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ARH 7020 > MidTerm > Flashcards

MidTerm Flashcards

1
Q
A
  • MADRASA OF ULUGHBEG
  • Samarkand, Uzbekistan
  • 1417-21
  • for Ulugbeg

[Decoration] fairly restrained w/ strict adherence to Islam’s injunction against representation of living beings. Tessellated star elements reference Beg’s penchant for astronomy.

[Layout] square bldg organized around a courtyard. Monumental entrance w/ 2-story Iwan / 4 interior iwans at courtyard / 4 darskhans or domed lecture halls / long mosque at back

[Iwan] rectangular vaulted space, 3 walls open on one end - “portal projecting from facade”

[Minaret] tower used for the Muslim call to prayer

[Madrasa] a college for Islamic instruction

[Later Additions] Tilya Kori Madrasa 1660 & Sher-Dor Madrasa, 1619

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2
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  • PALAZZO MEDICI
  • Michelozzo di Bartolommeo
  • Florence 1445-60
  • for Cosimo il Vecchio de Medici
  • [Urban Fortress] almost fortified block w/ rusticated surfaces that make it seem formidable
  • interior courtyard defined by Corinthian colonnade follows ex est by Brunelleschi in Hospital of Innocents
  • [Architecture & Power] Cosimo understood architecture’s effectiveness as political propaganda-families who could afford it sunk money into building palaces
  • [Courtyard] defined by corinthian colonnade follows ex by Brunelleschi @ Hosp. of Innocents / served as the first threshold to the piano nobile
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3
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  • FLORENCE DUOMO
  • Filippo Brunelleschi/
  • Florence begun 1420-36
  • consecrated by Pope Eugene IV

[Long Development] Arnolfo di Cambio began the rebuilding of the Church in 1294 and Brunelleschi finished it with a dome

[Rejection of Gothic] medieval buttresses, used by enemies and thought of as ugly

[Double Skin Dome] octagonal of brick / spreading force solved by set of four internal horizontal stone and iron chains, embedded within inner dome / vertical “ribs” set on corners / herringbone brick pattern transferred loads to ribs

[No Centering] would be too much wood so dome ribs had slits for beams that supported platforms allowing work to progress w/o scaffolding

Dominic OBrien: Alan Derschewitz Boiling Onions - - Chopping Slugs

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4
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A
  • CHURCH OF SAN LORENZO
  • Florence
  • OLD SACRISTY / 1421-28
    • Filippo Brunelleschi
    • for Giovanni di Bicci de’ Medici
    • [Pendentive] curved triangle of vaulting from intersection of a dome with its supporting arches.
    • [Pietra Serena] gray sandstone used extensively in Renaissance Florence
  • NAVE / after 1428
    • followers of Brunelleschi
    • mathematical precision where the square of a bay was equal to the height of the columns
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5
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  • PALAZZO RUCELLAI
  • Leon Battista Alberti
  • Florence / 1446-51
  • Enlarged after 1458 for Giovanni Rucellai

[Facade] pilasters as ordering device and ornamental motif articulate window bays / more delicate than Medici

[Coliseum Influence] 1st floor Doric, 2nd floor Ionic, 3rd Corinthian

Alan Derschwits Drying Salad - Eating Aprons

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6
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  • FORBIDDEN CITY / 1420-1908
  • YONGLE EMPEROR of Ming began 1420
    • Hall of Supreme Harmony / Tai He Dian
      • the ceremonial center of imperial power and the largest surviving wood structure in China
      • 11 bays wide but the main room is 9 bays wide and 5 bays/jian deep symbolic of the majesty of the emperor
      • Ming used to hold court, Qing held court more frequently and moved it to Inner Court
      • constitute the heart of Outer Court: Hall of Central Harmony and Hall of Preserving Harmony
      • importance highlighted by being set on three stone tiers
    • Meridian Gate
      • the southern and largest gate of the FC
      • two protruding arms on either side
      • gate has 5 arches, center was for emperor while remaining was for civil servants
      • superstructure is 9 jian wide double eave
      • axiality and layout of the rest of Beijing, the gates create a series of thresholds with increasing importance and access
    • Lie Jie and Yingzao Fashi
      • state building standards published ca 1100
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7
Q
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  • ZHUOZHENG YUAN / ARTLESS ADMINISTRATORS GARDEN
  • WANG XIANCHEN, an imperial envoy & poet
  • SUZHOU, CHINA 1506-21 (Ming)
  • [Design] garden w/ numerous pavilions, bridges and meandering pools and island set about a large lake / a break from typical imperial Chinese architecture.
  • [4 layers] the stone, the plant, the architecture, and the water / woven together
  • Pavilion of Delicious Fruit, meandering paths and covered walkways. Softening of edges of the water.
  • the private home for a career civil servant offered to relax and repose
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8
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  • PALAZZO CHIERICATI
  • ANDREA PALLADIO
  • VICENZA, Italy 1548-1680
    • ​AE Dabbing Hagrids
  • for Count Girolamo Chiericati

[Lower Loggia] takes up the whole facade

[Raised Ground] 5ft to place cellars below to avoid water and to give better view of site

[Vaulted Rooms] large rooms, mid size have lunette vaults as high

[Camerino] small rooms vaulted and partitioned amezato

[Interiors as Art] Ridolfi sculptor, Rizzo & Veneziano paintings,

[Upper Sala] mid-facade as high as the roof, projects forward w/ coupled columns at corners

[Two Porticoes] across the hall from one another that have their own soffits decorated w/ paintings

[Primo Ordine] or ground floor is doric

[Secondo] 2nd floor Ionic

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9
Q
A
  • VILLA BARBARO / VILLA MASER
  • ANDREA PALLADIO
  • MASER, ITALY / 1549-58
  • for Daniele Barbero & Marc Antonio Barbero

[Strict Symmetry] running loggia, practical farm meets ideal villa, graphic attention to plan overwhelms elevation

[Rigorous Proportional Logic] ideal mathematics of renaissance arch. onto ancient roman forms

[Ancient Temple Front] on secular bldg w/ pilasters rather than freestanding portico of columns

[Brick & Stucco] practical instead of more expensive stone

[Paolo Veronese] painted illusionistic frescoes that create rich relationship to the surrounding landscape

Albert Einstein Dabbing Nuns - Eating Hair

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10
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  • IL REDENTORE
  • ANDREA PALLADIO
  • Venice / 1576-91
  • commissioned by Venetian Senate
  • consecrated 1592 by Pope Greg XIII
  • built to thank God for the deliverance of the plague from Venice
  • dominates skyline of island Giudecca
  • [Form] single-nave church with 3 chapels on either side
  • [Facade] inspired by Pantheon - temple front / triangular pediment overlies a larger lower one / overall height is 4/5ths of its width while central width is 5/6ths its height
  • [Mathematical Proportion] overall height is 4/5ths its overall width while central width is 5/6th its height
  • [Plinth] 15 steps ref Temple of Jerusalem / follows Palladio’s “the ascent” of the faithful
  • [Interior] stucco and gray stone interior with domed crossing and uninterrupted Corinthian order makes its way around the interior
  • [Dome] crowned by statue of the redeemer

Albert Einstein Growing Soap - Neutering Alpacas

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11
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  • ST. PETERS BASILICA /
  • ROME / 1505-1666
  • DONATO BRAMANTE
    • 1505-13 for Pope Julius II
    • the initial plan, new basilica to replace “Old Saint Peter’s” (4th century)
  • ANTONIO DA SANGALLO
    • plan and wooden model, 1516-49
  • MICHELANGELO BUONARROTI
    • crossing apse&dome, 1546-64
    • double-shell brick dome
    • further evolution of Brunelleschi’s Ancient Sacristy at San Lorenzo w/ dome over a square
    • strong compositional plan compromised by church’s desired axial plan
  • CARLO MADERNO
    • nave and facade, 1607-21
  • LORENZO BERNINI
    • St Peter’s square, 1657-66
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12
Q
A
  • PIAZZA DEL CAMPIDOGLIO
  • MICHELANGELO BUONARROTI
  • Rome / 1538-1660
  • commissioned by the Farnese Pope Paul III
  • Civic Plaza, built to impress Charles V
  • [Orientation] back to the forum and faces St. Peters to embrace developing Rome
  • [Marcus Aurelius] forms a central focal point at the trapezoidal plaza
  • [Axiality & Symmetry] govern all parts, paving emphasizes central focal point / provided new fronts to two civic buildings
  • [Cordonata] ramped staircase leading to the plaza lifted visitors to the sky and deposited the on the threshold of municipal authority
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13
Q
A
  • MOSQUE & IMARET MEHMED II
  • Greek architect / ATIK SINAN
  • Istanbul / 1463-70
  • for Fatih Sultan Mehmed
  • 1771, Sultan Mustafa III added 3 supporting half domes to main dome
  • [Dome] one central dome supported by a single semi dome and suspended on four arches - extension supported by four semi-domes
  • the former site of Church of Holy Apostles (Constantine burial site)
  • 1st monumental project in the Ottoman imperial architectural tradition
  • included a set of 8 Medrese, a library, hospital, hospice, caravanserai, market, Hamam, primary school, and a public kitchen (imaret)
  • [WAQF] charitable endowment under Islamic law which involves donating a building, plot of land or other assets for Muslim religious or charitable purposes w/ no intention of reclaiming assets
  • [Interior] a copy of earlier designs by Sinan re-used repeatedly by himself and successors - emulative of Hagia Sophia /

Alan Dershowitz Suckinig Corn - Grabbing Oranges

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14
Q
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  • BAYEZID II MOSQUE
  • Istanbul, Turkey /1501-05 AE Organizing Alpacas -Organizing Elves
  • architect / Mimar Hayruddin
  • for Ottoman Sultan Bayezid II
  • [Dome] supported by 2 semi-domes and 2 arches
  • two minarets in between courtyard and mosque
  • [Courtyard] equal area to mosque / colonnaded peristyle w/ 20 ancient columns of porphyry, verd antique and granite salvaged from churches and anceint ruins, equal in area to mosque
  • roofed w/ 24 small domes with a pavement in polychrome marble
  • dome, supported by huge rectangular piers with smooth pendentives and stalactite decorations, 20 windows at the base of dome and 7 on each semi-dome
  • 40 meters square with 17 meter diameter dome
  • interior patterned after Hagia Sophia
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15
Q
A
  • TOPKAPI PALACE
  • ISTANBUL, TURKEY / 1459 AD Eating Nutella
  • for Mehmed II
  • served as center of Ottoman govt unit 1856
  • [Respect Locale] built on old acropolis and many individual bldgs differed little from vernacular of the rest of city (especially admin building)
  • [Influence Medieval Castle] elevated fortified castles from middle ages which a succession of courtyards contained increasingly private and secure spaces for ruler to survey land
  • [Succession of Courtyards] increasing in privacy
  • Ottomans joined the Chinese in pioneering the development of a modern state bureaucracy

[GATE OF SALUTATION] stout flanking towers and oldest part of complex and led to second courtyard where imperial ceremonies were staged in front of courtiers and ambassadors

[GATE OF FELICITY] leads to 3rd courtyard / emperor held public audience here / characteristic Ottoman form: domed pavilion whose columned porch projects far forward at low angle

*architectural settings enhanced w/ textiles, carpets

[CHAMBER OF PETITIONS]

[CINILI KIOSK/TILED KIOSK], 1472 outer walls of palace

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16
Q
A
  • SULEYMANIYE MOSQUE & IMARET
  • ISTANBUL / 1550-57 AE Eating Octopus - Eating Eels
  • MIMAR SINAN, architect

4 minarets at the corners of courtyard (4 reserved for commissions by sultan)

[Module] domed square arranged around open courtyards imparted a high degree of arch order and made it easy for Sinan to designing throughout the empire

[Dome] buttressed central dome w/ half domes as in Hagia Sophia / pendentives support dome / stepped pyramidal silhouette

[Differs from Hagia] orchestration of various sized domes absent in HS /

[Necklace of Light] as HagSophia windows slotted into the dome and half domes

Ottoman imperial mosques included charitable activities

originally included, imaret, hospital, coffeehouses, religious school, bath complex - a tight link between the public realm and the sacred

mosque was centerpiece fronted by courtyard composed of domed modules

  1. Courtyard / SAHN
  2. Prayer Hall
  3. Qibla Wall faces Mecca
    1. Mihrab niche set in
  4. Minbar
    1. wooden pulpit from which the Friday sermon is preached
  5. Mausoleum
17
Q
A
  • CORNARO CHAPEL
  • Gian Lorenzo Bernini
  • ROME
  • 1645-52 [​Arnold Schwarz. Decorating Eggs - Encouraging Babies]
  • commissioned by Cardinal Federico Cornaro
  • w/in Santa Maria della Vittoria
  • [Drama] ecstasy of St. Theresa is framed by sculptures of the patrons. Light flows onto st Theresa from a hidden window / color and undulating surfaces / expanding perceived size of the room
  1. Ecstasy of St. Theresa
  2. [Aedicula Niche] a small shrine
  3. [Broken Triangular Pediment] creates depth and thrust the altar forward
18
Q
A
  • SAN CARLO ALLE QUATRO FONTANE / SAN CARLINO
  • FRANCESCO BORROMINI
  • ROME / 1638-41 AS Crushing Hamsters
  • FACADE / 1665-7
  • synthesis of cross, oval, and octagon
  • [Plan] lobed rhombus generated around sqrt3 the proportioning and then curve of the biangolo transfigured the plan into a shape that is symbolic as the fourfold orientation design with the epiphanic representation of Trinity
19
Q
A
  • CHAPEL OF SANTISSIMA SINDONE
    • CHAPEL OF THE HOLY SHROUD
    • TURN CATHEDRAL
  • GUARINO GUARINI
  • TURIN / begun 1668
  • Baroque was a continued rethinking of classical architecture which emphasized spatial drama and visual persuasion
  • Dome, a network of small arches tied to ribs creates a complex network of sub-geometries
  • each arch had its own opening to increase light
  • Guarini, mathematician & engineer used projective geometry and loved the parabola because it could exaggerate height
20
Q
A
  • BANQUETING HOUSE at WHITEHALL PALACE
  • LONDON / 1618-22 AS Asking Hippos - Bathing Baby Hippos
  • INIGO JONES
  • Columnar system at base MAY reference Anglican Church and second floor Catholic
  • simple open plan with balustrade at second-floor
  • exterior pilasters expressed as columns at interior
  • PERSONIFICATION of ORDERS: by John Schute 1563, the first and chief grounds of Architecture
21
Q
A
  • PLAN REBUILDING LONDON
  • LONDON / 1666
  • CHRISTOPHER WREN
  • following 1666 conflagration of London
  • Wren, royal astronomer, proposed changing city completely
  • influenced by Rome and Versailles, envisioned broad baroque boulevards
  • King Charles II & officials decided to preserve street networks
    • wanted to rebuild quickly and not to infringe on extg property lines
    • Charles couldn’t tax his subjects
    • though Baroque eas too firmly associated w/ Catholicism and absolute monarchy
  • Parliment implemented brick construction
22
Q
A
  • ST PAUL’S
  • LONDON / 1680-1710
  • CHRISTOPHER WREN
  • Wren’s 1st model too redolent of Bernini for local tastes
    • pushed instead for Latin cross
  • BUTTRESSES
    • medieval precedent w/ buttresses tucked into walls w/ modern classical ornament
  • TIPPLE SHELL DOME
    • married the complexity of the section of Borro. 4fountains at the scale of Saint Peter’s
      • two superstructures
        • brick tied w/ iron chain supports the lantern
        • wood covered w/ lead creates a bold profile
  • The word of God > Communion in Anglican Church
    • LECTERN and pulpit were focal points of these spaces not the altar
23
Q
  • GATE OF SALUTATION
  • well-fortified gates for the oldest parts of the entire complex
24
Q

VITRUVIUS’

3 NECESSARY ELEMENTS

IN ARCHITECTURE

A
  1. USEFULNESS / CONVENIENCE
    1. ​commodita
  2. DURABILITY
    1. ​when all the walls are plumb vertical, thicker below than above and sound foundations
  3. BEAUTY
    1. ​graceful shape and relationship to the whole
25
Q
A
  • URBAN EXPANSION ISFAHAN, IRAN
  • 1590s
  • for Shah ‘Abbas I
  • [Counter to TYP] farm more public court than Ottomans / anticipated Paris Boulevards / broad straight streets and vast urban plazas / palaces set in gardens / widened, straightened, brightened
  • [Control of Water] greening the city’s suburban edge, canal lined with trees
  • [Gardens] public amenities and displays of imperial ability to control water and recreating a paradise
  • “activist economic policy”
  • [Maydan / Maidan-i Shah] 1590-1602
    • garden oriented extensions and largest urban plaza (after tienamen in 1950) / bazaar or co
  • [‘Ali Qapu (lofty gate)] begun 1597; expanded 1615&1640
  • [Shah Mosque / Masjid-i Shah], 1611-38
26
Q
A
  • MAYDAN / MAIDAN-I SHAH
  • Isfahan
  • 1590-1602 AE Nailing Ochre AS Oiling Beets
  • Naqshi-i Jahan

[Large Bazaar] to ensure domestic privacy and to accommodate scale placed far from private homes

[Power] showed shah’s ability to create an urban space of this scale and uniformity and control it

27
Q
A
  • ALIE QAPU (“GATE OF ALI”)
  • begun 1590
  • expanded 1615 & 1644
  • [Form] final form consisted of a 5-story tower fronted by a 2-story gatehouse supporting a large columned porch (talar), allowing views of the square / higher than 2-story galleries of Maydan / rectangular in plan
  • [Iwan] entry through large 2-story iwan corridor bisected toward back by another corridor running perp.
  • [Talar] porch atop the 2nd floor supported by wooden columns
  • [Music Room] muqarnas ceiling carved with a vessel and instrument-shaped perforations and crowned w/ a lantern vault bathing the hall with light
28
Q
A
  • MASJID-i SHAH’S MOSQUE
  • Isfahan
  • 1611-38
  • for Shah Abbas
29
Q
A
  • CHIHIL SUTUN / ROYAL PAVILION
  • ISFAHAN
  • begun 1647
  • rebuilt 1706 for Shah ‘Abbas II
  • [Layout]rectangular masonry building with a large wooden talar porch attached to its east
  • [Plan] symmetrical and centered on a large rectangular audience hall divided into three domed bays separated by arched vaults and entered through recessed iwans
  • [Garden] the columns, pool, and Talar about bringing the garden inside
  • literally “forty columns” referencing the 20 columns reflected in the pool
  • to recieve dignitaries and ambassadors
30
Q
A
  • MIRAK MIRZA GHIYATH / TOMB OF HUMAYUN
  • DELHI
  • 1562-72
  • for Akbar
  • [Chahar Bagh]
  • [Cenotaph]
  • [Hasht Bihisht]
31
Q
A
  • HARDWICK HALL
  • ROBERT SMYTHSON
  • Derbyshire, England
  • 1586-97
  • for Elizabeth Talbot, Countess of Shrewsbury, “Bess of Hardwick”
  • [Long Gallery]
  • [Symmetry]
32
Q

Hall of Supreme Harmony

A
  • HALL OF SUPREME HARMONY
  • EMPEROR YONGLE 1420
  • DOUGONG BRACKETING SYSTEM
  • [Yingzao Fashi] state building standards published 1100 by Li Jie
33
Q
A
  • GATE OF FELICITY (TOPKAPI PALACE ENTRANCE TO 3RD GATE)
  • REMODELED 18TH CENTURY
34
Q
A
  • TILED KIOSK
  • 1472
  • for Mehmed II

pleasure palace for the sultan located outside the Topkapi Palace

[Layout] Greet cross-shaped ground plan and two stories high/square axial plan represents the four corners of the world and symbolizes universal authority and sovereignty of the Sultan

[Influence] glazed brick show a central Asian influence especially from Bibi-Khanym Mosque

Alan Derschwitz Grouting Bluetiles

ARH 7020 (3 decks)

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