Comparing Architecture of 17th, and 18th Centuries in France, England, and America - Term Paper Example

?The differences in architecture are divided by regions as well as influences that are in a given area. When looking at the 17th and 18th century of France, England and America, it can be seen that there are several differences as well as similarities between the architecture, specifically because of the surrounding influences and environment. The architecture is not only reflective of the time frame and the inspiration of the various architects. There are also influences that are based on the social and cultural expectations of a given time frame and how this relates to the demands of space that are used in a variety of buildings. The first concept that can be seen with the different pieces of architecture is the characteristics that are from each region. The first comparison which can be made is within England, specifically between the 17th and 18th centuries. In the 17th century, the style was based on the Baroque influences, which consisted of finding balance within each type of work. This was combined with the styles which were influenced by the political and cultural associations, inclusive of the Tudor monarch changing to a different political structure. The main concepts which were associated with the Baroque style began to change by the 18th century, specifically because of social and cultural associations. The political realms moved through revolutionary changes, specifically with an altered regime and order. This was combined with the Enlightenment and the Industrial Revolution, both which altered the materials used for architecture as well as the expectations of what should be included in the architectural styles. Many of the pieces of architecture began to change into experimentation with new materials, influences of structures that were romantic in style and which rebelled against the balance and form of the 17th century (Glennie, p 17). The examples of these changes show in the variety of architecture which was produced in England during the 17th and 18th century. The earlier work of the Hatfield House (1607) shows the Elizabethan style as well as how this related to the metaphor of the political and cultural structure, as seen in Figure 1. Figure 1: Hatfield House (1607) The architecture is one which is representative of the Elizabethan architecture first because of the distinct form of east and west wings as well as the central arches which remain even on both sides. The towers and the association with simplistic and ornate figures are also seen. The main concept was to keep an open region while offering a spacious area that represents the power of the political structure of the time. This was representative of the English time frame and the components which were associated with the 17th century balance and structure (Archer, 29). The changes in England can be seen with the progression of architecture, such as through the Chiswick House, (1725) seen in figure 2. Figure 2: Chiswick House (1725) The same references of balance are used with this, specifically with the association of columns and structure that was used. This is not only representative of the ideologies of the new political system and the thriving of the current status. Instead, there is a movement back to the ancient Greek structures for balance, seen through the columns and the dome that is used. The concept of architecture is one which combines several influences and uses experimentation of combining structures while keeping the balance as seen in the 17th century. The representation then shows the change in style with integration of different methods, specifically which is representative of the characteristics of the Industrial Revolution while keeping the same concept of balance and form as the central component of the time, which is specific to Neo – Classicism (Archer, 37). The movement from balance and into a sense of Romanticism was also seen in other regions, including France and Colonial America. The French had a similar alteration into the Enlightenment and Romanticism in the 18th century, specifically because of newer innovations of the time. However, the different characteristics were defined by the political alterations in France, including the movement into the French Regency and the growing belief in Humanitarianism. The art forms began to move into a treasury of the past architecture, including ancient forms, neo-classical ideologies and aesthetics that were considered more Romantic while having an association with the humanitarian influences and political associations of the time. These influences led many of the French architectural pieces to have a different look set with the innovations (Kalenein, 120). The examples which show the transfer of French styles include The Hameau (1774) as seen in Figure 3. Figure 3: The Hameau (1774) The architecture is one which shows the sense of balance, specifically with the main home that is combined with a side wing. When looking at this from other perspectives, the balance also shifts, which creates a unique perspective with the eye in relation to the work. The space; however, is dependent on the practicality that was a part of 17th century France, specifically with the angle of the roof, use of windows and main shape being built for the needed alternatives of weather and living that was a part of France at the time (Hanser, 21). A second piece of architecture which represents the older styles in France as well as the changes into Humanitarianism is from The Pantheon (1757) as seen in figure 4. Figure 4: The Pantheon (1757) This particular piece of architecture shows a combination of the Neo – Classical of France with the Humanitarianism of the time. This comes from the ideology of the Pantheon being a church structure. However, there is also a sense of balance, combined with the ancient associations of balance from the Greek styles and in combination with the Dome. The Humanitarian effects combine with the dome moving into a light that goes into the interior, which becomes a metaphor of the ideology of the Enlightenment and of the Humanitarianism which religion could create. The structure is then able to intertwine the several social and cultural ideologies of the time with the overall techniques used in architecture (Hanser, 57). The differences in American architecture also had the same alterations and differences. The building of the American colonies was the main approach which was taken, specifically because those who were there were interested in a new beginning. The first association was to create architectural forms which were dependent on the social and cultural conditions. This was inclusive of the freedom which was gained from England as well as the need to have forms of architecture which were conducive to the region. The characteristics became dependent on the interiors which were based on helping with survival from the cold and of creating a place of comfort. The exterior and the buildings which were representative of the social and cultural order combined this with the freedom and independence gained in America as well as the concept of Christianity and Puritanism which was a part of the country. Most of the characteristics became dependent on Georgian styles that reflected this ideology (Tallmadge, 51). The examples of colonial and 18th century America include both the King’s Chapel (1749) and the Wings and Dome by Thomas Walter (1855 – 65), as seen in Figure 5. Figure 5: King’s Chapel (1749), Wings and Dome (1855) When looking at the King’s Chapel, it can be seen that there is a large influence from the Elizabethan Architecture as well as an understanding of the older styles in England, specifically which Colonial America was moving away from. However, there is also an association with symmetry and style that stays in line with the Neo – Classical movement that was in various regions. The second piece of the Wings and Dome alters this with a newer style from the 1800s that is specific to the independent social status, specifically which is defined by the newer architecture of the dome and wings creating an ancient symmetry. This piece combines the Greek architecture of the columns; however, this is expanded to show the newer form of government that is associated with ancient forms of government but is expanded, shown specifically through the size and representation of the overall form of the building (Tallmadge, 31). The characteristics of the architecture were similar to the interior components that were a part of each of the regions, beginning with the alterations made in England. The first reflection of this is of 17th century England with the Grand Staircase, built in Yorkshire from 1648 – 51. The interior of the 17th century can be combined with influences of the 18th century in England which showed the alteration to the Romantic and Neo – Classic influences. An example is the Chippendale and Hepplewhite. These move from the symmetrical and balanced components to the Romantic aspects which were known throughout the time. The Grand Staircase is known specifically for its symmetry while the Chippendale and Hepplewhite break this specific rule to add in additional Romantic ideals. The overall use of space is one which changes from a subtle space to the staircases becoming the central part of the building, as well as the movement of the staircases showing a difference between the symmetrical focus to the Romantic (Archer, 81). The interior designs of France show a similar association with the changes through the 18th century as well as the movement toward Romanticism and Neo – Classical influences. This is similar to the changes in England; however, there is more of an influence of Humanitarianism from the political changes which occurred. This can be seen with examples of interior decoration from both the 17th and 18th centuries that represented the progression of movement. The first is in the Rococo style, which includes the Salon de la Princesse (1735-40) and the second is representative of the Pantheon Interiors (1825) representative of the Neo – classical and Romantic styles. The Salon in the Rococo style represents the symmetry and balance that is among the other styles of the time, while the Pantheon Interiors moves into the Romantic style. Ornate components are combined with the overall appearance, specifically seen with the use of color, shape and size of the interior (Hanser, 122). The interior design of colonial America also shows a similar progression as the other movements of England and France, moving from the basic needs to a high style of Romantic aspects, including ornamentation and in – depth figures. When looking at earlier design, such as the Chase House stairs in Annapolis (1768), there is a specific association with the style. The Late Gregorian Period alters this with interior concepts such as the Townsend – Goddard decor. The Chase House stairs show the same appearance of using basic components needed at the time while making the lifestyle simplistic and balanced. However, the Townsend – Goddard decor moves into the interior concepts of Romanticism and growth, specifically with the Gregorian period style that is interested in growth and freedom of the country. The colors and decor is no longer as subtle and the architecture becomes a central part of the interior decor (Tallmadge, 78). When looking at the different pieces of architecture in all regions, it can be seen that the influences move from balance and symmetry to an overall association with Romanticism, Humanitarism and the ideas of freedom. While each region has different characteristics through the individual pieces, there is also a direct association that is combined with this. The architecture is then able to provide insight into the social and cultural movements of the time as well as influences that created a need to change the representation of the different buildings according to the time frame. References Archer, J. Architecture and Suburbia: From English Villa to American Dream House. Routledge: New York, 2005. Glennie, PD. “Consumers, Identities, and Consumption Spaces in Early – Modern England.” Environment and Planning 17 (2), 1996. Hanser, DA. Architecture of France. Butterworth – Heinemann: UK, 2006. Kalenein, WG. “Art and Architecture of Eighteenth Century France.” Architectural Review 61 (2), 1992. Tallmadge, TE. Story of Architecture in America. Routledge; New York, 2010. Read More