Santa Maria del Naranco was not built as a church, but rather a palace, and is thus an atypical church plan. My interpretation of it is devoid of any ecclesiastical use, and reverts back to a folly. I’ve stripped it of the Romanesque ornament and overlaid a Grecian pediment, corners similar to the Monadnock Building in Chicago, and stripped modernist interiors.
I can be terribly repetitive. My sketchbooks will tell you that, where dozens of imperceptibly different iterations of a single project follow one another, page after page. Similarly, when I start down a trail of inquiry I’m soon immersed. And when I start drawing, I go on and on. So is my fascination with Henry Hobson Richardson – and I’ll share three different pieces from my studies: Top, von Herkomer Residence, 1886; Below, Ames Memorial Library, 1877; Bottom, Trinity Church Rectory, 1880.
In a final touch upon the last few posts here (this one, this one, and these two), I just up and slapped Richardson and Nervi on top of one another, aligning the square towers of each project, and highlighting the enormous piers (inner squares are from Trinity, the other ones are St. Mary).
Following Friday’s post on the High Modernist St. Mary of the Assumption, I present you with another Greek cross church plan, H. H. Richardson’s Trinity Church in Boston. A large tower sits on on four enormous piers at the cubic volume of the crossing, which commands the entire sanctuary, where the apse, transept, and nave ‘arms’ are rather shallow.