THE ITALIAN BRANCH OF THE FOLLOWERS OF ANDREA PALLADIO. 17TH-18TH CENTURIES

The article is devoted to the study of the specific features of the development of the Palladian architectural system in the architect’s homeland in Italy. On examples of specific monuments, drawings and projects created during two and a half centuries, the peculiarities of the author’s transformation of style in the work of Andrea Palladio’s followers, the continuity of tradition, deviations from canonical rules and the results of this process are consistently studied. The buildings of the Italian branch of the architectural movements, little-known in Russia, are highlighted. The topic of cultural continuity and, at the same time, the rivalry between the Palladian style and the Baroque is touched upon. Particular attention is paid to the Italian tradition of research, additions and commentaries to the works and buildings of Andrea Palladio. The tradition developed among the professional architectural community of the Veneto region in the 18th century, significantly enriching the modern understanding of the master’s heritage.

LETTER FROM THE EDITOR

Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

THE DIGITAL EPHEMER: HENRY III OF FRANCE IN VENICE (1574)

Sometimes digital reconstruction interfaces with the ephemeral aspect of the Cultural Heritage. Photogrammetric survey, integrated with the most up-to-date visualization technologies, aims to the production of 3D models that can recreate and document the artifacts that were made to be short-lived.The paper deals with the documentation of an historical event: the stay of Henry III of France in Venice in 1574. This happening has been studied as part of the journey from Poland to France, undertaken by the king through Austria and northern Italy. Many royal events were organized and among the architectural and sculptural works that were made for the occasion, two stand out: the ephemeral triumphal arch and loggia designed by Andrea Palladio for the grand entry of the King and the three hundred sugar sculptures cast from moulds obtained from Jacopo Sansovino’s workshop.Historical research, iconography and cartography, along with the photogrammetric survey of some artworks still visible today, allowed the three-dimensional reconstruction of the temporary structures and sugar sculptures created for this historical event and made to last only for the ten days of his stay.The purpose of this research is to map the movements of the King and recreate the works of art that were created for him in various parts of Venice, according to a geographic and scientific approach, by framing them in space and time and employing the 3D models to project the observer into 16th century Venice.The integration of methods and techniques pertaining to geomatics and three-dimensional computer graphics allow us to animate and reconstruct images of no longer existing places and works of art which were made to be fleeting but scenic at the same time and arouse amazement between the leading personalities of those times.The “digitalization of the ephemeral” aims to bring these artifacts back to memory, following a meticulous process based on the examination of the historical sources together with cartographic data and a scientific survey.

HE.SU.TECH. Laboratory: academic research combined with the practice applied in the documentation, representation, and preservation of the Architectural Heritage. The case of the Palladio Villa Forni Cerato

This article runs an in-depth examination of documentation, representation and conservation praxis of Architectural Heritage in the field of applied academic research. The focus is put on technological advances in digital documentation applied to Cultural Heritage. The architectural survey is one of the first actions taken in the knowledge process of an asset and, as such, it becomes essential for subsequent conservation, restoration and management operations. This paper describes an experience of integrated digital surveying techniques for the digitalization of an architecture by Andrea Palladio: Villa Forni Cerato. This experience has been carried out by the Heritage Survey Technology (HE.SU.TECH.) Group, from Politecnico di Milano - Polo di Mantova that has been carrying out research and consulting activities with institutions related to Italian Heritage since 2000. The case of Villa Forni Cerato is particularly interesting because, in this instance, digitization was integrated with other documental sources. The survey of the villa required the integration of all the different technologies used in the geomatic field for cultural HeritageThis case study, in particular, became an opportunity to test photogrammetric techniques with different photographic sets, acquired both from the ground and by means of Unmanned Aerial Systems (UAS). This work has been the subject of discussion within the exchange project between the two universities: Politecnico di Milano and Universidade de São Paulo.

Memoria celebrativa y memoria narrativa: los templos de la fama en los libros de caballerías.

Las representaciones de edificios, galerías, entornos pintados o enriquecidos con estatuas permiten reflexionar sobre un aspecto desatendido de los libros de caballerías españoles: los “templos de la memoria”. Se ponen en relación ejemplos tomados de Amadís de Gaula y Sergas de Esplandián (1496-1510); Clarián de Landanís (1518); Lisuarte de Grecia, Florisel de Niquea, Amadís de Grecia (1514-1535); Silves de la Selva (1546); Olivante de Laura (1564); Espejo de príncipes (1587) y las continuaciones italianas de Mambrino Roseo: Palmerino (1560) y Sferamundi (1558-1565) con la tratadística y artes plásticas de la época: el Teatro de la Memoria de Giulio Camillo Delminio (1480-1544); el cenotafio del emperador Maximiliano en la Iglesia de Innsbruck (1553); el proyecto de Anton Francesco Doni para Arquà Petrarca (h. 1560); el Teatro Olimpico de Andrea Palladio en Vicenza (1579); el Museo de Paolo Giovio cerca del lago de Como (1543) y el salón de los Fasti del palacio Farnese de Caprarola (1559-1575).

Spaces in front of classic buildings

The article deals with analyze the organization of the territories adjacent to the classical buildings, which together form a spatial composition, as well as the elements of the compositions that determine the directions of human perception of the formed space. It is shown that elements of composition direct the perception of a person in the formed space in deep, frontal or vertical directions. There were considered the most common configurations of spaces adjacent to classical buildings, and some attention is paid to the prevalence and problems of using frontal spaces. It was shown the expediency of finding space configurations that are more favorable for full perception of the architectural image of objects. Based on the known fact that deep space is the most appropriate in combination with classical structures, as one that is perceived most harmoniously on the mental and physical levels, it was proved that in cases where there is not enough space to harmonize the scale of architecture and site, it is appropriate to use the "T" formed space as a similar space. It has been successfully used, in particular, in historic sites with a narrow frontal space in front of the building. The balance of the composition there was achieved by combining deep and frontal spaces. As an example, the article highlights the practice of using a "T" -shaped space near the villas of Capra and Emmo – the works of Italian Renaissance architect Andrea Palladio. The main conclusions of the article are confirmed in the project proposal for the organization of garden space in front of the Western Facade of the Red Building of Kyiv Taras Shevchenko National University, where at the project level with appropriate visualizations it is proposed to transform both the classical university building and man.

ARCHITECTURAL HERITAGE OF ANDREA PALLADIO – AS EDUCATION MATERIAL FOR JAKUB KUBICKI

The article covers the Architectural heritage of Andrea Palladio – as education material for Jakub Kubicki reviews artistic heritage of Andrea Palladio and analyzes its influence on the works of Jakub Kubicki. It is known that comprehensive and manysided heritage of Andrea Palladio was education material for many architects, and in the XVII century it became the basis for similarly-named architectural trend – Palladianism. Andrea Palladio (1508-1580) – is a famous architect of the Renaissance era, the author of many architectural tractates that describe the principles and stages of private estates and residences formation in detail. His works were based on symmetry, perspective and objects of value of classical place of worship of Ancient Greece and Rome. In general, Andrea Palladio, having studied traditions of folk architecture as well as likes of nobility, created model types of estates and at the same time showed almost unlimited amount of possible variations, became a founder of “architectural fashion” of Classicism era. That promoted the spread and establishment of the Palladian school where the architecture of Antique period (of Ancient Rome and, later, of Ancient Greece) was interpreted to the demands of the era, and Palladian types of country estates and city palace were used during two more centuries. Creative method or style of every architect of a certain period shapes a style of the era. In the works of architects there are reflected important issues and problems of theory and practice of architectural life of the time. J. Kubicki is also among the architects whose works attract attention with a high level of excellence. He became a mediator between the pure classicism and Empire style of the XVIII century. Although the architect was the representative of mature Classicism with the influence of Palladian school, his works have their own fingerprint and are characterized by such typical elements in the projects as sharp axial plan and symmetry of facades of palaces; simple rectangular forms in plan of a palace that were be supplemented by prominent risalits; main entrance was accentuated by portico with colonnade; the use of classical order elements that were decorated with sculptures and military emblems in façade decoration. Interior arrangement in the palaces was symmetrical, two-path, with gorgeous living-room and entrance hall that contained stairs. Interiors were profusely decorated with moulding and highlighted with colors (hence the name blue living room, gold or red room).

The Language of Architecture

This chapter provides a background to the common “linguistic” analogies in architectural thinking, which are concerned with the “grammar” of form and the “syntax” of space. The chapter then links these linguistic properties to the classical Vitruvian architectural values of firmness, commodity, and delight. Thereafter, the chapter introduces the two most well-known computational design approaches, Shape Grammar and Space Syntax, and briefly outlines the general applications of each. In addition, throughout this book, new grammatical and syntactical approaches are typically demonstrated using the domestic architecture of Andrea Palladio, Frank Lloyd Wright, and Glenn Murcutt. Thus, this chapter also introduces these three architects and their architectural languages.