Architectural History of Western Civilization
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Aynemateriality, Crafting, and Scale in Renaissance
Materiality, Crafting, and Scale in Renaissancealin Architecture a ayne Alina Payne Materiality, Crafting, and Scale in Renaissance Architecture1 Alina Payne 1. This article draws from a series of lectures given at the INHA and EPHE, Paris in June 2008 and will form a part of my upcoming book on the Materiality of Architecture in the Renaissance.Iam On the whole twentieth-century Renaissance architectural scholarship has paid grateful to Sabine Frommel who first gave me the little attention to architecture’s dialogue with the other arts, in particular with opportunity to address this material by inviting 2 me to Paris, and to Maria Loh and Patricia Rubin sculpture and the so-called minor arts. The fact that architects were also for inviting me to develop this argument further. painters, sculptors, decorators, and designers of festivals and entries, as well I am also grateful to David Kim, Maria Loh, and as makers of a multitude of objects from luxury items to machines, clocks, the anonymous reviewers who offered very useful measuring and lifting instruments, in many different materials has also comments to an earlier draft. dropped out of attention. Indeed, broadly involved in the world of objects – 2. Among the last publications to take a holistic large and small, painted or drawn, carved or poured – architects were view of Renaissance architecture was Julius Baum, Baukunst und dekorative Plastik der fru¨heren highly conversant with a variety of artistic media that raise the question as to Renaissance in Italien (J. Hoffman: Stuttgart, what these experiences contributed to the making of buildings. For example, 1926). -
The Five Orders of Architecture
BY GìAGOMO F5ARe)ZZji OF 2o ^0 THE FIVE ORDERS OF AECHITECTURE BY GIACOMO BAROZZI OF TIGNOLA TRANSLATED BY TOMMASO JUGLARIS and WARREN LOCKE CorYRIGHT, 1889 GEHY CENTER UK^^i Digitized by the Internet Archive in 2013 http://archive.org/details/fiveordersofarchOOvign A SKETCH OF THE LIFE OF GIACOMO BAEOZZI OF TIGNOLA. Giacomo Barozzi was born on the 1st of October, 1507, in Vignola, near Modena, Italy. He was orphaned at an early age. His mother's family, seeing his talents, sent him to an art school in Bologna, where he distinguished himself in drawing and by the invention of a method of perspective. To perfect himself in his art he went to Eome, studying and measuring all the ancient monuments there. For this achievement he received the honors of the Academy of Architecture in Eome, then under the direction of Marcello Cervini, afterward Pope. In 1537 he went to France with Abbé Primaticcio, who was in the service of Francis I. Barozzi was presented to this magnificent monarch and received a commission to build a palace, which, however, on account of war, was not built. At this time he de- signed the plan and perspective of Fontainebleau castle, a room of which was decorated by Primaticcio. He also reproduced in metal, with his own hands, several antique statues. Called back to Bologna by Count Pepoli, president of St. Petronio, he was given charge of the construction of that cathedral until 1550. During this time he designed many GIACOMO BAROZZr OF VIGNOLA. 3 other buildings, among which we name the palace of Count Isolani in Minerbio, the porch and front of the custom house, and the completion of the locks of the canal to Bologna. -
Renaissance Architecture History of Architecture
Renaissance Architecture History of Architecture No’man Bayaty Introduction • The Renaissance movement was a grand scale movement in art, literature sculpture and architecture. • The time in which it spread between 15th century and 17th century, was a time of movement in philosophy, science and other ideas. • At this time Europe was made of many small states united or trying to get united under larger kingdoms. • The Italian cities were independent, each with its special culture. • The Holy Roman Empire was quite weak, and the so were the Popes. • Local cultures were rising, so were local national states. • Europe lost Constantinople in 1453 A. D. but got all of Spain back. Introduction • Scientific achievements were getting more realistic, getting away from the mystical and superstitious ideas of the medieval ages. • The Christian reformation led by Martin Luther in 1517 A.D. added more division to the already divided Europe. • Galileo (1564 – 1642 A. D.) proved the earth was not the center of the universe, but a small dot in a grand solar system. • Three inventions had a great influence, gunpowder, printing and the marine compass. Introduction Introduction • Renaissance started in Italy. • The Gothic architecture never got a firm hold in Italy. • Many things aided the Italians to start the Renaissance, the resentment to Gothic, the discovery of new classical ruins and the presence of great Roman structures. • The movement in art and sculpture started a century before architecture. • The movement was not a gradual development from the Gothic, like the Gothic did from Romanesque, but was a bit more sudden and more like a conscious choice by artists and architects. -
Romanesque Renaissance – Introduction
Romanesque Renaissance – Introduction Konrad Ottenheym ‘Look at this majestic building with all its columns, and now you can imagine how many slaves these Roman emperors must have used to build it!’, I heard a tourist guide explaining to his group on the Piazza Venezia in Rome in 2016, as he pointed to the imposing marble monument to Vittorio Emanuele II. The Altare della Patria, symbol of the unified Italian kingdom of the nineteenth cen- tury, is in fact barely a century old, having been built in 1895–1911.1 Apparently, even in our time it is not always easy to make out the refined differences be- tween genuine ancient Roman architecture and later works of art which were meant to create a visual connection with the glorious past. Erroneous dating of old buildings, interpreting them as far older than they actually are, has hap- pened in all centuries. From the fifteenth century onwards, antiquarians, humanist scholars, ar- chitects and artists, striving for a revival of the architectural forms and prin- ciples of Ancient Rome, investigated respectable ruins and age-old buildings in order to look for useful models and sources of inspiration. They too, oc- casionally misinterpreted younger buildings as proofs of majestic Roman or other ancient glory. This especially was assumed for buildings that were con- sciously inspired by ancient Roman architecture, such as the buildings of the Carolingian, Ottonian and Stauffer emperors. But even if the correct age of a certain building was known (Charlemagne’s Palatine Chapel in Aachen, for example), buildings from c. 800–1200 were sometimes regarded as ‘Antique’ architecture, since the concept of ‘Antiquity’ was far more stretched than our modern periodisation allows. -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
Lesson #1: Architecture Features Through the Ages
Unit Two: History of Architecture and Building Codes Lesson #1: Architecture Features Through the Ages Objectives Students will be able to… . Summarize the architecture features through Stone Ages to Neo-Classical Time. Common Core Standards LS 11-12.6 RSIT 11-12.2 RLST 11-12.2 Problem Solving/Critical Thinking 5.4 Health and Safety 6.2, 6.3, 6.4, 6.5, 6.6, 6.12 Technical Knowledge and Skills 10.1, 10.2, 10.3 Residential and Commercial Construction Pathway D2.1, D2.8, D2.9, D3.1, D3.2, D3.3, D3.4, D3.7 Responsibility and Leadership 7.4, 9.3 Materials Architecture Features Through the Ages Power Point https://documentcloud.adobe.com/link/track?uri=urn%3Aaaid%3Ascds%3AUS%3Ab4f485df -0d78-4fa9-9509-0b9ea3e1952c Architecture Features Through the Ages Worksheet Lesson Sequence . Introduce to students that a specific architectural style is characterized by a collection of design details. These details include size and shape of windows, the size and placement of a porch, and the presence or absence of columns. Review the Architecture Features Through the Ages PowerPoint with students. Have students fill in the Architecture Features Through the Ages Worksheet while reviewing the power point. Discuss and answer any questions students may have along the way. © BITA: A program promoted by California Homebuilding Foundation BUILDING INDUSTRY TECHNOLOGY ACADEMY: YEAR TWO CURRICULUM Assessment Check for understanding while presenting PowerPoint. Grade student worksheets. Reteach and clarify any misunderstandings as needed. Accommodations/Modifications Check for Understanding One on One Support Peer Support Extra Time If Needed © BITA: A program promoted by California Homebuilding Foundation BUILDING INDUSTRY TECHNOLOGY ACADEMY: YEAR TWO CURRICULUM Architecture Features Through the Ages Worksheet As you watch the PowerPoint on Architectural Features Through the Ages fill in summary with the correct answers. -
Architectural History in Schools of Architecture
Architectural History in Schools of Architecture Stanford Anderson The Journal of the Society of Architectural Historians, Vol. 58, No. 3, Architectural History 1999/2000. (Sep., 1999), pp. 282-290. Stable URL: http://links.jstor.org/sici?sici=0037-9808%28199909%2958%3A3%3C282%3AAHISOA%3E2.0.CO%3B2-7 The Journal of the Society of Architectural Historians is currently published by Society of Architectural Historians. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/sah.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. -
Humanism and Spanish Literary Patronage at the Roman Curia: the Role of the Cardinal of Santa Croce, Bernardino López De Carvajal (1456–1523)
2017 IV Humanism and Spanish Literary Patronage at the Roman Curia: The Role of the Cardinal of Santa Croce, Bernardino López de Carvajal (1456–1523) Marta Albalá Pelegrín Article: Humanism and Spanish Literary Patronage at the Roman Curia: The Role of the Cardinal of Santa Croce, Bernardino López de Carvajal (1456-1523) Humanism and Spanish Literary Patronage at the Roman Curia: The Role of the Cardinal of Santa Croce, Bernardino López de Carvajal (1456-1523)1 Marta Albalá Pelegrín Abstract: This article aims to analyze the role of Bernardino López de Carvajal (1456 Plasencia-1523 Rome) as a literary patron, namely his contributions to humanism in Rome and to Spanish letters, in the period that has been loosely identified as Spanish Rome. Carvajal held the dignities of orator continuus of Isabella of Castile and Ferdinand of Aragon, titular cardinal of Santa Croce in Gerusalemme, and Latin Patriarch of Jerusalem, and was even elected antipope with the name of Martin VI in the Conciliabulum of Pisa (1511) against Julius II. He belonged to the avant-garde of humanists devoted to creating a body of Neo-Latin and Spanish literature that would both foster the Spanish presence at Rome and leave a mark on the Spanish literary canon. He sponsored a considerable body of works that celebrated the deeds of the Catholic Kings and those of the Great Captain, Gonzalo Fernández de Córdoba. He also commissioned literary translations, and was involved in the production of theatrical pieces, such as those of Bartolomé Torres Naharro. Key Words: Benardino López de Carvajal; Literary Patronage; Catholic Kings; Erasmus; Bartolomé Torres Naharro; Gonzalo Fernández de Córdoba. -
ARC 112 History of Architecture II
Prehistoric Architecture Dr. Zeinab Feisal Stone Age period When? Where? How did we know about it? What about social characteristics & Believes? Architecture of the civilization. Stone Age period Occurred before invention of written records No written record from the prehistoric period How did we know about it? Information is gathered from scientific studies of prehistoric objects Many academic disciplines are interested in studying human civilization- archeology, paleontology, anthropology etc The disciplines study prehistoric objects They provide information about civilizations based on studies Early Stone Age (or Paleolithic) Up to 9000 BC New Stone Age (or Neolithic) Stone Age STONE AGE 9000 BC to 3000 BC Stone Age period Not restricted to any particular geographical region Occurred in different locations, Usually close to sources of food, near rivers Stone Age period Life style differed between the Early Stone Age period and the New Stone Age Period Each of the two periods will be examined independently to understand the people and their society Nomadic, always on move Move about in search of food, water, and good climate Got their food through food gathering, hunting and fishing Usually move about in small bands of less than 15 persons Not much is known about their beliefs GOT THEIR FOOD THROUGH FOOD GATHERING, HUNTING AND FISHING GOT THEIR FOOD THROUGH FOOD GATHERING, HUNTING AND FISHING People stopped wandering and settled down in permanent settlements Discovered art of farming and animal husbandry Period -
The Significance of Dressing in Architecture : the Theories of Semper and Loos
THE SIGNIFICANCE OF DRESSING IN ARCHITECTURE : THE THEORIES OF SEMPER AND LOOS By RINA SUDERMAN THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Architecture Theory and History The University of New South Wales March, 1995 CERTIFICATION "I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institute of higher learning, except where due acknowledgement is made in the text." (Rina Suherman) ACKNOWLEDGEMENTS I thank God for making the completion of this thesis possible. I would like to express my sincere gratitude to Dr. Peter Kohane for his continuous assistance and supervision on this thesis, and also to John Gamble for his recommendation regarding additional reading materials. Thanks to the librarians of the UNSW Kensington Library for their assistance during my research and thanks also to Christine Brunt and Susan lv!c. CaJrnont for editing the thesis. I am truly indebted to my parents for their continuous financial and moral support, which has made me believe in the importance of the higher education. And my special thanks go to Wahjono for his patience and encouragement during my time away from home. "As architecture is the art and science of building, so dress is the art and science of clothing. To construct and decorate a covering for the human body that shall be beautiful and healthy is as important as to build a shelter for it when so covered that shall be beautiful and healthy." E.W. -
Architecture from Wikipedia, the Free Encyclopedia for Other Uses, See Architecture (Disambiguation)
Architecture From Wikipedia, the free encyclopedia For other uses, see Architecture (disambiguation).. Further information: Outline of architecture Section and elevation of f Brunelleschi''s dome of Florence Cathedral.. Architecture ((Latin architectura,, from the Greek ἀρχιτέκτων – – arkhitekton, from ἀρχι- "chief" and τέκτων "builder, carpenter, mason") is both the process and product of planning,, designing and construction.. Architectural works, in the material form of buildings,, are often perceived as cultural symbols and as works of art.. Historical civilizations are often identified with their surviving architectural achievements. "Architecture" can mean: A general term to describe buildings and other physical structures. The art and science of designing and erecting buildings and other physical structures. The style and method of design and construction of buildings and other physical structures. The practice of the architect,, where architecture means the offering or rendering of professional services in connection with the design and construction of buildings, or built environments..[1] The design activity of the architect, from the macro- level ((urban design,, landscape architecture)) to the micro-level (construction details and furniture). The term "architecture" has been adopted to describe the activity of designing any kind of system, and is commonly used in describing information technology.. In relation to buildings, architecture has to do with the planning, designing and constructing form, space and ambience that -
Architectural Styles in Spain.Pdf
These presentations are examples of our work on Romanesque, Gothic, Renaissance and Baroque art styles. Students have made this activity with the purpose of learning the main characteristics of each style, mainly focused on architecture and also a little of sculpture and painting as a complement. So that’s why students write about the main characteristics of each style and illustrate it with examples. TIEHA ARCHITECTURAL STYLES Romanesque Gothic Renaissance Baroque Names: Núria Gassó, Kiona Gil, Ikram maaroufi & Aina Canosa Year: 3rd A Subject: History Date: INDEX ● ROMANESQUE ● GOTHIC ● RENAISSANCE ● BAROQUE ROMANESQUE Sant Martí de la Cortinada, Andorra 1. Romanesque introduction 11th - 13th 1.2 ROMANESQUE ARCHITECTURE Buttress Round arch Depth walls Few windows Barrel vault Latin cross plan Capital Rib vault EXAMPLES Church of San Martin, Segovia, Spain Sant Climent de Taüll Cantabria GOTHIC 2. GOTHIC INTRODUCTION 12th - 15th 2.2 GOTHIC ARCHITECTURE Pinnacle Flying 2 towers buttress Rib vault 3 spaces buttress Pointed floor plant arches Pillar church Examples Santa Maria del Mar church, Barcelona The Cathedral of Notre Dame, The Cathedral of St. John the Baptist, Paris Savannah, Neogothic style (Georgia, United States) RENAISSANCE 3. RENAISSANCE INTRODUCTION 15th 16th Antropocentrism 3.1. RENAISSANCE ARCHITECTURE Ceilings Columns Dome SYMMETRY & PROPORTION Proportion, harmony and humanism Human Proportion Symmetry in Basilica of Saint Andrea QUATTROCENTO dome lighter latin cross The birth of Venus by Sandro Botticelli. Gates of Paradise of Florence Cathedral by Ghiberti. CINQUECENTO Tempietto’s ground plan The creation of Adam, Sistine Chapel Villa Rotunda Leonardo Da Vinci The School of Athens by Raphael. IN SPAIN: PLATERESQUE (1st/3 of the 16th century) ● Inside: Gothic ● Outside: Renaissance ● Abundant and detailed decoration: Silversmith San Esteban Church (Salamanca) IN SPAIN: PURIST (2nd/3 of the 16th century) ● Pure, simple and proportional (as italian).