ROCOCO ARCHITECTURE

Rococo architecture, also known as Late Baroque or rocaille, is an ornamental, flamboyant, intricately
detailed and layered style of architecture that emerged in the 18th century in Paris and spread throughout
France and Europe.

Rococo architecture (or Late Baroque) emerged in 18th-century Paris as part of a more expansive
aesthetic movement that also encompassed art and decoration. This highly ornate, theatrical, over-the-
top style developed as a reaction to the strict confines of Baroque architecture exemplified in such iconic
structures as the Palace of Versailles and Louis XIV’s strict ideas about what constituted art. Rococo
spread throughout France and elsewhere in Europe until it was succeeded by Neoclassical style.

HISTORY OF ROCOCO ARCHITECTURE

Rococo architecture, art and design were born in Paris not long after the death of Louis XIV in a
reaction to Baroque architecture such as the Palace of Versailles and the Sun King’s preferred self-
glorifying French classical art. In this new era, Parisians returned to the city from Versailles and
started renovating their homes with a freer, more light-hearted spirit.

Rococo style was especially popular when decorating salons used to entertain guests, and became the
height of fashion beginning in the 1720s. Playful and exuberant, Rococo is a wedding cake of a style,
with a delicate, pastel-hued, and—what has long been for better or worse thought of as—classically
feminine allure in part to counterbalance the testosterone-driven aesthetic dominance of the reign of
Louis XIV.

Rococo interiors were highly cohesive, with interior architecture, design, furniture and art all sharing
common characteristics. The Rococo salon was its own aesthetic universe, where wall treatments,
painted ceilings, sculpture, art, and decorative elements worked to create a high-spirited, light, and
frothy atmosphere that made them perfect backdrops for high-minded aristocrats looking to entertain
and impress their guests. Rococo style spread throughout France and Europe, to countries including
Austria, Germany, Italy, and Russia. Largely considered to be Baroque’s last hurrah, Rococo’s
vivacious spirit eventually died down and was succeeded by the decidedly more
constrained Neoclassical style.

DIFFERENCES BETWEEN BAROQUE AND ROCOCO

Although the Rococo style is a slightly more differentiated version of Baroque architecture, it contains
some important changes. For instance, Rococo is a much more relaxed and light style. The use of
pastel colours has an important contribution to create this lightness. Moreover, the Rococo style
creates a more luminous and friendly feeling of space. In baroque structures, gloomy and dark themes
are often active.
The most important reason for this solemn atmospheric aspect of the Baroque style is that it was
mostly preferred in the magnificent palaces and cathedrals of Europe. Rococo architecture movement,
on the other hand, developed as a more bright and comfortable style, since it often adorned the
interiors of elite and aristocratic residences. Additionally, the Rococo style is mostly prominent in
interior design. Baroque architecture, on the other hand, showed its influence in interior, exterior and
garden design.

Rococo has the following characteristics, which Baroque does not:

• The partial abandonment of symmetry, everything being composed of graceful lines and
curves, similar to Art Nouveau
• The huge quantity of asymmetrical curves and C-shaped volutes
• The wide use of flowers in ornamentation, an example being festoons made of flowers
• Sometimes using East Asian motifs (Chinoiserie, Japonisme)
•
Warm pastel colours (whitish-yellow, cream-coloured, pearl greys, very light blues)

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CHARACTERISTICS OF ROCOCO ARCHITECTURE
Architectural Characteristics of Rococo
Long regarded as the most disobedient of design eras, the Rococo was extraordinarily decorative and
dramatic, a style lacking boundary, and was sometimes referred to as the culminating manifestation of
the Baroque period. Rococo was considered to be shallow, deteriorated, and irrational in comparison
to the order, elegance, and solemnity of the Classical style. From a purely aesthetic point of view and
in context with the objective study of architecture, however, one can start by characterizing the
Rococo as an intricately ornamental style, with its disproportion being rich in gilding and emphasized
in golden and pastel colours. A crucial component of Rococo style was the dazzling use of pastel hues.
A few powdered tones, such as creamy tones, pale yellow, pearly greys, lavender, and soft blues,
would make up this palette. Rococo is known for its flowery aesthetic, which features sinuous arcs,
spiralling shapes, curves, and waves as an alternative to French classicism’s rigid lines. It incorporated
asymmetric embellishments on every aspect, including furnishings inlays made of marquetry, or
marque, and moulding. Shells or acanthus leaves may be intertwined with asymmetric patterns.
Every Rococo room tried to evoke wonder in the viewer. Rococo interiors in cathedrals, salons, and
other opulent buildings astounded and enthralled. For instance, a large staircase may become the focal
point of a space, and a cherub-adorned ceiling artwork could spark discussion among visitors.

PLANS
Rooms were lined up one to the next without hallways. Each room had a specific purpose. The
courtyard inside the U shape served as the primary entrance.

Floor plans show the long sequences of rooms in which a door led to the next room. There were no
hallways as we know them today. All the doors were aligned so, when the doors were open, you
could look down through all the rooms. The homes inhabitants were on constant public
display. Rooms became gendered with special places for the woman or the man to dress, sleep or
entertain. There were also rooms that were intended for privacy or only for the family which was a
new idea in the 18th century.

Shown is the plan of the Palais de Bourbon, Paris. Note the use of oval rooms now popular in the
Rococo period. There is a tiny hallway that was probably for the servants to enter the room
unnoticed. Public spaces were on the main floor and boudoirs and other less public rooms would
have been on the second floor. Note the Chambre a coucher (bedroom) on the first floor, creating a
place to receive visitors while you lounged on your gorgeous bed. Dining rooms were a new
invention in this period. The Gallerie, on the upper left, was the most public of all, intended to
display and show off the owner's treasures. Other translations show specific uses for rooms:
salon = sitting room
salle a manger = dining room (a new type of room)
salle d assemble = assembly room
cabinet = office

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garderobe = wardrobe
chamber de parade = chamber of display or exhibit, typically while the owner reclined on his or her
bed. The chambre en niche was the place of privacy where one slept and was most likely on the
second floor.

WALLS

The walls of Rococo interiors became integral to the

aesthetic. Light pastel colours adorned them, creating
a sense of airiness. Intricate panelling and
wainscoting, often featuring delicate carvings, added
layers of visual interest and showcased the
craftsmanship of the period.

OPENINGS

Rococo openings, such as doorways and windows, became

showcases for artistic expression. Arches and mouldings
embraced asymmetry, introducing a sense of whimsy and grace.
These elements became not just functional but integral to the
overall design, reflecting the changing attitudes towards
formality.

ROOFS
Rococo roofs reflected a departure from the heavy, monumental structures of previous styles. Hipped
or domed roofs were adorned with elaborate details like balustrades and sculpted ornaments. The
emphasis on the roof as a decorative element contributed to the overall lightness of Rococo
architecture.

COLUMNS
Columns underwent a transformation in the Rococo era. They became slender and more decorative,
often adorned with intricate carvings. Pilasters, flat decorative columns attached to walls, gained
popularity, contributing to the overall sense of elegance and refinement.

MOULDINGS
Rococo mouldings became a hallmark of the style. Elaborate cyma curves and profiles added a sense
of movement and fluidity to architectural details. Mouldings were not merely functional; they became
a means of expressing the dynamic and playful nature of Rococo design.

ORNAMENTATION
Ornamentation reached new heights during the Rococo period. Gold leaf and gilding adorned
surfaces, catching and reflecting light. Rocaille motifs, inspired by natural forms like shells and rocks,

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became pervasive. Every inch of a Rococo interior was a canvas for opulent ornamentation,
symbolizing a departure from the austerity of the past.

MOSAICS
While not a central feature, mosaics found their way into Rococo design. Floors, in particular, might
showcase mosaic patterns depicting pastoral scenes or intricate designs. Mosaics, though not as
prominent as in some other architectural styles, added to the eclectic and varied aesthetic of Rococo
spaces.

ARTISTS ASSOCIATED WITH ROCOCO ARCHITECTURE

Architects
Francois de Cuvillies (1695–1768): A prominent German architect, Cuvillies played a significant role
in the development of Rococo architecture, especially in Bavaria.
Balthasar Neumann (1687–1753): A German architect known for his work in Baroque and Rococo
styles, Neumann's designs often featured elegant and intricate details.
Nicolas Pineau (1684–1754): A French architect and interior designer, Pineau contributed to the
Rococo style with his innovative designs for interiors.

Sculptors
Jean-Baptiste Carpeaux (1827–1875): While Carpeaux lived after the Rococo era, his work was
influenced by the earlier style. He was known for his dynamic and expressive sculptures.
Claude Michel, known as Clodion (1738–1814): A French sculptor, Clodion created lively and
playful sculptures, often depicting scenes of mythology and everyday life, in line with Rococo
sensibilities.

Painters
Jean-Antoine Watteau (1684–1721): A French Rococo painter, Watteau's works often captured the
essence of the period's elegance and grace. His contributions to the fête galante genre influenced
Rococo aesthetics.
François Boucher (1703–1770): Another French artist, Boucher, was a prolific painter whose works
were characterized by their light-hearted themes, pastoral scenes, and sensual depictions, aligning
with Rococo ideals.
Jean-Honoré Fragonard (1732–1806): A French painter, Fragonard was known for his exuberant
and atmospheric paintings that embodied the Rococo spirit. His playful and romantic themes
resonated with the style's emphasis on lightness and charm.

These artists, architects, and sculptors played pivotal roles in shaping the Rococo movement,
contributing to its distinctive aesthetic characterized by ornate details, fluid forms, and a celebration
of beauty and pleasure.