Renaissance Architecture
Transcription
Renaissance Architecture
Renaissance Architecture Week-9 Florence as the “birthplace” of “renaissance”: The word derrived from Italian “la rinascita” which means “rebirth”, revival of classical antiquity. The word first appeared in Giorgio Vasari’s book – The Lives of the Artist, 1550-68 § economic expansion and concentration of wealth: MERCHANTS § change in the moral and intellectual attitudes towards wealth and its use: emergence of a new class of patrons: MERCHANTS § role played by ARCHITECTURE and HUMANISM (humanistas) § Renaissance (ca1400-1500) High- Renaissance (ca.1500-1550) Mannerism (ca.1550-1600) • Renaissance (ca1400-1500) 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, as an element of architecture, was utilised differently from the way it had been in the Middle Ages. Space was organised by proportional logic, its form and rhythm subject to geometry, rather than being created by intuition as in Medieval buildings. The significant example of this is the dome of The Basilica di Santa Maria del Fiore in Florence (Duomo) by Filippo Brunelleschi. • High- Renaissance (ca.1500-1550) during the High Renaissance, concepts derived from classical antiquity were developed and used with greater surety. The most representative architect is Bramante (1444–1514) who expanded the applicability of classical architecture to contemporary buildings. His San Pietro in Montorio (1503) was directly inspired by circular Roman temples. He was, however, hardly a slave to the classical forms and it was his style that was to dominate Italian architecture in the 16th century. • Mannerism (ca.1550-1600) during the Mannerist period, architects experimented with using architectural forms to emphasize solid and spatial relationships. The Renaissance ideal of harmony gave way to freer and more imaginative rhythms. The best known architect associated with the Mannerist style was Michelangelo (1475–1564), who is credited with inventing the giant order, a large pilaster that stretches from the bottom to the top of a façade. He used this in his design for the Campidoglio in Rome. Renaissance Architecture - Revival of the order of the past -the golden age of the architecture – Greek and Roman Architecture The obvious distinguishing features of Classical Roman architecture were adopted by Renaissance architects. However, the forms and purposes of buildings had changed over time, as had the structure of cities. Among the earliest buildings of the reborn Classicism were churches of a type that the Romans had never constructed. Neither were there models for the type of large city dwellings required by wealthy merchants of the 15th century. The ancient orders were analysed and reconstructed to serve new purposes. The Vitruvian Man is a drawing created by Leonardo da Vinci circa 1490 Leon Battista Alberti, Ten Books on Architecture (De Re Aedificatoria) (1450) Architectural Theory During the Renaissance, architecture became not only a question of practice, but also a matter for theoretical discussion. Printing played a large role in the dissemination of ideas. The first treatise on architecture was De re aedificatoria (On the Art of Building) by Leon Battista Alberti in 1450. It was to some degree dependent on Vitruvius' De architectura, a manuscript of which was discovered in 1414 in a library in Switzerland. De re aedificatoria in 1485 became the first printed book on architecture. The treatise of Antonio di Pietro Averlino also known as Filarete completed his substantial book on architecture some around 1464, which he referred to as his Libro Architettonico (Architectonic book). Sebastiano Serlio (1475 – c. 1554) produced the next important text, the first volume of which appeared in Venice in 1537; it was entitled "Regole generali d'architettura (General Rules of Architecture). In 1570, Andrea Palladio (1508–1580) published I quattro libri dell'architettura (The Four Books of Architecture) in Venice. This book was widely printed and responsible to a great degree of spreading the ideas of the Renaissance through Europe. All these books were intended to be read and studied not only by architects, but also by patrons. Filarete's Treatise on Architecture and the ideal city of Sforzinda (1461-62) Palmanuova- Italy Filarete’s ideal city – Sforzinda. The plan of visionary ideal city, Sforzinda. It was designed by renaissance architect Antonio di Pietro Averlino, also known as Filarete. Although Sforzinda was never built, certain aspects of its design are described in considerable detail. The basic layout of the city is an eight point star, created by overlaying two squares so that all the corners were equidistant. This shape is then inscribed within a perfect circular moat. In terms of planning, each of the outer points of the star had towers, while the inner angles had gates. Each of the gates was an outlet of radial avenues that each passed through a market square, dedicated to certain goods. All the avenues finally converged in a large square which was centrally located. The town contained three squares – one for the prince’s palace, one for the cathedral, and one for the market. The design of Sforzinda may have been in part a direct response to the congested cities of the Medieval period, whose organic growth did not ordinarily depend on conscious city planning, which meant they could be difficult to navigate or control. In part, the Renaissance humanist interest in classical texts may have stimulated preoccupations with geometry in city layouts, as for example, in Plato's description of Atlantis. Filarete’s ideal plan was meant to reflect on society – where a perfect city form would be the image of a perfect society, an idea that was typical of the humanist views prevalent during the Renaissance. The Renaissance ideal city, ironically, implied the centralized power of a prince in its organization, an idea following closely on the heels of Dante’s that “The human race is at its best under a monarch.” Francesco di Giorgio Martini – Treatise on Architecture, (1480-90). The illustration represents the human body as the symbolic equivalent of a city and a castle. The church is located at the heart while the city centre (the piazza) around the navel. Palmanova is a city in Italy constructed during the renaissance by Vincenzo Scamozzi and it is a city built following the ideals of a utopia. It is a concentric city with the form of a star, with three nine sided ring roads intersecting in the main military radiating streets. It was built at the end of the 16th century as a fortress by the Venetian Republic which was, at the time, a major center of trade. During the renaissance many ideas of a utopia, both as a society and as a city, surfaced. Utopia was considered to be a place where there was perfection in the whole of its society. This ideas started by Sir Thomas More, when he wrote the book Utopia. The book described the physical features of a city as well as the life of the people who lived in it. The shape is also comes from cosmological ideas. It is believed that circle is the most perfect of all geometries, because the radii are equidistant at all points, and it is a mirror of a harmonious cosmic order. In the Catholic religion, as well as the pagan religions, the circle is the basis of everything created. It represents perfection, as well as the cycle of life and death. Florence in the 15th Century Florence in 15th Century Florence Cathedral - The Basilica di Santa Maria del Fiore - Duomo The Basilica di Santa Maria del Fiore – The dome by Filippo Brunelleschi, 1404-20 The Ospedale degli Innocenti (Hospital of the Innocents) is a historical building in Florence, Italy. Designed by Filippo Brunelleschi, and funded by Medici Family for used as children's orphanage. It is regarded as a notable example of early Italian Renaissance architecture. Brunelleschi's design was based on Classical Roman, Italian Romanesque and late Gothic architecture. But the use of round columns with classically correct capitals, in this case of the Composite Order was novel. So too, the circular arches and the segmented spherical domes behind them. Also novel was the proportional logic. The clean and clear sense of proportion is reflected in the building. The heights of the columns, for example, was not arbitrary, the width of the intercolumniation and the width of the arcade is equal to the height of the column, making each bay a cube. The simple proportions of the building reflect a new age, of secular education and a sense of great order and clarity. Brunelleschi Cosimo de Medici’ye San Lorenzo’nun maketini sunuyor Palazzo Vecchio, Floransa’da fresk, Giorgio Vasari (16. yy.) Santa Maria Novella, Florence, by Leon Battista Alberti, 1470 The façade of Santa Maria Novella, completed by Leon Battista Alberti in 1470. The façade of Santa Maria Novella, completed by Leon Battista Alberti in 1470. video Basilica of Sant'Andrea, Mantua, Leon Battista Alberti (1462) Basilica of Sant'Andrea, Mantua, Leon Battista Alberti (1462) • "...[The] avowed architectural aim, to schematize in the spatial form of the church the immanent, harmonious order of the world, found majestic realization in Alberti's own church of Sant' Andrea in Mantua. This was his final architectural work... and it carries out these theoretical ideas with perfect artistic clarity.« • "On the facade, [Ablerti] combined two of his favorite ancient images—the pedimented temple front (pilasters, entablature, trabeation, and triangular pediment) and the triadic triumphal arch (arched central section and lower portals on either side). The height of the facade equals its width, but the barrel vault of the nave reached well above the apex of the pediment, which was also surmounted by a large canopy over the nave window. Alberti therefore disassociated the facade from the body of the church by turning it into an independent narthex one bay deep with its own system of coffered barrel vaults and a design combining the image of a triumphal arch with that of a Classical temple front." Basilica of Sant'Andrea, Mantua, Leon Battista Alberti (1462) San Sebastiano Church Mantua, Leon Battista Alberti (mid 1470) San Sebastiano Church Mantua, Leon Battista Alberti (mid 1470) The Vitruvian Man is a drawing created by Leonardo da Vinci circa 1490. It is accompanied by notes based on the work of the architect Vitruvius. The drawing depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions. The drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius treatise De Architectura. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. Vitruvius determined that the ideal body should be eight heads high. This image exemplifies the blend of art and science during the Renaissance and provides the perfect example of Leonardo's keen interest in proportion. Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmography of the microcosm. He believed the workings of the human body to be an analogy for the workings of the universe. • • • • • • • • • • • • • • • the length of the outspread arms is equal to the height of a man from the hairline to the bottom of the chin is one-tenth of the height of a man from below the chin to the top of the head is one-eighth of the height of a man from above the chest to the top of the head is one-sixth of the height of a man from above the chest to the hairline is one-seventh of the height of a man. the maximum width of the shoulders is a quarter of the height of a man. from the breasts to the top of the head is a quarter of the height of a man. the distance from the elbow to the tip of the hand is a quarter of the height of a man. the distance from the elbow to the armpit is one-eighth of the height of a man. the length of the hand is one-tenth of the height of a man. the root of the penis is at half the height of a man. the foot is one-seventh of the height of a man. from below the foot to below the knee is a quarter of the height of a man. from below the knee to the root of the penis is a quarter of the height of a man. the distances from below the chin to the nose and the eyebrows and the hairline are equal to the ears and to one-third of the face. Francesco di Giorgio Martini – Treatise on Architecture, (1480-90). Francesco di Giorgio Martini – Treatise on Architecture, (1480-90). Santa Maria degli Angeli, Florence, by Filippo Brunelleschi. The project was commissioned by the Medici family to design an oratory for the monastery in 1434. It was located at the corner of the property, along the outer wall. Sketches for central plan churches, Leonarda da Vinci (c.1480) St. Peter's Basilica is a Late Renaissance church located within Vatican City. Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and remains one of the largest churches in the world. While it is neither the mother church of the Roman Catholic Church nor the cathedral of the Bishop of Rome, St. Peter's is regarded as one of the holiest Catholic sites. St. Peter's Square is a massive plaza located directly in front of St. Peter's Basilica in the Vatican City designed by Gian Lorenzo Bernini from 1656 to 1667. Bernini gave order to the space with his renowned colonnades, using the Tuscan form of Doric, the simplest order in the classical vocabulary, not to compete with the palacelike façade, but he employed it on an unprecedented colossal scale to suit the space and evoke emotions of awe. The trapezoidal shape of the piazza, which creates a heightened perspective for a visitor leaving the basilica and has been praised as a masterstroke of Baroque theater, is largely a product of site constraints. San Giorgio Maggiore San Giorgio Maggiore is a 16thcentury church on the island of the same name in Venice, northern Italy, designed by Andrea Palladio, and built between 1566 and 1610. The church is a basilica in the classical renaissance style and its white marble gleams above the blue water of the lagoon. The white façade represents Palladio's solution to the difficulty of adapting a classical temple facade to the form of the Christian church, with its high nave and low side aisles, which had always been a problem. Palladio's solution superimposed two facades, one with a wide pediment and architrave, extending over the nave and both the aisles, apparently supported by a single order of pilasters, and the other with a narrower pediment (the width of the nave) superimposed on top of it with a giant order of engaged columns on high pedestals. San Giorgio Maggiore, Venedik, Andrea Palladio (1560lar) Palazzos and Villas The Palazzo Medici is a Renaissance palace located in Florence, Italy. The palace was designed by Michelozzo di Bartolomeo for Cosimo de' Medici and was built between 1445 and 1460. It was well known for its stone masonry includes rustication and ashlar. The tripartite elevation used here expresses the Renaissance spirit of rationality, order, and classicism on human scale. This tripartite division is emphasized by horizontal stringcourses that divide the building into stories of decreasing height. The transition from the rusticated masonry of the ground floor to the more delicately refined stonework of the third floor makes the building seem lighter and taller as the eye moves upward to the massive cornice that caps and clearly defines the building's outline. Michelozzo di Bartolomeo was influenced in his building of this palace by both classical Roman and Brunelleschian principles. During the Renaissance revival of classical culture, ancient Roman elements were often replicated in architecture. In the Palazzo Medici, the rusticated masonry and the cornice had precedents in Roman practice, yet in totality it looks distinctly Florentine, unlike any known Roman building. Michelangelo's unusual ground-floor "kneeling windows" with exaggerated scrolling consoles appearing to support the sill and framed in a pedimented aedicule a motif repeated in his new main doorway. The new windows are set into what appears to be a walled infill of the original arched opening, a Mannerist expression Michelangelo and others used repeatedly. The open colonnaded court that is the center of the palazzo plan has roots in the cloisters that developed from Roman peristyles. Palazzo Medici Palazzo Strozzi Palazzo Strozzi: The construction of the palace begun in 1489 by Benedetto da Maiano, for Filippo Strozzi. Giuliano da Sangallo provided a wood model of the design. Palazzo Strozzi is an example of civil architecture with its rusticated stone, inspired by the Palazzo Medici, but with more harmonious proportions. Unlike the Medici Palace, which was sited on a corner lot, and thus has only two sides, this building, surrounded on all four sides by streets, is a free-standing structure. This introduced a problem new in Renaissance architecture, which, given the newly felt desire for internal symmetry of planning symmetry: how to integrate the cross-axis. The ground plan of Palazzo Strozzi is rigorously symmetrical on its two axes, with clearly differentiated scales of its principal rooms. Palazzo Strozzi Palazzo Rucellai is designed by Leon Battista Alberti between 1446 and 1451 and executed, at least in part, by Bernardo Rossellino in Florence, Italy. Its facade was one of the first to proclaim the new ideas of Renaissance architecture based on the use of pilasters and entablatures in proportional relationship to each other. The three stories of the Rucellai facade have dif fer ent classical orders, as in the Colosseum, but with the Tuscan order at the base, a Renaissance original in place of the Ionic order at the second level, and a very simplified Corinthian order at the top level. Twin-lit, round-arched windows in the two upper stories are set within arches with highly pronounced voussoirs that spring from pilaster to pilaster. The facade is topped by a projecting cornice. Palazzo Rucellai: The ground floor was for business and was flanked by benches running along the street facade. The second story (the piano nobile) was the main formal reception floor and the third story the private family and sleeping quarters. A fourth "hidden" floor under the roof was for servants; because it had almost no windows, it was quite dark inside. The palace contains an off-center court (three sides of which originally were surrounded by arcades), built to a design that may have been adapted from Brunelleschi's loggia. In the triangular Piazza dei Rucellai in front of the palace and set at right angles to it is the Loggia de' Rucellai, which was used for family celebrations, weddings, and as a public meeting place. The two buildings (palace and loggia) taken together with the open space between them (piazza), form one of the most refined urban compositions of the Italian Renaissance. Villa Rotonda Villa Rotonda is a Renaissance villa just outside Vicenza, northern Italy, designed by Andrea Palladio in 1567-80. The site selected was a hilltop just outside the city of Vicenza. The design is for a completely symmetrical building having a square plan with four facades, each of which has a projecting portico. The whole is contained within an imaginary circle which touches each corner of the building and centres of the porticos. The name La Rotonda refers to the central circular hall with its dome. Each portico has steps leading up, and opens via a small cabinet or corridor to the circular domed central hall. This and all other rooms were proportioned with mathematical precision according to Palladio's own rules of architecture which he published in the Quattro Libri dell'Architettura. The design reflected the humanist values of Renaissance architecture. In order for each room to have some sun, the design was rotated 45 degrees from each cardinal point of the compass. Each of the four porticos has pediments graced by statues of classical deities. The pediments were each supported by six Ionic columns. Each portico was flanked by a single window. All principal rooms were on the second floor or piano nobile. Villa Rotonda Villa Rotonda Villa Rotonda Leonardo Da Vinci – Annunciation, 1475–1480. Uffizi is thought to be Leonardo's earliest complete work. Leonardo Da Vinci – Virgin of the Rocks, Louvre Michelangelo, (c. 1511) The Creation of Adam, from the Sistine Chapel ceiling San Lorenzo Kitaplığı, Floransa, Michelangelo Buonarotti, (1524-34, 1558-59) San Lorenzo Kitaplığı San Lorenzo Kitaplığı San Lorenzo Kitaplığı San Lorenzo Kitaplığı San Lorenzo Kitaplığı