HISTORY OF ARCHITECTURE – II

RENAISSANCE &
BAROQUE
RENAISSANCE
RENAISSANCE– INFLUENCE AND ARCHITECTURAL CHARACTER
CLIMATE ARCHITECTURAL HERITAGE GEOLOGICAL RELIGION SOCIETY & POLITICS

INFLUENCES
• Renaissance signifies a rebirth of classical
Roman architecture.
• Started in Italy (Florence) and spread to
France, England and other parts of Europe.
• The invention of the printing press aided
spread of knowledge and new schools of
thought.
• It was a time when scholars recovered many
classical Greek and Roman texts including ‘Ten
Books of Architecture’ by the Roman architect
Vitruvius.
• The greatly influential Renaissance architect
Alberti was inspired by this book and wrote his
own book- ‘Ten Books on Architecture’ based
on his understanding of Vitruvian principles.

Vitruvian Man
RENAISSANCE– INFLUENCE AND ARCHITECTURAL CHARACTER
CLIMATE ARCHITECTURAL HERITAGE GEOLOGICAL RELIGION SOCIETY & POLITICS
INFLUENCES
• Builders and craftsmen were greatly
influenced by the writings especially since the
new approach was that of rationality and logic.
• The texts were interpreted and the ancient
buildings studied to bring about new uses for
principles of order, proportions etc.
• Along with geometry, proportions, harmony
became an important part of design. The
renaissance architects tended towards using
the ‘ideal’ form such as square, circles.
• Unlike the Gothic predecessors, preference
was for mathematically precise proportions
and geometry.
• Various places across Europe had their own
individual variant styles of Renaissance
depending on the designers, geological and
climatic influence and the pre existing
architecture.
• By the 16th century all the European countries
developed their own culture and heritage Vitruvian Man
which resulted in individual style in buildings.
RENAISSANCE– INFLUENCE AND ARCHITECTURAL CHARACTER

ARCHITECTURAL CHARACTER
• The renaissance architects developed infinite combinations
using the Roman architecture elements such as the orders,
arches, domes, barrel vault, groined vault etc.
• The strong unity of centralised space and mass, the power of
monumental scale and well worked out proportions were the
important features of these buildings.
• The complete and simple façade massing using the volume like
the domes, splendour of richly carved and colour surfaces
were the effects most often attempted.
• With all these features the renaissance architects never
reproduced a single Roman building.
• The dome raised over a drum free from its abutments and
crowned the cupola was one of the striking element.
• A dome of medium size with four great arches and pendentive
resulted in a harmonious and impressive spatial composition.
• New combinations of arch and the column, new arrangements
of plan, new variations in ornamental features were perfectly
designed to fit the architecture of ancient Rome to the
contemporary design.
RENAISSANCE– INFLUENCE AND ARCHITECTURAL CHARACTER

ARCHITECTURAL CHARACTER
PLANNING & OVERALL FORM
• The plans were derived based on carefully studied
proportion.
• The nave would have three or four compartments.
• The use of proportions dictated the overall height,
widths, intercolumniation and overall form of the
building.
• Towers were usually not included in the form. If
planned, they would be symmetrically placed and
not designed as stand-alone towers.
• Verticality would be broken by the use of
entablatures and columns making the façade look
flatter.
• The dome is usually the most dominant feature.
• Simplicity of treatment and breadth of mass were
prominent characteristics
RENAISSANCE– INFLUENCE AND ARCHITECTURAL CHARACTER

ARCHITECTURAL CHARACTER
WALLS & STRUCTURAL SYSTEMS
• Walls were constructed in ashlar masonry for
smooth walling.
• Stucco or plaster was used where stone was not
readily available.
• Domes are usually placed on drums that has
openings and supported by pendentives.
• Ribbed vaults were avoided.

OPENINGS
• Door and window openings had semi-circular or
square heads (inspired by classical Roman forms).
• In warmer regions such as parts of Italy, the size of
windows were smaller.
• Openings on the façade are symmetrically placed.

ORNAMENTATION, FACADES & INTERIORS

• Classical Roman orders were revived and the
columns used on the facades and interiors.
• Cornices appear on the interior of buildings.
• Frescoes and mosaics were used to decorate the
interiors.
St. Paul’s Cathedral- interior
ITALIAN RENAISSANCE

• Italian renaissance has three centres namely, Florence,

Rome and Venice.
FLORENCE
• The façade do not have pilasters in their decorative
scheme (Astylar).
• Sparing use of details, certain feature alone were
concentrated which resulted in simple and bold building.
• The appearance of the massive front on the narrow
streets is emphasised by boldly projecting roof cornice.
• The height of the cornice had the definite proportions to
the height of the building.
• The courtyards and streets with arcade of columns was
a regular feature.
• Early Renaissance churches in Florence have a distinct
refinement in contrast to the rugged fortress like
character of the palaces.
• Architectural design here is a product of the individual
architect rather than the school of craftsman working on
traditional line.
• Leonardo-da-Vinci. Michael Angelo, Raphael are some
of the most prominent among artists of Florence
ITALIAN RENAISSANCE FLORENCE
PALAZZO RICCARDI
• Michelozzo’s best known building.
• It was built as the Medici home and it was sold to Riccardi
family.
• In 1680 it was extended to the north, adding seven new
windows to the original ten of the first floor, main front.
• The older portion of plan has rooms arranged around an
internal courtyard.
• The main apartments are in the first floor. The family
rooms were in the second floor.
• There were wide staircases giving access to these floors.
• There is big open court to the west of the house.
• The corridor of the cortile or inner courtyard is covered
with groined vaults.
• The exterior is an astylar or without columns or pilasters
type.
• It has graduated rustication, with ground floor having
heavy rusticated masonry and semi-circular arches
enclosing windows.
• The upper floor is coursed masonry with bifurcated
windows similar to Florentine Gothic palaces.
• The topmost floor is plain ashlar masonry with similar
windows as that of the first floor.
• The bold cornice above is projecting by 2. 5m from the
surface and is about 1/8th the height of the building. Part Elevation
ITALIAN RENAISSANCE FLORENCE

PALAZZO RICCARDI

Elevation
ITALIAN RENAISSANCE - FLORENCE

PALAZZO RICCARDI
ITALIAN RENAISSANCE

• Italian renaissance has three centres namely, Florence,

Rome and Venice.
VENICE
• Because of Venice’s geographical location, Venetian
designers absorbed many foreign influences.
• Venice also had strong Gothic roots.
• The peculiar topography also gave rise to special type
of buildings to face the waterways.
• Venice was far away from Rome and her classic
traditions. Hence Venetian buildings displayed
combined Gothic and renaissance features.
• The architecture of Venice is lighter and more graceful
than that of Florence.
• Columns and pilasters are used extensively.
• A special Venetian feature is the central grouping of
windows framed on either side of the solid wall.
• The rustication of wall as in Florence is unusual.
Generally there is the order with its cornice to each
storey in contrast to the greatest crowning cornice of
the Florentine palaces.
ITALIAN RENAISSANCE

• Italian renaissance has three centres namely,

Florence, Rome and Venice.
VENICE
• Balconies are graceful and important features in
building facades; they create interesting light and
shade effect on flat surfaces.
• The lower part of the Venetian building is strong,
solid and rustic when compared to the upper
storey as the building faced the waterway.
• Seaweed forms amongst the carved foliage
characterise Venetian renaissance ornament.
ITALIAN RENAISSANCE - VENICE

THE BASILICA, VICENZA

• Designed by Palladio.
• Famous for its Renaissance arcade added to
a mediaeval structure.
• It is a large mediaeval hall 52. 5m x 20. 7m.
• Along the alignment of supporting piers of
the wall the outer arcade is arranged.
• Palladio had to adjust the arcade to the
existing Gothic building.
• The circular windows of upper floor below Elevation
barrel vaulted roof restrict the height of
arcade.

Plan
ITALIAN RENAISSANCE - VENICE

THE BASILICA, VICENZA

• The arcades have cross vaults and twin
columns support the arches, which makes a
beautiful composition.
• There are circular openings in the spandrel.
• The end bays of each façade was made
narrower to give the effect of strength as it
was done by Greeks in Parthenon.
• In between the arches supported by twin
columns are super imposed Doric and Ionic Elevation
orders, which under the main entablature
forms a framework.
• The arcades are constructed out of fine
hard stone.
• This grouping and combination of arches
and columns was termed as 'Palladian
motif'.

Plan
ITALIAN RENAISSANCE - VENICE

THE BASILICA, VICENZA

ITALIAN RENAISSANCE - VENICE

VILLA CAPRA OR VILLA ROTUNDA, VICENZA

ITALIAN RENAISSANCE - VENICE

VILLA CAPRA OR VILLA ROTUNDA, VICENZA

• Palladio’s villa designs gained him more
success than his other buildings.
• It was designed for a client who used the
villa for elaborate gatherings and
agricultural purposes.
• Centralized, square and purely symmetrical
plan with pillared porticos’ on all four sides.
• The porticos which are accessed by a long
flight of staircase provided to take
advantage of the views provided from all
four sides of the villa.
• The central dome seems to radiate out
through the sloped roofs of the portico.
• The beauty of the design lies in its simplicity
which is probably one of the reasons why it
has been copied so much.
ITALIAN RENAISSANCE

• Italian renaissance has three centres namely, Florence,

Rome and Venice.
ROME
• Having been the centre of the ancient Roman empire-
Greater affinity to classical style
• Many of the existing ancient structures were dismantled
and used to build new structures
• Used classical columns in the façade
• Palace facades had unity in design by using one order as
a pilaster across two or three floors thereby binding the
façade into one unit. This unit was then sometimes
surmounted by an attic.
ITALIAN RENAISSANCE - ROME

ST. PETER’S , ROME

N
ITALIAN RENAISSANCE - ROME
ST. PETER’S , ROME

Original plan Bramante’s plan Raphael’s plan Michelangelo's plan Maderna’s plan
ITALIAN RENAISSANCE - ROME
ST. PETER’S BASIILICA, ROME
• It was reconstructed by Michelangelo in about 1546.
• It was his most successful civic and a fine town planning
achievement.
• Along with remodelling the approach on symmetrical lines,
he designed the façade of great palace on three sides.
• During his time the approach stairway with piazza and statue
of Marcus Accrelius were constructed. The rest of
construction was carried out by his successors.
• A competition was held and among the several designs
Bramante's was selected.
• This was Greek cross, with a dome resembling that of a
Pantheon, with lantern and peristyle.
• After the death of Julius II, Bramante's design was over ruled
by Sangallo, Gio Condo and Raphael.
• Among them Raphael changed the plan into a Latin cross.
• After his death Peruzzi who was appointed as an architect
reverted to the Greek - cross plan. After this there was
shortage of funds so, the project was stopped for sometime.
• After Peruzzi's death, Antonio-da-Sangallo, slightly altered
the plan, with an extended vestibule, lofty campanile and
elaborated central dome.
• After 10 years of his death, Michelangelo succeeded him.
The present building has most of features designed by him.
Plan
ITALIAN RENAISSANCE - ROME
ST. PETER’S BASIILICA , ROME
• Michelangelo’s design includes Greek cross plan,
strengthening the piers of dome .
• He also redesigned surrounding chapels and apses. He
reduced the number of bays in each of its arms and also
rescued number of ambulatories, thus making it simpler
plan.
• Giant orders were used and subordinate domes four in
number at a lower level and small in diameter enhanced
the effect more.
• Michelangelo completed the drum and he left models for
lantern and dome.
• The dome was completed by Giacono della Ponta and
Domenico Fontana.
• Vignola added the cupolas but it was ineffective when
Maderna extended nave to become a Latin cross and he
also added gigantic huge façade.
• Finally Bernini, erected the beautiful entrance piazza
198m wide surrounded by 284 columns. It is a four fold
Tuscan column.

Plan
ITALIAN RENAISSANCE - ROME
ST. PETER’S BASIILICA , ROME
PLANNING
• The completed plan consists of a Latin cross of very vast
proportions, internal length is 183m and the width is 137m.
• The total external length, including the portico is 213. 4m.
• The nave is 25. 6m wide consist of four immense bays, which are
longer.
• The nave ends in a high altar, below which is a crypt.
• Height of the nave is 46m from pavement.
• The crossing is covered by a majestic dome, with internal
diameter of 41. 9m.
• The transept and sanctuary terminate in semi-circular apses.
STRUCTURURAL SYSTEMS
• The nave arcade has gigantic columns of Corinthian order, 25. 5m
high and entablature is 6. 1m high.
• The nave covered by barrel vault, coffered and gilded.
• The dome is supported by four immense piers with coloured
statues 4. 9m high, gazing into cupolas of 102m.
• The great dome is 2. 7m thick at base and upper part formed of
two shells of brickwork. Stone ribs support the lantern of height
25m.
• The dome is supported at a height of 76m by only four massive
piers and posed some problems.
• Therefore, the base of the dome is tied by 10 iron chains, to
prevent from spreading (at different times). Plan
ITALIAN RENAISSANCE - ROME
ST. PETER’S BASIILICA , ROME
EXTERIOR
• The entrance portico, 11. 3m x 13. 3m covered the whole width of
the church.
• The exterior has rough travertine stonework with giant Corinthian
pilasters going around the entire building, giving unity to the
design.
• The wall brick with stucco plastering was made to resemble
marble.
• The podium is 5. 5m. Corinthian columns and pilasters are 29. 5m
of dia. 2. 7m, entablature is 6. 1m, attic and balustrade is 11. 5m
high, statues are 6. 1m high, thus the total height of façade is
51m.
• The total height of dome with lantern is 137. 7m height, but this
dominating effect is marred by the extension of nave and
additional portico, which is nearly 50m high.
• The distance of entrance portico is 137m from centre of crossing.
As a result the lower part of dome is not visible to the near
spectator.

Plan
ITALIAN RENAISSANCE - ROME

ST. PETER’S BASIILICA , ROME

ITALIAN RENAISSANCE - ROME

ST. PETER’S BASIILICA , ROME

FRENCH RENAISSANCE - INFLUENCES AND ARCHITECTURAL CHARACTER

GEOGRAPHICAL
• Paris as the centre of new Renaissance influenced all parts of the country.
• As a result there was homogeneous development within extended boundaries, in contrast to the
variety that was played in different cities, states of Italy at the same time.
• Renaissance period started after about 75 years of its inception in Italy.
GEOLOGICAL
• As seen during Romanesque and Gothic period stone is abundantly available throughout France.
• All the finest buildings in Paris were erected out of stone, which can be easily worked, as a result
Paris is called a 'city of stone'.
• Iron was used as a building material in 17th century.
CLIMATIC
• As a result of climatic conditions large windows, high pitched roofs and lofty chimneys became
important architectural elements, which differentiated the style from that of Italian.
RELIGIOUS
• The Christian reformation was little known in France.
• Church character remained unchanged till the end of 18th century.
• France had many Gothic churches, as a result very few new churches were built during Renaissance.
• The religious war in France during late 16th century, many of their best craftsmen migrated to
England.
• During the later Renaissance the influence on the church architecture was found in the powerful
order of Jesuits. Later these people built great churches.
FRENCH RENAISSANCE - INFLUENCES AND ARCHITECTURAL CHARACTER

SOCIAL & POLITICAL

• The advent of Renaissance in France can be linked to wars fought between Italy and France. This
brought many Italian Renaissance masters to France.
• The national style of architecture originating in Paris spread throughout the country.
• Along the river Loire many famous chateaux sprang up. The chateaux were models for other part of
the country.
FRENCH RENAISSANCE - INFLUENCES AND ARCHITECTURAL CHARACTER

• In France there was a tendency to verticality.

• The early buildings in France were mainly chateaux for nobility and
royalty.
• Divided into three periods
-Early Renaissance
• Characterised by a combination of Gothic and Renaissance features.
• While in other regions of Europe, the buildings tended to be designed
more horizontally, in France they were more vertical.
• Principal buildings were castles and chateaux.
• Later periods had more Italian influences
-Classic Period
• More sober and masculine in style at least in the exterior.
• The interior was however still highly decorative
• Walls had long windows which extended through steep roofs to create
dormer windows.
• Flat roofs became common later.
-Late Period
• More emphasis on comfort and convenience.
• The facades became more simplified and at same time less classically
pure, with the orders being replaced by pilasters
FRENCH RENAISSANCE

CHATEAUX - DE CHAMBORD
FRENCH RENAISSANCE
CHATEAUX - DE CHAMBORD
• Designed by Italian architect Domenico
Cortono.
• Built as a fortified castle in the countryside
with an outer wall thus overlaying
renaissance symmetry and medieval
building typology.
• The plan is unusual being made out of two
rectangles one within another.
• The inner block is 220 sq. ft.
• It has four lofty halls on each floor covered
by elliptical barrel vaulting,.
• One façade of smaller rectangle is in line
with outer court.
• The building has many remnants of Gothic
features such a steep pitched and conical
roofs.
• Wall pilasters also add to the Gothic effect.
FRENCH RENAISSANCE
CHATEAUX - DE CHAMBORD
• All four sides are protected by a moat.
• The cylindrical towers were supposed to
be surrounded by loggias(porticoes) but
were not built as the more pleasant
climatic conditions of France did not
required such a shaded area.
• The main fortified core is made up of
rooms placed in the corners accessed by a
cross shaped circulation space and double
helix spiral staircase placed at the centre
of the cross.
• The staircase is crowned by a lantern
which lets in light in the tower.

Double helix spiral staircase

FRENCH RENAISSANCE

CHATEAUX - DE CHAMBORD
ENGLISH RENAISSANCE- INFLUENCES

GEOGRAPHICAL INFLUENCE
• The period of English Renaissance is from 16th to 19th century.
• As England an island all influences originating from the continent took time to develop.
• England was farthest away from Italy. Therefore Renaissance movement effected England
later than all the other countries.
GEOLOGICAL INFLUENCE
• Timber was still used in the Elizabethan Renaissance period as its supply was not
diminished, but it gradually fell into misuse in the succeeding periods.
• In towns close location of buildings with timber construction exposed them to danger of fire.
• England also had good building stone (Portland stone and Bath stone). Most of the
mansions of that period made good use of stone.
• By 18th century, brick was becoming almost universal of domestic architecture and less
important buildings. The bricks were thinner than today and arranged in irregularly loose
form of 'English bond' and later 'Flemish bond' became usual.
CLIMATIC INFLUENCE
• The dull English climate required the use of large windows.
• In the reign of Charles I, in the middle of 12th century, the use of coal for heating brought
fireplace in each room. Chimneys continued to be prominent symmetrical features of
external design instead of being hidden as in Italy.
.
ENGLISH RENAISSANCE- INFLUENCES
RELIGIOUS INFLUENCE
• In England the reformation in religion considered with the commencement of Renaissance in
architecture.
• England became independent of the Church of Rome during the reign of Henry VIII in 1559.
• Monasteries became ruins and churches emerged as national buildings. The social climate was
oriented both to church reform and the church building.
• There were enough churches of the medieval period but in the great fire in London 1666 many
churches were destroyed. All these were rebuilt in the new style by Sir Christopher Wren.
• English churches had to be designed suitable for preaching than for ritual services.
• After Henry VIII broke from the Catholic church, many of these artists returned to Italy, thus slowly
delaying the renaissance in England till the 17th century. The newer influences now came from
nearer regions such as France.
SOCIAL & POLITICAL INFLUENCE
• The expanding commerce was constantly supplying a new class of wealthy merchants to take the
place of former feudal lords. .
• These people patronised new style of building.
• English foreign trade at this time surpassed the trades of other countries. The wealthy commercial
class erected many stately houses in the English countryside.
• The city of London expanded in the west of River Thames. It gave a good opportunity to
Renaissance architects.
• The introduction of printing by Caxton and the discovery of Vitruvius’ book encouraged adoption of
the classical style.
• The new methods of warfare destroyed medieval castles and fortifications. Great areas of land
were available for construction of mansions.
• The new type of building at this period was the college at Grammar school.
ENGLISH RENAISSANCE- INFLUENCES

HISTORICAL INFLUENCE
• Inigo Jones, who was patronised by James I, introduced Palladian style in England.
• The period of Charles I, who was disturbed by the revolution, did not encourage architecture. As
a result progress in architecture was nil.
• Charles II, who stayed at the court of Louis XIV, brought French ideas to English art. William of
Orange brought Dutch influences to English domestic architecture.
• At this time red brick houses with formal gardens were very common.
• During the reign of George I, II & III, Dutch influence declined and Georgian houses became
suitable for English domestic conditions.
ENGLISH RENAISSANCE

ELIZABETHAN COUNTRY HOUSES

• There were two types of houses- the smaller
and more popular arrangement was of a
centrally placed hall with kitchen and offices
at one end and the living rooms at the other.
• The larger was a quadrangular and more
medieval in style.
• The Tudor style which is a cross between
Gothic and renaissance architecture
developed between the reign of Queen
Elizabeth and included a combination of
features such as internal towers, gables,
balustrades, oriel and bay windows,
parapets, chimneystacks.
• Although her commissions were insignificant,
her officials and courtiers built on a grand
Oriel window- a window
scale. corbelled out from the face of a
• The houses usually had larger and sometimes wall by means of projecting
more openings to let in as much light as stones.
possible.
ENGLISH RENAISSANCE

ELIZABETHAN COUNTRY HOUSES-

HARDWICK HALL, DERBYSHIRE

• Designed by Robert Smythson

• Reflected the contemporary Italian design
of the time.
• Plan was symmetrical
• The façade had large windows which
often crossed floors and therefore
designed more for comfort.
• This building moves away from the
medieval fortification associated with
some of the earlier houses in this sense.
ENGLISH RENAISSANCE

ELIZABETHAN COUNTRY HOUSES-

WHITEHALL BANQUETING HOUSE BY INIGO
JONES

• The main interior consists of a double

cube room with continuous balcony.
• Inspired by Palladian designs, he divided
the façade into three parts.
• In the middle of the façade he provided Plan
half columns in contrast to the pilaster
at the exterior ends of the façade.
• In the second tier, he alternated
between triangular and arched
pediments above the windows, And
used a flat lintel in the lowermost floor.
• He also masked the roofline with a
balustrade.

Elevation
ENGLISH RENAISSANCE
ST. PAUL’S CATHEDRAL, LONDON
ENGLISH RENAISSANCE

ST. PAUL’S CATHEDRAL, LONDON

• Built by Christopher Wren with more

influences from France than Italy.
• Original church was destroyed in the Great
Fire of 1666. Wren took this opportunity to
rebuild the church.
• Original plan was to be a Greek cross plan with
a central large dome and secondary domes
below which was the circulation path.
• This plan was rejected as it was too similar to
plans of many Catholic churches.
• A Latin cross plan similar to the previous
Gothic church at the site was adopted.
• The final design of the cathedral was slowly
modified by Wren over the 30 years it took to
build it.
• The plan is similar to that of Roman basilica
which Wren read about in Vitruvian texts.
ENGLISH RENAISSANCE

ST. PAUL’S CATHEDRAL, LONDON

• The central dome was retained with a series of saucer

domes above the nave and aisles and buttresses above
the aisle roofs.
• The walls at the periphery of the aisles are raised to
screen it and create a more classical façade to the
building.
• The western façade is based on Perrault’s design of the
Louvre with repeating pairs of columns forming the
façade.
• The façade contains both Ionic and Corinthian orders.
• The central dome is made of three shells and supported
on eight piers.
• It is raised on a drum 109’ in diameter at the base.
• The inner dome is made of brick 18” thick.
• Around this is a conical shell made of brickwork 18”
thick which supports the lantern above. It also supports
the wooden superstructure which is covered in lead.
• Eight openings are formed at the summit of the second
shell to allow light in.
• The drum above which rests the dome consists of a
colonnade surrounding it, with every fourth opening
filled with brick giving it an appearance of strength.
ENGLISH RENAISSANCE

ST. PAUL’S CATHEDRAL, LONDON

ENGLISH RENAISSANCE

ST. PAUL’S CATHEDRAL, LONDON

BAROQUE
BAROQUE
• Started during a time of counter reformation.
• By the beginning of the 16th century, the
Catholic church had become corrupt which
lead to a reformation in the church.
• In order to maintain a hold of its followers,
the Catholic church started a counter
reformation.
• One of the methods employed was to use art
and architecture
• Baroque architecture while maintaining the
classical base born out of the Renaissance is
Bold massing, concave & convex forms, twisting elements
characterized by spatial complexity and
dramatic achieved by the sharp contrast of
light and shade, concave against convex
forms, bold massing, twisting elements, rich
surface treatments, vividly painted ceilings.
• Complex architectural plan, often based on
the oval, and the dynamic interpenetration of
spaces were favoured to heighten the feeling
of motion and sensuality.
• The final product was meant to be the
dramatic experience of the architecture.
• Notable architects include Borromini, Jacques
Lemericer, Francois Mansart.
Painted ceilings
BAROQUE – ARCHITECTURAL CHARACTERISTICS

• Architecture, departing from the classical canon revived during the Renaissance, took on the
fluid, plastic aspects of sculpture.
• Buildings of the period are composed of great curving forms with undulating facades, ground
plans of unprecedented size and complexity, and domes of various shapes.
• Emphasis was placed on bold massing, colonnades, domes, light-and-shade (chiaroscuro),
'painterly' colour effects, and the bold play of volume and void.
• In the interiors, monumental staircases and the state apartment- a processional sequence of
increasingly rich interiors that culminated in a presence of a chamber or throne room or a state
bedroom became an innovative feature.
• The sequence of monumental stairs followed by a state apartment was copied in smaller scale
everywhere in aristocratic dwellings.
• Town planning of this period featured radiating avenues intersecting in squares, which took cues
from Baroque garden plans.
• Many works of baroque architecture were executed on a colossal scale, incorporating aspects
of urban planning and landscape architecture.
BAROQUE – ARCHITECTURAL CHARACTERISTICS

• Long, narrow naves were replaced by a

broader, or occasionally with circular forms.
• It displayed dramatic use of light that could
be either strong light-and-shade contrast
(known as chiaroscuro)effects; or they used
uniform lighting by means of several
windows.
• Opulent use of ornaments (puttos made of
wood, often gilded), plaster or stucco, marble
or faux finishing.
• Baroques external façade is often
characterized by a dramatic central
projection, however the interior is often no
more than a shell for painting and sculpture.
• Columns had twisted shafts which were
placed in front of pilasters surrounded by
cornices and covered with curved and
broken pediments.
• Baroque architecture contained “over the
top” and often unsuitable details with carved
decoration. Interiors had gilded sculptures
often in awkward poses.
• Many of Baroques additions were finished in
bronze, marble, gold and silver.
BAROQUE – ARCHITECTURAL CHARACTERISTICS

• Baroque architecture was born out

of an abundance of wealth and
power.
• The buildings are lavishly decorated
and often very large. This served to
show off the wealth and influence of
the person who commissioned the
building.
• This style prided itself on the use of
natural lighting even when deep
inside a structure. Large number of
tall narrow windows was common,
as they allowed direct sunlight to
enter the building through much of
the day.
• Baroque buildings often have large
Lavish Dramatic
towers that stand much higher than lighting/
decoration
the main building. These towers are chiaroscuro
typically symmetrical, especially in
western European architecture.
• Eastern European Baroque often
has the towers capped with pear
domes.
BAROQUE – ARCHITECTURAL CHARACTERISTICS

• The façade is a large, superfluous area that is nothing more than a shell for decoration.
• Buildings are usually decorated in large number of statues and frescoes . These decorations can be
found even in areas that are not commonly accessed, such as behind columns and in the corners of
rooms.
• Landscapes and gardens have been focal points of many different designs in various periods. The
Baroque garden is significant for its ability to transition interior spaces to exterior designs and
sculptures which were often created with buildings in mind.

Large
statues

Fountain
bridging
exterior &
interior
spaces
BAROQUE
Santa Maria Della Salute, Venice
BAROQUE

Santa Maria Della Salute, Venice

• The building is essentially Baroque but not overly
ornamented.
• The plan is octagonal and seems to have some
Byzantine inspiration in the raised altar which adds
to the drama of the interior.
• The building sits on a platform of 100,000 wooden
piles.
• At the center of the altar is a statue of Madonna
and child.
• There are chapels projecting on each side of the
octagonal plan and it is surmounted by a dome.
• There is a secondary dome towards the rear of the
building.
• The interior consists of marble columns, the base of
which are gilded in bronze.
• Sculptures are carved from marble and stand high in
the round of the dome.
BAROQUE
Santa Maria Della Salute, Venice
BAROQUE
Santa Maria Della Salute, Venice
BAROQUE
Il Gesu, Rome
BAROQUE

Il Gesu, Rome
• Started by Giacomo Vignolo and completed by
Giacomo della Porta who raised the dome and
designed the façade.
• In plan it resembles one Alberti’s renaissance
buildings, however the columns and aisles are
replaced by transverse barrel vaulted chapels.
• The length of the nave is also barrel vaulted.
• The façade unlike Alberti’s design is much more
three dimensional and dramatic.
• The proportions however seem similar to Alberti’s
design.
BAROQUE

Il Gesu, Rome
BAROQUE
Versailles Palace
BAROQUE

Versailles Palace/ Château de Versailles

• The entire design is representative of
what Baroque architecture truly is. It is
extravagant, dynamic and versatile.
• The building started out as a hunting
lodge built by Lois XIII. It was later
expanded by Louis XIV for the purpose
of making it his permanent residence.
• The land was very marshy and highly
unsuitable for buildings.
• The land had to be drained and an
entire river directed 30 miles to supply
water for the more than 1000 fountains
that were planned along with the
extensive gardens, paths, terraces,
flower beds and sculptures designed by
Andre Le Notre.
• The first expansion were two
freestanding service wings were first
added to the lodge in 1661.
• In 1678, the palace was once more
enlarged under the direction of Francois
Mansart.
BAROQUE

Versailles Palace/ Château de Versailles

• He extended the palace symmetrically
to the North and the South of the main
palace by building long wings and
continuing the original elevation
scheme.
• He added the Hall of Mirrors behind the
west façade of the central block.
• The decorations and sculptures inside
the palace were of pure gold.
• Vibrant colours are used throughout
the palace.
• Soft fabrics, bright colours and
beautiful sculptures decorated the
• interiors of the Palace.
• High windows let in light and glass
chandeliers further added to the
opulence and drama of the interior.
• The exterior has balcony railings that are
gilded in gold decoration as the sun
makes this easy to see.
• Marble is also used on the façade of
• the building but it is mainly decorated
in gold
BAROQUE
Versailles Palace- Hall of Mirrors
BAROQUE
Versailles Palace