Term
| Filippo Brunelleschi (1377-1446) |
|
Definition
- system of proportion
-unit of measurement whose repetition throughout the building created a sense of harmony
- |
|
|
Term
| Brunelleschi's The foundlings' hospital (1419) |
|
Definition
-Launched Renaissance Architecture
-A colonnade on the ground floor
-Corinthian columns
-Wide semicircular arches
-letting enough sun and warmt penetrate into the loggia
-first floor with generously spaced moderately sized rectangular windows
-framing the round arches of the last bay at each end of the hospital's facade with pilasters
-a venerable Roman motif
-the clarity of the articulation
-the symmetry of the design
-Classically inspired pediments
-an impression of rationality and logic
-relates to the architecture of Imperial Rome than to that of Romanesque Florence.
-arranged horizontally without in any way overstressing its stability
-slender delicate members is almost linear, forming a single apparently weightless plan |
|
|
Term
| Dome of the Florence Cathedral (1420-1436) |
|
Definition
- Not a true Dome - 8 sided wall
- Not spherical, quite pointy ( less dangerous lateral forces)
-3 parts
Drums( veritical wall, contain window to allow light in)
Curves - Dome part
Lantern -
Dome consist of 2 layer - inner and outter shelf
- inside consists of brick |
|
|
Term
| Brunelleschi's S. Lorenzo (1421-1425) (1441-1460) |
|
Definition
- the outside have never been finished.
- The church belongs to Medichi family
- exterior of this building includes a series of blind arches, while the interior is graced with crisp grey-and-white planar classicism.
Looks like the Founding Hospital
Low Ceiling ( balance verticle and horizontal space)
Coffers - Square patterns in the ceiling
Floor have a cool color - Cerence Stone
Geometric structure being outlined on the church's floor plan
IMPOSTING BLock - to add height to the building
Materials were stone - carved specifically for this church.
Crathian colums - most complex
old cragestiy - cube and the dome is up above
- Brunelleschi was the first one to use the "cube and dome" in the west
3 stories
Cube
4 arches to support dome
PENDENTIVie - Triangular - spaces between dome and arches |
|
|
Term
| Brunelleschi's Old Sacristy of S. Lorenzo (1421-1428) |
|
Definition
- spare shape
- dpoesn't sit on a drum |
|
|
Term
| Brunelleschi's Pazzi Chapel (1442) |
|
Definition
Flat and Tablular, not arches, but being broken by the arch
the small dome outside give the people a little taste of what's inside.
Barrel Vault - Extended arch into space
all build post Brunelleschi, but up to his design.
Plaster - imbeded into the wall, has no structure significant, but added to the design of the structure.
- Space is retangular |
|
|
Term
| Brunelleschi's S. Spirito (1436) |
|
Definition
S. Spirito (has) domed crossings from which emanate three arms of equal length; the fourth, longer arm is the nave
form without decorative overlay, on the depth of the wall, and on the three-dimensional character of the membering, reflected an escalating Classicism |
|
|
Term
| Bartolommeo's the Medici Palace (1446) |
|
Definition
- a large scale residental area
- 20 buildings were torn down
- 40 rooms used by extented family
st floor - where guards live,
Rustication (wall) looks like a fortress... looks rough to stmbolized strong and cant be defeated
- walls also looks like roman walls, comparing themselves to the roman emperors,
- and every stone has been hand cut to get this looks, said something about the money the medechi family has
2nd main - entertaining floor
- rough and tough on one hand, but also refinded as the wall on the second floor.
- many more windows (mullioned windows)
3rd floor -
Cornices, to keep water off your wall
Monumental cournesss - symbolized the power of medechi.... the cornice shadows the surrounding areas.
Building have a big couryard
- likes the family hospital
- window on both sides, refect the archtechture on both sides
- private space for the family, safety
- light and fresh air on both sides |
|
|
Term
|
Definition
-came from one of the most prominent family
-family aristocated - got a really well education
- instead of getting a well jobs, alberti get involve with the art
- kind of different because art was from the working class
-wrote the first treated books after the roman ( ten books of architectures)
- un illustrated
- documented travel
- architect is not just of craftmen, but is assestial to society
- he single handedly raise the status of architect to
- he considered himselves an interlect rather than a craftman |
|
|
Term
| Alberti's Plazzo Rucellai(1455-1470) |
|
Definition
The use of the three classical orders to indicate upward progression was inspired by the Colosseum at Rome.
- winodw has reference to roman arches
- 8 building need to be torn down
- more ornamental, more geometric, more restrained decorations,
- stonework is not as irregular
- same 3 floors function
- same double windows.
- floors gets smaller as you go up
- plaster have different collums as it go up
- building was never finished because alberti walked away from the project |
|
|
Term
| Alberti's Santa Maria Novella (1456-1470) |
|
Definition
1:2 ratio of the musical Octave
rhythmic, geometric unity
exterior design by giving it a new front
- geometric design - cool and interlectual quality
- modulles are in the design.
- moddlus make the building more geometric
- up above it looks like a classical temple
- archarchs
- volutes - very detailed - beautiful transition from big bottom to upper top |
|
|
Term
| Alberti's Malatesta Temple (1450) |
|
Definition
- gives the impression of a basilican church
- without clerestory windows, not a basilica.
shell out of the prexisting building
- update the existing building
- he took over a church fro his pricate mosoleum
- deep spaces - monumental entrance
- Malatesta wanted a rough and tough building
- Alberti change his designed to match his patron
- referenced from the roman triump of arch
- comemeroated medal showed what the finish building looks like
- there was an addition of a dome |
|
|
Term
| Alberti's San Andrea (1470) |
|
Definition
- planned by Alberti, build after his death
- referenced to triam of arch, and Roman temples
- Barrel of vault
- inside - 70's feet wide and 70 foor
- about grandness aboout large scale
- thick wall, also hace tranverse barrel of vault supports the structure
- looks back to the barrel of vault in the roamn architechture |
|
|
Term
| Donato Bramante (1444-1514) |
|
Definition
|
|
Term
| Bramente's Sta. Maria near S. Satiro (1485) |
|
Definition
| The nave is surmounted by an emispherical dome at the crossing with the transept. |
|
|
Term
| Bramante's Tempietto (San Pietro in Montorio) (1502) |
|
Definition
frzorz family
- Church of pectoral rotunda
- probadly see alberti's church to get his influence
- painted barrel vault extending that give the illusion that the barrel is ectended
- - where saint peter was murder
- 1st circle building since antiquilty
- compact, symmetrical
- circle became the most important shape in the renissan
- 27 feet wide, it is a monument
- very simple, not very decorative, but signify the place where saint peter was killed.
- colonaue, drum, dome,
- very sculpture, very 3 dimentional, volumentric give it drama that the 2d structure cannot provide
- it eas nevet completed, but the surrounding area will provide the people to see the building from all around
- he was picked to build the grand cathedral |
|
|
Term
| Bramante's Belvedere Courtyard (1505) |
|
Definition
- it was a space for gathering
- it works vertical and horizontally as well
- multiple movement through space
- it was reference from the temple of fortuna
- it is surrounded by arcades, and the pincone in the middle represent hostility |
|
|
Term
| Design for St. Peter's (1506-1514) |
|
Definition
he new saint peter was buld as a grave for the pope (julious) , and the pope's casade was suppose to be in the middle of the building.
- However, he died fbefore it ever happen so his tomb was palce somewhere elsed
- bronze elvevation shows what the building suppose to look like
-re-rental angle - like a sope bubule, every space looks like a space
- all he build was the 4 pies (60 feet wide, 125 feet tall)
- chamesfer
- pillaster to the building |
|
|
Term
| Michelangelo Buonarroti (1475-1564) |
|
Definition
|
|
Term
|
Definition
ddition area, brizzard,
-When enter, one would feel below the statutes
- lorenzo medichi statue
- two statue , men is dawn, woman is dust
- without energy, they have a lot potential, but they looks lazy
- the lorenzo statue, odd pose, the hand is unsual, hand coveing, maybe about to stand
- other staue is the same
-face of dust also is unfinished
- dust is in a nightmare, twisted, there is a mask, which shows a nightmare.
- Michelangelo was trained by the medichi.
- so powerful that
- his work is about conflict, unsettle quality of the time.
- Medichi wants Michelangelo death
- he left for rome where the pope protects him. |
|
|
Term
| The Laurentian Library (1525-34) (1571) |
|
Definition
The Laurentian Library
- reading room
- vestibuity, or anteroom, the entryway
- wall - 4 level of depth
- plaster
- interiror window
- framing of the window
- glass
- anteroom done when he was in florence, completed while he is outside of florence, and the staircase was finished based on this plan ofter his death
Staircase
- empty niches
- everything above your head
- columns are in the wall, unsually, and acts like staue, and they are floting on the brackers, the colums are wider on the top and smaller in the bottom.
- he said the the staircase came to him in a dream. unlike usual, unlike geometric area
- pergatory and move up to the books |
|
|
Term
| The Capitoline Hill (1537) |
|
Definition
CApital Hill
- the whole first floor of the building is treated like the base,, therefore, you have to go up to the 2nd floor to enter,
- stellite patern
- both 2nd and 3rd floor are combine with the giant pilaster to make the building more grand
- centralized the tower |
|
|
Term
|
Definition
|
|
Term
| Peruzzi's Palazzo Massimo alle Colonne (1535) |
|
Definition
Breaking the Rule
- curved versa
- major level is on the 1st floor
- column are irregularly space
- Porportion are wrong
- Statue is too small for the building
- courtyard are in the side of the building
- outside seems to have 4 story, the inside only have 3 story
- fireplace is treated like a sarcophagus |
|
|
Term
| Guilio Romano (1499-1546) |
|
Definition
|
|
Term
| Romano's Palazzo Te (1525) |
|
Definition
- for retreat, horses.
- plaster foes all the way up, plaster break the stringcourse,
- voussoirs - cut stones
- giantic Arches
- pies are not same spacing
- everything is gigantic
- the building looks like it is falling out. - picues of the top is dalling out
- columns look ancient refection of Rome
- fresco - hourse on the wall, up high
- beam doesn't make sense
- fireplace is treated as a sphosaphagous
= room of the giant has giants and the architecture collapsing
- outside, aches doesn't connect to pies |
|
|
Term
| Guilio Romano's House (1544) |
|
Definition
gulli Romano;s house
- pedimant is within the arches
- less ornanment below, overly ornanment above
- it looks like the building is growing out of the ground |
|
|
Term
| Giacomo Vignola (1507-73) |
|
Definition
|
|
Term
| Vignola's Villa Farnese (1507-73) |
|
Definition
- 1st floor is treated as a bcae
- devided up to 3 grand floor
- base of a castle |
|
|
Term
| Andrea Palladio (1508-80) |
|
Definition
- the most imitated architect
- connected to venice
- came from a family of stonecutter
- Trisino - found him and take him in and educated him
- he wrote the 4 books on architecture
- illustrated with graving
- with both the theoritotical and practical |
|
|
Term
| Palladio's Four Books on Architecture (1570) |
|
Definition
|
|
Term
| Palladio's Palazzo della Ragione |
|
Definition
- covering the old Gothic facade with marble columns and porticos modeled
- three seperate sttuctures, so what he does is he build a mask aroound the 3 buildings
- open archade, monutemality abour this
- a play of solid and viod, openess and closeness
- playful but not courkey
- grandure, dignify, order, but inventive,
- he uses the spaces of the pies for slcat because of 3 different building
- |
|
|
Term
| Palladio's Palazzo Chiercate (1550) |
|
Definition
the coulums seems to be attched with the
- he opens up the space. He moved the couryard outside of the wall
- no longer looks like fortress
- no longer strong courners, he opens up the corner
- where you expect openess, you get solidity, and vice versa
- building is made of brick, but it is filled with stucco so it looks like it is made out of marbles
- make the building more open and iviting about the building
- reversal of the building |
|
|
Term
| Palladio's Palazzo Thiene (1542) |
|
Definition
- window fram is a column and a pillard by one
- arches with the voshua,
- giant plaster and got influence on Micheal Angelo
- |
|
|
Term
| Palladio's Palazzo Iseppo da Porto (1552) |
|
Definition
- domestuc floor treated as a different floor
- alternating top ...pediment and round
- brick with stucco
- the back is facing with a garden,
- he also open up the backside of the building |
|
|
Term
| Palladio's Palazzo Valmarana (1556) |
|
Definition
- 1st floor is reated as a base
- domestic floor is treatd like the whole seperated area |
|
|
Term
| Palladio's Loggia del Capitaniato (1571) |
|
Definition
- building to celebrate the venitian battle over turkish
- got influences from the triampled of arch
- monemento buidling with colums, and very decorative
- made out of brick |
|
|
Term
| Palladio's Teatro Olimpico (1580) |
|
Definition
- indoor leader
- place designed
- based on semicircular amphintheather of the greek
- the roof is painted with the clouds
- scamzzi - more decorative than palladio
- the background looks like the illusion space using one point perspective |
|
|
Term
| Palladio's Villa Trissino (1552) |
|
Definition
- villa built for his master
- centralize and center of the building
- the latin cross, dome, and the entrance look like the parthenon
- look form that was reserve for the formally ised for VIP, now can be used in residential
- the uses of these form increases the importance of owener.
- the owner said that i am important enought to use these forms
- support facilities was also used classical vocabulary that can use with it |
|
|
Term
| Palladio's La Rotunda (1556-70) |
|
Definition
- built for a weathy cardino
- use for retreat
- symmetrical
- porches are practical
- it exactly oriented the 4 points of the companys
- it is built out of brick
- the bottom floor acts like the giant base
- interior decoration
- it was designed to be an event area
- all the painting are illusentic |
|
|
Term
| Palladio's Villa Foscari (Malcontenta)(1560) |
|
Definition
- monumental
- made out of stone
- balance and symmetrical
- fresso in the wall was done by palladio |
|
|
Term
| Palladio's Villa Barbaro (1560) |
|
Definition
- the vasade look like the church designed by alberti
- the middle building look litk the temple
- fish pond have a guado
- palladio co |
|
|
Term
| Palladio's Temple Barbaro (1580) |
|
Definition
- monumentality
- looks like the parthenon |
|
|
Term
| Palladio's S. Giorgio Maggiore 1556 |
|
Definition
- Combined the temple and church
- he fragmenmented together into a woven pattern
- made out of brick
- Barrelled vault
- pure white interior
Four massive columns on pedestals support a high pediment.
Behind the columns is yet another version of the temple motif.
Flat pilasters support a wide pediment. The taller "temple" appears to be layered on top of the shorter temple.
The two versions of the temple motif are brilliantly white, virtually hiding the brick church building behind. |
|
|
Term
| Giacomo Vignola (1507-73) |
|
Definition
|
|
Term
| Vignola's Church of the Gesu (1568) |
|
Definition
- Big, powerful,
- All elements are directing the people in the door of the church.
- barrel vault that makes the building leading to the vaulter
- very little decoration |
|
|
Term
|
Definition
|
|
Term
| Francesco Borromini's S. Carlo alle Quattro Fontane, 1638 -39 |
|
Definition
- curves in the front
- different, stood out, play with the light and shadow
- play with a sense of motion
- the use of illusion to make the building seems taller than it is really was
- even the wall in the center seems like a sense of movement
- 3d feeling
- built out of brick, then covered with plaster
- Treated the sea shelf are incorporate in the vualt
- the coffer are used as an illusion for the building to make the vault deeper and more grand
- the coffer above are also uses that same illlusion.
- the light are from the hidden windows that lit up the dome
The couryard
- There are no corners, make the space more articulate than before
- alternating fenses
- the alternating arches |
|
|
Term
| Borromini's S. Ivo (1643) |
|
Definition
S. Ivo
Converct visage
- concavity of the top
- spiral top
- Hexagonal Pattern
- alternating concave and convect
- the vault also does it
- top became a circle |
|
|
Term
|
Definition
- started carlo reolnaldo
- concave visage (satisfy the pope)
- similar to the dome of saint peter
- the dome get highlighted, and the two corner tower got built
- deep chaple, shallow chapple, ( in the columns)
- the dome is lifted up, and the dome seem more framaii |
|
|
Term
| Gianlorenzo Bernini (1598-1690) |
|
Definition
|
|
Term
| Baldacchino in St. Peter's (1624-33) |
|
Definition
spiral colomn has a sense of movement, power
- decorative
- grand to make the sculture give a shock, stupendous effect, grand
- saint peter is burried under this, and the statue is interacting with the person by crowning him |
|
|
Term
| Bernini's S. Andrew al Quirinale 1658 -70 |
|
Definition
fasage all marble
- more expensice than
- more formal
- hides the body of the building
- narrow entrance to grand expansion (compression expandion)
- The floor plan is an oval, which pulls the alter over you
- saint Andrew on top of the alter, and he is about to exploded up to heaven
- cavered little putie on the dome
- the oval has glass and yellow feeling to it |
|
|
Term
| Bernini's The Piazza of St. Peter's (1656) |
|
Definition
the trpazoid make the fasage looks smaller than it seems, thus reducing the endless horizontal
- the oval reminds us of the Colosseum (where christian were murdered, where now christian are saved
- This is where the church reaching out to gather
the faithful |
|
|
Term
| Bernini's Scala Regia (1663-66) |
|
Definition
- 20 feet wide (but it looks like 80 feet )
- trick and optical illusion (staircase go in)
- light action drama camera high dramatic theather |
|
|
Term
| Renaissance architecture (15th -17th centuries) |
|
Definition
- a revival of the Greek and Roman architecture integrated with vocabularies from Byzantine and Gothic architectures such as towers, domes mosaics and stained glass
-1. Classical columns, pilasters, pediments, entablatures, arches, and domes.
2. But the most essential characteristic of Renaissance buildings is the harmonious geometrical form, with emphasis on the symmetry of the façade around a vertical axis.
3. Windows may have square lintels and triangular or segmental pediments. |
|
|
Term
| Baroque Architecture 1600 – 1750 |
|
Definition
- Baroque means ‘deformed pearl’
- Extravagant buildings, which were an expression of the wealth and power of the Church and society.
Symmetrical façade with a central projection.
Abundant use of ornaments in the exterior and interior including, gilded wood, plaster, stucco and marble.
Curvy facades with Oval domes.
Complicated shapes
Large curved forms
Twisted columns
Grand stairways
High domes
Trompe l'oeil paintings |
|
|
Term
| Brunelleschi's The foundlings' hospital (1419) |
|
Definition
-Launched Renaissance Architecture
-A colonnade on the ground floor
-Corinthian columns
-Wide semicircular arches
-letting enough sun and warmt penetrate into the loggia
-first floor with generously spaced moderately sized rectangular windows
-framing the round arches of the last bay at each end of the hospital's facade with pilasters
-a venerable Roman motif
-the clarity of the articulation
-the symmetry of the design
-Classically inspired pediments
-an impression of rationality and logic
-relates to the architecture of Imperial Rome than to that of Romanesque Florence.
-arranged horizontally without in any way overstressing its stability
-slender delicate members is almost linear, forming a single apparently weightless plan |
|
|
