renaissance architecture (europe,russia)
Post on 21-Jul-2016
20 Views
Preview:
DESCRIPTION
TRANSCRIPT
R E N A I S S A N C E A R C H I T E C T U R ETHE ARCHITECURE OF THE RENAISSANCE AND POST ARCHITECTURES IN EUROPE AND RUSSIA
I. ARCHITECTURAL CHARACTER IN ITALY Coarse arenaceous limestone from Florence and grey
sandstone from Fiesole and Settignano were used in monolithic columns as well as carved in the fine detail required by the new architecture.
High Renaissance period was marked by greater understanding of the principles and physical remains of ancient architecture.
Milan - the center of an area of brick building. Wood, red marble, stone. White and colored marbles were still pillaged from
ancient ruins Brunelleschi’s invention of linear perspective. Alberti observed in his De Re Aedificatora (1452) the
need for plans, elevations and section. S. Peter’s –evidence of a three-fold system of
orthogonal drawings on the same scale. Use of wooden models.
A. CHURCHES Planning was influenced by symbolism, liturgical
change, reforming movements and the new religious orders as well as by the aesthetics preferences of architect and patron.
Decorum was a fundamental rule of renaissance culture, and the function of the church was crucial to its plan.
Centralized plans based on circle, square and Greek cross.
On the 15th century, the choir was removed to a chapel behind the altar.
The new religious orders on the second half of the 16th century, the Jesuits, Barnabites, and Oratorians, tended to adopt single-nave plans often with interconnecting side chapels, abbreviated transepts and clear divisions of the parts.
B. LARGE URBAN DWELLINGS (palazzi) Rectangular block of three storeys:(i) First floor – central colonnaded courtyard and
the pacing of the main apartments. Facing on the street.
(ii) Vaulted ground floor – house shops, summer apartments and by the 16th century, stables.
(iii) Second floor – children’s and servant’s room.(iv) Basement – wine, oil and fuel storage.
C. PALACES Ground floor shops tended to disappear from
palace facades in the 14th century in Florence. Continuous stone bench for public use. Large pedimented windows supported on
volutes (kneeling windows) appeared on the ground floor.
In 1581, oiled linen or paper used in the windows instead of glass.
In Rome cardinals’ palaces were larger, more loosely planned, and had loggias at upper levels for maximum air and shades.
Corner towers and cross-mullioned (Guelph) windows were common until the end of 16th century.
Grandeur of facade staircase ad courtyard was given precedence over size.
Courtyards are often replaced by gardens in Venetian palaces.
D. VILLAS Agricultural center, hunting lodge, suburban
retreat. Villas vary so enormously according to function,
region, patron, and architect that only a few common features, such as external loggias, can be discerned.
Vistas giving long perspectives, staircase ramps, niched exedrae and grottoes, influenced by Bramante’s Cortile Del Belvedere and Raphael’s Villa Madama, became features of garden planning. Water played an increasing part, feeding fountains, cooing dining tables, and powering elaborate automata.
II. ARCHITECTURAL CHARACTER IN FRANCE Versailles is the supreme example of the garden as an
adjunct to the house – laid out on its axes, continuing its lines across large areas of the surrounding country. The garden is an integral part of an architectural conception.
The second half of the 18th century saw the emergence of new types of public buildings: for instance, markets, which often provided opportunities for novel structural techniques and theaters.
U-shaped auditoria with portico-fonts. Return to basilican plan Napoleonic era saw a brief preference for the antique
temple form in Madeleine, Paris Napoleon initiated a major programme of public
buildings such as the Paris Bourse, General Post Office, and Ministry of Foreign Affairs.
Large windows, high-pitched roof, and tall chimneys, developed in France in response to climate.
Rich in building stone and slate which could be transported by river.
The use of wood and plaster was widespread in vernacular architecture.
Gothic survived until nearly 1700 as a living form.
A. CHATEAU and HOTELS Charles VII returned from Italy to the Château
d’Amboise on the Loire, the first royal residence in France. He brought Italian artists and craftsmen with him and initiated the early period of château building.
Château remained a prime building type until the court was finally centralized in Versailles.
Paris saw the construction of large number of rich private residences – hotels – which became a characteristics building type exercising influence on domestic planning throughout the whole of Europe.
Most striking example was Antoine Le Putre’s Hotel de Beauvais.
French fashion sought to create a number of small rooms for private social activities.
Antichambre – a chamber in which formal receiving normally took place, with the host reclining on the bed; a more intimate cabinet where special friends would be received and if space permitted, a garderobe.
Stables were, if possible, banished to a separate service court, servants’ quarters communicated with the principal apartments by hidden passages and stairs.
Architects were obliged to chow great ingenuity in fitting the necessary rooms into confined and irregular spaces.
B. CHURCHES The new Counter – Reformation had an
important impact on Roman Catholic church buildings, especially in the first half of the 17th century
Aisleless nave and two- or three – storey facades were initially predominant, but in the later 17th and 18th centuries there was a return to basilican plan, which continued around the apse as a semicircular screen.
Napoleonic era saw a brief preference for the antique temple form, as it was in the Madeleine, Paris (begun 1806).
III. ARCHITECTURAL HARACTER IN SPAIN AND PORTUGAL Turkish domination of the eastern Mediterranean trade
routes encouraged in Spain Portugal the spirit of more broadly based maritime enterprise, which is powerfully reflected in the architectural symbolism of the buildings of the Convent of Christ at Tomar.
Territorial expansion heralded the dissemination of Spanish and Portuguese architectural styles in the New World.
Philip II, during whose reign the Escorial, one of Europe’s greatest palaces was built, inherited the problems of this vast empire.
Muslims and Jews had been converted or expelled, resulting to the loss of many architectural craftsmen.
Its architecture generally seems to be best suited to hot climes.
Low-pitched roofs and small windows pre-dominate, as do open staircases and courtyards (patio) for internal circulation.
Granite – principal material. Dark color, grey in Spain and grey green in Portugal. Limestone and sandstone on the south. Bricks from the Muslims. Iron ore and woods were also used.
IV. AUSTRIA, GERMANY AND CENTRAL EUROPE The area considered here is present-day Germany,
Austria, Switzerland and the Czech Republic with parts of Poland and Hungary.
Uniform alluvial plain, where moulded brickwork continued to be used in great variety.
Large windows, steep roofs, and prominent chimneys. Baroque period is characterized by family teams often
of brothers, working together to produce a church complete with its decorations.
V. THE LOW COUNTRIES Calvinist Protestantism became the basis of the Dutch
Reformed Church, while Belgian provinces remained catholic.
Followed Lutheran pattern established in Germany. Dutch churches make use of galleries and give a
prominent role to the baptismal front. Experimentation with central plans. Religious tolerance in Amsterdam is found in the
Portuguese-Israeli Synagogue, an interesting structure with a plastered exterior and three equal barrel vaulted spaces internally.
The Palladian style of Jacob Van Campen became a symbol of Dutchness.
Holland is the lowest part of the low-lying region around the mouths of the Rhine, Maas and Scheldt.
The work of drainage and reclamation, enclosing land (polders) in networks of dykes and canals helped of the rotating turret windmill to operate water pumps.
Shifting foundations made lightweight open structures advisable.
Lacked of building stone led to expertise in brick work. Flemish Bond method of brick-coursing is well known. Wood construction. Freestone, limestone, slate and timber from flat lads of
Flanders in Belgium.
VI. BRITAIN Workshop of the World. Henry VIII’s deliberate important of Italian, French and
Flemish craftsmen for work on the royal palaces largely brought about the introduction of Renaissance style.
The break of Rome and the adoption of Protestantism were less important in church planning.
Elizabeth I encouraged the construction of country houses by her courtiers as an indirect expression of sovereignty.
Auld alliance meant strongly French architectural characteristics in castle building which were still functionally necessary.
Restoration of Charles II emphasized architecture as an expression of centralized monarchical power in French style.
The glorious Revolution reinforced the Dutch influences already present in English architecture.
Prosperity produced greater demand for houses, and a ready market for a speculative building.
England followed France and Italy in formal planning for much of the period, in the middle of the eighteenth century English country houses pioneered the informality that marked a new sensibility.
The apartment system broken up for the first time, and the reception rooms were arranged around a central staircase.
More time was spent in the common areas of the house and the private apartments shrank in size.
Greater rapport between houses and countryside brought about looser plan arrangements.
The main rooms were placed asymmetrically at ground level to obtain views of landscape features of better sunlight penetration.
A. HOUSES
1. PLAN Influence of Palladio’s centralized house plans The hall and parlour were placed centrally on
the ground floor and the saloon replaced the great chamber on the floor above.
Symmetrical group of rooms of diminishing size - with-drawing chamber, chamber, closet-cabinet - opened of central rooms.
1. FAÇADE The symmetrical façade of Elizabethan houses
frequently mask an internal asymmetry where the great hall is set off to one side
2. GALLERY Became important features of Elizabethan
houses and began to be used to display painting and sculpture as in France and Italy.
3. STAIRCASE Began to be made of wood rather than stone.
B. CHURCHES Screens were not destroyed. Stone altars replaced by wooden tables. Emphasis in prayer brought the lectern and
pulpit into the nave and made good acoustics a prime requirement.
Communion rail was introduced to protect the altar.
Lutheran invention became a lasting feature of church design until the Gothic revival.
Interiors had high box pews, multi-level pulpits and Classical screens. Almost all of which were removed and lost during the Gothic Revival.
VII. ARCHITECTURAL CHARACTER IN RUSSIA Ivan the Great’s ambition led to the employment of
Italian architects. Italian architects were imported to design buildings. Church planning followed Byzantine models Primitive Orthodox – native Russian architectural
elements such as the tent roof, an attitude reflected both in the simplicity of the Church of the Twelve Apostles in Moscow and the use of the Holy Sepulchre
Church as a model for the monastery of the New Jerusalem, Istra.
S. Petersburg, the first modern capital built to a predetermined plan.
Dependent on wood Timber was used for monumental buildings Tent roof in masonry “Sateri” (manor-house or Italian) roof – two roofs with a
small break or a clerestory between, the lower part being usually curved in section.
VIII. ARCHITECTURAL CHARACTER IN SCANDINAVIA Country houses replaced the castle-like dwellings. Wood construction. Copenhagen and Stockholm (two capitals) reflect
centralization of court life. Neo-Classical Character.
top related