Upon Antoni Gaudi’s graduation, he initially began working in the same Victorian style of his predecessors, but it was not long until he began to develop his own unique style with Art Nouveau. Gaudi is actually the one who led this movement in architecture in Spain. He used what he called nature’s organic shapes, the parabolic arch, or catenary curve. Gaudi did admire some Gothic architecture of the time, but he would call buttresses “architectural crutches.” It was that kind of thinking that helped him to create the parabolic arch that was so greatly used in the construction of the Basilica i Temple Expiatori de la Sagrada Familia, also just known as La Sagrada…
While although Pope Leo X eventually cancelled the San Lorenzo project, Michelangelo’s labors are the labors of countless others who risked life and limb to get the marble out of the ground and transport it across land and water is truly worth noting. We rightly marvel at the great works of architecture from the pre-industrial world. We extol their design, their ingenuity in construction, and their durability. Perhaps we ought to marvel more that they even got any stone to the…
In 1402, Lorenzo Ghiberti won a competition, beating out Filippo Brunelleschi, to design gates for the North Baptistery. Donatello was too young to compete, but he assisted Ghiberti in creating and designing the cathedral gates. Through this competition, Donatello became acquainted with Brunelleschi and when Brunelleschi left for Rome, Donatello tagged along. It was here in…
4) Fillippo Brunelleschi: Italian architect and engineer, designer of the dome of the Cathedral of Florence, or la Duomo…
From this reading I have learned that there were many errors in the trial process. Brunelleschi needed to find a solution to the vast project of building the dome. He was an intelligent man but had to learn many new things as he tried to form a solution to his problem, “How do I make the world’s largest dome and not use Flying buttresses?” He was able to figure it out by putting hidden supports throughout the entire structure; they would be hidden by the masonry. This was the first time anything like this had been attempted, and it was a huge success. No one knew exactly what he has done for many centuries, and his innovation has been a long lasting achievement. His contributions were what sparked the renaissance movement…
The motivation that led to the discovery was in 1418 the hole in the roof of Florence’s cathedral left the church open to the elements and the people in charge thought it was time to fix the problem.…
Early Renaissance Architecture was known by the characteristics of a sculptor Filliipo Brunelleschi. After a trips to Rome this Artist/turned Architect began developing the system of geometric linear perspective.…
This Biblical character is the subject of Donatello's famous nearly life-size sculpture (and the first free-standing statue of a nude figure since Roman antiquity).…
-Traits demonstrated in Renaissance art- observed of natural world and light, rebirth of Greek and roman ideas, and interest in human anatomy and idealized beauty…
The period approximately from 1000 to the late 1300s can be concerned to be the time of full bloom of the Gothic cathedral. As the famous architectural style, the Gothic style was originated from France. In this essay, French gothic and English gothic have been selected to demonstrate how two historical periods can have many differences but still remain true to their own religious variations, architectural features and functions and meanings to create insightful parallels. Five of the French cathedrals and one of the English cathedrals have been selected to represent French and English gothic periods respectively, including Notre-Dame Cathedral (Figure 1), Chartres Cathedral (Figure 2), Amiens Cathedral (Figure 3), Beauvais Cathedral (Figure…
Bernini, who wasn’t trained as an architect, took credit for the work he did at St. Peter’s where he had heavily relied on Borromini’s technical genius to solve structural problems. This enraged Borromini and sparked the rivalry between the two architects.…
The city group center was a unique example that shows what engineers can accomplish. The location where the group of engineers was trying to locate the building already had a church at that location. Instead of demolishing the church, they built around it. In the beginning they decided that the building will be built on columns that will raise the building above the level of the church. Normally a raise building would have large columns on the four corners. Unfortunately, one of the corners would be directly through the church. Engineers define ways to move the column to the middle of the side of the building while still maintaining the structural integrity of the building. LeMessurier later found out that if the wind blows quarterly the building is not going to be protected, by the time the large wind blows. The additional loads will be brought down an imaginatively designed trussed frame, which incorporated wind braces on the outside of the tower. By the time when LeMessurier discovered the problem had to act quickly. He decided to step up and face the mistake, even though the price to deal with the problem could be outrageous.…
A persons ability to see is often taken for granted as it is in the story “Cathedral” by Raymond Carver. Although the title hints that the story is about a cathedral, it is really about two men who are blind. one of the men is Robert, the blind friend of the narrators wife. The other is the narrator, the husband himself; he is psychologically blind. through the husbands words and actions when he is dealing with Robert, the blind man, it is shown that the husband doesn’t “see” or understand what Roberts blindness means and how it changes or doesn’t change him as a person. At first, Robert makes the husband feel very uncomfortable, for the husband doesn’t know what to say or do around the blind man. As the story progresses, we can see a change in the husband, he seems to be able to see Robert as a person and not just a blind man.…
‘I need to produce great ideas, and I believe that if I were commissioned to design a new universe, I would me mad enough to undertake it.’ [1] Giovanni Battista Piranesi is one of the greatest printmakers of the 18th century. Renowned for his highly developed etching technique Piranesi’s diverse handicraft is designing fantastic complexes of buildings that could only exist in dreams, to reconstructing in meticulous detail the adequate system of the ancient Romans. Born (1720-1778) Italian draftsman, printmaker, architect and art theorist, Piranesi contributed considerably to the neoclassical movement in art and to Rome’s fame. Piranesi moved to Rome in 1745 where he studied under Giuseppe Vasi, who introduced him to etching and engraving. It was this technique and the visual diversity of the city architecture that inspired him to create such dynamic prints. Piranesi’s knowledge of ancient building methods allowed him to make a name for himself as an antiquarian, which showed earlier views of Roman landmarks. His enthusiasm for Roman remains and his engraving talent meant he was successfully able to etch the original architecture, providing the missing pieces, completing the picture. His exploration of the possibilities in perspective and special illusion pushed the art of etching and though his lifetime he produced about 2000 plates.…
Built in the courtyard of San Pietro in Montorio in Rome in 1502, the Tempietto is a small commemorative tomb for St. Peter. Drawing from the style of early Greek temples called a tholos, the Tempietto uses a centralized plan of a peristyle enveloping a cella. Harkening back to the classical obsession with symmetry and proportion, Bramante achieved an incredible harmony and balance between the dome, drum and base. Additional features such as the stylobate, steps, colonnade and dome all are derived from classical architecture. The columns are an example of the Doric order. The circular temple supports a classical entablature, consisting of a frieze with triglyphs and metopes, which consist of symbols of Christian passion. Although antique models provided the inspiration for all its details, the combination of parts and details were new and original, especially the fusion of the antique with new Renaissance styles. For example, Bramante adds a dome, which had a renewed interest in the Renaissance, to a tholos design which traditionally did not include a domed roof. The Tempietto is the perfect example of the Renaissance relationship between ideal ancient geometry, perfection and the divine. The connection between ideal ancient geometry and the divine was very important to Renaissance artists who strove to create exemplars of the perfection of heaven, using geometry and symmetry. Including classical elements as a connection to the divine, Bramante’s Tempietto fosters a link between architecture from antiquity and the expression of the Renaissance Christian faith. Comprised of the intricate mixture Greek influence, Renaissance architectural ideals and Bramante’s own person style, the Tempietto is a clear example of the innovation and thought behind Renaissance buildings, which sets them apart from their…