Download presentation on architecture revival. Presentation on the topic "high renaissance architecture". Gothic, unlike Renaissance architecture, looked for inspiration in its own interpretation of Classical art. special meaning

Early Renaissance architecture

Lesson summary on MHC in grade 8

Compiled by: Petukhov Alexander, 222 gr.

Lesson type: gaining new knowledge

Lesson form: Lecture-visualization

Purpose: To form students' knowledge of the architecture of the early Renaissance.

Educational: to form and expand students' knowledge about the architects of the early Renaissance.

Developing:

To develop the ability to identify the architecture of the early Renaissance by its features (development of the skill of analyzing architecture)

Develop students' memory and creative thinking

Educational: to bring attention to students.

Equipment: Computer, projector, projector screen.

Lesson plan

Lesson stage

Time (min.)

Organizing time

Student motivation. Working with an epigraph

Lecture material "Masterpieces of architecture of the early Renaissance"

Creative task: building design (work in pairs)

Checking the creative task. Choosing the best building

Summing up the lesson

Homework

During the classes

1. Organizational moment

Greetings. Checking the availability of students and their readiness for the lesson.

2. Student motivation

Teacher: There is an aphorism on the screen (slide 1) Who knows its author? I will not torment you for a long time, in fact, the author of this aphorism is unknown. So next question. What will be the topic of our lesson? Excellent. But we can't learn the whole architecture in one lesson! So pay attention to the screen. There is a building in front of you (slide 2) What period do you think it belongs to? It belongs to the period of the early Renaissance. We will learn about its author and other buildings of this period in today's lesson.

3. Lecture material

The period of the so-called Early Renaissance"covers the time from 1420 to 1500. During these eighty years, art has not yet completely renounced the traditions of the recent past, but is trying to mix into them elements borrowed from classical antiquity. Only later, and only little by little, under the influence of more and more changing conditions of life and culture, do artists completely abandon medieval foundations and boldly use examples of ancient art, both in the general concept of their works and in their details.

Write in a notebook (slide 4): Quattrocento (Italian quattrocento, “four hundred”) is a generally accepted designation for the era of Italian art of the 15th century, correlated with the period of the Early Renaissance.

During the Quattrocento, the norms of classical architecture were rediscovered and formulated. The study of ancient samples led to the assimilation of classical elements of architecture and ornament.

The space, as an architectural component, is organized in a way different from medieval notions. It was based on the logic of proportions, the shape and sequence of parts are subject to geometry, and not to intuition, which was a characteristic feature of medieval buildings. The first example of the period can be called the Basilica of San Lorenzo in Florence (slide 5).

Write in your notebook (slide 6): Basilica (basilica; Greek βασιλική - “house of basileus, royal house”) - a type of rectangular building, which consists of an odd number (1, 3 or 5) of naves of different heights.

(slides 7-8) Nave - an elongated room, part of the interior (usually in basilica-type buildings), limited on one or both longitudinal sides by a row of columns or pillars separating it from neighboring naves.

In a multi-nave basilica (slide 5), the naves are separated by longitudinal rows of columns or pillars, with independent coverings. The central nave, usually wider and taller, is illuminated by the windows of the second tier. The most significant Roman Catholic churches are also called basilicas, regardless of their architectural design. This basilica was built by Fillipo Brunelleschi.

Write in a notebook (slide 9): Filippo Brunelleschi (Italian: Filippo Brunelleschi, 1377-1446) is a great Italian architect, sculptor of the Renaissance.

During the early Renaissance in art, there is a desire for an organic combination of medieval traditions with classical elements. In temple construction, the main type remains the basilica with a flat ceiling or with cross vaults, but in the elements - the arrangement and decoration of columns and pillars, the distribution of arches and architraves, the appearance of windows and portals, the architects are guided by Greco-Roman monuments in an effort to form vast, free spaces inside buildings.

Write in your notebook (slides 10-11):

Architrave (Italian architrave, from Greek ἀρχι, “archi”, over-, main and lat. trabs beam) is a straight crossbar that bridges the gap above columns, pillars or window and door openings.

Subsequently, gradually, both in the general concept and in the details, samples of ancient art become the basis of the works.

Write in your notebook (slide 12):

An architectural order (Latin ordo - order, order) is a type of architectural composition that uses certain elements and is subject to a certain architectural and stylistic processing. It includes a system of proportions, prescribes the composition and shape of the elements, as well as their relative position. The architectural order is the embodiment of a post-and-beam system, tectonically consisting of vertical and horizontal elements.

Capital (from lat. caput - head) - the crowning part of a column or pilaster. The top of the capital protrudes beyond the column, providing a transition to the abacus, which is usually square in shape.

Most often, the design of buildings contains the Corinthian order with various modifications of the capital (slide 13) symmetry and harmony of proportions. These buildings have harmoniously spacious courtyards, surrounded on the lower and upper floors by covered galleries on arches, which are supported by columns or pilasters of antique form.

Write in a notebook (slide 14): Pilaster (also pilaster, from Latin pila “column”, “pillar”) is a vertical protrusion of the wall, usually having a base and a capital, and thus conditionally depicting a column.

Facade (French façade - front, front side of the building) - the outer, front side of the building.

The façade is given horizontal dimension through graceful interfloor cornices and the main cornice, which forms a strong ledge under the roof.

Italian architectural monuments of the early Renaissance are found mainly in Florence; among them - elegant and at the same time simple in technical solution the dome of the Cathedral of Santa Maria del Fiore (1436) (slide 15) and the Palazzo Pitti (slide 16), created by Filippo Brunelleschi, who determined the vector of development of Renaissance architecture.

A very interesting building is Certosa, located in the Italian city of Pavia (slide 17). The fact is that in fact this building, although already made in the Renaissance style, was actually originally conceived as a Gothic building. This church was founded on August 27. Certosa owes her final appearance.

Write in a notebook (slide 18): Giovanni Antonio Amadeo (Italian Giovanni Antonio Amadeo, 1477, Pavia - 1522, Milan) Italian sculptor and architect.

Palazzo Corner-Spinelli (slide 19) ((Italian: Palazzo Corner-Spinelli) is a palace in Venice, on the Grand Canal in the San Marco area.

This is one of the finest Renaissance palaces in Venice. It was built from 1480 to 1500 by the architect Mauro Coducci.

Write in notebook: Mauro Coducci (1440-1504) - Italian sculptor and architect of the early Renaissance.

Mauro Coducci was born in 1440 near Bergamo. Until the age of 30 he lived in Lombardy, where he studied sculpture. Around 1468, Mauro comes to Venice. It is noteworthy that at the same time, another outstanding architect, Pietro Lombardo, came to Venice, with whom Mauro was later associated with many joint works.

Write in a notebook (slide 20): Pietro Lombardo (1435-1515) - Italian sculptor and architect of the early Renaissance. Born in Switzerland in the village of Karona.

The magnificent Vendramin Calergi Palace (slide 21) (Palazzo Vendramin Calergi) was built at the end of the 15th - beginning of the 16th century, between 1481 and 1509. The Italian architect Pietro Lombardo worked on its construction.

The palace is crowned with a magnificent entablature, consisting of an architrave, a frieze and a cornice hanging over them. The upper arches connected with the columns by rings act as the unifying elements.

Write in your notebook (slides 22-23):

An entablature (fr. entablement from table - table, board) - a beam ceiling of a span or the completion of a wall, consisting of an architrave, a frieze and a cornice.

Frieze (Fr. Frise) - a decorative composition in the form of a horizontal strip or ribbon, crowning or framing one or another part of an architectural structure.

Cornice (from the Greek. κορωνίς) - a protruding element of the interior and exterior decoration of buildings, premises, furniture. The cornice separates the plane of the roof from the vertical plane of the wall, or divides the plane of the wall along selected horizontal lines.

The architectural feature of the palace is the double arched windows rounded at the top and the masonry of the first floor. The palace became the prototype for many city buildings.

The Doge's Palace (slide 24) (Italian: Palazzo Ducale) in Venice is a great monument of Italian Gothic architecture, one of the main attractions of the city. It is located on St. Mark's Square next to the cathedral of the same name. Although the first building on this site was still in the 9th century, the construction of today's building was carried out between 1309 and 1424, supposedly by the architect Filippo Calendario.

Write in a notebook (slide 25): Filippo Calendario (first years of the 14th century - 1355) - Venetian architect and sculptor, alleged builder of the Doge's Palace in Venice.

In 1577, part of the palace was destroyed by fire, after which it was restored.

This main building of Venice was, first of all, the residence of the Doges of the Republic. The Grand Council and the Senate met in the palace, worked Supreme Court The secret police did their business. The ground floor also housed the offices of lawyers, the office, the services of censors and the maritime department. The balcony built on top served as a kind of festive tribune, from which the Doge showed himself to the people. The guests of the city, who moored to the palace itself from the side of Piazzetta, thus found themselves at the feet of the ruler of the Republic.

4. Creative task. Work in pairs.

The teacher invites the students to play the role of architects and try to draw (design) a building in the style of the early Renaissance, based on the knowledge gained from studying the lecture material. It is possible to work in small groups (with a large number of students):

“Imagine that you and your desk mate are early Renaissance architects. You have been assigned to build a building. Using the knowledge gained in the lesson, try to design appearance your own building. How it will look depends on your imagination. Incorporate decorative elements typical of that era into the building.”

5. Checking the creative task

Pupils (small groups) show their buildings and prove that they are made in a given style. The best building is selected.

6. Summing up the lesson (slide 27)

Student survey:

1. Name the main architects of the early Renaissance.

2. What was the purpose of the buildings discussed in the lesson?

3. What elements of the building do you remember?

2. Prepare a report on one of the buildings of the early Renaissance (3 buildings, one per student, individually).

by discipline:

History of urban planning

Topic: "Renaissance architecture and urban planning"

Completed:

Checked:

Plan

Introduction

Three periods of the Renaissance:

Early Renaissance period

High Renaissance period

Late Renaissance

Conclusion

Introduction

Revival as a new worldview and a new art style originated in Italy at the end of the 14th century. The first urban planning ideas represented the city as an architectural unity according to a predetermined plan. Under the influence of these ideas, instead of narrow and crooked medieval lanes, straight, wider streets built up with large buildings began to appear in Italian cities.

The planning and architecture of squares during the Renaissance took shape in the 15th-16th centuries. in Rome and other major Italian cities.

During this period, several cities were reconstructed here using new principles of urban planning. In most cases, palaces in such cities were located on the central squares, which sometimes represented the beginning of three-beam compositions.

Renaissance cities gradually acquired new features under the influence of social changes. However, due to private ownership of land and backward technology, it was impossible to quickly move from the old city to the new one. In all periods of the Renaissance, the main efforts of urban planners were directed to the development of the city center - the square and the nearest quarters. During the heyday of monarchical states in the XVIII century. the ensembles of the central squares of cities were given exceptional importance as their main decorations. City squares had mostly geometrically correct outlines.

If the architecture of ancient Greek and Roman squares was characterized by columns and porticos, then for the squares of the Renaissance period, arcades became new elements, developing simultaneously with the development of entire systems of squares.

In most medieval cities, decorative greenery was absent. Orchards were grown in the gardens of monasteries; orchards or vineyards of the townspeople were behind the city fortifications. in Paris in the 18th century. alleys, cropped greenery, flower garden parterres appear. However, the parks of palaces and castles were privately owned. Public gardens in most European cities appear only at the end of the 18th century.

Water basins in the Middle Ages, in essence, were an obstacle to the development of the city, dividing its districts, and served for narrow practical purposes. Since the 18th century rivers began to be used as connecting elements of cities, and in favorable conditions, as compositional axes. A vivid example is the wise urban planning use of the Neva and Nevka rivers in St. Petersburg. The construction of bridges and the construction of embankments consolidated this direction in urban planning.

During the medieval period, the skyline of the city was largely defined by the pointed spiers on city administrations, churches and public buildings. The silhouette of the city was defined by many small verticals and a few dominant ones. In connection with the new artistic understanding of the silhouette of the city, high medieval roofs were gradually eliminated, Renaissance buildings were completed with roofs with attics and balustrades.

With the increase in the scale of buildings and new types of coverings, the silhouette of the city is softened by domes of smooth outlines, which have received a dominant role in the panoramas of cities. Their change was greatly influenced by gardens and parks, the trees of which largely hide the buildings.

The architects of the Renaissance used strict means of expression in urban planning: harmonic proportions, the scale of a person as a measure of the architectural environment surrounding him.

The ideological struggle of the emerging Italian bourgeoisie against medieval forms of religion, morality and law resulted in a broad progressive movement - humanism. Humanism was based on civic life-affirming principles: the desire to liberate the human personality from spiritual constraint, the thirst for knowledge of the world and the person himself and, as a result of this, the craving for secular forms of social life, the desire for knowledge of the laws and beauty of nature, for the all-round harmonious improvement of man . These shifts in worldview led to a revolution in all spheres of spiritual life - art, literature, philosophy, science. In their activities, the humanists largely relied on ancient ideals, often reviving not only the ideas, but also the forms themselves, and the expressive means of ancient works. In this regard, the cultural movement of Italy in the XV-XVI centuries. called the renaissance, or resurrection

The humanistic worldview stimulated the development of the individual, increased its importance in public life. The individual style of the master played an increasing role in the development of art and architecture. The culture of humanism has put forward a whole galaxy of brilliant architects, sculptors, artists, such as Brunellesco, Leonardo da Vinci, Bramante, Raphael, Michelangelo, Palladio and others.

The desire to create an “ideal image of a person”, combined with the search for methods of artistic exploration of the world, led to a kind of cognitive realism of the Renaissance, based on a close union of art with a rapidly developing science. In architecture, the search for "ideal" forms of buildings, based on a complete and complete composition, has become one of its defining trends. Along with the development of new types of civil and religious buildings, the development of architectural thought is going on, there is an urgent need for theoretical generalizations of modern experience, especially historical and, above all, ancient.

Three periods of the Italian Renaissance

Renaissance architecture in Italy is divided into three main periods: early, high and late. architectural center Early Renaissance was Tuscany with the main city - Florence. This period covers the second quarter and the middle of the 15th century. The beginning of the Renaissance in architecture is considered to be 1420, when the construction of the dome over the Florentine Cathedral began. Construction achievements, which led to the creation of a huge centric form, have become a kind of symbol of the architecture of the New Age.

1. Early Renaissance period

The early Renaissance in architecture is characterized primarily by the forms of buildings created by the famous architect engineer Filippo Brunellesco (first half of the 15th century). In particular, he used a light semicircular instead of a pointed arch in the Orphanage in Florence. The rib vault, characteristic of Gothic architecture, began to give way to a new design - a modified box vault. However, the lancet forms of the arch still continued to be used until the middle of the 16th century.

One of the outstanding buildings of Brunellesco was the huge dome of the Cathedral of Santa Maria del Fiore in Florence fig. 1, which remained unfinished from the 14th century.

In the form of a large dome created by the architect, an echo of the Gothic lancet arch is noticeable. The span of the dome of this cathedral is large - 42m. The vaults of the dome, made of brick, rest on an octagonal base of logs sheathed with iron sheets. Thanks to the successful location of the cathedral on a hill and its high height (115m), its upper part, especially the dome, gives solemnity and originality to the architectural panorama of Florence.

Civil architecture occupied a significant place in the architecture of the Italian Renaissance. It primarily includes large city palaces (palazzo), which, in addition to housing, were intended for ceremonial receptions. Medieval palaces, gradually throwing off their harsh Romanesque and Gothic clothes with the help of marble cladding and sculpture, acquired a cheerful look.

The features of the Renaissance facades are huge arched window openings separated by columns, rustication of the first floors with stones, upper slabs, large projection cornices and finely traced details. Unlike austere facades, the architecture of well-lit interiors has a cheerful character.

For the decoration of the facades of the palaces of the early Renaissance, rustication was often used. Stones for rustication usually had an unworked (chipped) front surface with a cleanly hewn bordering path. The relief of rustication decreased with the increase in the number of floors. Later, the decoration with rustication was preserved only in the processing of socles and at the corners of buildings.

In the XV century. Italian architects often used the Corinthian order. Often there were cases of combining several orders in one building: for the lower floors - a Doric order, and for the upper floors - a composition of capitals, close in proportions and pattern to the Ionic type.

One of the examples of palace architecture of the mid-15th century. in Florence, the three-story Medici-Ricardi Palace (Fig. 2) can serve, built according to the project of the architect Michelozzo di Bartolomeo in the period 1444-1452 by order of Cosimo Medici, the ruler of Florence. According to the scheme of the facade of the Medici Palace, hundreds of palaces were later built in other cities.

A further development of the composition of the palace is the Palazzo Ruccella in Florence, built in 1446-1451. designed by Leon Battista Alberti (1404-1472). Like the ancient Roman Colosseum, its facade is divided by floors into orders with a transition from the simplest Doric order in the lower tier to the more subtle and rich Corinthian order in the upper one (Fig. 3).

The impression of lightening the building upwards, created in the Palazzo Medici-Riccardi with the help of rustication of the walls, is expressed here in the form of a tiered system of orders lightening upwards. At the same time, the large crowning cornice is correlated not with the height of the upper tier, but with the height of the building as a whole, which is why the composition acquired the features of completeness and static. In the development of the facade, traditional motifs are still preserved: double arched windows coming from the medieval form of windows, rustication of the walls, the general monumentality of the cloud, etc.

The Pazzi Chapel (1430-1443) is a domed building placed in the courtyard of the monastery (Fig. 4). In the composition of the facade, an internal structure dissected by an order with the volume of the hall with a dome on sails dominating it was displayed. The colonnade, cut along the axis by an arch and completed by a finely dissected attic, is matched by cartelized pilasters on the inner wall of the loggia, and protruding articulations of arches on the vaulted ceiling.

The correspondence of orders and the repetition of small domes in the loggia and the altar part contribute to the organic connection of the facade with the interior. The walls inside are dissected by flat, but highlighted in color pilasters, which, continuing in the divisions of the vaults, give an idea of the logic of building space, the tectonic system. Developing three-dimensionally, the order emphasizes the unity and subordination of the main parts. The visual "framework" also characterizes the dissection of the dome from the inside, which is somewhat reminiscent of the structure of the Gothic nerve vaults. However, the harmony of order forms and the clarity of the tectonic structure, balance and commensurability with man speak of the triumph of new architectural ideals over the principles of the Middle Ages.

PAGE_BREAK--

Along with Brunellesco and Michelozzo da Bartolomeo, other masters (Rosselino, Benedetto da Maiano, etc.), whose work was mainly associated with Tuscany and Northern Italy, also played an important role in the development of new architecture. Alberti, who built, in addition to the Palazzo Ruccellai, a number of large structures (the facade of the Church of Santa Maria Novella, the Church of Sant'Andrea in Mantua, etc.), completes this period.

2. The period of the High Renaissance

The period of the High Renaissance covers the end of the 15th - the first half of the 16th century. By this time, due to the movement of the main trade routes from the Mediterranean to the Atlantic Ocean, Italy is experiencing a well-known economic decline and a reduction in industrial production. Often the bourgeoisie bought up land and turned into usurers and landowners. The process of feudalization of the bourgeoisie is accompanied by a general aristocratization of culture, the center of gravity is transferred to the court circle of the nobility: dukes, princes, popes. Rome becomes the center of culture - the residence of the popes, who are often elected from representatives of the humanistically minded aristocracy. Rome hosts huge construction works. In this undertaking, undertaken by the papal court to raise their own prestige, the humanistic community saw the experience of reviving the greatness of ancient Rome, and with it the greatness of all of Italy. At the court, who ascended the throne in 1503. The humanist of Pope Julius II worked the most prominent architects - among them Bramante, Raphael, Michelangelo, Antonio da Sangallo and others.

In the architecture of this period, the main features and trends of the Renaissance receive their finished expression. The most perfect centric compositions are created. The type of urban palazzo is finally taking shape, which during this period acquires the features of a building not only private, but also public, and therefore, in a certain area, becomes the prototype of many subsequent public buildings. The contrast characteristic of the early Renaissance period is overcome (between the architectural characteristics of the external appearance of the palazzo and its courtyard. Under the influence of a more systematic and archaeologically accurate acquaintance with ancient monuments, order compositions become more rigorous: along with Ionic and Corinthian orders, simpler and more monumental orders are widely used - Roman-Doric and Tuscan, and a finely designed arcade on columns gives way to a more monumental order arcade. In general, the compositions of the High Renaissance acquire greater significance, rigor and monumentality. The problem of creating a regular urban ensemble is put on a real basis. Country villas are being built as integral architectural complexes .

The largest architect of this period was Donato d "Angelo Bramante (1444-1514). The building of the Chancellery (begun in 1483) (the main papal office) in Rome, attributed to Bramante, is one of the outstanding palace buildings - is a huge parallelepiped with a rectangular courtyard surrounded by arcades (Fig. 5) The harmonious composition of the facades develops the principles laid down in the Palazzo Ruccellai, however, the overall rhythmic structure creates a more complex and solemn image. created by large openings and platbands framing them.The rhythm of horizontal divisions became even clearer.

Among the religious buildings of Bramante, a small chapel stands out in the courtyard of the monastery of San Pietro in Montrrio, called Tempietto (1502) - a building located inside a rather cramped courtyard, which was supposed to be surrounded by a circular arcade in plan.

The chapel is a domed rotunda surrounded by a Roman Doric colonnade. The building is distinguished by the perfection of proportions, the order is interpreted strictly and constructively. In comparison with the centric buildings of the early Renaissance, where linear-planar wall development prevails (Pazzi Chapel), the volume of Tempietto is plastic: its ordered plasticity corresponds to the tectonic integrity of the composition. The contrast between the monolithic core of the rotunda and the colonnade, between the smoothness of the wall and the plasticity of deep niches and pilasters emphasizes the expressiveness of the composition, complete harmony and completeness. Despite its small size, Tempietto gives the impression of monumentality. Already by contemporaries of Bramante, this building was recognized as one of the masterpieces of architecture.

Being the chief architect at the court of Pope Julius II, Bramante from 1505. works to rebuild the Vatican. A grandiose complex of ceremonial buildings and located in different levels solemn courtyards subordinated to a single axis, closed by the majestic exedra of the Belvedere. In this, in essence, the first Renaissance ensemble of such grandiose design, the compositional techniques of the ancient Roman forums were masterfully used. The papal residence was supposed to be connected with another grandiose building in Rome - the Cathedral of Peter, for the construction of which the Bramante project was also adopted (Fig. 7). The perfection of the centric composition and the grandiose scope of the project of the Cathedral of Peter Bramante give reason to consider this work the pinnacle of the development of Renaissance architecture. However, the project was not destined to be realized in nature: during the life of Bramante, the construction of the cathedral was only begun, which from 1546, 32 years after the death of the architect, was transferred to Michelangelo.

The great artist and architect Rafael Santi took part in the competition for the design of the Peter's Cathedral, as well as in the construction and painting of the Vatican buildings, together with Bramante, who built and painted the famous loggias of the Vatican, which received his name ("Raphael's loggias"), as well as a number of remarkable structures, both in Rome itself and outside it (the construction and painting of the Villa Madama in Rome, the Pandolfini Palace in Florence, etc.).

One of the best students of Bramante - the architect Antonio da Sangallo Jr. - owns the project of the Palazzo Farnese in Rome (Fig. 8), which to a certain extent completed the evolution of the Renaissance palace.

In the development of its facade, there are no traditional rustication and vertical articulations. On the smooth, brick-plastered surface of the wall, wide horizontal belts running along the entire facade clearly stand out; as if leaning on them, there are windows with embossed architraves in the form of an antique “edicule”. The windows of the first floor, unlike the Florentine palaces, have the same dimensions as the windows of the upper floors. The building was freed from the fortress isolation, still inherent in the palaces of the early Renaissance. In contrast to the palaces of the 15th century, where the courtyard was surrounded by light arched galleries on columns, a monumental order arcade with semi-columns appears here. The order of the gallery is somewhat heavier, acquiring the features of solemnity and representativeness. The narrow passage between the yard and the street has been replaced by an open "vestibule", revealing the prospect of the front yard.

3. Late Renaissance

The late period of the Renaissance is usually considered the middle and the end of the 16th century. At this time, the economic downturn continued in Italy. The role of the feudal nobility and Church Catholic organizations increased. To combat the reformation and all manifestations of an anti-religious spirit, the Inquisition was established. Under these conditions, humanists began to experience persecution. A significant part of them, pursued by the Inquisition, moved to the northern cities of Italy, especially to Venice, which still retained the rights of an independent republic, where the influence of the religious counter-reformation was not so strong. In this regard, during the late Renaissance, the most striking were two schools - the Roman and the Venetian. In Rome, where the ideological pressure of the counter-reformation strongly influenced the development of architecture, along with the development of the principles of the High Renaissance, there is a departure from the classics towards more complex compositions, greater decorativeness, a violation of the clarity of forms, scale and tectonicity. In Venice, despite the partial penetration of new trends into architecture, the classical basis of architectural composition was more preserved.

A prominent representative of the Roman school was the great Michelangelo Buonarroti (1475-1564). In his architectural works, the foundations of a new understanding of form, characteristic of this period, are laid, distinguished by great expression, dynamics and plastic expressiveness. His work, which took place in Rome and Florence, reflected with particular force the search for images capable of expressing the general crisis of humanism and the inner anxiety that the progressive circles of society then experienced before the impending forces of reaction. As a brilliant sculptor and painter, Michelangelo was able to find bright plastic means to express in art the inner strength of his heroes, the unresolved conflict of their spiritual world, the titanic efforts in the struggle. In architectural creativity, this corresponded to the emphasized identification of the plasticity of forms and their intense dynamics. Michelangelo's order often lost its tectonic significance, turning into a means of decorating walls, creating enlarged masses that amaze a person with their scale and plasticity. Boldly violating the architectural principles familiar to the Renaissance, Michelangelo to a certain extent was the founder of a creative manner, which was later picked up in the architecture of the Italian Baroque. The completion of Peter's Cathedral in Rome after Bramante's death belongs to the largest architectural works of Michelangelo. Michelangelo, taking as a basis a centric scheme close to Bramante's plan, introduced new features into its interpretation: he simplified the plan and generalized the interior space, made the supports and walls more massive, and added a portico with a solemn colonnade from the western facade. In the three-dimensional composition, the calm balance and subordination of the spaces of Bramante's project are translated into the emphasized dominance of the main dome and the under-dome space. In the composition of the facades, clarity and simplicity were replaced by more complex and large plastic forms, the walls are dissected by ledges and pilasters of a large Corinthian order with a powerful entablature and a high attic; between the pilasters, window openings, niches and various decorative elements (cornices, corbels, sandriks, statues, etc.) are placed, as it were, squeezed into the piers, giving the walls an almost sculptural plasticity.

In the composition of the Medici Chapel (Fig. 9) of the Church of San Lorenzo in Florence (1520), the interior and sculptures made by Michelangelo merged into a single whole. Sculptural and architectural forms are full of inner tension and drama. Their sharp emotional expressiveness prevails over the tectonic basis, the order is interpreted as an element of the artist's general sculptural conception.

One of the outstanding Roman architects of the late Renaissance is also Vignola, the author of the treatise "The Rule of Five Orders of Architecture". The most significant of his works are the castle of Caprarola and the villa of Pope Julius II (Fig. 10). During the Renaissance, the type of villa undergoes significant development associated with a change in its functional content. Even at the beginning of the XV century. it was a country estate, often surrounded by walls, and sometimes even had defensive towers. By the end of the XV century. the villa becomes a place of country rest for wealthy citizens (Villa Medici near Florence), and from the 16th century. it often becomes the residence of large feudal lords and higher clergy. The villa loses its intimacy and takes on the character of a frontal frontal-axial structure, open to the surrounding nature.

The villa of Pope Julius II is an example of this type. Its strictly axial and rectangular composition descends in ledges down the mountainside, creating a complex play of open, semi-open and closed spaces located at different levels. The composition is influenced by the ancient Roman forums and courts of the Vatican.

The outstanding masters of the Venetian school of the late Renaissance were Sansovino, who built the building of the Library of San Marco in Venice (begun in 1536) - an important component of the remarkable ensemble of the Venetian center, and the most prominent representative of the classical Renaissance school - the architect Palladio.

The activities of Andrea Palladio (1508 - 1580) proceeded mainly in the city of Vicenza, not far from Venice, where he built palace buildings and villas, as well as in Venice, where he built mainly church buildings. His work in a number of buildings was a reaction to the anti-classical tendencies of the late Renaissance. In an effort to preserve the purity of classical principles, Palladio relies on the rich experience he gained in the process of studying the ancient heritage. He is trying to revive not only order forms, but whole elements and even types of buildings of the ancient period. Structurally truthful order portico becomes main theme many of his works.

At Villa Rotonda , built near Vicenza (begun in 1551), the master achieved exceptional integrity and harmony of the composition. Located on a hill and clearly visible from a distance, the four facades of the villa with porticos on all sides, together with the dome, form a clear centric composition.

In the center is a round domed hall, from which exits lead under the porticos. Wide portico staircases connect the building with the surrounding nature. The centric composition reflects the general aspirations of Renaissance architects for the absolute completeness of the composition, clarity and geometricity of forms, the harmonious connection of individual parts with the whole, and the organic fusion of the building with nature.

Continuation
--PAGE_BREAK--

But this “ideal” scheme of composition remained single. In the actual construction of numerous villas, Palladio paid more attention to the so-called three-part scheme, consisting of the main volume and one-story order galleries extending from it to the sides, serving to communicate with the services of the estate and organizing the front courtyard in front of the facade of the villa. It was this scheme of a country house that later had numerous followers in the construction of manor palaces.

In contrast to the free development of the volumes of country villas, Palladio's urban palaces usually have an austere and laconic composition with a large-scale and monumental main façade. The architect widely uses a large order, interpreting it as a kind of "column - wall" system. A striking example is the Palazzo Capitanio (1576), whose walls are decorated with columns of a large composite order with a powerful, loosened entablature (Fig. 12). The upper floor, expanded in the form of a superstructure (attic floor), gave the building completeness and monumentality,

Palladio also widely used in his city palaces the two-tier division of facades with orders, as well as an order placed on a high rusticated basement - a technique first used by Bramante and subsequently widely used in classicist architecture.

Conclusion

Modern architecture, when searching for forms of its own stylistic manifestation, does not hide that it uses historical heritage. Most often, she refers to those theoretical concepts and principles of shaping that in the past have achieved the greatest stylistic purity. Sometimes it even seems that everything that the 20th century lived before was returning in a new form and quickly repeating itself again.

Much of what a person values in architecture appeals not so much to a scrupulous analysis of individual parts of an object, but to its synthetic, integral image, to the sphere of emotional perception. This means that architecture is art or, in any case, contains elements of art.

Sometimes architecture is called the mother of the arts, meaning that painting and sculpture developed for a long time in an inseparable organic connection with architecture. The architect and the artist have always had a lot in common in their work, and sometimes they got along well in one person. The ancient Greek sculptor Phidias is rightfully considered one of the creators of the Parthenon. The graceful bell tower of the main cathedral of Florence, Santa Maria del Fiore, was built "according to the drawing" of the great painter Giotto. Michelangelo, who was equally great as an architect, sculptor and painter. Raphael also successfully acted in the architectural field. Their contemporary painter Giorgio Vasari built the Uffizi Street in Florence. Such a synthesis of the talent of the artist and architect was found not only among the titans of the Renaissance, it also marked the new time. Applied artists Englishman William Morris and Belgian Van de Velde made a great contribution to the development of modern architecture. Corbusier was a talented painter, and Alexander Vesnin a brilliant theater artist. Soviet artists K. Malevich and L. Lissitzky interestingly experimented with architectural form, and their colleague and contemporary Vladimir Tatlin became the author of the legendary project of the 111 International Tower. The author of the famous project of the Palace of Soviets, architect B. Iofan, is rightfully considered the co-author of the sculpture "Worker and Collective Farm Girl" together with the remarkable Soviet artist Vera Mukhina.

Graphic image and three-dimensional layout are the main means by which the architect seeks and defends his decisions. The discovery of linear perspective in the Renaissance actively influenced the spatial concept of the architecture of this time. Ultimately, the comprehension of the linear perspective led to the linking of the square, the stairs, the building into a single spatial composition, and after that to the emergence of gigantic architectural ensembles of baroque and high classicism. Many years later, the experiments of cubist artists had a great influence on the development of architectural form creation. They tried to depict an object from different points of view, to achieve its three-dimensional perception by superimposing several images, to expand the possibilities of spatial perception by introducing a fourth dimension - time. This three-dimensional perception served as the starting point for the formal search for modern architecture, which opposed the flat screen of the facade with an intricate play of volumes and planes freely located in space.

Sculpture and painting did not immediately gain independence from architecture. At first they were just elements of an architectural structure. It took more than one century for the painting to separate from the wall or the iconostasis. At the end of the Renaissance, in Piazza della Signoria in Florence, sculptures still timidly crowd around the buildings, as if afraid to completely break with the facades. Michelangelo is the first to erect an equestrian statue in the center of Capitoline Square in Rome. The year is 1546. Since then, the monument, monumental sculpture acquires the rights of an independent element of the composition, organizing the urban space. True, the sculptural form still continues to live on the walls of the architectural structure for some time, but these last traces of the “former luxury” gradually disappear from them.

Corbusier affirms this composition of modern architecture with his characteristic certainty: “I do not recognize either sculpture or painting as decoration. I admit that both can evoke deep emotions in the viewer, just as music and theater affect you - it all depends on the quality of the work, but I am definitely against decoration. On the other hand, looking at an architectural work, and especially the platform on which it is erected, you see that certain places of the building itself and around it are certain intense mathematical places that turn out to be, as it were, the key to the proportions of the work and its environment. These are the places of highest intensity, and it is in these places that definite purpose architect - either in the form of a pool, or a block of stone, or a statue. We can say that in this place all the conditions are combined for a speech to be delivered, the speech of an artist, plastic speech.

Bibliography:

I.P. Savchenko; A.F. Lipyavkin; P.P. Serbinovich. Architecture. Textbook for university students. Moscow. graduate School 1982

N.F. Gulyanitsky. History of architecture. Volume I. Moscow. Stroyizdat. 1978

Alexey Gutnov. The world of architecture. Moscow "Young Guard" 1985

Ya. Stankova; I. Pehar. Millennial development of architecture. Translation from Czech V.K. Ivanova. Under the editorship of Cand. Archite. V.L. Glazychev. Moscow. Stroyizdat. 1984

A.F. Goldstein. Architecture. Edited by Yu.S. Yaralov. Moscow "Enlightenment" 1979

slide 2

Biography of Donato Bramante

Donato Bramante (originally Donato di Pascuccio d "Antonio) was born in 1444, at Monte Azdrualdo (now Fermignano) in the Duchy of Urbino in Central Italy, and died on April 11, 1514 in Rome. He first studied painting, apparently with Piero della Francesca and Andrea Mantegna, worked as a decorative artist and then devoted himself to architecture, becoming one of the greatest architects of the High Renaissance.

slide 3

St. Peter's Basilica

Donato Bramante was an Italian architect and painter who introduced the early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design is St. Peter's Basilica.

slide 4

Early works of architecture

His early works of architecture included the church of Santa Maria presso San Satiro (1480), in which the choir is painted in perspective to give the illusion of much more space.

slide 5

TEMPIETTO

In 1499 he went to Rome, where he spent the rest of his life. His Tempietto was the first masterpiece of the High Renaissance.

slide 6

Work in Rome

In Rome he drew up plans for the vast Belvedere Court in the Vatican (beginning 1505) and the new St. Peter's Basilica (beginning 1506), his best work. These ambitious projects are far from complete at the time of his death. Despite the grandiose scope of St. Peter's, Bramante continued to work on other projects that played important role in the plans of Julius II, for the restoration of Rome.

Slide 7

Biography of Brunelleschi Filippo

Filippo Brunelleschi was born in 1377 in Florence in the family of a notary. He also worked in Florence. He is an Italian architect, sculptor, and scientist. One of the creators of Renaissance architecture and the theory of linear perspective. Innovative use of ancient traditions. Brunelleschi's works are distinguished by harmonious clarity, strict proportions, perfection of engineering and construction solutions. In the early 1430s. Brunelleschi, together with his friend, the wonderful sculptor Donatello, visited Rome. During this trip, the architects took part in excavations, taking measurements, researching and classifying ancient monuments. Brunelleschi built two churches of the basilica type in Florence - San Lorenzo (1422-69) and Santo Spirito (1436 - after 1482). Completed after his death, both of these churches, very similar to each other, show features of Brunelleschi's late style.

Slide 8

Pazzi Chapel

Pazzi Chapel (in the courtyard of the Church of Santa Croce in Florence). Construction began in 1429. In the chapel, with its elegant Corinthian portico and two domes (in the portico and the chapel itself), spatial freedom, integrity and a clear pattern of composition are especially clearly expressed. Highlighted pilasters, entablature and arches clearly express the harmonious balance of support and load. The sculptural decor and interior was carried out by Luca della Robbia and Filippo Brunelleschi. The chapel is an architectural monument. Now it is a museum.

Preview:

To use the preview of presentations, create an account for yourself ( account) Google and sign in: https://accounts.google.com

Slides captions:

Italian Renaissance architecture

general characteristics characteristic feature Italian Renaissance was the desire of architects to create harmonious and rational buildings. In the era of the Early Renaissance (when the laws of the Middle Ages were still strong), cross-domed churches dominated. By the beginning of the 16th century, a new type of building appeared - the palazzo.

Florence and Brunelleschi Florence was called the "flower" of Italy, this city is the birthplace of the Italian Renaissance. At the beginning of the 15th century Florence claimed to be the main city of Italy. Many brilliant talents are born here.

Filippo Brunelleschi (1377 - 1446) Brunelleschi is the greatest architect in Italy.

Cathedral of Santa Maria del Fiore Cathedral of Santa Maria del Fiore is a symbol of Florence. It has a huge octagonal dome - 42 m in diameter.

General view of the cathedral

Dome of the Cathedral from the inside

The building of the Orphanage of Brunelleschi also belongs to the building of the Orphanage, in the architecture of which the best antique traditions were manifested. The house has a large length and is framed around the perimeter by a gallery.

In the triangular spaces between the arches, the architect placed round medallions depicting babies.

Leon Batista Alberti (1404 - 1472) Made a great contribution to the development of Italian architecture. Basically, he tried his hand at decorating the facades of buildings.

Church of Santa Maria Novella 1470

Palazzo Rucellai 1451

Donato Bramante (1444 - 1514) Founder of the High Renaissance in architecture. In 1503 he carried out the reconstruction of the Vatican.

Church of Santa Maria della Grazie 1497

Cathedral of St. Peter in 1502 The most important architectural structure of Bramante was the Cathedral of St. Peter. The plan is a cross inscribed in a square, in the center of which there was a chapel.

Venice and Sansovino Venice became the capital of the late Renaissance. Venetian culture is as diverse as the city itself. It is located on 118 islands, divided by 160 channels, through which about 400 bridges are thrown. Most of the buildings here are built on piles. Houses are closely pressed to each other.

Jacopo Sansovino 91486 - 1570) His main creation was the building of the library of the Cathedral of San Marco. This two-story building is decorated according to the antique model.

Library of San Marco, 1536

Andrea Palladio (1508 - 1580) The greatest architect of Venice. A distinctive feature of Palladi's craftsmanship is the creation of porticos between buildings. The architect is also known for the fact that he created a classic type of manor.

Church of San Giorgio, 1565

Villa "Rotonda", 1551

Questions and tasks 1. Why is Florence considered the "cradle" of the Italian Renaissance? 2. Tell us about one of the architectural structures of the Italian Renaissance. 3. Develop a model of an ideal city in Italy. Explain.

RENAISSANCE ARCHITECTURE

Architecture focuses on
construction of church architecture,
Byzantine culture is traced.
The architecture was built in accordance
new material and spiritual
people's requests.

RENAISSANCE ARCHITECTURE

REODIZATION RENAISSANCE ARCHITECTURE:
Italian Renaissance:
1. Proto-Renaissance (pre-revival) - II half. XIII century;
2. Early Renaissance (tricento and quattrocento) - from the middle. XIV-XV centuries;
3. High Renaissance (cinquecento) - until the second half. XV-XVI centuries.,
flourishing of art;
4. Late Renaissance - XVI - the first half of the XVII century;
5. Baroque - XVI-XVII centuries;
Northern Renaissance.

RENAISSANCE ARCHITECTURE

Types of architecture:
1. Monumental (engineering defensive);
2. Secular (residential, palace,
public);
3. Decorative (landscape);
4. Cult (temple,
memorial).
Architecture types:
1.
public (libraries,
university, schools,
educational institutions, hospitals,
warehouses, markets, workshops, etc.).
2.
defensive engineering
(platinum, aqueducts, bridges,
fortress walls, etc.)
3.
residential (city palaces (palazzo),
country villas, houses, etc.).
4.
landscape gardening (gazebos,
pavilions);
5.
memorial, temple (chapel,
Catholic chapel, small
separate building or
premises in the temple, cathedrals).

PROTERENNESSAN ARCHITECTURE

Proto-Renaissance (from Greek protos -
"first" and French. renaissance-
"Renaissance") - a stage in history
Italian culture, prior
Renaissance.
In Italy itself, proto-Renaissance art
existed only in Tuscany and Rome. AT
Italian culture intertwined features
old and new.
Characteristics:
1. interest in the ancient heritage
(balance, proportion,
calmness of forms);
2. vaults are being improved (except
lancet, which was not used).
Architect:
Arnolfo di Cambio (c.1245 - before 1310).

Fountain Maggiore in Pereggia
Arnolfo di Cambio

Facade of the Cathedral (Duomo). The design of the cathedral is attributed to
Arnolfo Cambio, however, in recent times it is believed that the cathedral was built
Friar Fra Bevignate of Perugia

Church of Santa Croce

Altar. Church of Santa Croce
Stained glass. Church of Santa Croce

RENAISSANCE ARCHITECTURE

Type of Renaissance architecture:
Basilica (basilica)
(from Greek βασιλική - royal house) -
building type rectangular
form, which is
odd number (3 or 5)
naves of different heights.
Characteristics:
1. Flat ceiling (or with
cross vault);
2.
Corinthian order;
3.
Reference to Greco-Roman
monuments (in elements -
arrangement and decoration of columns and
pillars, distribution of arches and
architraves, in appearance
windows and portals);
4.
Dome ceiling of large
openings;
5.
The external design of buildings is horizontal divisions,
arcade gallery application.

RENNESANCE ARCHITECTURE

At this time, the vaults continue to develop and improve, except
lancet, which was not used. The most common
arches were forms: cylindrical, spherical, sailing,
a closed, mirror vault, which had a continuous supporting perimeter.
For corridors and arched galleries, a cross vault without ribs was used.
Schemes of arches: 1 - cylindrical; 2 - cross straight; 3 - increased cross; 4 - cross Gothic; 5 - cross
six-part;
6 - monastery; 7 - dome; 8 - tray; 9 - mirror; 10 - dome on a polygonal base; 11 - flatbread
Arch: 1 - cylindrical with a lunette, 2 - monastic.
dome on the drum
Scheme: 1 - dome on sails, 2 -

RENAISSANCE ARCHITECTURE

Siena
This is a city in Italy, a rival of Florence. It is a patrician republic in which a considerable
the feudal nobility played a role in public life. The art of Siena, marked by subtle sophistication and
aristocracy.

RENAISSANCE ARCHITECTURE

Florence - a symbol of the Renaissance

Architect:
FILIPPO BRUNELESCHI
(1377-1446, Florence)
1. revived the main elements
ancient architecture,
allowed the master to orient
buildings per person, not
suppress him.
2. created a new building type
(palazzo-peripter);
3. solved the dome problem
covering large openings.
Architecture:
"Orphanage House"
(hospital);
"Palazzo Pitti" (the facade is divided
for 3 tiers)
Cathedral of Santa Maria del Fiore
in Florence, etc.

EARLY RENNESIS ARCHITECTURE

During the Quattrocento, norms were rediscovered and formulated
classical architecture. The study of ancient samples led to
assimilation of classical elements of architecture and ornament.
The first example of the period can be called the Basilica of San Lorenzo in
Florence, built by arch. Filippo Brunelleschi (1377-1446).
Cathedral of Santa Maria del Fiore. Florence

EARLY RENAISSANCE ARCHITECTURE

View of the Cathedral of Santa Maria del Fiore. Florence

Cathedral of Santa Maria del Fiore. Florence

Interior. Clock of the Cathedral of Santa Maria del Fiore. Florence

Interior. Apse of the Cathedral of Santa Maria del Fiore.
Florence
Campanile of the Cathedral of Santa Maria del Fiore. Florence

Interior. Dome of the Cathedral of Santa Maria del Fiore. Florence

Interior. The main nave of the Cathedral of Santa Maria del Fiore. Florence

Ospedale degli Innocenti, F. Brunelleschi. Florence

EARLY RENAISSANCE ARCHITECTURE (CULT)

F. Brunelleschi: chapel (chapel)
Pazzi (Cappella de'Pazzi),
located in the yard
Franciscan Church of Santa Croce
(Santa Croce) in Florence. it
small domed building
portico.
Pazzi Chapel. F. Brunelleschi, 1429-1443 Florence

Kamaldoles Monastery, 1434-1446 Arch. F. Brunelleschi. Florence

EARLY RENAISSANCE ARCHITECTURE (CULT)

Santa Maria degli Angeli e dei Martiri

EARLY RENAISSANCE ARCHITECTURE (CULT)

Renaissance Protestant Church in Mecklenburg

Building
rectangular in
plan,
overlap
dome, simplicity
external and
internal
decorative
design.
Cathedral of Santa Croce in Florence

Interior of Santa Croce Cathedral in Florence
Peruzzi and Bardi Chapels of the Church of Santa Croce in
Florence

Church of Sant'Agostino, 1483 Arch. Giacomo Pietrasanta. Rome, Italy

RENAISSANCE ARCHITECTURE (ICULTURAL)

Church of Santa Maria delle Grazie

HIGH RENAISSANCE ARCHITECTURE

architecture of this time:
I. Secular architecture:
1. public architecture (which
distinguished by harmony and grandeur
its proportions, the elegance of details,
decoration and ornamentation of cornices, windows,
doors);
2. palace architecture (with light, in
mostly two-tier galleries on
columns and pillars).
II. Iconic architecture: (colossal,
majesty; made the transition from
medieval cross vault to the Roman
box vault, the domes rest on
four massive pillars).

In continuation of the High Renaissance
representations taken from ancient
architecture, developed and
put into practice with more
confidence. With an introduction to
papal throne of Julius II (1503)
center of italian art
Florence moves to Rome, papa
attracted the best to his court
artists of Italy.

HIGH RENAISSANCE ARCHITECTURE (CULT)

The High Renaissance is associated in
architecture named after Donato Bramante
(1444-1514).
His Tempietto of all Renaissance buildings
stands closer to ancient architecture
organic fullness of forms and
harmonic perfection,
based on the golden ratio
proportions. Main achievement
R. architecture in humanizing proportions
buildings.

Tempietto in the courtyard of the church of San Pietro in Montorio, 1502. Arch. Donato Bramante.
The temple marks the spot where Saint Peter was executed. Rome, Italy

Religious monument, 1475 by Raphael Santi

Architecture too
becomes festive
cheerful.
Characteristics
architectures:
1. new building type
(palazzo);
2. dome ceiling
large openings;
3. external design
buildings are horizontal
divisions, application
arcade gallery.

HIGH RENAISSANCE ARCHITECTURE (SEcular)

Palazzo Farnese, 1514 Arch. Antonio di Sangallo

Palazzo Pitti

RENAISSANCE ARCHITECTURE (SEcular: palace)

Striking splendor architecture
palaces of Venice at that time,
extraordinary
picturesque, rich decor,
using expensive finishes
materials (marble, gilt smalt).
The buildings were built of brick and
lined with expensive stone,
usually multi-colored marble,
brought by sea. Here where
every inch of land was thought out
finishing of each stone: sidewalks
to the water, colored marble steps,
countless bridges across the canals.
Uffizi Gallery, view towards the square
Signoria. Florence

Wing of the Louvre Palace, the oldest surviving part of the building, mid-16th century.
Arch. Pierre Lesko

Residential buildings often have a cornice, on
each floor the location of the windows and
related details repeats,
the main door is marked with some
feature - balcony or surrounded
rustic. One of the prototypes of this
organization of the facade was the palace
Rucellai in Florence (1446-1451)
with three rows of pilasters.
Rucellai Palace in Florence, 1446-1451 Florence

RENAISSANCE ARCHITECTURE (SEcular: palace)

Eaves - a difficult profile.
Their sidewalls, lowered in relation to
the middle part, ended in suspended
balls. Drapery attached to the cornice
upholstery nails, and also hung on
ornamented hooks cast in bronze.

RENAISSANCE ARCHITECTURE (SEcular: palace)

Doge's Palace. Venice

RENAISSANCE ARCHITECTURE

In the composition of the palace, the inner shady courtyard connected with the street is of great importance.
arched passageway, along the perimeter the courtyard is surrounded by galleries, openwork loggias. Palazzo
decorated with stucco, niches with sculpture, richly framed windows in carved frames.

RENAISSANCE ARCHITECTURE (SEcular: palace)

Country palace residences of the wealthy
nobles were built in an environment specially
designed parks. They were decorated
enfilades of "hanging gardens", under arches
which lurked grottoes and reservoirs.

RENAISSANCE ARCHITECTURE (SEcular: palace)

Palaces and churches of the Renaissance and later

RENAISSANCE ARCHITECTURE (SEcular: palace)

Architecture is based on tradition
Roman antiquity. They consist of
two independent layers
constructive and cladding.
The walls were made of brick or
small stone in mortar with
subsequent cladding over
large hewn stone.
Facing fastened with carrier
part of the wall due to release
bricks.

RENAISSANCE ARCHITECTURE (SEcular: palace)

Palace of the Palazzo Medici Riccardi

The Development of Italian Interior Art XVI
centuries moved towards greater restraint and
"classicism" of all the elements that form them.
The value of the ornament gradually decreases, it
limited to the processing of ceiling parts, friezes in
corresponding parts of order constructions.
Ornament plays a relatively large role in
furniture decoration. For furniture shapes
as in architecture, a particularly strong influence
render found during this period in Italy, in
in particular in Rome, authentic monuments of ancient
era.

The new aesthetic is also reflected in the interior design: now it is characterized by large rooms.
with rounded arches, carved wood finish, intrinsic value and relative
the independence of each individual part, from which the whole is recruited

RENAISSANCE ARCHITECTURE (SEcular: palace)

Wonderful interior decoration
palaces: fine ornamental carving
on stone and wood, multicolor
painting.
The walls were decorated with frescoes,
multicolored marble. Color
marble tiles, laid out and
intricate patterns on the floor.

RENAISSANCE ARCHITECTURE (SEcular: palace)

Palaces and temples of the Vatican

LATE RENAISSANCE ARCHITECTURE (CULT)

An experiment in architecture
with forms, development and
combination of ancient images,
there is a complication of details, bending,
refraction and break architectural
lines, intricate ornamentation,
high density of columns, semi-columns
and pilasters in space.
More free is emphasized
relationship between space and matter.
Subsequently, from this trend
the Baroque style developed, and then, in the XVIII
century, rococo style.
Interior of the Medici Chapel

HIGH RENAISSANCE ARCHITECTURE (CULT)

In 1546 Michelangelo was appointed
chief architect of the Cathedral of St.
Peter, whose construction was
started by Bramante, who managed to build to
moment of death (1514) four
giant pillars and arches of the crossroads,
and also partially one of the naves. At
his successors - Peruzzi, Raphael,
Sangallo, partly departed from
Bramante plan, construction of almost
did not advance. Michelangelo
returned to the central plan
Bramante, simultaneously enlarging all
forms and articulations, giving them
plastic power. Michelangelo
managed to finish the eastern
part of the cathedral and a huge vestibule (42 m
in diameter) of the dome erected
after his death, Giacomo della
Port.
Dome of St. Peter's Basilica in Rome. Michelangelo

View of St. Peter's Basilica in Rome. Rome, Italy

Dome of St. Peter's Basilica in Rome. Rome, Italy
Tempietto in the courtyard of the Church of San Pietro in
Montorio, 1502 Rome, Italy

Cathedral of St. Peter in Rome. Rome, Italy

HIGH AND LATE RENAISSANCE ARCHITECTURE (CULT)

Porta Pia, 1561 by Michelangelo. Rome

Cathedral of Santa Maria della Salute. Venice

Cathedral of Saint Mark. Venice

ARCHITECTURE OF THE LATE RENAISSANCE (SEcular: palace)

Fontainebleau Palace (from French Fontainebleau - Blue Spring)

RENAISSANCE ARCHITECTURE

RENAISSANCE ARCHITECTURE (SEcular: public)

HIGH RENAISSANCE ARCHITECTURE (SEcular: public)

In Florence in 1520-34. formed
Michelangelo Architect Style,
characterized by increased
plasticity and picturesque
wealth. Boldly and unexpectedly decided
stairs of the Laurenzian Library
(project c. 1523-34, already implemented
after Michelangelo left for Rome).
Monumental marble staircase,
almost completely filling the vast
lobby, starting right at the doorstep
located on the second floor
reading room, as it follows from
doorway by a narrow march of steep
steps and, rapidly expanding,
forming three sleeves, just as cool
goes down; dynamic rhythm
large marble steps
towards
rising into the hall, is perceived
like a force to be overcome.
Laurentian Library. Michelangelo

RENAISSANCE ARCHITECTURE (SEcular: public)

Unlike earlier
trends in architecture, for the era
Revival leading trends
become secular (public), and
the main means of architectural and artistic expression -
order forms revived from
ancient heritage.
Renaissance theater

RENAISSANCE ARCHITECTURE (SEcular: public)

RENAISSANCE ARCHITECTURE (Secular: public)

The main monuments of the Italian
architecture of this time - secular
buildings that are different
harmony and grandeur
proportions, elegance of details,
decoration and ornamentation of cornices,
windows, doors.
Plan of Renaissance buildings
defined by rectangular shapes,
symmetry and proportion based
on the module
National Bargello Museum. Florence

Second grand architectural project Michelangelo became completed only in the 17th century. ensemble
Capitol. It includes the medieval palace of the Senators (city hall) rebuilt according to the project of Michelangelo,
crowned with a turret, and two majestic palaces of the Conservatives with identical facades, united
the powerful rhythm of the pilasters. An antique equestrian statue of Marcus Aurelius, installed in the center of the square, and a wide
stairs descending to the residential quarters of the city, completed this ensemble, which connected the new Rome with
located on the other side of the Capitoline Hill, the grandiose ruins of the ancient Roman Forum.
Ensemble of the Capitol (Renaissance residential building) by Michelangelo. England

RENAISSANCE ARCHITECTURE (SEcular: residential)

The peculiarity of the architecture of residential
Venice houses were small
space: houses were built on
piles, close to each other, had
several floors. Such a house was
from several apartments, each of
which are usually located on two
floors: on the ground floor - kitchen, pantry and
dining room, on the second - two or three residential
rooms. Often on the ground floor of the house
shops were located

RENAISSANCE ARCHITECTURE (SEcular: residential)

Monument of Bulgarian architecture of the era
national renaissance

RENAISSANCE ARCHITECTURE (SEcular: residential)

Chambord is undoubtedly one of the most
recognizable castles, architectural
Renaissance masterpiece. front length
156 m, width 117 m, in the castle 426
rooms, 77 stairs, 282 fireplaces and 800
sculpted capitals.
The masterpieces of architecture of this era - the castles of Chambord, Chenonceau and Amboise

Royal castle of Chambord XVI century

Royal Castle of Chenonceau

Renaissance castle

The Notre Dame bridge built by Fra Giocondo has disappeared; the best example bridge related to
Renaissance, is the New Bridge, begun by Ducerceau under Henry III. Enough
remember its bold proportions, the successful location of indoor spaces on speakers
from the carriageway of the bridge brackets, which allows you to use the entire area of the breakwaters,
finally, the powerful impression made by the large cornice on the consoles.

RENAISSANCE ARCHITECTURE (Defensive Engineering)

Engineering and defensive architecture of the Renaissance.
Florence

RENAISSANCE ARCHITECTURE (Defensive Engineering)

The flourishing of culture and
art belongs to the 15th century,
who revealed beauty to the world
man and his environment
nature.
Garden type Italy era
The revival got its name
Medicean named after the family
the Medici, which were
richest bankers
Florence and major
landowners. To
Medical type were
gardens at the Borghese villas,
d "Este, Albani.
With the onset of the Renaissance, fountains became part of
architectural ensemble

RENAISSANCE ARCHITECTURE (Gardening)

The garden started from the villa building. Building
were symmetrical
ledges and arches. Terraces connected
stairs. retaining walls between
terraces had ledges, colonnades and
limited to alleys, which
lined with hedgerows. On the
terraces were symmetrically located
winding labyrinths, groves, groups,
ordinary landings. The terraces had
gazebos, poultry houses, pavilions,
sculptures, pools, temples,
monuments, marble benches, fountains,
grottoes, recreation areas.
The garden was arranged on five terraces. On the
At the top of the hill was the palace.
Palazzo Pitti and Boboli Gardens. Florence

Walking routes were laid along the terraces. Flower beds were laid out in the Arabic style. vegetable gardens were
outside the garden. Lawns and glades were located behind the buildings and lined with clipped hedges. On the
lawns arranged small streams and rivers, planted fruit trees. Alleys bordered
trellises of climbing roses and grapes, pomegranates, quince, hazel, etc. Near the housing were arranged
flower beds and ponds.
Boboli Gardens. Florence

RENAISSANCE ARCHITECTURE (Gardening)

A flat garden was laid out in front of the facade
(parterre), the flower beds are symmetrical, the fountain is in
the form of a wide bowl with a small
sculpture in the middle. If allowed
terrain, arranged quadrangular
ponds, grottoes, planted rows of cypresses,
oleander bushes, planted tubs with
lemon trees.
Fountain of Neptune. Italy

Fountain on one of the streets. Florence

RENAISSANCE ARCHITECTURE (Gardening)

RENAISSANCE ARCHITECTURE (ICONIC: memorial)

In the XIV century, during the heyday of civil
life of the Florentine commune, humanists and
public figures saw in
Republican Rome is primarily a model
social structure, and
inexhaustible source of education
ideal citizens.
To a large extent, in contrast
between the idealized image of the antique
Rome and that humiliating position in
which he found himself at the beginning of the early
Renaissance, the concept was born:
Florence is the second Rome.
Triumphal Arch on Freedom Square

It might be useful to read: