2. Art in ancient Egypt continued strangely
unchanged through the various phases of
foreign influence from
Assyria, Persia, Greece, and Rome.
The close connection between religious rites
and architecture is everywhere manifested.
Egyptian architecture persistently maintained
its traditions.
3. Egyptian monumental architecture- which is essentially a
columnar and trabeated style is expressed mainly in
pyramids and in temples:
o impressive avenue of sphinxes
§ Mythical monster (A sphinx (Greek: Σφίγξ /sphinx, Bœotian:
Φίξ /Phix) is a mythical creature with, as a minimum, the
body of a lion and the head of a human or a cat.)
o possessed in their massive
§ pylons , great courts, hypostyle halls, inner sanctuaries, and
dim, secret rooms, a special character.
4. Pylon is the Greek term for a monumental
gateway of an Egyptian temple consists of two
tapering towers, each surmounted by a
cornice, joined by a less elevated section which
enclosed the entrance between them.
14. MESOPOTAMIAN ARCHITECTURE
The distinguishing characteristic of a Mesopotamian
Architecture is the ziggurat, or tower, built at successive levels,
with ramps leading one platform to the next.
Ziggurats (Akkadian ziqqurat, D-stem of zaqāru "to build on a
raised area") were massive structures built in the ancient
Mesopotamian valley and western Iranian plateau, having the
form of a terraced step pyramid of successively receding stories
or levels.
In many respects, it is like a modern building with seatbacks.
The ziggurat in Mesopotamia pointed north, south, east and west
and the vertical walls of each story were closed, in the temple of
Babylon, built by Nebuchadnezzar (6th century B.C.), the
stones were colored white, black, blue, yellow, silver, and gold
from bottom to top.
16. MESOPOTAMIA_A reconstruction of the ishtar Gate at Babylon (beginning of the
sixth century BC), decorated with enameled brick reliefs. Vorderasiatisches
Museum, Berlin.
21. GREEK ARCHITECTURE
Its most characteristic is found on its temple- a
low building of post-and lintel construction.
In this type of construction, two upright
pieces or posts are surmounted by a
horizontal piece, the lintel, long enough to
reach from one to the other. (Ex. temple of
Apollo at old Corinth )
23. There are three types of Greek architecture:
1. Doric column- its column has no base; the bottom of the
column rests on the top step. The freeze is divided into
triglyphs and metopes.
• Triglyph is an architectural term for the vertically
channeled tablets of the Doric frieze, so called because of
the angular channels in them, two perfect and one
divided, the two chamfered angles or hemiglyphs being
reckoned as one.
* The rectangular recessed spaces between the triglyphs on a
Doric frieze are called metopes
27. Triglyph centered over the last column in the Roman Doric order of the Theater
of Marcellus
28. There are three types of Greek architecture:
2. Ionic
column- is taller
and slender than
Doric. It has a
base, and the
capital is
ornamented with
scrolls on each
side and its
frieze is
continuous.
29. There are three types of Greek architecture:
3. Corinthian
column- with
the base and
shaft resembling
the Ionic, tended
to become
slender. The
distinctive
feature is the
capital, which is
much deeper
than the ionic
36. ROMAN ARCHITECTURE
(1000 B.C. – A.D., 4000)
The Romans adopted the Columnar and trabeated
style of the Greeks and developed also the arch and
vault from beginnings made by the Etruscans (the
early inhabitants of west-central Italy).
The combined use of column, beam, and arch is the
keynote of the Roman style in earliest ages.
Another characteristic of Roman architecture is the
flat round dome that covers an entire building
37. ROMAN ARCHITECTURE
(1000 B.C. – A.D., 4000)
Example is Pantheon. The building is two tiers high
to the springing of the hemispherical dome
inside, but there is an extra tier on the
outside, providing rigid and weighty haunches to
prevent the dome from splitting outwards; and, as
an extra precaution, a further series of steps of
concrete rises two-thirds the height of a dome. For
this reason, Roman domes are always
saucer-shaped outside, though hemispherical
within.
42. BYZANTINE ARCHITECTURE
(A.D. 200 - 1453)
Byzantine takes its name from Byzantium later
called Constantinople and now called Istanbul.
Is characterized by a great central dome which
had always been a traditional feature in the East.
One of the characteristic features of Byzantine
churches was that the forms of the vaults and
domes were externally, undisguised by any
timbered roof; thus in the Byzantine style, the
exterior closely corresponds with the interior.
43. The 11th-century monastery of Hosios Lukas in Greece is representative of the
Byzantine art during the rule of the Macedonian dynasty.
44. Interior of the Hagia Sophia under renovation, showing many
features of the grandest Byzantine architecture.
45. The apse of the church with cross at Hagia Irene. Nearly all the decorative
surfaces of the church have been lost.
48. WESTERN ARCHITECTURE IN THE
MIDDLE AGES
(A.D 400 - 1500)
Western architecture passed through three stages of
development during the middle ages. These are the Early
Christian, Romanesque, and Gothic. These three styles
developed one another: The Romanesque was an
outgrowth of the early Christian, and the Gothic, of the
Romanesque.
The Western Styles follow the general type of the Roman
Basilica, a long rectangular building divided by pillars
into a central nave and aisles.
o Nave is the central approach to the high altar, the main
body of the church.
50. Late Gothic Fan vaulting (1608, restored 1860s) over the nave at Bath Abbey,
Bath, England Suppression of the triforium offers a great expanse of clerestory
windows.
51. Romanesque nave of the abbey church of Saint-Georges-de-
Boscherville, Normandy, France has a triforium passage above the aisle
vaulting
52. Sometimes, there is one aisle on each side of the
nave; sometimes there are two. Often, the nave is
higher than the aisles, and, therefore, there is an
opportunity for clerestory lighting
o Clerestory is an architectural term that
historically denoted an upper level of a Roman
basilica or of the nave of a Romanesque or Gothic
church, the walls of which rise above the rooflines of
the lower aisles and are pierced with windows. In
modern usage, clerestory refers to any high windows
above eye level. In either case, the purpose is to bring
outside light, fresh air, or both into the inner space.
53. The wallof the clerestory of the "Basilica" style Monreal cathedral are covered
with mosaic
55. EARLY CHRISTIAN ARCHITECTURE
(A.D. 400 - 700)
The early Christian Basilica has grown in part from the
Roman house where the earliest Christians met for
worship, and in part from pagan basilicas.
In the classic temples, the emphasis lay on the exterior; in the
Christian Church, on the inside. A second form of
building, known as the central type, was designed around a
central vertical axis instead of longitudinal.
The long, internal lines of the basilica carried the eye of the
visitor from the door to the altar as their ritualistic climax of
the structure.
On the other hand, the circular or octagonal buildings focused
on the center. The interiors of early Christian churches were
often decorated with mosaics.
59. ROMANESQUE
ARCHITECTURE
(11th and 12th CENTURIES)
60. ROMANESQUE ARCHITECTURE
(11th and 12th CENTURIES)
ROMANESQUE:
• Is an extension and development of the Early Christian
Basilica.
• Romanesque has very heavy walls with small window
openings and a heavy stone arched or vaulted roof
inside. In this respect, it resembles the Roman
style- hence the name Romanesque (“Roman-ish”).
• In the Romanesque Cathedral, several small windows
were combined in a compound arch.
• In the Romanesque church, the façade sometimes has
one doorway, sometimes three.
• They were relatively simple moldings, with or without
carvings or conventional designs, figures animals or
fruit.
61. ROMANESQUE ARCHITECTURE
(11th and 12th CENTURIES)
GOTHIC:
• The arches appeared only as stone tracery.
Eventually, the windows became so large that the walls
ceased to have any function as walls; the roof was
supported by the huge buttresses and the entire wall
space was filled with stained-glass windows. The
triforium space was regularly filled with small
arches, and the rose window became large and
important. The doorways became spacious.
• The Gothic façade regularly had three doorways.
• In Gothic, the human figure became the characteristic
decoration, a recessed doorway being filled with rows
or saints or kings.
• Is known primarily for its cathedrals and churches.
62. La Sagrada Familia
Basilica In Barcelona
Spain
St. Michael's Church, Hildesheim has similar characteristics
to the church in the Plan of Saint Gall.
63. The façade of the
cathedral of
Lisbon.
Interior of St. Michael's, Hildesheim, (1001-31) with
alternating piers and columns and a C.13th painted
wooden ceiling
64. Charlemagne's Palatine
Chapel, Aachen, C. 9th, modelled on the
octagonal Byzantine church of San Vitale
in Ravenna
South transept of Tournai
Cathedral, Belgium, 12th century.
65. Facade of Angoulême
Cathedral, France.
Santa Maria in Cosmedin, Rome
(8th — early 12th century) has a basilical
plan and reuses ancient Roman
columns.
67. RENAISSANCE ARCHITECTURE
(Fifteenth and Sixteenth Centuries)
• The cathedral or temple is no longer the
typical building; secular architecture comes to
the fore, as in Roman times.
• It is not a slavish imitation, but rather a free
use of the materials found in classic
architecture.
68. Tempietto di San Pietro in
Montorio, Rome, 1502, by Bramante. This small
temple marks the place where St Peter was put to
death.
Temple of Vesta, Rome, 205 AD. As the most important temple
of Ancient Rome, it became the model for Bramante's Tempietto
69. The Dome of St Peter's Basilica, Rome.
Sant'Agostino, Rome, Giacomo di
Pietrasanta, 1483
71. BAROQUE ARCHITECTURE
(1600 - 1750)
• It is characterized primarily as a period of
elaborate sculptural ornamentation.
• It had a profusion of carved decoration. Columns
and entablatures were decorated with garlands of
flowers and fruits, shells and waves.
• Surfaces were frequently carved.
• The churches no longer used the Gothic nave and
aisles. They have often domes or corpulas.
72. Façade of the Church
of the Gesù, the first
truly baroque façade
Santa Susanna in Rome, Italy
73. Peter and Paul Cathedral in Saint
Petersburg, Russia
Saints Peter and Paul Church in Krakow, Poland
75. THE NINETEENTH-CENTURY
ARCHITECTURE
• The nineteenth century is known as a period of
eclecticism. Eclecticism in architecture implies freedom
on the part of the architect or client to choose among
the styles of the past that which seems to him most
appropriate.
• Modern eclectism was not only pure in style; it
understood something of the flavor of the past as well
as its forms.
• At best, modern eclectism was marked by
scholarship, taste, and sympathy for the forms of the
past and remarkable ingenuity in adapting central
heating, plumbing, and electric lighting to those forms.
79. MODERN ARCHITECTURE
• Is an attempt to interpret man’s purpose through his
building in a style free in relation to change and
independent of fix symmetries.
• New materials came to be utilized-prestressed steel in
tension, high-pressure concrete, glass
block, wood, metal, chromium, plastics, copper, cork, steel,
gypsum lumber, real and artificial stone, and all varieties of
synthetic and compressed materials, and the versatile
plywood.
• Strength is no longer synonymous with massiveness
because the supporting function is created by a light, cage
like skeleton of steel and reinforced concrete, which is
faster and easier to build.
80. Contrasts in modern architecture, as shown by adjacent
high-rises in Chicago, Illinois. IBM Plaza (right), by Ludwig
Mies van der Rohe, is a later example of the clean rectilinear
lines and glass of the International Style, whereas Marina
City, (left), by his student Bertrand Goldberg, reflects a more
sculptural Mid-Century Modern aesthetic.
The Salk Institute complex in La Jolla, California,
by architect Louis Kahn.
81. The Second Goetheanum, 1924-1928, in Basel,
Switzerland, is an example of architectural
Expressionism.
The AEG Turbinenfabrik ("turbine
factory"), 1909, designed by Peter
Behrens, illustrating the combination of
industry and design.
82. Greyhound Bus Station in Cleveland, Ohio, showing
the Streamline Moderne aesthetic.
The Bauhaus building at
Dessau, Germany, designed by
Walter Gropius
84. PHILIPPINE ARCHITECTURE
• The Philippines has shown knowledge and expertise in
all the arts.
• In this country, along Roxas Boulevard, the Ayala, and
Escolta, one can seethat the architecture in the
Philippines has come with the times.
• Those architectures reflect not only the living proofs of
the antiquity of architecture in the country but also
trace back the influence of Europe on this particular art
at a time.
• One can note the predominance of native products
used, as materials for edifices of apparently western
architectural forms.
85. PHILIPPINE ARCHITECTURE
• Salazar F., in her article “RP architecture captured
in churches,” says that the most modern
architects and writers doing analyses of
Philippine says that most modern architects and
writes doing analyses of Philippine churches
marvel at the majestic structures which were
designed and built during the Spanish regime.
• The Filipinos’ spontaneous and inventive
attitudes created a kind of architecture that was
unique from Western architectural idioms.
86. The front entrance of Fuerza de
Santiago towering 40 metres high
San Augustin church Paoay, Ilocos Norte,
July 2005
87. Emilio Aguinaldo's house in Kawit,
Cavite, renovations designed by Aguinaldo himself,
the first President of the Philippines, in 1919.
The interior of the San Agustín Church in
Intramuros, with magnificent trompe
l'oeil mural on its ceiling and walls
90. JAPANESE ARCHITECTURE
• Like the Egyptians, the religious rites of the
Japanese are merely traditional and the traits
were reproduced in the architecture, both in
tombs and temples.
• A Juto (“longevity tower”) is a kind of mausoleum
in ancient times erected during one’s lifetime to
celebrate his own or another longevity
– Hideyoshi Toyotomi built the Tensuiji Temple in the
courtyard of Daitokuji Temple in Kyoto to pray for his
mother while she was seriously ill. Grateful for her
subsequent successful recovery, he constructed a Juto
at Tensuiji in 1452.
91. Kinkaku-ji, Kyoto, originally
built in 1397 (Muromachi
period)
The roof is the dominant feature of traditional
Japanese architecture.
92. Main building of Tokyo National
Museum, built in 1937
Tenshu of Matsue Castle in
Matsue, Shimane Prefecture
Built in 1607
93. Osaka Prefectural Nakanoshima
Library, Osaka, Magoichi
Noguchi, built in 1904
Nakagin Capsule Tower, Tōkyō,
built in 1972
