SCHINKEL

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.