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Hospital of the Innocents, Filippo Brunelleshci, Florence, 1419
Early Renaissance - complex organized around central courtyard - opening: portico, would become typical space of Renaissance; classical architecture deliberately applied - restored classical modular: perfect groin vault, square and circle - Loggia: units of geometric arches with groin vaults, provides shelter on humane scale, new form for period
- pivotal architecture, he made the colonnade the building was already existing.
- corinthian capital with round arches. Dimensions are all proportional between bay and the column back to the wall.
-brunelleschi invented linear perspective
- it has corbels
-arcade colonnade around the front of the building
-rounded archs that spring from column to extend in the back wall (follows rhythm of proportion)
- terracotta medallions of infants
-pietra serena |
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Pazzi Chapel, Filippo Brunelleshci, Florence, 1430-33
- Early Renaissance - idealized form of square and circle in plan and elevation - simplistic structure, 2:1 width to length - located at end of central axis framed by porch of existing structure (linear perspective) - surface decorations, not part of structural form - self conscious revival of classical vocabulary: classical capitals, orders, Roman arches
-chapel built next to church. chapter house for monks
-square and circles (relates to humanism) fufills the logic of geometry and proportion
-reflective ceiling plan
-uses pietra serena
-uses pillasters
-corinthian columns on the exterior (free standing)
perfect embodiment of Renaissance |
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Ruccellai Palace, Leon Alberti, Florence, 1446-1451
- Early Renaissance - residence for aristocracy - more Renaissance spirit than Medici - used double rounded arches within an arch, applied classical order on surface: columns, capitals: delineated bays more clearly - not as strong of contrast between strength and delicacy
-symmetric pilasters. Building is like a drawing (carved into flat wall) 8 bays not that proportional but trying to be. (More refined that Medici) Reference to colosseum.
-3 stories, no rustication -flat planar/ stone veneer -high bays to maintain proportion for pilasters -classical orders on residential architecture -colonnade, cornus |
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Santa Maria Novella (facade), Leon Alberti, Florence, 1456-70
- Early Renaissance - facade for 13-14th c. medieval church - Greek/etruscan temple over Roman triumphal arch - uses styles like a vocabulary, disregards structural logic, reduces everything to surface effect - main structure unrelated to facade
- adds pediment temple to the top be more classical looking.
-facade is very proportional (it has a rigid system)
-existing building -designed the facades -pointed archs were there before -attach pilasters and rounded archs -medieval vs. classical -added scrolls on the side to hide some of the back -The pediment and the frieze are clearly inspired by the antiquity -includes a temple at the top |
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Sant' Andrea, Leon Alberti, Mantua, 1472-94
- Early Renaissance - laryering classical temple shape pediment with triumphal arch - remodeled interior to reflect classical past - interior recalls Roman bath houses
-pillasters
- barrel vault in side aisles & main nave |
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Palazzo Medici, Michelozzo di Bartolomeo, Florence, 1444
- Early Renaissance - residential structure for Medici family - self conscious replacement of verticality with horizontality - sturdy base to lighter, more delicate upper floor (rustication) - large scale unit at base, decreases - visual effect of stability - interior: lighter, open to courtyard
-10 story building disguised as 3 levels (doesn't want to be too flashy) |
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De Re Aedificatoria (Ten Books of Architecture) |
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Leon Alberti, 1452
-Rules on how to build architecture. Theories of beauty: proportion, symmetry, relation of whole to parts.
- ornament : "additional brightness". Theoretical distinction between ornament and structure ambivilance surrpongs the column : it out side or inside.
- archs springed from piers.
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Tempietto, Donato Bramante, Rome, 1502
- High Renaissance - marytrium: commemorates site where St Peter was crucified and died - circular plan was derived from pagan and Christian precedents - Circle: symbolic form of God - interior and exterior interconnected using classical language of Tuscan order - Doric frieze, triglyphs and metopes ornamented with Christian liturgical motifs
-was influenced by Leonardo di Vinci -working with circles -colonnaded with rounded archs -cella (enclosed temple at the center) -domed structure -actual roman columns of granite -entapitures |
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Florence Cathedral "Il Duomo", Filippo Brunelleschi, 1419
- Brunelleschi was trained as a gold smith, and considered 1st Renaissance Architect.
- He created a octagonal ribbed dome for the cathedral. The dome is pointed (not pure renaissance), it has a double shell. The double shell made the dome lighter.
-It is transitional from Rome to renaissance
-cupola on dome
-creates a rib ladder structure (creates a ring on each level) |
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San Lorenzo (Interior), Florence, Filippo Brunellesci, 1421
-only interior -Corinthian columns, curved archs -flat coffered ceilings -plan is a series of squares (humanism with the square and circles) -transcpt and nave -archs that spring from column to extend in the back wall -pilasters -pietra serena -dosserets which raises the height of the columns and provide a sense of proportion
-two side aisles the plan is very proportional (new type of spirituality) |
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Sketches for Centralized church 1490
Leonardo di Vinci -sketches that were never built -circle inscribed in a square |
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St. Peters, Rome, Donato Bramante, 1505
-rebuilt (was a basilican plan at first) -where St. Peters was buried -notion of centralized plan -no longer have greek cross plan -no proper facade, massive dome, colonnades -2 equal aisles -symmetric bay plan, axis is equal, squarish crossings
-symmetrical like a greek-cross, centralized, equal bay |
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Belvedere Court, The Vatican, Donato Bramante, 1505
-terrace courtyard connected to pope's palace -retreat that mimics country life - sloping site which was a landscape project/ proportion -ramping, long wall -beside St. Peters -3 story wall orders (pilasters): referncing colosseum interior wall, colonnades and pilasters
-regularization of irregular space (renaissance ideals)
-leisure place within city |
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Villa Madama, Raphael, Rome, 1516
-house in the city, free from wickedness -concave form for the courtyard. large circular courtyard -place of leisure, portico -one of the first of the revived Roman type of suburban villas -glazed arches of the garden loggia open sided roofed gallery colonnaded space (not an entrance) -plan: long axis that runs perpendicular to the slope of the hillside.
-recreate antique villa
-built for pope |
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St. Peters, Rome, Michelangelo Buonarotti, 1546
-plan is simpler from before -one facade, one true front which resembles the pantheon -colonnaded portico -pilaster system -colossal order which spans over many levels |
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Campidoglio, Rome, Michelangelo Buonarotti, Rome, 1537
-Tradition seat of civic government -two buildings are symmetric (Palazzo dei Conservatory and the Palazzo Senatore) -inserted free standing columns -oval shaped in the middle -statue of Marcus Aurelius -importance/authority, has large church on site, -transforms space by extending a building front which gives off illusion of a square area.
-the buildings are not at right angles but an illusion is created to make it look like they are -columns on the portico
-buildings are mirrored looks very grand |
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Four Books of Architecture |
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Andrea Palladio, 1570
-Theories about domestic buildings, public buildings, urban planning, and temples.
- Found Roman classical architecture as superior. Antiquity
-Veneto, and Terraferma |
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Villa Barbaro, Andrea Palladio, Maser, 1557-58
-magnificent with agriculture -classical with wings that has the farms and the household on wings -The wings have two floors but are fronted by an open arcade. -nymphaeum- pool (greywater) -centralize pavilion with temple front -piano nobile interior (Veronese murals) -symmetric with a pediment -Terraferma
-farm and villa combined
-you are meant to read, fish, hunt there (getting away from it all)
-Palladio is the matron
-wings extending to landscape relating to agriculture
ancient temple front put on a house (crazy aggressive) Did this because the ancient architecture used pediments on houses. Nymphaeu, water used inside house and to water plants. |
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Villa Foscari, Malcontenta, Andrea Palladio, 1559-60
-symmetric with a square plan -temple front, elevated, dogleg stairs that goes to the portico -6 columns with pediment -has a proportional system piano nobile where the 2nd floor is the dwelling -pediment is on the back facade -barreled vaulted system
-less sprawling stair case
-centrality |
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Villa Americo-Capra (Villa Rotunda), Vicenza, Andrea Palladio, 1566-1570
-formal and symmetric -repeated temple front on all four sides -pediments, columns w/ capitals with loggia on each side -ionic columns, smallish dome, rounded archs, square -elevated off the landscape -interior has a series of murals with colonnades -design reflected the humanist values of Renaissance architecture. -space is left over by the sequence
-doesn't have sprawling landscape
-pedimented squares
-put a dome= religious |
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Palazzo Chiericati, Vicenza, Andrea Palladio, 1550-52
-two story colonnaded building -pediment is not found -2nd floor (piano nobile) pushes out central room -symmetric -proportion follows musical order -corner columns clash into each other (four columns) -central five bays project slightly and are separated from the side bays by columns. -the ends of the loggias are walled, -with arched openings flanked by pilasters. -Doric and ionic capitals, entablatures with metopes of disks alternating with bulls' heads, and deep coffered ceilings
- colonnal system
-regular model
-doubles up on columns |
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Basilica, Vicenza, Andrea Palladio, 1549
-Palladian motif :Arch bay with two sided bays -double the columns at the end - loggias in the lower floor: Doric order -entablature has a frieze which alternates metope and triglyphs. -upper-floor loggias, by contrast, are in the Ionic order, with a continuous frieze entablature.
-wraps building with 2 story colonnade
-archs need to be at human scale |
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San Francisco della Vigna, Venice (facade only), Andrea Palladio, 1562
-pediment and four columns embedded -tall center aisle -layering temple fronts -engaged columns -semicircular window
-temple front superimposed with 2nd temple front |
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Il Redentore, Venice, Andrea Palladio, 1575
-the redemmer -engaged colunms, pilasters, symmetric -rounded archs -dome; lunettes semi-circle windows -combines latin long (longitudinal plan) with centralized plan
-superimposed pediment
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Ideal City Painting, located in Urbino (creator unknown), 1480
-use of perspective -building looks like the Tempiette -towers
-depicts a perfect city
-first image that depicts a perfect city |
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Filarete, Sforzinda, 1462
-plan resembles star within a circle -rationality and proportion -"if you have a better city, you will better life" - circle = moat; fortified town
-gothic language
-plan of a utopia
-each outer point has a tower, each inner point has a gate
-tower of virtue and vice; brothel at bottom and school at top |
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Palmanova, Vincent Scamozi, 1593
-used to keep ottoman out -cosmic model -Baroque
-fortified town
-radiating streets |
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Laurentian Library, Florence, Michelangelo Buonarotti, 1524
-stairway -columns shouves coupled columns into the wall -pietra serena stone with white pilaster
-library stairs floating into room. 3 sets of stairs
-internal pressure created by stairs |
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Palazzo del Te, Mantua, Giulio Romano, 1525-34
-rustication/brick walls/ rusticated columns -pilasters/ double pilasters at the entrance which lands on a base and the windows land on the base. (The pilasters are very exaggerated; sticks out too far) -capitals that sticks out -free standing columns that are rusticated -rounded arch in the entry -coiffered ceiling, engaged columns -pediment has rusticated brick -courtyard -keystone that wraps around the pilaster; trigyphs
-loggia spaces
-island where ganzagas raised horses & had stables
-place for leisure where family could escape
-variation from traditional renaissance
-engaged columns
-rustification on inside of pediment
-dropped triglyph
-broken pediment
- no horizontal beam support
-regular rhythm |
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Il Gesu, Giacomo della Porta (facade) Giacomo Vignola (plan), 1568-76
-transverse barrel -vaulted chapels flanking a longitudinal barrel vaulted nave, suppressed transepts & shortened the nave -strong axial
-tripartite arrangement. Pediment+scroll
-not as resolved
-uses cassical orders +pillarsters+ engaged columns
- facade is starting to become more 3D
-segmented pediment (its on arch over the temple)
- square at crossing transept +there is a circle in the square
-barrel vauted side chaples + nave (doing it to make a space more specific to church)its louder easier to hear etc... |
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Plan for Rome, Sixtus V, 1585-90
-Carve streets diagonally to connect monuments together -Use obelisks -27 water fountains
-urban plan
-axial, carve out straight through city to focus on specific monuments
-wanted people to got to the monuments |
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St. Peters Baldacchino, (1624-33), Chair of St, Peter, (1657), and Piazza, (1657), Gianlorenzo Bernini
- 1. marble, very decorative
- canopy over tomb of St. Peters
-movement energetic
-2. wooden chair of st. peter changed, now it has golden rays and crazy carvings
-3. oval piazza over oblisque (piazza obliqua) Pizza retta- focuses on church
-pilgrimage church so they wanted to create drama
-four rowed colonnade
-dynamic and changing, perspectiable effect |
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St. Andrea al Quirinale, Rome, Gianlorenzo Bernini, 1658-70
-Main entrance and high alter would be placed on the short axis of the ellipse. -A semicircular porch, supported by Ionic columns, projects from the high, narrow facade, topped by a pediment and supported by two pairs of monumental -Corinthian pilasters, temple front
-convex stair and curves < very important in baroque plan
-order wrap around and collide with each other
-very colorful inside
-segmented pigment |
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St. Carlo all Quattro Fontane, Rome, Francesco Borromini, 1634
- Greek cross defined by convex curves. -Baroque -Tall corinthian columns main entablatures; these define the main framework of two stories and the tripartite bay division
-curvy facade; weaves in and out as if it's meant to be moving
-at intersection of 4 fountains
- building is white so that you see complexity and form
-pediment is made up of two angel wings
-plan = oval. You don't enter through the front you enter through the side
- coiffered ceiling but gets smaller as it goes to the top making an illusion |
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St. Ivo della Sapienza, Rome, Francesco Borromini, 1642
-dome springs from entableture -there is no drum (thick band between dome and bottom) -spire on the top -pilasters an rounded archs in the middle -beehive shape in the middle -super imposed triangles -volumetric and dynamic: divide between architecture and sculptures
- courtyard with convex shape, church is put behind
-hexagon and triangle
-centralized no axiality suggested
-plan reflected on ceiling |
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Wollaton Hall Nottinghamshire, Robert Smythson, 1580-88
-symmetric with some use of pilasters with belts -excessive use of windows due to the darkness -masonry building -center encased hall -medieval influenced, fortified castle -turrets on the side of the building, but now they have bedrooms and other programs -Gothic meets renaissance -metapese, engaged columns, rounded archs on inside -hierarchy of space
-castle/residential palace
-on the peripit the womans name is inscribed
- timber roof = medieval
-entableture on inside |
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Hardwick Hall, Robert Smythson, 1590-97
-excessive use of windows due to the darkness -overlay of renaissance while maintaining English traditions -colonnade:dutch work -classical orders with/a detailed loggia which does not follow the renaissance -parapit: short wall on the roof of a building w/ the initials "ES" -3rd floor is the highest (piano mobile)
- no pillasters (clean stone facade), there is a colonnade
-classical order (doric) but it has 2 belts (not playing by the rules)
- towers not only in the corner anymore (have mulptiple to have even lighting) |
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Queen's House, Greenwich, Inigo Jones, 1616
-Located on corner of two roads (Interior)- spiral staircase that is lit up by light (Exterior)- texture was divided into a smooth top finish and rough stone finish on the lower, had a small Loggia -Palladian motifs within the building -simple cubic volumes, projection of middle section of center bay -wall also protrudes from the back -triparietal building
-closer to ideas made in italy (palladian ideals)
-restrained detail
-cars went through middle
-proportionally similar |
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Banqueting House, Whitehall, Inigo Jones, 1619-1622
(Interior)- banquet hall, white interior walls, gold trim, coffered ceilings -interior is a 2:1 rectangle
-colonnade on interior
(Exterior)- cornice above windows to help draw attention to entablature above windows -engaged columns differentiate these entablature -alternating pediments and segmented archs -use of ionic and Corinthian columns proportional, interior colonnades
-projection of middle even more slight
-pillasters changed to engaged columns
-tripartite division
-round and triangular pediments
-classism= universal language
-restrained, balanced |
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Covent Garden Inigo jones (with Issac de Caux), London, 1630
-Urban square for the wealthy -Earl of Bedford's Gardens -colonnade walkway-St. Paul's Church -church is aligned on axis -simple; anti baroque -alter had to face the east
-regular plan
-rational space |
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St. Pauls, Covent Garden, London, Inigo Jones 1631-35
-fake facade that has a temple front on it
- alter has to face east misleading view (backwards design)
-not traditional entry
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Reconstruction Plan for London, Christopher Wren, 1666
-started at a bakery, 7/8 people were homeless
-87 churches burnt
-long axial streets to emphasize key monuments -reconstruction of 51 parish churches -steeples on the churches, no piazza infront (layering and classical motifs) -classical elements such as the concave, domes, rounded archs, Corinthian orders
-was never built
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St. Stephen Walbrook, London, Christopher Wren, 1672-87
-dome no transept (it's landed on a series of columns (octagonal)) -sitting on the dome is sitting on to of the building/something to exerience -octagon bays
-no perfect orders but there is a layering of renaissance ideas |
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St. Pauls London, Christopher Wren, 1675-1709
-centralized church (not a latin cross plan) <pre-fire project (burnt) customary beauty-subjection natural beauty- geometry and proportion
- new model changed to be more customary. The final design looks more tradition with the nave.
-longer nave, no angle unless in airs -no sloping roofs -facade pairs towers on the side, columns in pairs -triple shelled dome, walls splays (dome lower so you feel like its apart of the church and that it's closer to you)
-hides roof lines with perepit (pragmatic)
-temple, pediment doesn't matchup
-tall and skinny columns |
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Royal Mosque, Isfahan, Iran 1611-30
-oriented towards Mecca -stalactite vaulted entrance -Iwans
-sahn (courtyard)
-qibla
-uniconic |
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Chateaux Chambord, Loire Valley, Domenico da Cortona, 1519-47
(Interior)- has a double helix staircase in it designed by Leonardo de Vinci -classical columns support the staircase in the center (Exterior)- surrounding walls, towers (turrets), fortified castle design but meant to be estate (medieval) -motifs of classical antiquity exist on the exterior, steep roof lines, classical orders -loggia renaissance
-outer ring, fortified towers, medieval aspects |
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Place Royale (Place des Vosges) Paris, 1605-12
-lure nobility into place -regularized colonnade running around -uniform facades (taller one marks kings house) -38 plots, stone trim, roofs with slates, sloped roofs
-regulated design scheme |
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Hotel Lambert, Paris, Louis le Vau, 1640-44
decorator: charles le brun
Exterior-renaissance interior-baroque concave form, axial progression Salon d' Hercules loggia is significant ; sitting the middle garden entrance on the side -classical order pediment, entablature runs along the building -garden is raised up an uppere level mansard roof- is the sloed roof -french product (use of glass) because of the climate
-glass
-courtyard bends
-entableture runs straight by pediment
-looks at seine river
-double pitch roof |
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Versailles, Andre le Notre, Louis le Vau, charles lebrun, 1661
-palace was for Louis xiv -assumed 1/4 of the French budget axial roots -about 700 gardens, order of hierarchy: his bedroom was the sun and there were 9 rooms named after the planets central axis, famous -hall of mirrors -windows of rounded archs w/ mirrors on the other side -spectacle and vanity -perspective view is important due to the extended hierarchy, vanishing point
-entire lanscape centered around louis XIV bedroom
-concealment and revealing at versailles (orangerie)
-The Machine at morly-le roy
-the hall of mirrors |
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Hotel Royal des Invalides, Jules Hardouin Mansart, 1670-1708
-Turbot Plan -institute to hospital wounded soldiers -dome, triple dome (Bernini influence) w/ cupola court de logis, courtyard - Basilican church -power of the state, clerestory windows
-restrained classism |
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Selimiye Mosque, Sinan, Edirne, Turkey, 1568-75
-open inner courtyard in front of Mosque -buttresses support the half dome over mihrab -tops of the 8 piers support the dome
-mosque and educational buildings
-minarets
-byzantine influence of domes (centralized domes)
-exterior buttressing (cascading) |
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Fatehpur Sikri, New Imperial city of Akbar, 1568-71
New imperial city of Akbar -red sandstone, white marble -dam a river to make artificial lake -column on the center which fans out into 4 directions -S-shaped corbels -colonnaded on every floor -interesting geometric relations -84 columns symbolic meaning about the planets and the months -tower and caravan
- shift from nomadic tent living to fixed court
-mosque dedicated to shaikh salime chisti. his tomb is inside of city mosque
-chanels of water from river |
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Akbar's tomb, Agra, 1613
-Hindu tomb impure -less grand -garden depicts paradise (nature) -division into four parts, four rivers of cardinal points -placed a spiritual center
-heaven is supposed to have 4 rivers the tomb has 4 symbolic rivers raditing out from the center of the tomb |
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Taj Mahal, Agra, 1631-47
-loved marble-expensive/luxury -built by Shah Jahan to honor his wife Mumtaz Mahal, rendered in white -reflecting pool -laced at the end of axis; cardinal crossing -fortified gate (mixture of a sandstone a marble) red-warriors -dome: onion shaped dome which represent rulers -calligraphy was important not much interior space tombs and the base Islamic integration to the Indian culture
-marble building
-there is a mosque on site
-cardinal river crossing |
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Katsura Palace, Kyoto, Japan, 1616-60
-integration of tatami, asymmetry, shoji screens, wood joinery, flexible spaces -zen Buddhism: personal expression of this insight in daily life, unity of the arts (tea ceremony, poetry, calligraphy) emphasizes process -country retreat, relationship w/ nature -tea pavilions (Shokin-tei tea house) , tatami mats, irregular plan -tracery of stone, rested on unrefined stones -flying geese on the diagonal edge -idea of change because wood is left unfinished hierarchy of movement
-simplicity, modesty, silence, natural,
- change and imperanance
-irregular plan, governed by tatami mat |
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Ninomaru Palace, Nijo Castle, Kyoto, 1603
-fortification, enclosed building includes nimomaru palace
-two moat system
-utilizes the 'flying geese' which shows the irregular geometry
-becomes more private through the sequence (establishes hierarchy)
-Ohiromi hall: ornamented pattern (main audience hall)
-nature and the solitary tree symbolized authority
-integration of tatami, asymmetry, shoji screens, wood joinery, flexible spaces
-centralize power
-jagged edge, inscribed in landscape
-similar rooms to versailles in the sense that it became more and more private as you moved back into the rooms
-no longer about simiplicty. Opulence, ornamental pattern. Show wealth and power. Decoration reference nature |
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Elysian Fields, Stowe, William Kent, 1734
-picturesque (replacing uniformity), natural, beautiful -3 pavilions (ancient virtue, modern virtue, British worthies) -modern virtue (in ruins) -inscription of a dog (for satirical purposes) -narrative built into the garden
-contrast from french garden design in Versaille. Versaille was controlled and axial these gardens almost look like nature.
-english went from french to natural it was a response to french absolutism and italien baroque
-the absolute with the accidental, uses principles from painting. Nature looked at as a series of pictoral scenes
-emphasis on narratives and passage of time
-stress on emotions, expression of uniqueness
-influence of chinese arch, and roman antiquity |
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Blenheim Palace Grounds, Lancelopt "Capability" Brown, 1764
-picturesque -direct emotional/ sensual experience -highly controlled environment -distinction from Versailles -building is symmetric, but landscape is irregular and serpentine (winding paths) -Haha: forms a barrier (ditch) from the animals while looking nature; but when looked at from the house it looks like a flat plane -lawn important crop for sheep
-ruins for censorial impact |
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Stourhead Park, Henry Flitcroft, Wiltshire, 1744-65
-The sublimer:of such excellence, grandeur, or beauty as to inspire great admiration or awe -Grotto-artificial cave with inscriptions -roughness and sudden variation -Claude Lorrain influence painting -picturesque
-created to look like a picture |
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Strawberry Hill, Horace Walpole, Twickenham, England, 1748
-picturesque -no order, no symmetric -medieval/ gothic influence
-not open to nature, but takes qualities of nature such as asymmetry and irregularity |
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