Community Notes - Week 1/Tuesday, January 6, 2009 How does...

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Week 1/Tuesday, January 6, 2009 How does history matter with design? Revival of humanity in contemporary architecture—Instrumental design and its human disaster How to understand human existence and its dwelling?—time as horizon of human existence; memory, perception and meanings of the built environment The necessity of poetic and ethic architecture—The technical view vs. the historical view How to study in architectural history?—Read and think in depth; interpret through writing and speech; hermeneutics The interaction between history, theory, criticism and praxis (practice) Week 1/Thursday, January 8, 2009 Filippo Brunelleschi—“The arches that are round please me much more than those so pointed.” o Renaissance is unlike gothic in that Gothic had no logical groundwork for it, it coincided with a strong political message and was more an invention. Renaissance arhitecture on the other hand had been anticipated, had no ideological burden. It was more a cultural maturing. o Goes back to modular of classical architecture. Scale and proportion, not actual dimensions. o Unlike classical, which is no meant to be perceived in fixed perspective rations, Bruneleschi wanted them to be experiences as if projected on a perspective grid. Friar Luca Pacioli—His book On Divine Proportion (late 15 th cen.)—Geometry could become a “ladder” for the spiritualization of matter: “squaring of the circle.” o Squaring the circle: It is the challenge to construct a square with the same area as a given circle by using only a finite number of steps with compass and straightedge . It was proven to be impossible in a finite number of….etc. o The subject was mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in architecture . Francesco di Giorgio—His idea of the “theater of machine”: magic views framed by a box; his translations of Vitruvius and architectural treatises.
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o Military architect Brunelleschi—In Florence: o Hospital of the Innocent (1419), o Tower of St. Maria del Fiore (dome of Florence Cathedral) (1420-36), Problem: the central space (over 131 feet 40m) was extremely difficult to dome, since its size did not allow for traditional wood centering. (could have used buttresses but were considered “foreign”, of Milan the enemy.) Dome therefore had to be very thin and very light. Brunelleschi found inspiration in the pantheon and the Florence baptistery. (but solution unlike both) Devised a double shell dome of eight curved panels in each shell joined by strong upright ribs converging at a peak. More ribs interconnected by several types of horizontal members subdivided the panels. All made it possible to build the dome in layers and reinforce as it was built. o
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This note was uploaded on 03/18/2009 for the course ARC 1702 taught by Professor Zou during the Spring '09 term at University of Florida.

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Community Notes - Week 1/Tuesday, January 6, 2009 How does...

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