetrical around their vertical axis. Church facades are
generally surmounted by a pediment and organized by a system of
pilasters, arches and entablatures.
The columns and windows show a progression towards the center.
Domestic buildings are often surmounted by a cornice. There is a regular
repetition of openings on each floor, and the centrally placed door is
marked by a feature such as a balcony, or rusticated surround. An early
and much copied prototype was the façade for the Palazzo Rucellai
(1446 and 1451) in Florence with its three registers of pilasters
COLUMN AND PILASTER
The Roman orders of columns are used:- Tuscan, Doric, Ionic, Corinthian
and Composite.
The orders can either be structural, supporting an
arcade or architrave, o r purely decorative, set against a wall in the form
of pilasters. During the Renaissance, architects aimed to use columns,
pilasters, and entablatures as an integrated system. One of the first
‘12
12
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
buildings to use pilasters as an integrated system was in the Old Sacristy
(1421–1440) by Brunelleschi.
ARCHES
Arches are semi-circular or (in the Mannerist style) segmental. Arches are
often used in arcades, supported on piers or columns with capitals. There
may be a section of entablature between the capital and the springing
of the arch. Alberti was one of the first to use the arch on a monumental
scale at the St. Andrea in Mantua.
VAULTS
Vaults do not have ribs, they are semi-circular or segmental and on a
square plan. (unlike the Gothic vault which is frequently rectangular). The
barrel vault, is returned to architectural vocabulary as at the St. Andrea in
Mantua.
‘12
13
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
DOMES
The Dome of St Peter's Basilica, Rome. The dome is used frequently, both
as a very large structural feature that is visible from the exterior, and also
as a means of roofing smaller spaces where they are only visible internally.
Brunelleschi’s design for the Basilica di Santa Maria del Fiore and its use in
Bramante’s plan for St. Peter's Basilica in Rome.
DOORS
Door usually have square lintels. They may be set within 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.
CEILINGS
Roofs are fitted with flat or cofferedceilings. They are not left open as in
Medieval architecture. They are frequently p a i n t e d or d e c o r a t
ed.
‘12
14
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
WINDOWS
Windows may be paired and set within a semi-circular arch. They may
have square lintels and triangular or segmental pediments, which are
often used alternately. Emblematic in this respect is the Palazzo Farnese in
Rome, begun in 1517.
WALLS
External walls are generally of highly-finished ashlar masonry, laid in
straight courses.
The corners of buildings are often emphasised by
rusticated “quoins”. Basements and ground floors were often rusticated,
as modeled on the Palazzo Medici Riccardi (1444–1460) in Florence.
Internal walls are smoothly plastered and surfaced with white-chalk paint.
For more formal spaces, internal surfaces are decorated with frescoes.
DETAILS
Courses, moldings and all decorative details are carved with great
precision.
Moldings stand out around doors and windows rather than
being recessed, as in Gothic Architecture.
‘12
15
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
Influences on the development of Renaissance architecture in Italy
(Architectural).
Italy had never fully adopted the Gothic style of
architecture. Apart from the Cathedral of Milan, largely the work of
German builders, few Italian churches show the emphasis on vertically,
the clustered shafts, ornate tracery and complex ribbed vaulting that
characterise Gothic in other parts of Europe. Italian architects had always
preferred forms that were clearly defined and structural members that
expressed
their purpose. The presence, particularly in Rome, of
architectural remains showing the ordered Classical style provided an
inspiration to artists at a time when philosophy was also turning towards
the Classical.
De re aedificatoria (English: On the Art of Building) by Leon Battista - 1450.
'De architectura, Vitruvius – 1414. De re aedificatoria in 1485 became the
first printed book on architecture.
Regole generali d'architettura”
(General Rules of Architecture), Sebastiano Serlio (1475 – c. 1554) “Quattro
Libri dell'Architettura”, (The Four Books of Architecture) Andrea Palladio
(1508 –1580)
BAROQUE ARHITECTURE
• In similar profusions of detail, art, music, architecture, and literature
inspired each other in the Baroque cultural movement (citation
needed) as artists explored what they could create from repeated
and varied patterns. Some traits and aspects of Baroque paintings
that differentiate this style from others are the abundant amount of
details, often bright polychromy, less realistic faces of subjects, and
an overall sense of awe, which was one of the goals in Baroque art.
‘12
16
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
• The word baroque probably derives from the ancient Portuguese
noun "barroco“ [citation needed] which is a pearl that is not round
but of unpredictable and elaborate shape.
• Hence, in informal usage, the word baroque can simply mean that
something is "elaborate", with many details, without reference to the
Baroque styles of the seventeenth and eighteenth centuries.
Baroque architecture, starting in the early 17th century in Italy, took the
humanist Roman vocabulary of Renaissance architecture and used it in a
new rhetorical, theatrical, sculptural fashion, expressing the triumph of
absolutist church and state. New architectural concerns for color, light
and shade, sculptural values and intensity characterize the Baroque.
It is characterized by exuberant decoration, expansive curvaceous forms,
a sense of mass, a delight in large-scale and sweeping vistas, and a
preference for spatially complex compositions.
The term applies fully to the 17th century in Italy and to the 17th and
18th Century in Spain, Germany and Austria but with limitations to the 17th
century in France (Le Vau for Versailles), the 18th century in Italy (Fontana,
Juvarra), and the late 17th century and early 18th century in England
(Wren, Hawksmoor, Vanbrugh, Archer)
‘12
17
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
Baroque architecture is a relatively simple and unified idea expressed as
directly as possible and with the utmost force.
Columns, semi-columns, pilasters, pediments and sculpture rise to a
single climax. The Scala Regia (1663-6) is a tremendous stairway between
the St Peter’s Piazza and the papal apartments. It forms the main
entrance to the Vatican Palace, but had to be fitted in a narrow
awkward site between a porch and the palace. Using a false perspective,
it was created by the tapering of the plan, where you feel that the sense
is still processional.
Based on two equilateral triangles with arcs and segments drawn from
various points of their intersection, it resolves itself at the level of the dome
into an oval and at the lantern into a circle. The whole of the architecture
becomes plastic almost molten. Borromini treated architecture as
abstract sculpture.
‘12
18
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
• The blending of religious and erotic; it is part of the genius of the
Baroque.
• In Baroque architecture, new emphasis was placed on bold
massing,
colonnades,
domes,
light-and-shade
(chiaroscuro),
'painterly' color effects, and the bold play of volume and void.
• In interiors, Baroque movement around and through a void
informed monumental staircases.
Important features of baroque architecture include:
• Long, narrow naves are replaced by broader, occasionally circular
forms.
• Dramatic use of light, either strong light-and-shade contrasts,
chiaroscuro effects or uniform lighting by means of several windows.
• Opulent use of ornaments.
• Large-scale ceiling frescoes
• The external facade is often characterized by a dramatic central
projection
• the interior is often no more than a shell for painting and sculpture
(especially in the late baroque)
• Illusory effects, the blending of painting and architecture
• in the Bavarian, Czech, Polish, and Ukrainian baroque, pear domes
are ubBaroque actually expressed new values, which often are
summarized in the use of metaphor and allegory, widely found in
Baroque literature, and in the research for the "maraviglia" (wonder,
astonishment — as in Marinism), the use of artifices.
•
• Virtuosity was researched by artists (and the virtuoso became a
common figure in any art) together with realism and care for details
‘12
19
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana
ROCOCO
• A style of 18th century French art and interior design, Rococo style
rooms were designed as total works of art with elegant and ornate
furniture,
small
sculptures,
ornamental
mirrors,
and
tapestry
complementing architecture, reliefs, and wall paintings. It was
largely supplanted by the Neoclassic style.
• The word Rococo is seen as a combination of the French rocaille, or
shell, and the Italian barocco (Baroque) style.
• Due to Rococo love of shell-like curves and focus on decorative
arts, some critics used the term to derogatively imply that the style
was frivolous or merely fashion.
• interestingly, when the term was first used in English in about 1836, it
was a colloquialism meaning "old-fashioned". Rococo is now widely
recognized as a major period in the development of European art
‘12
20
Sejarah Arsitektur
Hady Soedarwanto, ST. M.Ds.
Pusat Pengembangan Bahan Ajar
Universitas Mercu Buana