Orders of Architecture PDF

THE ORDERS Primary sources >you know it by the author Secondary sources > critical approach and they analyzed the primary sources CLASSICAL ORDER “Classicism” word used in the renaissance Place: Italy and Greece (first order) GREEK: thin about proportion, vertical and horizontal elements linked....

THE ORDERS Primary sources >you know it by the author Secondary sources > critical approach and they analyzed the primary sources CLASSICAL ORDER “Classicism” word used in the renaissance Place: Italy and Greece (first order) GREEK: thin about proportion, vertical and horizontal elements linked. Identify the different elements of the orders. Main part: plataform, columns and entablature. DORICO No base They have a platform Many people used the Tuscan order (Roman ~ renaissance) Play with the idea, only some aspects Bramante used the exact Doric (rei.) JONIC First with BASE It has the ~ echinus with volute ~ CAPITAL with a small abacus and the volute Shaft with flute Decoration that contains history, also parts of the pediment have decorations CORINTHIAN Some description to the ionic Capital and decoration with an ACANTHUS LEAF Volute smaller that the ionic Used a lot in the renaissance 1  ROMAN ORDER They used different proportions The Doric for the TOSCAN COMPOSITE VIGNOLA ~ “I 5 ORDINI DI VIGNOLA” ~ compared the 5 orders adding the Tuscan and composite The main aspect was to compare the geometrical relation of the orders ~ structure During the middle of the 16 c. Vgnola published a sheet with a “new way of building” where he compared the solutions and studied proportion TUSCAN ORDER Linked with the Doric but it has a BASE Capitol similar to the Doric with the same element but it has different proportions Proportions on the upper part different COMPOSITE ORDER: VOUTE and ACANTHUS LEAVES Renaissance used this a lot They compared the capital with the CORINTHIAN because of the dimensions Treaties and architects used the orders in different ways VISTRUVIUS ~ OVERLAPPING ORDER in the Colosseo the different elements of different orders can be seen GREEK TEMPLE: used entablature and pediment where they used proportions and analyzed the architecture and BRAMANTE used the same rules, meanwhile others broke the shapes 2  PERIODIZATION Considering a period means look at the context, the historical events, and other aspects like religion, and geographical context PERIODIZATION changes depending on the places and the context Historical periodization Artistic periodization ○ Elements that explain different buildings in different places of the world ○ Received some critics during the renaissance in the periodization EUROPEAN HISTORICAL PERIODIZATION 1. V millennium B.C ~ 476 A.C. Ancient age 2. 476 ac ~ 1492 medieval age 3. 1492 ~ 1789 modern age 4. Form 1789 till today contemporary age This refers to western culture~ it can be divided into different steps of periodization ANCIENT AGE Before 476 a.c Early Roma Italy ~ consider more buildings and models in the south of Italy (Sicily) Tuscany Greece ○ Archaic age: 750 bce ~ 479 bce ○ Classical age: 479 bce ~ 323 bce ○ Hellenistic age: 323 bce ~ 30 bce Italy and Europe ○ Roman Empire: 117 ac empire ○ Western Roman Empire and Eastern Roman Empire had a different geographical organization of the area ~ Constantinople The barbarian migration and kingdoms ~ 526 ac ○ First period of the medieval age with different geographical organizations of the European area ○ Carlo magno, regno dei franchi, marca spagnola, lands of the church MEDIEVAL AGE Different powers ~ RULE OF THE COURT and the study of the first building THE CASTLE 476 AC ~ 1492 medieval age ○ High medieval age 476 ac ~ 1000 ac ○ Low medieval age 1000 ac ~ 1492 The castle as a religious building and political 3 MODERN AGE 1492 ~ 1789 Political situation: Europe and the limits of the country Linked with the CLIENT ~ king, medici, pope etc Geographical discoveries (Spain and portugal)~ meaning and consider the different influences and cultures (productions, buildings…) ○ Compare different cultures explaining the Baroque Political situation of Italy ~ south kingdom: most important in Italy during the modern period ~ campagna and Sicily with the KINGDOM OF NAPLES FLORENCE MEDICI FAMILY Leonardo ~ Florence, filan ~ he traveled out of Europe and France During the early modern age there were a different organization of the timeline Modern age ~ different meaning of the word “MODERN” ○ Controversial interpretation useful to define the early modern period between the 16 c to the 18c ○ The early modern started with the 16th c. With some critics: 1815 end Vienna congress 1789 with the French Revolution. Culture to understand after the middle of the 18c century Underline the PROBLEMS Some consider historical events and the others historical sources (Studying the late modern period of 18c to the middle of the 20th. 1750 to 1950 with different events) MODERN AGE Early modern age ~ 1400|1500 ~ 1815 RENAISSANCE ~ identify ideas or drawings. A different way of buildings ~ consider the problems Consider settings homogeneous ~ same context or culture, geographical area and specific events (discovery of America ~ relation with the phenomenon of the society. Monastery and its power Link historic and artistic RENAISSANCE ~ REBIRTH Brunelleschi ~ this period starts with him with a traditional way of study Others say that it started with Bramante, we consider Brunelleschi Different way of thinking about the human body with the proportions The circle and scientific approach 4 MANNERISM Link mannerism + giulio romano + Michelangelo ~ this could be the question for the exam Modify the use of arch order ~ giulio romano created particular shapes “Mannerism” particularly approach or way of thinking IT'S AN ARTISTICA PERIODIZATION ONLY BAROQUE Related to Spain It’s the beginning of something NEW|STARNGE ○ IST TRULY NEW? Bernini repeated a lot ○ The idea is new ~ relationship between the urban space ○ Meaning of the square CONTEMPORARY AGE 1789 till today Napoleons empire (1812) ~ French period ~ between the “ancient” regimen and the new one. After the Vienna congress ~ consider different historical events and all of them created The new idea of NATION ~ national unification Industrial society (industrial revolutions) ~ new materials with iron and glass + exhibition and new materials Creation of the new middle class ~ organization of the society ~ NEW VISION (contemporary ~ country, modern ~ diff organizations do the society ~ Pope) 5  FIRENZE (13th and 14th century) 2 different architectural language ~ romanesque and gothic BASILICA OF ST. MINIATO (since the 11th century) Romanesque church Proportions and IDEA OF GOD and relation with the man and god Rectangular plan ~ transept linked with nave and dimensions Simple columns divide naves 2 parts on the facade ~ like they were 2 churches ○ Main one: 5 area with round arches and underline the entrance Decoration between the arch and entrance ○ Second one: 3 areas Particular resolution of the roof to close the Roman church ~ TRUSS with wood SANTA MARIA NOVELLA (1246) Romanesque and gothic Thinking about the gothic church but the lower part of the facade romanesco (albertis idea) Monastery important Cloister ~ medieval period and main room near the cloister Think about a different use of materials SANTA CROCE CHURCH (1294/1295) Facade realized after Same analysis as the Santa Maria Novella church SANTA MARIA DEL FIORE CATHEDRAL (1296) Facade done in the 19 c Main architect before B. And before him was Arnolfo di Cambio Cathedral TOO BIG for the city (find know how to finish, didn’t have the knowledge or science) 6  Relationship with Baptistry (not inside the church) put in the city LATIN cross plan with 3 naves OCTAGONAL area between the transept Altar ~ nucleo of the cathedral Windows toward the central nave (only an area of the church) IN FLORENCE Main area near religious power ~ between cathedral and baptistery with 1 street that linked the areas MEDICI ~ bruccelai family ~ client for Alberti Medici family client for Brunelleschi, Michelozzo, Donatello Important city / artist and people that studied ~ they studied PLATONE ARTE DELLA SETA ~ to work on the cathedral so Brunelleschi had to be part of this Linked with the POPE ~ main client for the political situation Had to search for the main family in Italia ~ medici~ not for religion but POWER “RULE OF THE MEN” Milan had different ideas GOD AND MEN, men is the main figure in the 15 c. READ THE ME, idea of human being and the reason ~> HUMAN BEING + REASON (in between god) and the architects worked for all these 3 7  BRUNELLESCHI Art of silk Studied antichità KEY WORD: SPACE + PROPORTION + PERSPECTIVE Some people said that he draw perspective for the first time MEDICI family (but not only) DOME SANTA MARIA DEI FIORI 2 DOMES what other artist couldn’t because of the DIMENSIONS The OCTAGONAL area done by Arnolfo di Cambio = PROBLEM with a diameter of 46 m to big to build a dome Drum with 8 circular windows Some people compared this dome to the one on the Pantheon ○ Took the rings form the pantheon but modified them (pantheon circular) ○ Form Baptristy took the wooden structure Ribs Dome WITHOUT SLIGHT ARCHES and the dome lived alone 1. RIBS 8 and 16 minor ones 2. 2 domes 3. After the 24 ribs, he added RINGS to link the ribs 4. Materials ~ stone on the first area and then bricks (dome). With the bricks, he did a HELIX (FISHBONE pattern). Note: bricks can’t be diagonal 5. LANTERN on the last ring ~ keeps everything together like a structural element Area between the domes = stairs After he did the dome he did in the 40s of the 15th c. ~ TRIBUNE MORTE that solves the structure of Arnolfo di Cambio. What are little ABCIS to obtain elements to link both areas and solve the problem of the weight of the structure done by B. (Too heavy) PROBLEMS: dimension site, no slight arches, closure of the dome INNOCENTI HOSPITAL (1419~1423) Not a hospital but a horfanatorio (for children) 4 buildings to create a COURTYARD MAIN AREA = PORTICO ○ 2 materials and 2 colors ○ Round arches 9 + Columns (instead of pilaster) ○ Created ABSOLUTE VALUE ~ particular proportion for the columns Main: columns, arches, lines, and windows PROPORTIONS + SYMMETRY Portico= area between urban space + courtyard CORINTHIAN ORDER ~ the COLUMNS INSIDE OF THE WALL (watch the notebook) 8 SAN LORENZO CHURCH (1420) Client: Matteo Dolfini Latin cross plan 3 naves + transept ~ 2 dimensions for the nave PROPORTIONS DIFFERENT = used other elements ~ only a part of a FRIEZE. Columns, capital, and an area “like” a Frieze Literal nave ~ HALF PILASTER + capital +cornice + 2 lines (notebook) Facade UNFINISHED Dice = B used this element for decoration = obtain another structural element that modified the relation between capital and the column = Structural reason Modified the idea of antichità ~ improved what he did in the Ospedale Transept ~ no columns compare it with central nave ○ Can’t compare the Latin cross plan of this church with other B churches OLD SACRISTY for Giovanni di Medici 1422~1428(the new one by Michelangelo) ○ Relation between 2 areas (dimensions) ○ Regular square with a circle inscribed (also in the Scarsella) ○ Facade compared with ospedale. Underline: DRAWING (columns with capital +idea of entablature + round arches ○ HALF Pilates near the dome ○ COLUMNA QUADRANGULA ○ THEY STARTED WITH THE MAIN SQUARE BUT THE PROPORTIONS HAD TO BE ADJUSTED FOR THE SCARSELLA (smaller or it would be out of place) ○ Serliana ○ Hemispherical domes like an umbrella with 12 slices (baptistery of Florence) and a LANTERN PAZZI CHAPEL (1430) Client: Andrea Pazzi Chapel ~ same drawing of the old sacristy ~ critics say he did not repeat but made it better RECTANGLE area ~ consider the CHAPEL + PORTICO towards the garden 6 columns + entablature + round arches + area over entablature with geom. drawings = particular ideas. SOME PEOPLE THINK THAT B DIDN'T WORK HERE BUT MICHELOZZO SAME DIMENSIONS INSIDE SCARSELLA. They started from the Scarsella and used the same dimensions in the big room~ half pilaster + columns quadarngola +same archer elements Different use of the serliana 2 barrel vault like lateral chapels In the square is represented GOD, not in the rectangle (notebook) Old = main order in the main room 9 Pazzi = main order in the Scarsella, with this he modifies all the proportions of his works but with the same elements SANTO SPIRITO CHURCH Firenze Latin cross plan DIMENSIONS OF THE CENTRAL NAVE AND LATERAL NAVE IN THE TRANSEPT ~ probably wanted something like a Greek cross plan Analysis of San Lorenzo but in S.L there was a rectangular lateral chapel and in SAN SPIRITO A SEMICIRCULAR LATERAL CHAEL GOD ~ circular and regular shape and semicircular lateral chapel = different idea of god (god = regular shape) Ceiling coffer SANTA MARIA DEGLI ANGELI Rotonda degli angeli Unknown author Different composition of other B works 10  MICHELOZZO Worked mostly in Florence Worked specially with Brunelleschi Main work: palazzo medici PALACE ~ 15 C idea> place to live for a particular client (important, king, duque, main family) Medieval period the palace was a public space 15 c ~ private building for a specific and important family and rappresenta the importance of that family Architectural type IDEA OF THE PALACE: rol of the family (medici, Rucellai, piccolomini) Compare example to get the main elements Relationship with the client and the city PALAZZO MEDICI Florence, not far from San Lorenzo church Medici = political and civil power Important family but the problem was that in the project you couldn’t see that relation Medici and church~ problem with B. Project so the CHURCH didn’t accept. At the end the project was done by Michelozzo Facade ASHLAR (rusticated)to identify the identity of palazzo medici Divide the facade with 3 elements with different use of ashlar First level: unprepared ashlar without particular decoration or work on the materials ○ Drawing of the entrance and underline it with a round arch ○ Rectangular windows Second level: geometrical ashlar with rectangular shape = worked ashlar ○ Particular windows, double arch windows = mullioned window (double window specially with round arches) ○ Architectural order: composite Third level: simple ashlar, not particular worked = not worked Ashlar in the palace wit different kind of relationship with architectural order = USE OF ASHLAR ~ ARCHITECTURAL ORDER At the end a BIG CORNICE people say without proportion Has a bench for the people that wanted to meet with them Analyze the composition of the window (placement)and the axis to divide the facade in the first and second level (not ground floor). The third level repeated the second level but draws the decoration realized in a different way = simpler PLAN 4 elements: position of the entrance + main axis + courtyard + garden ○ 1. Entrance: towards the street, no symmetry in the entrance but not in all the composition ○ 2. Main axis but not symmetry (because of the use of the room) 11  ○ 3. Courtyard: shape, relationship with the main room, rel with the garden (regular shape + portico) ○ 4. Garden: area outside the palace to represent the importance of the family + client Courtyard and portico: portico: column + round arches. Round arches + capital + columns with base and without other elements. Composite order. Draw a frame +tondo in the middle of the arches + to draw another axis in the middle. Peduccio ~ proportion (arch order) FIRST USE OF PORTICO IN A RESIDENTIAL BUILDING PROBLEM ~ CORNER ○ Relationship between windows ○ In the second level ~ relation of the windows and the weight of the columns (structural problem) Celebrate Medici family BUT RESPECT THE CHURCH STAIRS: VERTICAL link Baptistery to study linear perspective Math method to draw using the distance Perspective to study the composition ~ study composition PERSPECTIVE Masaccio. Fresco Trinità. 1425~1426 Chapel, building with linear perspective Chapel for an unknown client Arche elements: base, facade, space, the idea of distance Use arch order - 2 columns to do a big base 2 main half pilasters - Corinthian, and also ionic order in the columns and the round arch 3 is a symbolic number 2 different colors - withe and red Source to study 15 c, architecture Cardinal Brancaccio Memorial, Donatello, Michelozzo Remember and commemorate Arch order, columns, capital, entablature, particular drawing and round arch Upper part - columns are modified in half pilaster and the round arch come to an entablature Some say that have the same elements as cappella pazzi 2 different ways: columns + round arches. Pilaster + architrave Carmine Pisa, Masaccio, Polyptch, Pisa 1426 Catholic Church, analyze the chair: simple columns with capital (decorated with flowers) ~ ionic order Identify the idea of the renaissance (architectural) 12 Tabernacolo Orsanmichele, Michelozzo (1423-25) Arch order: column + round arch + half pilaster 13  ARCHITECTURAL TREATIES 2nd half 19c. - the first school of ingenieri a Torino - students -treaties VITRUVIUS Study different topics Engineer but also studied other topics that were not technical Build and worked FOR THE STATE - the emperor - state MILITARY ENGINEER he also worked like an architect 1 work: FANOS BASÍLICA FIRMITAS, UTILITAS, VENUSTAS “DE ARCHITETTURA” Latin - 10 books without drawings Introduced the idea of HISTORY - architects needed to know history, math, decoration, medical science, optic, acoustic, geometry, theology = TECHNICAL APPROACH Underline the rule of engineer (before they weren’t important) The critics say that in the first 6 books is the same idea and the other was written in a different period GENERA - arch orders and used the first 3. He identified them with men, women, young women Some copied the treaties in the medieval period Became the most important book to study architecture Published during the 16 c 1511 Fra Giocondo - edition with drawings in Latin (difficult) 1521 Cesariano - edition in Italian - easier to understand 1567 DANIEL BARBARO - with PALLADIOS drawings BATTISTA ALBERTI Wrote the “re edificatoria” and before that, other with subjects of arch and art Relations with the Pope DE PICTURA, DE STATUA, DESCRIPTO URBIS ROMAE (1450) = tolls for working in architecture Wrote for religious men, church, pope and the main artist, NOT FOR ALL “RE EDIFICATORIA” Arch treaties - 10 books 1. Location 6. Decoration-beauty (introduced conncinitas) 2. Materials 7. Architectural orders (definition + analysis) 3. Building 8. Tombs and public buildings 14  4. Society and architecture 9. Drawing (infrastructure) 5. Private and public building (linked 10. Canal-dam (way of working with with the 3rd book) water) History, analyzed from a geographical point of view some countries in Europe (traveled between Germany and Italy), also wrote about nature Studied the Roman building and the way of the building also in the northern part of Europe Used a particular method (17-18c but did it 2 c. Before) NEW CONCEPT OF BEAUTY = CONNCINITAS (improved V. Idea VENUSTAS= decoration, ornament, beauty) DESCRIOTIO URBUS ROMAE 15 middle like a turistico guide with a map (something about Rome) NOT A CARTOGRAPHY BUT A MAP Filarete (Antonio Averino) - new city Milan: SFORZINDA treaties with drawings and written words on the same page = compare. Client: sforza family. FANTASY is the key word. (1461/1464) He wrote in the Italian language, he wanted it to be for the whole world = FOR ALL, different from Alberti FRANCESCO DI GIORGIO MARTINI 15 c Militar engineer and architect “Trattato architettura civile e militare” ~ you can see the human figure Keyword: PROPORTIONS Did plans for a city and the index for of some cities “Fortification alla moderna” 16c CESARE CESARIANO - drawings of V. Works SEBASTIANO SERLIO “Treatise Regole generali” 1537 Tutte l”opere d”Archiettura e prospettiva REGOLE GENERALI DARHITETTURA - method 1619 ○ King of France ○ Compared his treaties with Vitruvius Wrote about architectural order, their definitions, proportions, different elements of the architecture, compared some order Plan of the TEMPIETTO OF SAN PIETRO IN MONTORIO Is Bramante work - did drawings of the plan (an idea) VIGNOLA 15 REGOLE DELLI 5 ORDINI D'ARCHITETTURA Text and drawings Worked for a cardinal and dedicated his book to Alessandro Farmese MOST important book it he 16 c for architecture - building, proportions, arch order, word useful to build Panel of 5 orders the main 5 according to him Improved V treaty PALLADIO “I quattro libri d’architettura” ○ Architectural orders ○ Palaces and villas (most important book for us) ○ Street, square and basilica (dedicated to the Duque) ○ 26 drawings of Roman buildings Probably thought to a treaty like V with 10 books but didn’t finish VILLAS = most important Didn’t write about location - IDEAS AS A MODEL Worked with Vincenzo Scamozzi After Palladio we consider another group of authors and a different way of writer for architecture SCAMOZZI LIDEA DI ARCHITETTURA UNIVERSALE ○ Idea + global arch. ○ 1615 Different critical approach about architecture =he thought to the reason (before of the 18c) Linked with Palladio (palladianism) GUARINI “Architettura civile” - civile not as meaning just a new idea of arch after Palladio AFTER PALLADIO AND SCAMOZZI THE IDEA OF ARCHITECTURE - WE CAN CONSIDER NEW APPROACHES Different uses of arch order Different user of proportion Modify the first way of working - CRITICAL APPROACH ABOUT ARCHITECTURE 16  LEON BATTISTA ALBERTI 1404-1472 Traveled a lot - Genova, Venice, Rome and lived in Florence Pope - arch in Europe especially northern part of Europe RE EDIFICATORIOA, DI PICTURA, DE STATUA DE PICTURA 1435 ○ 3 dimensions. Studied perspective - 3 dimensions, the space or the “way of seeing” ○ 2nd book. The idea of drawing as a SUBJECT=TOOL. Importance of painters (more important than other artists) and most important during the renaissance Before the edificatoria - THE STATUA ○ Short text “DEFINITOR” ○ Idea about SHAPE in which way do we obtain a shape? Shape: like an idea Space: relation about the work and its surroundings Relation about draw and design are not the same DRAW different form DESIGN Relation between Vitruvius and his treaty, and “re edificatoria” DESCRIPTO URBIS GUIDE Guida turistica, ancient building, archeologico, contemporáneo and other periods. Ancient and contemporary. Piramide cestia: ancient Roman walls and baths, forum, triumphal arch, amphitheater (Look at notebook) Columns - celebrate a man and tell a story about men Pantheon - pronao and triangular pediment. Roma - problem links a rectangular area with a circular plan. Light vernáculo. 4 big niches and main orthogonal axis Read building forma a historical point of view TEMPIO MALATESTIANO, Rimini, 1454 Client: Sigismondo Malatesta (main family in Rimini) and this tempio to celebrate his family At first wanted something like a “foundation medallion” DIDNT work on the inside of the church Dome in the medallion not done because of economical and political reasons Facade 3 areas with a very big dome (medallion). Triangular pediment not finished (economical reasons) Thinking about antichità 1st level: base + arch order - draw 3 round arches and the main one is an entrance. Lower part: triumphal arch. Upper part: old San Francis church Literal facade: idea triumphal arch and round arches, the relation between pilaster and round arch 17 PALAZZO RUCELLAI Florence - second family for Giovanni Rucellai that was a banker Overlapping orders (Doric, Ionic, Corinthian) Main building- roman order and the roman building - main in the renaissance First private palace Facade Ashlar different in different dimensions and different geometrical drawings, to modify the relation between the levels ○ 1st: base with bench - half pilaster with 3 orders. 7 bays and 2 entrances. Not symmetrical composition. Simple windows with rustication Entrance with main order and entablature with half pilaster ○ 2nd and 3: same windows as medici palace. Entablature at the end, big cornice Courtyard Problem the corner - compare with medici Round arches Some people say that Bernardo Rossellini did this project, very similar to a palace in Pienza SAN PANCRAZIO CHURCH, Rucellai Burial Chapel, Florence Rectangular area Idea: create a Tumb between 2 columns LIGHT for the project through 3 windows Decorative coronation to close composition Possible reference: San Miniato al Monte Basilica ( model specially for Alberti) SANTA MARIA DELLA NOVELLA CHURCH Probably found the lower part 3 areas - shape to compare the 3 areas (proportions). The rectangular area divides the upper and lower part Added the pillar and columns in the lower part to modify the proportion comparing dimensions of each area? He modified the first facade (medieval) with a new composition (studied in depth San Miniato which was a medieval church) 1. 4 different bays and entrances in the middle. Added a new element at the end of the composition like entablature 2. “Attic” improved the height of the church 18  3. rectangular area with drawing with pattern with triangular pediment at the end of composition Two volutes to hide the side/roof of the lateral nave Entrance half pilaster with a round arch. Columns and architrave = roman building and antichità 2nd half pilaster to create something like a barrel vault Corner Respect proportions and repeated columns and half pilaster SAN SEBASTIANO CHURCH, Mantua 1459 Client” Ludovico 2nd Gonzaga Greek cross plan - modified the idea of Latin plan - PARTICULAR DRAWING Linked with God PRONAO in front of the church n the first floor, not the ground floor - like CLITUMNO TEMPLE 4 half pilasters Broken entablature with a window 2 entrances and 3 windows to link the pronao with the urban space SANT ANDREA CHURCH 1472 Menedectin church Worked 2 years and the died Some say its the main church of Alberti Barrel vault Facade Underline the idea of historical source TRIUMPHAL ARCH Big umbrella - they sad that someone else added that Entrance: big round arch + 2 lateral entrances 4 half pilaster that have a base Niches in different levels Pediment triangular to close Plan Latin cross 1 NAVE + transept + axis. THINK ABOUT A BIG HALL On the left and on the right 3 CHAPELS= big lateral chapels Dome and drum in the nucleo to the Latin cross plan 19  PIENZA Architect: Bernardo Rossellini (fiorentino) UNESCO site linked with the life Main area = square Client: Cardinal, religious man, Pope POWER OF THE POPE Rossellini modified the little borrow and made it a city and probably worked with Alberti Pienza: borrow and main square Medieval period = street = main space in the borrow In 1459 Pio the 2nd wanted to modify this borrow into a city. Add something new and modify pre existing IDEAL CITY - linear perspective with points - 1. Church with circle plan and 2 streets with some palaces - 2. Some elements of Ancient Rome , church, w palaces - STUDY PERSPECTIVE, geometry, symmetry and the renaissance FRANCESCO DI GIORGIO = CITY LIKE AND ORGANISM human body - overlap with Rossellini plan HUMAN BODY = street Pio the 2nd bought land to create “CASE NUOVE” after 1459 and then other cardinals in 1462-63, and on 1464 the Pope bought other lands = 5 years to modify the original borrow ROSSELLINO thinking about Florence Improved dimensions of some buildings Mode: ideal city with perspective and proportion PERSPECTIVE = VIEW FROM THE CORNER a new way to observe the city and the elements/buildings CO-CATHEDRAL OF THE HOLY MARY ASSUMPTION Square and palace relation Trapezoid square Facade Marble 3 areas and round arches Base high and 2 levels with main entrance on the center and 2 on the side Tondo in the center of composition and main axis = main entrance Niches on the second level Traditional composition of the facade Inside 3 naves same height 20  HALLENKIRCHEN introduced by Pio the 2nd. (Church S of Germany with 3 naves of the same height, with 3 narrow windows, medieval church) PICCOLOMINI PALACE, Pienza Think about the corner Realized like a BLOCK like other palaces in Florence, towards the main square, and on the right Courtyard on the inside with the garden towards the landscape RELATIONSHIP BETWEEN GARDEN AND LANDSCAPE = FIRST TIME (towards Rome) Italian garden with geometrical green areas 3 levels on the fist small rectangular windows and on the 2nd and 3rd double windows with round arches Overlapping order - facade towards the garden with a LOGGIA (fist level portico) MAIN FACADE TO THE STREET AND NOT TO THE SQUARE PALAZZO CANONICI Simple composition Model not renaissance but medieval borrow CASE NUOVE Residential area like a farm for the population (farmers) Drawing of the street easier 12 case nuove to complete the drawing of the urban space 21  FERRERA Main family: Este/Estensi = Nicolò II d’Este, Leonello d’Este and Borso d’Este City near the Pope Main architecture: Palazzo dei Diamanti Niccolò 3rd d’Este wanted to improve the city and did “Via Coperta” and other works Grew because of social, economical and political reasons Ercole - new elements like churches and monasteries - relation with the Pope VILLA BELRIGUARDO - far from the city - 2 courtyards and 3 buildings = open courtyard and the second closed - Villa + chapel + loggia open to the courtyard Ferrara Medieval period 13 c and D’Este added areas (mostly Ercole) Main client: Ercole I d’Este modified the urban space 1471-1505 ○ New shape of the city TRAPEZOID ○ New limit and connected the expansion with the old city ○ Main architect: BIAGIO ROSSETTI ○ 2 new streets = divide the new area. 1 Main Street orthogonal and 2nds streets parallel ○ New city thinking about the idea of renaissance Addizione Erculea 1492 - new trapezoid área Main Street: Via degli angeli 3 palaces: Palazzo dei diamanti, Palazzo prosperi sacrati, Palazzo Turchi di Bagno PALAZZO DEI DIAMANTI Arch: Biagio Rossetti Different plan OPEN COMPOSITION , courtyard and main entrance towards one of the main streets but didn’t want to underline the position Arshalar DIAMOND shape First and second level very similar CORNER - balcony PROSPERI SACRATI PLACE Underline the meaning of the entrance Balcony OPEN THE PLACE to the street and the city (analyze the entrance) TURCHI DI BAGNO PALACE Another model MEZZANINE FLOOR between the ground floor and noble one (new element) 22  URBINO LImit: Ducal Palace Urbino= city with a shape of a palace, so palace and city at the same time Main family: Duque Federico da MONTEFELTRO 1447-1455 works started for the place and the state Urbino linked with the most important cities Big BUILDING SITE = the hole city Main road + relation with the Pope =direction to Rome wit FACADE DEI TORRICINI Arch: LUCIANO LAURANA (before him worked Fra Carnevale) TOWARDS ROME TORRICINI Facade Loggia towards Rome same drawing 2nd level (composite order) and 3 floor (Corinthian order). Also used barrel vault and decoration. Same drawings with different details Different materials At first relation with the COUNTRYSIDE now with the city (city grew) Courtyard Main elements = corner, improved materials - 2 half columns +new pilaster Improved using PROPORTIONS Same proportions and dimensions on the ground floor and first, but in the corner half pilaster smaller CATHEDRAL (60-80 15C) Arch” Francesco di Giorgio 3 naves Underline relation between building - church - fortification Proportion of human body also to build 23  FORTIFICATION Particular way of construction Before renaissance a lot of walls called CYCLIC WALLS Roman mode BAG WALLS- big stone with not many materials or diff. Ways of building MEDIEVAL PERIOD - CHANGED = castle because of the TOWER, organization, etc. 1st modification = medieval wall ○ Before back powder (gun powder) Renaissance = CANON - traditional cannon and mortar ○ The fortification changed because of the line of the mortar SASSOCORVARO (Francesco di Giorgio 1474) Shape: Turtle + 2 round tower and a triangular shape Attack and defense Outside the fortification ○ 1. MOAT ○ 2, protected street ○ 3. The big area outside of the fortification Military treaties = DEFENSE THEORY SEBASTIAN LE PRESTE DE VAUBAN - Modello ideal di difessa 1. Triangular shape BIG EAR, modified dungeon and bastion 2. The same organization of the walls + new structure called RAVELING repeated on the outside of the walls 3. NEUF-BRISACH-II repeated it for the last time- last system 24  LEONARDO Proportion, human body scientist, artist, architect, water and other objects, birds, church, artificial canal Pinter (originally), wrote and draw sometimes difficult to understand the drawings didn’t correspond with the words, engineer Worked in Florence probably did something there, worked for the king of France Leonardo = idea of Italian culture = unification Study the codex Impossible to read his works without mirror MODEL for the church = CENTRAL PLAN ○ 4 towers (corner) ○ Big dome (nucleo) ○ 4 axes and underline the rule of 2 orthogonal axes ○ Latin QUINCUS (looks like a dice) ○ Main axis is at the same time the orthogonal and the diagonal one ○ Drawn by Leonardo and presented to the Pope by Bramante 25  BRAMANTE Studied with painters, artist near Urbino and lived in Rome We don’t know much about this first period PREVEDARI ENGRAVING Milan Idea about perspective Represented a church 1. Line - height ad the way of seeing 2. Perspective on the floor 3. Church and pilaster 4. The plan is like a QUINCUS (dice 5) 5. Here he worked as a painter and not an architect 6. Proportion + dimensions to draw the plan 7. 2 pilasters + round arches 8. For us something is wrong SANTA MARIA PRESSO SAN SATIRO CHURCH 1478 Via del falcone, Milan Found a little church “sacello” done in the first medieval period with a central plan Thought to Pazzi Chapel - because of proportion and a particular organization of space T shape - Latin cross plan Transept linked with the SACELLO Sacrestia with an octagonal plan SANTA MARIA DELLE GRAZIE CHURCH, Milano 1492 Only worked for the TRIBUNA, others say that he also did something on the transept Big round arches and worked on the lantern Some people say he only worked on the round arches and that’s it BASILICA OF SANT’AMBROGIO Cloister with ionic and Doric order Canonica with a particular space religious man Underline the entrance of the canonica with the idea of a triumphal arch Round arches + columns Overlapping others. DORIC CLOISTER is characterized by doric, the second one by the ionic ○ Doric order. High base, and proportions, modified the exact use of the order. Tondo between round arches FIRST IDEA OF RENAISSANCE- IMPROVED THE ANTIQUITY - VITRUVIUS - TO OBTAIN A NEW COMPOSITION. REBIRTH WITH A NEW METHOD AND A NEW IDEA. FIRST TIME OF RENAISSANCE = look at the notebook In the columns improved the height 26  Improved the idea of the classic in other to obtain renaissance TEMPIETTO OF SAN PIETRO IN MONTORIO (Bramante tempietto) MASTERPIECE OF THE RENAISSANCE TEMPIETTO = little church like a little temple Worked here 10 years 1502-1513 Client: the king of Spain Circle plan = perfection + god Rectangular courtyard Like a MARTIRIA - old temple in Rome, like a tomb to celebrate someone Doric for the columns 16 and modified the exact use of the order Height base with stairs. 2 levels over a base Problem: proportions. He wanted PERFECT WORK, dimension of the courtyard = small Dimension of the entrance + 2 niches and 2 windows 2nd level: same drawing, niches, and round arches, hemispherical dome and lantern EVERYTHING LINKED WITH PROPORTION AND THE RESPECT OF THE ANTIQUITY Dome without particular decoration 2 main orthogonal axis This topic is important, revise the notebook SANTA MARIA DELLA PACE, Roma Didn’t work here itself, baroque church by PIETRO DA CORTONA HE DID THE CLOISTER, modified his method Client: Oliver’s Carafa - religious man important S Plan: regular square. Organization of the space thinking to 2 orthogonal axis and diagonal axis PROBLEM: corner (not only a column + imported the material and did a big pilaster) ○ Pilaster linked to left and right, but modified the distance between pilasters ○ Also first floor improved materials Idea of overlapping order. ○ Ground floor:Doric = pilaster ground floor. Ionic = half pilaster (notebook) SAME AREA 2 ORDERS ○ 2nd level: Corinthian columns) and composite order (pilaster) Portico on the 1st floor without a wall - empty area BELVEDERE COURT OF THE VATICAN, Rome 1504-1509 Drawing: Giovanni Antonio Dosio Something like a garden/theater 3 main areas linked with stairs = 3 gardens or rectangular areas Decoration 3 levels thinking about linear perspective. Nucleo: big round arches over 1st floor (arch order) Now we just see part of the project Stairs a lumaca 27 CAPRINI’S PALACE. House of Raphael, Roma 1506/07-1510 Bramante project but Raphaello lived there. 2 levels + big cornice + middle axis = symmetrical ○ 1sr level: Rusticated ashlar + 5 bays + round arches +pilasters ○ 2nd level: same organization. 2 half columns over the pilaster +window like door FIRST TIME TO USE THE BALCONY TOWARDS THE CITY 28  SAN PIETRO BASILICA FABRICA DI SAN PIETRO - most important basilica of Christianity Pope pulled down the old one to do this one (Julius II) Modified the original s.p. New one with different problems (economic, structural) Renaissance and baroque Dimension - nucleo around tomb MAIN PILLARS - decided the dimension of the main nave and the proportions ○ Drawings: 1506 started. 1518-19. 1527 difficult political situation (modify project economical reasons). 1535. 1538. Stanza dell'incendio di borgo, Raffaello Blessing loggia Particular organization of the facade. 5 naves transept and big axis with “Quire” Latin cross plan, same org as other Roman buildings BRAMANTE Arch in chief PROBLEM= Greek or Latin plan ○ Latin represents the importance of Christianity and for a lot of people ○ Greek idea of perfection and relationship with God Greek cross plan with “PIANO DI PERGAMENA” 2 big pillar with axis Respect Tomb of S.P and make it the nucleus Facade - Medaglia del caradosso Central plan + Greek cross (probable) + big hemispherical dome and drum + blessing loggia + 2 belt towers + trapezoid pilasters RAFFAELLO Same Bramantes solution Bigger basilica - 3 naves - 5 chapels = so at the end 5 “naves” In front did a PORTICO probably like a blessing loggia Latin cross plan PERUZZI Pope with economical problems Central plan or Greek cross plan with big pillars Ambulatory to draw a square with many abcis? Think to Bramante’s idea + similar to the medallion Big dome + high drum and did 2 areas on the left and right ANTONIO DA SANGALLO 1538 Also did a wooden model Big dome with 2 tower belt Improved dimension with 1 bay and space for the loggia MICHELANGELO BUONARROTI 1546-47 1  Trapezoid pillars Ambulatory Without particular axis + 2 main axis in the Greek cross plan Dome 1558-1561 ○ Brunelleschi dome: 12 years ○ Michelangelo: 3 years knew Brunelleschi idea Dome Higher drum + rectangular windows and outside double columns with arch order Same idea of Bruneleschi ribs but not the same lines Hemispherical dome + lantern at the end 2 domes with similar dimensions to Brun DIFFERENCES ○ Different building site ○ 12 vs. 3 years ○ Drum: Florence = circular windows, Rome = rectangular windows ○ Drum: Brun no arch order, Michelangelo arch order with double columns ○ Michelangelo hemispherical drum, Brun, NO ○ Plan: Brun = octagonal plan, Michelangelo = circle plan ○ Ribs: Brun used them to link, Michelangelo in a different way 1564 Michelangelo DIED and dome unfinished CARLO MADERO Particular facade No belt tower (Bernini did one tower after Maderno) Respected Michelangelo and Bramante's idea (pillar) 2  RAFFAELLO (1483-1520) Lived in Urbino, near the Pope of Montefeltro. Also lived in Rome Studied with Piero della Francesca, Perugino and Andrea Verrocchio (3 painters) Studied philosophy. Painter and architect (drawings, perspective, and technical rules) Stanza museo del vaticano - he worked with the space Stanza dell’incendio Scuola di Atene, stanza della segnatura Big nave + half pilaster and arch order 3 naves + transept with drum and circular dome +barrel vault Composition thinking about symmetry Different point of view. Old men with Leonardo that rappresenta Platone, speaking with aristotele. Important men at the beginning of 16 c Pope Leone X= LETTER 1519 = fist document about CONSERVATION and the idea of protecting buildings, cultural heritage Manuscript is divided into 2 groups of sheets. Second part is a technical approach for the architects ○ History: Roman period ○ Survey: idea of rebirth after classical culture - gothic - renaissance. Based in survey and knowledge With gothic the classical culture died - because of the barbarians and no one protected No one wanted to protect the buildings they didn’t understand the value of the storic building 1. Protect the building site - protect the classical building and Roman building 2. The reason - Babarians modified the building and with gothic - no appreciation 3. Study the classical culture - to create the REBIRTH and create a second time the roman building 2nd part: Architecture order + drawing = “ARCHITECTURE MESSAGE: leave the idea to protect, the knowledge, history, survey, drawing = to create the renaissance/rebirth SANTA MARIA DEL POPOLO CHURCH, CHIGI CHAPEL First chapel on the left on the entrance Alessandro Chigi = banker Main idea: central plan with circle inscribedd on a square + round arches Entrance and main altar + 2 tombs with a particular monument Dome with drum with windows and hemispherical dome Corizian order - proportions Pendentives Organization and ideas from/in relation with Bramante’s Tempietto BRANCONIO DELL’AQUILA PALACE Pulled down Facade 3 levels ○ 1. Ground floor: 5 bays with arch order, the Tuscan order, columns, and round arches. The idea of height base 3  ○ First floor: 5 bays but didn’t underline the axis. Noble floor. Modified dimensions of windows because he added niches with round arches. Triangular above odd # ○ 3rd. Simpler. Rectangular windows with decoration. Modified approach and arch order like structural element Cabrini palace, house of Raphael PANDOLFINI PALACE, Firenze 2 levels 2 different volumes with different levels (1 level and a terrace and main on 2 levels) Facade: windows + arch order + alternated drawings Ashlar VILLA MADAMA, Roma Arch type: VILLA residential + garden Client: Margherita di Parma - wife of Alessandro di Medici New architect: Antonio da Sangallo Very big villa and UNFINISHED = 1527 sack of Rome Project: circular courtyard in the middle and 2 orthogonal axes NOW we can find only an area of the round courtyard (HALF courtyard) + the villa + garden Relationship with Landscape Think about spectator into the space Courtyard, villa and loggia linked Garden: 2 levels and regular organization= green areas + fountain (round arches and niches) Arch order in loggia and half courtyard (exedra) 4  BALDASSARE PERUZZI VILLA CHIGI 1509-1511 Villa Farnesina Critics say that he thought to a villa and a palace Facade toward garden - villa ○ Loggia with 5 bays ○ Underline Only the loggia - relation between interior and garden ○ Loggia di psiche (mythological analysis) Facade toward entrance - palace ○ Organization simple, 9 bays and symmetrical composition ○ 1st level - height base ○ Divided floor with “string course” and at the end did a big cornice ○ Underline different floors Plan like a “C”. Not trad approach Did an atrium and underline the loggia towards the garden = MAIN FACADE TOWARDS GARDEN Paintings with arch elements and PERSPECTIVE. Perspective room (notebook) PALAZZO MASSIMO ALLE COLONNE Different organization - ground, first, second, and 3rd Ground floor ○ Idea of 2 vertical elements and empty area retreated ○ Double half pilaster and window between ○ Empty are towards the street=public area First floor: 7 bays with 7 windows NO arch order Over first-floor little rectangular windows Plan: trapezoid area + portico + big atrium courtyard Courtyard different = portico on 2 sides (not 4). Linked entrance with courtyard. Overlapping order - Doric (ground floor) + ionic (1st floor) New way between street and courtyard. Perspective room - loggia opened toward the city Courtyard = half pilaster like toward street 5  THE SANGALLOS Giuliano (14501516), Antonio the Elder (1455-1534), Antonio the Jounger (148401546) Important family - worked for the medici family SAN BIAGIO CHURCH IN MONTEPULCIANO 1518, Antonio the elder, military engineer Central plan Greek cross - plan with axis Thinking about cappella Pazzi Used bricks and arch order Drum contains arch order SANTA MARIA DELLE CARCERI, Prato (Firenze), Juliana 1485 Client: Lorenzo de’Medici Central plan with Greek cross plan - circle inscribed in a square because of the dome Underline only the position of the entrance (main axis) Little drum } dome not different from Brunelleschi’s solution 2 naves + 4 round arches to underline Greek cross plan inside space Palazzo Farnese (Rome, 1495-1512), Antonio the J. PALAZZO FARNESE, Caprarola Pentagonal plan FIRST PALACE WITH PENTAGONAL PLAN Circular courtyard and particular relation with urban space Underline point of view Second half 16. C RELATION URBAN SPACE + PALACE + GARDEN 2 big staircases and entrance in the middle of composition Underline number 5 Second floor: 7 bays and did other buildings in the corner like Pavilions ○ Corner - different composition different way - think about fortification 1st-floor arch order IONIC 3rd-floor arch order CORINTHIAN Round courtyard Don't use Doric order, round arches that separated the window 6  JACOPO VIGNOLA 1507-1573 Regola dello 5 ordini d’architettura ○ Tried to verify and explain a way of building using math and arch order VILLA GIULIA, Rome 1551 For: Pope Julius the 3rd Also worked Ferdinando Buontalenti, Vasari Villa with a difficult organization of facade and garden Toward street = idea of triumphal arch (think about fortification) Atrium around courtyard Underline central area CHIESA DEL GESÙ, Roma 1568 Particular plan Did something in the corner of the cross New solutions: Alberti (Sant’Andrea, Mantua - 3 chapels separated), vignola linked the chapels and 4 empty area in corner Ambulatory around the center of the cross, not around altar Classical order - 2 levels Review notebook for the last time 7  GIULIO ROMANO The MANNERISM started after the SACK OF ROME 1527 (historians) Difficult to identify Way of building: construction and decoration. Thinking about different ways to use arch order, symmetry, proportion 19 c = negative meaning - negative composition ○ Artist after considering nature and copied not well, with different proportions Giulio Romano played with arch order ○ Bramante: Roman building exactly applied. ○ G, R + Giorgio Vasari: arch order with different dimensions and different proportions, not exactly like Bramante MANNERISM = Vitruvius in a different way. ST PETER CATHEDRAL, Mantova 1540 post Analyzed preexistence, used the external wall of the first cathedral 5 naves respecting original volume New Latin cross church + dome + transept Corinthian arch order - with different dimensions of the columns Respected the preexistence PALAZZO DEL TE, Mantua 1525 Area Teieto (outside, not city center) Client: Gonzaga family - Federico Big complex 1. Villa: square building and square courtyard 2. Big garden: divided by an artificial canal - use of water 3. Ecedar - end rectangular area MASTERPIECE OF MANNERISM Villa Different solution for the elevation Different compositions with same height 2 levels - he used the mezzanino Arch order like a tool - Tuscan order but not exactly proportion in different elements Rustication use for all 4 facades, at the end big cornice with decoration Facade 5 different modules to do the facade ○ Double half pilaster ○ Double half pilaster and little niches between ○ Double half pilaster + window between + window in the mezzanino ○ 3 round arches ○ Entrance Symmetry in each facade 8  PROBLEM: corner 2 half pilaster (1 per corner), something “like” a pilaster Entrance Rectangular area with arch order Atrium with 3 naves and in the central = barre vault Underline the idea of rustication Courtyard Square courtyard with 2 areas and used WATER, obtaining 2 fish pools 4 elevations We find the MANNERISM, modify the use of the same elements Open area before fish pool + loggia di Davide 1525 9  PALLADIO 1508-1580 Lived in Veneto and worked in Vicenza and Venezia KNEW BUILDING SITE L’ANTICHITA DI ROMA - draw Roman buildings I QUATTRO LIBRI DELL’ARCHITETTURA arch order, we find his idea of the tempietto, published his works as A MODEL. The 4th book ancient building to find arch type VILLA POLANA 1546, Vicenza Client lived in the villa (verify workers) Book= type: VILLA FOR RESIDENTIAL USE Underline entrance + round arches + serliana windows + decoration with tondo Rectangular plan with a barrel vault in entrance Symmetrical simple composition Broken tympan VILLA FOSCARI, LA MALCONTENTA 1554, Mira VE Main facade = river and second one = garden Relation with water Height base and pronao - thinking to Clitunno temple + staircase on both sides Symmetrical composition Change towards the garden: round arch obtained through windows and broken triangular pediment. Thermal window VILLA BARBARO 1554-1560, Maser tv In the second book LEFT AND RIGHT NEW BUILDINGS, lateral wings “BARCHESSA” Worked also Paolo Veronese Center = pronao decided with 4 columns + frieze + broken pediment Round arches linked the villa with the other 2 wings FIRST TIME TO LINK THE MAIN AREA OF THE VILLA WITH THE BUILDING OF THE WORKERS Underline axis of portico Garden: niches + decoration + semicircular +underline use of water TEMPIETTO, VILLA MASTER 1579-1580 Little church in front of villa Central plan + pronao + 4 columns + high base that elevated composition = importance 2 belt towers and the idea of semicircular dome with lantern VILLA EMO 1558- Fanzolo Core villa and 2 farms linked the barquese to the villa 10  Underline the core. High base and rectangular plan Thinking to the area for the client Doric order 2 columns and 2 others linked with the wall LA ROTONDA, VILLA CAPRA 1556, Vicenza Without rusticated area Pronao = ionic columns with high base (probably thinking to church) and thinking about ancient Property of religious man Repeated 4 times PROBLEM = STAIRCASE solution with 4 little ones Hemispherical dome Created a different solution with a different composition BASILICA PALLADIANA, Vicenza 2nd book Giulio Romano died on 1546 and the municipality asked him to work here (not private clients) Facade: Idea f portico - ground floor and loggia on the first Dimensions of bays depended on ion pre-existing building 1 module many times. Big round arch with 2 half columns. Empty area between columns and round arches and half columns. EMPTY AREA = new composition Doric and ionic = overlapping order Frieze thinking to Doric one At the end of the bay we can find a composition like serliana window (PB and 1) Little pilaster - structural reasons near serliana window CHANGED DIMENSIONS OF EMPTY AREA because of problems with the original build. PALAZZO THIENE 1542, Vicenza Like BLOCK with 2 floors 7 bays divided with half columns with arch order Different solution towards garden (portico + loggia) ○ Underline entrance with rounds arches ○ Big columns to draw the portico and loggia Solution towards the city = block ○ Geometrical ashlar = rustication only on the ground floor and only to city PALAZZO CHIERICATI 1550, Vicenza Facade city = PECULIAR IDEA because of the near limit to the east area of Vincenza = MODIFY TOWARD PUBLIC AREA = NEW ○ 2 levels ○ Block - ground floor and empty area first floor with 2 LOGGIAS + 5 windows in the center ○ Overlapping order; Tuscan + ionic + Doric frieze ○ 3 áreas 11  ○ Staircase in front of the entrance with high base (river nearby) ○ Decoration: new elements figures 1st-time PALAZZO VALMARANA 1565 Giant order and second order to divide 3 bays between the windows Added a new floor over cornice like “ atico” 4 book Relation between facade and courtyard - did an atrium SAN FRANCESCO DELLA VIGNA CHURCH 1564 Very high base Overlapping facade - main (with composite order) and minor facade with minor order Main facade with entrance and minor order and like an architrave and thermal window. Frieze + triangular pediment Minor order - second facade and decided the second facade + triangular broken pediment SAN GIORGIO MAGGIORE CHURCH 1566 H base 4 composite order + frizz + triangular timpano + 2 niches + 2 minor half pilasters near entrance 2nd facade: height of the base chanced 3rd order in the niches FACADE toward city RELATION WITH THE SEA Latin cross plan with 3 naves + transept and 2 abscises + hemispherical dome Main element: particular solution or QUIRE ○ Long and big ○ DIMENSIONS of the columns of the quire + arch order and way of thinking REDENTORE CHURCH 1577 Last years of his life High base with staircase because of the position 2 facades, main order with pilasters and columns Difference between half columns near the entrance and the half pilasters in the second facade Main axis: entrance-quire Latin cross plan with short transept and hemispherical dome 12  MICHELE SANMICHELI Worked in Verona and Venice GRIMANI PALACE 1556, Venezia ANOTHER ARCH TYPE OF PALACE Linked with building site (studied Sangallo) Facade Main toward canal grande 3 levels with different organization of facade Decoration 1ste level: serliana window for entrance with 2 NEW elements. Half pilaster (Corinthian) MODIFIED THE SEQUENCE OF OVERLAPPING ORDER. 2 half pilaster to solve corner 2nd level and 3rd: same composition, changes use of columns and half pilaster. Corner = half pilaster Overlapping the same order = elegant Entrance: atrium (similar to Palazzo del Te) PELLEGRINI CHAPEL, ST. BERNARDINO CHURCH 1527 Thinking about Alberti’s church Central plan, semicircular dome, and lantern = 15 c elements 13  JACOPO SANSOVINO Florence culture MARCIANA LIBRARY, 1537 Important location / SAN MARCO’S SQUARE near the cathedral in front of ducal palace Model: basilica palladian BIG building + portico on the ground floor and windows on the first Rectangular plan + 16 bays and 3 bays towards the sea Ground floor Doric half-columns and second order half pilaster (same other both) fist floor Ionic + windows, closed bays with BALCONY + columns and round arches Frieze with decoration and HIDE roof CORNER = problem. Very big pilaster, link 2 half pilasters, and half columns to square and sea Great salon - 7 bays with round arches and windows. Painters Tintoretto and Versonese 14  BAROQUE PERIOD KEYWORDS: art, architecture, absolutism, power, problems, space, experimentation, movement, light, nature History: sack of Rome 1527 artists migrated = new idea of society and history with new approach 17c limits and organization of counties. Improved importance during this period ○ Main countries: France, Spain, northern oriental part of Europe, Italy (kingdom of Napoli). FRANCE decided relationships FRANCE: supremacy and Kingdom of Solay. ABSOLUTISM SPAIN: second half 17 c problems in Spain England + Great Britain - industrial revolution = new society 18 C new villas - Palladianism ○ New society with new owner build thinking about Palladio ○ History outside of Europe = point of view (global - eastern) WAR 30 years (1618-1648) ○ Limit of countries and idea of nation ITALY: the kingdom of Napoli, many little countries = fragmentation. Main city: Rome POWER: limited with the King - absolutism PROBLEMS: reformation and counter reformation. Reformation 1517 and elder 1648 Plan of the church changed a lot ○ New arch type + religious orders + catholic point of view “BAROQUE” Used in French for the first time. PEAR = inventory 1531 to describe the treasure of the king Something strange with a lot of decoration linked with nature 1. Early baroque: beginning 17 c - before 1625 for artists and arch. Carducci, Caravaggio and Maderno 2. High baroque: main artists ad baroque. City = Rome. 1625-1675 Bernini, Borromini, Pietro da Cortona 3. Late baroque 1675-1750 Guarini, Juvarra, Vittone, Tiepolo SPACE: thinking to a theater, inside, outside, and urban space. Think of the spectacular nature and the relation with this EXPERIMENTATION MOVEMENT: convex and concave lie instead of straight. Dynamic approach and different use of colors 15 LIGHT: as a TOOL to underline and identify main elements Different use of MATERIALS. MARBLE = luxury MANY POINTS OF VIEW for each building. Relationship building-project THEATER= not only linear perspective but also “TWO POINT PERSPECTIVE”, new Urban space = streets + squares Arch type: church + palaces (Valentino palace: atrium, 2 staircases, great salon = nucleo of 2 apartments + garden) Relationship with the old = used same rules but modified the arch order because of the knowledge 16  MADERNO 1556-1629 Thinking to the building site Carlo Borromeo - bishop de Milan- s. Fedele church according to his rules N of Italy, worked in Rome and for Pope Sixrus 5th KEY WORDS: STRUCTURE, DIMENSION, DECORATION Different approach = math Decoration specially on the center -the importance of nucleo S. SUSANA CHURCH, Roma 1597-1603 Rule o decoration , used elements form renaissance and modified them 2 facades. Arch order to divide upper and lower in different bays. Axis is the center + symmetry First facade = baroque culture - space, movement, and light ○ Not flat facade = movement ○ Niches with decoration ○ Modified the dimension of bays towards the middle - movement 1st floor ○ 5 bays with different with to the middle, limited by arch order ○ Corner: not columns but half pilasters ○ Underline entrance with 2 columns EMPTY AREA - new Decoration - nature. Niches and entrance Entrance: empty area L and R, no arch order but decoration, closed the lower part with frieze + inscription + triangular pediment Upper part ○ Between upper and lower did something like a sting course/base ○ Big windows with a big base Closed with triangular pediment and a “balustrade” that is decoration Renaissance facade with new elements BASILICA DI SAN PIETRO 1606-1612 Facade Respect Michelangelo Modified the plan + new area to improve dimension = underline importance IMPROVED dimension of each bay to obtain LATIN CROSS PLAN Did the LOGGIA (Rafaellos drawing)- núcleo Used the ideas of S. SUSANA Problem: Michelangelo’s dome - proportions and relationship with the dome Corinthian giant order - main order + frieze + scription + triangular pediment Lower part = EMPTY AREAS to create movement and a central part with minor order Lower part 7 windows Upper facade with atico and closed composition with 13 balustrade 17  FACADE TOO BIG - UNFINISHED to obtain proportion and perfection wanted to add 2 belt towers Bernini linked the project to the urban space Facade for the main Christianity without colors - different materials CLOSED BUILDING SITE MATTEI PALACE 1598-1616 Towards courtyard with portico and loggia Consider local traditional building 3 round arches and arch order with half pilaster with overlapping order (idea) Bricks without decoration Plan like Florentino palace BARBERINI PALACE, Roma, Maderno, Borromini and Bernini Client: cardinal Barberini for the future pope Worked for the young borromini + Bernini + Borromini Traditional palace Sequence of round arches to draw something like continues lines and link the wings with L and R Short amount of time 1-2 years GREAT SALON - OVAL PLAN for the fist time. Pietro da Cortona as artist 18  BERNINI Napoli ad his father was an architect He worked as an sculpture Main man in Rome pope: urban 8th, innocent X (10 th) and Alexander 7rh (VII) APOLLO E DAPHNE 1622-1625, galleria borghese Underline the idea of monument and use of light Climax of the movement - dynamic works White materials and with other colors like green or yellow EXSTASY OF S. TERESA Linked with art and architecture White marble. Representation of the climax and the idea of movement with the position of the body Representation of the light with the idea of sun and god CORONARO CHAPEL - Santa Maria della vittoria Church 1645-52 Created the exstasy and build something around Central area and 2 balcony on the sides - use different marbles, withe yellow and red sometimes and green Upper part 4 columns , idea of movement with curved lines and broken pediment Modified approach left and right - area between extasy and the balcony Artistic works with white table Probably though to a theater Underline the use of movement and the way to create light BASILICA ST. PETER BALDACCHINO Artist and architect, worked also with Borromini in the top part - difficult relation Giant column with bronze - square with 4 columns with a particular entablature Idea of SIMPLICITY and show Christianity and that is precious (bronze, or gold) SQUARE OF ST. PETER 1656 Space in front of the basilica Loggia of blessing - the main problem for the pope Wanted a really big square for Christianity 2 projects 1. Trapezoid square. Thinking about the facade like a palace because of the proportions 2. Oval square (many problems) like linking the basilica with the linear facade and the oval square Square 19  1. Closed square towards the city and urban space, drawing something opposite to the basilica. Separate spaces 2. Broken/ open square. Oval square with an open front to Rome. 2 fountains to give different points of view. Problem: proportion At the end MIXED IDEA TRAPEZOID AREA AND OVAL SQUARE with columnature Doric/Roman Doric Entablature and balustrade closed the composition 4 columns towards the basilica SCALA REGIA 1663-1666 Link columnature with residencies space of the pope Using the same composition of the columnature, at the beginning 2 columns and then half pilaster because of the dimensions (reduction and simplicity) TOWER1637 dismantled Build bel tower S but then pulled down for structural problems No one build the belt tower on the N ST. ANDREA AL QUIRINALE CHURCH 1658-1670 Important - little church near the Quirinale palace in Rome Client: Cardinal Pamphili Worked on the oval shape enclosed with another oval space with 8 little chapels inside and closed composition with columns and half pilasters Entrance in the minor axis 2 areas Entablature like a “frame” Windows only on the upper part of the church- LIGHT linked with colors Dome with decoration that generates PERSPECTIVE. Closed with something like ribs and ceiling coffin modifying the proportions Facade Bricks to do something like a pronao with arch order + entablature + broken triangular pediment Convex line - the idea of movement also with the oval plan Bath Window: build with the same shape of the portico notebook Giant half pilaster at the corner S. BIBIANA Modified idea of portico CIVIL - idea of a palace 2 levels ○ Ground floor: portico with 3 round arches + half pilaster + ionic portico + entablature 20  ○ Repeated 3 bays in the upper part. Convex and concave lines ?. 3 windows and a balcony like a place Movement: only with triangular broken pediment S. MARIA DELL’ASSUNTA 1662-1664 Pantheon style - problems with dome and pronao (pronao closed and half pilaster) Central plan with 2 main orthogonal and diagonal axis Hemispherical dome with lantern Frame and triangular pediment at the end Relation with the urban space, facade, church, and space around it Keyword: SIMPLICITY Some say that in this project we can’t find Bernini - different approach - simplicity LOUVRE Tried to work for the most important client - king of France 1. 1664. Like a palace. Convex (center) and concave (l and r) lines in the center. Staircase. Giant order. Oval area in the center. Portico toward urban space 2. 1665. Didn’t use an oval shape. Only concave area. Half pilaster to divide the bays and giant order. 3. 1665. Different approach WITHOUT MOVEMENT. High base and giant order. Entablature to close + decoration. Thinking more about the renaissance in Italy. BAROQUE ITALY AND FRANCE Classicism 17 c - in France the Pope and King = main client FRANCE: no idea of movement or ondulate line = respect classicism The 3rd project was accepted but never opened the building site PERRAULT 1667-1670 Used some Bernini’s ideas: semplicity, high base, arch order to be giant Different central area - more like a pronao or a portico Used the portico like Bernini but added 2 pavillions, one per side (improved it) 21  BORROMINI Building site = different approaches - importance of building site Milan and Rome - worked there Main idea ○ Movement, building site and structure ○ TECHNICAL APPROACH SAN CARLO ALLE 4 FONTANE CHURCH 1638-1641 Roma Concave and convex area - movement Relation with urban space - near 2 important crossroad of 2 streets } relation urban space and facade Trinitalias - monastery and closister near the church Client: Trenitalias Plan= octagonal shape with 4 area and 2 axis Ondulate line to create movement Linked all the columns with an entablature and modify the original shape to generate an oval plan for the dome = because of his knowledge Between round arches did a “pendentive” Decorations of the dome in PERSPECTIVE Closed the dome with a lantern S. IVO ALLA SAPIENZA CHURCH 1642-1650 Relation empty area and perspective Portico made by sequence of round arches and concave area at the end triangular area that generates a 6 point star Ondulation area for the main part. Pilaster and half column DOME WITH WINDOWS = FIST ONE EVER before in the drum 6 large windows for 6 bays in the center Lantern like a little spiral = idea of god in a particular way Dome and plan floor - complex S. GIOVANNI IN LATERANO CHURCH 16461649, Roma Restauration the area between the columns S. AGNESE IN AGONE CHURCH 1652, Rome 2 BELT TOWERS (first time seen) Site closed by Borromini but started by Reinaldo in the 50’s Greek cross plan Pendentives that linked the circular dome and used it again to modify the shape Drum with windows divided by half pilasters Idea of proportion of belt towers in S. Peter Respecting lower and upper part of the church and respect proportion and show his abilities 22  CORTONA Main on in the Accademia di San Luca - academy school S.S LUCA E MARTINA CHURCH 1634-1650 Client: cardinal Barberini and Cortona decided to rebuild the church Greek cross plan Wanted a Tomb to celebrate Columns + movement + ionic order because of the academia 2 areas in the facade. Bays with different dimensions. 2 columns on each side and closed each side with half pilaster ○ Upper part: no 2 columns but 2 pilasters. Composite order ○ Upper part comparable with Santa Susana Church SANTA MARIA DELLA PACE CHURCH Bramante did the cloister and Cortona the facade Linked the little church with one nave and the square Portico - semicircular area in form of entrance. Arch order and entablature Upper part with half columns and half pilaster Ended with broken pediment and another inner broken pediment Urban space like a THEATER 23  EUROPEAN ROYAL RESIDENCE Main idea - link with the power (king or main man) MADRID. EL ESCORIAL Model and architectural type Square map - synthesize and represent the idea of power Civil and religious building - wanted a place only for him (Filippo 2nd) All the buildings think to a palace - build a palace and a monastery Particular kind of church = celebrate himself with a grave + dimension and square of the complex + nucleo of the complex Library for a culture Power = palace, tomb, monastery and library After him other kings wanted to colpied after the 16 c = architectural complex like a model VAUX-LE-VICOMTE. Arch. Louis Le Vau. Charles Le Brun. 50s of 17c. Recreated ideas in Versailles Like a place with a garden Client: minister of the King Nicolas Fouquet (linked with the Solaris) Like a model - palace Plan ○ Like a C with a vestibule and atrium in the center ○ Left and right - 2 rooms and a cabinet (think to villa regina and Valentino) ○ Orthogonal axis = second axis VERSAILLES. Louis 13th (engraving of 17 c.) = residence for hunting. First Louis 14th (1638-1515) Le Rio Soleil Then - complex with a really big courtyard in front, towards the entrance (1688) Arch: Louis Le Vau and Charles Le Brun Main elements: palace, gallery (halls of mirrors) Halls of mirrors ○ Rectangular area with decoration and big mirrors ○ Linked with the power, and in the mirrors, you can see the gardens ○ Use of light - mirror = improved - dimensions of the shape of the mirrors linked with the light. Mirrors and window linked with same height Chapel: representation of power and elation between lines and god (soleil and god) ○ 2 levels - rectangular area - 2 naves left and right ○ Link the palace and the chapel ○ Royal residence - sequence of room to respect the method used to represent the court to the king or emperor Orangerie: link the residence with the garden - it’s an area Garden: after Versailles the garden can show the power of the client 24  ○ Dimensions = power (bigger means more power) ○ Arch: Andre Le Notre - studied like and architect ○ Elements:1. Green areas 2. Drawings of street 3. Water as an arch element (artificial canal) VIENNA. THE LOWER BELVEDERE UPPER BELVEDERE REGGIA CASERTA Many compared Venaria with Caserta - Versailles as a model Culture linked with the Romans Consider 17 and 18 c. Between these 2 centuries link the Italian culture with the European one Luigi Vanvitelli. Worked in Caserta in the middle for 18 c. Knew a particular Italian culture - Rome Client: Carlo 3rd of Borbone (main family of the south of Italy in the period) Plan: rectangular, 4 courtyards like in the Escorial (model) ○ Main 2 orthogonal axis 1 to draw the garden and link the residence with the city and with Napoli ○ Royal residence - garden + cities Vanvitelli - link Caserta with Napoli - also use of water Importance - power - dimensions - big Cultural axis between Caserta and Napoli - 2 cities - improve point of view Big garden - use of water - Versailles such as a model - improved dimensions in the main axis (long to the other city) 3 atrium middle = big staircase to link atrium with second on the second floor and the greet salon 1. Atrium 2. Staircase 3. Atrium/loggia 4. Greet salon 25  GUARINO GUARINI We can find his works in Torino = engineer famous in Italy (not architect - math, building and building site) “Architettura civile” and “disegni d’architettura civile” MESSINA, SS ANNUNZIATA CHURCH 1660-1662 Use of different areas and levels that worked together PARIGI, SAINT ANNE LA ROYALE CHURCH since 1662 Another model Building site closed in the 20s of the 18 c after GUARINI church - 1823 destroyed for structural reasons (1662-1720-1823) Greek cross plan - idea of center and relation with God, BUT also defended the idea of SCIENCE and universe (Galileo) Link with the city with an ondulate facade Drum + dome + lantern Plan= 4 big pilasters - link shape of plan to dome with pendentives (pennacchio) trapezoidal or triangular, to link the pillars and change the irregular plan to regular domes Empty area to build the dome HOLY SHROUD CHAPEL, 1667-1690 Main idea: build chapel between Ducal Palace and the Cathedral We can compare it with the chapel inside Versailles Catholic religion - think to a tomb with black marble Triangular shape - trinity in the religion Dome: particular sequence of arches with strange shape (scales) + second sequence of arches to link the middle of the arches ○ Close composition with high drum with windows+ lantern ○ Complex (structure). Bricks and woods. A sequence of arches = empty area for the dome. Empty = knowledge + light in the upper part of the chapel ○ Brunelleschi, Michelangelo, and Guarini = dome comparison Triangular areas with 3 round arches + circular drum. Decorations PALAZZO CARIGNANO SAN LORENZO CHURCH 26  FILIPPO JUVARRA 1678-1736 Architect, not a civil engineer. Studied a lot like an architect Collection of drawings - library of Torino now useful to analyze his life (draw also about his fathers life and brother) Messina 1678 born - places about Messina Studied and work with his father Studied Guarini architecture 18c (1704)went to Rome and lived there for 10 years. Worked with Carlo Fontana (opened and Atelier in Rome) Rome - worked for religious man Cardinal Ottoboni. Teacher - accademia di San Luca - math, geometry, arch order, something about architecture After Rome - Luca and did villas with gardens Turin - savoy family (palace ducale, 2 churches- monte dei cappuccini + superga) At the end - Madrid - worked on the idea of the Royal Palace of Madrid Juvarra like European architect (not Italian) drawings of other places Worked for important clients Decoration in order to study geometry TORINO, S. CRISTINA CHURCH 1715-1718 San Carlos square with a rusticated facade before Juvarra because Santa Giovanna Battista asked him to work here Originally: church of a monastery. Introduced Juvarra culture Note: first year in Turin = “first civil architect of the king” all opened for the king Build and wrote “istruzioni” use of materials and dimensions VENARIA REALE, BASILICA OF SUPERGA, PALAZZO MADAMA 1718-1721 NUOVA REGGIA DI MADAMA REALE LA DUCHESSA DI SAVOIA, 1721 Area divided into 3 parts and 2 wings (improved dimensions) wings with 2 pavilions Same facade towards Contrada di Po Never realized - though to modify the palazzo and the city center - new idea PALAZZO MADAMA Big atrium and 2 big staircases. Repeated the drawing towards the city and after the staircase New facade = facade + atrium with staircase BASILICA DI SUPERGA 1717-1731 At the end of the monastery he wanted to build a palace. Church - Monastery - Palace Elements: proportion - church on the hill - link with the landscape, city, and Rivoli - because of the use of proportions Particular plan: 27  1. Square pronao with 4 columns (compare dimensions of the square with the church. Square = half diameter in the circular plan of the church) a. Sections - main area repeated measurements (drum and dome) 2. The main axis of the church with diagonal axis and 4 lateral chapels 3. Dome: Michelangelo + Brunelleschi's idea= 2 domes a. Drum with windows without pendentives. Area with the circular plan linked with the drum and then the dome 4. Octagonal and circular shape - central plan QUARTIERI MILITARI 1716-1728 City center of Torino. Main Street for the municipality. Project and building at the end of Via Milano e Porta Palazzo PALAZZINA DI CACCIA DI STUPINIGI. CASTLE 1729-1735 Hunting castle. Outside Torino New royal residence for the king. In Venaria he imporoved the project Corona di delizie “Corona di Deliriae” Sketch - greet oval salon in the middle - 2 roads of hunting - the center of composition ○ Hexagonal opened courtyard. Corner with a pavilion but opened. Towards the landscape and area for hunting = open Nucleo = number 3 (windows - light, empty area). Left and right apartment of queen and king. Inside - important decoration (important painter) think about decoration thinking to Roman baroque CHIESA DEL CARMINE 1732-1735 Latin cross plan “like” - sequence of chapels left and right Lateral chapel - divided only with arches and opened structures (upper part) Light is important (opened upper part = light) Created something new 28  EUROPEAN AND LATE BAROQUE Wittkower Different rules of the authors/arch. - a different way of working and their process Studied the Roman baroque Borromini 's idea in the late baroque. Borrominesch way of building (building site + decoration) 18c Europe - studied Borromini. Different approach about decoration with something about Borromini 2nd idea - Bernini and Pietro da Cortona Borromini - borrominesco culture Bernini + Pietro - “classicism” (world useful to explain Renaissance, but Wittkover used this world = Bernini. Traditional approach towards architecture. Different proportions, the different organization of the facade 18c decoration modified ROCOCO - linked with decoration Wittkover - building site opened for the noble. Palace, villa, done for an important family (near the king) Decoration of the apartment: according to the definition Wrote about decoration, use of colors = arch elements (not only artist) Decoration with a particular meaning Rococo = to find different arch type Classicism = directly link with church Different approach towards the composition Movement (dynamic app. 18 c late baroque) Classicism - opened (he) a discussion about the different use of the word “classicism” during the 17-18 c and the renaissance Renaissance- classicism: Roman arch Explain different meanings of each building. Importance of the client 18c - classicism Talk about Juvarra Idea of simplicity and true (regular shape and reaction towards the baroque decoration) Linked with French buildings PEDRO DE RIBERA 1681-1742. ROYAL HOSPICE Rich decoration and organization of the portal Modified decoration and the use of arch order (same composition but modified it with decoration) no capital but rich decoration Decoration = led to movement and idea of different volumes WIEN. ROSSAU. FISCHER VON ERLACH 1688. Bernini's 1st project for Louvre (concave and convex) + classicism especially on the facade of the wings 29 WIEN. SCHONBRUNN PALACE 1688. First project had a relationship with the landscape 2nd project played a lot with volumes Classicism SULZBURG. HOLY TRINITY CHURCH. 1694-1702 Borromini church S. Agnese = repeated 2 bell towers, the idea of the history of the building site of S. Peter Volumes Idea of movement - concave are = nucleo of compositor with high base + drum + dome. Underline main axis Half pilaster, niches, and altar with giant order KARLSKIRCHE. WIEN. FISHER VON ERLACH 1713-1723 Improved the app. Plan: pronao + main facade + sacred area (oval) Facade: pronao (6 columns), opened facade with 2 pavilions and opened 2 big round arches connecting the city with the church, in the facade no particular decoration + 2 columns thinking about Roman culture and the Trian column Baroque + ancient facade Plan: “central plan”, oval, 2 different lateral chapels, underline main axis - Maye connect with Pietro Some compare with Superga Dome: dum with big windows + dome with windows (oculus over the window of the church) - draw 8 axes to use the empty area such as an elemento for his design. Divided area with half pilaster - use of arch order LAUGER, ESSAI SUR L'ARCHITECTURE 1753-1755 and ANGE JACQUES - both present method, the idea of Architecture. App towards the architecture in the 18c HOTEL PEYRENC DE MONS-BIRON Model Simplicity= French architecture. Regular composition, regular shape (spec. Rectangular) 2 pavilions left and right VERSAILLES. PETIT TRIANON 1762-1768 Classicism in France High base to link the garden with the building, 2 staircase - nucleons with arch order = giant + balustrade to close composition. No other decoration 5 bays Other facade - simple. 2 entrances - left and right. Traditional app towards the facade, no decoration, no use of colors 30  PIEDMONT AND VITTONE VITTONE - last arch. Baroque. Mixed in his works his education VALLINOTO VISITATION SANCTUARY, 1738-39 Strange organization of the volume. Element Juvarra and Guarinis building ○ Lower part: giant order + big round arches like in the Carmine church ○ Upper part like Guarini dome of San Lorenzo Church ○ Many times ribs to generate empty areas in the dome. Number 6 + intersection areas triangular ○ Improved Guarini - mixed Juvarra and Guarini dome Dome - traditional section - an empty area in the section MONASTIC CHURCH OF SANTA CHIARA IN BRA 1742 Use of bricks without particular decoration Decoration only half pilaster, use of white color Central plan and then improved the structure - Santa Chiara same approach as the Valinotto Sanctuary, and then improved it in Santa Maria in Piazza in Turin S. MARIA DI PIAZZA, TORINO 1750 App. Valinotto Sanctuary - Juvarra lower part Improved in the dome: main area with an oval dome - use of pendentives. He opened many windows in this dome. Right - after 2 domes and a second on the altar. Improved S. Lorenzo (Guarini) BORGO D'ALE. Underline the entrance Wrote a lot - wanted to try a method for building (important). Method to study and opening a building site + arch 1st book — introduction: particular architecture civil 2nd volume — architecture + science + astronomy - topics linked with the education of a young architect Method of building Worked out only for the king, specially worked with a religious order 31 raphael he was born and raised in urbini and this place was the artistic center of primary importance that radiated the ideals of the renaissance he was studying the works of piero della francesca in the rooms of the ducal palace he was one of the greatest artists of the renaissance he was working on architecture projects only in his last years of his life his interest in architecture can be seen in his paintings in his early paintings after the formation in urbino he travels through central italy he is in contact with the florentine architect sangallo keeping in touch with the works of brunelesschi and alberti he receives his education in umbria in the school of perugino and in siena with pinturicchio then he spents some time in florence he has contact with the florentine paintings especially with the ones by leonardo da vinci in this last florentine work, he gives proof of having reached the artistic heights of the time - he is a mature painter his painting technique is extraordinary but also his knowledge of ancient architecture is very high raphael in rome he goes to rome after being called by bramante per monte called rafeal in rome to the court of pope julius who commissioned him the fasco paintings in the famous rooms of the apartment in the vatican buildings remind i was himself a native of a small village near urbino lamonte is for raphael a true master of architecture in the famous school of athens raphael sets the scene around the philosophers of ancient greece at the center plateau and aristotle in an articulated architectural space that we can easily read as the pictorial representation of bramante's projects for saint peters basilica we see the sequence of barrel waltz wet lacunars and ani center the space of the dump supported by the four pillars with a pendentives above them capella chigi in santa maria del popolo before being appointed to the construction of sand pietro after bramante's passage he carried out arts and works for the chigi family looking at the inside of the space it seems clear how much rafael wants to propose again in small dimensions the cruise of saint peter designed by bramante the pillars are similar to bramante's ones the latter made just like those of him with the characteristic book opening in the corner in the 17th century bernini put his hand to the interior decoration he at statues in the niches and the plaques in the shape of pyramid giving the chapel a much more baroque appearance if we look at the floor plan and the section this church is small the small chapel is even smaller than bramantes pillars of saint peter sant'eligio degli orefici rome 1512 in 1509 raphael sordu deconstruction of the small church later completed by peruzzi the completed building we see today is not to be interpreted as the only work of rafeal the plan was designed by himself and follow start of santa maria delle carceri in prado ny giuliano da sangallo also the palladian window was probably an idea of rafael which brings us back once again to bramante's teaching the design of the dome is attribute it to paluzzi but based on raphael's handmade sketches it looks like he was inspired by circular ancient roman mausolea the drum is a straightforward cylinder and break with eight windows stopped by a very strongly projecting lime stone the corners with modilions on top there is a cylindrical lantern is present eight windows separated by doric pilasters are present fra giocondo's san pietro design enter frescoes off the second grade hold of the vatican rooms raphael gives evidence of an architectural conception a little different from the model seen so far bramante giuliano da sangallo nd previous painting the same as explosion of heliodorus he paints the interior of a large church in the shape of a latin cross with a large nate marked by golden domes in the intrados according to many scholars he wants to represent the project of fra giocondo da verona that he had provided years earlier to julius ii this architects project is in fact a sort of renaissance version of saint marco's basilica in venice after the time of julius ii he became the architect of san pietro leo x intereseted in the arts letters and luxury fascinated by ancient rome but not for the power but for the fineness raphael becomes the ideal artist of leo x he starts a research on aspects of ancient culture that have so far been a little investigated: t ornaments ornaments are not necessarily representative of a tectonic functional system this term does not include for example capitals friezes or other sculpted elements for vitruvius it is an element absolutely inseparable from the tectonics of the building he is dedicating many pages in his books to ornamentsthe ornaments were paintings and circles and it was difficult to find significant traces on the roman ruins around the year 1500 an important discovery took place in rome the discovery of the domus aurea which was the residence of the emperor nero who had been almost entirely buried after his death underground passages and caves artists cited to explore the deco