Embedded Files
What are the main factors behind the Baroque era? With city planning principles.
What are the main factors behind the Baroque era? With city planning principles.
We can consider the term baroque briefly as a way of expressing power and control.
Baroque palaces have courtyards, vestibules, grand staircases and reception halls at the entrance. Baroque buildings have an abundance of detail. they are usually bright and multi-coloured. In addition, we can see less realistic faces of the subjects and a general sense of awe. If we take a look at the history of the baroque, philosophers used during the Middle Ages to describe an obstacle in schematic logic. Then, this term started to express contorted idea or involuted process of
thought. In portugal the term barroco was used to describe an irregular or imperfetly shaped pearl. To critics barroco meant irregular,bizarre. Until the end of the19th meant grotesque, odd and exaggerated.
The new city complex; During the 15th and 18th centuries, both the form and content of Urban life in Europe changed radically. This new model was shaped by a new economy and a new political framework.
New planners and builders pushed aside crowded walls, tearing down sheds, booths, old houses, piercing through the crook alleys to build a straight street or an open rectangular square. But this was a piecemeal change of the historic city. Renaissance order, openings, explanations changed the structure of the medieval city for the better. Both the tempo and the tonal color of the city were changed. With this new movement, the straight street, unbroken horizontal roof line, round arch and the uniform elements, cornice, lintel, window and column were repeated on the facade. It was created clarity and simplicity. It has also been strengthened with a two-dimensional facade and a facade approach.
The concept of the baroque has two contradictory elements of the age 17th and these two elements existed together between the 16th and 19th century. First one is the the abstract mathematical and methodical side in rigorous street plans, formal city layouts, and in geometrically ordered gardens and landscape designs. Second is the sensuous, rebellious, extravagant, anti-classical, anti-mechanical side in the clothes and religious fanaticism and crazy statecraft.
The new conception of space was associated with organize space, make it continuous, reduce it to measure and order, and to extend the limits of magnitude and finally to associate space with motion and time.
Conception of space associated with time. Baroque space was a moment-to-moment continuum. Time was not cumulative and continuous, but quanto of seconds and minutes.The most important thing is the avenue and the main fact about the baroque city anymore. the movement of wheeled vehicles was important about evolution of the city. during the 16th century cars and wagons were used within cities. the streets of the medieval city were not adapted to such traffic in terms of size and articulation . Now, with the development of the wide avenue, the discrimination of the upper and the lower classes was shaped in the city. The rich drive; the poor walk.
GIANLORENZO BERNINI’s S.Andrea al Quirinale.
He chose extreme clarity and simplicity (even austerity). His structures have straight moldings, rectilinear shapes, and perfectly balanced upper and lower stories with bays of equal dimensions.
His view for architecture as theater reflected the appearance of S.Andrea al Quirinale. Thanks to Coloured marbles, gilding, and rays of light we can see the tonal richness of the interior of the building. S. Andrea's novel facade is among the most important architectural structures with its collonaded porch swinging away in a vigorous convex arc above a platform of shallow steps that repeat the curve in a series of widening arcs. Above the frieze, a segmental pediment, intensely sculptural in nature, breaks in the center to frame a giant coat of armas.The fluid forms are presented with rich contrast to the disciplined articulation of the facade and anticipate the design of the interior altar niche. This facade is among the most prophetic architectural conceptions of the period, with its collonaded porch swinging away in a vigorous convex arc above a platform of shallow steps that repeat the curve in a series of widening arcs. Above the frieze, a segmental pediment, intensely sculptural in nature, breaks in the center to frame a giant coat of armas.
Page updated
Google Sites
Report abuse