Saint Anthony of Padua Church & Santa Maria Church INTRODUCTION
Istanbul is a collection of many historical buildings, Istiklal Avenue includes some basic examples of those buildings such as religious ones. When you are walking down this street, you can find Saint Anthony Church on your left, than Santa Maria Church on left again. These two churches are too close too each other as location, but you can see their differences even when you just look from outside. Saint Anthony Church belongs to theVenetian Neo-Gothic style and located on the street level, Santa Maria Church belongs to the Neo-Classic style but placed lower than the street level. A Gothic revivalist idiom is adopted for a national and religious landmark — the most popular, visible
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The ceiling of this church is full of motifs. There are leaded windows and little oculus besides the proportional windows. It is lightened with a big chandelier and small bulbs. Its ceiling of side naves are also cross ribbed vaults but those cross vaults are longer than Saint Anthony Church’s vaults; and these look more cylindrical. The plans of both churches are almost same. And their column capitals are almost same too; but Santa Maria’s columns are rectangular. (fig.4)
Saint Anthony Church and Santa Maria Church differs with their styles, columns, proportions, grandioseness — with materials. Because Santa Maria doesn't try to be impressive like Saint Antoine— , window shapes, lightnings, structures. The difference between the buildings are not only due to the stylistic difference of their facades; another difference is their relationship with the street. When we look from street side to the churches; Saint Anthony has a courtyard and it is on the same level with street, Santa Maria has stairs instead of a courtyard and it is on lower level than the street. And the reason of this level difference is the slope of its site. There is one more difference besides those architectural features: humanity. It may be because of their level; generally Saint Anthony Church is very crowded but Santa Maria Church is totally empty. The level difference situation changes whole the idea of architecture.
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On the street, the houses are mostly made by wood. The street surrounded by late Ottoman era buildings that were designed with the Neo-Classical, Neo-Gothic, Renaissance Revival, Beaux-Arts, Art Nouveau and First Turkish National Architecture styles. These styles can be seen with consulates of several nations including the Netherlands, Spain, the United Kingdom, France, Sweden, Greece, and Russia. Even those existent building, besides their religiosity; the churches’ architecture arise.
Pera Palace Hotel is in Pera and it has neo-classical, art nouveau and oriental styles but its facade follows a neo-classical approach. It is the nearest neo-classic building to Santa Maria Church. They both have an unsophisticated exterior facade with their materials and window sizes. Pera Palace’s window shapes don’t belong to neo-classical style but its simplicity belongs. (fig.
Structure of the Old North Church a. 4 floors built with wine brown bricks as Tower b. Then a part called Belfry which the bell is housed inside. c. Lantern is a level of a steeple tower that has opening around its sides, and allows the light to shine through the church d. Spire is a top white part of this steeple tower which has a pyramidal shape. e. Then there is a wine brown bricks church behind the steeple about half height of the steeple tower, with dark brown roof.
Although the buildings do not have structural similarities, they do share architectural aspects that can be seen in other renaissance and beaux-art style architecture. With the amphitheater utilizing a stone brick-like pattern, presenting elevated columns, having crown moldings that wrap around, and doorways under arches, it would be the best historical building to compare the courthouse
They designed their buildings in a certain way for a reason. When you start to look at those purposes, the layouts and designs of these incredible buildings start to fall into place and makes
The Romanesque cathedral architecture contained thick plain supporting walls with few clear small windows. Whereas, the Gothic cathedral architecture contains high arches, large stained windows, jab figures.
The next stop on our tour through modern art is Henri Matisse. Compared to Picasso, Matisse was a temperate man with a bourgeoisie work-ethic yet by no means humble. Indeed, he imagined himself the high-priest of art. Van Gogh influenced both Matisse and Picasso. John Peter Russel exposed him to van Gogh in 1896 and by 1899
Another difference manifest in their building shape viewed from above. Usually Romanesque churches are built in the shape of cross. On the other hand, Gothic usually incorporate geometrical shapes that manifests it faith within the church. Another significant difference is that Romanesque churches has statues that are at least half connected to the church itself, those statues have their back aligned against the walls of the church to signify that everything is based on the faith.
Two very important historic buildings from the Greek and Roman civilizations, namely the Parthenon and the Pantheon respectively, are worthy of academic exploration. An analysis of their function and style will help to put their design and features into perspective, and create a better appreciation for their emulation in Western civilization. These buildings possess very unique individual characteristic designs, which bears testimony to the societies from which they originate. However, they are also a resourceful database of knowledge in terms of their symbolism, rich heritage of their era and application to the present civilization.
The building was 200 ft tall, and the façade was excessively ornamented in a beautiful way, and in a mixture of different styles including Gothic, Baroque, Churrigueresque to illustrate the appearance of a Spanish Colonial church. The facade was made of stone, and it did not include usual ornamentation, but sculpted historical figures of remarkable and significant people mostly were
Many buildings in the earlier days were built for the same reasons and by similar people, meaning the Hagia Sophia and Charlemagne’s Chapel don’t differ much in terms of being built. The Hagia Sophia in Istanbul was originally built under Constantine the Great until it was demolished and rebuilt between 532 and 537 under the Byzantine Emperor Justinian I (Hagia Sophia, Istanbul 1). Justinian’s Basilica is considered the perfect example of the Byzantine culture and the structures produced during its
Similarly, the Parthenon and Pantheon were high rising buildings which are typical of a classical
Introduction Romanesque architecture started around 1000 to 1200 AD around the middle ages, extending from the decline of the Roman Empire until the begging of gothic architecture. It is one of the most influenced styles of architecture but also one of the most hard to characterize. Unlike other styles it developed independently in diverse locations such as Italy, Spain, England and France. Its characteristics come from the ancient roman architecture that developed into bigger prettier and more complex constructions. However, there are different views in where it spread first as well as where it got more influence from.
However, she leaves out why such an accusation is absurd, because she lacks evidence to support her claim, she leaves the reader wondering why the fortress of Gisors is not a “Temple Fortress”. Pernoud also argues that there is too much generalization on the architecture of Templar churches. Legend has it that the Templars designed and built round churches, and it was a trademark or theirs. Pernoud claims that some of their churches were round, but very few, and that most were not.
The variety of planes and cavernous depth of the exterior contrasts the essential flatness of the interior elevation. In steep perspective, the triforium is seen with its rich foliage band, the clerestory and segmented elements of the quadripartite vaults (Fig.8). The tunnel-like nave focuses the viewer’s attention on the choir, illuminated by its open work triforium. Longitudinal arches framing the clerestory windows define each bay of the vault and transverse arches . Patterned on the nave floor, is a labyrinth bearing portraits of Bishop Evrard de Fouilloy and the first three architects including an inscription of their names (Fig.9).
Light is reflected of the aluminum to the interior walls of the vaults and softly illuminated the gallery space in a soft glow. While the building catches the eye with elements like white travertine walls and heavy concrete vaults, there is no doubt that the natural light illuminating the gallery is the aspect most likely to be considered monumental. This light effect would not be possible without the attention to structure given by Kahn and, therefore, gives merit to Kahn’s claim that monumentality is achieved through
The style of the building and the purpose it is built give a brief and thoughtful storybook about the culture of the architect as art, generally, and architecture, particularly, is a language itself. Thus, buildings narrate the stories of the people among the history and tell their traditions and habits to the next generation through its design, inscriptions, and details. In this essay, I will discuss how both the style and function of the Greek Parthenon and the Roman Pantheon served as typical examples of their cultures in Athens and ancient Rome. In addition to the similarities and differences between these two cultures through the two buildings. Both the Greek and the Roman architecture inspired the cultures and architects until these days due to the diverse meaning they carry and symbolize in astonishing ways through the different orders, columns, roofs, friezes, and domes.