ARCH  2315  Exam  2  Review

• The  Review  images  and  informa;on  are  forma<ed  to  fit  3x5  note  cards.

• Print  the  review  by  choosing  the  op;on  to  print  6  per  page,  and  you’ll  have  the  images  and  informa;on  ready  to  make  notecards.

• The  slides  are  numbered  consecu;vely  in  order  to  help  you  arrange  them  in  proper  order.

1

ARCH  2315  Exam  2  Review

• Exam  2  will  follow  the  format  of  Exam  1.    

• You  must  iden;fy  sites  and  buildings  and  write  short  and  long  essays.

• You  must  iden;fy  the  images  exactly  as  they  are  indicated  in  this  review.  

2

3

St. Peter’s, From the Nolli Map of Rome, 1748

Centralized plan, Michelangelo, 1546

Nave and facade, Carlo Maderno,1606

Piazza Retta and Piazza Obliqua Bernini, 1657

4

5

Scala Regia at St. Peter’sRome1663Bernini

6

7

VierzehnheiligenBamberg, Germany1744Balthasar Neumann

8

9

Versailles, Map of GardensVersailles, France1661Andre Le Notre, gardens

10

11

St. Paul’s CathedralLondon1675Sir Christopher Wren

12

13

Wren Plan for London after the Great Fire of 1666Sir Christopher Wren

14

15

Plan for Rome1585Pope Sixtus V

16

17

Washington, D.C., plan1790Pierre L’Enfant

18

19

Louvre, proposed elevationParis1665Bernini

20

21

Louvre, East ElevationParis1667Claude Perrault

22

23

Frontispiece (Laugier’s Primitive Hut)“Essay on Architecture”1753Marc-Antoine Laugier

24

25

Petit TrianonVersailles, France1762Anges-Jacques Gabriel

26

27

St. Genevieve, PantheonParis, France1756Jacques-Germain Soufflot

28

29

Hotel SoubiseParis1735Germain Boffrand

30

31

School of SurgeryParis1769Jacques Gondoin

32

33

Theatre FrancaisParis1767Peyre and Wailly

34

35

Place Louis XV, now Place de la ConcordeParis, France1755Ange-Jacques Gabriel

36

37

St. Stephen’s, WalbrookLondon, England1672Sir Christopher Wren

38

39

St. Stephen’s, WalbrookLondon, England1672Sir Christopher Wren

40

41

St. Stephen’s, WalbrookLondon, England1672Sir Christopher Wren

42

43

Versailles

44

45

Versailles

46

47

Detail of cross section ofSoufflot’s Pantheon

48

49

(left)Cartesian Man c. 1750

(right) Vitruvian Man

50

51

View of the anatomical theatre in Gondoin’s School of Surgery

52

53

“The Anatomy Theatre”Thomas Eakins, 1875

54

55

Newton’s Cenotaph (unbuilt)1784Etienne Boulee

56

57

Chaux SaltworksChaux, France1774Claude Nicholas Ledoux

58

59

Chaux SaltworksChaux, France1774Claude Nicholas Ledoux

60

61

Barriere du TroneParis, France1785Claude Nicholas Ledoux

62

63

Urn depositing waste produced by the salt-refining process.An example ofArchitecture ParlanteChaux Saltworks1775Claude Nicholas Ledoux

64

65

Director’s HouseChaux SaltworksChaux, France1774Claude Nicholas Ledoux

66

Dematerialization of Space

67

The use of devices such as light, painting, ornament to obscure the structure of an interior in order to give an

ethereal [look it up] quality to a space.

68

Enfilade

69

An axis through the doors of a series of spaces, such as those in Versailles

70

Axis

71

Directional device, such as an avenue or boulevardIn an oval, there is a short axis, indicating a secondary

direction.

72

Radial

73

Developing uniformly from a central axis, e.g. the avenues converging on the Piazza del Popolo

74

Terminus

75

a focal point, such as an obelisk

76

Diagonal Axis

77

Directional device at an angle to the main axis, creating multiple axes and thus emphasizing to greater degree the

terminus of movement or a sight line. Viewed from the terminal point, the diagonal and straight axes offer multiple

choices for experiencing the landscape or urbanscape. Note examples of Rome, Versaille, and Washington, DC.

78

Rustication

79

Rough-surfaced masonry blocks, having beveled or rebated edges and pronounced joints. Commonly used

on the ground floor of buildings. During the mannerist and neo-classical periods, rustication was used also on

selected elements and motifs, for example, columns, door and window architraves, and arches.

80

Concatenation

81

The building up of parts to the center, as in Sta. Susanna

82

Parterre

83

In garden design, an ornamental, geometrical arrangement of flat, planted beds

84

Characteristics of the Baroque

85

1.Concantenation: the building up of parts to the center.2.Sense of movement, energy, tension.3.Chiaroscuro (key-ra-skew-row): strong contrasts of light and shadow, without regard to color.4.Dematerializatioin of Space: the use of devices such as light, painting, ornament to obscure thestructure of an interior in order to give an ethereal [look it up] quality to a space

86

Formal Characteristics of French Neo-Classicism

87

1. Rejection of fluid, Baroque forms and a search for simple, expressive tectonics2. Emphasis on bold horizontal profiles3. Massing of elements in cubic and rectangular form4. Emphasis on stereotomy, the cutting of stone

88

Study Questions:

First: Do NOT assume that I will “know what you mean.” Be specific in both your explanations of ‘spear’ and of your formal analysis.

89

1. What is the architectural and liturgical significance of St. Stephen’s, Walbrook?2. Can you make a succinct and clear formal analysis of the buildings, landscapes, and cityscapes we have covered in class? 3. Can you compare Sixtus V’s plan for Rome to Versailles and Washington D.C. as a progression through time of the appropriation and transformation of both form and symbol?4. Using “Vitruvain Man” and “Cartesian Man” as ‘manifestations’ of their respective periods, can you explain the transformation of worldviews from the Renaissance to the Enlightenment? 5. Can you name the major authors and their writings that provided the foundation for the Enlightenment?6. What is the significance of Laugier’s Primitive Hut?7. Can you explain how and why the French rejected the Italian Baroque? Use specific examples of buildings.8. St. Paul’s Cathedral, by Wren, is both structurally conservative and innovative. Explain this statement, then explain how Renaissance classicism adapted (again) as it moved into England.9. Can you compare Bernini’s proposal for the Louvre to Perrault’s?10. What is the significance of Soufflot’s St. Genevieve, aka ‘the Pantheon’?11. Can you explain mercantile capitalism?12. Can you explain how mercantile capitalism differs from the Medieval social order?13. What is “neo” about Neo-classicism?

90

14. Using Gondoin’s school of surgery as an example, can you explain how neo-classicism is a manifestation of the Enlightenment?15. Traditionally, when do we date the beginning of the Renaissance? Of the Enlightenment?16. Can you name and explain the formal characteristics of the Baroque and the French Neo-Classical?17. Do you know the terms in this study review and can you use them correctly in a formal analysis?18. Can you define “appropriation” as it applies to ancient buildings types during the Baroque and Neo-Classical periods?19. Can you explain the Enlightenment as a period in which ‘systemization and categorization’ became important? What were the major writings that led to these ideas? Can you site examples of how Enlightenment architects incorporated this idea in their work?20. What is the significance of Ledoux’s work at Chaux?21. What is the significance of Ledoux’s work on the Barrier’s of Paris?22. What is the significance of Gondoin’s School of Surgery?23. What is the significance of a comparison among Sixtus V’s plan for Rome, Le Notre’s garden plan for Louis XIV’s Versailles, and L’Enfant’s plan of Washington, DC?25. Can you explain the French rejection of the Baroque?26. What is meant by the phrase “the secularization of the Baroque”?

91