HISTORY OF

CHURCHES
OUTLINE

 EARLY CHRISTIAN ARCHITECTURE

 BYZANTINE ARCHITECTURE
 ROMANESQUE ARCHITECTURE
 GOTHIC ARCHITECTURE
 RENAISSANCE ARCHITECTURE
 MODERN TO CONTEMPORARY ARCHITECTURE
OUTLINE

 EARLY CHRISTIAN ARCHITECTURE

 BYZANTINE ARCHITECTURE
 ROMANESQUE ARCHITECTURE
 GOTHIC ARCHITECTURE
 RENAISSANCE ARCHITECTURE
 MODERN TO CONTEMPORARY ARCHITECTURE
EARLY CHRISTIAN
CHURCHES
 Christianity was a persuasive
religion of salvation which
attracted the attention of
Roman authorities. As such,
many Christians were
persecuted during the Roman
era.
 The Edict of Milan was a letter
signed by the Roman
emperors Constantine and Licinius,
that proclaimed religious
toleration in the Roman Empire. The
letter was issued in February,
313 AD and stopped the
persecution of Christians.
CHARACTERISTICS

 The final phase of Roman architecture

 Christianity became the state religion
 Roman basilica form was adopted as ground plan
 Churches were constructed over the burial of saint
 Facades face east
TYPES OF CHURCHES

 Basilican
 Martyrium
 Before the Edict of Milan, religious gatherings are held in private houses.
 BASIC FORM

 BASILICAN TYPE
 A FORM INSPIRED FROM
ROMAN BASILICA

ROMAN BASILICA- The inspiration behind Early Christian

Churches
ROMAN BASILICA

 A Roman basilica, though, was a public building that was mostly used for
legal courts and business matters. Since Roman-built cities were all
designed on the same plans, every Roman town had a basilica. Basilicas
followed a general style of architecture that made the building roughly
rectangular in shape, and they always had a roof.
 BASILICA OF MAXENTIUS OR CONSTANTINE, ROME
 APSE

APSE NAVE

ENTRANCE
 PARTS OF A BASILICAN CHURCHES

 NARTHEX A portico or vestibule for the nave of an

early Christian / Byzantine church, occupied by
those not yet christened
 NAVE The central part of a church extending from
the Narthex
 APSE a semi-circukar or polygonal projection of a
building, usually vaulted and used at the sanctuary
or end of the church
 SANTA SABINA, ROME
STA. SABINA
STA. COSTANZA =
SANTA COSTANZA,
ROME
STA COSTANZA CHURCH

 MARTYRIA- a type of church built on the location of a Christian Martyr. They

are usually “central” type of church.
 AMBULATORY
An aisle encircling
the end of the
choir or chancel
of the church
OUTLINE

 EARLY CHRISTIAN ARCHITECTURE

 BYZANTINE ARCHITECTURE
 ROMANESQUE ARCHITECTURE
 GOTHIC ARCHITECTURE
 RENAISSANCE ARCHITECTURE
 MODERN TO CONTEMPORARY ARCHITECTURE
BYZANTINE
 In 330 AD,
Constantine move to
the capital of the
Roman empire from
Rome to
Constaninople
 The eastern emperor
lost power in Italy. By
the election of
Charlemagne, chosen
Emperor of the West,
the Roman empire
was finally divided.
CHARACTERISTICS

 Circular or polygonal plans

 Their combination of the basilica and symmetrical central-plan (circular or
polygonal) religious structures resulted in the characteristic Byzantine
Greek-cross-plan church, with a square central mass and four arms of
equal length.
 The most distinctive feature was the domed roof. To allow a dome to rest
above a square base, either of two devices was used: the squinch (an arch
in each of the corners of a square base that transforms it into an octagon)
or the pendentive.
SAN’T APOLLINARE NUOVE, RANVENNA
=
 SANTA SABINA SAN’T
(Early Christian) APPOLINARE
(Byzantine)
SAN VITALE, RAVENNA =
 SQUINCHES are three-
dimensional corbelled
arches
 SACRISTY a room in
a church where a
priest prepares for
a service, and
where vestments
and other things
used in worship are
kept.
STA. CONSTANZA SAN VITALE,
(Early Christian) RAVENNA
(Byzantine)
ST. MARK’S BASILICA, VENICE, ITALY =
 S. Mark faces the
Piazza of San Marco
 Characterized by Greek Cross
Plan
 Has 5 domes
 The basic shape of the church
has a mixture of Italian and
Byzantine features, notably
"the treatment of the eastern
arm as the termination of a
basilican building with main
apse and two side chapels
rather than as an equal arm
of a truly centralized
structureredesigned Doge's
Palace.
HAGIA SOPHIA, CONSTANTINOPLE =
 Sacred wisdom or Divine Wisdom
 Built by Emperor Justinion
 Designed by Anthemius of Tralles and
Isidorus of Miletus
 This is considered the “perfect”
example of Byzantine church
 It is also considered the most
important church in Constantinople
 The overall rectangle measures
71m x 77m
 The dome has a diameter of 330m
 Height of dome from the floor: 55m
 Dome a rounded vault
forming the roof of a
building or structure,
typically with a circular
base.
 Pendentives a curved
triangle of vaulting formed
by the intersection of a
dome with its supporting
arches.
 FALL OF BYZANTINE EMPIRE
 The rise of the Ottoman Turks contributed to the fall of the Byzantine empire
OUTLINE

 EARLY CHRISTIAN ARCHITECTURE

 BYZANTINE ARCHITECTURE
 ROMANESQUE ARCHITECTURE
 GOTHIC ARCHITECTURE
 RENAISSANCE ARCHITECTURE
 MODERN TO CONTEMPORARY ARCHITECTURE
ROMANESQUE
POLITICAL CONDITIONS
 The Roman empire fell when
after the death of
Charlemagne.
 Attacks from barbaric tribes
became rampant
 Cities were sacked and
torched.
 Feudalism become the social
and economic system.
 “Cultural Stagnation”
RELIGIOUS CONDITIONS
 Christianity was prevalent.
 Monasticism became an
important institution.
 Monasteries became the
institution for education, but
the monks kept the
knowledge from the people
CHARACTERISTICS

 Roman-like; hence, it is called ROMANESQUE

 There is a shift from flat wooden ceiling to masonry vault
 Heavy articulated masonry, round arches, barrel vaults
 Churches changed from Basilican to Latin-Cross shape
 Barrel vault evolves to rib and panel vaulting
 Rib Vaults
 TRANSEPT (in a cross-
shaped church) either of
the two parts forming the
arms of the cross shape,
projecting at right angles
from the nave.
 CROSSING the intersection
of the transept and the
nave
 WESTWORK is the monumental,
west-facing entrance section.
The exterior consists of multiple
stories between two towers.
TYPES OF CHURCHES

 Monastery
A monastery is a building or complex of buildings comprising the domestic
quarters and workplaces of monastics, monks or nuns.
 Imperial
is a church associated with an empire.
 Pilgrimage
Pilgrimage churches are often located by the graves of saints, or hold portraits
to which miraculous properties are ascribed or saintly relics that are
safeguarded by the church for their veneration
 CHURCH OF CLUNY, FRANCE
(monastery church)
=
SPEYER CATHEDRAL,GERMANY
(imperial church)
=
 SANTIAGO DE COMPOSTELA, SPAIN
(Pilgrimage church)
=
WORMS CATHEDRAL, GERMANY =
NOTRE DAME LA GRANDE =
PISA CATHEDRAL =
 PISA BAPTISTERY
 The baptistery was designed
by Diotisalvi.
 The Pisa Baptistery is an
example of the transition
from the Romanesque style
to the Gothic style: the
lower section is in the
Romanesque style, with
rounded arches, while the
upper sections are in the
Gothic style, with pointed
arches.
 LEANING TOWER OF PISA
 The tower began to sink after
construction had progressed to the
second floor in 1178.
 Height: 55.86m
 Tilts at 3.97 degrees
 Numerous efforts have been made to
restore the tower to a vertical orientation
or at least keep it from falling over.
OUTLINE

 EARLY CHRISTIAN ARCHITECTURE

 BYZANTINE ARCHITECTURE
 ROMANESQUE ARCHITECTURE
 GOTHIC ARCHITECTURE
 RENAISSANCE ARCHITECTURE
 MODERN TO CONTEMPORARY ARCHITECTURE
GOTHIC
 Gothic architecture is
a style that flourished
in Europe during
the High and Late Middle Ages.
 This is the last part of the middle
ages and serves as a transition
to Renaissance
 The Gothic movement started
in Ile-de-France, an area
around Paris.
 The rise of craftsmen and
traders
 Era of the guilds or the labor
group
 Towns becoming bigger and
more competitive.
CHARACTERISTICS

 There is a departure from classic lines.

 Characterised by use of pointed arches, flying buttresses and ribbed vaults
 The CATHEDRAL is the primary building type which is the principal church of
a diocese containing the bishop’s throne.
 BUTTRESS is
an architectural structure built
against or projecting from
a wall which serves to support or
reinforce the wall
 FLYING BUTTRESS an inclined bar of
masonry carried on a segmental
arch which serves to support or
reinforce the wall
 PINNACLE a subordinate vertical
structure terminating in a pyramid
or spire to add weight to a buttress
pair
 TRIFORIUM an arcaded storey in a
church between the nave and
clerestory
 CHEVET a rounded east
end of a Gothic church
 AMBULATORY an aisle
encircling the choir or
chancel of the church
 CHOIR the part of the
church occupied by the
singers
 Abbot Suger was one of the earliest patrons
of Gothic Architecture.
 He innovated the design of churches by
introducing pointed arches to increase the
height of and introduce more light into the
interior.
 He was tasked in rebuilding the Choir of St.
Denis (which is considered the cradle of
Gothic Architecture)
 EARLY GOTHIC

 LANCET/PRIMARIE
 Pointed Arches and
geometric tracery windows
LAON CATHEDRAL =

 TYPANUM s the semi-circular or triangular

decorative wall surface over an entrance,
door or window, which is bounded by a
lintel and an arch. It often contains
sculpture or other imagery or ornaments.
 A sexpartite vault, in architecture, is a
rib vault divided into six bays by two diagonal ribs
and three transverse ribs.
NOTRE DAME DE PARIS =
 =

 TRIPARTITE DIVISION
 HIGH GOTHIC

 RAYONNANT
 Characterized by the use of
circular windows with
radiating lines (wheel tracery)

 Wheel Windows: These

windows had a
simple tracery of spokes
radiating either from a
central boss.
CHARTRES CATHEDRAL, FRANCE
REIMS CATHEDRAL
AMIENS CATHEDRAL
 LATE GOTHIC

 FLAMBOYANT
 Characterized by the use of
flame-like tracery windows
GOTHIC CHURCHES
Germany
  ULM CATHEDRAL
ULM CATHEDRAL, GERMANY

 Tallest Cathedral in the world

at 162 m
COLOGNE CATHEDRAL, GERMANY

 ULM CATHEDRAL
 157m tall
GOTHIC CHURCHES
Spain
SEVILLE CATHEDRAL, SPAIN
BURGOS CATHEDRAL
GOTHIC CHURCHES
Italy
MILAN CATHEDRAL, ITALY
OVIETTO CATHEDRAL
GOTHIC CHURCHES
England
YORK MINSTER CATHEDRAL
WESTMINSTER CATHEDRAL
WELLS CATHEDRAL
 SUMMARY

Early Christian Byzantine Romanesque Gothic

Basilica Plan Central Plan “Roman-like” Flying
Wooden Dome Round arches buttress,
Roofs Structure and vaults Ribbed
Vaults,
Pendentives • Monastery
pointed
• Piligrimage
• Imperial
arches
• Lancet
• Rayonnant
• Flamboyant
EXERCISE

 Determine the styles of these churches

 Salisbury Cathedral- GOTHIC
 Imperial Cathedral of Speyer- ROMANESQUE
 San Sebastian Church, Quiapo- GOTHIC/ NEO-GOTHIC
 Chatres Cathedral Plan- GOTHIC
San Vitale Church- BYZANTINE
OUTLINE

 EARLY CHRISTIAN ARCHITECTURE

 BYZANTINE ARCHITECTURE
 ROMANESQUE ARCHITECTURE
 GOTHIC ARCHITECTURE
 RENAISSANCE ARCHITECTURE
 MODERN TO CONTEMPORARY ARCHITECTURE
RENAISSANCE
ARCHITECTURE
 The Renaissance started in Florence,
Italy, a place with a rich cultural
history where wealthy citizens could
afford to support budding artists.
 Members of the powerful Medici
family, which ruled Florence for more
than 60 years, were famous backers
of the movement.
 Great Italian writers, artists, politicians
and others declared that they were
participating in an intellectual and
artistic revolution that would be much
different from what they experienced
during the Dark Ages.
 The Age of Enlightenment (also
known as the Age of Reason or
simply the Enlightenment was
an intellectual and
philosophical movement that
dominated the world of ideas
in Europe during the 17th to
19th century.
 During the 14th century, a
cultural movement called
humanism began to gain
momentum in Italy. Among its
many principles, humanism
promoted the idea that man
was the center of his own
universe, and people should
embrace human
achievements in education,
classical arts, literature and
science.
 The Renaissance Man
 The ideal man, a polymath
CHARACTERISTICS

 Silhouttes were clean and simple with flat roofs

 Emphasis on horizontality
 Human scale
 Sgraffito / scratched colored and plasster
FILIPPO BRUNELLESCHI
DOME OF CATHEDRAL OF FLORENCE
 Brunelleschi abandoned traditional
construction methods and devised a
double shell structure
 Brunelleschi designed a double shell,
consisting of one interior and one
exterior dome with an empty space
between them. The structure was
conceived using pointed arches in an
octagonal array, following the layout of
the existing walls.
 Brunelleschi designed a double shell,
consisting of one interior and one
exterior dome with an empty space
between them. The structure was
conceived using pointed arches in an
octagonal array, following the layout of
the existing walls.
 This is to reduce dead load.
PAZZI CHAPEL
LEON BATTISTA ALBERTI

 The Italian architect, painter, sculptor,

and writer Leon Battista Alberti was the
most important art-theorist of the Early
Renaissance.
 First to study Vitruvius
 Wrote De Re Aedificatoria
SANTA MARIA NOVELLA
SAN’T ANDREA MANTUA
 Inspired by Greek architecture
(Return of the Classics)
GIACOMO BAROZZI VIGNOLA

 Author of the FIVE ORDERS OF ARCHITECTURE

GESU CHURCH
MICHAELANGELO BUONAROTTI

 A famous Florentine Sculptor and painter

of the roof of the Sistine Chapel in
Vatican
 He carried out the Dome of St Peter
ST. PETER’S DOME
12 ARCHITECTS
1. Donato Bramante- formulated a GREEK cross plan
2. Giuliano da Sangallo
3. Giacondo
4. Sanzio
5. Peruzzi
6. Antonia da Sangallo- proposed a central dome
7. Michaelangelo- restored design to Greek cross and constructed the
dome
8. Giacomo della Porta
9. Domenico Fontana
10.Vignola- added cupoloas
11.Carlo Maderna- lengthened the nave to form a Latin Cross and erected
the present façade
12.Gian Lorenzo Bernini- erected the colonnades enclosing the piazza
DONATO BRAMANTE

 First to be commissioned to the ST. PETER

 His plans are usually centralized and
symmetrial
TEMPIETTO OF SAN PIETRO
BAROQUE
“French word” meaning Bizarre or irregular
Most lavish style
FRANCESCO BORROMINI

 A keen student of the architecture of Michelangelo and

the ruins of Antiquity, Borromini developed an inventive
and distinctive, if somewhat idiosyncratic, architecture
employing manipulations of Classical architectural forms,
geometrical rationales in his plans and symbolic
meanings in his buildings.
SAN CARLO ALLE QUATTRO FONTANE
SAN’T IVO ALLA SAPIENZA
ST. AGNES DE AGONE
GIAN CARLO BERNINI

 As architect and city planner, he designed secular

buildings, churches, chapels, and public squares, as well
as massive works combining both architecture and
sculpture, especially elaborate public fountains and
funerary monuments and a whole series of temporary
structures (in stucco and wood) for funerals and festivals.
His broad technical versatility, boundless compositional
inventiveness and sheer skill in manipulating marble
ensured that he would be considered a worthy
successor of Michelangelo, far outshining other sculptors
of his generation.
 Fontana dei Quattro Fiumi
 The base of the fountain is a basin from
the centre of which travertine rocks rise
to support four river gods and above
them, a copy of an Egyptian obelisk.
 Collectively, they represent four major
rivers of the four continents through
which papal authority had spread:
the Nile representing Africa,
the Danube representing Europe,
the Ganges representing Asia, and
the Río de la Plata representing the
Americas.
OUTLINE

 EARLY CHRISTIAN ARCHITECTURE

 BYZANTINE ARCHITECTURE
 ROMANESQUE ARCHITECTURE
 GOTHIC ARCHITECTURE
 RENAISSANCE ARCHITECTURE
 MODERN TO CONTEMPORARY ARCHITECTURE
MODERN TO
CONTEMPORARY
ARCHITECTURE
ART NOUVEAU
is an international style of art, architecture and applied art, especially the decorativ
arts, known in different languages by different names: Jugendstil in German, Stile
Liberty in Italian, Modernisme in Catalan, etc. In English it is also known as the Modern
Style (not to be confused with Modernism and Modern architecture)
CHARACTERISTICS

 Asymmetrical shapes
 Extensive use of arches and curved forms
 Curved glass
 Curving, plant-like embellishments
 Mosaics
 Stained glass
ANTONIO GAUDI

 Antoni Gaudí was a Barcelona-based Spanish architect

whose free-flowing works were greatly influenced by
nature.
CASA BATLLO
CASA MILA
SAGRADA FAMILIA, BARCELONA
MODERN ARCHITECTURE
PHENOMENOLOGY

 INTUITION
 The theory of phenomenology acknowledges this responsibility by
implementing sensory design in order to establish experiential, architectural
space.
 manipulation of space, material, and light and shadow to create a
memorable encounter through an impact on the human senses.
MANIPULATION OF LIGHT
RONCHAMP CHEPL
LE CORBUSIER
 CHURCH OF LIGHT, OSAKA
LE CORBUSIER
TADAO ANDO
CHAPEL OF ST. IGNATIUS

STEVEN HOLL
MANIPULATION OF MATERIALS
BRUDER KALUS FIELD CHAPEL

PETER ZUMTHOR
CHURCH ON WATER

TADAO ANDO
SUZHOU CHAPEL

NERI AND HU ARCHITECTS