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 

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

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

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

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

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)

De Re Aedificatoria (Ten Books of Architecture)

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. 

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

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)

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)

Sketches for Centralized church 1490

Leonardo di Vinci 
-sketches that were never built
-circle inscribed in a square

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

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

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

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

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

Four Books of Architecture

Andrea Palladio, 1570

-Theories about domestic buildings, public buildings, urban planning, and temples. 

- Found Roman classical architecture as superior. Antiquity

-Veneto, and Terraferma

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. 

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 

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

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

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

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

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

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

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

Palmanova, Vincent Scamozi, 1593

 -used to keep ottoman out
-cosmic model 
-Baroque

-fortified town

-radiating streets

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

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

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...

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 

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

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

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  

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

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 

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)

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

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

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

St. Pauls, Covent Garden, London, Inigo Jones 1631-35

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

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

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 

Royal Mosque, Isfahan, Iran 1611-30

-oriented towards Mecca
-stalactite vaulted entrance
-Iwans

-sahn (courtyard)

-qibla

-uniconic

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

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

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

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

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 

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)

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

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

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

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

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

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 

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

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

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