ACH 201

ARCH 221 Assignment 12

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This week we finally reach the last chapter of KOSTOF’s book which was our guide-book for this semester.

This week we are reading 20th and 21st chapter of book . There names are by following order; The popes As Planners: Rome 1450-1650, Absolutism And Bourgeoıse: Europeam Architecture 1600-1750.

In this post ı focus on 20th chapter because of the relation with my design  and the information’s about path design.

The processional route of  middle age was started from Ponte Sant Angelo bridge, spanned the river  between the fortress of Castel Sant angelo and small square on the left bank that several important streets met, one among them, The Via Papale, ran from the square to the roof of the Capitoline, and then through the ruins of the Roman Forum and past of the Colosseum hill , all the way to the Lateran. Also, new popes traversed it during ceremonies of their installation. The urban segment of the route was the closes thing to a spine medieval Rome possessed.

The most important interventions in the old city during the Renaissance took place at the two ends of this spine. At th east end the Palazzo Venezia, built-in the mid fifteenth century below the north slope of the Capitoline, was the earliest of Renaissance places in Rome.

Julius’ successor, Leo x, was a Florentine.To honor his compatriots, he started  for them national church, dedicated to their patron saint John the Baptist, at the upper end of Via Giulia. With Julius’ axial bridge unrealized, the new  church  of S. Ciovanni dei Fiorentini was connected to the ponte Sant’ Angelo by a straight line in the 1530. This short street formed an acute angle with the start of the Via Papale. The purely aesthetic decision to a nobel urban formula, the trivium repeated in the same years on much larger scale at the north entrance to the city, the Piazza del popolo.A trvium is the meeting of three radial streets at a piazza, with other words, their divergence from one.The central prong is axial, and the side ones run in equal or near equal acute relationship to it. This formal device is affiliated with Renaissance experiments in radial urbanism, but it is less totalitarian and more flexible.

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Another modernization occurs in palace blocks. The modern palace blocks,here as elsewhere in italy, directly countered the dwelling compounds of the late Middle Ages with their irregular courtyards, gardens, and view towers. By their bulk and regular shaped these palaces brought a monumental scale to their neighborhoods and helped to generate orderly streets, squares and orthogonal city blocks.

ARCH 201 Photo Montage Study

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This week we study on the our photo montage/analysis again. The aim of this assignment is developing our photo montage in the  light of  our observation and our studies far as now ,so here is my photo montage. While ı was doing this study, my approach is focusing on some specialities of peninsula and showing their picture where the part that they belong  like as unite.

photo montage_Ceren özsu

ARCH 221 Assignment 10

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This week we are going on reading 15th and 16th chapters of book which is called History of Archiitecture Setting by Spiro Kostof.Chapters name are; The Urbanization Of Europe and Edges of Medievalism.

Function of cities developed by itself and by their citizens. As far as this chapter, Kostof  explains civitas with very different examples and perspectives. If we examine the europe civilization, we can clearly see the changes in urbanization according to the cultures and the time.I will discuss the 16th chapter in this post. But if i would like to summarize  very briefly the 15th chapter, ı would say that in this chapter writer mentions the changes of cities , city plans, structures and the ingredient of civilizations by pointing out the connection of civilization with the other cultures and the times before medieval age.

In the 16th chapter; Edges Of Medievalism, starting with the words “destined for great things”. The renaissance  art and architecture unfailingly begin in early 15th century Florence with the triad of Brunelleschi, Donatello and Masaccio. Florence is mostly considered the hometown of  renaissance. This city is accorded that cultural primacy that Athens held in antiquity, and these very terms self-satisfied native historians of the time describe this city.

 The particularly designed of the city-form was both cumulative and participatory. The aim was creating the shape of florence more sharply, more expeditiously. In early fourteenth century, the city center was imposing ensemble of new public buildings, which clarify the visual relationships step by step. these buildings, lay east of the main north-south artery of the Roman city. At the place of ancient Forum was market whose activity has spread to nearby streets and piazzas  with specialized areas. The distribution of public spaces of city was simple but effective. At the two ends of an axis running parallel to the Roman cardo, the cathedral complex and the administrative structure of commune were grouped, not as adversary estates but as pendants of urban identity.

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As we can say that  the source of Renaissance village shows itself in te main structure built on the farm property not exactly different from the traditional Tuscan Farmhouse. The type is shown in 14th century paintings;  a blocky mass built of rough stone, with an arched or trabeated porch or loggia, a balcony, and an outside oven. In contrast to farm house, The town house was too derived from a traditional type. By mid fourteenth century the type was in the process of civilizing itself, turning into something more urbane, less dour. The plazzo Davanzati is a good example of  this. The open gallery graces shows friendly gestures toward the street, were becoming characteristic of residential architecture. sometimes the openness came at ground level, with a loggia, where ceremonial affairs. The greate loggia of The Piazza della Signoria is a public expression of this domestic feature.

 Church building in late medieval Florence, as we have seen, was in the hands of the commune and the fairs. But whether it was the new cathedral or the greate churches of mendicant orders, the architectural approach was the same. Religious architecture leaned towards the more international conventions of Gothic, albeit of a very individual brand. As we can see in the churches like S. Miniato. Brunelleschi had many ingredients close at hand: rounded arches on columns, classical pilasters and cornices, flat ceilings, square bays. But the predisposition of this dressing no more constitutes the style architectural historians call”Renaissance” than the occasional existence of ribs, pointed arches, and flying buttresses within northern Romanesque could blunt the newness of Gothic.

End of this chapter , writer lastly briefs the overall changing architectural approach in  the fourteenth century  europe, generally, by giving examples building mainly Florence and the rest of the Europe.