Architectural History Notes 3

Architectural History Notes 3 - Architectural History Notes...

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Architectural History Notes – Test 3 I. Baroque In Italy a. At first was a derogatory term i. Something that had broke away from the classical norm ii. Things that seemed irregular iii. In terms of form and established rules b. Builds on Renaissance c. Builds on Mannerism i. But goes further d. Involves Viewer i. Emotional response ii. Theatrical iii. Experiential iv. Sensuous v. Movement, space e. Underlying order f. Conveys Impression of power g. Promotes basic institutions i. Monarchy ii. Church and papacy iii. Empire h. Three centers – innovative shaping of Baroque i. Rome ii. France iii. Central Europe i. Four basic formal problems i. Reevaluation of: relationship between building and surrounding space 1. process of entry ii. Reevaluation of: treatment of façade 1. in renaissance architecture = flat facades 2. Baroque involves space; façade = theatrical frontispiece iii. Reevaluation of: articulation of interior space 1. greater integration of special units, fluid 2. not always distinct parts/spaces 3. overlapping spaces 4. (1-3 more typical of Italy and Central Europe) 5. (France more structured) iv. Reevaluation of: relationship between architecture and ornament 1. Cannot separate. Renaissance could separate 2. Sculpture, Painting, architecture = totality
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3. The whole is greater than the sum of its parts a. Bernini: St. Longinus b. Donatello: David c. Michelangelo: David j. Façade of Il Gesu, Rome i. Giacomo della Porta ii. Stories overlap iii. Layers iv. Process of entry k. Façade of Santa Maria Novella compared with façade of Il Gesu i. Flat vs. layers l. Carlo Moderno i. Santa Susana, Rome 1. nunnery 2. Il Gesu as point of departure 3. but taller 4. more aggressive movement into space 5. layering of planes ii. Goes to St. Peters 1. Maderno chief architect in 1603 2. decide to add nave to Michelangelo’s building 3. fourth century nave torn down in 1606 4. new nave begun in 1607 5. Why add a nave??? a. Four reasons suggested i. Pagan associations of the centralizing plan ii. Nothing of the ld nave should be left uncovered iii. Need for a benedictional loggia iv. Emphasis on processions 6. Maderno Façade ***************************************** a. Criticism: too low, too lumpy b. What choice did he have? (dome would have been hidden if taller) c. Cupolas designed by maderno to provide light to the aisles 7. Benedictional Loggia a. On day of pope’s election, Christmas, easter, and special occasions pope appears b. Sunday blessing from window of his studio m. Bernini (1598-1680) i. Child prodigy ii. Age 17 first commissions from papal family iii. Continues to move in circles of successful popes
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iv. Bernini’s work for and at St. Peters . not chronological, but as you would experience it 1. one of the most overwhelming experiential processes of entry ever 2. where it begins a. Ponte St. Angelo, Rome i. Beginning of process of entry ii. Only bridge at that time providing access to st. peters iii. Bridge is roman, statues of angels added by bernini and his workshop b. Colonnade and piazza of st. peters i. Colonnades to show it as if stretching out its arms to catholics ii. Several solutions for general shape had
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