Architecture History FINAL PAPER

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Alexander Guzman

Architectural History I

Professor Stephen Anderson

November 12, 2017

St. Paul’s Cathedral

Summary Description:

St. Paul’s Cathedral, in London, England, was designed by modeler Sir Christopher Wren. Endorsement of this most significant structural venture took six years just for the arrangement. Construction, which started in 1675, took thirty-five years until at last, it finished in 1710. It was worked to supplant a congregation that had been leveled by the Great Fire of 1666. St. Paul’s is the largest house of prayer in England, and said to be Wren’s masterpiece. He brought a scope of new forms, and design mix into English engineering. Masonry, block, timber and slice stone were used to frame the structure of the house of prayer. St. Paul’s Cathedral has been one of the most fundamental, significant buildings in London. Cathedrals all around, have always assumed a huge part in the communities they serve. Their basic purpose is to convey individuals closer to God, however over the centuries they have served as a point of convergence for exchange, a stronghold and a position of safety in times of war, and as immense status symbols for the city. The functions, of a basilica, go up against an extra significance for St Paul’s, because it’s known as the house of prayer of the capital city and, of the country. The present building is also the first basilica to have been worked since the making of the Church of England in 1534, when religion was brought under the immediate control of the monarch.

The Situated Work:

Map of St. Paul’s Cathedral

Sketched Aerial View

Aerial View of the North-West Entrances

Aerial View of the South-West Entrances

Image from the East Side of the Cathedral

Image of London Displaying the Cathedral Beyond

St Paul’s Cathedral is an Anglican basilica, the seat of the Bishop of London and the mother church of the Diocese of London. The site is located on Ludgate Hill, at the highest elevation of the City of London. A Roman asylum to Diana may once have remained on the site. However, the main Christian place of God there was given to St. Paul in 604 AD, in the midst of the control of King Aethelberht I. That basilica expended, and Viking marauders crushed its substitution (gathered 675– 685) in 962. In 1087 a fourth church was built but later was destroyed in “The Great Fire” (1666).

The place of God is a champion among some of the most well known sights of London. Its curve, circled by the towers of Wren’s City temples, administered the horizon for a long time. It was the tallest structure in London from 1710 to 1962. The vault achieves a stature of 111 meters (366 feet) and weighs around 66,000 tons (72,752 short tons). Eight curves bolster the storage compartment. Over the vault is an extraordinary light with a weight of 850 tons.

The noteworthy outside at the west side of the assemblage comprises of an extensive porch and pediment. Help on the tympanum portrayed the change of Paul and was made in 1706. The yard is flanked by two towers which weren’t part of the first design, Wren later included them in 1707. The Baroque inside is similarly as forcing as the outside of the gathering. Like most Christian places of worship, St. Paul’s Cathedral was built in the simple layout of a basilica.

Orthographic Drawings:

Old Site Plan Displaying the Lot of St. Paul’s Cathedral

St. Paul’s Cathedral Floor Plan

St. Paul’s Cathedral Section

St. Paul’s Cathedral West Elevation

Typological and Stylistic Analysis:

The building type is a museum as the most recognizable component of the church building is the 120-all-inclusive arch planned to utilize adjusted steel pillars, encased with an earth tile surface and overlaid with copper. A copper-clad light, around 30 feet tall, remains at the arch. From the base to the exceptionally best of the light, the Cathedral stands 306 feet tall. The congregation body is made of rock stone from St. Cloud, Minnesota, fit as a fiddle of a Greek cross with about equivalent length arms. Twin 150-foot towers flank the major veneer. The three front passages are put under an amazing bend, which in addition encompasses an awesome rose window. The vault is maintained on pendentives climbing between eight bends spreading over the nave, choir, transepts, and walkways.

The work fits within the categories it can arguably be grouped within as the eight wharfs that pass on them are not similarly scattered. Wren has kept up an appearance of eight identical navigates by embeddings segmental bends to pass on presentations over the terminations of the ways, and has extended the mouldings of the upper bend to appear to be equal to the more broad curves. A whisper or low murmur against its divider whenever is fit for being heard to a crowd of people with an ear held to the divider at whatever other point around the display. It is come to by 259 phases from ground level.

The work does not fit within the categories it can arguably be grouped within as the curve is raised on a tall drum included by pilasters and punctured with windows in social affairs of three, segregated by eight plated claims to fame containing statues, and repeating the case of the peristyle outwardly. At the zenith of the vault is an oculus impelled by that of the Pantheon in Rome. Through this opening can be seen the breathed life into the internal surface of the cone which supports the light. Etchings of Thornhill’s sketches were conveyed in 1720.

Anthropological Analysis:

Cathedrals all around, have usually assumed a prolonged part inside the communities they serve. Their fundamental cause is to deliver people towards God, but, through the centuries they had been used as a factor of convergence for alternate, as a stronghold and a position of safety in instances of struggle, and as significant symbols for their cities.

The West facade, which faces the core of the metropolis of London, is considered the main entrance of the building with many great historical importance. A huge number of British monarchs and famous figures have entered the Cathedral through this grand facade. The use of a “high-quality-cherished” church, St Paul’s has hosted a number of different important dedicatory activities in British history. St. Paul’s has shaped London for over 400 years. The general populace of England sees the residence of prayer has an image in their kingdom. The partitions preserve a great deal of significance and tales going back to the beginning of the established faith.

Experiential Projection:

Around 1690 and 1695, Wren progressively revised the arch to provide the drum a 32-section peristyle and a sloping internal divider; and in around 1702, when creation changed into maximum of the manner up the peristyle, he delivered a hid block cone to assist a tall stone light over a wood and lead-clad outside vault. Eventually, in 1703-04, he revised the lanterns of the western towers to provide them an extra Baroque frame, in contrast with the plainer remedy he had embraced for the external vault, the overlaying of which become finished in 1710.

The entire design process relied upon close joint attempt among Wren and his draftsmen. often operating in pairs, they created completed or non-compulsory schemes for his endorsement and made widespread scale operating drawings for construction. Amongst them had been the grasp-masons Edward Pearce and Edward robust, the surveyors Edward Woodroofe and William Dickinson, the etcher Simon Gribelin, the sculptors Grinling Gibbons and Caius Gabriel Cibber, and the destiny modeler Nicholas Hawksmoor, the last being Wren’s most talented and efficient draftsman and the just an unmarried paid for such paintings in the constructing bills.

Sketch:

My Sketch Displaying the North and East Facades

Material & Structural Analysis:

St. Paul’s Cathedral, in London, England, was designed by way of draftsman Sir Christopher Wren. Endorsement of this most sizable design mission took six years just for the association. Construction, which started in 1675, took thirty-five years until it finished in 1710. It became labored to supplant a congregation that has been leveled through the incredible fire of 1666. St. Paul’s is the most important house of God in England and said to be Wren’s masterpiece. He delivered a scope of bureaucracy and natural blend of an English layout. Masonry, block, timber, and cut stone were used to shape the structure of the Cathedral.

St Paul’s Cathedral’s main structural walls were made from stone because the past cathedral was made from wood and was easily burned down. Wren used white Portland limestone because of its aesthetics and its sturdiness but it was a very high maintenance, considering the color as well as London was a lot dirtier back then with different wood fires and coal pollutions. The dome was created using timber and brick. Looking at the dome in section there are 3 domes built atop of another for support and to hide the timber inside. While it was being built, Wren had to monitor the progress of the dome’s and of the towers until finally the last stone was placed by his son in 1708.

The bishop’s dominant role (cathedra), from which a church derives its call, is on the south side of the choir. The choir roof is secured with glowing mosaics made by William Richmond in the 1890s. The church construction had a table for a sacrificial stone. The existing sacrificial desk dates from 1958 and is made of marble and plated oak. It replaces a victorian marble sacrificial stone and display, which have been harmed by using the bombarding amid global war II, and is primarily based on a comic strip with the aid of Christopher Wren. The primary inner area of the cathedral is below the focal vault which extends the total width of the nave and aisles. The vault is supported on pendentives rising between 8 arches spanning the nave, choir, transepts, and aisles. The ground of the church is tiled in a distinctly contrasting checkerboard design. The smaller hallways between the pillars and the partitions on both aspect of the nave are the north and south aisles of the sanctuary.

Diagram of St. Paul’s Cathedral Construction Phases of St. Paul’s Cathedral

Detail Study:

Structural Section Dome Section Detail

A particular construction detail that fascinated me the most was the way the dome was constructed. As I mentioned, multiple domes were created to support one another as well as to conceal all the structural timber that was being used to build the massive dome. The precision used to place all the structural elements had to be important considering the size as well as the history of the prior cathedrals and how they were destroyed. The sections above show all the timber that was needed to support the dome during construction as well as how large of a void there was between one dome the next higher above.

A Fictional Account:

St. Pauls Cathedral makes an appearance in a video game titled “Assassin’s Creed Syndicate”. The Assassin’s Creed video game franchise is usually based on different historical times, settings, events, etc. and it usually captures and even makes you play with different characters from these historic times. This game in particular is based in London, so there are many great buildings and structures that are modelled on the game. In Assassins Creed Syndicate the main character is lead to St. Paul’s Cathedral to solve a puzzle connected to its dome. This puzzle leads them to a chamber inside the Cathedral which holds some kind of important Precursor necklace. The game developers are people who are very intrigued of different timelines and events that have happened in the world. This drives them to create multiple Assassins Creed games that also educate the players on important structures, events and artifacts that have occurred throughout the centuries.

Present-Day Parallel:

Thomas Jefferson, The Rotunda,1817-1822, University of Virginia, Charlottesville, Virginia

One building that comes to mind with many similar traits and aspects as St. Paul’s Cathedral, is The Rotunda. Built with a similar front façade, dome, and columns, The Rotunda was built under Thomas Jefferson’s vision of a Scholastic Village. It has colossal solid stairs driving the path to the passageway with huge white segments, an extensive arch fixated to finish everything and a basic rectangular shape with red bricks for the exterior finish. The inside held the library with multiple offices.

The two structures have qualities from early Greek and Roman. St. Paul’s Cathedral and the Rotunda indicated first by the expansive pediments (stairs) prompting a triangular curve with segments at their doorways. Each building utilized the state of an arch in its rooftop plan. Segments inside each building brought the continuation from the outside all through the building. Every engineer, both needed their structures to be the focal point of its area. Wren needed the house of prayer to be the point of convergence of another modified London, and Jefferson needed the Rotunda to be the focal point of his “Scholastic Village” known as the University of Virginia.

In spite of the fact that these structures had likenesses, those same similitudes are what made them extraordinary. St. Paul’s an expansive Cross molded building, resembling a mansion, with solid outside advances and twofold sections at its east favor two towers situated on each side. The Dome was situated over the segment of where the cross would meet. The outside had expounded plans cut into the solid, on the corners, the rooftop line, at window outlines, the rooftop had looks and valleys with elaborate plans too. The inside with substantial single segments and huge openings encompassed the walkways that were shrouded in cut marble and mortar, with things, for example, fish, seraphs and holy messengers.

The Rotunda, a similar utilization of a vast stairway prompting a 4 single section entrance way. The building shape more rectangular however in its middle, around room which was finished with an arch shape rooftop. Inside, twofold segments wrapped the inside of that round focus driving the distance to the best. The utilization of hand-cut wood floors, sections, and railings was pervasive, with rich dim wood floors however out the building. The excellent red block outside, with a basic plan and rooftop line. The segments and rooftop, with the block mortar in a brilliant white, hopped off the red structures outside. That red block and white plan component were completed however the school grounds, and making a little brought together a group.

Preliminary Bibliography:
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Archer, Ian W. “London and Westminster.” A New Companion to Renaissance Drama (2017): 75.

Street, Bourbon. “A History.” Cell 203 (2014): 253-1050.

Buelinckx, Hendrika. “Wren’s language of City church designs: a formal generative classification.” Environment and planning B: planning and design 20, no. 6 (1993): 645-676.

Bristow, Colin M. “The geology of the building and decorative stones of Cornwall, UK.” Geological Society, London, Special Publications 391, no. 1 (2014): 93-120.

Darn, Harold, and Robert Mark. “The Architecture of Christopher Wren.” Scientific American 245, no. 1 (1981): 160-175.

Falter, Holger. “The influence of mathematics on the development of structural form.” In Architecture and Mathematics from Antiquity to the Future, pp. 81-93. Springer International Publishing, 2015.

Halvorsen, Sam. “Taking space: Moments of rupture and everyday life in Occupy London.” Antipode 47, no. 2 (2015): 401-417.

Lawrence, Snezana. “The Dome that Touches the Heavens.” Mathematics TODAY 101 (2014).

Lehmberg, Stanford E. The Reformation of Cathedrals: Cathedrals in English Society. Princeton University Press, 2014.

Palladio, Andrea. “The Four Books on Architecture, 1965.”

Schofield, John. St Paul’s Cathedral: archaeology and history. Oxbow Books Limited, 2016.

Summerson, John, and P. R. S. Christopher Wren. “Sir Christopher Wren, PRS (1632-1723).” (1960): 99-105.

van Eck, Caroline. “Understanding Roman Architecture From A Distance: Sir Christopher Wren on the Temples of Peace and of Mars the Avenger.” The Companions to the History of Architecture.

Weaver, Lawrence. Sir Christopher Wren: Scientist, Scholar and Architect. Offices of” Country life”, Limited, 1923.

Zack, Maria. “Are There Connections Between the Mathematical Thought and Architecture of Sir Christopher Wren?.” In Architecture and Mathematics from Antiquity to the Future, pp. 243-255. Springer International Publishing, 2015.

Answer preview………..

Summary Description
Notre dame de haut is a Roman Catholic chapel that was constructed in 1954 and designed by the Franco-Swiss architect Le Corbusier. Built in Ronchamp, Eastern France, the chapel is one of the representation of modern-day religious architecture and a perfect representation of the twentieth century shifting religious conundrums. Its importance attracts over more than 80,000 visitors per year as a pilgrimage structure for the millions of people who consider themselves…………………….

APA 3120 words