The Palazzo Medici Riccardi is the house designed for the family Medici which was one of the most influential families in Florence in the Renaissance era. The contemporary “mansion” that I would like to compare to this building is the Party House in Paraty, Rio de Janeiro (image 1). Palazzo Medici was designed by Michelozzo, who was also responsible to design and create important work in the beginning of the Renaissance. “Chosen in preference to Filippo Brunelleschi, Michelozzo was then appointed by Cosimo to construct Palazzo Medici in Via Larga (1444-59), which immediately became the prototype for the Renaissance mansion” (Belisario, pallazo-medici.it). I can relate this to the Paraty House’s architect Marcio Kogan. He is today of the most …show more content…
As it graduates up the floors, the masonry stones get smaller and lighter, and by the third floor there are no appearance stones on the façade. On the second and the third floor feature a series of windows arcades which has a Corinthian column representation, honoring their past. The Paraty house façade’s however, is the completely opposite to the Pallazo Medici, because it is more opened and inviting to anyone who approaches the site in which it is located. The front façade, visitors are able to see throughout the house by the huge glass window on the second floor, being the completely opposite of the Medici’s …show more content…
However, the placement of each are different on the two houses. Palazzo Medici’s courtyard is located in a direct axis throught the front door and it’s fairly in the middle of the building. It is divided first as cortile then opens up in a courtyard which a garden is located (image 3). In the Paraty house, the patios are located throughout the very back of the building (image 4). Compared to the Paraty house, Palazzio Medici’s patio is larger and more spacious for socialization whereas in the brazilian house, this patio seens to serve more as ornamental
Castex, Jean. Architecture Of Italy. Greenwood Publishing Group, 2008. eBook Collection (EBSCOhost). Web. 5 Feb. 2012.
Andrea Palladio was born in 1508A.D. in Italy. At a very young age he became a stone mason, however his journey into architecture began when he met Gian Giorgio Trissino who immediately saw ability in him and decided to mentor Palladio. Trissino combined a study of classical architecture with architecture of the time, all the while allowing Palladio room to develop a style of his own. In time Palladio was constructing villas through out the country side of Italy, in all he constructed 30 villas, 18 of which are still standing today. Perhaps Palladio’s most famous work was the Villa Rotondra or La Rotondra which was started around 1565 and took approximately 4 years to build and was greatly inspired by the Pantheon in Rome. It is interesting to note that la Rotondra is different from Palladio’s other villas in a number of ways, and it is evident that these differences help distinguish it from the rest. The main differences between Palladio’s Rotondra and his other work are, The Rotonda is set on a hilltop, it is located near a...
In the book the memory palace of Matteo Ricci, the author Jonathan Spence talks about the Italian preacher Matteo Ricci who spent almost his whole life in China. Spence tries to describe a person who was determined and underwent many difficulties in preaching but never lost his faith in establishing Christian faith among Chinese people by using the memory palace. He divided the book into nine chapters. Despite the preface and the summary of the memory palace, each chapter contains an image or picture which is used for introduction of each chapter. In this way, Spence uses these images and pictures to help the reader build their own memory palace of this book which also well-illustrated the memory method that Matteo Ricci had used – the memory palace. According to Brook (p.831), a memory palace is “a mnemonic method that was popular with sixteenth-century Jesuits for retaining in memory.”
To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose colour varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue—and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements.
In the early Renaissance era Florence and Siena were rivals in many aspects. The Battle of Montaperti was fought between the two in September of 1260. After their triumph over Florence, Siena used the monetary winnings for the building of the Palazzo Pubblico to serve the city in governmental, spiritual and social needs; it was comparable to the basilicas in ancient Rome in this aspect. The Palazzo Pubblico (fig. 1) was also made to compete with Florence’s already constructed Palazzo della Signoria1 (fig. 2). The city also focused the new funds on the elaboration of the cathedral interior (fig. 3). In 1308, Duccio di Buoninsegna was hired for this reason. Duccio completed the requested polyptych, or multipaneled, altarpiece three years later before the townspeople paraded the Maestà from the artist’s workshop through the town and to the cathedral, its resting point for many years.
A monumental staircase is the centerpiece of entrance hall and creates a barrier to a direct view of the courtyard. The stairway, although grandiose, is modeled after oversized wooden stairs with a “wealth of spindles and paneling from his earlier Shingle style houses.” The oversized arched windows on the wall facing Exeter Street, bring sunlight into this space, and have a radiant effect on the walls covered with variegated Sienna marble (especially quarried for the library). At the intermediate landing, there are two hand carved couchant lions, which are the work of Louis Saint-Gaudens. Above this stairway a spherical chandelier of bronze and cut glass hangs from the richly coffered ceiling. As you climb up the stairs towards the main landing, the paintings of Puvis De Chavannes representing poetry, philosophy, and science adorn the wall. These murals are painted
... middle of paper ... ... Using sculpture around the Alter of Grace and images on the wall and ceiling he pictures the story of the ’the Fourteen Holy Helpers and gives the kind of imagination to the level of reality as cited by (Lanciani and Rodolfo 1892). All these Baroque architectural elements were applied to the building to get the people attention to the focal point.
Mannerist architecture engages the viewer by using Classical elements but in a new and innovative manner. The Palazzo de Te, designed by Giulio Romano serves a distinguished example of Mannerist architecture. The Palazzo de Te, was designed as a modest country villa, and was enlarged to include a horse farm. The Palazzo has an unsettling architectural setting. The trigylphs dip into the cornice, resulting in holes above the area. Meanwhile the pediment corners do not met, along with the placement of a highly unusual placement of an arch right below the pediment. There is also significant difference in the use and placement of columns; engage columns divide t...
“… gave details of the house: it was white with black doors fitted with iron bars; four rooms were stuccoed, but other parts were less finished; the front floor was stone slabs. She loc...
The style of Baroque architecture is say to be overwhelm, in other word, heavy and powerful. In order to bring out the sense of solemn, holiness, it is presented in the form of massiveness and movement. The St. Peter’s Basilica, completed in 1626, designed by Donato Brama...
A smaller pool lays adjacent to the building on the opposite side enclosed by a wall of marble. Mies designed the pavilion to blur the lines between inside and outside space. There are parts of the walls that seem to be missing which creates a flow between the two main spaces. The pavilion’s thin sweeping roof is supported by eight cruciform columns clad in chrome. This created an open and free space where he lined the outside of the building with glass. He then carefully placed a thin slab of onyx in the middle of the open volume.
Originally a Gothic town hall, the Palazzo della Ragione or Basilica (commissioned in 1549), was on the verge of crumbling and Palladio won a competition to redesign it. His answer was to encase it on three sides with a two-storey loggia that provided reinforcement and transformed the exterior with classic columned arcades on two levels. Arches were placed between pilasters, Doric on the lower level, Ionic above, supporting entablatures. In each bay, the arch rests on small columns placed away from the larger pilasters with a rectangular gap in between - now known as the ‘Palladian motif’.
...y brought in many Greek sources. The Medici's also started the Platonic Academy which supported Renaissance artists by feeding, educating, and providing them with necessities to live. Some of these were well known artists such as Michelangelo, Donatello, and Raphael. Because of the Medici family Florence became known as the cultural center of Europe and cradle of New Humanism. For a century they maintained total authority in Florence behind the popular forms of a republic.
"Famiglia De Medici: The Extraordinary Story Of The Family That Financed The Renaissance." Business Insider. 6 Dec. 2013. .
After adopting my mom my grandparents realized more space was needed. My grandpa built a second story onto the house with the help of my uncles. Deep brown and red bricks cover the bottom half exterior of the house, while caramel colored wood covers the top half. A rustic brick walkway corresponds with the exterior walls. The walkway leads to a chestnut colored door. Through the door is the entryway with mahogany colored wood floors.