scholarly journals 19) ANDREA PALLADIO AND THE RENAISSANCE ARCHITECTURE IN FRANCE

1960 ◽  
Vol 65 (0) ◽  
pp. 123-128
Author(s):  
Hiroshi Aikawa
Keyword(s):  
Andrea Palladio ◽  
Renaissance Architecture

The Arch of Trajan in Ancona and civic identity in the Italian Quattrocento from Ciriaco d’Ancona to the death of Matthias Corvinus1

2018 ◽  
pp. 37-56
Author(s):  
Francesco Benelli
Keyword(s):  
Civic Identity ◽  
Andrea Palladio ◽  
Renaissance Architecture ◽  
Religious Architecture ◽  
Sebastiano Serlio ◽  
The City

This essay offers new insights into the civic value and the reception of the Arch of Trajan for Renaissance architecture in Ancona, a city almost completely overlooked by Renaissance historiography because of the destruction of most of its buildings. Built in 115 AD the Arch was meant to celebrate the Emperor’s victory in the Dacian wars, whose fleet departed from Ancona. Looking to sources to be found outside of the city it is possible to examine the legacy of the arch – a monument praised by Sebastiano Serlio and Andrea Palladio, among others -‐ in public and religious architecture, as well as its role in creating the identity of the city. Some motifs from the arch appear already in Giorgio da Sebenico’s late Gothic church portals of S. Agostino and S. Francesco alle Scale, as well as in the Loggia dei Mercanti (late 1450’s, early 1460’s), but its first important depiction is by Pinturicchio in the Piccolomini library in Siena. Here the arch is placed adjacent to Pius II’s, celebrating the (failed) departure of the fifth crusade from Ancona’s harbour in 1464 as a neo-Trajanic enterprise.

RENAISSANCE ARCHITECTURE.

The Art Book ◽  
1994 ◽  
Vol 1 (4) ◽  
pp. 28-28
Author(s):  
CRISPIN ROBINSON
Keyword(s):  
Renaissance Architecture

Chateau du Louvre

1953 ◽  
Vol 6 (1) ◽  
pp. 10-11
Author(s):  
Bates Lowry
Keyword(s):  
Renaissance Architecture ◽  
French Renaissance ◽  
History Of ◽  
Important Position

For French Renaissance architecture no single building occupies a more important position than that of the Chateau du Louvre. This fact long has been recognized and the Louvre has become the example of French architecture of this period in all surveys of architecture. Little attention, however, has been paid to the role of the Louvre in the history of Renaissance architecture generally or to its place in the yet to be written history of the palace type. However, before these latter objectives may be attained a clarification of the problems involved in the actual construction of the Louvre during its initial phases in the Renaissance is necessary.

Inigo Jones's Site Organization at St. Paul's Cathedral: "Ponderous Masses Beheld Hanging in the Air"

1994 ◽  
Vol 53 (4) ◽  
pp. 414-427
Author(s):  
Vaughan Hart
Keyword(s):  
Complex Task ◽  
Renaissance Architecture ◽  
The Way

In studies of Renaissance architecture, little attention is normally given to the organization of building sites and to the way in which the practicalities of mechanics and material supplies influenced the finished works. This article describes Inigo Jones's site organization at St. Paul's Cathedral where, during the 1630s, he undertook the large and complex task of refacing the existing Gothic structure. Here practical site constraints influenced Jones's design at least as much as theoretical objectives. This study throws light on Jones's relationship with his assistant, John Webb, who oversaw much of the day-to-day work, and illustrates such details as Jones's use of craftsmen to make and amend models in perfecting his designs on-site. In this article the work's accounts are studied in order to reinterpret the few known surviving working drawings and contemporary views that record one of Jones's most important achievements.

scholarly journals The drawing in the design process: a study in the work of Andrea Palladio

2013 ◽  
Author(s):  
Monika Maria Stumpp ◽  
Claudio Calovi Pereira
Keyword(s):  
Design Process ◽  
Graphical Representation ◽  
Three Dimensional ◽  
Design Activity ◽  
Special Role ◽  
Andrea Palladio ◽  
Alternative Representation ◽  
History Of ◽  
The Aesthetic ◽  
The Individual

The development of design activity uses technical suports that allow the architect to record the evolution of your idea or communication with it. Historically, the support that has been used is the graphical representation, which, as a intelligence technology, joins with the creative and cognitive processes of the individual, allowing communication with their imagination and also to all individuals involved in projecting. The representations graphically materialized, calls drawing,  are important in the practice of architecture because they represent the evolution of the design process. The drawing means the way in which design is conducted, tested, controlled and ultimately appears performed. In this context the drawings of the Renaissance architect Andrea Palladio play a special role in the history of architecture, because it makes clear how he understood and thought the architecture. At that time, the graphical representation of the space acquired an importance that had not previously, incorporating a greater number of alternative representation, highlighting the aesthetic concerns and the current building techniques. A lot of drawings produced by Palladio, shows how he was deeply convinced of eloquence and priority of images to understand the architecture, more than any other form of discursive explanation. In this sense, this work investigates the drawings of Palladio as a tool at the process of design solutions translation. The reading of the project through the design has been used to study designs and architectural objects or certain styles or specific authorship of an architect. Here the method is used for reading the project of Villa Pisani in Bagnolo (1542). Using two and three dimensional drawings, represented by plan, section and volumetry, it is intended to make explicit certain aspects underlying the architectural work, as questions of proportion and symmetry. It is expected that, at the work of Palladio, this method allows to compare and understand drawings, in order to analyze mutations and replications and  search of new meanings, readings and interpretations.

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