Renaissance Architecture PDF

MODULE AR 211 03 History of Architecture -02 topic: renaissance architecture PREPARED BY: AR. JAS REYES  Intended Learning Outcome At the end of the module, the student should be able to:...

MODULE AR 211 03 History of Architecture -02 topic: renaissance architecture PREPARED BY: AR. JAS REYES  Intended Learning Outcome At the end of the module, the student should be able to: Distinguish the architectural Examine and. relate Discuss the various. characters of the conditions of influences of Renaissance the environment in Renaissance Architecture the evolution of Architecture Renaissance Differentiate and architecture define the elements of Renaissance Architecture by: Ar. Jas Reyes Module 03 3.1.1 INTRODUCTION KEY TOPICS 3.1.2 INFLUENCES 3.1.3 CHARACTER AND ELEMENTS 3.1.4 EXAMPLE STRUCTURES by: Ar. Jas Reyes 3.1.1 INTRODUCTION by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE what comes in your mind when you hear the RENAISSANCE? by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE The Creation of Adam by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE The Birth of Venus by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE perhaps the most famous renaissance painting, the MONA LISA by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE HOW DID THE ITALIAN RENAISSANCE STARTED? by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE sooooo in general , what is the RENAISSANCE? a period/ movement also known as "Rinascimento" (in Italian) an influential cultural movement that brought about a period of the scientific revolution and artistic transformation at the dawn of modern history in Europe. It marks the transitional period between the end of the Middle Ages and the start of the Modern Age source: (New World Encyclopedia) by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE sooooo in general , what is the RENAISSANCE? Much of the foundations of liberal humanism were laid during the foundation. For some, this usurps God's rightful place as the author of values and as the director of history. But positively, the contemporary universal outlook, respect for the dignity of all people on which democracy is based, thirst for knowledge, and for ways of bettering the human lot, all derive from the Renaissance and from the Enlightenment that followed. source: (New World Encyclopedia) by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE now.... by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE is he familiar? (Photo from New World Encyclopedia) by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE Leonardo da Vinci's Vitruvian Man an example of the blend of art and science during the Renaissance (Photo from New World Encyclopedia) by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE RENAISSANCE architecture style of architecture, reflecting the rebirth of Classical culture originated in Florence in the early 15th century and spread throughout Europe, replacing the medieval Gothic style There was a revival of ancient Roman forms, including the column and round arch, the tunnel vault, and the dome. The basic design element was the order. Knowledge of Classical architecture came from the ruins of ancient buildings and the writings of Vitruvius source: Encyclopaedia Britannica by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE RENAISSANCE architecture As in the Classical period, proportion was the most important factor of beauty; Renaissance architects found harmony between human proportions and buildings. This concern for proportion resulted in clear, easily comprehended space and mass, which distinguishes the Renaissance style from the more complex Gothic. source: Encyclopaedia Britannica by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE RENAISSANCE architecture the architecture of the period between the early 15th and early 17th centuries in different regions of Europe, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture. Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture. by: Ar. Jas Reyes BUILDING TYPOLOGIES by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE BUILDING TYPOLOGIES The foremost Renaissance building types were the church palazzo villa (cathedrals, basilicas) (urban mansion) (country mansion) source: Encyclopaedia Britannica by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE CHURCH Basilica of Sant'Andrea, Mantua While various great names are associated with Renaissance church and palazzo design, the most famous villa architect by far is Andrea Palladio by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE PALAZZO Palazzo Rucellai by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE VILLA Villa Barbaro by: Ar. Jas Reyes 3.1.2 INFLUENCES by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE DEVELOPMENT TIMELINE: Renaissance Architecture was developed over time in three different periods Early High Late Renaissance Renaissance Renaissance ca. 1400-1500 ca. 1500-1525 ca. 1525-1600 Brunelleschi (churches), Bramante (Tempietto), Palladio (villas) Alberti (facades) Palazzo Farnese by: Ar. Jas Reyes EARLY RENAISSANCE by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE EARLY RENAISSANCE (ca. 1400-1500) HIGHLIGHTS The two leading Early Renaissance architects were Brunelleschi and Alberti. by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE FILIPPO BRUNELLESCHI (1377-1446) Architect and engineer who was one of the pioneers of early Renaissance architecture in Italy. regarded as the Father of Renaissance Architecture. Filippo Brunelleschi , the first great Renaissance architect, was primarily a designer of churches. His most famous work is the octagonal brick dome of Santa Maria del Fiore (Florence Cathedral, an engineering feat of such difficulty (given the dome's unprecedented size) that he also had to invent special machines to hoist each section into place. Brunelleschi's dome was the largest the pre-industrial world would ever see. source: Encyclopaedia Britannica by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE EARLY RENAISSANCE (ca. 1400-1500) HIGHLIGHTS Brunelleschi's dome is crowned by a lantern: a rooftop structure with openings for lighting and/or ventilation. (Another common type of rooftop structure is the belfry, aka bell-tower.) by: Ar. Jas Reyes INFLUENCES me MODULE 3. RENAISSANCE ARCHITECTURE EARLY RENAISSANCE do (ca. 1400-1500) ce n The FACADE and a structure itself is ss actually it's a renai GOTHIC. by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE EARLY RENAISSANCE (ca. 1400-1500) HIGHLIGHTS The emergence of Renaissance architecture is rather seen in Brunelleschi's designs for complete buildings, of which the Basilica of San Lorenzo, (Florence) may be the most famous. The plain exterior of this building includes a series of blind arches, while the interior is graced with crisp grey-and-white planar classicism; only the columns prevent this interior from being composed entirely of flat surfaces. (In many Renaissance churches, broad rectangular piers are used instead of columns, thus maximizing the surface space for planar classicism.) by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE LEON BATTISTA ALBERTI became the most influential architectural theorist of the Early Renaissance with his own Ten Books on Architecture, which instructed on the adaptation of ancient classical forms to modern buildings. Ten Books on Architecture, inspired by Vitruvius, became a bible of Renaissance architecture. In terms of actual building projects, Alberti was the leading pioneer of classical facade design. His greatest facades include the Church of Sant'Andrea and Palazzo Rucellai source: Encyclopaedia Britannica by: Ar. Jas Reyes  INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE EARLY RENAISSANCE (ca. 1400-1500) The facade of the Church of Sant'Andrea (Mantua) mimics a triumphal arch Church of Sant'Andrea by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE EARLY RENAISSANCE (ca. 1400-1500) while the facade of the Palazzo Rucellai (Florence) is neatly divided into rectangular sections (each containing an arched window) with pilasters and cosmetic entablatures. Circular elements, like those above each window of the Palazzo, were a Renaissance favorite, with many architects of the period regarding the circle as the "perfect shape". Palazzo Rucellai (Florence) by: Ar. Jas Reyes HIGH RENAISSANCE by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE HIGH RENAISSANCE (ca. 1500-25) HIGHLIGHTS The High Renaissance witnessed the pinnacle of classical simplicity and harmony in Renaissance art and architecture. The central plan layout (found in many Roman temples, most notably the Pantheon) was popular during this period. ("central plan" denotes rotational symmetry; if the plan is rotated around its central point, it looks the same at multiple points of rotation.) Bramante's Plan for St Peter's by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE HIGH RENAISSANCE (ca. 1500-25) HIGHLIGHTS Common shapes for central plan buildings are the circle, square, and octagon.) by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE DONATO BRAMANTE The founder and leader of High Renaissance architecture Bramante is considered a member of the "High Renaissance trio", along with Michelangelo, the foremost sculptor of the period, and Raphael, the foremost painter.) His plan for St. Peter's Basilica formed the basis of design executed by Michelangelo. His greatest completed work is the Tempietto, a Doric shrine erected upon the traditional site of St Peter's martyrdom. by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE HIGH RENAISSANCE (ca. 1500-25) High Renaissance Trio Bramante Michelangelo Raphael by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE COMMERCIAL | FUN FACT: Who do the Ninja Turtles represent? Using Laird's copy of Janson's History of Art for inspiration, the pair chose names for the Turtles from four of their favorite Renaissance artists: Leonardo, Michelangelo, Donatello, and Raphael. by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE HIGH RENAISSANCE (ca. 1500-25) Despite its small size, the Tempietto is often considered the crowning work of High Renaissance architecture. Tempietto, Rome, Italy by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE HIGH RENAISSANCE (ca. 1500-25) Bramante's greatest unrealized work is a central plan design for Saint Peter's Basilica (the foremost Roman Catholic church, located in Vatican City). Following Bramante's death early in this building's construction, persistent delays led to a string of architects taking over the project and completely transforming the original design. Bramante's plan for St. Peter's Basilica by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE HIGH RENAISSANCE (ca. 1500-25) Had Bramante's plans been realized, St Peter's would undoubtedly be the foremost High Renaissance church. Instead, this position is occupied by the Church of Santa Maria in the town of Todi (north of Rome). This central plan building strongly resembles Bramante's architectural style, though it cannot be attributed to him with certainty. Church of Santa Maria, Todi by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE HIGH RENAISSANCE (ca. 1500-25) The High Renaissance also gave rise to the Palazzo Farnese , arguably the greatest Renaissance palace. This building, designed principally by Antonio da Sangallo the Younger (a student of Bramante’s), follows the typical Renaissance palazzo layout: a Antonio da Sangallo the three-story rectangular building with a central Younger courtyard. A spartan majesty is achieved in the balanced height and breadth of the facade, the absence of vertical dividers, and the unadorned expanse of wall above each row of windows. The sheer simplicity of the facade emphasizes variations in wall colours, window shapes, and pediment shapes. Palazzo Farnese by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE HIGH RENAISSANCE (ca. 1500-25) "rustication" A popular decorative treatment of the palazzo was rustication, in which a masonry wall is textured rather than smooth. This can entail leaving grooves in the joints between smooth blocks, using roughly dressed blocks, or using blocks that have been deliberately textured. The rustication of a palazzo is often differentiated between stories. by: Ar. Jas Reyes LATE RENAISSANCE by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE LATE RENAISSANCE (ca. 1525-1600) HIGHLIGHTS "mannerism" most radical strain of Late Renaissance art practiced by Leonardo da Vinci, Michelangelo, and Raphael. the deliberate pursuit of novelty and complexity, often to the point of bizarreness. The Wedding Feast at Cana by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE In mannerist painting and sculpture, human anatomy is strangely elongated, and figures are placed in complex, unnatural postures. Parmigianino: Madonna with the Long Neck by: Ar. Jas Reyes INTRODUCTION MODULE 3. RENAISSANCE ARCHITECTURE In mannerist architecture, classical forms are skewed, exaggerated, and misplaced, and classical balance and harmony are sometimes distorted. By upsetting conventions and exploring new artistic possibilities, mannerism became an influential force, even for artists who chose to retain a more purely classical style. Chełmno, Town Hall by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE ANDREA PALLADIO He maintained a firmly classical aesthetic. Palladio, known primarily for villa design, was the foremost architect of the Late Renaissance, and arguably the most influential architect of all time. Countless residential, collegiate, and civic buildings throughout the world are descendants of Palladio's architectural style, which experienced a massive revival during the Neoclassical period. by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE LATE RENAISSANCE (ca. 1525-1600) Palladio's most striking innovation was to graft the classical temple front onto secular architecture. The Villa Pisani, Bagnolo A true temple front is a portico (covered porch with columns), while a cosmetic temple front can be produced with a simple pediment. In either case, the entrance can be recessed, which allows for a covered entrance even without a portico. The common features of Palladio's villas, three of which are discussed here, are captured by the term Palladian style by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE LATE RENAISSANCE (ca. 1525-1600) "Palladian Style | Palladianism" derived from and inspired by the designs of the Venetian architect Andrea Palladio. Palladio's work was strongly based on the symmetry, perspective, and values of the formal classical temple architecture of the Ancient Greeks and Romans. 1 The overall plan is a central block flanked with identical wings, which ensures perfect symmetry; the central block is faced with a temple front. 2 The interior plan is also symmetrical, with a great hall at the center. 3 The building has a tall major story and a short attic story. by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE LATE RENAISSANCE (ca. 1525-1600) Most of Palladio's villas match this description closely. In some cases, an exposed basement lies under the major story. A few villas have a second major story. Palladio's villas were constructed mainly in and around the city of Vicenza, near Venice. Most feature walls of stucco-coated brick and hip roofs tiled in red clay shingles. Although Villa Rotonda is atypical of Palladio's work (being a central plan design with a portico on all four sides), it is also his most famous villa. Villa La Rotunda / Villa Almerico Capra Valmarana. by: Ar. Jas Reyes INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE LATE RENAISSANCE (ca. 1525-1600) "Palladian Arch" Apart from villas, Palladio is known for popularizing the Palladian arch (an arch flanked with rectangles) via his design for the exterior of the Vicenza Town Hall. This motif was practical as well as aesthetic, as it allowed more light to stream into the building than a series of ordinary arches. The Palladian arch is perhaps most familiar today in the form of Palladian windows. by: Ar. Jas Reyes  INFLUENCES MODULE 3. RENAISSANCE ARCHITECTURE LATE RENAISSANCE (ca. 1525-1600) "Palladian Arch" Window having a broad arched central section with lower flat-headed side portions. A corner of the Basilica Palladiana , Vicenza, with Palladian windows. by: Ar. Jas Reyes 3.1.3 CHARACTER AND ELEMENTS by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE FOUNDATIONAL ARCHITECTURAL CONCEPTS (CHARACTER) 1 Façades are Symmetrical around their Vertical Axis 2 Use of the Roman Orders of Columns 3 The use of Big Domes 4 Use of Square Lintels and Triangular or Segmental Pediments 5 Finished with Ashlar Masonry, laid in straight courses by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE Façades are Symmetrical 1 around their Vertical Axis Renaissance façades are symmetrical around their vertical axis. For instance, church façades of this period are generally surmounted by a pediment and organized by a system of pilasters, arches, and entablatures. The columns and windows show a progression towards the center. One of the first true Renaissance façades was the Cathedral of Pienza (1459–62), which has been attributed to the Florentine architect Bernardo Gambarelli (known as Rossellino). CATHEDRAL OF PIENZA by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 2 Use of the Roman Orders of Columns Renaissance architects also incorporated columns and pilasters, using the Roman orders of columns (Tuscan, Doric, Ionic, Corinthian, and Composite) as models. The orders can either be structural, supporting an arcade or architrave , or purely decorative, set against a wall in the form of pilasters. During the Renaissance, architects aimed to use columns, pilasters, and entablatures as an integrated system. One of the first buildings to use pilasters as an integrated system was the Old Sacristy (1421–1440) by Brunelleschi. by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 3 The use of Big Domes The dome is used frequently in this period, both as a very large structural feature that is visible from the exterior and also as a means of roofing smaller spaces where they are only visible internally. Domes were used in important structures such as the Pantheon during antiquity but had been used only rarely in the Middle Ages. After the success of the dome in Brunelleschi’s design for the Florence Cathedral and its use in Bramante’s plan for St. Peter’s Basilica in Rome, the dome became an indispensable element in Renaissance church architecture and carried over to the Baroque. DOME OF ST. PETER’S BASILICA. by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE Use of Square Lintels and 4 Triangular or Segmental Pediments Windows may be paired and set within a semicircular arch and may have square lintels and triangular or segmental pediments, which are often used alternately. Emblematic in this respect is the Palazzo Farnese in Rome, begun in 1517. In the Mannerist period, the “Palladian” arch was employed, using a motif of a high semicircular topped opening flanked with two lower square- topped openings. Windows were used to bring light into the building and in domestic architecture, to show the view. Stained glass, although sometimes present, was not a prevalent feature in Renaissance windows. PALAZZO FARNESE: THE PALAZZO FARNESE IN ROME DEMONSTRATES THE RENAISSANCE WINDOW’S PARTICULAR USE OF SQUARE LINTELS AND TRIANGULAR AND SEGMENTAL PEDIMENTS USED ALTERNATIVELY. by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 5 Finished with Ashlar Masonry, laid in straight courses Finally, external Renaissance walls were generally of highly finished ashlar masonry, laid in straight courses. The corners of buildings were often emphasized by rusticated quoins. Basements and ground floors were sometimes rusticated, as modeled on the Palazzo Medici Riccardi (1444–1460) in Florence. Internal walls were smoothly plastered and surfaced with white chalk paint. For more formal spaces, internal surfaces were typically decorated with frescoes. PALAZZO MEDICI RICCARDI by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE ELEMENTS 1 Plan and Façades 5 Ceilings 2 Columns and Pilasters 6 Doors and Windows 3 Arches and Vaults 7 Walls 4 Domes 8 Details by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE RAPHAEL'S UNUSED PLAN FOR ST. PETER'S BASILICA 1 Plan and Façades square, symmetrical appearance in which proportions are usually based on a module. “TEMPLE TYPES” IN ANTIS AND PROSTYLE, BOOK 3, CHAPTER 2 BY VITRUVIUS by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 2 Columns and Pilasters Roman and Greek orders of columns are used: Tuscan Doric Ionic Corinthian Composite CORINTHIAN COLUMN CAPITAL, 4TH-3RD CENTURY B.C., GREEK, SOUTH ITALIAN, TARENTINE, VIA THE METROPOLITAN MUSEUM OF ART, NEW YORK by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 3 Arches and Vaults Arches Arches are semi-circular or (in the Mannerist style) segmental. Arches are often used in arcades, supported on piers or columns with capitals. There may be a section of entablature between the capital and the springing of the arch. Alberti was one of the first to use the arch on a monumental scale at the St. Andrea in Mantua. THE BASILICA OF SANT'ANDREA by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 3 Arches and Vaults Vaults Vaults do not have ribs. They are semi-circular or segmental and on a square plan, unlike the Gothic vault which is frequently rectangular. The barrel vault is returned to architectural vocabulary as at the St. Andrea in Mantua. THE BASILICA OF SANT'ANDREA INTERIOR by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 4 Domes BASILICA DI SANTA MARIA DEL FIORE by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 5 Ceilings Roofs are fitted with flat or coffered ceilings. They are not left open as in Medieval architecture. They are frequently painted (frescoes) or decorated. THE SISTINE CHAPEL CEILING by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE The Sistine Chapel ceiling, painted by Michelangelo between 5 Ceilings 1508 and 1512, is a cornerstone work of High Renaissance THE SISTINE CHAPEL CEILING by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 5 Ceilings fun fact: The Paintings Were Commissioned by Pope Julius II In 1508, Pope Julius II (also known as Giulio II and "Il papa terribile"), asked Michelangelo to paint the Sistine Chapel's ceiling. Julius was determined that Rome should be rebuilt to its former glory, and had embarked on a vigorous campaign to achieve the ambitious task. He felt that such artistic splendor would not only add luster to his own name, but also serve to supersede anything that Pope Alexander VI (a Borgia, and Julius' rival) had accomplished. SOURCE: HTTPS://WWW.THOUGHTCO.COM/THE-SISTINE-CHAPEL-CEILING-BY-MICHELANGELO-183004 by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 5 Ceilings fun fact: Michelangelo Painted Over 5,000 Square Feet of Frescoes The ceiling measures about 131 feet (40 meters) long by 43 ft (13 m) wide. Although these numbers are rounded, they demonstrate the enormous scale of this nontraditional canvas. In fact, Michelangelo painted well over 5,000 square feet of frescoes. SOURCE: HTTPS://WWW.THOUGHTCO.COM/THE-SISTINE-CHAPEL-CEILING-BY-MICHELANGELO-183004 by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 5 Ceilings fun fact: The Panels Depict More Than Just Scenes From the Book of Genesis The ceiling's well-known central panels depict scenes from the Book of Genesis, from the Creation to the Fall to shortly after Noah's deluge. Adjacent to each of these scenes on either side, however, are immense portraits of prophets and sibyls who foretold the coming of the Messiah. Along the bottoms of these run spandrels and lunettes containing the ancestors of Jesus and stories of tragedy in ancient Israel. Scattered throughout are smaller figures, cherubs, and ignudi (nudes). All told, there are more than 300 painted figures on the ceiling. SOURCE: HTTPS://WWW.THOUGHTCO.COM/THE-SISTINE-CHAPEL-CEILING-BY-MICHELANGELO-183004 by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 5 Ceilings fun fact: Michelangelo Was a Sculptor, Not a Painter Michelangelo thought of himself as a sculptor and preferred working with marble to almost any other material. Prior to the ceiling frescoes, the only painting he'd done was during his brief stint as a student in Ghirlandaio's workshop. Julius, however, was adamant that Michelangelo —and no other— should paint the Chapel's ceiling. To convince him, Julius offered as a reward to Michelangelo the wildly lucrative commission of sculpting 40 massive figures for his tomb, a project that appealed much more to Michelangelo given his artistic style. SOURCE: HTTPS://WWW.THOUGHTCO.COM/THE-SISTINE-CHAPEL-CEILING-BY-MICHELANGELO-183004 by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 5 Ceilings fun fact: The Paintings Took Four Years to Finish It took Michelangelo a little over four years, from July of 1508 to October of 1512, to finish the paintings. Michelangelo had never painted frescoes before and was learning the craft as he worked. What's more, he chose to work in buon fresco, the most difficult method, and one normally reserved for true masters. He also had to learn some wickedly hard techniques in perspective, namely painting figures on curved surfaces that appear "correct" when viewed from nearly 60 feet below. The work suffered numerous other setbacks, including mold and miserable, damp weather that disallowed plaster curing. The project was further stalled when Julius left to wage war and again when he fell ill. The ceiling project and any hope Michelangelo had of being paid were frequently in jeopardy while Julius was absent or near death. SOURCE: HTTPS://WWW.THOUGHTCO.COM/THE-SISTINE-CHAPEL-CEILING-BY-MICHELANGELO-183004 by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 5 Ceilings fun fact: Michelangelo Didn't Really Paint Lying Down Although the classic film "The Agony and the Ecstasy," depicts Michelangelo (played by Charlton Heston) painting the frescoes on his back, the real Michelangelo didn't work in this position. Instead, he conceived and had constructed a unique scaffolding system sturdy enough to hold workers and materials and high enough that mass could still be celebrated below. The scaffolding curved at its top, mimicking the curvature of the ceiling's vault. Michelangelo often had to bend backward and paint over his head—an awkward position that caused permanent damage to his vision. SOURCE: HTTPS://WWW.THOUGHTCO.COM/THE-SISTINE-CHAPEL-CEILING-BY-MICHELANGELO-183004 by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 5 Ceilings fun fact: Michelangelo Had Assistants Michelangelo gets, and deserves, credit for the entire project. The complete design was his. The sketches and cartoons for the frescoes were all of his hand, and he executed the vast bulk of the actual painting by himself. However, the vision of Michelangelo toiling away, a solitary figure in a vacant chapel, isn't entirely accurate. He needed many assistants if only to mix his paints, scramble up and down ladders, and prepare the day's plaster (a nasty business). Occasionally, a talented assistant might be entrusted with a patch of sky, a bit of landscape, or a figure so small and minor it is barely discernible from below. All of these were worked from his cartoons, however, and the temperamental Michelangelo hired and fired these assistants on such a regular basis that none of them could claim credit for any part of the ceiling. SOURCE: HTTPS://WWW.THOUGHTCO.COM/THE-SISTINE-CHAPEL-CEILING-BY-MICHELANGELO-183004 by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 6 Doors and Windows Doors Doors usually have square lintels. They may be set within an arch or surmounted by a triangular or segmental pediment. Openings that do not have doors are usually arched and frequently have a large or decorative keystone. PALAZZO FARNESE DOOR by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 6 Doors and Windows Windows Windows may be paired and set within a semi-circular arch. They may have square lintels and triangular or segmental pediments , which are often used alternately. Emblematic in this respect is the Palazzo Farnese in Rome, begun in 1517. Windows are used to bring light into the building and in domestic architecture, to give views. Stained glass, although sometimes present, is not a feature. ORNAMENTATIONS (RELIEFS) IN RENAISSANCE WINDOWS (IMAGES FROM THE BOOK HISTORY OF ARCHITECTURE, B. FLETCHER, P.194) by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 7 Walls External walls are generally constructed of brick, rendered, or faced with stone in highly finished ashlar masonry, laid in straight courses. The corners of buildings are often emphasized by rusticated quoins Basements and ground floors were often rusticated, as at the Palazzo Medici Riccardi (1444–1460) in Florence. Internal walls are smoothly plastered and surfaced with lime wash. For more formal spaces, internal surfaces are decorated with frescoes TWO DIFFERENT STYLES OF RUSTICATION IN THE PALAZZO MEDICI-RICCARDI IN FLORENCE, ITALY by: Ar. Jas Reyes CHARACTER AND ELEMENTS MODULE 3. RENAISSANCE ARCHITECTURE 8 Details Courses, mouldings and all decorative details are carved with great precision. Studying and mastering the details of the ancient Romans was one of the important aspects of Renaissance theory. The different orders each required different sets of details. Some architects were stricter in their use of classical details than others, but there was also a good deal of innovation in solving problems, especially at corners. Mouldings stand out around doors and windows rather than being recessed, as in Gothic architecture. Sculptured figures may be set in niches or placed on plinths. They are not integral to the building as in Medieval architecture. SIENA CATHEDRAL by: Ar. Jas Reyes 3.1.4 EXAMPLE STRUCTURES by: Ar. Jas Reyes RENAISSANCE IN ITALY by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City Officially the Basilica di San Pietro in Vaticano Architects increased the importance of the dome by lifting it boldly from its substructure and placing in on a "drum" Designed by Alberti, Raphael, Bramante, Michelangelo, and Bernini, St Peter’s Basilica was perhaps the most renowned work of Renaissance architecture. Its artistry, architectural grandeur and sheer mass cemented the status of Rome as the home of Christianity. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City Its iconic dome, designed by Michelangelo, is the tallest in the world. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE DOME OF ST. PETER’S BASILICA: THE DOME OF ST PETER’S BASILICA, ROME IS OFTEN CITED AS A FOUNDATIONAL PIECE OF RENAISSANCE ARCHITECTURE. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City , St Peters holds some of the most beautiful examples of Renaissance sculpture, including Michelangelo’s Pieta (1500) by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City and the baldachin by Bernini over the main altar. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects 1506 DONATO BRAMANTE the original architect, formulated a design in the form of a Greek cross with entrances at East end. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects 1513 GIULIANO DA SANGALLO (the elder He strengthened and extended the peristyle of Bramante into a series of arched and ordered openings around the base. In his hands, the rather delicate form of the lantern, based closely on that in Florence, became a massive structure, surrounded by a projecting base, a peristyle and surmounted by a spire of conic form, but the plan was simply too eclectic to be considered. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects 1513 FRA GIOCONDO He was made part of a team with Raphael and Giuliano da Sangallo to superintend the erection of the new St. Peter's Basilica. The work included strengthening the foundations. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects 1513 RAPHAEL SANZIO The main change in Raphael's plan is the nave of five bays, with a row of complex apsidal chapels off the aisles on either side. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects. BALDASSARE PERUZZI Maintained changes that Raphael had proposed to the internal arrangement of the three main apses, but otherwise reverted to the Greek cross plan and other features of Bramante. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects 1536 ANTONIO DA SANGALLO, the younger Main practical contribution was to strengthen Bramante's piers which has begun to crack. He also proposed a central dome and lofty campanili. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects 1546 MICHELANGELO BUONARROTI He restored the design to a Greek cross and planned and commenced the construction of the great dome. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects. GIACOMO DELLA PORTA Della Porta was a follower of Michelangelo and continued two of his greatest architectural projects, the Piazza del Campidoglio and St. Peter’s in the Vatican at Rome. Working with Domenico Fontana, the architect to Pope Sixtus V, Della Porta gave a higher, more pointed profile than Michelangelo had intended to the dome of St. Peter’s; it became the prototype of the Baroque dome. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects. DOMENICO FONTANA Fontana designed the Vatican Library (1587–90), the Acqua Felice (1587), and the present Lateran Palace, built on the ruins of the old medieval palace. He collaborated with Giacomo della Porta on the completion of St. Peter’s dome (1588–90) from Michelangelo’s model. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects 1564 GIACOMO BAROZZI DA VIGNOLA Appointed by Pope Pius V as watchdog to make sure that Michelangelo's plans were carried out exactly after his death. He also added the cupolas on either side of the great dome. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects 1605-1612 CARLO MADERNO He lengthened the nave to form a Latin cross and erected the present facade. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City architects 1629-1667 GIAN LORENZO BERNINI He erected the fourfold colonnades inclosing the piazza and erected the baldachino under the dome. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City synopsis of the history 1506. Bramante, the original architect, formulated a design in the form of a Greek cross with entrances at East end. 1513. Giuliano da Sangallo, Raphael, and Fra Giocondo were entrusted with superintendence of the work. Division of opinion existed as to altering original plan to a Latin cross. 1536. Antonio da Sangallo the younger proposed a central dome and lofty campanili. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City synopsis of the history 1546. Michelangelo restored the design to a Greek cross and planned and commenced the construction of the great dome. 1564. Vignola added the cupolas on either side of the great dome. 1605-1612. Carlo Maderna lengthened the nave to form a Latin cross and erected the present fagade. 1629-1667. Bernini erected the fourfold colonnades inclosing the piazza and erected the baldachino under the dome. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE St. Peter's Basilica Vatican City FLOOR PLAN THROUGH THE YEARS Bramante Michelangelo Carlo Maderna by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE Florence Cathedral (Duomo Santa Maria del Fiore) Florence, Italy Structurally, Florence Cathedral belongs to the Gothic style. Its dome, however, was a forerunner of Renaissance architecture. The idea and plan for the entire building had been conceived in 1293, before the Renaissance period, however, the technology to complete the dome did not yet exist. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE Florence Cathedral (Duomo Santa Maria del Fiore) Florence, Italy It was not until Fillipo Brunelleschi that the Cathedral was finally given a dome, more than a century later. The first architect of the structure is Arnolfo di Cambio Brunelleschi came up with a daring approach to vault the dome space without any scaffolding by using a double shell with a space in between. With over 4 million bricks, a diameter 45.52m and height of 90m, it was the largest dome in the world until 1881. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE Florence Cathedral (Duomo Santa Maria del Fiore) Florence, Italy by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE Basilica of Santa Maria Novella Florence, Italy Santa Maria Novella was the first great basilica in Florence and one of the most well-known examples of early Renaissance architecture in Italy. Its elegant and harmonious marble facade was created by Leon Battista Alberti, who combined the ideals of humanist architecture, proportion and classically inspired detailing. The church holds frescoes by masters of the early Renaissance, including Masaccio’s ‘The Holy Trinity’. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE Tempietto del Bramante Rome, Italy The tiny, round temple by Donato Bramante sits inside the courtyard of the church of San Pietro in Montorio in Rome, on the spot where St Peter was crucified. A small commemorative tomb, the Tempietto (“small temple”) is considered a masterpiece of High Renaissance Italian architecture and thought to be the prototype of St Peter’s Basilica. by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE Basilica of Sant’Andrea Basilica di Sant'Andrea Mantua, Italy One of the most important works of 15th century Renaissance architecture in Northern Italy, the Basilica of Sant’Andrea is considered one of Alberti’s most complete works. Modeled on the Roman triumphal arch, the basilica’s facade is defined by a large central arch flanked by Corinthian pilasters. by: Ar. Jas Reyes RENAISSANCE IN FRANCE by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE CHECK CANVAS MODULE by: Ar. Jas Reyes LIST OF FAMOUS ITALIAN RENAISSANCE BUILDINGS by: Ar. Jas Reyes EXAMPLE STRUCTURES MODULE 3. RENAISSANCE ARCHITECTURE CHECK CANVAS MODULE by: Ar. Jas Reyes  MODULE 3. RENAISSANCE ARCHITECTURE ASSIGNMENT NO. 3 RENAISSANCE ARCHITECTURE by: Ar. Jas Reyes  MODULE 3. RENAISSANCE ARCHITECTURE ASSIGNMENT NO.3 : RENAISSANCE ARCHITECTURE INSTRUCTIONS: Pick one structure from Module 3 (Renaissance architecture). You can use any manual coloring medium available (e.g watercolor, pen and ink, alcohol markers, colored pencils, mixed media.). You can check Module 3: Renaissance architecture for references. by: Ar. Jas Reyes  MODULE 3. RENAISSANCE ARCHITECTURE ASSIGNMENT NO.3 : RENAISSANCE ARCHITECTURE NOTES: Use A4/ Letter size sheet of paper (whichever available) You may use different color mediums BUT NO DIGITAL DRAWINGS. JUST MANUAL DRAWING NO DIGITAL EDITING. ALL SUBMISSIONS SHOULD BE MANUAL. Such as lettering, title block and etc. Include the name of the structure and location Use the title block below, you may use PORTRAIT orientation if you want to, just adjust the title block: STANDARD TITLE BLOCK SHORT BOND PAPER (8.5X11) WITH DIMENSION STANDARD TILE BLOCK SHORT BOND PAPER (8.5X11) WITHOUT DIMENSION Submit in COLLATED PDF FILE. Make sure that your photo is CLEAR and NOT BLURRED before submitting, double check, triple check, Make sure TO SUBMIT THE RIGHT FILE. Wrong submission of file = Zero points. Minus 10% per day of late (and yes, you deduction can be per hour-- so if you submit at 12:30am, a possible 5 point deduction may apply) by: Ar. Jas Reyes  MODULE 3. RENAISSANCE ARCHITECTURE ASSIGNMENT NO.3 : RENAISSANCE ARCHITECTURE WHAT TO SUBMIT: A photo of your work Note: If you are scanning your work, please include a RAW photo of your work, so I can check if no digital edits have been made. Include the photo reference. A photo of you WITH YOUR WORK while WORKING IN PROGRESS and FINISH OUTPUT (not submitting this will result to deduction, this is to verify the work is yours) by: Ar. Jas Reyes  MODULE 3. RENAISSANCE ARCHITECTURE END OF MODULE 03 GET READY FOR A SHORT QUIZ NEXT MEETING NEXT TOPIC: MODULE 4: BAROQUE AND ROCOCO ARCHITECTURE by: Ar. Jas Reyes