Lord, thank you for this blessed day.

It is our hope, at this moment; you will give us strength to be determined and persevere and to constantly have you as our companion. We know how weak we are, since we had other good intentions and failed. Instill in us, oh Holy Spirit, your gift of fortitude so we can carry on, to do what we must do, to complete our task for today. Lord, be with us throughout this day and fill us with your unending love, as always .Amen

HUMANITIES Art Appreciation

Presented By

Josephine S. Balingit Ed.D. Ed.D.




Types of building;
Egyptian Architecture(4000-2280 B.C. )
Art in Ancient Egypt continued strangely unchanged through the various phases of foreign influence from Assyria, Persia, Greece and Rome. The close connection between religious rites and architecture is everywhere manifested. The religious rites of the Egyptians were traditional , virtually unchangeable and mysterious and these traits are reproduced in the architecture , both tombs and temples. Egyptian monumental architecture, which is essentially a columnar and trabeated style is expressed mainly in pyramids and in temples. Temples approached by impressive avenues of sphinxes-mythical monster ,each with the body of a lion and the head of a a man, hawk , ram or woman-posses in their massive pylons , great courts, hypostyle halls, inner sanctuaries and dim , secret rooms, a special character . Greek temples were each planned as one homogenous whole, and the component parts were all essential to the complete design. Egyptian architecture persistently maintained its traditions, and when there is a need for change in methods of construction or in the material used, the traditional form were perpetuated in spite of novel conditions . It is impressive by its solemnity and gloom as well as by its solidity, which suggest that the buildings were intended to last eternally. This is so because the purpose of the pyramids was not only to preserve the mummy of the Pharaoh for the return of the soul in the infinite hereafter, but also to be the centre of the cult of the royal dead, and as a consequence, the dominant element of the vast monumental complex, The desire for permanence appropriate in a tomb, was expressed by the extremely stable shape, by the static mass, and perhaps by the size which also testified to the Pharaohs power . The same desire to build for eternity was evident in the tombs of the nobles called Mastabas , solid block like masses of rough masonry sketched in cut stone.

MESOPOTAMIAN ARCHITECTURE Mesopotamian Architecture is evident in its place and temples .The distinguishing characteristics is the Jiggorat , or tower, built at successive levels, with rams leading from one platform to the next. The Jiggorat is like the modern building with setbacks . Because of the use of bricks, the Assyria developed the arch and its multiple canopy. Shaped vaultdestined to be among the most important and influential devices in the history of architecture. In Mesopotamia , the corners of the Jiggorat pointed north ,south , east and west. The vertical walls of each story of the Jiggorat were colored in the temple of Babylon, built by Nebuchadnezzar ( 6th century B.C.), the stones were colored white , black,blue,yellow,silver and gold from bottom to top . The effect may have been Garish, but at the bast it was striking.

GREEK ARCHITECTURE( 1100-100 B.C. ) 1100As was the Egyptian temple, Greek architecture in its most characteristic form is found in the temple, a low building of post-and postlintel constructions .In this type of construction, two upright pieces, posts are surrounded by a horizontal piece, the lintel, long enough to reach from one to the other..This is the simplest and earliest type of construction . Post-and-lintel construction is well adapted to wood Post-andbecause wooden beams are strong and are able to uphold the weight of a roof , at the same time they are long, so that a large building maybe erected.


 

ROMAN ARCHITECTURE (1000 B.C. A.D. 4000) The Romans adopted the columnar and trabeated style of the Greeks and developed also the arch and vault from the beginnings made by the Extruscans ( the early inhabitants of west-central Italy). This combines use of column , beam and arch of the Extruscans . The use of concrete allowed the Romans to build vaults of a magnitude never equaled till the introduction of steel for buildings in the 19th century . Another characteristic of Roman architecture is the flat round dome that covers an entire building as in the Pantheon. BYZANTINE ARCHITECTURE (AD200-1453) Byzantine takes its name from Byzantium later called Constantinople and now called Istanbul . its architecture is characterized by a great central dome which had always been a traditional feature in the East ,and one characteristic features of Byzantine churches was that the forms of the vaults and domes were visible externally, undisguised by any timbered roof, thus in the Byzantine style the exterior loosely corresponds with the interior.

  

. WESTERN ARCHITECTURE IN THE MIDDLE AGES( A.D. 400- 1500)

Western architectures passed through three stages of development during the middle ages . These are the Early Christians, Romanesque and Gothic . In the early churches, the building was one simple rectangle with an apse . Later, the plan was adopted to the shape of a cross by the addition of cross aisles between the nave and the choir. The arms thus made are known as transepts . Directly opposite the high altar at the west was the main entrance.

Early Christian Architecture (A.D.400-700)

The early Christian basilica grown in part from the Roman house where the earliest Christians met for worship, and in part from pagan basilicas. In the classic temples the emphasis lay on the exterior; in the Christian Church, on the inside. A second form of building as known the central type was designed around a central vertical axis instead of a longitudinal the long, internal lines of the basilica carried the eye of the visitor from door to the altar as their realistic climax of the structure. On the other hand, the circular or octagonal buildings focused o the center. The interiors of early Christian Churches were often decorated with Mosaics, as the case in S. Apollinaire.

Romanesque Architecture (11th and 12th Centuries)

Romanesque architecture is an extension and development of the Early Christian Basilica. Exemplified by S. Apollinaire in Classe. Examples are Notre Dame la Grande at Portiere (exterior) and the Abbaye-aux-Dames (interior). Where the Early Christian style is structurally light, with a simple light weight, flat wooden roof, the Romanesque has very heavy walls with a small window openings and a heavy stone arched or vaulted roof inside. In this respect it resembles the Roman style-hence the name Romanesque (Roman-ish). In the Romanesque cathedral, several small windows were combined in a compound arch; in the Gothic, this process was continued until the arches appeared only as stone tracery. Eventually the windows became so large that the walls ceased to have any function as walls; the roof was supported by the huge buttresses and the entire well space was filled with small arches, and the rose window became large and important. The doorways changed too. In the Romanesque church the faade sometimes has one doorway, sometimes three. The Gothic faade regularly had three doorways. Each was made with multiple orders, like the Romanesque, though the arch, of course, was pointed. The decorations, also, were much more elaborate. In the Romanesque they were relatively simple moldings, with or without carvings of conventional designs, figures, animals, or fruit. In the Gothic the human figure became the characteristic decoration, a recessed doorway being filled with rows of saints or kings. The Gothic style in architecture is known primarily for its cathedrals and churches. There are also many beautiful palaces, especially in Venice.

Renaissance Architecture
(Fifteenth and sixteenth centuries) In renaissance architecture the cathedral, or temple, is no longer the typical building; secular architecture cones to the fore, as in Roman times. Although Renaissance architecture is a return to the ideals of the Greeks and Romans, it is not a slavish imitation, but rather a free use of the materials found in classic architecture. The designers got their ideas from Greece and Rome, but they used these ideas freely, according to their own tastes, in a way that was original. For example, in the MediciRiccardi Palace at Florence, design by Michelozzo, we find the round arches of the Romans. On the first floor a single arch occupies the space of two arches on the second and third floors. In the upper floors, the window space is filled with the compound arch of the Romanesque. At the top of this building there is a large cornice, heavy enough to crown the whole mass of building. There is also molding, or stringcourse, the separates one story from the other.

Baroque Architecture (1600-1750)

Baroque architecture flourished in the seventeenth century and in the opening years of the eighteenth century. It is characterized primarily as a period of elaborate sculptural ornamentation. The architectural framework remained close to that of the Renaissance, although often it was far more spacious, but is had a profusion of carved decoration. Columns and entablatures were decorated with garlands of flowers and fruit, shells and waves. Often alcoves were built into the wall to receive statues, thus making a pattern in light and dark. Surfaces were frequently curved. The churches of this period no longer use the Gothic nave and aisles; the area is filled with chapels which take the place of the aisles. They often have domes or cupolas, and they may or may not have spires. The church of S. Carlo alle Quattro Fontane is an excellent example of the love for ornament, the movement, restlessness, and excitement of the style. Comparison of the apse and the faade of S. Peters reveals interesting differences in style. The apse, which was designed by Michelangelo, is crowded. It covers the drum and is not entirely in stylistic harmony with it. In the faade itself we see the spirit of the Baroque in the massed columns which are doubled for the sake of ornament, the decorative pediments, the pilasters, and the heavy stringcourse. (Dudley & Paricy, 1968).

The Nineteenth Century Architecture

The nineteenth century is known as a period in eclecticism. Eclecticism in architecture implies freedom on the part of the architect or client to choose among the styles of the past which seems to him most appropriate. In a sense, the Renaissance was eclectic in its attempted revival of Roman forms. By the middle of the 19th century, both the Greek and Gothic revivals were spent, to be replaced by a bewildering variety of styles. Italian villas and Swiss chalets jostled Victorian Gothic churches and Victorian classic post offices. These styles were superficial and interchangeable. They had in common, in this age of materialism and ostentation, plans whose outlines were broken by protruding bay windows, towers, or porches; restless silhouettes; and ill advised experiments in colored materials. Not all the Victorian buildings were bad; at least the best of them were bold, but the crass vulgarity of the styles as a whole typified its age. Beginning about 1890, eclecticism changed its flavor. Increasing wealth, greater speed of travel that made it easier to visit Europe, and the spread of photography familiarized architects and public alike with historic architecture as never before.

Modern eclecticism was not only purer in style; it understood something of the flavor of the past as well as it forms. At best, modern eclecticism was marked by scholarship, taste, and sympathy for the forms of the past and remarkable ingenuity in adapting central beatin , plumbing and electric lighting to those forms. The result, however, was the chaos of any American suburb, where a single street might show examples of Gothic half-timbered houses, French chateaux, colonial cottages, Spanish patios, and Renaissance palaces. Each of these styles was produced by its own social, economic, spiritual, and geographic conditions; therefore, none of them could express the new conditions of life in the 20th century.

Modern Architecture
Modern architecture is an attempt to interpret mans purpose through his building in a style free in relation to change and independent of fix symmetries. New materials came to be utilized-prestressed steel intension, high-pressure concrete, glass block, wood, metal, chromium, plastics, copper, cork, steel, gypsum lumber, real and artificial stone, all varieties of synthetic and compressed materials, and the versatile plywood. Strength is no longer synonymous with massiveness for more efficient new structural materials are used in varying forms, scientifically calculated to avoid waste. The supporting function is created by a light, cage like skeleton of steel and reinforced concrete, which is faster and easier to build. Reinforced concrete is made by pouring concrete over steel rods laid in temporary wooden moulds; thus mushrooms-headed columns and slab like floors are poured together to become a single monolithic unit of great strength. This principle was utilized in the Van Nelle tobacco factory in rotten dam, Neth., 1927, by J.A Brinkman and L.C. Van de Vlught, architects.

Philippine Architecture
The Philippine has shown knowledge and expertise all the arts. In this country, along Roxas Boulevard, the Ayala and Escolta , one can see that architecture in the Philippines has come up with the times. The old St. Augustine Church, the University of Santo Tomas, San Sebastian Church and some parts of the Intramuros , reflect not only the living proofs of the antiquity of architecture in this country but trace back to the influence of Europe on this world regard the Far East as pagan and primitive. Landscapes in tourist spots attract foreigners. They are impressed with the local use of the latest in our architectural technology. The use of concrete, wood and coconut products, thin shells, a wide choice of marble and other locally available products is becoming extensive. One can note the predominance of native products used as material for edifices of apparently western architectural forms. The Cultural Center of the Philippines which was designed by Architect Leandro Locsin is the womb and bosom of the development of the Arts in the Philippines (Calsado, 1986).

Thank You for Listening!!! God Bless You All!!!