ddesign theory on neo classical renissance.pptx

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1. Design Theory- I Day 5- Neo-Classical Renaissance

2. Neo classical Renaissance- Leon Battista Alberti Tempio Malatestiano , Rimini Facade of Basilica of S. Andrea, Mantua  Piazza Pio II in Pienza , looking toward the Palazzo Piccolomini The unfinished and altered facade of San Sebastiano

3. Neo classical Renaissance- Humanistic architecture Early Italian humanism, which in many respects continued the grammatical and rhetorical traditions of the Middle Ages, not merely provided the old  Trivium (introductory course) with a new and more ambitious name (Studia humanitatis ), but also increased its actual scope, content and significance in the curriculum of the schools and universities and in its own extensive literary production. The  studia humanitatis   excluded logic, but they added to the traditional grammar and rhetoric not only history,  Greek, and moral philosophy, but also made poetry, once a sequel of grammar and rhetoric, the most important member of the whole group.

4. Neo classical Renaissance- Leon Battista Alberti Foremost theorists on Renaissance, know for codifying the principles of linear perspective often considered as the Florence Vitruvius- classical erudition Incorporated and made advances upon the engineering knowledge of antiquity, and it grounded the stylistic principles of classical art in a fully developed aesthetic theory of proportionality and harmony. Doctor of law at University of Bologna. 1443- visit to Rome as the secretary to Pope Eugenius IV, where he became the first humanist to prepare a survey of the classical monuments of the city. his architectural treatise, in which he interpreted the principles of classical Roman architecture.

5. Neo classical Renaissance- Leon Battista Alberti critical of Vitruvius - architect’s conceptual ambiguity and, moreover, he felt that classical theory had achieved much greater heights of refinement in such writers as Cicero, whose rhetorical (verbal) concepts he gladly redirected toward architectural theory. the first Renaissance treatise on architecture, Alberti’s effort stands alongside that of Vitruvius as one of the twin pillars of classical theory. Architect- “ who by sure and wonderful reason and method, knows both how to devise through his own mind and energy, and to realize by construction, whatever can be most beautifully fitted out for the noble needs of man, by the movement of weights and the joining and massing of bodies. To do this he must have an understanding and knowledge of all the highest and most noble disciplines. ” Normative Statement- Building as “a form of body” - personified the design what is known as humanism .

6. Neo classical Renaissance- Leon Battista Alberti Function and its accommodation are mundane things that can easily be taken care of by a builder. The architect, armed with the science of linear perspective and the new mathematics, steeped in the knowledge of ancient sources, becomes the master of a universal law that applies as much to the frame of his buildings as ii does to the structure of the natural world. nature is synonymous with God, the architect in his pursuits approaches the divine.

7. Neo classical Renaissance- Leon Battista Alberti Normative Theory- Theory of Absolute Beauty Lineaments Consist of both matter and lineaments (lines, or more generally design) maps out a philosophical distinction on which his theory of beauty will reside- Matter relates to nature, but the power to wield lineaments (or make designs) resides in the architect’s mind. “ the intent and purpose of lineaments lies in finding the correct, infallible way of joining and fitting together those lines and angles which define and enclose the surfaces of the building. It is the function and duty of lineaments, then, to prescribe an appropriate place, exact numbers, a proper scale, and a graceful order for whole buildings and for each of their constituent parts , so that the whole form and appearance of the building may depend on the lineaments alone .”

8. Neo classical Renaissance- Leon Battista Alberti Normative Theory- Theory of Absolute Beauty possible to project whole forms in the mind without any recourse to the material, by designating and determining a fixed orientation and conjunction for the various lines and angles. lineaments be the precise and correct outline, conceived in the mind. made up of lines and angles, and perfected in the learned intellect and imagination One line perspective

9. Neo classical Renaissance- Leon Battista Alberti Normative theory- Theory of absolute beauty (aesthetics not relative)- lays on the intellectual foundation that will remain largely intact for almost three centuries- Beauty Beauty had been problematic for Vitruvius- allusions to the harmonic ratios of Pythagorean musical theory- as a higher cosmic order underlying the judgment of beauty and gave architects the right to vary proportions if the ‘‘eye’’ calls for corrections, or as the arts make progress- freedom assumes that judgments of beauty are relative and even subjective – a logical inconsistency unacceptable to Alberti and Renaissance aesthetics. Platonic (Friendly) belief- there is a higher reality to the physical or phenomenal world, namely Ideas; the Neoplatonic argument- art and architecture can symbolize these higher Ideas through their adherence to universal mathematical laws or harmonic proportions.

10. Neo classical Renaissance- Leon Battista Alberti Normative theory- Theory of absolute Beauty three conditions that apply to every form of construction –appropriate to its use, lasting in structure, and graceful and pleasing in appearance (Vitruvius’ triad). – the first two have been dealt with, and there remains the third, the noblest and most necessary of all. Beauty is thus the correct mirroring of transcendent Ideas, and – as his reference to a passage of Cicero shows – it is rarely found, even in nature. Beauty- that reasoned harmony of all the parts within a body, so that nothing may be added, taken away, or altered, but for the worse; all our resources of skill and ingenuity will be taxed in achieving it; and rarely is it granted, even to Nature herself, to produce anything that is entirely complete and perfect in every respect.

11. Neo classical Renaissance- Leon Battista Alberti Normative theory- Theory of absolute Beauty In failure of conform to the laws of beauty- ornament been applied by painting and masking anything ugly, or by grooming and polishing the attractive. Ornament- The mediating element between raw nature (materials) and the ordering lines of the architect is ornament. something ‘‘attached or additional,’’ but it is not inessential or something that can be dispensed with. Ornament is the correct orchestration of the lineaments of design, the judicious choice of the material, and the polishing and refinement of appearance – in short, the corporal (spiritual) manifestation of those higher Ideas.

12. Neo classical Renaissance- Leon Battista Alberti Normative theory- Theory of absolute Beauty Anyone who builds so as to be praised for it – as anyone with good sense would – must adhere to a consistent theory; for to follow a consistent theory is the mark of true art. T he arts were born of Chance and Observation, fostered by Use and Experiment, and matured by Knowledge and Reason.

13. Neo classical Renaissance- Leon Battista Alberti Normative theory- Theory of absolute Beauty a building is very like an animal, and that Nature must be imitated when we delineate it. judgments on beauty, you do not follow mere fancy, but the workings of a reasoning faculty that is inborn in the mind. Every body consists entirely of parts that are fixed and individual; if these are removed, enlarged, reduced, or transferred somewhere inappropriate, the very composition will be spoiled that gives the body its seemly appearance. the three principal components of that whole theory - number, outline, and position. the composition and connection of these three is a further quality in which beauty shines full face- concinnitas ; Cicerion Notion of concinnitias or concinnity (   skillful  and  harmonious  arrangement or fitting together of the different parts of something).

14. Neo classical Renaissance- Leon Battista Alberti Normative theory- Theory of absolute Beauty Cicero- “ words when connected together embellish a style if they produce a certain symmetry ( concinnitas ) which disappears when the words are changed, though the thought remains the same’’ Concinnity- perfect harmony or grace that appears when the architect has perfectly composed his design, in such a way that it demonstrates the three qualities of correct number, outline, and position. Number relates to the addition or taking away of parts; O utline controls their size and configuration P osition adds the criteria of correct placement. absolute and fundamental rule of nature- a design secret to classical antiquity; the main object of the art of building, and the source of her dignity, charm, authority, and worth

15. Neo classical Renaissance- Leon Battista Alberti Normative theory- Theory of absolute Beauty Harmonic ratios Pythagoras’ system of musical harmony- ‘nature is sure to act consistently and with a constant analogy in all her operations’ that ‘the numbers by means of which the agreement of sounds affects our ears with delight, are the very same which please our eyes and our minds.’ 3:2 and 2:1 (octaves). ‘an absolute numerical scheme for beauty and proportion was his most important contribution to Renaissance theory. Through these passages, architectural beauty now comes to reside principally in proportions’ Plato’s Timaeus- the harmonic ratios that should also underlay architecture Timaeus- one monologues given by  Critias  and Timaeus

16. Neo classical Renaissance- Leon Battista Alberti Normative theory- Concinnity The Palazzo Rucellai - Humanistic architecture Remodeling of old buildings. Vertical dividers engaging the public space directly- passerby to turn around Façade defines the street volume- rhythm of Roman aqueduct. Active relationships between itself and the streets; built in balance of width and height not only because of the coordination between horizontal and vertical members; Uprights capitals of varying orders- Tuscan on the ground floor, then composite, and Corinthian- a a b b a a a

17. Neo classical Renaissance- Leon Battista Alberti Normative theory- Concinnity The Palazzo Rucellai - Humanistic architecture a a b b a a a rhythm of the bays- a-a-b-a-a-b-a- (a) Façade defines the street volume- rhythm of Roman aqueduct.

18. Neo classical Renaissance- Leon Battista Alberti Normative theory- Concinnity Perspective force of the ground line and the cornices

19. Neo classical Renaissance- Leon Battista Alberti simple proportional relationships govern the design. The lower arrangement- medieval work giant order of columns broadly frames it and holds up a high attic. flattened temple front centered above the doorway screens the nave roof, and scrolls fill the corners. Normative theory- Concinnity Santa Maria Novella

20. Neo classical Renaissance- Leon Battista Alberti temple front of the upper storey , including the attic, can be divided by a line running through the center of the doorway. Each of these square forms one-fourth of the area of a larger square that would circumscribe the whole facade exactly. And so on, with the lesser dimensions.