FMP | Baroque art and architecture in London - W1

Branching from research for my proposal, the element of chiaroscuro is something I looked for in pieces of art. This happened to be present in the Giovanni Battista Moroni exhibition I visited at the Royal Academy. It was at this point where I wanted to find this effect in further works or even architectural structures. I chose to focus on this detail because I felt it  had strong sensual and emotional effect with the viewer, myself. Moroni's work was part of the late renaissance era, this meant hopefully the chiaroscuro effect could also be present in other art periods adjacent to the late renaissance. 

I discovered that chiaroscuro was also a prominent effect that was used in the Dutch Golden Age and Baroque period, both occurring after the late renaissance. This fact made my research easier because there was a relationship between the art movements. 
Baroque art and architecture are the areas I am looking into because they both place emphasis on chiaroscuro. This element used in Baroque art will allow me to understand how it was further used in architecture. 

In terms of Baroque art, I visited 'Rubens and his legacy' exhibition at the Royal Academy because I found that he was a major contributor to Baroque art and heavily used chiaroscuro. Regarding the overall works exhibited, I would say a minority of the works were of Rubens, something I was not expecting. Then again the exhibition was also about the legacy he left, and how a vast number of artists encapsulated his style (diagonal composition, strong movement, vivid colours) in their works.

The sense of motion was accentuated further with Rubens' diagonal compositions, also enforcing an emotional response from the viewer. Although at the same time I thought the chiaroscuro effect would be as a strong as Moroni, but I felt that it wasn't, which was quite disappointing. I believe that all the advertisements and postcards I saw beforehand, exaggerated the contrasts, which was quite deceiving for me.

Strong use of contrasts against the skin, which accentuates the two levels in the painting.

Where the dynamic compositions initially began.

I also visited the National Gallery, who also had Baroque art as part of the permanent collection. Rubens and Bellini were people as part of these collections. However, I could not locate pieces that had strong chiaroscuro effects or strong dynamism. This issue became a positive since it meant I could then refine my research further.

Baroque architecture is most prominently found in countries such as France and Italy. Fortunately, this did not pose as an issue to my research, since there were a few Baroque buildings in London, which include: St Paul's Cathedral, Christ Church, the Old Royal Navy College and St John's Smith Square. I visited them all and drew some observational drawings and took photographs. From these observations, I am looking further into the details, general form, and composition of the structures to enable me to possibly implement aspects of this into my future designs. 

The chiaroscuro effect at St Pauls cathedral (Christopher Wren) in the City of London appeared to be most strong where there were intricate sculptural details on the fringes of the exterior of the building, when in natural light. Although, the high contrast may only be present due to the age and dirtiness of the building (possibly), or Wren may have intended for these areas to be darker in contrast for the chiaroscuro effect. Analysing where the effect is placed on the building, I then realised Wren must have created the contrasts on purpose because throughout the exterior, it is decorated with many minute hollowed alcoves, which casts a strong shadow on the space below, in turn creating the chiaroscuro effect. Additionally, the pillars at the base of the dome, show the light and dark effect was also intended because behind every pillar, a divider was conjoined to it, which creates a shadowed space.

The Old Royal Navy College also designed by Wren, shows that the style of chiaroscuro at St Paul's is also seen at the college. This is evident in the coffered ceilings in the surrounding walkways of the buildings. From afar the walkways appear extremely dark and hidden, but once you enter the walkway, its not dark at all. It was this observation that made the building much more compelling to the eye.

At Christ Church (Nicholas Hawksmoor) in Spitalfields the chiaroscuro effect appeared to be evident through the ageing and possibly weathering of the building, which implies that maybe the architects did not intend for a chiaroscuro effect or created the effect through the placement of every part of the structure, simultaneously creating strong contrasts of light and dark in the natural light. 

St John's Smith Square

In all the ways chiaroscuro has been used in both architecture and art, they do not fail to show dynamism, which is incredibly important for the Baroque period. The sense of motion, I believe is vital in some form when creating a work of art or an architectural structure. It instigates a different type of response in comparison to a structure or piece of art that isn't as dynamic. The response is likely to be a feeling that takes you back to a particular moment or situation.

Unexpected turn
Researching on the Baroque period has led me to an unexpected turn. I have now explored the Baroque idea of presenting grand monumental structures in modern day London. Something that is evident in concentrated parts of central London, more monumental and iconic rather than presenting 'grandeur' designs. I have looked into how current architects are in a sense taking on this Baroque idea sub-consciously.

In order to find architectural structures with an element of wanting to be iconic and prominent to the eye, I visited viewing platforms across London and took note of the panorama maps, that stated the most prominent buildings that one could see from the platform or even always see from many viewpoints in London. 

These included: 

Overall, I am hoping for my final outcome to be something that reflects the opposite of how Baroque art was used (to be grand) and how Baroque architecture was used (to be monumental), but at the same time demonstrating that 'showing grandeur' and 'being a vanity piece' is not always the best form of construction. Disrupting the perception of things being grand as positive for the visual, is another idea I have formed from the current research. The final outcome could be temporary, because it shows that the situation it will reflect is not necessarily permanent situation.

An extract from the book 'Transforming Cities', this part written by Lukas Feireiss: "The city here truly emerges as a "strategic site for understanding some of the major new trends reconfiguring the social order", as sociologist Saskia Sassen points out: "The city and the metropolitan region are one of the locations where major macro and global trends, even when not urban, materialslize; it is, then a space that can give us knowledge about developments that are not urban per se" Just as temporary structures inherently dispute the dominant role of architecture as an ever-lasting solution, temporary occupation of urban space pro-actively questions the social fabric of the existing city."

This has changed my outlook on how I will approach my project, I may experiment with what situations/scenarios/concepts to use as a subject of reflection in my structure. Initially I wanted to reflect the gentrification by the river, an urban issue, but now I may research into issues outside urbanism, which may have more of a intercepting effect as it will be in contrast to urban situations.

'temporary structure to generate spatial imagination'