The contemporary building Jawahar Kala Kendra by Charles Correa in an historical context. The pap... more The contemporary building Jawahar Kala Kendra by Charles Correa in an historical context. The paper focuses on how a contemporary building derive its inspiration form the surrounding context and the knowledge of architectural science from ancient India.
The story of St. Ivo starts with Giacomo della Porta who was architect in charge after Pirro Ligo... more The story of St. Ivo starts with Giacomo della Porta who was architect in charge after Pirro Ligorio and before Borromini. He created the Sapienza's definitive part, leaving the library, the church and the east façade yet to be completed. Later in 1632, Borromini was hired to work on a tiny and irregular site, with a mixture of straight walls and curved screen, lacking direct light on both sides. Defining in simple words the basic configuration of Borromini's plan is 'Triangle-plus-apses-minus-angles', which is used delineate the pilaster faces. But the wall face was set father out and a cornice drawn farther in. the altar niche was given greater depth than the others. The twelve small niches also have a slight horseshoe shape, like the ancient Romans built their niches deeper than semicircles. Other examples from the antiquity that influenced Borromini were Rotunda by Minerva, Medica Mausoleum of the Calventii near the Via Appia. Following the " pumpkin dome " tradition in the interior vault, as seen in several ancient structures in Rome and in Hadrian's Villa in Tivoli, the floor plan is directly communicated to the vault, which is forced into strange contortions by the angular movement of the walls beneath it. In the exterior, the six bulging apses of the drum, referred to as " six petals of a rose " in the construction documents, gives a false impression that there should be a corresponding interior with six apses making a hexagonal plan rather than the reality of triangular plan. This design of cupola being larger than the generating triangle and circumscribed around it was contrary to the traditional ancient and Renaissance architecture rule. These unprecedented design decisions allowed Borromini to build an enormous cupola. The powerful alteration of concave exedra, convex drum, concave lantern, and convex spiral makes a unique Baroque example in itself. If we see the immediate urban context of St. Ivo, we find that the nearest two churches (St. Andrea della Valle and St. Agnese) involved Borromini in the design of the lanterns. And the other nearest marvel we see is from the Roman antiquity 'the Pantheon'. Since St. Ivo church was his own handled project from start to end, he wanted to make no less impact than any other immediate surrounding structure. And so even with the site size constraints, making the right choices of the cupola, Borromini was successful in making it to dominate in the courtyard but also to be notable in the near urban context.
The contemporary building Jawahar Kala Kendra by Charles Correa in an historical context. The pap... more The contemporary building Jawahar Kala Kendra by Charles Correa in an historical context. The paper focuses on how a contemporary building derive its inspiration form the surrounding context and the knowledge of architectural science from ancient India.
The story of St. Ivo starts with Giacomo della Porta who was architect in charge after Pirro Ligo... more The story of St. Ivo starts with Giacomo della Porta who was architect in charge after Pirro Ligorio and before Borromini. He created the Sapienza's definitive part, leaving the library, the church and the east façade yet to be completed. Later in 1632, Borromini was hired to work on a tiny and irregular site, with a mixture of straight walls and curved screen, lacking direct light on both sides. Defining in simple words the basic configuration of Borromini's plan is 'Triangle-plus-apses-minus-angles', which is used delineate the pilaster faces. But the wall face was set father out and a cornice drawn farther in. the altar niche was given greater depth than the others. The twelve small niches also have a slight horseshoe shape, like the ancient Romans built their niches deeper than semicircles. Other examples from the antiquity that influenced Borromini were Rotunda by Minerva, Medica Mausoleum of the Calventii near the Via Appia. Following the " pumpkin dome " tradition in the interior vault, as seen in several ancient structures in Rome and in Hadrian's Villa in Tivoli, the floor plan is directly communicated to the vault, which is forced into strange contortions by the angular movement of the walls beneath it. In the exterior, the six bulging apses of the drum, referred to as " six petals of a rose " in the construction documents, gives a false impression that there should be a corresponding interior with six apses making a hexagonal plan rather than the reality of triangular plan. This design of cupola being larger than the generating triangle and circumscribed around it was contrary to the traditional ancient and Renaissance architecture rule. These unprecedented design decisions allowed Borromini to build an enormous cupola. The powerful alteration of concave exedra, convex drum, concave lantern, and convex spiral makes a unique Baroque example in itself. If we see the immediate urban context of St. Ivo, we find that the nearest two churches (St. Andrea della Valle and St. Agnese) involved Borromini in the design of the lanterns. And the other nearest marvel we see is from the Roman antiquity 'the Pantheon'. Since St. Ivo church was his own handled project from start to end, he wanted to make no less impact than any other immediate surrounding structure. And so even with the site size constraints, making the right choices of the cupola, Borromini was successful in making it to dominate in the courtyard but also to be notable in the near urban context.
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