You will receive feedback on 1 Your prioritization and accuracy of pattern-recognizing architectural design composition. 2 Your execution of comparative analysis in visual and textual format 3. Your execution of peer review does this meet the requirements

Mod 2 PATTERN RECOGNITION QUEST: BAROQUE INNOVATIONS----Lei Lei CUPOLA CROSS TWO COLUMNS INSPIRED BY TRAJAN'S COLUMN LAJ ROME WITH STAIRS INSIDE. TWO CHINESE PAVILION- INSPIRED GATE HOUSES LEAD TO SIDE ENTRANCES WHICH WAS USED AS VISITOR ENTRANCE AND TICKETS. CONCAVE CONCAVE CONCAVE OUTLINE OF DOME BEHIND. CONCAVE TO ALL THREE 191 191 PARTS OF EVTABLATURE + WALL , CURIOUS' PAVILION-CONVEX RELATING TO BAY BELOW. GALT ORDER OF COLUMNS WITH CAPITOLINE MOTIF. COMI30S OF ALLCHE + ROUND WINDOWS ON 130TH STOREY'S CENTRAL CONVEX BAY RELATES CONCAVE CONCAVE TO BULGE OF INTERIOR Karlskirche and San Carlo alle Quattro Fontane exemplify two contrasting Baroque strategies that reconfigure and amplify Italian Renaissance design ideals. First, Karlskirche demonstrates monumental axial symmetry through a centralized composition framed by a classical temple front and twin commemorative columns. The facade expresses hierarchical order and rational clarity, aligning with Renaissance principles but exaggerating scale and symbolism for imperial effect. In contrast, San Carlo's facade breaks from static symmetry through curvilinear rhythms, using alternating concave and convex forms to create visual tension and spatial fluidity-an embodiment of Baroque dynamism. Second, ornamentation is deployed differently. In Karlskirche, surface decoration supports narrative and ceremony: the spiral reliefs on the columns and the gilded high altar reinforce religious and imperial authority. Meanwhile, San Carlo embraces architectural plasticity, where sculptural niches, undulating entablatures, and giant orders with Capitoline motifs integrate ornament into the structural form, blurring the line between architecture and sculpture. Third, each building manipulates spatial perception uniquely. Karlskirche' s dome is placed visibly behind the portico, reinforcing its centrality and echoing Renaissance spatial hierarchy. Conversely, San Carlo's central convex bay corresponds directly to the bulging interior, emphasizing continuity between inside and out-a hallmark of Baroque innovation. Borromini s approach transforms Renaissance harmony into expressive spatial drama. In short, these buildings reveal how Baroque architects either monumentalized or destabilized Renaissance ideals through exaggeration, complexity, and theatricality