Colour Complex

HAGIA SOPHIA

Constantiople,  Istanbul Turkey.

Architects:
 Isidore of Miletus

 Anthemius of Tralles

 

(537-1204)

(1204-1262)

(1261-1453)

(1453-1931)

 

 

Brief History:

 

The Hagia Sophia, translated in Latin as the “Holy Wisdom” has been around for 1400 years. It has been a cathedral, a mosque and now a museum. The Byzantium style arose in Constantinople which is nowadays in Istanbul, Turkey. The style draws heavily from Roman classical orders. Features such as basilican roof and symmetry in plan.  

 

 

 

Structure:

 

Doomed Bascilica

The Hagia Sophia has a doomed roof. Its weight is carried by four great arches, which rest on a series of tympana and semi-domes, which in turn rest on smaller semi-domes and arcades. This complicated structural system was prone to problems: the first dome collapsed in 558, to be rebuilt in 562 to a greater height.

 

Plan:

The plan shows the how the Byzantine Style drew from the Classicism especially the Roman order. The symmetry in spatial layout. What differs are the the use of domes which are synonymous which the Roman order.

 

Within the section it illustrates too us the use of arches and the introduction of the circle. Domes require a heavy load-bearing column to help distribute the load of the arch. The section shows how there are a multitude of columns too help with this.  The columns are Corinth order. 

 

 

 

 

GOLD:

 

The word tempera originally came from the verb temper, “to bring to a desired consistency.” Dry pigments are made usable by “tempering” them with a binding and adhesive vehicle. Tempera is traditionally created by hand-grinding dry powdered pigments into a binding agent or medium, such as egg, glue, honey, water, milk.

This process was used to act as gold. As the years went the colour would darken. The use of gold within the Hagia Sophia was too symbolize a place of worship and enlightenment, especially shown by the golden murals of patrons. Gold was used sparingly and only for places of significance.

 

But through Byzantine Architecture the use of colour was seen as ornamentation, decorative and also it was under the responsibility of the artist. The architect had control over the structure however with the colour and the palette of choice, it would fall into the hands of the artist commissioned by the church at the time.