Leonardo Da Vinci, sketches for centralized churches, 1490

high ren.

• plan and 3D exterior views
• saw arch as engineering, didnt care about ornamentation
• bio: true Renaissance Man: painter, sculptor, arch, inventor

• first worked in Milan, painting and started arch. study
• influenced by Brunelleschi
• goes to Rome ~1500 at age 56 (flourishing of Ren.) arch to Pope Julius II

Bramante, S. Maria della Consolazione, Todi, 1508

High Ren.

• direct influence from Leo's sketches
• centralized, symmetrical on 2 axes, dome in center

Bramante, S. Maria della Grazie, Milan, 1492-97

High Ren

• Ren. addition to Gothic church-->awkward
• easy to compare Gothic & Ren. on interior
• Leonardo's Last Supper painted here

Bramante, S. Maria presso S. Satiro, Milan, 1482-92

High Ren

• addition to S. Satiro
• abuts street-->no room for east apse-->painted in perspective: if you stand on axis, looks like deep apse
• coffered barrel vaulting

Bramante, Tempietto, Rome, 1505-14

High Ren.

• spot where St. Peter was martyred
• doric order used correctly mathmatically & symbolically
• new bldg type created from ancient ideals (contrasts to Early Ren when they just made replicas of ancient bldgs)

Bramante, St. Peter's, Rome, 1505

High Ren.

• Julius II wanted new St. P's to show power of Church, based on classic terms
• centralized plan w/ huge dome (inspiration from Baths of Diocletian & Pantheon)
• died 1514, only foundation started

Bramante, House of Raphael, Rome, 1512

High Ren

• most influential palace design in Western arch history
• 1st floor: rusticated, set-in windows, retail space
• piano nobile: doric order columns (instead of pylasters) and protruding elements--> more dynamic

• more personal artistic expression-->manipulation of classical language
• Started 1520s--political instability in Rome
• Favored disharmony, discord, imbalance, tension, distortion\
• Comes from maniera--> self-indulgence,  superficial

Raphael, Villa Madama, Rome, 1516

Late Ren.

• country estate--new bldg type-->new level of sophistication (move into Mannerism)
• for Cardinal de Medici
• rooms open onto loggia, then stepped parterres on hill facing city of Rome
• circulation not forced: many choices of which way to go

Giorgio Vasari, Uffizi, Florence, 1560

Mannerism

• crisp horizontal banding, varying depths of surface-->dynamic 
• long, narrow courtyard-=tension
• one end opens ont Piazza della Signoria, off axis, other end w/ arch, facing river

Giulio Romano, Palazzo del Te courtyard, Mantua, 1525-34

Mannerism

• courtyard w/ rooms en suit around it
• made to look like ruin (triglyphs dropped down, windows not fully framed, heavily rusticated)--> creates tension & ambiguity

• writer, painter, historian, arch.
• wrote biographies of Italian artists: The Lives of the Artists
• went to Rome, 1529: studied Raphael
• employed by Medeci family

Giulio Romano

bio

• grew up in Rome, experienced ancient bldgs-->very different understanding of them
• his way of expressing antiquity: showing ruined conditions 
• willful misuse of rules of classicalism
• one of creators of Mannerism

• painter, sculptor, arch, engineer
• best documented artist of 1500s
• grew up in Florence, sent to Medeci house to get artist's education
• 1505-went to Rome, work for Julius II
• known as the Divine One during his lifetime

Michelangelo, Laurentian Library, S. Lorenzo, Florence, 1524

Mannerism

• vestibule: tall, clerestories, framed blank windows, staircase--dynamic sculpture that creates tension
• once you enter library: tension resolved: serene and orderly

Michelangelo, Campidoglio, Rome, 1537

Mannerism

• reestablish power of Rome
• trapezoid space, oval pattern w/ statue in center
• new facades on existing bldgs
• big staircase connecting it to rest of city

Michelangelo, Palazzo Farnese, Rome, 1517-46

• Pope Paul III's residence
• added central window & cornice on piano noble
• shows importance in piaza 

Michelangelo, St. Peter's , Rome, 1546

• did most of work on it
• made clay & wood models
• simplified Bramante's plan, more solid walls & larger center piers to support dome
• dome: influenced by Brunelleschi's dome, but more hemispherical, cupola, 16 ribs to look more round, buttressing columns

Michelangelo, Porta Pia, Rome, 1516-65

• city gate at end of Via Pia, not for defense but scenic view
• plane of brick w/ white stone on top
• emphasis for central passageway: packed w/ redundant elements

Michelangelo, Sforza Chapel, S. Maria Maggiore, Rome, 1564

mannerism

• most adventurous, combo of longitudinal and central plans-->skewing of typical plans, pushing boundaries

• born in Venice, trained as stone mason, archtitect later in life, studied proportions in Rome
• wrote The Four Books of Architecture
• focus on classical, even though during Mannerist time
• influenced Neo-Classicism
• best known for villas

Palladio, Basilica, Vicenza, 1549

• redid facade council hall
• 2 story arcade, doric& ionic orders
• ancient bldg techs
• "serliana" module

Palladio, Palazzo Chiericati, Vicenza, 1550-52

• urban palace, shallow long site
• doric & ionic orders
• facade divided into 3 parts

Palladio, Villa Barbaro, Maser, 1557-58

• practicality most important--compact, funtional space
• innovative: temple front on house
• proportions!, painted frescos inside

Palladio, Villa Foscari, Malcontenta, 1559-60

• on canal-->raised on platform
• single axis
• back: broken pediment
• in plan: golden rectangle

Palladio, Villa Americo-Capra (Rotunda), Vicenza, 1556-57

• square, symmetrical on 2 axes
• porticos on all 4 sides-->views
• simple, yet harmonious 

Palladio, Villa Trissino, Meledo, 1567

• similar to Rotunda, but rectangle
• influence seen in Georgian farmhouses

Palladio, S. Giorgio Maggiore, Venice, 1565

• centralized & latin cross combo
• 2 temple fronts

Palladio, Teatro Olimpico, Vicenza, 1579-80

• awk site condition--> elliptical seating
• stage set: urban piazzo w/ 3 streets--tricks eye

Michelozzo di Bartolommeo. Medici Villa, Fiesole, 1458-61

• extension of arch, geometric, controlled
• outdoor room
• orderly, 2 levels of parterres

Giacomo Vignola, Villa Lante, Bagnaia, 1566

• perspective/views==organizing principle
• starts orderly at bottom of hill-->top= boscos

Pirro Ligorio, Villa d'Este, Tivoli, 1565-72

• Mannerist
• every scale & variaton of water
• dedicated to Hercules 

Niccolo Tribolo, Boboli Gardens, Florence, 1549

• garden goes uphill, starting at villa
• strong central axis, starts simple-->gets larger and more complex