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achievements of
time.
all
edifice
ex-
is
text. It
Here are
wood,
endure as the
steel,
and
glass
reaUzation of human
full
genius.
In total, the twelve
art,
through
an unforgettable journey
time
and
space.
Homes
of Kings
Versailles.
Shrines of Power
at
The
Escorial.
in
Vienna. Austria/
City,
England/Cathedral of
St.
Stephen, Austria
Architecture as Environment
at
Saudi Arabia/The
Individual
Creations
Individual
Creations
Flavio Conti
Translated by Patrick Creagh
HBJ
New
Press
York
HBJ
Photoj;raphy Credits:
Press
President, Robert
J.
George
Managing
AInnisv:
Kemp
Publisher, Giles
S.
Perkins,
Director, Valerie S.
Hopkins
26 top.
botlom
p.
Amanda
Pope
Ann McGrath
J.
DeWitt
Ann
S.
Moore
!SBN:'0-15-003726-0
Rizzoli Editore
Italian Edition:
Gian
Maria Tabarelli
Idea and Realization. Harry C. Lindinger
Gianfranco Malafarina
Research Organizer,
Germane
Facetti
Murray
in
may
be
Printed in Italy
Authors of the
No
reproduced or transmitted
permi.ssion in writing
M& W
Jr.
Heller, Victoria
p.
lop, p. 16
Number: 77-94394
Contents
41
57
at
73
105
Ronchamp, France
121
137
153
Preface
Individual Creations
men are
reers
that
hope
for.
All
is
brightly
than
democratic
art
aptitude, he soon
began
and
his industry
to
make
way
moved
his
in the
to
in
on
his
titles
this
As
all-powerful
too, are
a midwestern preacher
lost all
some of his
prestige by building
what he
tect in
seemed
as
though he had
it
sense of
lost his
of his long
life
even today
is
his last
is
One of
the wonder-
immense
that rose
on
He was
neither the
first
the
royal client.
the character
architect,
but sometimes a
Each building
and
testifies to
effort
of
its
the integrity
marked by
is
builder,
spirit
by
and
and persever-
people,
own
of an era and a
the
ability and
able, than
his talents
Avenue
in
New
York
start
from
city,
creasingly
resemble huge
to
first
and
say
last
heim Museum,
insisting
the pictures
it
considered solely as a
regarded
as
They had
experience,
As
any
countered
brusquely that
there,
by
criticism
if
suggesting
somewhere
else.
the other
the
"architecture
artistic gift
other free
men can
man
of one free
be.
how
democ-
of
Speaking of
to
his
Ronchamp
him when he
first
he said:
architec-
An
hill,
Wright seemed
at times to regard
himself
According
to
had
to
that he
his
tures.
justified.
as
is
it is
not, in his
more
if
is
racy" the
building
museum. But
much
to exhibit.
if the
spatial
amply
in
it
but eclipsed
choice
in-
can't say as
all
was created
added
on building
And
everything.
filing
to love dearly
Wright the
to allow
in
felt
false
and
masters
as
one
men who
of their
trade.
here
craft,
in tech-
are free
Bonne
chance!
most
appeared
come
Wright claimed
cabinets.
Fifth
problems.
No
forty,
nor the
in this
each
of
palaces.
to his
offices
ful spiral
last to
was
from the
who had
books, but
who
whose homes
clients,
in
magazines
and
Cartesian
delight
came from
freedom
the
in
the rigorous
One
mathematics.
critic,
that
apphcation of
is
writing of Le
tion to
and
a large
total
symmetry
was
make revolutions,
know how to
write the necessary manifestoes." The poetic manifesto of the Chapel at Ronchamp
on the opposite
was
should be allowed to
and cement,
and
steel
lishment to
The
to his will.
champ brought
its
he
us,
shouting, "scandal!"
to as a
troglodyte
work of
fact the
in
fierce polemicist
torily
to live in."
It
that
same
is
a machine
seemed inconceivable
that
it
to
who
liners, in
the least,"
contained
is
his
houses
champ
is
the
also "functional" in
as a house of prayer.
hill is,
its
rail-
Ron-
at
own way,
The church on
the
silence,
Chapel
in
who
climb the
hill
we intended
ularly
for
it."
known, died
in 1965,
but his
is
in the
.still
the throne, he
wife
his
away
in
Mumtaz
indi-
and
make
would
feel
monument
its
to her
memory
some small
it
No
souls.
of
this story,
is
one of the
all
of
art,
The EscoriaL on
built
to
itself,
a royal palace
II
of Spain.
good Catho-
champion of
Philip
trait
death
is
by King Philip
lic,
the
Counter Reformation.
is
by Pantoja de
dressed
in
la
Cruz.
He
shown
beard that
is
falls to his
from
his
skimpy blond
whole
instrument used
to
saint.
The
Escorial
is
Europe
royal palace in
mon-
to contain a
be a monastery
first
and
all
in its vaults. If
made
France, Philip
St.
bedchamber
his
II
made
himself in
contrast
to
of
center
the
the great
Church of
ip
Phil-
father,
his
and refinement
of
a few bare,
When
he died,
it
and simplest of
monument
and
in the
Not only
to erect a
to
is
foremost.
its
building
band
Saint Lawrence,
fact, to
that,
at the pre-
cise center
astery-in
it
to the saint in
kingdom. Thus,
of two
tortures,
Legend has
monastery
to erect a
ties,
Shah
his brothers in
others, not to
Shah
erected by
Vosges.
half a world
spirit,
speaks
memory of
in
To gain
glass.
Jahan
vowed
side.
built as a
his
The
dreamlike
the
It
lacks
that
fantastic,
expression in
toni
that
Escorial represents
of Spain.
all,
spawned
most
Picasso,
is
and
personal
city
dominated by the
overwhelming
of
stands, the
Sagrada Familia
is
not so
now
much
it
the foreshadowing of a
a church as
mouth
cation to duty, he
in
conception
"first
it
is
and a
single
West
is
the ver)'
turbulent East
is
a study in absolute
sym-
votive act.
gust
2,
On
Au-
army defeated
if
Gaudi had
left
lived,
by the master.
he would have
still
fur-
ther.
send
his
site;
he spent
drawings along
to
to the building
his
No
draw-
be
tainly considered to
ful.
King Francis
occasion
lost
I,
than success-
less
who on one
the king
Le
commissioned
Breton
the
to Ver-
company
in
for Austria,
where he ofiered
Emperor Leopold
left
his services
He was
to
become
in
history,
had
modelin
were altogether
and
arches,
of
intricate tableaux
An
human
efl'ect,
to totally
and unassuming
too modest
to
re-
to
I.
On
the battlefield
extravagant and
and animal
is
figures.
and dedi-
Gaudi constructed
his
whom
he
in
triguing
achievements
to
the
Renaissance,
Italian
wanted
to be
For
worthy of
artists
turned to the
"home of the
Leonardo da
subconscious
is
human
Helsinki by
lainen,
two
tects. It is
ferent,
It
brilliant
young Finnish
the expression of
a,
archi-
rather dif-
cial
walls constituted
is
rock
nothing dream-
appearance of
this
site: in
cannot be
important of
to
it
it
all,
the church
is
conducive
Not
af-
means of expression.
all
integrity.
in
his
quer. Francis
the aging
the
modern consciousness.
to
who
Vinci,
close friend
he
left
him
all
would
much
in art
intelligently
that
Eugene
his manuscripts.
the
whole
one of the
ing
it
To
his
good
as
fine arts.
when he
taste
He
exercised
built his
summer
he employed other
work on
cio
and
his palace,
II
who would
later
win
Louis
XIV
The group of
quest.
artists
he gath-
Renaissance.
and
artists
much about
the ruler
who
it
of
tell
took a
into the
Many
years later, a
sickly
and
ill-favored
youth
Eugene, whose
battles
was
ill
had no vo-
tural
is
of water
to his
name
is
Malplaquet,
Such
jets
Thanks
air.
of Oudenarde and
beautiful
his
in
rig-
Not
Francis succeeded
until
man
wide acclaim.
architect of
intellectual, alert,
spent
by the Loire.
first
House of Savoy, an
the
conformist.
Francis
but
way of the
the
world. Architec-
who
may be Ronchamp
Sagrada
Familia
Museum. The
admire.
And
rest
this
has
and
Guggenheim
the
volume
is
dedicated to
Fontainebleau
w^5r
I..JLJL
li
^^
8;;^
if''!''
% i f
\\\Utm^\\\\{{ii\%m\\\\
111
imuiii'iitu.fc.s.?'!':,'
rii^
France
Shii
r'/^Sk
/^!^
fO^ <S^
tf fiff^ff If^ifif
rj
I!
;i!i:i!iiililf
it
in
Gilles
Left
ion
reign of Francis
I.
and above left, the roof of the central pavilof the Wing of the Ministers, showing the
monogram and
the salamander,
symbol of Francis
1.
the heraldic
f|y'|i'-'iiiHirii
Du
Jean Androuet
widely
imitated
Cerceau.
The staircase
throughout
chateaux
in
named for
its
center.
Old Guard
also been
here.
known
as the
Cour des
Adieu.x.
5 VVBSPl,
^^
^l^
^^j
'''^^"i.ii
:-Jk-:S^.
*V-iW!?
'%,
t'ji.
BiiMf
^6ove,
//if groilu uf ihe Jardin des Pins ("Garden of I he Pines"). This small, ivpicallv Man-
nerist
It
Renaissance
was probably
to
details
of the
grotto,
showing the
though particularly
used
difficult to
at Foniainehleau.
The
irregularly
is
Gilles
Serlio
and
also
Philiberl Delorme.
were made
to the
right)
on foundations of
worked on by
Some
alterations
to
Serlio.
Center and
named after
right, the
Francis
I.
surmounted by a bust nf
3*
-
Among
works
al Fontaine-
hleau are the decorations (below and right) carried out under the direction
and
lino
Priinaticcio,
artists
em-
ployed bv Francis
I
of II Rosso Fioren-
two Italian
the
I.
themselves
represent
the
history
of
littered
briel converted
monial
it
staircase.
Left,
a great
.4I
,/
\ M
^v-H
.^
^^^teSfefc*-""^!*!^
TVje Gallerv
of Francis
(facing page)
showpiece of Fontatnebteau.
The
is
gallerv.
the
of
II
and woodwork,
is
the creation
pupils.
(above and
thrnughoul.
<^
^\)
V<
^^V^^^V"^
.^^^
staircase,
Blanc
from
to the Gallery
This page,
the
Cour du Cheval
of Francis
I.
and of
courtyard
Napoleon
I.
vi>as
During
festivities,
the
1540 as a
and ceremo-
substantially altered by
his restoration
of the cha-
the staircase.
Far
right, the
Pavilion of Arms.
HJin**''
Left, the
photo)
left in
Chapel of Francis
I,
bevond which
is
the
to the
side oj
offices
the
left).
Remi
Collin for
Henrv
to their function.
Right, the
Pool.
Completed
in 1 748,
it
the Carp
reflects the
coming
^^*}\m\\m%m\m{{w
^'
M^ y
Ihove, the
iiiine.
On
I'avilion,
I'lus
(
or
VII.
Wing of
On
the
la
Fon-
Grand
Queen and of Pope
it
is
the
the
once contained a
decorative sphinx.
A one
t
with a
little
demolished.
At any of the statues commissioned for Fontainehlcau- including Cellini's Nymph of Fontainelileau. originally
1603)
the
I V.
fca.
north garden.
Ancienne
is
llieater
Left, detail
by Barthelemy Prieur,
in
the
the
in the
park,
\7
V,
'*fi
'4
Chateau of Fontainebleau
Fontainebleau dates
Chateau of
Fontainebleau
France
bears
137
document dated
"apud foniem
legend
the
from the
at least
Some
spring
this
steeped
far as to declare:
.to
his
was
also
known
as
Fontainebleau
received
its
and
built
Holy
Trinity.
Saint Saturnin.
it
to the Virgin
and
to
castle as a royal
hunting
the
Fair),
Thomas a Becket,
archbishop of Canterbury, who was at
tions of the
in history
it
is
more
poetic
fell
Em-
crated in 1169 by
Fontainebleau,
at
the
.so
a right
went
king's
name.
33
Becket
there. Isabella
the
returned
to
in his
cathedral.
names
to
first
of
many famous
much
committed
the
pellation
to
"the Victorious"
They
finished
up on
him crowned
erals
who.
and allowed
in
had
his field,
by the high
command
War II.
of the Wehrmacht
during World
An
eighleenlh-ct'iutirv view
background
to
be changed
when he
refused to
sell
at
it
ner of Versailles.
gouleme
that's
how
down. At
it.
least
Accord-
sophisticated king
1429-under-
in
in
it
Bom
the
Comte d'An-
had no male
heirs.
who
li^
"mim^%
xm
^V..'i
*r
34
Individual Creations
the
title
became hereditary
that later
for
his
title
French
nomina-
Roman
Emperor.
northern
in
trous battles in
all is lost
in
tagesthan
resumed
he
emperor,
Charles
the
struggle
Francis
was well
it
lux-
wretched imprisonment
from
in Spain, the
king adopted
He commissioned
at
campaigns
in
isting
history,
he
message commu-
to his
mother: "Mad-
except honor.
Madrid
rulers,
."
.
for Francis.
home. During
Italy,
his military
aissance civilization, he
defeated at Pavia
for his
news
nicating the
medieval
French military
became famous
ame,
When
Italy, in
hind, as
But no
had learned
He was
to
de-
and decorating
his
own
palaces.
it
medieval
saving
castle,
Queen
Cour
the
still
more
medieval struc-
form of Le Breton's
The
Ovale.
little
the founda-
fact,
Isabella's
irregular
master
Parisian
the
remain
buildings
at the core
of
whole complex.
tradition that
alive
in
France.
in the
medieval
much
very
still
more
philosophical
ful
style,
which he
in-
care-
tainebleau,
The
are
and medieval
in spirit.
name from
Italian
mack
once surrounded the central complex of buildings, even cutting through the Cour du Cheval
Blanc,
the
and
Carp Pool.
of the Cour de
la Fontaine. It
of the fac^ade
was never used.
tall roofs,
composition
the
gilt
unequivocally
French
its
Francesco Primaticcio
in
1535 to
Chateau of Fontainebleau
1536.
lis
XIV and
Cardinal
Louis
Chigi at Fontainebleau
at
re-
Urbino. But
common
to
it
displays an
by Le Brun.
awkwardness
of certain
for
in
several details
35
example,
sills
Left.
Francis
rest
I,
the king
left,
who made
below them.
aissance masterpiece.
the
the
original
in this part
of
twelfth-century
Ma-!v_i
At/
he added in
known
1531
long gallery,
I.
It
To it
now
con-
statue of
Marcus Aurelius.
Niccolo
He wanted
Francis.
ever,
to
make room
for a
their quarters
became
plaster cast of a
for a
Francis
1530.
Florentine
artist.
II
on the
interiors.
by
ticcio, to
nal
same standard of
As
early
as
Battista
Rosso
(called
later
.satisfy
his
He was
in this
by others, notably
dell'Abbate,
grino, Jean
Francesco
Pelle-
frey Dumoutier.
They formed
the nucleus
artists
is
exceptional.
is
unre-
example
of decorative
is
art.
compared
to
the
it
has been
Mirrors at Versailles.
36
Individual Creations
Above,
an eighteenth-century
for
left
X V,
la
looking
view,
Rome
to
make
a series of plaster
French
On
chateau.
foundry
chitect
he installed a
at
by helping
reer
return,
his
to
cast
the
his ca-
statues
in
Benvenuto
tiful
the
fashioned a beau-
Porte
d'Oree,
cJe
who
statue,
Above, Catherine
Cellini,
Chateau d'Anet a
husband. Henry II
Henry
(right).
W'nmnwi'vrmwiwf^i
II,
gift
to his mistress
Diane de
Poitiers.
in
France included
collec-
many Italian
Mona Lisa and
Rome and
ice.
Serlio
ize
the so-called
is
Palladian
window an
As
it
turned
1540 the
Renaissance
artists
replace Le Breton
moted
to a
more
who would
then be de-
technical post.
who had
where there
is
a portico
named
after him.
the
d'Ulysse
splendidly
and
the
decorated
bedchamber of
Galerie
the
later con-
monumen-
In addition, an Italian-style
in
Philibcrt
Diane de
Poitiers,
Chateau of Fontainebleau
Delorme
architect,
but on Henn.
ll's
to
artis-
tic ability
regent
son
her
for
end of the
at the
Fontainebleau. In
1601
was born
at
baptized at the
as the Porte
tistery, in
For nearly
was no more
work on
Henry
chateau.
Finally,
emerged
victorious
the
Bourbon
of
He proceeded
1589.
heritage with
its
bleau.
and
As Henry
been
it
Paris.
King,
it
the
new
was relegated
architectural
to
second rank by
wonder at
Versailles.
autumn during
the hunting
was
her throne to
become a
deschi,
the scene of a
to her.
cuckoldry. This
the reign of
immense
Henry
hundreds of pairs of
many
trace,
him
to
said of himself:
sit
ill
with avarice:
do
"I
make
Henry was an
ac-
his mis-
and
on Fontainebleau was
sum
compared
a trifle
was the
it
to
spend
to
larg-
Henry IV increased
Fontainebleau to
present
tered the
Canal
its
size.
in the park.
He
He
the
Cour du Che-
ists-including
Martin
Dubois,
Freminet.
Antoine
Toussaint Dubreuil-are
the
al-
the Great
broise
Caron,
art-
Amand
now known
as
The palace
tered
at the time
of Henry IV cen-
large, rectangular
Henry
also
to
walls.
its
bad
that
taste,"
Queen
and
it
Christina
leave France.
Ninety years later another famous person was to offend the court with his bad
taste.
The
culprit
Arouet, better
known
as Voltaire. In
Oc-
Far
left,
Francis
Henry IV,
Bourbon
II. Left,
first
of the
Below,
kings.
Cardinal Farnese.
Fon-
at Versailles.
during
name
its
known
hall, built
owes
IV,
est
of
on
livres
Fontaine-
enlarging
his
She
in the Gallery
Gascon
to belie his
this characterization.
what
out
Giovanni Monal-
in
the
was a
Catholic,
of
Anne of Aus-
using
as their
the Protestant
tradition of miserliness by
gate of the
since
XIII
37
known
Cour des
Princes,
chateau.
Charles IX.
east
service
38
Individual Creations
XV, the
Louis
inherited.
architect
all,
Madame
time,
soon
lost
sum, part of
a considerable
her:
Though
with rabble!"
uttered in a whisper,
that,
it
was no
less
his
judgment was
and
in English at
Only a
at
swift flight in a
the
French
coach saved
la
Jacques-Ange
large pa-
Fontaine. Worst of
king's
room.
make way
I,
made
in
its
windows.
were
chateau
to
the
honor of a
visit
Marie Antoinette,
lution
to the Gallery
blocking half
Other alterations
the
Du
a great,
if
ex-
form
now
by his queen,
Revo-
called
stripped of
its
"nest
of tyrants,"
was
Madame
First, the
military-minded
its
placed with
iron
railings.
The second
was almost
certainly
commissioned by
his
pubhshed an obituary
that read:
observed
little,"
it
lot.")
as a prison
and partly
partly
as a school. There-
fore in 1804,
it
was
XIV
de Maintenon
has stolen a
throne
the
cessful.
bedchamber became
were external.
ceremonial stairway.
Jean Androuet
and
re-
briel
to
he
every
Only the
possible,
Ga-
sors.
Whenever
more conser-
reign,
From
first
of the garden
of Fontainebleau,
Chateau of Fontainebleau
la
Fon-
39
"beautiful water,"
architect
garden.
Fontainebleau
is
range of styles of
Below
right,
left,
Comtesse
vorites
whose
famous
justly
for the
its
landscaping. There
Napoleon and
is
Carp Pool
Henry
IV);
There
named
is
in
by Louis XIV's
Andre Le Notre.
for
its
restore the
political confrontations.
later.
to
crown him.
And
historic
1804,
in
VII.
who
there, eight
become
to
a sort of
incar-
40
Individual Creations
ceration, the
pope acceded
On
25, 1813,
Januaiy
cordat, by
it
emperor.
which he relinquished
powers but
poral
to the
he agreed to a contem-
his
down
a path
it
set that
the
blood of
continent moving
turned out.
It
was
at
poleon abdicated
of France and
hogany
in
(The
Italy.
table at
little
round ma-
still
be
now known
as the Abdication
Chamber.)
Grand Armee;
the
the
armies were
allied
and
his relatives,
his friends
had
his
Banished
failed.
to Elba,
known
he
to his faithful
were aban-
attempt to commit
that
Cour
day,
as the
the
Cour des
Adieux.
After the Restoration, Louis XVIII and
still
partially evident.
hundred and
years of
fifty
still
stands, however, a
today
day
and
much
in
marked
political
as
heritage.
artistic,
It
looks
them
at
the conclusion of
Ovale.
its
last
epic ad-
The Esconal
'h.!
^ ^
Spain
Wc'
-^'"L
^^-^^^m^
'
'^,fl!
^
"
'"'!
ij-4iUii
.-Xll^Ul
>^j^^r>-^-\^"^
in
a reservoir,
the
Above and
tery,
To the
left,
the
it
in
Far
right,
trance, containing
and
the
in
main en-
royal crown.
Right,
at the corners
Moorish
fortress.
The
of the palace
of an
R -I
* -I
nTTnTunTnTn
a*.
-'-*>
ft
^ T
Facing page, one oflhefour corners oflhe Escorial. The mighlv square
corner lowers
design
is
hell towers
of the church
Below
right, the
the statues
in fire-gill bronze,
Escorial" because
left,
based.
Below
made of granite
fac,ade.
it
The gallery
is
called the
"smile of the
'
'
'
--K.
flMJili'ii
strict
right, the
one side
of the exterior
is
relieved both
it
and by
the relative richness of the dome. The dome, normally obscured by sur-
this point.
and
Its
upper
The
interior
befits
it
aho
A bove center,
the
II.
A bove
left.
IV of Spain.
lie
los
the marble
sovereigns
Pantheon
in the
and
their
queens.
Above
the
and
his
Charles
family
(left),
The
The
Escorial
Spain
Escorial
the
site in
among moun-
among
forests
abounding
in
tion,
improving
all
Spanish
buildings.
quickly.
It
the
troops of
King
August
Philip
2,
1557,
of Spain
II
style
spirit
Vignola.
liefs
ther, the
burial place.
his
honor both
and
his father
monument
to
On
The
Escorial
was completed
unknown
On
pert in stonework
generations.
called in from
him
called
"the
site virtually
I
1
W*
'
J*
1567, he
all
ex-
miniaturists, sculptors,
became
The
E.scorial
is
Day
its
construction,
and by the
austerity of
Few
eral layout
exact,
hand
in the
con-
only ornamentation
..AVa
in
in
the
is
an enormous grid-
himself
is
_\-.X
lies
M.JBL :j[I]^[E[jm'LJC~T^
A^;/;
.^- i'C:'i:jinQapnaaL'i^,^:Lm-'
L^'J
.
^#.
__\'i
and
on which Saint
alive.
A ho vc.
jiiuni
an
mathematical
._]L_i)'( j/HJi
The gen-
obsessive,
in the details
own
and the
almost
its
overall con-
Its
ab-
its
symmetry of
Left,
I'hilip II
-Jo/
in 1586.
characterized by
arts.
,-/]
in
Carpenters, goldsmiths
and metalworkers,
death
April
painters, masons,
contemporaries
his
direc-
ip's
was appointed
architect,
tor of works.
relatively
in
work was
itself
foundation stone
end
The
By con-
53
himself,
On
poll rait
by
of
Tilian.
view
of the
Escorial in a sixieenth-
divides
it
54
Individual Creations
Right, longitudinal
and
the church.
pl-vt
^iii^iippMi.|
iliwrniiwill]
?i!r""*^-*'^!"--Ui-ni"3
a -^ ^i
[,J_-U'
fc
a'
I
I
iniiirlriii
how
the Escorial
is
used
to
is
is
the bottom
the library
it
sierras.
On
the
left is
the
and Conva-
helps differentiate
which were
at that
king of Spain.
The
smooth
walls,
vary in
interest.
set in
The
three
at the center
monastery
south;
the
to the north;
and
to
it
An
the
extension of the
southern
to the
rest
of the
building.
faqade
Escorial.
The
firmary
and
is
the
Convalescents'
gallery, situated
sheltered
its
aspects.
The mas-
may be considered
the last of
near the
from
for example,
the
Its
The church
itself is in the
the
in-
cold
a solarium
by convalescing monks.
St.
Lawrence occupies a
sult,
to
is
As
a re-
form a Latin
cross,
it
seems
to
be a Greek
cross,
with
all
is
Patio de los
Church of
form of a cross
on a raised platform
The
The
attributed
school, symmetric to
is
rical
at Versailles.
ciotto
owes much
lentless
ing:
of the complex.
bedchamber
vised by Herrera.
the king's
left,
lescents' Gallery.
is
Arab
cross; to the
of a Greek
posi-
of
yard
is
named
it
of
from
"
The
Philip
II
showed
usually
excellent dis-
though
al-
artists,
his
He had
proved unfortunate.
When
Venetian
the
lected
originally se-
Paolo
Veronese.
Philip
had
biaso,
who had
Cam-
Ligurian
good reputation
as a
making
it
sufficient attention
Ironically,
Charles
II, last
to the
was the
it
king's palace.
sickly
who
and
dull
eventuartist to
was Luca
named Luca Fa
He was
nick-
his
commissions.
biaso. he was,
on one occasion,
by
skillful in
would sometimes
terrified
Extremely
For example,
flat
and
granite arch,
an
heavy
extremely
lectern
of
trust
and
by a sturdy
column. After
that,
insisted
whenever he passed
pier-mache
When
construction was
fin-
It is
Holy
one
known of the
right,
archi-
Escorial
55
56
Individual Creations
main
corridor in the
of the Escorial,
depicted in an eighcloister
The building
holds
II,
which
collection
of
way
bons,
remained the
it
Under
the Bour-
royal resi-
official
books.
age and
power gave
declined in importance.
modem
still
gun by Philip
13,
surroundings.
engrav-
teenth-century
ing.
on September
as often
it
gloomy palaces of
Age of Reason
when
the
sical restraint.
Charles
III
He had been
of Spain.
city
in
ments.
If this
ing the
Age of Reason, he
accommodate
had
ished, Herrera
demolished before
it
place reminded
them
Juan de Villanueva
were noth-
pomp and
splendor
and
to
merous
main
mere
original
and funerary
religious
statues.
families of Charles
V and
Mary
St.
Philip
II,
can be
Lawrence. Only
is
not represented.
is
a beautiful cru-
by Domenico Guidi, a
fine
work
in
of
di-
vanity.
The
Escorial
is,
nevertheless, a reposi-
the
like
and Herrera.
The
is
also
in
many
Escorial
architecture for
it
was
addi-
after the
perfectly with
fit
to
building,
sympathetic to
The
The two
tions, built
Spain.
altar
gift
to
Two
architect
his
this resting
that they
functionaries. He,
all his
commissioned
therefore,
built.
But
was
his time,
was a model
for
Spanish
after
monas-
tery
European painting; a
Pantheon de
los
the
is
serve as a royal
mausoleum. Nearly
all
to
the
of Charles
which
with
is
gilt
were not
built
lie
in the great
Pantheon,
Pantheon im-
first
anteroom
to
place
known
as el pudridero.
Though
the
to
and an immense
relics;
library of
who was
pitiless in his
persecution of
rooms of Philip
II
are plainly
is
II,
tiles.
Even
in
masters. Enfeebled
at
the heart of a
from
stretched
Escorial
is
and
its
all
em-
dominion which
America
to
Asia,
the
verted to Christianity.
of holy
priceless collection
all, it is
the
a per-
II.
Taj Mahal
India
^I
A hove,
lite
is
a convention of
elements of
eral view
Left
and
Mogul
design.
Above
Human
Far
a gen-
minarets.
and
stylized de
dense ornamentation, as
Islamic
right,
its
is
from
the
art.
right,
one of the
icniral dome.
larrJ
to lighten
visiting
the
-:S5e^i.^^
Jahan
side
one
side,
is
is
set to
symmetry of the mausoleum. Howwas not part of the original design. Shah
Jahan had planned to build himself a vast tomb
the overall
ever,
it
when
Left,
.Above,
and
the filigreed
lamp
that burns in
the
its
serene
and
timeless beauty.
fei
Taj Mahal
India
to build.
ever,
is
domed
who
The famous
a notable exception.
building
is
memorial
Mogul empire,
fifth ruler
to legend, the
so beautiful that
the
architect.
it
Faith
provide work
and
vanity,
Mumta: Mahal, the "Chosen One of the PalWhen Mumta: Mahal died. Shah Jahan
built the wonderful Taj Mahal in her memory.
ace. "
become
the
it
has
of
queen's
to the
to the fer-
died in childbirth.
According
men
whoever saw
last
monument
it
could not
its
The
first
and
the
royal
Meena
bazaar.
women
Indeed, since
its
metics.
seventeenth
century,
the
tranquil gardens
and
shimmering
bazaar,
harem,
This
to the royal
its
serene elegance.
On
oils,
of the aristoc-
and other
cos-
normal
among
came a
lively
classes.
set
to all
70
Individual Creations
Lefl,
which
mausoleum
the
flanked hv
bottom
at
is
mosque and
its
the "reply.
center,
"
dreamed
He would
mausoleum
build her a
who gazed on
love
it
miracle of
it
feel the
Yamuna the
the
would
scene of
happiness as the
site
of
"Remembrance of
the Palace."
noblewomen would
the
and peddle
and wares
their baubles
to the
who came
that
"contrar)' days"
Prince
Begum,
love
with
He immediately
According
her.
when Khurram
bottom of a
father, the
He
quest, pleasing
However,
was
first
seller.
united,
pean
had been
this
One
One." In
their nineteen
years together,
She was a
many of his
close
than a harem
companion, privy
royal dehberations.
to
She bore
birth to a
rooms
drink.
He
stayed weeping in
It is
later,
another Euro-
by a Western architect
fatal to her.
years
this
."
.
last
Turkey or
"Chosen
said that he
after giving
for his
It is
time the
was
hved only
manner of a
built
re-
visited
in his turn,
wife.
let
been spent
all
Two hundred
passed
father-in-law with a
him with
sum had
dead
his
Jahan-
make
em-
a large
actually married.
obliged to
for
had mar-
five years
make
to ask per-
too,
was a
Geronimo
priest, the
Khurram
emperor Jahangir,
called
tomb
sumptuous
diamond, Ar-
rupees.
goldsmith
in
thousand
afford ten
1642 to ransom a
in
tried to
jumand named
fell
Agra
tradition,
to
to
Venetian
as
prime minister.
is
title
tian
milling crowd.
It
Mahal
ants to the
re-
Mahal
credits
Ustad
Isa,
an itinerant from
legend
tells
that
Ustad
Isa himself
in
search of
ment
to
his
own
wife.
Other accounts
cities
Taj Mahal. 71
and
was
that he
It
is
not the
depicting
a single master at
procession
neral
craftsmen from
many
artists
and
all
in
eternal
his
resting
1631, the
workmen twenty-two
years to build at a
the
detail,
reign.
Persian in design
It is
cur.
of
but
ail
to
one
the fu-
work of
In
P^T^
or an Arab.
and style.
mausoleum
headed
that he be-
his
hands of the
architect's
off the
assistants,
and
And
tomb
to
Mahal.
It is
a balanced
of buildings.
harmonious synthesis of
Asia,
and cen-
it
traditional design of
is
tecture, successfully
Mahal
to
Mogul
adapted
in
the Taj
design.
mausoleum
itself:
a massive eight-sided
domes, of a
classically
Mogul
design.
It is
is
and
poral
life.
Under
onal
the great
hall,
lovers, enclosed
ble.
which
is
surrounded and
minarets that
Flanking
domed
the
mosque and
known
rise to a
set off
by four
height of 138
feet.
are
structure
larger
the
couple are
to
idyllic
oblong pools,
at the front
of the mauso-
number sacred
The
to Islam. This
planned and
and the
which
The
him beside
his
Sweden
part of the
to
for himself
last
beloved consort.
is
Mahal was
the
mausoleum
its
One of
distinctly
by moonlight, when
on an almost incandescent
Shah
glow.
is
travelers
but a
shah's
original plan.
Mahal
Some
to fully appreciate
it,
to
in a
the Taj
surface takes
way
that of
burial hall.
is
the memorial
is
and higher,
is
are empty.
tion.
little
function
An
one of his
site in
in
1832:
'
72
Individual Creations
ever,
was
India,
the
smoked
Jahan, was
now
details
ap-
masterly;
otherwise
wealth of
its
in-
seem
to
preferred
be
the
before with
its
and
feeling,
atmosphere of profound
it
is
thus that
choose to remember
among
all
The Taj
would
gem
this costliest
Mahal
received
many
such
other
un-
visitors,
seventeenth-century
Baptiste
Tavernier,
the
essayist
Jean-
English
poet
mf'W
In
how-
"decadent"
During
Mogul
this period,
architecture
in
England.
failure,
in
first
and there
to the building.
the
British
completely
disre-
building
alive.
cita-
relics in
Thanks
tionists, the
nificent
Taj
Mahal
survives as a
Mahal and
have
in
1664.
Edward
it
r-
construction
was completed
summed
quip, "Henceforth
let
Picnics
became
tle
in
lit-
was a dramatic
ain's attitude
art.
up with
his
as hasn't."
parks.
them
it
the inhabitants of
revival in Brit-
Below.
visitors
including
Rudyard
Kipling,
Jean-Baptiste
and Edward
tpt=M=dVt=:M=dVfn^^t^^
r'-
its
mag-
''r
(rarTTnmX^fMMt^WT^TTTTTTT r r
Lear.
Tavernier,
The Belvedere
^^
Austria
>
^<^,
,*r^*^
Baroque palace in
Preceding page, an aerial view of the Belvedere. This
Savoy (1663Vienna was the summer residence of Prince Eugene of
1736).
.Above, the
huge
triple
in front
On either side of the central gateway, gentlefaced lions hold Eugene's escutcheon and coroHoly
net, symbols of his title of prince of the
Roman Empire
(above,
and
lowing
loves
the
insignia
of his magnanimous
of the
gate.
Right,
an ornate,
converted to
eleclricity.
(left).
now
and a wealth of
inventive
of the palace
is
relatively simple.
massing
The sloping
terraces
the
and elegance
Upper Palace
of Ba-
at the top
of the cascade.
ramp
is
circles,
and lower
levels
now
barely
visible,
Hesperides.
Right, Apollo
(left,
above and
Lower Palace
^,
^UKBUfc^.'-.-s.-^R
.l/)<;ic' left,
up
The giants
staircase.
-,
left,
the ceilings
room
in
one
Hall of Grotesques
in the
Lower Pal-
de-
(right),
>
*
iTj.^
rors create
glass.
1 766.
of Empress
of queen of
Hungary. Maria Theresa purchased the Belveregalia
of a table
in the
Rococo tendency
left.
right, de-
table,
e.xhibits
to enliven every
w^
"^
The Belvedere 97
and
for building
The Belvedere
Austria
Where
restoration.
the
of the
Danube throughout
every province
common
of
architectural
flourished in
and flamboyant
the
styles,
Baroque
it is
characterized by a particular
and exuberance.
fitfully
against
the
threat
enemy was
at last repulsed
was
that
felt
of
until
from the
The joyful
relief
immediately reflected
in
an enthusiasm
elite
Pahu
<
Upper
It
illuminates
the
advantages and
spent
in the
his
unhappy
early years
fol-
with enthu-
When
France
Louis
in
XIV became
king
five,
of
the re-
gent, his
est
country inns.
Pomp and
and
prestige
in itself
liant
intrigue
and conspiracies
them became
expressed
the
Reformation,
Church of
the
the
Rome
of
the
over Protestantism. In
at the court.
time, the
king.
him
in Paris.
For
sister's
One of
Court gossip suspected Mazarin of hoping to marry his niece to the sovereign.
However, a
vision
its
politician
could
not
seriously
have enter-
and
who
of Savoy.
in the
people
brilliance.
founder. Prince
its
Eugene
aces,
One of
and preoccupations of
in
Vienna
is
the
it is
more than
girl
impeccable
power.
It
political credentials, to
bestow
98
Individual Creations
to
pursue her
left
liai-
18,
1663.
him:
child.
upper
ment from
the
mother of eight
pected by
chil-
(who was
sus-
which are
teeth
entire
volume of engravings of the Belvedere. This volume was the source of these two views of the Hall
of the Giants, the vestibule of the Upper Palace
that leads to the gardens. In the
ing, the artist
ceiling with
much on account
old,
When
He engaged
in a rigorous
he
left
peror Leopold
was
1.
at the gates
Louis
was hungry
more German
for
Austrian em-
threatened.
severely
to
be a
program
territory.
recommend him to
member of the House of
to
Roman
Moreover,
and
Versailles
soldier.
in the
his brother,
to deinfidel.
upper engrav-
entrance portico.
is
French court.
I7il.
He
intrigues.
//;
commission
his petition.
an up-
and an
nostrils,
the kingdom.
Olympe was
lip
ugly, with
recently
the Turks in
when
the
Lower
fighting
And Eugene
XIV, who was
Austria.
welcomed Eugene
to his refuge
He immedi-
graciously
at
ately placed
paign
Eugene
the
divert
to
in
charge of a cam-
Turkish
siege
of.
Vienna.
was decorated
command of the
regiment of dragoons of
Kufstein. At twenty-two, he
major general;
mander
in chief
an imperial
was named
twenty-seven,
com-
of the cavalry; at
thirty,
at
field
marshal;
and
War
finally,
Council.
it
was well
culminated
battle
won
in
the
for
The
Battle of Tisza.
in
Europe and
Christianity
and Western
civilization.
companied by
Hapsburgs
prestige
showered
him
with
titles,
Aus-
in
estate
was valued
at
it
his
The Belvedere 99
'JrfttrdVrtrt:/nnu iPrnt.iptr^^i.i
Left, an eighteenth-
ing
on
his
and conversation. He
for himself,
just steps
in the center
away from
perial court,
of town.
one
built
residences.) But
the
city,
outskirts
for
memsum-
their winter
retire to
to
same lime
as he
was planning
was
fact, at
his
also
new
cam-
XIV
War
in the
his
country estate
elect spirits
who guarded
the destinies of
entire nations.
The Belvedere
sensitivity
Eugene's
reflects Prince
thirty.
his
utili-
Belvedere consists of
its
separated
foot,
Eugene spent
On
little
when he was
in
rooms
in
cession (1701-14).
Eugene began
the Ba-
of the
civilian life:
to
since disappeared.
two palaces
(It
the
Lower
Palace.
Having
life,
little
inclination
he had no need
once, at the
The
site
he chose for
sloping pasture.
this
palace was a
The palace
is
known
of the
manded
hill,
the
On
as
the
Danube. The
to
location,
nostalgic
for vast
to
be
halls. Instead,
absorbed
by
he
military
and spent
his
in the
among
ful
in 1718.
which
finally
to three
em-
greatest strategist
and
ally,
the
Eugene
in
armor which, by
his
100
Individual Creations
spirit
embodied
and
magnificence
glory.
was depicted
All
Cxfiirls
\m
I'ctibc j
V&
ilrJh.JZ'Z^^
ffinngtnfiiinwrr/hiii'luMJfii'urc
'".rJ^Tr'^Z.
(cnhTJt briftlidJiTI.5i>ffmumi
'J^'-.^t'ZSZ
The
va-
complement
and
adjoining
the
9(ff (Ur
icj).
the
reflect
is
The gardens
echo
also
XIV
palacejust as Louis
at Versailles.
as
fiery
ceilings of the
cX VtrotA'c
own
his
handsome,
celebrated
and integra-
complex
as a whole,
""
Wii^burtfliiSrwH(>fi/
"om fiiTgrti
(in
^f iiffdJcT.
WrffSlPifa'n/ninniild (iiTiffrllwfftia/
tvfi iiJt)frr
at Versailles.
lllmM^^M%to(^lltfi:
Eugene died
in 1 736 ai the
age of
73.
His em-
closest to the
Cr|tBt(/ ipnlt<rrScMrOC><vnjnN.
lay
more
and mostly
treeless.
been open
MM iVaC et
VC9 tVpalV.
nearby
St.
Above
right,
cVgr-..l\
hut
ta'.^t
<
iDVnKtVVailHUjI
'/ litiiKjf
and the
Eugene spent
Eugene established one of the
largest zoos
He
(below),
of his
of mammals.
in
wild birds
and an
army and
his
start
in
of the
War
1733, Prince
collecting
works of
its
cial waterfall
as a
build a
monument
to
Lower
the
vast spaces,
artifi-
all
to
Near
the design.
art.
Still
pools mirror
in
geometry of
and
and
its
monious
refined,
unity, displaying
an idealized,
is
unique in
all
mands
the
hill.
is
unifies
in
Any
is
lost
and
harmony.
The design of
from
fertile
collaboration
between
The Belvedere
Prince
Eugene and
Johann
his architect
army
imperial
in the
campaigns of 1695
he had studied
traction,
Piedmontese
in the
to 1696.
Of Italian
ex-
firsthand
the
Mannerist architects
in
Rome.
1700, he
In
engineer.
He
architect
later
noble Austrian
became
a leading court
Moreover, the
families.
employed
of these
skill
artists
Italian,
including
Giacomo
del Po.
between
built
it
however,
is,
less
flamboyant
vened by
truly
its
dramatic element
is
is
enli-
The only
shimmering
reflecting
pool and
reflecting
effects.
the Ba-
101
102
Individual Creations
From
and
the
plan
ground floor
Museum
itary
trophies,
cherubs,
and
allegorical
wisdom
effect
is
one of simpHcity.
knew them:
the
as
its
outstanding
in
in tiers to the
their
its
field):
and
left
frescoed ceiling.
To
rise
the right
For
this
He
left
sponsibility to Hildebrandt,
tect
surpassed himself.
reveals
its
(right).
Eugene merely
palace,
and the
archi-
single glance
grace.
distinctive
indi-
Supremely
later
in
commissions.
Lantern-bearing
plaster
and
col-
trasts
Eugene
decorated
(left);
of the
main
The bold
with the
figure in the
The
idea
Pal-
only matured
in 1715,
The
festive
two
Upper Palace
stories.
these wings
vilions,
is
flanked by wings of
in
domed
octagonal pa-
The Belvedere.
From
103
longitudinal sections of
the
through
the
vestibule
and through
entrance
and two
and
den
linked
are
the gar-
bv
which
stairH'ay.
also
two
lofty
and
gilt
hall,
wrought
The
interior
solid reality
of the
and entablatures.
of
the
Upper
trompe
Palace
I'oeil
wall panels
its
and
cherubs
displaying
princely
The path
it
It.s
reflection in
a distant
to the
and ethe-
exaltation
in
Olympian
of the
hall.
reflects the
vistas
of seated
gesture
The
ceaseless insistence
efl"ects is
upon dazzling
Plump cherubs
way
to
have
Baroque love
and stunning
deities,
and public
for the
grand
The
vistas
.spectacle.
doorways
into re-
embark on voyages
of discovery.
cluding
many by Gustav
colin-
Klimt, whose
104
Individual Creations
And
it
was
sixteen children,
From
idence.
there,
1914 on an
in
nian, Serbian,
he and
official
never
and Croatian
Their
returned.
out
Austro-Hungarian
the
as his res-
it
territories
of
They
Empire.
assassination
at
War
I,
Hapsburg
to the
museum.
Baroque
spirit
of the palace
as a whole.
Modern
visitors
are
amazed
sumptuous expansiveness
residence, a "second"
ubiquitous
power
at
allegories
at
such
for his
flattery
of
sequence
vember
in a bachelor's
and
pomp and
Eugene died
Prince
Belvedere but
Vienna.
He
left
his
at
no
in
1736 not
city
at the
residence
in
in
the
Its
modern
age.
On No-
press wish.
Italy
And
in
May
fell
Victoria of
had
in 1800. It
Eugene's
thedral,
is
burial chapel.
lies in
a private
that
occasion,
1752,
gained freedom
treasures
in the
re-
huge
their
re-
an end
to the
depredations by purchasing
the palace.
of center
On
scat-
collected
occupation.
were
patiently
Anna
and, on occasion, as a
offi-
resi-
their
very
Sagrada Familia
v^
^
YyV. Vi^
^>
,
\'
-/:i-
K^
>:
'>.
>A
Spain
u'li
hto
ay.
^Dbi
"^T
t-
church transcends
The unfinished
stylistic classification
and has
crypt,
and
was begun
after
World War
II.
Gaudi's
of the
birth
of Jesus
plants
style.
and
Modernista
i^H^^^H
b\:
^
A
is
as
much
archilecl.
spiritual as stylis-
tion to his
Above
Far
sept.
left
left,
and
left,
the "west"
recall
window
in the
is
"south" tran-
not oriented on an
Right,
''v^w^n<g>^^y-i>'
t"i
r'v
spirit
from
the
to incor-
porate elements from countless themes and influences. Yet, in the eves
(iherent masterpiece.
The stones
in
and
the fore-
is
is
now
Tar
right, center
rior elevations
Far
and below,
of the
details
inte-
of a recently constructed
Right, above
the
and below,
recall those
of the
made
all the
more daring by
the omission
of the centerposts of
.street,
but
it
the church
was apparently
church by
,V'VI'
.t
.^^-^
".
d^E-- '--'^Oi
---i
Sagrada Familia
And
Sagrada Familia
Spain
this
was mistaken
to discourage charity.
this,
Gaudi
But aside
needed
desperately
an
architect,
The
the
is
his habit
during
this
in 1926.
would
Temple of
the story of
its
architect.
town of Reus
in
issue
after taking
abandoned
commands
to the workers.
these pretensions.
social
invitations,
as
of schoohng
in
a collection box
Unknowingly, the
woman had
crossed
the piety
spired
until
and
him throughout
Gaudi
and
in-
poet Maragall,
who
distinguished visitors
the
to
Catalan
his life.
ascetic.
company of such
instilled in
He became
the
may have
But
alms,
It
period to ride to
for
suit
more
years of
much
the
After he quali-
death
until his
very
field.
last forty-three
threadbare
like
was
his
sive clothes
from 1883
home. Aside
much of the
17
rest
fied as
his
city as his
no desire
his hfe,
in
age,
When
adopted the
cated
elegant
modern
beggar.
for
after,
from
day.
occa-
friends asked
One
first
his father
two Car-
18
Individual Creations
mm
A hove left, an
early study
of the Passion.
Left,
on the
a
months of his
life,
he even
7,
1926,
Gaudi was
when
come
to
his
aid.
He was
eventually
days
later.
The
Holy
planners
who had
than
rather
wanted
to
the
to
city
by building a church
would
rest
on the
wealthy bookseller
cabella.
named
regularly
Gothic tradition.
on the
crypt.
architect
of the diocese, to
tionalist,
he was dismayed
later, Villar
the city
do not wish
to
work
for other
wish for
that.
In his
deep religious
architecture,
ment
to the
and
faith, his
his
builders
Thus
to replace him.
in 1883,
Gaudi began
the project
to regard as his
work:
devotion to
enduring commit-
recommended
who devoted
of the medieval
great cathedrals.
strict tradi-
at
clients,
life's
purchased an entire
my
sions;
left
nothing but
that
He
Family
with
traffic
residents.
the official
originated
exten-
large
had
new
to
its
noo
4
ing the last nine
lines
late study
Many of his
have
tic possibilities.
stylis-
years, re-
statues
and refinement
committed
He was
ules.
As
to concrete form.
his
Rejecting
Villar's
Gaudi
plans,
in-
work sched-
three to
one a
from
inherited
as well as by frescoes,
reliefs,
a result,
Gaudi
and
design
Villar's
consist of a single
to
aisles.
feet.
indication
which was
Gothic
is
aspiring
than the
the
The
art.
to
to
art, in
spirit
dome of St.
Peter's in
Rome.
support the
dome were
to
symbolize the
ar-
as the ca-
chitect in
much
same way
the
masons and
who
built
its
artisans
them.
The choice of
a bell lower.
gesture.
It
mav
sug-
own
of surface
ornamentation which Gaudi
interior.
renewed
interest
come
into
its
the Catalan
in
it
lan-
jected
forecourt
church
spans a
of
the
busy
city
street.
art
and
tal
with
literature. Catalonia,
its
capi-
The
citi-
zens of Catalonia
were
car-
felt
that they
governed from
movement. He refused
speak any-
to
name "Antoni"
is
worthy symbol
of Catalan
Gaudi wanted
to
it
aspirations,
be not the
new-a church
tects
be a
would have
built,
buttresses
High Gothic
the
lars set at
of the
lived in
"The Gothic
is
"It is
(which
instead of the
he
scornfully
style,
he introduced
pil-
of the
first
had they
And
last
to
He
elements.
pageant of incredible
He
envisioned
his
to
many of the
refined
some of
its
sign
was
to
The
de-
be completed by hundreds of
first
be
to
to
the
birth
and infancy of
Jesus.
the
de-
As he worked on
play"
Last
Judgment.
would
And
rep-
in
mingling of Christian symbolism and Catalan and Iberian pride, the eight forward
to repre-
Gra-
Santiago,
and
Seville-with
the
120
Individual Creations
7"u'o
studiesa model
and a drawing
(left)
Accordingly,
the
faqade
Nativity
is
richly
ornate.
stone sculptures
Intricate
tivity
lines
of the Modernista
portal
and
is
attracted
more sup-
style, a peculiarly
The
Gaudi
the architect.
Cat-
center
fir tree,
completion of
all
first
building the
four
city.
However, he
believed
that
would be more
the
difficult
stand.
Therefore,
he
began
to
under-
with
the
Soon
fin-
was begun, a
were
completed
by
1930.
skyline of Barcelona.
These
above the
upon
the church
and the
beam down
are carved
low,
money
elsewhere, the
press
facade, using as
three
red,
tower.
Gaudi
members of
the
Holy
Trinity. In-
church.
symbolic
The
role
throughout
Nativity facade
the west
the
Passion
would be echoed
would
reflect
in
somber tones
that
of the sunset.
the colors
of the church.
far
still
from
was
to
in-
the
be
on
and notes
sketches
in his
and
in recent
constructed.
Of
course,
had Gaudi
been
lived
made
further
city at night.
midway up each
On
mood of
the solemn
side,
by
architect.
called
tian doctrine
is,
above
all,
Gaudi
said of his
Familia:
"What
work
am
1
Sagrada
for the
doing
must do
is
As
my
it."
duty,
Chapel at Ronchamp
>
>
'y
-'''>:
:^^
iV-ir
V-ir.l
^^^ti^"
.t:^
ivr.-
t^^'^vr-
France
building.
during World
Le
War
II,
in the
new
"baroque"-a charge
which infuriated the architect, who prided himself on his mathematical precision.
Above, the southern facade of the chapel, with its upswept prowlike corner
(facing page). The windows with their embrasures are widely splayed either
inward (north
wall,
wall,
below
left)
and filter
x"^"
-'*^'
'^-
'**^
Le
altar.
itself
Below, far
left,
basin.
Below
left,
is
Right, top
and
center,
Despite the originality of the chapel, several influences are suggested: the Mediterranean quality
Le Corbusier's
earlier tendency
its
toward 'func-
clear surfaces
of the
Below
in
and
many
details.
"Tlie
I
kfv
"
IS liglil,
the
windows with
sures.
right), the
is
created by
east {above
left
embra-
and far
it
to
A hove. Jar
left
and right,
own
designs
and
inscriptions.
windows with
This interior
to
ofproportional measures
invented by ihe architect. Exact mathematical
the Modulor, a system
and geometric
of
to
Lefl.
an altar
in
chapel takes
many
forms.
Facing page, votive candles, arranged with geometric simplicitv, flickering before a venerated
statue of the I'irgin that
On some of
ve
the
Maria, painted
bv Le Corbusier himself.
The chapel
itself
marvelouslv illustrates Le
and magnificent
put together
"
in light.
interplay of volumes,
nujuiii
:^..-.
Chapel
Chapel at Ronchamp
France
hill
first
with
But
its
France
at the
had been
and too
costly.
might be able
In 1950, the
received
commission
to
rebuild
Chapel of Notre-Dame-du-Haut on a
near Ronchamp. a village
in the
the
hill
Franche-
of the Chapel
at
Ronchamp.
section,
and
Le Corbusier,
it
was hoped,
is
religious
structures
of our time.
champ met
miration.
with as
much
at
Ron-
hostility as ad-
To be
identified with
a style he vehe-
rounding landscape.
preme
sixty-three,
design,
The
with
insult!
Such
criticism,
resultant bold,
unorthodox
full-blown
curvilinear
its
4'i.'i4
Ri^ht. the
reconstruc-
rejected as overambitious
133
fa(^ade
all
I)
and
Ronchamp
KlOII.
its
II,
at
134
Individual Creations
and
like that
flict.
artistic tradition.
modem
attentive
urban
ture
is
rec-
new requirements of
World War
I.
At the be-
Ufe after
life
to
He
architec-
reer,
of architecture. The
plastic possibilities
Chapel
Ronchamp
at
necessitated.
popularized the
to live in")
efficiency.
He
He
probably the
is
max of this
One day
it
as
cli-
sculptural development.
in
hill at
Ronchamp.
ground
in his
own
The
ruins
Rohe who,
Le
Corbusier
painter as
was
also
weU
was
an
accomplished
as a brilliant architect.
one of the
first
He
social critics to
in a
wave of postwar
experi-
and
superfluities,
and whose
of the
hill,
To
dirt track.
down
into a valley.
As he surveyed
the
interplay
craftsmen,
lonely,
by a team of master
windswept
eventually
his
all
The
hill.
become
would
idea
For
reality.
years
five
new
Le Corbusier's
hilltop chapel.
was
step
first
to
make
As
a painter, he
beUeved
in the
means of unlocking in
his
own words
all
it
and
hills
a celebration
The
ture
finished chapel
rizon
and
rounding
a
is
a massive sculp-
hills
from the
sur-
twentieth-century
Stonehenge,
it
ap-
uncramped
dignity.
The
majestic
air
its
mass, the
The whitewashed
walls
seem made
"
Chapel
invisibly
on columns, appears
walls
hover sub-
to
135
Below
the
after
Le Corbusier
Ronchamp
at
of a
shell
left,
signed to capture
light.
Long
New
Island,
honor on
the place of
his
drawing board.
Ronchamp,
truly
as a whole,
spaces.
With
formal
elements,
also
is
modem
remarkable
one of the
architectural
precise relationship of
its
around
and
through
freely,
is
supreme
it
"in-
effable space."
Ronchamp.
In
is
it
poem
called
"The
his use
of
light in
any
The key
and
is
light
light illuminates
shapes
On
Le Corbusier goes
still
the
game"-and
down
or sideways
become
to
By
better
eye-varying light
arabesques
is
enchanting
Great music."
It
is
architect
form
to the
the
light gives
window openings
acro.ss the
light picks
un-
out the
pivoting door.
the
It
^-de&ri3
chapel a
136
Individual Creations
Le Corbusier's sense of
tributes in other
of the
light
interior.
ways
mood
to the special
strip
Sophia
in
dome
of
lights
its
of Hagia
air.
The
three
down onto
tacular
is
filter
Most spec-
As
left in their
natural state:
wood benches;
work
into
which
it
wooden form
rail; altars
sculptural
properties,
an
of their innate
emphasis
on
To Le
much
the
same way
form
may
that
human
be.
*,>,
IH
'
Taivallahti
KV
ViJ*.
Church
VAVl*V
Finland
Ji
:fl
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iL
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ff
ff
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g
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ffl
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ffl"Ef1
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ffl
ffl
ffl
BSIIID
IJII
^
i
^:
.,
its
rocky base.
It is sepa-
night, the
site.
Modern
hewn
character-both functional
structure.
Above
right,
a detail of the
strip
of windows that
Left
and
right, the
it
has been
called.
H-^AT
'^^
m'
Left. Taivallahii's
1)1
is
hewn out
is
city,
dome
mantically
is
One
while
protected, lu-
metric
font, and, in
altar.
r-'^-i
Above
left,
the
roughly carved
wall.
right, the
altar.
Its
to focus the
gleaming surface
Left
and far
bases are
tion site.
left,
the font
and
the excava-
As
in
many modem
The photographs on
this
page show
the
effects
the
building.
Following page, the copper dome, which hangs suspended over the
church, reflecting light from the broad
space.
band of windows
^r^^mt BiS^^^r^
Taivallahti
Taivallahti
Exceptions to
Church
Modern
exist.
Finland
this
rule do,
of course,
years, Finland
149
and secular
socialist
Church
society.
Although
combine
methods of construction
that
therefore,
community
cert hall.
district.
would
also
have
A new
church,
to function as a
center, auditorium,
and con-
The
original plan
was
is
Of course,
ing churches.
being
built,
no longer the
dressed for a
new
life, is
of build-
churches are
art
is
still
gone when a
"The world,
as
if
putting on a white
architectural
to build a large
site.
However, an
competition held in
1932,
duced no
lection
clear
se-
and
satellite cities.
They are
was
bom
which
the
fall
of 1939, but
ately
its
duties,
and by
to
be
brothers
and talented
archi-
masterful
of
was
the church.
it
situated.
economics.
to
ing for
was
at large
of Taivallahti.
Timo and Tuomo Suomalainen.
community
tects,
resumed
announced
its
was outstand-
way
it
150
Individual Creations
architectural
dome.
petition committee.
in
formi-
fact,
the
church
surrounded by blocks
was a
circular space,
was an enormous,
above
feet
street level.
To dynamite
this
way
that
would preserve
its
"The
selves said:
excavation,
February
later,
14,
began
finally
on September
on
two years
It is
"archi-
for in
nerary
rock
the
of the rock in a
properly
extra forms
open ground
possible."
comer of the
site.
It
to rele-
plan.
and structures
as naturally as
The
architects
some changes
in
were asked
their
original
to
diffi-
make
design.
bell
And
size.
in
still,
construction.
Egypt and
to existing faults in
the rock.
would be
as
little
dynamiting as possible.
However, any
were
also
left
and unfinished,
natural
architects
noted:
"Marks from
much
the
as possible,
it
was our
left:
the excavation in
its
the
stages;
later
left
Clockwise from
Persia.
monuments
To hollow out the
and
ricated beams;
wooden
the
upon
form
which
dome was
the
cast.
Be-
dome
are all of
varying lengths.
III II
1
sv
'
B M H
81
"^
*.
Q B
II
!5
.>'.
n
iiii
ar
ii
fi
II
li
jllKf,
I lie Ml
:\
Taivallahti
the work.
remain easily
ning, engineering,
visible."
The church,
therefore, has
finished surfaces to be
tional
building there
worked
rock.
The
found
is
none of the
in a
conven-
The
creation of the
dome proved
impressive technical
plan-
installing the
roof
Church
to
an
an
in-
would be expected
to bear.
151
built.
represen-
to be
feat, as well as
dome
These experi-
an
church.
architects allowed
The outer
First,
concrete were
prestressed
set,
like
the
lights Ues
is
zontal.
face. (In
floors,
of course,
protects,
itself isolates,
hub of
the
this
dome
seemingly simple
From below,
appears
space.
to
The
the copper
and
glass
dome
knew
that a support
problem
a subterranean
church.
lair.
to
working on the
be both rather
an average of seventy-five
broad
Excavating Taivallahti was only half
flat. It
was
feet
also irregu-
was
calculate
Several views of
and
casting
the
th<
of
center
dome
here.
are
of the
shown
The prestressed
beams sup-
concrete
which
ivas
thin:
it
actually
is.
to disappear.
The
ing
is,
The
the requirements of the
of the beams
creclion
markably
beams
words:
To
The
152
Individual Creations
overall principle of
Through
it
upward toward
the
open space
outside.
church a
vital,
copper,
visible to passers-by.
is
ring of glass
is
The
great
strict
Suoma-
attention to the
some
sort
metaphor
modem
ural surroundings,
goers
away
and
from
it
its
nat-
the
dome
and
its
ment.
It
certs or conferences.
choir
loft,
There
skylights.
is
is
this subtle
present that
makes
Taivallahti's roughly
The
looms overhead
expansive
like
copper
Above and
dome
The harsh
windows
granite dramatically
half to complete.
font.
to the
is
a control
room
society. Stripped
phisticated
modem
it is
its
equipped
to
community.
font,
and
few
on the
ecclesiastical
accouterments
church in
of its traditional
be
the city
to
seem
of natural outcropping.
Taivallahti has
site,
and the
altar
The simple
natural atmosphere.
From
its
to
wor-
Guggenheim Museum
U.S. A.
mttM
Wf
5Wi
i^-
'
,.
u-
:;;^-<-r.
among his
least
he wanted nothing
sign.
decoratedperhaps because
to distract
from
its
to
spiral de-
be the
ulti-
Above
left,
Guggenheim
the
Fifth Avenue.
in
setting
its
around
it.
on
in sharp
In Wright's
a landscape
to
itself is
native.
Ij:ft,
and
above,
and
ma.ss of the
right,
huge
.sense
.spiral,
of the "energy"
il
rests.
J-
L-LilLy,f
The
it,
interior space
of the museum
way down
is
ramp bv
of the ramps
(left
and
above}.
visitors enter,
As
visitors
make
modern paintings
walls. Most of the museum's daytime illuminacomes from the huge central skylight (below), which is reflected in
As
(facittg page).
f.
a
Wright's spiral design has proved lo be some-
has
to
paintings
flat
gallery.
Some
have housed
to
he paid
serve.
such an
more
likely
little
it
was
to
in
it
it is
functional grounds.
crit-
visi-
The
to
be
less tiring
linear
than wan-
maze of a conventional
although some
ingand dizzying as
visitors
well.
find
it
Just as
galtir-
The Guggenheim
is
among the best-known and most popular museums of modern art in the world, although the
building itself may well be the prime attraction
for most visitors.
i
jBSSsssaaBB
^^
2^
The museum
interiors
and
overall design.
Above and
left,
gallery.
Below, the leaf-shaped reflecting pool that rests inside the ground floor
curve of the ramp. The foliage at the edge of the pool seems to grow
naturally out of the concrete of the ramp.
museum
's
torium (above
left),
to the
the
book
left),
and an
ancillary
gallery (below).
museum
leries
in the
world
in
which
Guggenheim Museum
temporary
Guggenheim
architects.
band of devoted
Museum
assistants,
Wright had
U.S.A.
Guggenheim Museum.
own training had been limited
York's
Museum
of Modern
modern
be a definitive exhibition of
chitecture.
It
ar-
Chicago
architects,
the
Guggenheim Museum
genheim,
him
the
relationship
the
master
master") their
his
of their contract.
commented.
made an
Wright
exuberantly
warn you,
"I
excellent start,
having
that
heritage
of liberal
New
Eng-
Protestantism
ophy"
of Walt
architects."
Wright's
candid
still
endorsement of
understandable,
what extravagant.
itors
in
When
his three
if
his
some-
coexhib-
al-
innovative
among
con-
that
produced
to illustrate the
was expressed
in the writings
it
is
at-
perhaps not
renowned
painting,
that
uously,
occasion,
to fostering
young
discovered
Quite
that
On
New York
in
Solomon R. Gug-
tion
his
his obstinacy
development of modern
said to
is
man move
during
Though Wright
called
chair.
function. Once,
came
modem
more impor-
far
utilitarian
the
work was
his
its
the
New
tant than
well-known
In 1932,
of
integrity
when
to a
Wright's
165
proper form to
artist,
which
is
why he
often
he decided
modern
art
leading
modern
ought
empathy
painting,
the
that
to
Ironically,
man known
for
ingen-
museum of
be the work of a
architect.
turned to Wright, a
little
perhaps
but
justifiably,
to
he
have
twentieth-century
to design
creation
is
one
museum
of
art.
with
its
own
well
is
only thing
it
a fail-
displays
itself
One of
the
first
problems in Wright's
comer
it is
the proposed
site
selected a
166
Individual Creations
%:
m^
]"i
^imrMiJCt^.:-^-r'^
with
Oak
Park.
mon Guggenheim
until
student-collaborators.
1949,
in
New York
1956 by the
house and
first
then
again
City building
some disagreements
codes, as well as by
museum
until
The museum
which
Park. If there
tral
New York
it
that
Frank
was the
big
Ralph
quoting
Waldo
Emerson,
artificial."
architect.
to ac-
and rectangular
simply a
mension, a
line.
circle
had wanted
infinite
to his vision. In
upward
ually
is
toward the
top.
Within the
huge
skylight.
main
spiral
is
At the
ramp
that
would take
cars
into a spiral
up
to
an obser-
Wright returned
more conventional
to
dream was
relates the
tilinear
conical
The
is
Outside, there
of conch
shells, "plastic
form
and continuous"
sented in
1943.
was secured
metic-
Guggenheim's approval
was
It
city
also
its
rec-
blocks and
is
apparent simplicity.
its
is little
made
and
whole to
more than
tering of the
and
of the Guggenheim
startling effect
accentuated by
as a
environment of
by a
conventional buildings.
Solomon
an inverted
museum
from the
first
step
a vast
starkness
For some
is
oflfices.
Maryland
the smoothness of
circle.
opens out
arloaf Mountain in
it
spiral
The preliminary
spirals
and
time, he
level
spiral
crystals),
ramp
essentially a long
ground
is
Guggenheim
a helix,
of movement, an
many
In fact,
priate to
more properly
starts at
its
unusual
many of his
the
to
let-
break
in Wright's
work.
for.
who
twenty-five
centuries
space which
it
encloses."
had
earlier
is
the
The Guggen-
Guggenheim Museum
Museum may
heim
clearest
architect's
shell,
down
to the
contradictory
way
in
be
the
which he interpreted
spiral
within. If here
be faulted for
all
differentiate
chitecture.
tience
for
ar-
horred
unnaturalness
the
no account of
side
only
punched
his
ab-
their
whose closed
in-
through
the
life itself
small
windows
Remaining
merely playing a
He
with forms:
was
He
manner of
be-
was
room
on the
Some
A reply of sorts
Forum
display-
painting has
The Architectural
in
more
to
is
frames before
However,
this
surroundings,
using
on
terpieces
Wright,
this
itable
chitecture.
to stand. In
Guggenheim Museum, he
certainly
the
walls.
museum
mas-
According
fatigue
was an inev-
consequence of wrong-headed
At the Guggenheim,
to
floor
ar-
visitors
and be
tant.
still
objection
The curve of
enough
to
allow
stretched
is
on
rec-
being
painted.
really
unimpor-
the walls
all
frame of a
tangular
controversy
would har-
artist
easel.
considerable
claimed
after an-
it
as fluid, continuous,
ronment
the
game
shape
at
There
out of place.
makes them
hung along
this
monize with
visitors
As they descended,
true to
in their walls.
view of
He
"urban"
of
Wright can
first floor.
167
but
is
gradual
tremendously
The
to the top,
where
down
The Guggenheim
carried by elevator
up
Any
weariness would be
more than
prestigious
the better-known
Museum
of
and more
Modern
Art,
of the Gug-
<'
->J
.-
>-
168
Individual Creations
partly because
It is
it is
human
on a more
time,
and while
it
scale.
ahead of its
in
apparent
One of Wright's
resent-
telligible
sionsto
ful ex-disciples
museum,
make
it
their
is
to
work
it
out." But as a
a challenge. Visitors
way down
ramp
at
must
an angle,
museum
By
his
order to
in
own admis-
knew
painting; he certainly
about
little
less
it
about the
form
hopes, and
to ideas,
illu-
every
freely,
individual
would be
fully,
suspended perpen-
It is
Guggenheim
collection
come
building
knows
in
rything.
above
all
that
house
own
that his
cre-
functions
is
as
well,
us, is
not eve-
not a machine;
way of giving
museum
tion
first.
ations must
it
simply to arouse
is
left
sketches showing
museum was
how
the
to function.
was
museum
Left,
to revolutionize
design.
a perspective draw-
Here
it
labeled
it.
some
The
ment
built.
Centers of Belief
The Oracle
at
Italy/Pyramid of Quetzalcoatl
the
at
Teotihuacan.
Tooth
at
Kandy.
Sri
China/The
Egypt/Abu-Simbel. Egypt
Hall of
Town
Copenhagen,
Greece/Town Hall of
New
at
Parliament. England/
Basel. Switzerland
Techniques
New York/Olympic
Stadium
at
New
York.
Munich. Germany/
at
Norway
at
The World
of Pleasure
Azay-le-Rideau
Hampton Court
Austria/Casino
in the
Germany /Castle
Deauville, France
Tribute to Religion
West Cjermany/Notre
Dame
of Paris, France/
HBJ
of
Press
New York, NY
10017
'.m^^;,.
/.
v^
/
Centers of Belief
New
Techniques
Closed Faith
m^B.-^!r^:^^k^t:^k-