Renaissance Architecture PDF

Module 03 Renaissance Architecture History of Architecture 02 Archt. RALPH INTAL School of Engineering, Architecture, and Technology National University - Baliwag 1st Trimester, 2024-2025 Europe RENAISSANC...

Module 03 Renaissance Architecture History of Architecture 02 Archt. RALPH INTAL School of Engineering, Architecture, and Technology National University - Baliwag 1st Trimester, 2024-2025 Europe RENAISSANCE ARCHITECTURE RENAISSANCE from the Italian word: Rinascimento, from ri - again and nasare – be born marked by a new concept of “rebirth” of the spirit of Classical antiquity - return to Classical decorative and building elements architectural development that started after Gothic when the power of the religion (papal authority) returned to Rome, Italy and succeeded by Baroque begun in Florence in 1420; associated with growing secularism and renewed interest in Ancient Roman civilizations started with the work of FILIPPO BRUNELLESCHI for the dome of Florence Cathedral created for and patronized by the merchant-aristocrat families EMERGENCE OF THE NEW ARCHITECT- designers were no longer craftsmen but creative and versatile artists who assumed the role of scientist and cultured men. The architect was considered a DIVINELY-INSPIRED GENIUS. Intensified concern with secular life interest in humanism and assertion of the importance of the individual Printing Press – invented in 1450 enabling the architects in other European countries to acquire copies of treaties and key drawing Age of Humanism – a new focus on earthly fulfilment rather than a preparation for paradise (heaven). Anthropometrics – re-evaluation of the human form Linear Perspective - Brunelleschi codified the principles of geometrically accurate linear perspective, making possible the exact representation of a 3- dimensional object on a 2- dimensional surface. PLANAR CLASSICISM The walls of a Renaissance building (both exterior and interior) are embellished with classical motifs of minor physical depth, such that they intrude minimally on the two- dimensional appearance of the walls. CITY PLANNING was based on radial (extended arm) street systems and planned geometric principles around important monuments, fountains and obelisks ARCHITECTURAL CHARACTER PLAN symmetrical and proportion, based on module of square and rectangles FACADE symmetrical around their vertical axis, domestic buildings are often surmounted by a cornice QUOINS RUSTICATION DOME crowned with a lantern and the pointed arch of the Gothic was changed into Roman circular arch VAULT characterized by semi-circular vaults without ribs and depends for effect on colored frescoes PEDIMENTS Triangular, semi- circular, and broke RENAISSANCE ARCHITECTURE IN ITALY PALAZZO - Rectangular in plan, with interior courtyard and arcades, horizontal emphasis based on Roman buildings, ornamentation from Classical sources; rusticated wall treatment - Italian palazzi, as against villas which were set in the countryside, were part of the architecture of cities, being built as town houses, the ground floor often serving as commercial premises PALAZZO MEDICI-RICARDI PALAZZO RUCELLAI CHURCH - compact and centralized with a dome - stylar treatment at façade or ornate clustering of columns and pilasters - life size statues and niches ST. PETER.S BASILICA EARLY RENAISSANCE ARCHITECTURE concepts of architectural order were explored and rules were formulated. The study of classical antiquity led in particular to the adoption of Classical detail and ornamentation. Space was organised by proportional logic, its form and rhythm subject to geometry. FLORENCE CATHEDRAL  Is a classic architectural treatise written by Leon Battista Alberti between 1443 and 1452. Although largely dependent on Vitruvius' De architectura, it was the first theoretical book on the subject written in the Italian Renaissance and in 1485 became the first printed book on architecture. HIGH RENAISSANCE ARCHITECTURE concepts derived from classical antiquity were developed and used with greater surety TEMPIETTO MANNERISM Where High Renaissance art was natural, graceful, balanced and harmonious, the art of Mannerism was quite different. While technically masterful, Mannerist compositions were full of clashing colors, disquieting figures with abnormally elongated limbs, (often torturous-looking) emotion and bizarre themes that combined Classicism, Christianity and mythology PALLADIANISM - balance, proportion and a sense of harmony were derived from a deceptively simple play of Palladian elements VILLA ROTONDA VILLA ROTONDA BAROQUE ARCHITECTURE strict symmetry and equilibrium were replaced with experiments with massing; free and sculptural use of Classical orders and ornament, dynamic opposition and interpenetration of spacesuse of S-curves, undulating facades and plans based on ovals extreme form of theatricality like a set of a theater; materials transmuted of illusionist effect FAUX MARBLE False marble, fake exaggerated stucco TROMPE L’OEIL is an art technique that uses realistic imagery to create the optical illusion that depicted objects exist in three dimensions. Forced perspective is a comparable illusion in architecture. ROCOCO -Characterized by natural decorations; leaf and branch shapes, sea shapes such as shells, corals, seaweeds, C and S-shaped scrolls - Architecture is more simple – rooms were rectangular with the rounded corners, painted in ivory or pastel tone, no pilasters, simple mouldings – to give emphasis to the gold arabesque decorations ARABESQUE - ornaments consisting of garlands of foliage with figures, fancifully interlaced to form graceful curves and painted, inlaid, or carved in low relief EXAMPLES  OSPEDALE DEGLI INNOCENTI (HOSPITAL OF THE INNOCENTS) FOUNDLING HOSPITAL FILIPPO BRUNELLESCHI PALAZZO MEDICI RICARDI MICHELOZZO PALAZZO RUCELLAI LEON BATTISTA ALBERTI LAURENTIAL LIBRARY MICHAELANGELO IL REDENTORE ANDREA PALLADIO IL GESU GIACOMO DA VIGNOLA GIACOMO DELLA PORTA THE CAPITOLINE HILL MICHAELANGELO END…