Week 6 Rise of Renaissance PDF

RISE OF THE RENAISSANCE ARCH 2027 HISTORY AND THEORY OF ARCHITECTURE II Presentation - 06 Berna Yaylalı (PhD) & “Man is the measure of all things.” (Protagoras, 490-420 BC)...

RISE OF THE RENAISSANCE ARCH 2027 HISTORY AND THEORY OF ARCHITECTURE II Presentation - 06 Berna Yaylalı (PhD) & “Man is the measure of all things.” (Protagoras, 490-420 BC) Let’s remember… The above phrase from Plato’s 4th-century B.C. dialogue Protagoras can be recognized as the motto of the Renaissance architecture. Our perspective determines how we see the world  one point perspective  Albertian perspective. Our measure of the world has been anthropic – the way we record our surroundings is rooted in human terms. A good example of Plato’s statement is very pragmatic and the first unit of actual physical measurement was not a ruler, but our own bodies. The Vitruvian Man by Leonardo da Vinci (1452-1519) is accompanied by notes based on the work of the architect Vitruvius. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm). Leonardo da Vinci, The Vitruvian Man, 1487 He believed the workings of the human body to be an analogy for the workings of the universe. (Britannica)  Let’s remember… “Temple of Vesta,” Rome, ITALY, 205 AD  Architectural qualities of the Renaissance Let’s remind… Please pay attention to that the basilica typology that we had seen in Early Christian period Eski Aziz Petrus Bazilikası, plan ve kesit, Vatikan, 326-360 (3rd-7th centuries) was conserved in the Renaissance with all its intrinsic proportions and the style of spatial definition. Filippo Brunelleschi, san Lorenzo church, Florence, Italy (the first building: 393) 1470 (Renovation)  (Britannica) Architectural qualities of the Renaissance As in the Classical period, "proportion" was the most important factor of beauty; Renaissance architects found a 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. Filippo Brunelleschi is considered the first Renaissance architect. Filippo Brunelleschi, Basilica of Santa Maria del Fiore, Florence, Italy (the first building: 393) 1470 (Renovation)  (Britannica) Architectural qualities of the Renaissance Brunelleschi rediscovered the principles of linear-perspective construction known to the Greeks and Romans but buried along with many other aspects of ancient civilization during the European Middle Ages. Because of the appreciation of the Classical, the obsession with proportion seen in the Renaissance architects resulted in that the architectural spaces and masses were composed clearly with a simplistic and defined geometry. This feature is the most important one for distinguishing the masses and plans of the Renaissance architecture from the Gothic: the observer can comprehensively grasp the space at first glance. A diagram from Brunelleschi’s linear perspective experiment  (Britannica) Architectural qualities of the Renaissance Apart from the Doric and Tuscan styles, Ionic, Corinthian and composite styles were used in this period (the latter is called Composite because its capital is composed of Ionic volutes and Corinthian acanthus-leaf decoration). Renaissance architects could use many styles/orders at the same building. The five orders adopted in Renaissance: Doric, Ionic, Corinthian, Tuscan, Composite Sistine Chapel, Pietà, David, 1508-1512 1498-99 1504 paintings and sculptures by Michelangelo Tomb of Medici, 1527 Sistine Chapel, 1508-1512 paintings and sculptures by Michelangelo (the beginning of the 16th Century San Lorenzo Church, Florence, ITALY, 1515  Michelangelo Buonarroti, Facade for San Lorenzo Church, Florence, ITALY, 1515  Michelangelo Buonarroti, Facade for San Lorenzo Church, Florence, ITALY, 1515 Michelangelo, “Laurentian Library,” designed 1525 Michelangelo, “Laurentian Library,” designed 1525 Michelangelo, “Laurentian Library,” designed 1525 Michelangelo, “Laurentian Library,” designed 1525 Michelangelo,“Tomb of Giuliano de Medici,” 1526-33; Florence, ITALY  Mannerism / 1525 – 1600 The word of Mannerism (Italian Manierismo) comes from maniera, which means “manner,” or “style.” It was an artistic style that predominated in Italy from the end of the High Renaissance in the 1520s to the beginnings of the Baroque style around 1590. The Mannerist style originated in Florence and Rome and spread to northern Italy and, ultimately, to much of central and northern Europe. The term was first used around the end of the 18th century by the Italian archaeologist Luigi Lanzi to define 16th-century artists who were the followers of major Renaissance masters. Parmigianino, Madonna with the Long Neck, Italy, 1534 - 1540 (Britannica)  Mannerism / 1525 – 1600 Mannerism originated as a reaction to the harmonious classicism and the idealized naturalism of High Renaissance art as practiced by Leonardo, Michelangelo, and Raphael in the first two decades of the 16th century. In the work of the Renaissance artists’ Mannerist successors, an obsession with style and technique in figural composition often outweighed the importance and meaning of the subject matter. Mannerism role-model: Laocoön and His Sons, an ancient Mannerists attach importance to the sculpture, rediscovered in 1506; now in the Vatican. The achievement in the emphasis of the feelings artists of Mannerism greatly admired this piece of sculpture. and meanings. (Britannica) Mannerism / 1525 – 1600 In Mannerism, Harmony, clarity and calmness of the Renaissance was criticized; instead of these features, sophistication, complexity and innovation were adopted. Mannerist architecture was characterized by visual trickery and unexpected elements that challenged the Renaissance norms. Mannerist architects—like the ones of Renaissance—also imitated the Classical Roman architecture, but they thought that there were other important principles in Roman architecture that should be emphasized. In fact, the Mannerist architects had examined and understood the Classical architecture much more than the Renaissance architects’. Giorgio Vasari, Uffizi Gallery – Vasari corridor, exterior view, Florence, Italy, 1581 For example, Giorgio Vasari had not been only enlightened by the Classical architecture, but also he had developed his own free style of architecture with subtle escapes from the Classical rules. (Britannica) Andrea Palladio (1508-1580) - Craftmanship background: stone carver - Amateur architect of large countryside estates -Educated in architecture by travelling to Rome to study ancient Roman architecture in place “I Quattro Libri dell'Architettura” (“The Four Books of Architecture”) 1570 - Architecture as a union of sciences and arts - The universal truth of mathematics is valid for architecture - Practical concerns: to simplify understanding of ancient architecture Book 1 Building materials, techniques, the five orders, parts of a classical building Book 2 Private houses (Palladio’s designs and Roman reconstructions) Book 3 Streets, piazzas, bridges, basilicas (Palladio’s designs and Roman reconstructions) Book 4 Roman temples illustrations from Palladio’s “Quattro Libri”  Andrea Palladio, “Elevation of the Pantheon,” from the Quattro Libri d’Architettura, 1570  “THE PALLADIAN VILLA” Geometry of the villa’s plan is always emphasized. A large Hall on the central axis; Two or three rooms at the sides; Spare rooms and staircases in between Palladio, Villa Foscari, Villa Foscari, photo by Paolo Abete  Andrea Palladio, Villa Capra, nicknamed “Villa Rotonda” near Vicenza, ITALY, 1566-69): a suburban home for retirement  “Villa Capra La Rotonda,” Andrea Palladio, ITALY, 1567-1592 Mannerism / 1525 – 1600 Elegance, creativity, and diversity in form dominated 16th-century architecture in Florence and Rome. Andrea Palladio adopted these features in his architecture, and was recognized as the most important architect of 16th- century Italy. Palladio explained his own architectural style in his treatise titled The Four Books of Architecture (1570); he announced in this book that Vitruvius was his guide and master. Especially for the villa plan-typology, the Palladian architecture has the Andrea Palladio, Villa Capra “La Rotonda,” Vicenza, Italy, 1566 - 1571 following features: symmetrical side wings, a cross plan having four same facades to four directions with equally sized arms, and centralized spatial organization. (Britannica) Andrea Palladio, Villa Capra “La Rotonda,” Vicenza, Italy, 1566 - 1569 Andrea Palladio, “Palazzo Chiericati,” Vicenza, ITALY, 1550 Other Mannerist examples… Giulio Romano, Palazzo Te, Mantua, Italy, 1524–1534 Other Mannerist examples… Giacomo della Porta, Gesù Church, Roma, Italy, 1568 - 1580 RENAISSANCE URBANISM REAL CITIES and IDEAL CITIES “Pienza is considered to be the incarnation of a Renaissance utopia and an ideal city. Pienza was realized by the request of Pope Pius II, from whom the city’s name derives. Upon being named Pope in 1458, Pius began to dream up a new design for his native town, and entrusted his dream with Bernardo di Matteo Gambardelli, an apprentice of the famous architect and scientist Leon Battista Alberti. The geometric perspective, the impressive volumes of the Cathedral and of Palazzo Piccolomini, and the utilization of space in the Medieval borgo’s center represent a remarkable testimony to the architectonic genius of the epoch. ” Pienza, ITALY (a small town near Siena) Piazza Pio II Pienza, ITALY designed by Pius II and Bernardo Rosselino, 1459-62 1. Palazo Piccolomini 2. Duomo 3. Palazzo Vescovile 4. Canonica 5. Palazzo Comunale 6. Palazzo Ammannati 7. Palazzo Jouffroy 8. Palazzetto Bernardo Rossellino, Palazzo Piccolomini, Pienza, ITALY, 1462 Bernardo Rossellino, Palazzo Piccolomini, Pienza, ITALY, 1462 courtyard Antonio di Pietro Averlino (known as “Filarete”), “Ideal City of Sforzinda,” 1461-64 The intention is to teach Francesco Sforza (The Duke of Milan) about architecture, to point to the errors of Gothic style and the superiority of the “Antique style”. 8 towers are linked by a circular moat. 8 canals and 8 streets pass through a central square. Streets slope to the periphery for drainage purposes. 16 squares: alternating churches and specialized markets. The center: Piazza surrounded by the Cathedral, Ducal Palace and Law Courts. Flanking piazzas: Town Hall, Prison, Mayor’s Palace, Markets, Baths, Brothels, Taverns, and Inns. Each of the outer points of the star had towers, while the inner angles had gates. Vincenzo Scamozzi, Palmanova, ITALY, 1598 Vincenzo Scamozzi, Palmanova, ITALY, 1598