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ARCH225
| Question | Answer |
|---|---|
| Humanism | the study and dissemination of the cultures of ancient greece and rome by renaissance scholars |
| Florence | Brunelleschi Michaelangelo Michelozzo Alberti |
| Rome | Bramante Raphael Sangallo Michelangelo |
| Venice | Serlio Scamozzi Romano Palladio |
| Vitruvius | trained in architecture 10 Volumes on architecture Principles:durability, functionality, and beauty |
| Characteristics of Renaissance architecture (1) | Space Organized by proportion and logic geometry > intuition believed in whole number ratios believed that anyone would experience the harmony of architecture look to classical antiquity for inspiration adapted classical orders use of symmetry |
| Characteristics of Renaissance architecture (2) | Use of the repeated module Design of plan integrated with the design of facade Pilaster and entablatures in proportional relationship developed by architects who wanted to revive a "golden age" |
| Renaissance Cultural Context | developed a new merchants class gave rise to professional architects changes in society-new building types required architecture became a theoretical discussion as well as a practice |
| Spirit of the renaissance | italy remained an assemblage of divided but vigorous city-states trade flourished france and england were unified monarchies wealthy merchants became patrons wanted to show they were aware and educated |
| Late 14th early 15th centuries | italian city states develop as powerful trading centers Pope returns to Rome establishes Papal court |
| Filippo Brunelleschi | became an architect invented tools to build his great dome for the cathedral of florence codified perspective drawing |
| Ospedale degli Innocenti | hospital of the innocents first project as architect in Florence corinthian columns, raised on a base of nine steps identical colonnade built directly facing hospital controlled public space with equestrian statue |
| Forum of Trajan | precedent for Brunelleschi's work constructed linear perspective rational clarity perfect square height of column and depth of arcade the same |
| Church of San Lorenzo | resembled the early Christian basilicas Side aisles behind a row of Corinthian columns Flat coffered ceiling width of bay is half the height of columns more in tune with the slenderness of the columns ordered geometry underlies the space |
| Church of Santo Spirito | no need to work with ancient building clear in use of geometry to determine space modular planning (like roman town plan) classical elements dominate interior |
| Capella Pazzi | for a familial that became rivals of the Medici porch resembles a triumphal arch correspondence between plan and elevation typical of renaissance based on numerical ratios, classical language, local building practices barrel vault portico |
| Santa Maria Degli Angeli | central plan church without a dome similar to central plans of Ravenna domed octagon SKETCH. |
| Duomo of Santa Maria del Fiore | Brunelleschi's greatest contribution followed earlier plan of smaller church, idea to build larger to rival cities ribbed dome based on a pointed arch solving the problem of large scale domes product of gothic structure and classical motifs |
| Baptistry (Florence) | structural concept for dome derived from baptistry octagonal was to be more than 1/3 wider and twice as tall |
| Giotto Campanile (Florence) | Giotto's bell tower medieval concept transition to the restraint of the Renaissance |
| The Basilica (Florence) | gothic beginnings: high nave, side aisle, Gothic decorative program |
| Michelangelo Buonarroti | Sistine Chapel considered himself a sculptor, not an architect |
| Monastery of Saint Lorenzo | how michaelangelo became architect for Medici family tomb |
| Medici Chapel | division of space horizontally and vertically geometric shapes ratios purely sculptural elements |
| Capella Pazzi | three dimensionality of the space, not decorative program on walls |
| Laurentian library | shape of the reading room and vestibule present challenges pilasters, tabernacles give the spar scale and proportion shaping space for strong emotional reactions Vestibule-no structural logic, blank windows, columns not on a base |
| Palazzo Farnese | added sculptural elements architecture as a civic duty new ethic for patronage gave the city new sense of cohesion and scale |
| Palazzo Medici (Florence) | courtyard plan heavy masonry blocks large cornice cubic form and rustication slightly oblique shape |
| Palazzo Antinori | modeled on the Medici palazzo show how tightly fit into the urban fabric full facade not easily seen bioforium windows with round arch use of classical orders on the facade |
| Palazzo Rucellai | use of geometry that rules the facade symmetry pilasters mark a proportional grid pilasters on each story were shortened stone bench, rusticated base, classical cornice, colonnaded courtyard flatness |
| Leon Battista Alberti | achieve fame through knowledge urged the republican ideal of moderation wrote his own treatise on arch, also on painting and sculpture |
| Santa Maria Novella | started as gothic church alberti clad facade in green and white marble added the greek temple front on top proportioning system clear on the facade |
| San Francesco, Rimini | resurrecting of the 13th century gothic church as a mausoleum |
| Arch of Constantine vs. Aqueducts, Rome | arches on the facade inspired by the nearby aqueducts and triumphal arches plus ones Alberti had seen in Rome |
| San Sebastiano, Mantua | groined vault over a central space with barrel vaults extending over the entry and side chapels groined vault affects the quality of light on the interior |
| Saint Andrea, Mantua | simple geometric forms repetition of the system of the facade rare example of an organic correspondence between interior and exterior |
| Venice | locale of humanist impulses learning and exploration as well as civic mindedness city sponsored public spaces, bridges, and markets wealth through trade |
| Piazza San Marco | Doges Palace and the Piazza repeated the relationship of the Byzantine imperial palace elongated and surrounded by three stories of unified arcaded facades |
| Piazetta, Venice | columns of justice framed by the Doges palace and the library of St. Marks |
| Church of San Marco | central plan Greek cross, not basilican plan double dome construction crowned with bulbous lanterns strong ties to Byzantium and Arabic styles |
| Doges Palace | facade was to convey the sense of grandeur, transparency, and accountability that doges were supposed to represent associated with republic ideology ground level colonnade, upper level trefoil and quatrefoil cathedral like tracery |
| Fondaco dei Tedeschi | pales of the wealthy merchants located on grand canal commercial functions on the ground floor with living space above wraps around a central court |
| Ca' Loredan and Ca' Farsetti | variety of window styles and placements large quantity of windows lack of battlements and towers |
| Cancelleria | statement of the secular swallowing the church smooth ashlar rustication at its base paired corinthian pilasters round headed windows symmetry harmonious proportion use of classical orders |
| Donato Bramante | large scale building projects in Rome follow rules and begin to bend them more depth on the facade paired Doric half columns very correct classical entablature |
| Santa Maria Della Grazie, Milano | bramante designed tribune and dome |
| Tempietto San Pietro, Montorio | bramante would learn the rules of classicism in Rome classical ideal of a central plan church in the tempietto meant to sit in a round enclosure rather than a square one more sculptural building dome sits on a very high drum |
| Basilica di San Pietro, Vaticano | Bramante took charge envisioned a concentrically ordered central plan place the hemispherical dome of the pantheon on the coffered vaults create "great buildings seemingly made by god" |
| Belvedere Courtyard | bridge space between vatican palace and belvedere villa terraced gardens enclosed by arcaded wings grandeur exceeding the reach of Julius moved away from ideal towards more freedom first great landscaped urban space of the Renaissance |
| Raphael Sanzio | appointed master for new plan for St. Peter's School of Athens was intended to be interior of the new St. Peter's |
| Loggia of the Villa Madama | Raphael designed a villa incorporating spatial plasticity introduced by Bramante based on Basilica Constantine in Rome strictly symmetrical classical language classical planning symmetry axiality spatial sequences hierarchies |
| Mannerism | architects of the late renaissance favored disharmony, discord, imbalance, tension, distortion, and unresolved conflicts were not disciplined |
| Mannerist Urban Design | urban relations between existing buildings and new construction open-ended interactive urban ensemble stressed the dynamics of motion and change over time |
| Campidoglio, Rome | site of Rome's communal government total redesign of the entire space originally an unpaved skewed space between the senators palace and the conservator's palace skewed alignment shaped space around that trapezoid focal point symmetrical plan |
| Basilica di San Pietro in Vaticano | huge dome was intended to project authority and confidence dome raised on drum, allows light to enter double shell dome with ribs derived entire building becomes sculptural contrast to gothic and classical |
| Venice: Mannerism | humanists drive to Venice after sack of Rome |
| Sebastiano Serlio | popularized the design methods and style of Papal Rome influence taste for classical architecture clarified rules of classical architecture welcomed possibility of invention |
| The Loggia | tightly packed triumphal arch between the piers |
| Library of St. Mark's | state architect in venice worked on public projects |
| La Zecca | standard system of classical elements invention or variation |
| Giulio Romano | saw around him the ruins of antiquity one of the most important Mannerist architects not interested in mere imitation of the past |
| Palazzo Te | Giulio Roman use of colossal Doric pilasters paired pilasters replaced the single column rear facade shows the spacing of pilasters |
| Andrea Palladio | relied on facade solutions of Bramante and Raphael wraps existing structure which had partially collapsed |
| Palazzo Thiene | Palladio and Romano urban palazzo on a tight site two story facade heavily rusticated base |
| Palazzo Chiericati | urban palazzo for a politician palladio would become most famous for his rural villas |
| Basilica, Vicenza | wrapped existing structure in two level portico |
| Olympic Theater | brought Palladio's universe in a single vision curved seating triumphal arch with three openings straight streets radiating into background |
| Il Redentore | stilted dome overlaying of classical temple fronts sculptural but still flat |
| Saint Giorgio Maggiore | overlaid smaller scaled temple front with a taller central one supported on colossal columns |
| 16th and 17th century spain | "The Most Catholic Nation" Serlio popularized design methods and styles associated with papal Rome Correct Classicism in architecture encouraged correct attitudes in both religion and government the undecorated style |
| San Lorenzo at Escorial | Terraced gardens Gridded plan huge facade correct classicism very sever facade undecorated apses of St. Peter's Dome set on columns Rigid order and symmetry |
| Plaza Mayor Madrid | Orthogonal grid planning open space based on repeated ratio comes from square grid of Romans Rectangular clean open space commercial uses on lower level residential uses above first floor repeated module in colonizing |
| The Persian Renaissance | architectural ideas transmitted through professionals and local builders Characteristics: persian arch, pishtaq facade, nine square plan, bulbous domes construction of great domes and exquisite gardens conveying visions of paradise |
| The Great Mosque of Bibi-Khanym | persian architecture brought into central asia initiated by ruler Timur Iwan |
| Iwan | rectangular hall or space, vaulted, walled on three sides, one side completely open |
| End of 16th Century | doubles the size of the city new imperial palace with geometric gardens in a walled compound additions to the Great Mosque introduction of large square may dan surrounded by monuments |
| The English Renaissance | After the great fire of 1666 the English country house the English Neo-Palladians |
| Villa Foscari | palladio's adaptation of the classical temple facade to a secular building combined a monumental residence with utilitarian structures of a working farm |
| Villa Barbaro | Roman agricultural villas served as inspiration for late renaissance villas Palladio made a significant contribution to the development of residential design |
Created by:
BurtonBurlington