Name: Jericho Rufino

Section: ARC-1205

HOA Research
Early Renaissance

The Renaissance architectural style originated in Florence and was intentionally created by architects
who wanted to bring back the classical antiquity era. Unlike previous styles, the Renaissance style did not
evolve slowly but was a deliberate effort to revive the golden age. This style rejected the intricate
proportional systems and asymmetrical shapes of Gothic buildings and instead prioritized symmetry,
proportion, geometry, and regularity of components.

- Quattrocento
o Derived from the words of the italian words for fifteenth century
o People centered thinking Humanism
o Started re-examining the classic past for inspiration
o Lorenzo Ghiberti
 One of the first Renaissance works
 Bronze doors
 Doors of the Florence Baptistry


 Gates of Paradise
o Dome of the Florence Cathedral
 Designed by Brunellesci a goldsmith
 Saw the architecture as old and heavy because of the buttresses
 So he looked to the old roman pantheon
 Built 2 domes nuzzled inside each other, rather than flying buttress he used
interior ribbing and hooves, as well as the lighter brick rather than stone.
 

o Alberti, Sant’ Andrea, Mantua


 Combination of Roman triumphal arch with antique temple front
 Pairs of giant pilasters with Corinthian capitals
 Large barrel vault that rises above the façade
 Alberti sought to create identical proportions of width and height
 “Ombrellone” seems awkward, but it creates a powerful barrel vault inside the
building, largest since antiquity
 Florence was Leon Battista Alberti (1402—1472), an important Humanist
theoretician and designer, whose book on architecture De re aedificatoria was
the first architectural treatise of the Renaissance. Alberti designed two of
Florence’s best known 15th century buildings: the Palazzo Rucellai and the
 facade of the church of Santa Maria Novella. The Palazzo Rucellai, a palatial
townhouse built 1446–51, typified the newly developing features of Renaissance
architecture, including a classical ordering of columns over three levels and the
use of pilasters and entablatures in proportional relationship to each other.
 Made the largest barrel dome since the ancient rome
 Sant’Andrea’s huge central space and buttressing side chapels strongly resemble
the layout of the ancient Basilica of Maxentius and Constantine in the Roman
forum. The basilica plan is perfectly suited to large churches since it could
accommodate massive crowds. But unlike earlier basilica-plan churches,
Sant’Andrea’s plan seems to return more strictly to the ancient forms.


o Palazzo Medici

 To say that the Palazzo Medici is an historic structure is a major understatement.
Completed in 1460, it housed successive generations of the powerful Medici
family. It is
 Its design was entrusted to the architect Michelozzo, to the detriment of the
project by his colleague Filippo Brunelleschi, judged by Cosimo as being “too
sumptuous and magnificent”
 Scholars and architecture enthusiasts will know that Palazzo Medici Riccardi is
something of a prototype for all Renaissance architecture
 Architect: Michelozzo di Bartolommeo
 Commissioned in 1444 by Cosimo the Elder, the residence of the Medici family
constitutes a model of civil architecture in the Renaissance.


 

The characteristics of the early renaissance period holds a major homage to the previous
architectural style that preceded it. Pilasters, entablatures, pediments of the Sant’ Andrea, even
to smaller details like egg and dart and dentil motifs of the Pallazo Medici, and of course, the
biggest reference of the early renaissance to its predecessors, Brunelleschi’s dome of the
Florence Cathedral. Brunelleschi’s inspirations did not only come from the physical structures
that were present, but also the proportioning technique. In his plans, like the ones found in
Santo Spirito and Pazzi Chapel, he utilized a proportioning system that used basic geometric
shapes, squares and circles, to proportion the spaces and details. These basic geometric shapes
were not only used for proportioning, but also for details, like circular accents, semi-circular
arches, and rectangular walls.
High Renaissance
High renaissance would start with Leonardo da Vinci, in the painting Baptism of Christ, where he
painted an angel for the piece. His contribution had an improved look to it, ideally beautiful.

Michaelangelo's New Sacristy is one of his architectural contribution to the High Renaissance.
This unfinished wing is attached to the basilica of san lorenzo, which is also connected to it's
predecessor, the old sacristy by Brunellesci. Comparing the two, they both use the geometric
forms of squares and circles to determine the space and also to design the space, a square
chamber and a square apse. Michaelangelo would use architecture as if it were a sculpture, with
him, it became more expressive.
 Altered and Final Saint Peter Basilica
Floor Plan

The basicila of saint peter is the culmination of many great architects collaboration. Starting of
with Bramante, who won the competition of Pope Julius II to design the new basilica. At first he
wanted to design the plan using a greek cross as the concept, where it's arms are of equal
lengths. However, he had to compromise with the needs of the church and the people,
lengthening on of the arms into a more traditional christian cross, this is so that there is more
space for the people, but also it emphasizes the alter, the main focus of the basilica. His original
plan consisted of perfect squares and circles, these would carry over to the revised version with
the extended arm. After Bramante, it was passed to Raphael who had a hand in the final design
which would also be passed down to michaelangelo. Michaelangelo would expand, simplify and
clarify Bramante's original design. He would work on the dome itself and as well as the exterior
of the arms that were of equal length. Stepping into baroque territory, Maderno would design
the face and Bernini would design the interior and as well as the Piazza

Bramante’s Winning Floorplan

Andrea Palladio, is one of the most influential Renaissance architects. Being a founding member
of the Academia Olimpica, a group that sought out to revitalize and recreate theatrical
productions of the classical periods. One of his works is the Teatro Olimpico. In a time where the
ancient Roman and Greek theaters were dismantled in the middle ages, Palladio became the one
to illustrate the first Italian translation of Vitruvius’ architectural treatise. Though it was not the
first ever theater to be created in the period, nor his first theater, it was still his most ambitious,
one that would challenge his knowledge in the contemporary arts and the classical architecture.
The theater was not a new structure, instead it was built inside an abandoned fortress, and thus
had to adapt to the space. The result of this adaptation is instead of a semi-circular arrangement
of the seating area, it became a elliptical curve. On the stage itself, there is a three-tiered façade
(scaenae frons). Decorated with classical features, like columns, pilasters, etc. A linear
perspective was used in the construction which would give force perspective, which would make
the actors look more magnificent on the stage.
 The High Renaissance was essentially, an improvement of the Early Renaissance. The technique
just became better overall. The way the utilization of the details evolved and become more
efficient, with higher quality when it came to aesthetics. In the High Renaissance, their use of
techniques that they have been practicing throughout the Early Renaissance had just been
refined, to the point where they start innovating, that’s where Mannerism comes in. High
Renaissance is the peak of skill, the peak of technique. Their use of geometric shapes, utilizing it
as a proportioning system, in details, and combining them in such a way that makes a statement.

Late Renaissance (Mannerism)

Essentially, Mannerism is the natural evolution of what happens when you reach the peak of
technique, skill, and refinement. When that point is reached, there is no more “up” to go to, so
instead, what happens is you should change the perspective, go down, left, right, and around.
Twist and bend the rules of what you know to achieve something greater, something you
wouldn’t have found out otherwise. That is the goal of Mannerism, a flaunting of the rules,
changing them, re-innovating them, recontextualizing them.

Another one of Michaelangelo's works is the laurentian library, where he design the entrance to
the library along with the interior itself, the staircase leading into it and the room that contains
said staircase. Once more, the architecture is conveyed as if it was a sculpture, it is more
expressive. That concept shows in the actual staircase itself, almost having momentum to it. The
steps, as if they were pouring out of the library, it's curved and flowing edges extenuating this
idea. The walls of the space is decorated with many details, taken from the styles that preceded
the period, however, they are put in a different context, reinvented. Brackets that hang rather
than support, pilasters that taper down and only have fluting on the bottom half, columns in
niches, and pilasters that support the space hidden away in the corners where the details
converge. This style could be presented as mannerism, a flaunting of the classical rules,
subverting and reusing the ideas in a different way. Heading inside the library itself, it contrasts
the previous space, showing a more classical design, a heavy use of pilasters accompanied by
cornices above it, and False clerestory that gives a sense of perspective and rhythm. This orderly
use of classicism expresses a calmer feeling throughout the space.

Details of the Entrance

Another example of Mannerism is Peruzzi’s Palazzo Massimo alle Colonne in Rome. This building
differs from the norm, warping itself to suit the road. It’s façade having a slight curve that follows
the street. A semi-enclosed portico that runs parallel to the street. As well as three floors that
are undifferentiable from one another as there is no clear separation, with the upper two floors
having similar windows that contrast the porch. The choices made by Peruzzi resulted in a
structure that disrupts the harmony, that challenges the classical rules, which is why it is deemed
to be Mannerist Architecture.

Palazzo Massimo alle Colonne

Renaissance was not only found in Italy, sometime after the early renaissance, the Italian’s
knowledge would spread to other parts of Europe, paving the way for their own Renaissances to
occur. A “Northern Renaissance” would take place in Burgundian and adjacent territories,
England, France, Tyrol, and even the Baltic Regions. Not only that, the Northern regions of
Europe would also experience their High Renaissances and Mannerist movements.

Mannerism is essentially the reinvention of the classical rules that the architects of the time
would have mastered and have been familiar with. The flaunting of these rules, breaking them,
revolutionizing them, that is Mannerism. Sometimes to move forward, one must take a detour
rather than taking the direct route, and that detour in this case is challenging everything they
 grew accustom to. Supporting features that would instead hang, pilasters that taper down,
facades that curve with the road. Mannerist Architects sought out improvement by looking for
change.

Baroque

Baroque Architecture differs from the Renaissance periods by not wishing or trying to attain
perfection. Instead, it wants to be more dynamic. No longer the perfect shapes of circles and
squares. In its place, are shapes that give movement and momentum, trapezoids and ellipses.
One such example is one that has already been mentioned previously, and that is Gian Lorenzo
Bernini’s St. Peter’s Square. Bernini would call it “the motherly arms of the church”, as his
addition to the church would protrude out of the church and flank the open space. His 4-rowed
Tuscan order travertine colonnade that wraps around the oval tells a story, or movement.
Embracing the worshippers that wish to enter the church, serving as a transitional piece. It also
gives the church a sense of dynamisms, again, as if arms are reaching out, rather than just a
standalone building. Within the oval is an obelisk taken from the Egyptians and as well as
fountains on either side of it, extenuating the ellipticity of the space.
View of the Piazza
Another of Bernini’s contribution is Sant’Andrea al Quirinale, Rome. The church in respect for the
brother of Saint Peter. The façade of the church exhibits the Giant Order of architecture, where
the entrance, the porch, the stairs are all encompassed by two giant pilasters that go all the way
up to the pediment. Bernini is a big contributor to architecture that displays movement, not only
in the massive pilasters, but also the oval steps that creep into the entrance. Which inside would
find, also, an elliptical space. Despite that, it still demonstrates symmetry along an axis. He lights,
and exclaims important details, like the altar and the oculus above. The way he lights the space is
unique, he hides the source of light, the windows that let the natural light in, not allowing us to
know where it comes from, and instead it is presented as beams of light that come from elliptical
openings in the ceiling.

Hidden lighting of the church, above the altar (Left) and on the top of the dome (Right)
Over in the Dutch republic, in 1648, The United Provinces of the Netherlands would finally attain
independence from Spain, ending an eighty year war between the two factions. In this time,
Amsterdam was set to be catapulted into a great modern city. However, this would not be
complete without the renovation of the then dilapidated town hall. A competition was held,
which was won by Jacob van Campen, to determine who would design the new town hall. His
design would be proposed to be a criminal court, magistrate, police office, city bank, armory,
prison, tax office, mayor’s office, marketplace, and the center of political activity. Later it would
become a royal palace by the decree of Napoleon, which would continue to be so to this day as
well as being a museum and a monument for two important Dutch eras. The Amsterdam
Townhall was built in stone, in a Dutch Classism style of architecture. Here, they opted for the
symmetry and the ideal ratios, like the predecessors in the renaissance where they took heavy
inspiration and knowledge from, and as well as the classical features of old. This new style also
incorporated surface application of pilasters, classicizing festoons, and allegorical sculpture.
Compared to other works, it may not itself standout, but in the context of it’s then environment,
Dutch Classism would have stood out. The façade of the building is infused with many repeating
and rhythmic patterns. Corinthian pilasters that are evenly distributed, which are flanked by
pavilions that gives a sense of bulkiness as well as adding balance to the composition. And as
well as a cupula, which could have been taken from Bramante’s Tempietto as illustrated by
Palladio that houses the old townhall bell. Inside of the structure is where the baroque aspect
becomes present. The theatrical decorations upon the walls, the movement directed upward
 into the 120-foot-long barrel-vaulted dome. This chamber is broken up by two interior courts,
that have light wells that flank the Burgerzaal, which provide light and airflow to the central hall
and galleries. Lastly, offices were arranged around the exterior perimeter of the building.

Amsterdam Townhall’s floor plan

Baroque Architecture excels in the movement, in the details found in the architecture.
Contradicting the perfect shapes, opting for the movement found in ellipses and trapezoids.
Displaying decorative accents to the features upon the wall, theatrical in their nature.

Rococo
Sculpted foliage, leafy cartouches, these that seemingly grow organically from the cold marble
columns, imbedded in curving white walls. When the sunlight hits the windows at just the right
angle, the space glows radiantly. In that moment, space, light, and the three-dimensional
ornaments becomes the true substance interior. This is Rococo.

In Germany, the land was divided by the major patrons and families. Most of them advocates of
architecture. This resulted in many new structures to be erected all around the country, in the
Rococo style would aim to overwhelm any who enter the space with the dazzling ornaments and
details.
Vierzehnheiligen was one of the many churches erected in the 16th century. Like in previous
churches and basilicas, a competition was held to design large and more magnificent basilica,
which Balthasar Neumann’s design won, however Gottfried Heinrich Krohne was the one to
supervise. At first glance, it would seem that Neumann’s design was a typical latin-cross basilica,
but upon entering the space, the walls that would be assumed to be there, seemed to ripple off.
The reason for this is that rather than forming walls or quadrilateral spaces, he used ellipses and
circles to form the spaces. The said spaces were as follows: 3 longitudinal ovals (the largest at
the center, above the shrine), 2 domed ovals that form the transept, and then 2 smaller ovals
between the first 2 longitudinal ovals that act as the side aisle. The walls of the basilica feature
large windows that let in natural light flood in, that accompanied by Neumann’s plan, the
interior becomes more open and airy.

Vierzehnheiligen’s floor plan

The Amlienburg, also called the petite maison of Munich, was commissioned by Elector Karl
Albrecht for his wife. François Cuvilliés, who studied in Paris for architecture and was known to
be one of the most talented designers of Rococo ornaments, was the architect and designer. The
exterior, painted pale pink and white, of the Amlienburg leaves a lot to be desired, keeping the
design within classical architecture, like the ionic pilasters and broken pediment present.
However, in true Rococo fashion, these details are purely ornamental and provide no structural
support to the building. Meanwhile, inside the building, stuccowork by Johann Baptist
Zimmerman inside the Hall of Mirrors, is considered to be the zenith of Rococo interior
ornamenting, it is also at the peak of the Amlienburg. Despite mirrors becoming a staple in the
period, the use of mirrors inside the Amlienburg is unique. They amplify the ornaments by
making the architecture, almost, disappear. The mirrors in combination with the windows and
the silver ornamentation of flora and fauna, create an endless reflection of nature and it’s
imitation, almost blurring the line between natural and manmade. There were no paintings on
the walls of the Amlienburg, instead the eye feasts upon the ornate decorations of rocaille
forms, taking from nature as it is also a hunting lodge. This is reflected in the interior where it
references hunting, harvest, nature, and the seasons. To elaborate, the details found in the Hall
of Mirrors, echo natural springs, cartouches, shell-forms, hunting trophies, musical instruments,
trees, and uncultivated vines that would cover the mirrors, and as well as asymmetrical C-scrolls.
Above the cornice, are sculptures of the Greco-Roman goddesses: Diana the goddess of the
hunt, Amphitrite a sea goddess, Pomona the goddess of fruit, and Ceres the goddess of
agriculture.
Interiors of the
Amlienburg

Rococo stands out as a period because there is less emphasis on being structurally impressive,
rather it is more on being more impressive in the details, the ornaments, the elements. Rococo
exemplifies the use of detailing, with the flora and fauna that cover anything it can in this period.
Plans are more open to give more focus on the developing of the details that becomes the
eyecatcher of the interiors. The Rococo ornaments would take inspiration from nature, as it is
already beautiful, like what ancient civilizations did with their capitals.