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In what ways is style NOT a useful way to define renaissance architecture? • RenArch is often about the representation of the patron  making style ineffective way to define the motivation of the building • Renaissance architecture are mostly classical, however knowing what it is does not mean a building is seen as it was meant to be…they needed to be understood because they stem of an idea or theory. o Bodium Castle  Revival of “Castleness”, not to the Classics  Imitation of castle’s impenetrable and defensive appearance  Built for the effect on people • It’s about defining the present through connections to the past • it can be generalized and important innovations such as locality, representation etc. can be overlooked. o Da’ Coro  The palace although is characterized as renaissance style it looks back to different pasts, not just classical but also byzantine and  The styles does not communicate social motivation behind the building – patron wants to establish himself  Was not about symmetry or regularity o Warkworth castle  The style did not matter  What mattered was the experience of the viewer (their impression) • Renaissance architecture is a dialogue, seen through different styles • Political social religious motivation… not just aesthetic o House of Jacques  Made his wealth through trade (middle class)  Turrets, pinnacles, trefoil panles and irregular elevation recalled late medieval chateaux owned by previous great nobles  The ornaments, sequence of a large window with gothic stone tracery firmly confirms his connection to French nobility ancestery  Sign of poltical connections and eocomic resource • Attention to only classicism places too much of an emphasis on style as opposed to the use, material, role within the city or agricultural landscape o Villa Rotuna  Attention to style > imposition and relation to the landscape  Rotated from cardinal points of the compass  Four temple fronts and a dome that alludes to the antiquity’s imperial architecture - Also identifies the patron who was a priest  Proportionate façade and plan … precise math claity and geometry o Rossetti, Ferrara  Pilaster stone on the corners of building  Effect of street scape that creates a movement and rhythm which can be overlooked by style  Brings in classical motif and the experience of walking  Ties the disparate buildings together creating a common language which is based on local precedent and classical architectural forms o Palazzo Caprini, Bramante  Innovative design using classical orders: rustication on the ground floor and paired Doric columns for the residence level > articulates the piano nubile  Correct doric frieze, triglyph and metope  Columns and balustrade creates contrast of light and shade Why, do you think, did the 15th and 16th century NOT see great innovations in building technology? • There was a focus on ornamentation, and attention to the exterior of the building (Planar architecture) and grandeur and monumentality was associated with the past. So architects do not create new forms but follows exemplars and tries to surpass them o Brunlleschi’s Dome  Looks to the pantheon for great authoritative church plan o San Lorenzo  Built like traditional basilican church  The link building to traditional Christian architecture o Palazzo Medici  Way of life have not changed the noble residences in the city. Also because of civil duty, - not allowed to display too much grandeur  Focused on ornamentation and how to represent the patron to decoration, not structural grandeur  Rustication, rough stones “gems” to convey wealth  Increaseingly smoother towards the top to articulate height and visual device to guide the eyes upwards  Symmetry and biforium windwos and cornices alludes to classical antiquity • The general way of life has not change, thus the building typologies remains adequate and functional for their needs Most buildings refers to the antiquity for models which employs masonry. Masonry knowledge and techniques also remained the same … archtiects are not challenged • Regions, city, countries have a distinct past and cultural influences result in diverse architectural styles. People hold pride for their past and ties maintain, honor and continue the heritage by building in the splendor their predecessors did. Hence, the building methods are “traditional” • Socially and politically, the main patronage comes from wealthy nobles or the Church. Therefore, the building typologies are usually churches and palaces, thus no new innovation in typology leading to no new innovation in building technology. • No new discovering of materials. Traditional bricks, wood, stone limits innovations in building technology o Britain: Warkworth  Retain conservative and traditional techniques, styles and material • Wittkover: had to follow specific mathematical proportions because these were ones that were divine, architects could not just come up with their own proportions out of nowhere/ Also governed by treatises o Bramante’s Tempietto  Referenced antiquity temples that were also centrally planned (Temple of Vesta)  Adheres to traditions, appropriate to house a relic  Follows correct Doric orders, with triglyphs and metopes How might you describe the various ways in which viewers understood, studied and enjoyed renaissance buildings? • Understanding renaiss
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