High Baroque Late Baroque

The two foremost names in Baroque double-sloped mansard roof (a French innovation).
architecture are Bernini and Borromini

Francesco Borromini was the master of

curved-wall architecture.

church of San Carlo alle Quattro Fontane

Baroque French Chateau
 Rococo Baroque

It pushed to the extreme the principles of illusion and

theatricality:

• Dense ornament,
• Asymmetry,
• Fluid curves,
• Use of white and pastel colors
 Impact of Industrial
Revolution on Architecture
 What is Industrial
Revolution?
• The process of change from an agrarian,
• handicraft economy to one dominated
• by industry and machine manufacture.
• The Industrial Revolution began in
• England about 1760
• radical changes at every level of
• civilization throughout the world
• The revolution in human thought
Industrial revolution and
Architecture

Material

Industrial
revolution
and
architecture

Social Cultural
 Construction material
• Growth of heavy industry brought a flood
• of new building materials
• eg :- cast iron
• steel
• glass
• The biggest impact of the Industrial Revolution on 19th cent
architecture was the mass-production of iron and later steel in
quantities where it became an economically plausible building
material (as opposed a limited material for weapons and tools).

This magical material, steel, was a game changer in architecture.

It's hard to overstate the importance of it in modern life. Only
plastics and silicon since the Industrial Revolution can be said to
rival it in importance to contemporary civilization.
• The application of iron, and particularly steel, to architecture
greatly expanded the structural capabilities of existing
materials, and created new ones. Steel has tremendous
strength to weight and allowed to engineers to design
increasingly bigger, lighter, more open spaces even while
architecturally the traditional style was informed by the
limitations of brick and masonry, as found in curious case of
the popular Gothic Revival, with its claustrophobic feel.
 Cast Iron
• For a long time before the industrial revolution the most
• used metal was pig iron .this is a very brittle metal and to
be
• structural solid required large quantities. The only
practical
• application was in pots, pans and occasionally fireplaces.
• However with the industrial revolution the price of cast
iron
• decreased considerably and by 1850 intricate facades
were
• being made of cast iron that can still be seen in Glasgow,
• Scotland today. The gardeners warehouse that was
• constructed in 1856 was the first completely cast iron
fronted
• commercial building in Britain.
 Wrought Iron
• mostly used in the construction of bridges
• In the second half of the 19th century dislocations
• brought about by the Industrial Revolution became
• overwhelming.
• Many were shocked by the hideous new urban
• districts of factories and workers’ housing and by
• the deterioration of public taste among the newly
• rich.
• For the new modes of transportation, canals,
• tunnels, bridges, and railroad stations, architects
• were employed only to provide a cultural veneer.
The Crystal Palace (1851, London)
1,850’ long, 110’ tall
The Crystal Palace at the London Exposition. Note the
steel framed mezzanines and the open web steel joist
modular roof: very similar to a contemporary indoor
shopping mall.
The Eiffel Tower (1887-89, Paris)
1,063’ high (81 floors)
The Wainwright Building (1890-91, St. Louis)
One of the first skyscrapers (11 floors)
 City and factory town
• • The steam railroad extended its rails
• from raw products to the factory , and
• to the cities of consumers all over the
• land.
• • Every amenity of urban life was
• sacrificed to the requirements of
• industrial production.
• • Railroads and ships joined at the
• factories , and the waterfront became
• the industrial core of the city.
 Public and safety in city
• The heavy buildings cover on the land
• reduced the natural drainage of the city.
• • But extensive street paving permitted
• effective cleaning and strong sewers
• augmented the sanitary equipment.
• • Common use in city street lamps.
• Electricity began to replace gas for
• street lighting.
• The Industrial Revolution, which began inEnglandabout 1760, led to radical changes at every level of
civilization throughout the world. The growth of heavy industry brought a flood of new building
materials—such as cast iron, steel, and glass—with which architects and engineers devised
structures hitherto undreamed of in function, size, and form.
• Disenchantment with baroque, with rococo, and even with neo-Palladianism turned late 18th-
century designers and patrons toward the original Greek and Roman prototypes. Selective borrowing
from another time and place became fashionable. Its Greek aspect was particularly strong in the
young United States from the early years of the 19th century until about 1850. New settlements
were given Greek names—Syracuse, Ithaca, Troy—and Doric and Ionic columns, entablatures, and
pediments, mostly transmuted into white-painted wood, were applied to public buildings and
important town houses in the style called Greek revival.
• In France, the imperial cult of Napoleon steered architecture in a more Roman direction, as seen in
the Church of the Madeleine (1807-1842), a huge Roman temple in Paris. French architectural
thought had been jolted at the turn of the century by the highly imaginative published projects of
Étienne-Louis Boullée and Claude Nicholas Ledoux. These men were inspired by the massive aspects
of Egyptian and Roman work, but their monumental (and often impractical) compositions were
innovative, and they are admired today as visionary architects.
• The most original architect in England at the time was Sir John Soane; the museum he built as his ownLondonhouse (1812-1813) still
excites astonishment for its inventive romantic virtuosity. Late English neoclassicism came to be seen as elitist; thus, for the new
Houses of Parliament the authorities insisted on Gothic or Tudor Revival. The appointed architect, Sir Charles Barry, was not a Gothic
expert, but he called into consultation an architect who was—A. W. N. Pugin, who became responsible for the details of this vast
monument (begun 1836). Pugin, in a short and contentious career, made a moral issue out of a return to the Gothic style. Other
architects, however, felt free to select whatever elements from past cultures best fitted their programs—Gothic for Protestant
churches, baroque for Roman Catholic churches, early Greek for banks, Palladian for institutions, early Renaissance for libraries, and
Egyptian for cemeteries.
• In the second half of the 19th century dislocations brought about by the Industrial Revolution became overwhelming. Many were
shocked by the hideous new urban districts of factories and workers’ housing and by the deterioration of public taste among the newly
rich. For the new modes of transportation, canals, tunnels, bridges, and railroad stations, architects were employed only to provide a
cultural veneer.
• The Crystal Palace (1850-1851; reconstructed 1852-1854) in London, a vast but ephemeral exhibition hall, was the work of Sir Joseph
Paxton, a man who had learned how to put iron and glass together in the design of large greenhouses. It demonstrated a hitherto
undreamed-of kind of spatial beauty, and in its carefully planned building process, which included prefabricated standard parts, it
foreshadowed industrialized building and the widespread use of cast iron and steel.
• Also important in its innovative use of metal was the great tower (1887-1889) of Alexandre-Gustave Eiffel in Paris. In general, however,
the most gifted architects of the time sought escape from their increasingly industrialized environment by further development of
traditional themes and eclectic styles. Two contrasting but equally brilliantly conceived examples are the sumptuous Paris Opera (1861-
1875) by Charles Garnier and Boston’s grandiose Trinity Church (1872-1877) by Henry Hobson Richardson .
• Taxes against glass, windows and bricks were repealed which saw a new interest in using these building materials. Factory made plate glass was developed
and complex designs in iron grillwork were a popular decoration for the classical and Gothic buildings. There were also terracotta manufacturing
improvements, which allowed for more of its use in construction. Steel skeletons were covered with masonry and large glass skylights were popular.
• Improvements to the iron making process encouraged the building of bridges and other structures. Large indoor open spaces were now made possible
with the use of strong iron framed construction; this was ideal for factories, museums and train stations. The Eiffel Tower, built for the 1889 Exhibition in
Paris was a dramatic demonstration by the French of their mastery of this new construction technology. “To the architect-engineer belongs a new
decorative art, such as ornamental bolts, iron corners extending beyond the main line, a sort of Gothic lacework of iron. We find that to some extent in the
Eiffel Tower.”
• But it was heavily criticized by some architects and artists who scorned it as an example of the “blackness of industry” and saw it as blight on the city’s
skyline.
• The Crystal Palace created to enclose the Great Exhibition of 1851 inEnglandwas a glass and iron showpiece, which dazzled the millions of visitors who
passed through its doors. Built by Joseph Paxton within six months, its design mimicked the greenhouses that were his customary stock in trade. It was
spacious enough to enclose mature existing trees within its walls.
• There was some rejection of the new Industrial Revolution architecture and it’s emphasis on classical construction, Palladian styles and Victorian
“gingerbread” houses; some impressive Gothic revival architecture was commissioned instead. Notable examples were the British Parliament Buildings
with their pointed spires and suggestion of strength and moral values. “Strawberry Hill”, built after the mid-eighteenth century, seems patterned after a
Gothic castle and though it combined some novel construction materials which reflected strong spiritual and religious sentiments in its design.
• Regarding architecture of this era, John Ruskin, a co-founder of the Arts and Crafts movement toward simplicity argued, “You should not connect the
delight which you take in ornament with that which you take in construction or in usefulness. They have no connection, and every effort that you make to
reason from one to the other will blunt your sense of beauty…. Remember that the most beautiful things in the world are the most useless; peacocks and
lilies for instance.”