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A new interpretation of the work of Bramante, suggesting an agenda for contemporary architectural practice In On Bramante, architect Pier Paolo Tamburelli considers the work of the celebrated Italian Renaissance architect Donato Bramante and through this reappraisal suggests a possible agenda for current architectural practice. Bramante, Tamburelli argues, offers an excellent starting point to imagine a contemporary theory of space, to reflect on the relationship between architecture and politics, and to look back—with neither nostalgia nor contempt—at the tradition of Western classicism. Starting from a discussion of the difference in the work of Bramante in Milan (1481–1499) and Rome (1499–1514), Tamburelli highlights the peculiarities of Bramante’s architecture, especially in comparison to that of his predecessor Leon Battista Alberti and successor Andrea Palladio. This in turn opens up new possibilities for appreciating his spatial experiments, and to derive from Bramante’s abstraction and disassociation of form from function a revised theory of space for contemporary architecture. Such a theory might even advance a newfound political understanding of classicism, and a model—perhaps more valid now than ever before—for a public architecture. The text is bookended by a series of color photographic plates of Bramante’s works by photographer Bas Princen.
The Tempietto, the embodiment of the Renaissance mastery of classical architecture and its Christian reinvention, was also the pre-eminent commission of the Catholic kings, Ferdinand of Aragon and Isabel of Castile, in papal Rome. This groundbreaking book situates Bramante's time-honored memorial dedicated to Saint Peter and the origins of the Roman Catholic Church at the center of a coordinated program of the arts exalting Spain's leadership in the quest for Christian hegemony. The innovations in form and iconography that made the Tempietto an authoritative model for Western architecture were fortified in legacy monuments created by the popes in Rome and the kings in Spain from the later Renaissance to the present day. New photographs expressly taken for this study capture comprehensive views and focused details of this exemplar of Renaissance art and statecraft.
This groundbreaking book situates Bramante's Tempietto at the center of an arts program that exalted Spain's quest for Christian hegemony.
This book is the first study to provide a comprehensive historical and theoretical account of the Academia Leonardi Vinci. Pederson brings together literary sources to offer a new interpretation of the academy not as one singular entity, but as a collection of academic modalities in Renaissance Milan. Eventually these various modalities converged around their namesake Leonardo da Vinci, as well as the architect Donato Bramante. This group drew together not only humanists, as in other early Italian academies, but also practitioners of a range of disciplines that ultimately gave way to a new kind of group. This collective of creative personages generated forms of expression that explored the liminal spaces between art, geometry, architecture, and the natural world, which in turn stimulated conversation and debate. This activity made it different from other early Italian academies, and in this way it offered something entirely new.
Renaissance art history is traditionally identified with Italian centers of production, and Florence in particular. Instead, this book explores the dynamic interchange between European artistic centers and artists and the trade in works of art. It also considers the impact of differing locations on art and artists and some of the economic, political, and cultural factors crucial to the emergence of an artistic center. During c.1420-1520, no city or court could succeed in isolation and so artists operated within a network of interests and local and international identities. The case studies presented in this book portray the Renaissance as an exciting international phenomenon, with cities and courts inextricably bound together in a web of economic and political interests.
The planetary instantaneity that digital technologies have enabled is leading to an effacement of the divisions that separate the past from the future, ensuring that the present is ubiquitous. While contemporary architecture seems to have lost the capacity to conceive of the past as a transformative force, this book stresses the need to rethink today's complex temporal mechanisms through the notion of the untimely. This concept opens up a whole spectrum of possibilities to go beyond what seems predictable. The contributors to this book employ critical concepts and architectural design tools in order to offer experimental and speculative approaches for unknown futures of architecture.
This well-illustrated book describes the fundamental principles and various aspects of classical architecture, including a detailed, illustrated glossary that is almost a dictionary of classical architecture in itself. Professor James Stevens Curl discusses in clear, straightforward language the origins of classical architecture in Greek and Roman antiquity and outlines its continuous development, through its various manifestations during the Renaissance, its transformations in Baroque and Rococo phases, its reemergence in eighteenth-, nineteenth-, and twentieth-century Neoclassicism, and its survival into the modern era. The text and illustrations celebrate the richness of the classical architectural vocabulary, grammar, and language, and demonstrate the enormous range of themes and motifs found in the subject. All those who wish to look at buildings old and new with an informed eye will find in this book a rich fund of material, and the basis for an understanding of a fecund source of architectural design that has been at the heart of western culture for over two and a half millennia.
The early modern period saw the proliferation of religious, public and charitable institutions and the emergence of new educational structures. By bringing together two areas of inquiry that have so far been seen as distinct, the study of institutions and that of the house and domesticity, this collection provides new insights into the domestic experience of men, women and children who lived in non-family arrangements, while also expanding and problematizing the notion of 'domestic interior'. Through specific case studies, contributors reassess the validity of the categories 'domestic' and 'institutional' and of the oppositions private public, communal individual, religious profane applied to institutional spaces and objects. They consider how rituals, interior decorations, furnishings and images were transferred from the domestic to the institutional interior and vice versa, but also the creative ways in which the residents participated in the formation of their living settings. A variety of secular and religious institutions are considered: hospitals, asylums and orphanages, convents, colleges, public palaces of the ducal and papal court. The interest and novelty of this collection resides in both its subject matter and its interdisciplinary and Europe-wide dimension. The theme is addressed from the perspective of art history, architectural history, and social, gender and cultural history. Chapters deal with Italy, Britain, the Netherlands, Flanders and Portugal and with both Protestant and Catholic settings. The wide range of evidence employed by contributors includes sources - such as graffiti, lottery tickets or garland pictures - that have rarely if ever been considered by historians.
The second volume of Leonardo Studies explores a dual theme of nature and architecture, offering a wide-ranging overview of current Leonardo scholarship on these two abundant subjects. While Leonardo worked on his Treatise on Painting, he noted that understanding the physical properties of nature must precede individual projects of painting or designing buildings. The volume begins with the Trattato, and follows with physics, geology, painting that imitates architectural structure and vice-versa, and proceeds to architectural projects, questions of attribution, urban planning, and and the dissemination of Leonardo’s writings in the Trattato and its historiography. This impressive group of articles constitutes not only new research, but also a departure point for future studies on these topics. Contributors are: Janis Bell, Andrea Bernardoni, Marco Carpiceci, Paolo Cavagnero, Fabio Colonnese, Kay Etheridge, Diane Ghirardo, Claudio Giorgione, Domenico Laurenza, Catherine Lucheck, Silvio Mara, Jill Pederson, Richard Schofield, Sara Taglialagamba, Cristiano Tessari, Marco Versiero, and Raffaella Zama.