Eastern Europe & Imperial Asia

1
Eastern Europe Imperial Asia

• Countries Unify later than Western Counterparts
• Fought more wars Less chance to develop
• Less dominate leaders before the
  Renaissance/Baroque period
• Regional rulers lacked manpower charisma to
  win over masses
• Feudal system lords and serfdom
• Too many disparate ideas
• Largely Agrarian society no centralization
• Development of Merchant Mercenary Culture lead
  to improvements
• Bartering or taking of goods from across Central
  and East Asia
• Wars brought cultural diversity and integration
• Cities strengthened for defensibility
• Allowed cultures to amass great wealth thru
  trade

2
Eastern Europe Imperial Asia

• Russia
• Strong rulers- Romanovs Ivan the Terrible,
  Peter the Great, Catherine the Great
• Tremendous caring for citizens especially
  children
• Tremendous cruelty towards their opposition
  family
• Established common laws, armies and culture
• Built schools to teach trades and higher education

• Dedicated armies that enforced new common law
• made examples of all who opposed within own
  territory
• Conquered more land in the name of the rulers
• Modernization of culture due to travel
• Each studied foreign lands means methodology
• Brought forth a centralized religion

3
Eastern Europe Imperial Asia

• China / Mongolia
• Feudal society Dynasty culture - Regional
  rulers
• Confucian, Taoist, Buddhist faith all interlock
• Different methods toward the same goal Inner
  Harmony
• Strong belief in nature and natural law
• Mongols unify under Ghengis Khan Ming Dynasty
• Control all of Central and East Asia
• Invade as far west as Vienna Austria
• Cultural Diversity due to military control
• Trade routes Silk Road
• Set up laws for society
• Based on common sense
• Based on defensibility
• Cared for children
• Lack of tolerance for crime

4
Eastern Europe Imperial Asia

• Japan
• Controlled by the Shogun / Samurai
• Regional rulers that grew stronger to control
  Islands
• Fought wars to defend Territory
• Shinto and Buddhist Religion
• Sacrificing worldly pleasures
• Search for internal peace
• Strong Merchant culture
• Great Naval Fleet for trade war
• Established trade with rest of Asia Europe
• Feudal/Agrarian Culture
• Farming grains, lumber
• Aquaculture Fishing plants
• Cultivating Precious Stones fabric

5
Eastern Europe

• Johann-Friedrich Braunstein, Jean-Baptiste
  Alexandre Le Blond, Niccolo Michetti, Mikhail
  Zemtsov
• Peterhof (1710-1725)

Peterhof Birdseye
The palace of Peter the Great, this palace was to
rival Versailles. Peter the Great had traveled
all over Europe in effort to learn from other
cultures. In doing so he learned much about
politics and architecture. Peter had hired many
German and Italian Architects to come to St.
Petersburg and work for him. His efforts to
modernize Russia, resulted in an increase in the
arts. Peterhof was a combination of German
Rococo ornament with a more simplified French
English Baroque.
Peterhof Plan
6
Eastern Europe

• Johann-Friedrich Braunstein, Jean-Baptiste
  Alexandre Le Blond, Niccolo Michetti, Mikhail
  Zemtsov
• Peterhof (1710-1725)

Peterhof Grand Stair
Peterhof Grand Ballroom
Peterhof Audience Room
The gold gilded and painted plaster ornament
contrast against the white backdrop. Russia
being a very military oriented country, also had
talented blacksmiths and iron workers to build
elaborate wood metal railings. All ceilings
were painted with Quadratura paintings.
What stands out about the Russian Baroque is the
elaborate wood flooring, that goes beyond typical
parquet floors using different woods and staining
to create wonderful patterning.
7
Eastern Europe

• Johann-Friedrich Braunstein, Jean-Baptiste
  Alexandre Le Blond, Niccolo Michetti, Mikhail
  Zemtsov
• Peterhof (1710-1725)

The baroque palace of Peterhof also following
other English models does not utilize corridors
for passage between rooms. Each space connects
through a pair of double doors to other rooms.
Artistry was highlighted in the overall design.
Beyond the intricate wood flooring. The
porcelain, crystal, and brass chandeliers become
hanging sculptural elements that become focal
points. Peter imported the greatest painters
from Europe to fill his halls with portraiture.
Where not as proportionate as the Italian, the
designs find ways to carry the art patterning.
Peterhof Throne Room
Peterhof Chesme Hall
Peterhof Dressing Room
8
Eastern Europe

• Johann-Friedrich Braunstein, Jean-Baptiste
  Alexandre Le Blond, Niccolo Michetti, Mikhail
  Zemtsov
• Peterhof (1710-1725)

Russia was the link between Europe and Asia,
Eastern Culture was seen as quite fanciful to the
Western Aristocracy. Like many of his English
counterparts, Peter too, had rooms dedicated to
the far east. In mimicking the style of the Far
East with its saturated colors and patterned
walls. More over, the furniture is distinctly
Asian with its black red lacquered frames with
jade inlays, these pieces have a rigid logic that
defines their beauty with their simplicity.
Peterhof Eastern Chinese Salon
Peterhof Western Chinese Salon
9
Eastern Europe

• B. F. Rastrelli
• The Catherine Palace (1744-1756)

The Palace of Catherine the Great, located near
Moscow in Pushkin, follows the same styling as
Peterhof. This palace is Baroque in plan with
Rococo ornamentation. As with Peterhof, the
Catherine Palace was to compete with Versailles.
The layout takes its queue from Palladio, with
its extreme symmetry. Again one must traverse
the plan from room to room without corridors.
The Romanov Tsars took their queue from their
English Cousins. In the Grand Ballroom one
could enter off the of the gardens through the
French doors, into the space. A quadratura
painting covers the whole ceiling. A patterned
parquet floor provides a bit of subtle warmth to
contrast with the gilded ornamental plaster work.
Katerinen Grand Ballroom
10
Eastern Europe

• B.F. Rastrelli,
• The Catherine Palace (1744-1756)

In the Grand Dining Hall the ornament is less
fanciful, than in the Ballroom. The walls are
broken proportionally and the Ornament finds its
space between the orders. The orders are greatly
de-emphasized. A creative detail was the use of
circular paintings surrounded by gilded plaster
framing. This paintings occurred between paired
corinthian pilasters. A creative feature that
becomes highlighted in the rooms are the ceramic
furnaces in each of the corners. They are
covered in fine porcelain and are finely ornate.
In orders to reduce the amount of soot, the
furnaces are loaded from a different room. Since
the furnaces are made of clay tile coated in
porcelain, they retain heat much longer than a
metal furnace would. This allowed for a lot of
convective and radiated heat within the rooms
while having a sculptural element in the corner.
Katerinen Grand Dining Room
11
Eastern Europe

• B. F. Rastrelli
• The Catherine Palace (1744-1756)

Katerinen Chapel Antechamber
Katerinen Grand Blue Salon
The Damask wall coverings used were fine milled
from Moscow. Since the Russian State stretched
from Eastern Europe all the way to the Pacific,
they had the ability to farm the finest cotton
and flax and shepard herds for their wool.
Moscow became a textile center in the 18th
century. The ornate detailing of the wall
covering is matched by the stained wood floorings
patterns. Since these rooms are smaller and more
intimate, the wall covering and flooring provide
a nice level of scale to the rooms.
Katerinen Wallcovering
12
Eastern Europe

• B. F. Rastrelli
• The Catherine Palace (1744-1756)

Katerinen Chinese Blue Salon
Again, Asian influence mixed together with French
Baroque styling of the furniture. The Damask
wall covering shows images of Pagodas and
Flowering Trees. Pink wainscot fabric offsets
the decorative fabric above. The ornament is
carried through every aspect of the room from the
wall covering to the crown molding.
Katerinen Chinese Blue Salon
13
Eastern Europe Imperial Asia

• Feng Shui -
• Study of natural law not law imposed by man.
  Law influenced by nature.
• Nature works in cycles
• All events repeat themselves good and bad
• Western society believes in linear progressions
  every cause has an effect
• Eastern Society looks for how one ripple can
  create a tidal wave.
• Lao Tze developed theories on how to work with
  nature to create harmony
• Understanding the Universe begins with
  observation
• Recognize and learn patterns in nature
• Develop arrangements that do not interrupt the
  natural flow of Chi or inner vital energy such
  that these arrangements develop in the Way of the
  Universe or the Tao
• Tai Chi The Great Extreme everything in the
  universe is bound together to create a greater
  whole. The life of a gnat can influence the
  death of an elephant.

14
Eastern Europe Imperial Asia

• Feng Shui -
• Natural Forms influence building location
• Dragon/Mountain, Tortoise/hills, Tiger/ River,
  Red Bird/ pond the energy spot
• Must build defensible location that breeds
  psychological comfort
• Buildings or cities to back up to mountain, be
  surrounded by hills, ponds rivers, and situate
  themselves on flat land
• Principles inherently rely on logic
• What makes you feel good, is good
• If you feel bad it is bad
• Philosophical study also included. Methodology
  for enlightenment
• Break bad patterns and establish successful ones
• Yin and Yang Good and Bad Potential and
  Kinetic energy
• Energy or Chi is always in flux.
• Yin relates to and influence Yang and vice versa
• Proportion, Quantity Quality all interrelated.

15
Imperial Asia

• Typical Chinese Buildings

Confucian culture tied to nature and Feng Shui.
Jian is the typical module. Jian can be added to
itself to create a Ting which is a axial hall
oriented along the horizontal axis. These
modules can arranged in horizontal arrangements
to create a hall or around a courtyard to create
a home. These spaces are multidirectional and
multifunctional. They can be anything. Feng Shui
is the ancient practice of siting a building such
that it becomes in tune with nature. Most
entrances have to be oriented to the south and
southeast to take advantage of the wind and sun.
The practice goes beyond just placement to talk
about colors and forms as well as the arrangement
of furniture and walls. The highly observed
practice of creating and reinforcing harmony and
oneness of nature has been around for 3000 years.
Feng Shui works at different scales. Cities
can be situated next to mountains and hills.
Houses can be situated amongst roads and other
buildings. But within the house you use
function, solid and void to develop good Chi.
Main living areas which back up to a main wall
(Dragon) are protected on either side by walls
(the tortoise). There were very few direct
openings near. Courtyards act as the Red Bird
perched. All of this to establish the
appropriate positive energy spot for living.
Typical Housing Types - Plans
16
Imperial Asia

• Typical Chinese Buildings

Fundian roofs, like a gable but with upturned
ends create dramatic forms on the interior and
exterior while providing necessary protection
from the sun. Controlling sunlight allows these
homes to be conditioned through passive
means. Arrangements layouts had deeper
meanings. Axiality and Symmetry show respect to
the ethics and rituals of society, while Feng
Shui and orientation related to the religious
beliefs. But the form related to the individual
and his or her mannerisms. The houses could be
arranged in any fashion depending upon the
surrounding area. Typically due to the nature of
Chinese/Mongolian society, elders were considered
revered. Generations of extended family would
live under one roof. This meant the layout of
the Jian often times related to the age of the
inhabitants. Grandparents would be situated in
the back, Parents rooms along the sides
approaching the Grandparents and the kids would
always be situated toward the front. This is
related to Confucian theory and ethics. The
general plan of a house reflected ancestral
worship and authority. Multiple Jian could then
be strung together in plan to create a series of
pavilions or dian that house the functions for
daily life as well as the living quarters.
Typical Jian
Typical Housing Types
17
Imperial Asia

• Temple of Heaven
• Quinian Dian (1530)

Set atop a white marble base, the painted stone
and wood temple is set up to approach axially.
Many of the pagodas are set up similarly. You
enter the complex through a main gate. There are
also secondary gates that align with the plinth.
The pagoda, itself, is a large dedicatory temple
with an altar concentrically located. In true
Feng Shui fashion, you enter the temple from the
south. The temple itself is The ceiling of the
dome is coffered and highly ornate. Painted wood
and ceramic tile detail brings scale to the space
along with saturated color.
Temple of Heaven - Plan
Temple of Heaven Dome Interior
Temple of Heaven - Exterior
18
Imperial Asia

• The Forbidden City, Beijing, China
• Bahoe Dian (1407 - 1723)

The ruling palace of the Ming Emperors of China.
Today, it stands as a monument to past time. In
line with other palaces of its time, the
Forbidden City is set up in separate pavilions or
Dians. In the Dian, the emperors throne sits
for public audience. Like most fine furniture of
the region, it is comprised of black lacquered
wood, with painted or gilded detail. There is a
hand painted sculpted wood screen, serving as a
backdrop.
Forbidden City Hall of Supreme Harmony
Hall of Supreme Harmony - Throne
Forbidden City Exterior
19
Imperial Asia

• The Forbidden City, Beijing, China
• (16xx-16xx)

Similar to its European counterparts, the Guan
Yu dome consists of a clerestory drum and a
coffered dome. The black and gold coffers frame
the central sculpted light fixture. Much more
colorful than the European domes, the Guan Yu
appears lighter. Western influence can be seen
with in the living quarters of the palace within
the Hall of Culture. The arrangement is very
western with its use of pilasters and
wainscoting. Black stone floors offset the
finely colored woolen rugs showing floral
patterns. Black lacquered tables offset the
stained wood paneling. The wainscot is hand
painted and gives way to windows and a clerestory
that work within the module of the framing.
Within Asian architecture, the framework becomes
a key interior component, expressing its
structure and qualities of the wood.
Forbidden City Guan Yu Dome
Forbidden City -Hall of Culture
20
Imperial Asia

• Japanese Construction

These illustrations are a manual on how to build
the proper house. The methods of construction
became commonplace all across Japan. Japanese
design is known for its use of wood. Wood holds
up in the variable Japanese climate. Northern
Japan can be very cold whereas Southern Japan is
very tropical. This dependency on wood as their
major building material has the unfortunate side
effect of also making their cities very
susceptible to fire. Japanese construction is
based on its beliefs of the Shinto Buddhist
religions. Wood is sacred, in coming from the
earth. Being tied to the earth at all times
meant the interior spaces had to blend with the
outside world. This lead to a lot of screening
and windows. Often times, these screens were
moveable so that the lines of distinction
blurred. Japanese Design is based on the
measurement, Kanejaku, or the square. This unit
of length comprises the shaku, the sun, and the
ken 10 sun equal 1 shaku and 6 shaku equal 1
ken. These units have been used for centuries in
Korea and Taiwan as well as in China. In the
Japanese kanejaku system, one shaku is about
30.303 cm or approximately 1 foot, and the
smallest unit, the bu, is about 3 mm or 1/8 inch.
Japanese Construction Illustrations
21
Imperial Asia

• Typical Row House
• Kansai, Japan

The structure is made up of a shop that faces the
street to the east, a residence, and a patio that
separates them. The two buildings are connected
by an entrance hall structure that projects to
the south. Beyond the residential building are a
backyard and two storehouses. On the south side
of the compound is a connecting yard, an earthen
floor connecting the front to the back and
serving as the main indoor corridor. The kitchen
of the residential building is located in this
connecting yard. This type of kitchen, called a
hashiri moto, is open, wellhole-style, up to the
roof. True to the spirit of daily activities
using water and fire, the kitchen space has a
skeleton structure of main pillar, girders, and
beams.
Typical Japanese Row House- Kansai
Very utilitarian in its function, its arrangement
reflects the connectivity to nature as well as
the basic principles of good environmental
design. The courtyard and patios help to control
the temperature, by controlling the light and air
flow. The overall arrangement also delineates
lines of privacy. The Shop is publicly oriented.
While the other function can be accessed through
doors creating privacy and separation. The
verandahs and corridors provide buffers space
between the functions.
22
Imperial Asia

• Nijo- Jo, Kyoto, Japan
• (1603)

Nijo - Plan
The palace is made up of two parts. The first is
a series of interconnected pavilions that house
ceremonial functions of the Shogun. The hommaru
is the protected walled residence of the Shogun
providing protection from invasion. Gardens that
have an organic layout engulf the complex. This
provides a duality of form with the very
symmetrical, square pavilions.
Nijo - Plan
23
Imperial Asia

• Nijo- Jo, Kyoto, Japan
• (1603)

In the Hommaru or the protected central chambers
of the castle, painted screens divide the rooms.
These screens can be opened to enlarge the
rooms. The screens themselves have paintings
depicting nature and other more pastoral themes.
This again gets back into the religious doctrine
of the Shinto and Buddhist. There is a subtle
art in the creation of spaces with the warm glow.
Translucent screens were used on the South and
West walls to minimize the effects of the sun.
Hommaru Central Chamber
Rooms in the castle are set up following the
basic proportions of the Tatami mats. The Tatami
are based on the proportion of the Kanejaku. One
tatami mat is approximately 6 shaku and 3 sun by
3 shaku and 1.5 sun (75 x 37.5 or 1 meter by a
half of a meter) This rectangular proportion
caries through the building. Most Japanese
architecture of this period is based on the
proportions of either the square or the rectangle.
Hommaru First Chamber
24
Imperial Asia

• Nijo- Jo, Kyoto, Japan
• (1603)

The palace of the Shogun housed various chambers
of utilitarian function. Each separate pavilion
within the complex houses multiple chambers.
Each chamber was set up proportionally based on
the Tatami. Painted wood screens depict scenes
of the bonsai. When the screens are opened the
delineation of the spaces begins to blur.
Free-flowing open plan allows for the flexibility
of function. Besides the decorative wood
screens, the framed ceiling becomes coffered with
inset painted wood panels. The faming is all
connected with brass fasteners bring color and a
detailed scale to the space. Much like in Chinese
Design, there had to be a connectivity or a flow
of space to not allow for blockages of the
natural energy. This lead to the screen design.
Also, due to the ties to nature and need of
incorporating nature into the design, sliding
walls allowed for the visual and physical
connection to the outside world, while still
being sheltered.
Nijo Shogun Chamber
Nijo First Chamber
25
Imperial Asia

• Ustad Isa
• Taj Mahal, Agra, India (1626-1648)

The Taj Mahal stands on a raised plinth of white
Marble, with its four corners truncated, forming
an unequal octogon. The design uses an
interlocking Arabesque pattern, in which each
element stand on its own and also fits into a
larger system. The pattern uses a self
replicating geometry and symmetry within the
whole complex. A large gate begins the approach
that transcends through gardens and reflecting
pools until you arrive upon the main tomb. Taj
Mahal stands on the bank of River Yamuna, which
otherwise serves as a wide moat defending the
Great Red Fort of Agra, the center of the Mughal
emperors until they moved their capital to Delhi
in 1637. It was built by the fifth Mughal
emperor, Shah Jahan in 1631 in memory of his
second wife, Mumtaz Mahal, a Muslim Persian
princess. She died while accompanying her husband
in Burhanpur in a campaign to crush a rebellion
after giving birth to their 14th child. The death
so crushed the emperor that all his hair and
beard were said to have grown snow white in a few
months
Taj Mahal
26
Imperial Asia

• Ustad Isa
• Taj Mahal, Agra, India (1626-1648)

Taj Mahal Mausoleum Plan
Taj Mahal - Plan
the Taj Mahal is a prime example of Islamic
design during the period. This complex features
a symmetrical plan with the Mausoleum and Mosque
anchor the major axis and secondary entrance
gates that anchor the minor axis. The plan of
the Mausoleum itself is perfectly symmetrical as
well. Much attentions was paid to the approach.
Again the processional nature of the complex is
emphasized by the symmetry. The only real
directional aspect in the Islamic faith is that
followers must pray to Mecca 5 times daily. So
must religious complexes incorporate
non-directional space. A philosophy that differs
from the Christian orientation practices of the
major axis in the east/west direction.
27
Imperial Asia

• Ustad Isa
• Taj Mahal, Agra, India (1626-1648)

Taj Mahal Mosque
Taj Mahal - Tomb
Architects from Italy, Germany and India all
worked together to build this complex. The tomb
is constructed of quartz and other precious
stone. The main material used in the buildings
was Indian Sandstone. Its a soft limestone like
stone with an Orange/ Red finish. The detail was
achieve with Ceramic inlays. The pointed
archways are distinctly Muslim. The geometric
patterning of the wall and ceilings shows the
ability the Indian craftsmen had with fine stone.

Taj Mahal Entry Arch Detail