College of Architecture + Planning
Architecture 3210/6210 – Survey of World Architecture
Examination #3
Student:
KEY
.
Please answer all questions on
the examination. You may use
the back of the pages for your
answers if the space is needed.
Do not hesitate to use drawings
and diagrams to explain or
clarify your answers.
Make sure you put your name
on all the pages of the test.
No reference material is
permitted during the
examination
No electronic devices are
permitted in the room during the
examination.
If you do not understand a
question please ask for
clarification.
Points
Essays
(50 points total)
.
Total Points
(50 points possible)
.
Grade
.
Enjoy
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Architecture 3210/6210 – Survey of World Architecture
Examination #3
Student:
.
In the architecture we studied in this last section of the courses,
Roman building types provided the precedents for the development of
Christian architectural spaces and forms in the Early Christian times as
well as the Renaissance. In answering both questions, make sure to
include discussion of the appropriate Roman precedents as well as the
developments that occurred throughout the evolution of Christian
architecture
1. The central planned church was a significant form used during the
Early Christian and Byzantine period, the Carolingian period, and then
again, importantly, in the Renaissance. Discuss the evolution and
development of the Central Plan form, and the architectural changes
that distinguish the Early Christian, Byzantine, and Carolingian periods
from the Renaissance. Discussion should include which Roman
precedents were used and why, as well as developments in the plan
form, the interior spatial elements and qualities, the exterior formal
elements and qualities, the structure, and the associated meanings.
(20 points)
The basic set of ideas –
Roman Precedents: Pantheon with is dome symbolizing the
heavens; and tombs.
Early Christian: The primary church form was the Latin Cross plan,
but central plan forms were used for:
martyria – which commemorated saints or site of special
importance to the Christian faith; an example would be the
Church of the Nativity.
mausolea – erected to contain tombs of important people
(centralized form followed Roman practice); examples include
S. Costanza, Galla Placidia.
baptisteries – organized around the baptismal pool or font,
and often octagonal in form; example is Baptistery of the
Orthodox.
These buildings had plan brick exteriors, domed spaces, and
were often decorated with mosaics.
Byzantine Domed Churches: Byzantine architecture exhibited a
clear preference for domes on their churches. Like the Romans, the
Byzantines saw the dome as symbolic of the heavenly sphere,
complimentary to the earthly realm of the walls and floor below.
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Architecture 3210/6210 – Survey of World Architecture
Examination #3
Student:
.
The issue in dome construction was how to support a round
form on a square base – developed domes on pendentives
(created curved triangular surfaces as the transition) or
squinches (created an octagon as the transition with arches
supporting the octagon).
The plans of these churches were either circular, octagonal, or
Greek-cross plans – surmounted with a dome. The was usual
an apsidal element (apse) in the composition.
The interior nave elevations differed depending on the size of
the church, but incorporated niches or arcades and
clerestories. Often, clerestories were located at the base of the
dome to provide a weightless feeling – providing the dome with
a heavenly presence. The interior surfaces of the spaces were
covered with colored, glass mosaics, which provided a
heavenly, luminous interior (other worldly).
The exteriors were direct expressions of the interior spatial
order, and usually executed in brick – very little decoration was
used, as the exteriors represented the profane or earthly world.
Examples are Hagia Sophia in Constantinople, S. Vitale in
Ravenna, and S. Marco in Venice.
Carolingian: Charlemagne aspired to create a renaissance of Roman
achievements during the early middle ages – and developed his
Palatine Chapel in Aachen on models from Early Christian buildings he
saw on his travels. His chapel was modeled on S. Vitale in Ravenna –
the chapel had a central plan – an octagon surmounted by a dome.
He added a gallery for the second level for the royal court. Reflects
late Roman construction practices – not as sophisticated in
development as S. Vitale.
One new feature was added in the exterior – the development
of a westwork, a western façade with an entrance vestibule
and towers (including the belfry).
Renaissance: Architects were not only interested in ratios and
harmonies, they were convinced that God’s cosmic order could be
expressed through the use of the circular form – it represented the
most perfect form, echoing celestial harmony. Renaissance architects
favored simple forms like circles and squares -- expressed human
proportions that reflected divine ratios (Vitruvian Man – Leonardo).
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Architecture 3210/6210 – Survey of World Architecture
Examination #3
Student:
.
Initially, Renaissance architects (Brunelleschi and Alberti)
would put centralizing elements – domes – at the crossing of
the nave and transept of their Latin Cross plans – S. Lorenzo,
S. Spirito, S. Andrea, etc. Even Bramante’s early works – S.
Maria delle Grazie and S. Maria presso S. Satiro – have
elaborated domed apses.
With Brunelleschi’s Pazzi Chapel and design for S. Maria degli
Angeli , you have developed centralized space based on circles
and squares with domes surmounting the space.
Leonardo da Vinci developed numerous designs for central
plan churches, and S. Maria della Consolazione in Todi
exemplifies his ideas. In these works, as the ones above, the
interiors use the architectural orders as decoration, and often
have contrasting materials articulating the surfaces (darker
elements on lighter walls). The exteriors are direct expressions
of the geometric form of the plan – with the dome hierarchically
expressing the central space.
Bramante’s Tempietto and the design for St. Peters – by both
Bramante and Michelangelo – are the culminating examples of
the central plan. The Tempietto is the centralized “temple” par
excellance. The plans for St. Peters demonstrate a new
complex spatial ordering – based on the precedent of the
Roman bath – with domed central space and open circulation.
Here the dome becomes an important exterior landmark
element.
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Architecture 3210/6210 – Survey of World Architecture
Examination #3
Student:
.
2. The Latin Cross plan was the primary form used in church
architecture throughout Western Christendom from Early Christian
times through the Renaissance. Discuss the evolution and
development of the Latin Cross form, and the architectural changes it
went through, from its Roman precedents and the Early Christian
Basilica through the middle ages (Romanesque and Gothic periods) to
the Renaissance. The discussion should include developments and
refinements in the plan form, the interior spatial elements and qualities,
the exterior formal elements and qualities, the structure, and the
associated meanings. (30 points)
The basic set of ideas –
Roman precedent: Because Christians needed to accommodate
large crowds for congregational worship, they chose the Roman
Basilica as the model for their church buildings. It also had the ability
to become a processional space – for the worship service. Its
association with assembly and courts meant it was not associated with
pagan worship like Roman temples were.
Early Christian Basilica: Evolved the Roman basilica into the Latin
Cross plan – with an atrium/courtyard, narthex, nave, side aisles,
transept, apse and an alter (with a baldacchino above). Symbolized
the cross Christ was crucified upon, and so the sanctuary symbolically
held the body of Christ in it. The axial order from west to east – from
the profane world to the heavenly world – symbolized the “path of life”
as the “path to salvation”.
The interior nave elevation was composed of the nave arcade,
triforium, and clerestory. The horizontal emphasis of the space
reinforced the idea of the path or journey to the apse end
(salvation). Often a triumphal arch (Roman influence)
separated the nave and transept. A baldacchino often was
placed over the alter – a vertical emphasis making the
connection to heaven. Usually had a wooden trussed ceiling;
sometimes with coffers.
The interior space made use of mosaics on the triforium –
creating a shimmering, luminous, heavenly interior – here the
heavenly world of paradise presented itself in contrast to the
profane world outside.
The exterior was a direct hierarchical expression of the interior
spatial organization – with the nave and transept being the
tallest spaces and the aisles lower. Often there was a bell
tower of campanile, standing as an independent element. The
exterior was of masonry construction with little or no
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Architecture 3210/6210 – Survey of World Architecture
Examination #3
Student:
.
decoration. It symbolized the profane world without – verses
the heavenly world with.
Romanesque: The medieval church continued the evolution of the
Latin Cross plan. With the advent of pilgrimages, the plan expanded in
several ways. First, there was the addition of ambulatories around the
transept arms and the apse. This allowed pilgrims to view relics while
services were being conducted. Because relics required chapels,
there are now chapels added to the transept and apse – known as
transept chapels and apsidal chapels – and often an axial chapel
terminating the space. The crossing of the nave and transept become
a square bay that is the lantern crossing. The westwork now forms the
transition between inside and outside.
The interior space is defined by “bays of space” articulated by
the barrel or tunnel vaulting with ribs creating the bays. Often
pilasters run up the surface of the façade and connect with the
ribs. The nave elevation now has a nave arcade, either a
gallery or triforium, and a clerestory – this varies depending on
the particular church or the regional. But the spatial feeling is
one of progressing from bay to bay.
Gone is the luminous interior – the masonry is heavy, smaller
clerestories lets less light in, etc.
The exterior assumes more vertical expression – the westwork
has the entry and one or two towers, one is the belfry. The
buttresses on the exterior – to support the vaulting – add
vertical emphasis, as does the addition of a vertical tower over
the lantern crossing. This may have clerestory lighting.
The western entry develops a sculpture program which has the
last judgment as the primary theme.
Gothic: The Gothic is the culmination of medieval design and
construction – here the wall have dissolved to being only perpendicular
piers holding the vaulting. What creates this condition is the
development of the pointed arch, ribbed vaulting, and the flying
buttress.
The pointed arch can cover any configuration of space, as the
ribs work for a centering point and go down to the columns or
piers holding them – can do polygonal shapes. The pointed
form also carries the structural thrust down more vertically.
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Architecture 3210/6210 – Survey of World Architecture
Examination #3
Student:
.
Gothic cont’d.
The ribs create the structure, and are in-filled with webs. On
the exterior, the horizontal thrust of the vaulting is absorbed
thought flying buttresses and vertical piers.
Beside the reduction of the wall, the apse end of the cathedral
elongates to become a full choir, and in some cases the
transept is embedded into the plans, other times it continues to
be expressed as a cross.
This structural combination creates the ability to reduce the wall
of the interior to almost nothing. Originally, the nave elevation
had four parts – the nave arcade, gallery, triforium and
clerestory; but this evolved into three stories in the mature
gothic – nave arcade, triforium and clerestory. Stained glass
now filled the clerestories creating a luminous, dematerialized
interior.
The exterior of the cathedral is created in the image of the city
of god – as expressed in the increased vertical emphasis of the
exterior elements. The westwork is more vertical with pointed
towers, a spire acknowledges the lantern crossing, and the
north and south portals have vertical elements – and there are
also the flying buttresses.
The portals have a developed sculpture program – the west
continues to be the last judgment; the north the old testament
and the Virgin Mary, and the South, the new testament with
Christ as the new sun. Stained glass windows carry out the
teaching program – rose window too.
Renaissance: Several changes occur in the Renaissance – first, with
the emphasis on using precedents from antiquity (Classical Rome), the
interior spaces return to the more traditional basilica form. The nave
elevation, while having an arcade and clerestory, are elements more
explicitly Roman in inspiration – Corinthian columns, half round arches,
and clerestories in framed window openings. The ceilings return to
coffered wooden ones. The articulation is one of darker stone details
on white or light colored walls. There is a coolness – not the
expressiveness of the gothic – with the interiors are much lighter
experientially.
In the plan, centered, domed spaces are developed for the
nave and transept crossing, or added as a unique centered
space on the end of the nave.
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Architecture 3210/6210 – Survey of World Architecture
Examination #3
Student:
.
Renaissance cont’d.
In elevation, Roman precedents are used as the major form of
expression – most often the temple form or triumphal arch
form; or some combination of the two. The triumphal arch
theme appears in a number of church interiors.
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