history of architecture

6
Creativity arises out
of the tension between
spontaneity and limitations,
the latter (like the river banks)
forcing the spontaneity
into the various forms
which are essential to
the work of art or poem.

EARLY CHRISTIAN
AND BYZANTINE
ARCHITECTURE
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history of architecture diagnosis 44
Early Christian architecture in Rome was influenced by and was the logical outcome of existing roman art, and it was modified in other parts of the
empire according to the type already recognized as suitable for the geographical situation of those countries, such as Syria, Asia Minor, North
Africa and Egypt.
The development was slow and low. The ruins of roman buildings often provided the quarry whence materials were obtained This influenced the
style , both as regards construction and decoration for the columns and other architectural features , as well as fine sculptures and mosaics from
older buildings were worked into basilican churches of the new faith. By the name itself early Christian architecture was inspired from the new born
religion -Christianity. The in 326 Constantine made Christianity the official religion of the roman empire. Constantine changed his capital from
Rome to Byzantium.
Early Christian buildings hardly give the architectural value of a style produced by the solution of constructive problems.
Byzantium of Constantinople was made the roman capital in 330 AD. It stood as the juncture between the east and west and hence its architecture
was an amalgamation of both styles.
Constantinople sits strategically at the point where Europe and Asia meet, on the straights of the Bosphorus, which connects the Black Sea to the
Aegean Sea. On account of such a fortunate geography Constantinople enjoyed full control over trade between the continents of Europe and Asia.
This in turn brought in the abundant capital that was required for the erection of the glorious wonders that they created. Constantinople had no
good stone, and local materials such as clay, bricks and rouble for concrete were employed. Hence stones, for example marble were imported from
the islands of the Mediterranean Eastern coasts. In spite of this, large monolithic columns are observed in the structures. The massive stones had to
be earned from the quarries to place of construction. Byzantine Architecture started around 330 A. D. when heavy disputes were prevalent between
the Eastern and Western Church. Byzantine art and architecture arose in part as a response to the needs of the Eastern, or Orthodox, church. Unlike
the Western church, in which the popular veneration oftThe relics of the saints continued unabated from early Christian times throughout the later
Middle Ages, the Eastern church preferred a more contemplative form of popular worship focused on the veneration of icons.
left: dome of Hagia Sophia
right: St. Peters Basilica
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The architectural character:
The early Christians , as roman craftsmen , continued old roman traditions, but prosperity was declining and it was natural that for the new
buildings, they should utilize as far as possible the materials from Roman temples which had become useless for their original purpose. Early
Christian buildings hardly give the architectural value of a style produced by the solution of constructive problems.
Evolution of the church form: The basilicas of the Romans were ideal for their function dedicated to serve the kings. The churches evolved from the
roman buildings which had the main room used to assemble people for scholarly talks. The churches evolved its plan and arrangement from
catacombs- hideouts for Christianity preaches outside the city. The plan also owes its form from the navis-than nave of the ship.
The Churches were raised high lo provide an impression of a link between God and his children.
Basilican churches had either closely spaced columns carrying the entablature or more widely spaced columns carrying semicircular arched. The
Basilican church with three of five aisles , covered by a simple timber roof , is typical of The Early Christian style. The architectural character of the
basilican churches is rendered impressive and dignified by the long perspective of columns which carry the eye along to the sanctuary, a treatment
which combined with the comparatively low height of interiors, makes these churches appear longer than they really are.
differente types of palns of churches
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The Early Christians were the first to use glass in architecture. It was also used in the clear storey windows that lit up the central nave.
The planning was axial. The apse, have and the altar are all axially lined up. This planning was a consequence of the linear planning which the
Romans had adopted on account of the heavy stone as their building material and the lack of good bonding technology. The plan of the church
clearly shows an external open courtyard. The courtyard is flanked by colonnades on each side. In front of the courtyard is the narthex. This forms a
transition space between the outer environment and the inner holy space In any religious building this transition space is a very important aspect.
Greek proportionality and Roman splendor were fused with the dome an eastern element. The character is determined by the novel development of
the dome to cover polygonal and square plans for churches, tombs and baptisteries. The nature of the Byzantine arch was extrovert. The system of
construction in hand laid concrete, introduced by the romans, progressively had become more like regular brickwork, and in this form was
adopted by the Byzantines. The carcase of brickwork was first completed and allowed to settle before interior surface sheathing of unyielding
marble slabs was added, and this independence of the component parts is characteristic of byzantine construction.
top: the concept of pendentives
below: sketches of examples
of byzantine architecture
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At (6th century) a combination was made which is perhaps the most remarkable piece of planning ever contrived. A central space of
100 ft (30 m) square is increased to 200 ft (60 m) in length by adding two to it to the east and the west; these are again extended by
pushing out three minor apses eastward, and two others, one on either side of a straight extension, to the west. This unbroken area, about 260 ft (80
m) long, the larger part of which is over 100 ft (30 m) wide, is entirely covered by a system of domical surfaces. Above the of the small
rise the two great semi-domes which cover the hemicycles, and between these bursts out the vast lome over the central square. On the two sides, to
the north and south of the dome, it is supported by vaulted aisles in two storeys which bring the exterior form to a general square.
Hagia Sophia
hemicycles
conchs apses
The decorative character of the external facades depend largely on arrangement of facing bricks, which ere not always laid horizontally, but
sometimes obliquely, sometimes in the form of the meander fret, sometimes in the chevron or herring bone pattern, and in many other similar
designs giving great variety to facades. Walls were sheeted internally with marble and vaults and domes with colored glass, mosaics on golden
background. Domes of various types were placed on square compartments by means of pendentives. Byzantine domes and vaults were constructed
without temporary support or 'centering' by the simple use of large flat bricks.
The grouping of small domes or semi domes round the large central dome was effective to compensate th the weakening effect of window openings
The use of columns was for purpose not ornamental as in case of romans.
The use of rich marbles and mosaics resulted in the rounding of angles and in the absence of moldings and cornices so that the mosaic designs and
pictures might continue uninterrupted over wall surfaces, piers, arches, domes and apses.
St. Marks Cathedral
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The Hagia Sophia
In the church, now the mosque, of St Sophia (Hagia Sophia "Divine Wisdom"), built by Justinian, all the principal forms of the early Christian
churches are represented. A rotunda is enclosed in a square, and covered with a dome which is supported in redirection of the long axis of the
building by half-domes over semicircular apses. In this manner a basilica, 236 feet long and 98 feet wide, and provided with domes, is developed out
of a great central chamber. This basilica is still more extended by the addition of smaller apses penetrating the larger apses. Then the domical
church is developed lo the form of a long rectangle by means of two side aisles, which, however, are deprived of their significance by the intrusion of
massive piers. In front of all this, on the entrance side, are placed a wide atrium with colonnaded passages and two vestibules (the exonarthex is
practically obliterated). The stupendous main dome, which is hemispherical on the interior, flatter, or saucer-shaped, on the exterior, and pierced
with forty large windows over the cornice at its spring, has its lateral thrust taken up by these
half domes and north and south, by arched buttresses. The vertical thrust is received by four piers 75 feet high. The ancient system of column and
entablature has here only a subordinate significance, supporting the galleries which open upon the nave. Light flows in through the numerous
windows of the upper and lower stones and of the domes. But above all, the dome, with its great span earned on piers, arches, and pendentives,
constitutes one of the greatest achievements of architecture.
The whole feeling of sanctity is brought out through the graceful curves that are a result of the artistic juxtapositioning of circular and rectangular
form. The scale though humungous is not without the sense of harmony. The low height chandelier extending from the high ceiling elaborates the
true.
Hagia Sophia
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Drawings of Hagia Sophia