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Late Renaissance 1520S ARCG221- HISTORY OF ARCHITECTURE II Late Renaissance and Mannerism 1520s - 1580s Dr. Abdurrahman Mohamed Saint Peters cathedral in the late renaissance Giuliano de Sangallo, Giocondo and Raphael were followed by Baldasari Belotti then by de Sangallo the younger and both died by 1546. All of these architects inserted changes on the original design of Bramante. Michael Angelo was commissioned in 1546 and most of the existing design of the cathedral belongs to him. Da Snagalo the younger design for Saint Peter’s church Michelangelo plan for Saint Peter’s church Ricci, Corrado.High and late Renaissance Architecture in Italy. pXII Michelangelo dome of St Peter’s Cathedral Roof of St. Peter's Basilica with a coffee bar and a gift shop. http://www.saintpetersbasilica.org/Exterior/SP-Square-Area.htm The grand east facade of St Peter's Basilica, 116 m wide and 53 m high. Built from 1608 to 1614, it was designed by Carlo Maderna. The central balcony is called the Loggia of the Blessings and is used for the announcement of the new pope with his blessing. St. Peter’s Cathedral View from St. Peter’s square designed by Bernini http://en.wikipedia.org/wiki/File:Vatican_StPeter_Square.jpg Palazzo Farnese, De Sangallo the Younger, 1534, upper floor by Michelangelo Ground floor plan 1- Courtyard 2- Entrance hall 3- Entrance fro the square Palazzo Farnese, De Sangallo the Younger, 1534, upper floor by Michelangelo Main façade Villa Giulia Palazzo Villa Giulia http://www.flickr.com/photos/dealvariis/4155570306/in/set-72157622925876488 Quoins Mannerism 1550-1600 The architecture of late renaissance which started at the end of 3rd decade of the 16th century followed the classical origins of the early and high renaissance. By the beginning of the 2nd half of the 16th century it developed a very distinguished style called mannerism which continued until the end of the 16th century when the baroque style started by the beginning of the 17th century. Andrea Palladio was the foremost important architect of mannerism and developed his own style which named Palladian after him. Palladio He was born in 1508 and was trained in his youth as a sculptor. He then worked in the construction of Villa Trisini. He visited Rome and studied the works of Bramante, Raphael and Angelo. He then returned to Vicenza. He designed the Palazzo Chiericati (1550-1580). In 1570, Palladio published his first book on architecture: the 4 books of architecture (Iquatro libri del architectura) in 4 volumes which summarized his studies for the principles of Roman architecture. The book also had some of his projects. Palazzo Chiericati (1550-1580) Palazzo Chiericati (1550-1580) Palazzo Chiericati (1550-1580) http://www.google.com.bh/imgres Palazzo Chiericati (1550-1580) Villas of Palladio His very famous villas became models followed by other architects until modern times. The most famous and illustrious of them are 5: Villa La Rotonda, Villa Cornaro, Villa Barbaro, Villa Emo, and Villa Foscari (La Malcontenta) Andrea Palladio – Villa Capra- La Rotonda, Vicenza work commenced by Palladio in 1550; finished by Scamozzi in 1606 Plazy, History of Art in Pictures, p. 113 http://www.kingsacademy.com/mhodges/11_Western-Art/16_Late-Renaissance/16_Late-Renaissance.htm Villa La Rotonda Plan Villa La Rotonda Isometric Villa La Rotonda Section Villa La Rotonda- Main characteristics The Palladian villa style consisted of a centralized building raised on an elevated podium. The access was through grand steps with service wings underneath. This composition elevated the center of the building with special position. It found acceptance throughout Italy and later in England where notables and Lords built similar projects. The style expressed their social orders and positions. The Palladian villa style was adapted for modern buildings like the memorial of Thomas Jefferson and National Gallery in Washington designed by John Russell Pope in 1940s. Influences of Villa La Rotonda on modern architecture Thomas Jefferson Memorial in Washington http://www.panoramio.com/photo/62169901 Influences of Villa La Rotonda on modern architecture National Gallery in Washington National Gallery in Washington http://www.google.com.bh/imgres Geometrical analysis of Villa La Rotonda Tomás García-Salgado: A Perspective Analysis of the Proportions of Palladio’s Villa Rotonda: Making the Invisible Visible perspectivegeometry.com/ square A. square B. square C. square D. square E. square F. square G. square H. All the squares Volumetric composition of villa La Rotonda According to the Quattro libri, the original proportions of the Rotonda are as follows: in plan, 12 x 30 f for the loggias, 15 x 25 f for the main rooms, 10 x 15 f for the small rooms, 6 f for the access halls, and r = 30 f for the circular room. In elevation: the height of the columns is 18 f, that of the main rooms is 21.5f, the attic is 7 f, and there are 10 f from the piano terra to the piano nobile . Palladio’s concept of beauty “Beauty will result from the form and the correspondence of the whole, with respect to the several parts, of the parts with regard to each other, and of these again to the whole; that the structure may appear an entire and complete body, wherein each member agrees with the other, and all necessary to compose what you intend to form.” Andrea Palladio - Quattro libri Villa Cornaro (1552-1553) Two-story projecting portico-loggia Space extension and enclosure Interaction with the surroundings Harmony of interior and exterior spaces Changing the concept of residence from closed fortress to the open loggia The use of ratio 6 to 10 or 3 to 5 in the plan Villa Cornaro Main entrance Villa Cornaro- from the back garden Villa Cornaro- Plan Villa Cornaro- Elevation shows the piano nobile above the piano terra Villa Barbaro (1549-1558) Main features The central residential space is constructed on the remains of a medieval manor house. Four engaged Ionic columns in the main facade Farm buildings extend symmetrically from the left and right of the central residence. These buildings end with dovecotes with a large sundial on the facade. The interior of the central residence is highlighted Villa Barbaro - main elevation Villa Barbaro - plan Villa Barbaro Villa Emo (1559-1565) Villa Emo main fatures The central residential space has 4 columns 2 of them are engaged. Farm buildings extend symmetrically from the left and right of the central residence, surmounted by dovecotes. The piano nobile is raised above piano terra Disproportion and imbalance in the main elevation Villa Emo- Main facade Villa Emo- plan Villa Foscari (La Malcontenta) 1558- 1560 http://www.boglewood.com/palladio/malcontenta.html Villa Foscari - plan http://www.greatbuildings.com/cgi-bin/gbc-drawing.cgi/Villa_Foscari.html/Villa_Foscari_Plan.jpg SEZIONE (BERTOTTI SCAMOZZI 1781) Mannerist urban spaces Anew sense of space began to develop early in high renaissance where architects showed greater care for nature and their building began to interact spatially and visually with the surrounding environment. With the development of these features space extension and space enclosure became very common of mannerist architecture. Larger areas began to be used around buildings to connect buildings together visually and to provide plazas for gathering and celebrations. Several visual design principles were used in the design and development of these urban squares. The Capitoline Hill- Campidoglio by Michelangelo 1536 Capitoline hill is the smallest of Rome 7 hills but it is the heights and the most sacred. The hill had the ruins of the Roman Capitoline Triad which comprised of the Temple to Jupiter, Juno, and their daughter Minerva. In 1535, the Pope Paul III commissioned Michelangelo to renovate the buildings around the Capitoline Hill and to re- establish its position as the centre of the city. The Campidoglio was the seat of the civic government of Rome while the pope wanted to use this secular nature of the site to enhance his power. Michelangelo exploited this atmosphere to evoke the ancient Roman empire Michelangelo urban design for the hill Michelangelo kept the trapezoidal perimeter of the square between the buildings. He added oval lines in the pavement of the square to respect the nature of the space between the buildings He added steps to longitudinally emphasize the relationship with St. Peter’s square. Isometric of the square The Campidoglio looking towards St. Peter’s square. Mannerist gardens Mannerist architects showed a great sense of creativity in the spatial configuration of their gardens. Gardens were furnished with sensational features and used for outdoor masques and parties. Virtuoso water displays were admired and the creation of garden features to impress one’s friends became an objective. Movement and drama became important in mannerist gardens, as they did in mannerist painting and sculpture. Gardens were less calm and more given to theatrical display. Hydraulic marvels and elaborate water features, often based on streams flowing through the garden, were characteristic features of mannerist gardens. Villa Lante garden in Bagnaia by Vignola 1566 It is a mannerist garden of surprise near Viterbo in central Italy with area around 76 X 230 meters. It used the sloping topography of the site where the lower part has a large square terrace with 12 planted beds and a fountain in the middle. Stairs lead to the upper part which has two casini (one is casino) which also have terraces behind them with large trees and dense canopies. At the top of the hill there is a small pavilion covers a grotto (small cave) and water around it. mannerist style of the garden The garden terraces proceed from the most cultivated at the lower part of the garden to the most primitive at the top. The style of the casini and the different features of the garden express the nature of the mannerist style of design in its utmost characters.
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