ARCH 143- Midterm 2 - Mark brack PDF

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STUDY AID #5

LEGENDS OF THE FALL: THE AZTECS AND THE INCAS THE AZTECS The Aztecs founded their capital city of Tenochtitlán in 1325 on islands in the center of a swampy lake. According to legend, the Aztecs were led to the site by their primary deity and they viewed the site as the spiritual center of the world. In less than 200 years, Tenochtitlán became one of the largest, and probably the best-organized and most hygienic city in the world. It was connected to the mainland by causeways carrying traffic and water. The city was divided into four main wards, which symbolized the corners of the earth. At the center of the city was a sacred precinct surrounded by a wall and moat. It contained 78 ceremonial structures as well as Moctezuma's palace and palaces for priests. The focus of the sacred precinct was the twin pyramid, the Templo Mayor (or Great Temple) dedicated to the deities of Huitzilopochtli (war and sun) and Tlaloc (water). This commanding temple was rebuilt and enlarged several times between 1325 and the early 1500s. Tenochtitlán was almost completely destroyed by the Spanish under the leadership of Hernán Cortés in 1521. On the ruins of Tenochtitlán, Cortés founded his own capital, Mexico City. SOUTH AMERICA The legacy of cultural accomplishments in South America is as impressive and lengthy as that in Mesoamerica. A number of cultures on the on the western edge of the continent built monumental structures, including the oldest pyramids (c. 3500 BC) in the Western Hemisphere. Unlike the Mesoamericans, the cultures in South America had no written languages, and that has made the understanding of their history and development more difficult. The Nazca culture (c. 200 BC to 700 AD) was found in an extremely arid section of coastal Peru and is distinguished by its astounding “lines” or geoglyphs. Also on coastal Peru, the Moche people (c. 100 BC-800 AD) built enormous pyramids of adobe bricks (e.g. Huaca del Sol) and buried their leaders with caches of valuable treasures. Although the Moche culture finally collapsed, their possible descendants, called the Chimu (or Chimor), were able to reestablish urban culture and produced some of the finest textiles and metal work to be found in the Americas. Their capital city of Chan-Chan, (begun c. 850, primarily 1200-1468) coastal Peru, featured enormous adobe-walled residential compounds and palaces laid out in an orthogonal manner. The Chimu were eventually conquered by the Incas, who had started as an insignificant tribe in the Andes). Like their contemporaries the Aztecs, the Incas (who called their kingdom Tawantinsuyu), built a large empire through conquest within a short period of time, only to see it destroyed by the Spanish. Their capital city of Cuzco (c. 1200-) had walled compounds of massive, cut stone blocks. Perhaps the best-preserved Inca site is Machu Picchu, Peru, c. 1450-1470. Located high in the Andes, its exact purpose is unclear, though it may have been a regional administration center and/or royal resort for King Pachacuti. It features the characteristic Inca terraced agricultural plots and stone houses with thatched gable roofs.

Machu Picchu, Peru. 1450-1470. Patron: King Pachacuti (?) Machu Picchu ● The sacred Urubamba River surrounds the base of the mountain on 3 sides ● It was a retreat for elite ● A few burials- no gold or valuables

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Built during the rule of Pachacuti 250 building structures Terraces allowed for drainage , agriculture, and the control of the flow of water and fortified the site against seismic activity ○ Reinforce the hill side and for agriculture ○ Has a water flow system 500-750 living there- retainers waiting for the elite to come Trapezoids- are inca trademark A temple (curved building)- temple of the sun has a different material

STUDY AID # 6

THRONES OF GOD: ISLAMIC ARCHITECTURE IN INDIA, IRAN AND TURKEY IN THE 16 th AND 17th CENTURIES As Islam spread across Asia, Africa and Europe, a wide range of ethnic groups developed their own interpretations of basic Islamic architectural forms and needs. Once established, the architecture of many of these Islamic cultures underwent even further development, as designers explored innovative approaches to aesthetics and structure. The Safavid dynasty ruled much of what is now Iran from 1501-1732. The most important ruler of the dynasty for our studies was Shah Abbas I (ruled 1586-1629) who expanded and beautified the old city of Isfahan for his capital. Building on earlier Central Asian and Persian designs that included tiled “onion” domes and ubiquitous portal/niches set within rectangular frames known as pistaq. Shah Abbas’ architects built a city of multicolored monuments (e.g. Masjid-i-Shah, 1611-1630, Abu’l Qasim architect (?), great gardens and an enormous public square called the Maidan-i-Shah. The Mughals were a Muslim dynasty that originally came from Central Asia, but conquered and subjected much of Hindu India from the 16th to the 19th centuries. Culturally influenced by the Persians, as well as the native Hindus (e.g. palace complex at Fathepur Sikri, 1571-81, Emperor Akbar patron), the Mughals created some of the world’s most beautiful buildings, including the Taj Mahal in Agra, India, 1632-1643, Emperor Shah Jehan patron, Usted Ahmad Lahawan, architect (?). The Ottoman empire was formed by Turkish tribes in Asia around 1300 and over the next several centuries expanded their territories to include most of the land formerly controlled by the Byzantine empire and the Islamic caliphs in the Middle East and North Africa. The Ottomans finally vanquished the ancient, if shrunken, Byzantine Empire when it captured Constantinople in 1453. The Ottomans made the city their capital and renamed it Istanbul. The greatest architect of the Ottoman Empire in the sixteenth-century was Sinan, who built monumental complexes for several kings or sultans. One of his masterpieces is the civic/religious complex (a külliye) called the Süleymaniye (aka the Süleyman Mosque and kulliye) which Sinan built for Sultan Süleyman I in Istanbul between

1550-1557. The dome of the great mosque in the complex was a conscious effort to surpass the Hagia Sofia on the part of patron and architect. Isfahan, Iran. Re-developed by Shah Abbas I from 1598-1629 Isfahan, Iran ● Organic plan ● Originally a really old city ● “Build all this stuff” - clearly laid out orthogonally- deviation from islamic practice ● Water channels and trees ● Being divided into four parts ● Use water effectively ● Palaces for nobility along the boulevard ○ High interior ceilings that facilitate air circulation for the hot air ○ Statues, fountain, water pools, high columns ● Pointed arches ● Shadow and lights are key elements ● Maidan-i-shah ○ Large square- unified public square ○ Imports artisans to build this city- becomes aware of this european idea of a square ○ Enter at one end, other end has a masque, another masque, a palace, and an entertainment center-- like a giant shopping mall- commercial district- originally had a water for water polo ● An onion dome- covered in glazed tile ● Calligraphy to ornimate buildings ● Masjid (mosque) -i-Shah ○ C. 1611-1630 ○ Context ■ Architect: Abu’l Qasim (maybe) ■ Enter on main longitudinal axis of the square ■ Minarets on edges ■ Angled toward Mecca and the Ka’ba ■ Large triumphal arches forming the entrance ● Amazing muqarnas and calligraphy ■ Design influenced my Uzbeks ■ Every niche are ornamented (in the square- gathering place before entering the mosque) ■ Islamic ornamentation ● Curves & swirls ● Geometric ● Calligraphy ■ Glazed tile domes (very durable) ● Can still crack under weather conditions ■ Double dome ornamented w/ muqarnas ■ 2 standard features: ● Mihrab niche: to pray towards mecca ● Minbar: stairs for the preacher to walk up on ■ No chairs ■ Rugs on the floor ■ Worship is very physically active

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150 ft tall dome- taller than the pantheon ● Absolute breathtaking ● Massive amount of calligraphy

Mughal Architecture ● Islamic armies began colonizing India in 1792 ● Much skinnier, more towards Hindu architecture than Isfahan ● King Akbar!- consolidated very shaky relations of region ○ Hes a muslim but also a mistic interested in many different religions ■ Had hindu, christian wives in addition to his muslim wife ○ At one point, he converted to Jainism, vegetarian religion ○ Also ordered masacres on many groups around the region ○ Becomes a heretic as he dies ○ His architecture is inspired by all of these religions that he was observing (hinduism mostly) ○ Hybridising old hindu ideals w/ modern muslim ideas ○ Marble screens that break up the light onto the interior The Taj Mahal. Agra, India. 1632-1643. Patron: Shah Jehan. Architect: Usted Ahmad Lahawan (?). Taj Mahal ■ C. 1632-1643 [Agra, India], ■ Context: ● Patron: Emperor Shah Jehan (“king of the world”) ○ Ruthless and cruel ruler (killed his brothers and sons to secure his seat on the throne) ○ 2 redeeming qualities (love of art and his wife) ■ 1 of his wives who died (Taj Mahal- died in childbirth) ● Architect: Usted Ahmad Lahawan (?). ● “Solitary tear suspended upon the cheek of time” ● Mughals adopt the onion dome from Persia ● Meant to evoke an idea of transition between the earth and the afterlife ● Almost entirely constructed of bring (the marble is the veneer) ● Inverted lotus on top- fertility symbol in Hindu ● Reflecting pool in front ● 4 minarets on the perimeter ● 4 mini domes on top ● Recessed porches and evans ● Whole building is elevated on a pedestal

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○ Highlighting the significance of the building Building is completely embroidered Muqarnas in white marble ○ Black jet to create contrast 20000 craftsmen & builders from all over the world Clear quartz in the marble, captures lights magnificently Mosque on one side, not oriented to mecca Other side is a guest house Heavily choreographed site, using landscape and overall context to highlight the charbah (4) garden Symbolic representation of the “throne of GOD”? They had imitators that were not as good Architect when on to build other great buildings- in deli

The Ottoman Empire ○ Turkish tribes in central Asia ○ Empire spread through conquering ○ Replaces the byzantine empire -1453 ○ Sultan= king ○ Capital: Constantinople → Istanbul ○ Missile like minarets ○ Sultan Sulieman the Magnificent ■ Great builder/great warrior ■ Killed all that defied him & threats to his throne (his sons & brothers) The Süleymaniye. Istanbul, Turkey. 1550-1557. Architect: Sinan. Patron: Sultan Süleyman I. The Suleymaniye ■ 1550-1557 [Istanbul Turkey] ■ Context: ● Architect: Sinan ● Patron: Sultan Suleyman I ● Very expensive ● Very big ● City complex ○ Civic center ■ Soup kitchen ○ Mosque ○ Hospital ○ Public Baths ○ Mental Asylum ●

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○ Library ○ Commercial shops to pay the rent ○ Tomb of the Sultan ○ Traveling merchants motel ● Right along the water ● Built around courtyards ● Elaborate mosaic patterning on the interior ● Exquisite tile makers- the ottoman turks ● Large Mosque in the center ● Providing for the needs of their citizens ● Tomb for the Suleymaniye The Mosque ● This building has a great dome and two half domes and semi domes ● It is a centralized plan and square in the center ● Crowning domes everywhere ● It can be compared to the Hagia Sophia ○ In a competition with each other ○ Not as wide but is taller than the hagia Sophia ● Harmonious design ● Basilica and centralized combined better than in the Hagia Sophia ○ He is looking a european books and at idealized plans ● Dematerialized its structure ● Uses paint to point out perfect geometry

STUDY AID #7

CREATING THE MIRACULOUS: BAROQUE ARCHITECTURE AND URBANISM IN ITALY As we have seen, artists and architects began to abandon the simplicity and idealism of the High Renaissance in favor of the greater freedom and experimentation characterized by Mannerism. Mannerism in turn led to the full-blown sensuosity, complexity and daring of the Baroque. The Baroque is distinguished by its love of theatricality, movement and plasticity. Three designers in Rome were primarily responsible for bringing the Baroque to its maturity, and their influence would spread throughout European culture. Gianlorenzo Bernini, like Michelangelo before him, was the foremost artist of his century--accomplished in many areas of endeavor, especially sculpture, e.g.: the Cornaro Chapel (in St. Maria della Vittoria), Rome, 1645-52; and the Baldacchino, St. Peter’s, Rome, 1624-1633. His architectural works include: Sant’ Andrea al Quirinale , Rome, 1658-76; the Scala Regia, Vatican, Rome, 1658-71; and the unexecuted project for the Louvre, Paris, 1664. Francesco Borromini was Bernini’s leading competitor. Although he never achieved Bernini’s fame, his designs displayed an unparalleled spatial complexity, e.g. San Carlo alle Quattro Fontane (aka

San Carlino), Rome, 1634-41, facade after 1665-1677; and Sant’ Ivo della Sapienza, Rome, 1642-60. Pietro da Cortona was the final member of this great Roman Baroque trio. His works include: Santa Maria della Pace, Rome, 1656-9; Santa Maria in Via Lata, Rome, 1658-. Other architects built on the accomplishments of these three Roman designers and created buildings throughout Italy that were increasingly complex and plastic. In Northern Italy, designers such as Guarino Guarini (and later Bernardo Vittone) adopted Borromini’s taste for complex and/or fluid plans. Guarini combined Borromini’s spatial innovations with a sense of Gothic lightness and structural exhibitionism, e.g. Cappella della SS. Sindone, Turin Cathedral, 1667-90; San Lorenzo, Turin, 1668-80, erected as a shrine to hold the Holy Shroud of Turin. Baroque Planning Like the planning efforts of the Renaissance, most planning efforts during the Baroque period were limited attempts at redesigning relatively small parts of the city. However, these works sometimes possess a grandeur or variety that is original as well as inspiring, e.g. the Piazza for St. Peter’s, Rome, 1656-67, commissioned by Pope Alexander VII, Bernini architect; Piazza Navona, Rome, fountains by Bernini, 1647-55; the “Spanish Steps,” Rome, 1723-28, Allesandro de Sanctis architect; Piazza di S. Ignazio, Rome, 1727, Filippo Raguzzini architect; and the Trevi Fountain, Rome, 1732-62, Nicola Salvi architect. The most significant and influential planning effort of the Italian Baroque was the Plan for the Redevelopment of Rome, designed by Domenico Fontana under the direction and patronage of Pope Sixtus V, 1585-90. The plan involved the building of new aqueducts and piazzas. Most importantly, new straight streets were cut through the city to tie the city’s religious and historical monuments together and open new areas for development.

Cornaro Chapel. (in the church of S. Maria della Vittoria), Rome, Italy. Architect: Gianlorenzo Bernini, 1645-52. Cornaro Chapel ● Sums up the concept of Baroque ● Spend a lot of money on ornamentation in one of the chapels ● A family member was buried and died in the chapel ● The color- a wine color- marbles - patterns and colors ● Edicule- temple like frame- ellipse ● Image of holy spirit on the ceiling- not by Bernini ● Create a light source- a skylight via a tube to illuminated this sense of “St. Theresa in Ecstasy” ○ Bronze lines ○ St. Theresa was a spanish nun- spain- she doesnt wear shoes ○ St. Theresa was promoted by roman catholic church ○ She has mystical encounters with the divine ■ In her cell- lifted up in the air- an angel close by her- his face was burning- all of fire- long spire of gold- thrusting arrow in to heart- with the great love of godpain was so great it hurts so good ■ Religious ecstasy ■ Special effects to bring you into the scene

Piazza San Pietro (aka St. Peter’s Square). Rome, Italy, 1656-1667. Architect: Gianlorenzo Bernini. Patron: Pope Alexander VII. Piazza San Pietro ● Bernini created a great Piazza to unify the space and block out the surrounding buildings ● He came up with towers that were more skeletal for st. peters ● The scheme is trapezoid and an oval- the focal point is the obelisk ● Statues- religious figures on the top ● Columns- simple pediment ● Models light and shadow very effectively ● Gives a grand square for St. Peters ● The colonnade is the arms reading out from the catholic church

The Trevi Fountain. Rome Italy, 1732-1762. Architect: Nicola Salvi. The Trevi Fountain ● The structure was made as a backdrop ○ Triumphal arch ○ The mythology of ancient gods ○ Cascade of water ○ Big and splashy event ○ Rustic rough grato

Baroque Urbanism ● More focused on movement (curves) and how things affect your emotionally Rome= “The Eternal City” Plan for the Redevelopment of Rome, Italy, 1585-90, Designed: Domenico Fontana, Patron: Pope Sixtus V Plan for the Redevelopment of Rome ● Baroque arrogance within the plan

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Involves the repair of new aqueducts ○ They build the first completely new aqueduct ■ Aqueduct Felice - 287 miles long ● At the end, statue of moses ● Brings water to the city ○ More importantly, brings to undeveloped stretches of land ■ The pope’s family’s land ● Reuse ancient egyptian lions to ornament the aqueducts ● Built in elevated part of the city Build new streets as well ○ Makes circulation between religious sites (outside the city) and cities easier ○ Pope executes thousands of Romans for mugging tourists; wants to make his city safer ○ Coliseum at the end of one of these long, broad streets- ancient roman artifacts ○ Wide enough for carriage U-turns ○ Tax breaks to anyone who builds on the streets ○ Angles these streets towards place markers to draw your attention ■ They are designed to enhance the views ○ Tribium- 3 straight streets come together Plan found in mural in library Pass Laws: if you're private property owner and super rich, you can force your neighbor to sell their house to you for you to build your new big-ass house

Sant’ Andrea al Quirinale, Rome, Italy, 1658-1576, Architect: Gianlorenzo Bernini Sant’ Andrea al Quirinale ● Oval church ● Mini piazza ○ Wings fly out the sides of the church to create room for a piazza ● Temple like facade ● Overscaled valutes ● Individual chapels around the interior perimeter of the church ● Roman brick- long, flat, orange ● Travertine stone ● Reflective, white plaster ● Geometry still plays a roll, but more complex ● Recessed niche, and hidden light source (tube up to exterior) on opposing wall ○ Niche framed by edicule, broken pediment (broken by statue of st andrew going to heaven), and wall ornamentation ● St andrew- fisherman martyr

San Carlo Alle Quattro Fontane, Rome, Italy, 1634-1641, (facade 1665-1677), Architect: Francesco Borromini San Carlo Alle Quattro Fontane ● Aka San Carlino (little church) ● Built for group of spanish monks ● Down the street from Sant’ Andrea ● 4 fountains incorporated into the building on each corner of intersection ● Plan: ○ Narrow church ○ Tiny cloister (rectangular) (22 ft across) ○ In the back: monastery, and tiny garden ○ Diamond shape ○ Continuous ungelation ○ Very different ● The monastery building ○ Follow tradition- encased dome ○ Carving away ● The facade ○ Continuous curve ○ Very unlike others ○ Different curvature plans on different floors ■ Below: Concave, Convex, Concave ■ Above: Concave, Concave, Concave ○ Never seen before in architecture ○ Mostly travertine stone (collects pollution really well) ■ Needs to be cleaned a lot (dust and what not) ○ Lots of 3s in architecture (father, son, holy ghost) ● Continuous palladian motif in the interior ● Columns not set at same distance from each other ● 4 pendentives ● Places a pediment within a dome ● Oval dome on top ○ Coffering system (greek cross, hexagon) ■ First one to do this ● His whole thing is manipulating space in ways the viewers won't expect

Sant’ Ivo della Sapienza, Rome, Italy, 1642-1660, Architect: Francesco Borromini Sant’ Ivo della Sapienza ● Commissioned by college ● Tight, constrained site ○ Therefore, has to build up ● Borromini adds extra floor on top ○ Ornamented with bees (window surrounds) ● What...