Introduction
The history of architecture has several beginnings with that of the Georgian English Baroque architecture having its special place in history. Typically, it was the English Baroque architecture with its unique characteristics defined in the architectural style that was called “Georgian architecture”, which is currently used for the architecture of the 1700s. It was the Georgian architectural style known as the “Georgian architecture” that was developed during the period in history marked by the successive reign of the British monarchs. However, it is crucial to identify the rationale and underlying historical link between architecture and English Baroque to establish a comprehensive understanding of the Georgian English Baroque style (Cropplestone 1963).
Body
According to Cropplestone (1963), the English Baroque was an English architectural style that was developed and practiced in England. It also refers to buildings created in different parts of the world due to the influence of the English architects or even the United Kingdom at large. Typical examples of the influence of English Baroque architecture could be observed in Italy, France, and many other parts of Europe, where the dominant characteristic styles exemplifying the English Baroque architecture are defined by the perpendicular Gothics, the Queen Anne style, the High Victorian Gothic, and the styles of the middle ages (Cropplestone 1963).
While prehistoric architecture provided the basis on which the English Baroque architecture evolved with underlying characteristics defined by megalithic tombs, the cromlech and other forms of the English Baroque architecture were influenced by the 18th-century architecture style, classism, and a radical departure from the Baroque elaboration. Thus, one can conclude that the English Baroque architecture was strongly influenced by the Stuart architecture, which was a combination of other styles developed during the English Renaissance giving rise to the Tudor, a continental form of architecture witnessed in Italy and Rome, and the Vernacular architectural styles. Thus, the classical architectural styles precipitated the English Baroque architecture (Cropplestone 1963).
The entire English Baroque architectural style evolved from classical architecture. According to Cropplestone (1963), the term “Baroque” is thought to originate from the Portuguese ‘Barocco’ with an underlying meaning of a deformed pearl or grotesque. The English Baroque architectural style is characterized by several significant features that give it an outstanding uniqueness differing it from other architectural styles of the time.
Typical characteristics of the English Baroque architectural style include bold masses with curved shapes which fit into the background as well as each other with a high degree of precision. In addition to that, the baroque consisted of unique architectural designs and buildings based on the Baroque aesthetics of the time. Baroque aesthetics included the revelations that reflected emotional, social, and current tastes and the appreciation of beauty created by its architects.
However, aesthetical revelations were not the basis for the entire English Baroque architectural style. The English Baroque architecture, in general, consisted of other aspects that were technical with underlying architectural principles based on the geometrical combination of a sequence of items combined in a series based on the mathematical relationships to give an appropriate design that could lead to the creation of a style and consequently a building. On a slight reflection, the English Baroque of the time is said to be influential at the time, though it had a greater significance in the countries, such as France (Cropplestone 1963).
According to the historical evidence, the English Baroque architectural style was created and developed by Wren due to his unique characteristics, thus, showing a radical departure from the continental models of the time. Wren’s English Baroque architectural style is evident in the 50 churches he built after the Great Fire of London. Typical examples of this architectural style are evident in the structure of the churches based on dynamic patterns that reveal several innovative and changing views.
One of the most outstanding examples of the style is St. Paul’s Cathedral which shows striking similarities with the domes churches in France and Italy. The church built by Wren bears a wonderful symbolism and is a landmark of the architectural history of that period today. One can conclude that since then, the church has dominated the skyline for over 300 years due to its design and construction (Cropplestone 1963).
One characteristic of the landmark church is its height measured at 111 m high; it was the most outstanding landmark and the tallest building in London between 1701 and 1962. It is worth mentioning that the church, due to the unique architecture of the English Baroque, has remained a symbol of a national identity of the English population ever since it was constructed. In addition to that, the church occupies a great area making it the second-largest building in the UK. Based on the significance of the church to English history and its position in the UK as a national symbol of the country, it is crucial to examine in detail the structure and its characteristics based on the English Baroque architecture (Cropplestone 1963).
St. Paul’s cathedral was designed in five stages with its unique characteristics in the design and construction. The first one was commenced by Wren and its major characteristics are scanty, a certain model of the building, and a simple drawing. Typical features of the first phase in style are centered on the domed entrance with a basilica that is rectangular in design. One can argue that the underlying designing principles were derived based on underlying geometrical shapes that form the foundation of modern geometry. However, the designs that included a cross, which was regarded as too radical, were rejected under the influence of the Greek architectural designs, and successive ones that were also rejected at the time.
The typical design that was commissioned for construction was to reflect the common features of the east with subsequent changes introduced to accommodate the cultural orientation of the people of England and the church at the time, and as a result, this marked the next stage. Typically, the fourth stage of design was changed in thirty years of the construction of the church. These were the domes that added value to the building. Typically, these principles can base on orthographic projections as argued by other architects of the time which are discussed below.
According to Sterk (2008), orthographic projections provide the basis on which the design shows how patterns emerge and are created as a result of other patterns. Moreover, orthographic projections can be viewed from any angle of projection, either the first or the third. In every projection, one form of drawing leads to the creation of diverse views. In addition to that, the significance of geometry, in this case, is based on translating reality from the virtual world (Putz 2010).
The following is a descriptive example of orthographic projections based on the underlying principles of geometry used in the construction of a dome. According to the underlying geometrical principles, a dome has a floor consisting of curved ribs which form the focus on an oculus ring.
It is possible to realize that the drawings are orthographic projections of a dome with the projection lines influenced by the geometrical principles that are the basis of the construction. Typically, the curvatures are not allocated names but are produced based on their points of intersections with other points in the dome. That results in several drawings made from an original object that originated from the work of the imagination of the mind (Cropplestone 1963). However, the geometrical principles that led to the final project or product are based on orthographic projections. One can argue on the significance of orthographic projections, the imagination of the mind, the significance of a drawing, and their link to the geometry that translates a sketch into the final building (Putz 2010).
One can see that parallel projections are produced on a plane that is circular onto a hemisphere that is further transformed into another figure with a requisite number of projections. Thus, formal circles lead to the generation of several lines and intersections causing the appearance of different views of the same design (Sterk 2008). The actual plan based on the above is annular in shape. Though the patterns and shapes acquired look like circles or semi-circles, the geometry of origin is much more expendable and does not look like the final product which is a beautiful dome. However, it is crucial to work based on acquired technical drawing skills to produce such a design with the requisite accuracy for transformation into an actual design and gradually a building (Putz 2010).
In theory, orthographic projections are among the techniques used in the architectural world to provide and develop designs that translate into buildings (Evans 1997). The argument has its basis on projections, a radical departure from essentialism, and a cultural perspective of architecture. In essence, one can see the underlying principles of orthographic projections to be influenced by the translations and transitions.
Typically, translations provide the basis for transforming a drawing produced depending on orthographic geometrical principles into a complete design and a building as a result. However, in a nutshell, the translations and the projections are based on geometric patterns produced with such precision that little or no loss of the original object occurs in the transformation of the transition stage (Evans 1997). That reveals the relationship between geometrical principles and their practical application in the construction of the dome at the first phase.
It is worth examining the structural features of the dome characterizing the church to prove the significance of the historical application of the underlying principles of geometry in architecture. Based on strict rules of symmetry, the dome is a simple 1-2 story box with a central panel centered on the front door consisting of rectangular windows at the top with an elaborate crown as the cab. It is crucial to note the uniqueness associated with multi-pane windows that are not paired but have chimneys at their sides (Cropplestone 1963; Sterk 2008).
Having examined the relationship between orthographic projections that include the underlying principles upon which Georgian English Baroque architecture thrived, it is crucial to identify other elements of the Georgian English Baroque architecture of that time, which is the Georgian architecture. Typically, the architects of the time are the artists who worked in the period marked by the rule of George III, in the 1700s. The major themes underlying Georgian architecture are Greek and Roman architecture, Palladianism, country houses, terraces, and townhouses (Cropplestone 1963).
In summary, the country house was developed due to the rapid development and accumulation of wealth during the reign of George III. At that time, country houses were the result of the accumulation of wealth in the hands of few people, who preferred to have houses with vast amounts of space and parks. Such types of buildings developed in so-called country houses. Moreover, there are terrace houses that are characterized by terraces between the houses at the joining points.
The emergence of such houses was driven by the rise in population and rapid urbanization. It was crucial to keep the walls thick to minimize the chances of fire spreading from one house to the neighbor one at any given time. The characteristics typical for the terraces were that they were 4 stores buildings with sash windows and the first floor occupied by the wealthiest in ascending order. One can note the windows bore a similar pattern fitting the one depicted in the terraces; it often lay in straight or squares enclosed by a central garden (Cropplestone 1963).
Other forms of Georgian architecture included Georgian Palladianism which was a design philosophy with the underlying principles developed by Andreas Palladio, who was an Italian architect. Typically, Palladianism was characterized by classical patterns. In addition to these architectural styles, English Baroque architecture consisted of typical examples that included the Blenheim palace, the Castle Howard, and the Ragley Hall.
The Blenheim Palace was regarded as a gift to John Churchill by the grateful Queen Anne due to the victory in a war of 1704. It was the work of the architect, John Vanbrugh, who designed the palace having achieved his main task to create a building with curiosity and controversy. Regarding the style of the house, the work could have been assigned to Wren, an experienced architect of that time. In the design, John Vanbrugh considered employing the assistance of other young architects including Nicholas Hawksmoor with the hidden motivation to have the inspiration gained from the flamboyant European Baroque style. However, due to disputes that arose, the palace was later completed by Nicholas Hawksmoor.
On the other hand, the approach and architectural style brought forward by John Vanbrugh had not been approved and was overtaken by the Palladian style described above. However, it is worth mentioning that despite the squabbles that prevailed at the given period, John Vanbrugh was the sole creator of the palace in perspective. The architectural design underlying the Blenheim Palace based on the principles of architecture is exemplified in the diagram below.
A typical characteristic of the Blenheim Palace is a massive central rectangular block consisting of a southern façade as the state principal apartment. The east side is integral to private apartments, and the entire gallery along the western side is the picture gallery. Flanks providing the services with the eastern side consisting of domestic offices and other mandatory offices are typical for the central block. The pillars with other sections constructed on assorted statutory and other decorations that symbolized superiority supported the building.
According to historical studies, the initial motive was to create both a home and a national monument that characterized the English identity as mentioned above. Typically, the design was to reflect the identity and sovereignty of the nation, and as a result, a style developed by John Vanbrugh consisted of a massive assembly of rocks and stone to reinforce the strength of the building while ensuring that the aesthetical nature associated with the use of huge stones was attained.
These massive stones provided awesome decorations with a unique meaning of completeness, thus making the structure take after the Egyptian Temple, adding further to the heroic and well-famed pantheonesque. One can enter the building through any of the two inlets made of wrought iron, while on the other side of the palace, one can see a revelation of the thinking of the Vanbrugh’s true vision envisaged in the expression of a great warrior. A viewer can conclude that the building is a symbol of the strength and pride of the nation. Moreover, one is also able to identify the significance of geometry in the design and construction of the building as briefly discussed below.
The architect based on Vanbrugh’s design and views considers the drawings as the basis of his design (Putz 2010). A typical example in the drawing was just to identify a point and set the drawing instrument; in this case, open the compass to the right width, and taking a specific point as the center, draw the first arch. Then, the next step is to draw arcs that make several intersections and center points to allow one to draw other arcs by taking the points of intersections as the centers of the subsequent arcs (Evans 1997).
These arcs intersect at various points which are then joined to produce the desired design. It is important to note the significance of the geometrical intricacies introduced into the design by making several arcs that result in creating a specific design. Of course, the design can be translated into the final product which is the building in this case (Putz 2010).
In the design, the consideration taken when producing the central points of intersection led to the creation of the Inner and Outer lines of the structure (Evans 1997). Typically, a summary of the construction process of the design is based on the use of a scale along the horizontal axis, and the setting of the compass used in the drawing of the curved surfaces and the vertical axis, along which the inner and outer lines of the curved surfaces are drawn (Putz 2010).
As mentioned before, geometry relies on the use of mathematical ratios, and these measurements are related to the curvature of the lateral shape defining sections of the structure. It is important to see that each of the intersections produced and the resulting shapes have strong relationships with geometry used and the imagination of the architect.
It is worth noting that in the process of developing the plan of the palace, site characteristics were also taken into account; as previously mentioned, it was constructed on a restricted site with limited financial provisions (Evans 1997). Thus, the gradual development and result of the plan showed that the plan produced was in agreement with the project based on the geometrical intricacies that factored in the construction site and the precision with which the design fitted into the selected location.
However, without making a detailed analysis and description of the design and construction of the palace, it is important to evaluate the significance of the geometry in the above case (Putz 2010). It is critical to note that Vanbrugh had formal knowledge of the techniques articulated by scientists of the time, such as Kepler, in formulating the geometrical relationships defining different shapes. In this case, Vanbrugh made use of the complex relationship existing between geometrical shapes and their mathematical relationships. In addition to that, it is worth noting that Vanbrugh developed a close relationship between the structure and its shapes and geometrical relationships by integrating them both into the design to produce a style that would fit precisely into the requisite construction site (Halliday 1967).
Conclusion
In conclusion, it is crucial to note that the English Baroque architecture had several beginnings and significant contributions both from classical, continental, and other contributions with underlying geometrical principles that had mathematical and philosophical orientations resulting in the design and construction of précises buildings. Moreover, the English Baroque architecture evolved with underlying characteristics defined by megalithic tombs, the cromlech, and other forms.
It was the English Baroque architecture of the 18th century defined by classism, which was a radical departure from the Baroque style of the time. On the other hand, other buildings that depict the history of the Georgian English Baroque architecture include one of the most popular landmarks of Britain, St. Paul’s Cathedral towering above London.
References
Evans, R 1997, “The Developed Surface: An Enquiry into the Brief Life of an Eighteenth-Century Drawing Technique”, in Translations from Drawing to Building and other Essays, London, The Architectural Association, pp. 194-231.
Cropplestone, T 1963, World Architecture. Hamlyn, London.
Halliday, EE 1967, Cultural History of England. Thames & Hudson, London.
Harlin, R 1969, Historic Houses. Condé Nast Publications, London.
Putz, C 2001, ‘Teaching Descriptive geometry for architects: Didactic Principles and Effective methods Demonstrated by the Example of Monge Projection’, in 15th Simposio Nacional de Geometria Descriptiva e Desenho Tecnico IV International Conference on Graphics Engineering for Arts and Design, Brasil, pp. 269-278. Web.
Sterk, H 2008, Geometry in architecture and building. Faculteit Wiskunde en Informatica, Technische Universiteit Eindhoven.