Firmistas et Venustas

Firmistas et Venustas

Mississippi State University College of Architecture Art + Design Maymester 2009 Professors David Lewis + Tom White

Michael Barton Dennis Daniels

Firmistas et Venustas

Mississippi State University College of Architecture Art + Design Maymester 2009 Professors David Lewis + Tom White

Galleria Vittorio Emanuale II Stazione Centrale di Milano Santa Maria Del Fiore The Colosseum Auditorium Parco Della Musica

Michael Barton Dennis Daniels

An investigation of ancient and modern buildings for which evocative XVH RI VWUXFWXUH ZDV HPSOR\HG WR GHÀQH SURIRXQG DUFKLWHFWXUDO VSDFH –David Lewis

We had the incredible opportunity to participate in a three-week study of broad chronological timeframe from ancient to modern architecture in beautiful Italy.

Making stops in Milan, Cremona, Florence, Pisa, Rome, Syracuse, and Catania, we got to see some of the most profound buildings in the world. Our assignment was to FKRRVH ÀYH EXLOGLQJV DQG ZULWH reports on them that would comprise of studies on spatial and structural qualities using graphical studies, photography, and RQVLWH REVHUYDtions LQ RUGHU KDYH DQ DQDO\WLFDO LQYHVWLJDWLRQ EHWZHHQ structure and space.

GALLERIA VITTORIO EMANUELE II 1865-1877 AD Giuseppe Mengoni Milan

The Galleria Vittorio Emanuele II built between 1865 and 1877. It was designed by Giuseppe Mengoni, who unfortunately fell from his death from the center glass dome two days before the grand opening. The Galleria is located adjacent to the Milan Cathedral connecting 3LD]]D GHO 'XRPR DQG 3LD]]D GHOOD 6FDOD 7KH *DOOHULD LV ÀOOHG ZLWK HOHJDQW UHVWDXUDQWV FDIHV DQG VKRSV RQ WKH JURXQG à RRU ZLWK WKH PRVW H[WUDYDJDQW DSDUWPHQWV LQ 0LODQ DORQJ WKH XSSHU à RRUV Set on to the octagon at this FRQYHUJHQFH LV D JODVV DQG LURQ dome that encompasses the space below. The arched canopy LV H[WUDFWHG IURP WKLV GRPH RQ WRS RI WKH D[HV FRPSOHWLQJ WKH enclosed space. The lightweight rigid structure allows the space WR EH HQFORVHG KRZHYHU WKH WDOO DUFDGHV DQG YDXOWHG JODVV VWUXFWXUH allows the space to merge with the sky.

7KH DUFKLWHFWXUH RI WKH *DOOHULD ULYDOV WKH HOHJDQFH RI LWV WHQDQWV 7KH PDUEOH LQWHULRU IDoDGH LV ODGHQ ZLWK GHFDGHQW VFXOSWXUHV DQG RUQDWH ÀOLJUHH 7KH à RRUV DUH GHOXJHG LQ PDUEOH mosaics representing the important icons of Italy, in particular Milan. The patterns in the PRVDLFV VXEWOHW\ SRLQW RXW HDFK VWRUHIURQW DQG DOVR HFKR WKH FRUH VKDSH RI WKH FRQYHUJHQFH RI WKH WZR D[HV IRUPLQJ DQ RFWDJRQ

,Q RXU REVHUYDWLRQV ZH IRXQG D GLUHFW connection between the round glass and iron dome and the octagonal structure of the interior faรงade by tracing the lines of force down from the glass dome onto the engaged columns. Each faรงade of the octagon is capped with an arch that mimics the glass DUFDGHV H[WHQGLQJ IURP WKH MXQFWLRQ ZKLFK connects the geometry of the glass arches with that of the building below.

:H DOVR QRWLFHG WKH XVH RI VPDOO JODVV SDQHOV DQG ODFHG LURQZRUN LQ WKH RYHUKHDG FDQRS\ 7KH FKRLFH RI VPDOOHU SDQHOV DGGV WR WKH RUQDWH H[SHULHQFH RI WKH *DOOHULD EHFDXVH LW UHODWHV WR WKH VPDOO GHFRUDWLYH RUQDPHQWDWLRQ WKDW LV H[XGHG E\ WKH IDFDGHV ,I KHDYLHU LURQZRUN or larger glass panels were used, the appearance of the two forms would clash. Arches are used throughout the structure, from the doorways of shops that relate to smaller spaces to the entrances of the arcades that relate to large public spaces, as a mechanism to communicate the scalar relationships to the purpose of the particular spaces. )LQDOO\ ZH H[SORUHG WKH OLQN WKH *DOOHULD IRUPV EHWZHHQ 3LD]]D GHO 'XRPR DQG 3LD]]D GHOOD 6FDOOD %HVLGHV EHLQJ D SK\VLFDO OLQN LW UHSUHVHQWV WKH XQLĂ€FDWLRQ RI FKXUFK DQG VWDWH 3LD]]D del Duomo is home to the Milan Cathedral and Piazza della Scalla houses the Teatro della Scalla, the most famous opera house in the world. We also noted the drop in height through WKH *DOOHULD DV RQH WUDYHOV VRXWK WR QRUWK IURP WKH 'XRPR WR WKH 7HDWUR 7KH KHLJKWV RI WKH DUFKHV DW HLWKHU HQG FRUUHODWH WKH VFDOHV RI WKHLU UHVSHFWLYH 3LD]]DV 7KH JUDQGLRVH DUFK DW WKH VRXWKHUQ HQWUDQFH PDWFKHV WR VRPH H[WHQW WKH VFDOH RI WKH &DWKHGUDO 7KH VLJQLĂ€FDQWO\ smaller arch at the northern entrance frames the centerpiece of Piazza della Scalla, a statue of Leonardo da Vinchi dedicated to the arts and sciences. We also think that the different VL]HV RI WKH DUFKHV VHUYHV WKH SUDFWLFDO SXUSRVHV RI DOORZLQJ IRU WKH ODUJHU LQĂ X[ RI SHRSOH RII RI 3LD]]D GHO 'XRPR DQG SURYLGLQJ D IUDPH RI UHIHUHQFH LQVLGH WKH *DOOHULD

Stazione Centrale di Milano

1912-1931 AD 8OLVVH 6WDFFKLQL $OEHUWR )DYD Milan

7KH 6WD]LRQH &HQWUDOH GL 0LODQR EXLOW IURP H[HPSOLÀHV WKH fascist regime that dominated Italy during the making of the station.

The station is an important reference point to the center of Milan. $UFKLWHFWV 8OLVVH 6WDFFKLQL DQG $OEHUWR )DYD DUH UHVSRQVLEOH IRU WKH design of the station, although it was Benito Mussolini who guided the design decisions that led to the representation of the power of fascism.

)DVFLVP LV WKH LGHRORJ\ RI WKH XQLÀFDWLRQ RI D QDWLRQ XQGHU RQH DXWKRULWDULDQ ruler, where the weak shall fall and the strong shall rise. The Stazione Centrale H[HPSOLÀHV WKHVH TXDOLWLHV 7KH RULJLQ RI WKH ZRUG IDVFLVP LV WKH ,WDOLDQ ZRUG fascio, meaning “bundle”. The steel canopies are the bands that unify the trains together, just like the cord that clutches reeds together in a bundle.

8QLÀFDWLRQ FDQ EHH VHHQ LQ WKH front façade through the strong horizontal band near the top that ties the three different sections together. Through fascism the role RI DQ DXWKRULW\ VXVWDLQV WKH XQLÀHG ERG\ $XWKRULW\ LV H[SUHVVHG E\ WKH PDVVLYH ZHLJKW RI WKH EXLOGLQJ in comparison to the surrounding Piazza Duco d’ Aosta. Because the plaza is barren of structures, the façade of the station appears HYHQ ODUJHU 7KH IDoDGH DOVR HPSKDVL]HV D YHU\ VWURQJ horizontality that spans the entirety of the plaza. The power of the DXWKRULW\ LV VHHQ LQ WKH H[DJJHUDWHG keystone that is the holding point for each arch, symbolizing the unity and power of authoritarianism.

)DVFLVP LV D YHU\ ULJLG IRUP RI JRYHUQPHQW DQG WKH 6WD]LRQH &HQWUDOH LOOXVWUDWHV WKLV ULJLGLW\ The entire building is symmetrical and stays true to a few core forms, the rectangle in front and the arch at the back. In addition to the rigidity of the structure, the ornamentation is DJJUHVVLYH LQ ERWK LWV IRUP DQG VFDOH 7KH IRUPV DUH FRPSRVHG RI ULJLG OLQHV DQG VWURQJ V\PEROV WKDW DUH FDUYHG LQWR PDVVLYH JUDQLWH WKDW PDNH WKH GHWDLOV LQWHQVH 7KH VFDOH RI WKH GHWDLOV DUH LQ QR ZD\ VPDOO WKRXJK WKH\ ÀW WKH VFDOH RI WKH VWDWLRQ WKH\ DUH H[WUHPHO\ ODUJH FRPSDUHG WR GHWDLO ZRUN RI FRQWHPSRUDU\ VWUXFWXUHV 7KH VFDOH RI WKH FDQRS\ LV YHU\ ODUJH EXW LW LV RQO\ PDVV\ EHFDXVH RI WKH KHDYLQHVV FRQYH\HG WKURXJK WKH VWUXFWXUH

The built-up steel trusses, deluged of ULYHWV ZHUH SXW HQWLUHO\ RQ WKH LQVLGH of the structure. Today, the steel VXSSRUW VWUXFWXUH ZRXOG EH PRYHG to the outside and larger panels RI JODVV ZRXOG EH XVHG JLYLQJ WKH back half of the Stazione a much more modern and airy atmosphere, LQVWHDG RI WKH SRZHUIXO KHDY\ DXUD it currently emits. Once again, the era in which the building was FRQVWUXFWHG GHร QHV WKH PRRG WKH EXLOGLQJ FRQYH\V

$W ร UVW ZH ZHUH FRQIXVHG E\ WKH disconnect between the front and back sections of the Stazione. Upon FORVHU REVHUYDWLRQV ZH QRWLFHG WKDW WKHUH DUH VHYHUDO UHIHUHQFHV to the number โ threeโ on the front faรงade that relate to the three arches in the rear, which ties the building together. The entire faรงade LV GLYLGHG LQWR WKUHH VHFWLRQV ZLWK the middle section being taller than the two sides. There are three large archways in the center of the faรงade as well. Also, the front faรงade is symmetrical, further tying it to the symmetrical arch structure in the back. In addition to the forms RI WKH H[WHULRU IDFDGHV WKH LQWHULRU facades also display a connection EHWZHHQ VSDFHV )RU H[DPSOH when entering the station by train, WKHUH LV DQ REYLRXV FRQQHFWLRQ between the scale of multiple trains with the large canopies and one train with the arches that transition EHWZHHQ WKH EDFN H[WHULRU DQG interior spaces.

The difference not only originates from the different time periods, but also from the function of each building. The Stazione functions as a transit hub, full of people always in a hurry, IRFXVHG RQ WKHLU QH[W GHVWLQDWLRQ 7KH *DOOHULD IXQFWLRQV DV LWV RZQ GHVWLQDWLRQ +HUH SHRSOH DUH VKRSSLQJ VWUROOLQJ IURP RQH VWRUH WR WKH QH[W 7KH IRFXV LV PRUH RQ HQMR\LQJ WKH moment. We also noticed a comparison between the roofs of the two buildings, noting WKDW ZKLOH ERWK DUH PDGH RI JODVV DQG PHWDO WKH 6WD]LRQH¡V URRI LV VWUXFWXUDO DQG KHDY\ ZKHUHDV WKH *DOOHULD¡V URRI LV YHU\ RUQDWH DQG OLJKW )LQDOO\ ERWK VWUXFWXUHV DUH FHQWUDO points of the city. Their importance is marked by the large scale shared by the buildings

We also noticed connections between the Stazione Centrale and the Galleria. Historically, Vittorio Emmanuale II commissioned the Galleria, and Vittorio Emmanuale III commissioned the Stazione. The Ă RRUV DUH VLPLODU WR HDFK RWKHU LQ that they both relate to the city of 0LODQ LQ WKHLU PRVDLFV EXW WKH Ă RRU of the Stazione uses none of the Ă RUDO SDWWHUQV WKDW DUH SUHVHQW LQ WKH *DOOHULD PDNLQJ LW IHHO KHDYLHU

Santa Maria Del Fiore

1296-1436 AD Arnolfo di Cambio, Francesco Talenti + Filippo Brunelleschi Florence

Santa Maria Del Fiore was constructed from 1296 to 1436, spanning both the Gothic and Renaissance periods. The church was paid for by the citizens of Florence, and to show their state pride, they made it the largest church in Europe, 153 meters long, 90 meters wide, and 90 meters high IURP SDYHPHQW WR WKH RSHQLQJ RI WKH ODQWHUQ 7KH PDQ ZKR LV UHVSRQVLEOH for the completion of the church is Filippo Brunelleschi, although many architects such as Arnolfo di Cambio and Francesco Talenti were instrumental during earlier phases of construction.

7KH WZR DUFKLWHFWXUH SHULRGV DUH YLVLEOH WKURXJKRXW WKH 'XRPR 7KH *RWKLF LQà XHQFH LV HYLGHQFHG LQ WKH EDVLOLFD VWUXFWXUH LQ SRLQWHG DUFKHV DQG H[SRVHG VWUXFWXUDO HOHPHQWV (YLGHQFH RI 5HQDLVVDQFH LV VHHQ RQ WKH IDoDGH WKURXJK WKH GHFRUDWLRQ RQ D à DW VXUIDFH FRPSRVLQJ WKH IDoDGH DV D JUDSKLF HOHYDWLRQ GUDZLQJ H[SUHVVLQJ WKH DSSHDUDQFH UDWKHU the spatial qualities. In addition, Renaissance elements are illustrated in the humanistic FRPSRQHQWV VXFK DV WKH ]RGLDF FORFN SRVLWLRQHG DW WKH UHDU RI WKH QDYH DQG WKH UDGLDO à RRUV SXWWLQJ PDQ LQ WKH FHQWHU DQG WKRXJK WKH H[SUHVVLRQ RI ´25$¾ PHDQLQJ ´LQ RXU WLPH ¾ 7KLV VKRZV WKH DWWLWXGH WKDW PDQ LV WKH FHQWHU RI WKH XQLYHUVH $QRWKHU H[DPSOH RI KXPDQLVP LV GLVSOD\HG LQ WKH SDWWHUQ LQ WKH à RRU ZKLFK LOOXVWUDWHV D IDOVH SHUVSHFWLYH

The space between the front faรงade of the Duomo and the Baptistery is dominated by Lorenzo Ghibertiโ s bronze doors, which are on the baptistery and face the Duomo. It appears that the baptisteryโ s close UHODWLYLW\ WR WKH IURQW IDoDGH compresses the space, forcing one to enter the Duomoโ s front doors. Upon entry, one instantly is impressed by the magnitude of the space, which is accented by the unsullied white walls. There is a strong YHUWLFDO UHODWLRQVKLS EHWZHHQ each space that is highlighted by the piercing columns and WKH JURZLQJ YDXOWHG FHLOLQJV A strong order in the space leads the eye to the center RI WKH DOWHU 7KH ORQJ QDYH LV completed by the octagonal FRQYHUJHQFH $OVR WKH WKUHH apses open up away from the RFWDJRQ UHOLHYLQJ WKH WHQVLRQ of an endpoint. It is interesting that the octagon seems so open since it contains the four gigantic piers that support the dome.

The scale of the dome is in relation to the space from which it can be seen. The scale of WKH H[WHULRU RI WKH GRPH UHODWHV WR WKH SROLWLFDO LPSRUWDQFH RI WKH FLW\ 6LQFH WKH GRPH ZDV FUHDWHG ZLWK SXEOLF IXQGLQJ LW LV XVHG DV D VWDWHPHQW WKDW VLJQLร HV WKH VXSHULRULW\ RI WKH FLW\ ZLWKLQ WKH 7XVFDQ UHJLRQ 7KLV LV HYLGHQW EHFDXVH WKH GRPH LV PDGH WR ORRN ODUJHU WKDQ WKH VSDFH LQVLGH UHร HFWV 7KH GRPH LV DFWXDOO\ WZR GRPHV DQ H[WHULRU DQG DQ LQWHULRU GRPH 7KH H[WHULRU GRPH ZDV FUHDWHG DV D SRLQWHG ร IWK WR DGG KHLJKW DGGLQJ WR WKH PRQXPHQWDO quality of the church. The transition into the interior dome is the lantern, letting light in; it is D EHDFRQ VKLQLQJ RYHU WKH FLW\ UHPLQGLQJ DOO REVHUYHUV RI WKH UHOLJLRXV YDOXHV UHSUHVHQWHG E\ WKH FKXUFK 7KH LQWHULRU GRPH LV V\PEROLF EHFDXVH RI LWV KHLJKW UHODWLQJ WR WKH KHDYHQV ,Q DGGLWLRQ WKH GRPH LV FHQWHUHG DERYH WKH DOWHU UHSUHVHQWLQJ WKH LPSRUWDQFH RI LW DQG reinforcing it as a focal point, the most sacred space in the church.

$QRWKHU 5HQDLVVDQFH DVSHFW RI WKH 'XRPR ZDV WKH UHPRYDO RI Ă \LQJ EXWWUHVVHV 'XULQJ WKLV process, the master builders were aiming to eliminate the weight that the buttresses illustrated DV WKH\ EUDQFKHG RII WKH FKXUFK 7KLV LV SDUWLFXODUO\ LPSUHVVLYH ZKHQ RQH FRQVLGHUV WKH weight of the large dome on top, estimated at 37,000 tons. The master builders continued to UHGXFH VWUXFWXUDO DQG YLVXDO ZHLJKW E\ VXEWUDFWLQJ PDVV ZKHUH WKH\ FRXOG )RU H[DPSOH WKH ODUJH URXQG ZLQGRZV QHDU WKH WRS RI WKH QDYH RQ ERWK VLGHV DV ZHOO DV WKH RQHV LQ WKH ULQJ supporting the dome, eliminate weight from the load-bearing walls. In addition, the large FROXPQV WKURXJKRXW WKH QDYH DUH PDGH WR ORRN VPDOOHU DQG RSHQ XS WKH VSDFH WKURXJK FXW ins, also reducing weight.

Upon further research, one learns that %UXQHOOHVFKL XVHG VHYHUDO GLIIHUHQW PDWHULDOV IRU WKH GRPH XVLQJ PL[HV RI VWRQH DQG YROFDQLF DVKHV WXÀD WR NHHS WKH ZHLJKW down. From a structural standpoint, the REYLRXV SRLQW RI FRQYHUVDWLRQ LV WKH GRPH RQH RI WKH ZLGHVW GRPHV YDXOWHG ZLWKRXW FRQFUHWH DQG WKH ÀUVW RQH YDXOWHG ZLWKRXW ZRRGHQ FHQWHULQJ %UXQHOOHVFKL GHYLVHG D great system, using eight gigantic ribs going YHUWLFDO DORQJ WKH GRPH DQG IRXU VDQGVWRQH chains in the lateral direction to support the brickwork, holding the bricks in compression so that they did not need wooden supports from below during the curing. Also essential to the construction was the herringbone EULFN SDWWHUQ ZKLFK DFWHG DV D YHUWLFDO stabilizer for the horizontal bricks during FRQVWUXFWLRQ RFFXUULQJ HYHU\ WKUHH IHHW or so and locking the bricks in place to SUHYHQW WKHP IURP IDOOLQJ LQZDUGV EHIRUH curing. Another factor he had to consider in a dome of this magnitude was hoop stress, where horizontal thrust at the base is created by the dome, which settles down DQG RXW RYHU WLPH 7KH VDQGVWRQH DQG LURQ FKDLQV KHOSHG SUHYHQW WKLV EXW D PDMRU design decision that affected this was the XVH RI D SRLQWHG ÀIWK H[WHULRU GRPH ZKLFK UHGXFHG KRRS VWUHVV E\ ÀIW\ SHUFHQW

The Colosseum 70-80 AD Constructed Under Emperors Vespasian + Titus Rome

The Colosseum is the oldest structure we are researching on this trip. Originally QDPHG WKH )ODYLDQ $PSKLWKHDWHU LW ZDV EXLOW GXULQJ WKH UHLJQ RI (PSHURUV Vespasian and Titus. Constructed from 70 to 80 AD, it is a wonder and a testament to Roman engineering that it still stands. One of the most amazing factors of the Colosseum is that the design of the stadium is so remarkably similar to those we EXLOG WRGD\ 7KH YRPLWDULD RSHQ FRQFRXUVHV EHKLQG WKH VFHQHV XQGHUJURXQG IDFLOLWLHV DQG QXPHURXV H[LWV DUH GHVLJQ IHDWXUHV ÀUVW VHHQ LQ WKLV VWUXFWXUH DV IDU DV ZH NQRZ WKDW DUH VWLOO LQ XVH

Unlike the Greek theaters, WKLV LV WKH ÀUVW H[DPSOH RI an entirely freestanding DPSKLWKHDWHU 'LYLGHG LQWR four stories, the Colosseum soars 157 feet from ground OHYHO 7KH HOOLSWLFDO VWUXFWXUH measuring 615 feet long and 510 feet wide, has a base DUHD RI VL[ DFUHV ZKLFK LQVLGH KHOG DSSUR[LPDWHO\ spectators. These large crowds watched 500,000 PHQ DQG RYHU RQH PLOOLRQ animals die in the name of VSRUW RYHU WKH \HDUV LW ZDV in operation. Although all of these numbers are enormous, the construction took only ten years.

7R EXLOG VXFK D PDVVLYH EXLOGLQJ in such a short amount of time, the construction process must KDYH EHHQ YHU\ HIĂ€FLHQW 7KH shape of the building, an ellipse, could help segment the building into workable sections. We WKLQN WKDW WKH\ GLYLGHG LW LQWR HLJKWKV E\ GLYLGLQJ WKH HOOLSVH LQWR quadrants and then bisecting those quadrants. Possible HYLGHQFH RI WKH HLJKWKV LV VKRZQ E\ WKH QXPEHU RI H[WHULRU DUFKHV

7KHVH FRXOG KDYH EHHQ GLYLGHG LQWR JURXSV RI DUFKHV making the work much more feasible. This would allow for continuous work to be done on all sections of the building. By keeping the jobs of each crew WR D GHÀQHG VHJPHQW LW ZRXOG enable the crew to perfect their task and to focus on their part VSHFLÀFDOO\ LQVWHDG RI ZRUU\LQJ DERXW ÀQLVKLQJ WKH ZKROH WKLQJ increasing accuracy. This FRQFHSW LV YHU\ VLPLODU WR WKH assembly lines of today.

:H WKLQN WKDW HDFK HLJKWK FRXOG KDYH been constructed in one of two ways.

7KH ÀUVW ZDV IURP WKH LQVLGH RXW ZKLFK ZRXOG KDYH PDGH PRYHPHQW RI PDWHULDOV YHU\ HDV\ +RZHYHU DFFXUDF\ ZRXOG KDYH EHHQ DQ LVVXH DV RQH ZRXOG need to make a four-and-a-half-degree measurement from the center point of the ellipse for each arch. If this were RII E\ HYHQ D VPDOO PDUJLQ WKH DUFKHV on the outside would be different sizes, SHUKDSV HYHQ SXWWLQJ WKH VWUXFWXUH DW ULVN

Measurement sketch

By starting from the outside in LQVWHDG WKLV HUURU ZRXOG KDYH EHHQ VLJQLÀFDQWO\ UHGXFHG 7KH\ ZRXOG simply need to use the same form for each arch and use a long rope WR JHW WKH FXUYDWXUH RI WKH ZDOO correct. We took measurements onsite from the outside in, and found that they were meticulous about the lengths of each arch and the distances between them. We EHOLHYH WKDW PDWHULDOV ZRXOG QRW KDYH EHHQ WRR GLIÀFXOW WR PRYH around if they constructed from outside in, as they would most OLNHO\ EXLOG WKH HQWLUH ÀUVW OD\HU DQG then haul materials straight up the RXWVLGH ZDOO IRU IXUWKHU OHYHOV

The layers of the outer faรงade reference the progression of the construction through the articulations of different column types.

2Q WKH ร UVW OHYHO 7XVFDQ RU 'RULF FROXPQV encircle the structure. Ionic columns VXUURXQG WKH VHFRQG OHYHO ZKLOH &RULQWKLDQ FROXPQV HQYHORSH WKH WKLUG OHYHO DQG Corinthian pilasters enclose the top.

7KH OHYHOV UHODWH WR WKH SROLWLFDO DQG SK\VLFDO WLHUV RI VSHFWDWRUV &HVDU WKH 9HVWDO 9LUJLQV DQG WKH 6HQDWRUV ZRXOG VLW DORQJ WKH SRGLXP WKH YHU\ ERWWRP OHYHO FORVHVW WR WKH DFWLRQ 7KH VHFRQG OHYHO RU PDHQLDQXP SULPXP ZDV UHVHUYHG IRU WKH QRQ VHQDWRULDO QREOHV DQG NQLJKWV 7KH WKLUG OHYHO RU PDHQLDQXP VHFXQGXP ZDV GLYLGHG into two sections. The lower immum was for wealthy Roman citizens, while the higher summum was for poor people who were still citizens. The fourth tier was added after original construction was complete during the reign of Domitan. Called the PDHQLDQXP VHFXQGXP LQ OHJQHLV LW ZDV UHVHUYHG IRU FRPPRQ SRRU VODYHV DQG women. This section was either standing room only or had steep wooden benches, as opposed to the stone seating on the other tiers.

One of the reasons that the Colosseum is still standing is the smart construction materials that were used. They used Roman concrete as a foundation, WUDYHUWLQH IRU WKH SLHUV DQG DUFDGHV OLJKW ZHLJKW WXID LQÀOO EHWZHHQ SLHUV IRU WKH walls of the lower half, and brick-faced FRQFUHWH IRU WKH XSSHU OHYHOV DQG YDXOWV They knew that keeping the density GRZQ DW WKH XSSHU OHYHOV ZRXOG DOORZ the tall structure to stand for a long time.

Along the same lines, it is apparent that the structure gets thinner as it gets higher, further reducing weight. Also, similar to other Roman buildings like the Pantheon, WKH\ XVHG DUFKHV DW HDFK OHYHO WR GLUHFW weight away from openings in the wall.

Since there were eighty large openings all the way around, it was important that all the weight from the top be directed to the columns in between the arches.

7KHUH LV PHWLFXORXV WKRXJKW RQ WKH GHVLJQ RI WKH PRYHPHQW WKURXJKRXW WKH VSDFH :LWK H[LWV HQYHORSLQJ WKH VWUXFWXUH WKH VSDFH FRXOG ÀOO XS DQG HPSW\ RXW YHU\ TXLFNO\ D QHFHVVLW\ IRU D IDFLOLW\ RI WKLV VL]H 7R DFFRPPRGDWH WKH SHRSOH WKH 5RPDQV DOVR LQYHQWHG WKH YRPLWDULD ODUJH VWDLUZD\V WKDW GLUHFWO\ ÀOWHU WKURXJK WKH VSDFH (DFK OD\HU LV RQH VLQJOH YROXPH ZLWK QR GLYLVLRQ PDNLQJ HYHQ WKH VPDOOHVW RI VSDFHV DFFHVVLEOH 7KH FHQWUDO SRLQW of the ellipse is the center of the action, and the elliptical construction allows all the sightlines WR FROOHFW DW WKLV SRLQW 7KH ÀOWUDWLRQ LQWR WKH H[WHULRU VSDFH DURXQG WKH EXLOGLQJ SURYLGHV D JDWKHULQJ SODFH WKDW ZDV YHU\ LPSRUWDQW SROLWLFDOO\ DV FRXOG EH VHHQ LQ WKH )RUXPV MXVW ZHVW RI the Colosseum. The importance of the Colosseum is based on the simplicity of the space and LWV PHWKRGLFDO FRQVWUXFWLRQ W\SH WKDW PDNH LW D XVHIXO H[DPSOH HYHQ WRGD\

AUDITORIUM PARCO DELLA MUSICA 1992-2002 AD Renzo Piano Rome

7KH ÀUVW WKUHH SHUIRUPLQJ VSDFHV resemble beetles; large separately enclosed domes that are made for different performance types. The left auditorium, Sala Santa Cecilia, is the largest of the three, seating 2800 and accommodating a full orchestra and large choir. The middle auditorium, 6DOD 6LQRSROL VHDWV EXW LV YHU\ à H[LEOH XVLQJ LWV KRUL]RQWDO VWDJH to accommodate not only a large orchestra and choir, but also ballet and contemporary music. The right auditorium, Sala Petrassi, seats 700 and XVHV LWV YHUWLFDO VWDJH WR KRVW RSHUDV baroque and chamber music, and theatrical plays. The last performance VSDFH LV DQ DPSKLWKHDWHU FDOOHG &DYHD that seats 3000 and connects all of the other performance spaces together when not used for its performance purpose.

The Auditorium Parco Della Musica is a public work by the famed architect Renzo Piano. It was constructed on the site of an ancient Roman mausoleum belonging to Cesar Augustus, cleared for the 1960 Olympic Games. Constructed from 1992 to 2002, it is easily the most PRGHUQ RI WKH EXLOGLQJV ZH KDYH VWXGLHG KHUH LQ ,WDO\ 7KH IDFLOLW\ VHDWHG RYHU WKLUWHHQ acres, includes four performing spaces, along with libraries, restaurants, shops, museums, an archeological area, and an abundance of green space.

5HQ]R 3LDQR LV D YHU\ FRQFHSWXDO DUFKLWHFW ZRUNLQJ IURP LGHDV UHODWHG WR WKH VSDFH·V function. In this project, he relates the ancient to the modern in a conscious way that ZRXOG QRW GDPDJH HLWKHU RI WKH VW\OHV EXW VWLOO SXVKHV WKH OLPLWV RI GHVLJQ )RU H[DPSOH KH XVHV WUDYHUWLQH DQG URPDQ EULFN DV PDWHULDOV IRU WKH JURXQG VWHSV DQG ZDOOV ZKLOH PHVKLQJ D KD]\ OHDG VKHOO WKDW UHODWHV FRORU DQG WH[WXUH WR WKH VXUURXQGLQJ FRQFUHWH buildings.

He also connects the space with ideas from ancient and modern times. For H[DPSOH WKH DPSKLWKHDWHU ZKLFK DFWV D FRUH IRU WKH FRPSOH[ HIIHFWLYHO\ WLHV the project back to music and theater in ancient Rome, where theater was the center of social interaction. As well, the design brings in the ancient notion of an outdoor space, where KXPDQ FUHDWLYLW\ ZDV LQVSLUHG E\ natural surroundings. The modernity in the design acknowledges antiquity’s LGHRORJ\ RI FUHDWLYLW\ LQ UHODWLRQVKLS WR art by branching off of the core of the FRPSOH[ LQWR PRGHUQ LQWHULRU VSDFHV where acoustics can be perfected.

The transition into these interiors offers D JUHDW H[DPSOH RI DUFKLWHFWXUDO tradeoff. The lobby area between the amphitheater and the indoor performing spaces appear plain in contrast. The OREE\ JLYHV WKH REVHUYHU D FKDQFH WR IRUJHW WKH JUDQG H[WHULRU VSDFH highlighting the wow factor when one enters the interior performance area by compressing and somewhat boring the REVHUYHU 7KH OREE\ DQG KDOOZD\V DUH somewhat mundane, and some might VD\ ODFNLQJ LQ GHWDLO KRZHYHU WKHUH are some disagreements because the lack of detail allows a break from the RYHUZKHOPLQJ TXDOLWLHV RI WKH IDFLOLW\

Our judgment of the interior performance spaces is based on the Sala Santa &HFLOLD ZKLFK ZH KDG D FKDQFH WR YLVLW RQH QLJKW GXULQJ RXU VWD\ LQ 5RPH /LNH PDQ\ RWKHU FRQFHUW KDOOV WKH VSDFH LV REYLRXVO\ JUDQG KRZHYHU LQ WKLV SDUWLFXODU space, the seating surrounds the performance space, helping to bring the focus of WKH REVHUYHU WR WKH SHUIRUPDQFH $GGLQJ VHDWV EHKLQG PRYHV WKH VWDJH WRZDUG the center of the space, making the space seem larger.

7KHUH DUH WZR GLVWLQFWLYH VKDSHV WKDW DUH SURPLQHQW LQ WKH FRQFHUW KDOOV 7KH URRI LV FRYHUHG ZLWK SRFNHWV RI ZRRG WKDW EXOJH LQWR WKH JDOOHULHV 7KLV LV D UHPLQGHU RI WKH OHJDWR PXVLFDO VW\OH ZKLOH WKH KDUVKHU HGJHG SDQHOV RQ WKH SHUPLWHU RI WKH ER[ seats illustrate the staccato style. In the directional qualities of the surfaces of the materials, one can see crescendos and decrescendos throughout the space. The tonal qualities of the surfaces of the ceiling panels are highlighted by the use of recessed lighting. The lighting accentuates the contrast in the tones of the ceiling SDQHOV PDNLQJ WKHP VWDQG RXW HYHQ PRUH

)URP D WHFKQLFDO SHUVSHFWLYH the most interesting feature of the interior spaces is the capability of the space to transform to meet WKH UHTXLUHPHQWV RI WKH YDULRXV performers. To optimize the sound and lighting needs of each performance type, lighting trusses and wooden dampening panels can be raised and lowered to almost any KHLJKW DERYH WKH VWDJH

Structurally, the Auditorium is stranger that most, since most of the structure is KLGGHQ IURP YLHZ HLWKHU XQGHUJURXQG or under the lead shells. From the H[WHULRU WKH EULFN EXLOGLQJV \RX can see underneath the shells are rectilinear, creating a contrast with WKH DPRUSKRXV VKHOOV DERYH DQG H[WHQGLQJ WKH PRGHUQ FKDUDFWHU Underneath the amphitheater, the design uses glass walls with a few wellspaced structural walls and perhaps VRPH FDQWLOHYHULQJ WR JLYH WKH LOOXVLRQ WKDW WKH DPSKLWKHDWHU LV Ă RDWLQJ Inside the interior performance areas, the structure is mostly hidden by the large, rounded, wooden dampening HOHPHQWV FRYHULQJ WKH FHLOLQJ

3HUKDSV WKH PRVW LQWHUHVWLQJ YLHZ IURP the interior is a glass-walled landing that VKRZV WKH ÀUH HVFDSH VWDLUV 7KURXJK the glass wall, one can see large steel joints and struts connecting the main structure with the skin, which is internally FRYHUHG ZLWK FKHUU\ ZRRG WR KHOS ZLWK VRXQGSURRÀQJ DQG PDWFK WKH FKHUU\ LQWHULRU :H KDYH WURXEOH XQGHUVWDQGLQJ why the design does not do more to show off the structural elements, similar to WKH ZD\ +HDWKURZ¡V 7HUPLQDO )LYH GRHV

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