CLOSE READING & FORMAL ANALYSIS
Ethan Chiang Yale School of Architecture ARCH 1223a // Fall 2020 Professor: Peter Eisenman TF: Hannah Mayer Baydoun
CONTENTS 01 02 03 04 05 06 07 08 09 10 11 12
BRUNELLESCHI ALBERTI BRAMANTE // LAURANA RAFFAELLO MICHELANGELO SERLIO PALLADIO VIGNOLA BORROMINI BERNINI // RAINALDI NOLLI // PIRANESI SCHINKEL
3 5 7 9 11 13 15 17 19 21 23 25
01
FILIPPO BRUNELLESCHI HUMANIST ORIGINS SAN LORENZO SANTO SPIRITO
FLORENCE, ITALY 1470 C.E. / 1487 C.E.
My analysis looks at the flowing versus static nature of San Lorenzo and Santo Spirito by focusing on the articulation of columns, and their implied axial conditions. Whilst one might assume San Lorenzo to be static due its rectilinear outer walls, Santo Spirito conforms to an orthogonal grid. Columns are placed uncompromsingly, even at the centers - implying the human subject cannot occu-py that space. Disengaged columns (highlighted in red) create two spaces - an inner and outer layer that is defined by the nave and aisle. The resulting two axial conditions terminate where these layers intersect, further suggesting a primary space that is nested and enclosed. On the other hand, San Lorenzo’s organization is based mostly on a tartan grid. This is most apparent in the nave, aisle and chapel spaces which weave in and out of one another. The transept breaks this organization strategy. Here, spaces are pushed and pulled, proportions squished, and the secondary axis of the transept left undefined. What remains is a single, dominating axis that is defined by two rows of disengaged columns in the nave. Unlike Santo Spirito, this axis cuts through and extends beyond the interior, creating a strong sense of continuity and linear progression.
02
LEON BATTISTA ALBERTI THE DEFINITION OF SPACE AS THE PRODUCTION OF WHAT IS NOT SEEN TEMPIO MALATESTIANO
RIMINI, 1468 C.E.
Alberti’s facade for Tempio Malatestiano can be read through the lens of an architectural syntax. He uses ideas and methods employed by the Romans as a way to organize and ornament both the interior and the facade, namely by columnar orders and the use of the triumphal arch. In Tempio Malatestiano, columns and pillars are employed in three ways. Firstly, as an element supporting an arch. Secondly, as an ornamental cap of a pilaster. Thirdly, as a figure that interupts the entablature.
03
DONATO BRAMANTE // LUCIANO LAURANA THE DEFINITION OF THE ORGANISM SANTA MARIA DELLA PACE PALAZZO DUCALE
ROME, 1482 C.E. URBINO, 1454 C.E.
Santa Maria Della Pace and Palazzo Ducale present opposite approaches to defining a corner. Bramante’s Della Pace uses an orderly composition of columns based on a repeating grid. This pattern is accentuated by imposed pilasters that also repeat at every bay. However, when the corners meet, the column vanishes from sight (red is used to highlight what cannot be seen). What remains visible are the edges of a single unique pilaster, whose form originates from the intersection of two pilasters that meet together at ninety degrees. Laurana’s Palazzo Ducale perhaps represents the inverse of this relationship. Here, the columns extend outwards from the corner and remain largely visible. Pilasters do not accentuate the column bays, but instead act as bookends at the corners which terminate the repetitive condition. Here, the corner’s presence is active, and is used to clearly mark the edges of the cortile.
04 RAFFAELLO THE RATIONAL EXTENSION OF BRAMANTE EXPULSION OF HELIODORUS
APOSTOLIC PALACE, 1513 C.E.
“The sources of Raphael’s design too were in recent architectural practice, not in painting, and its proper context in the architectural tradition. It was conceived as viable, free-standing architecture, not in this single projection” – John Shearman in Raphael as Architect Shearman emphasizes the importance of understanding the architectural traditions of the time Raphael was operating within, as well as his use of tectonic design in painting. He argues Raphael’s compositions were largely informed by his architectural interests. For instance, the use of symmetry in Disputa (1509) was unconventional for Renaissance painters during the time. The buildings in his paintings also appeared perfectly configured in plan, section, and elevation. Disputa could offer a glimpse into the proportions and articulation of the dome’s exterior in Expulsion of Heliodorus (perhaps also raising the pilasters of the drum which buttress the centrifugal thrust). A close look at the church of San Bernardino at Urbino will reveal two key relationships. First, the “corner-column in relation to a square space with apsidal or nave extensions”. Second, “a dome over the square space; and a ring contingent with the columns, so as to exclude the transition through arches as at San Bernardino, or any form of pendentive” – an idea also proposed for St. Peters. Talvecchia writes that the role of the Expulsion of Heliodorus was to “impress distinguished visitors with the might of the pope rather than with his erudition”. From this we could infer that the perspectival painting was constructed from
05 MICHELANGELO THE SUBJECTIVE EXTENSION OF BRAMANTE RICETTO OF LAURENTIAN LIBRARY
FLORENCE // 1571 C.E.
This drawing focuses on the proportions and scale of the Laurentian Library by comparing the ricetto’s current condition with the original design intent had the building not been heightened. In Michelangelo’s Biblioteca Laurenziana, Wittkower suggests that Michelangelo would have treated the building differently had there been no additional storey added; this is evident in the earlier interior elevation sketches that were proposed. The comparison of the sketches and the ricetto in its final form shows a transition from horizontal to vertical articulation. Pilasters were initially placed frontally in a series of four that frame recessed tabernacles. Two of these were then re-oriented sideways to fit the proportions of the taller ricetto. The articulation of four horizontal bands were also stretched vertically and reconfigured to become three, so that there was no longer a primary reading of horizontality.
06
SEBASTIANO SERLIO A FIRST CRITIQUE OF HOMOGENEOUS SPACE DWELLING FOR A KING
BOOK VI: ON HABITATIONS, 1537 C.E
Serlio’s Dwelling for a King is a juxtaposition between interior spatial configuration and exterior expression. The outer facade is completely uniform, and implies no clear hierarchy. This is most evident in the bottom plan drawing (representing the basic DNA of the design), which shows how the inner and outer facades convey a static oval organization. Four points of entry are also articulated the same, and placed symmetrically along the two dominant axes. However, each quadrant of interior space is differentiated. Basic geometries are overlapped and subtracted from the poche, which creates a labrinth of circulation networks that are off axis from each other. Here, the procession of individ-ual rooms is emphasized over an overarching organizational strategy.
07 ANDREA PALLADIO THE CONTINUITY FROM RAPHAEL CHIESA DEL SANTISSIMO REDENTORE BASILICA DI SAN GIORGIO MAGGIORE
VENICE, 1592 C.E. VENICE, 1610 C.E.
The critical differences between San Giorgio Maggiore and Il Redentore can be seen in the treatment of the facades, which is also reflected in plan, down to the individual column detail. Each pediment on the exterior of San Giorgio Maggiore can be seen clealy separated from one another, suggesting an additive approach. The interior space is compartmentalized - there is a clear separation of space between the nave, aisle, crossing, prebystery and choir. Subtle level changes in section and entablature articulation also reinforces this relationship. Conversely, Il Redentore’s pediments are superimposed upon one another, suggesting a layering of spaces. This blurring of boundaries is most evident where the choir, apse and crossing intersect in plan. The column detail of the poche also reflects an imposition between additive and subtractive space; edges are either carved out, or simple geometries extend out and become recognizable.
08 GIACOMO BAROZZI DA VIGNOLA THE DEFINITION OF SPACE AS THE PRODUCTION OF WHAT IS NOT SEEN VILLA GIULIA
ROME, 1553 C.E.
The axonometric drawing of the nymphaeum in Villa Giulia aims to highlight the abrupt changes circulation, and how one would experience the space. What is particularly interesting is how the human subject arrives to the nymphaeum via a grand central axis, only to find themselves looking across or below to spaces which they cannot immediately reach. Visual interest is strongest at the lowest level of the nymphaeum, where the ornamentation, water features and level of detail is most present. However, the spiral staircases which take you down into the space is secretly tucked away within a thick poche. Similarly, the staircase that takes you upwards into the fourth and final court is also embedded in thick enclosed walls. The experience of walking through the villa is completely unexpected from what you would see in the plan and framing of the space, which would suggest a straightforward linear progression. The nymphaeum is where spatial and visual continuity is interrupted, and where richness in section is introduced.
09 FRANCESCO BORROMINI SURFACE AS SPACE SAN CARLO ALLE QUATTRO FONTANE SANT’IVO ALLA SAPIENZA
ROME, 1646 C.E. ROME, 1660 C.E.
Compression and expansion characterize the key difference between the two churches. San Carlo possesses a state of perpetual instability. This movement is primarily due to the presence of an oval as its underlying form – which is not immediately recognizable. Underlying geometries here blur into one another, resulting in highly distorted and unrecognizable forms. Columns are rendered as part of walls. As disguising the corners becomes a feature in Baroque architecture, the spatial adjacencies of the rooms in San Carlo is interesting in how it deteriorates the purity of the poche. It is also important to note how the corner and asymmetrical siting adds to the state of instability. Sant’Ivo on the other hand is laid out on a symmetrical organization. The plan suggests a highly centripetal force, and the fusion of pure geometries is discernable. Corners are compressed, left incomplete or replaced with alternate geometries.
10 GIAN LORENZO BERNINI // CARLO RAINALDI BAROQUE HETEROGENEITY SANTA MARIA DI MONTESANTO SANTA MARIA DEI MIRACOLI
ROME, 1675 C.E. ROME, 1681 C.E.
The two churches are situated across each other at the Piazza del Popolo. Although the two appear the same in elevation and share identical entrances, their interior configurations are inherently different. Miracoli is organized around a circular plan and dome, and follows a cross organization. Pilasters break into the entablature to look as if they support a pediment or arch, which frames the ma-jor side chapels along the cross axis. On the other hand, the space in Montesanto is elongated and largely defined by a thick, continuous entablature (highlighted in red) that accentuates a dominant axis. Here, the side chapels and pilasters are largely subordinate to the entablature, and remain equal in relation to one another.
11 NOLLI // PIRANESI FIGURAL SPACE AS GROUND PIANTA GRANDE DI ROMA CAMPO MARZIO DELL’ANTICA ROMA
1748 C.E. 1762 C.E.
Nolli and Piranesi’s plan are inherently different in terms of their aims, and the information they are trying to convey. Nolli’s map is analytical and scientific; his goal was to reveal the existing urban condition by delineating what is public space, street and building (illustrated by black poche). Piranesi’s map is a collection of buildings and objects from different times and scales, where the means of circulation in between is defined by leftover space rather than clear streets. Internal axial conditions are emphasized over the exterior, and the boundaries of the masses are shown as walls and columns, rather than blocks.
12 KARL FRIEDRICH SCHINKEL WINNER OF THE STUDENT’S CHOICE AWARD IN COLLABORATION WITH NOAH SANNES ALTES MUSEUM
BERLIN, 1830 C.E.
One of the ideas that the Altes Museum introduced was the programmatic separation of spaces to display painting and art. On the lower level, the galleries are defined by a field of columns that mirror the verticality of its statues and sculptures. In the upper storey, the columns disappear and non structural walls are used instead to create enclosed pockets. These walls also provide surfaces for the museum’s paintings and portraits. Modeled after a Greek stoa, the museum welcomes visitors to a broad doubleheight portico. As void space is embedded within the museum’s overall mass, Schinkel cleverly reduced the depth of the museum’s side galleries to maintain symmetry of its interior and exterior. Beyond the portico is a double height entrance vestibule that leads to an expansive rotunda. While both spaces visually connect the museum’s two levels, neither provides a means for vertical circulation.
