3. .
.
.
.
Gothic cathedral had
huge space left
the cruise.
There is a double game perspective: Interior
dome: an empty space, nerveless and abroad
dome: full volumes
Merger of conception
Gothic and dynamic
architectural static view
the classical world
About eight octagonal drum frame
brick castles on the edges of the octagon
and two more in each cloth between edges. TO
certain heights reinforced the horizontal sections
skeleton. The more spherical and low inside (with a
tendency double dome to open outward by lateral
pressures) and the outer more stilted that served Buttress,
by tending to open at the top and closed at the base. At the
base the two hulls joined with thick stones.
The dome
rises
majestically
over town and
merges with
the hilly
landscape of
Tuscany
Dome of the Florence Cathedral.
Brunelleschi
Two-color tiles
orange and white
marble.
The
flashlight can
illuminate
inside
Modillions served
basis scaffolding .
Octagonal drum plates
green and white marble
and with small windows
circulare.
4.
5.
6. Brunelleschi.
Iglesia de San
Lorenzo.
Florencia
Cubierta de navel central
adintelada con casetones
que potencian líneas de
fuerza de eje longitudinal
Bicromía: “pietra serena” gris
para elementos estructurales
(representa primer término)
y paramentos blancos
(simboliza profundidad infinito)
Classic architectural elements: arches half a point, coffered, barrel vaults in chapels, Corinthian fluted pilasters on
ships side walls, small windows, etc
Transverse axis: Arches
medium cubic point give way
to stretches of
aisle whose walls
open chapels with arches.
The arches
central nave and the Chapel
have relationship 5 to 3. They
are developed in
perspectival. proportion.
Structured respect to different orthogonal axes
Longitudinal and axial shaft
(Symmetry) .It is the principal,
various structural elements
direct their lines of force
toward the vanishing point
at the bottom of the ship
Axis height:
Corinthian columns
plain shaft in arcades
piece of entablature and
arches boot
lead to lintel structure
Uniform light,
provided
especially large
nave windows
and oculi side
Aisles and head to
separate different height
staircase
Latin cross, with three
naves with chapels
Rational organization,
harmonious and balanced
based on module
and perspective
Cover aisles Baudi
operated by arches
7.
8. General characteristics:
proportion, symmetry, relationship
entirely harmonious with the parties and
including mathematical proportions
using the human scale, etc.
Very remodeled
in s. XVI Bays with arches
I dovelado
Elimination of
towers
defensive and
battlements
Tendency to
accentuated
horizontality
by lines of
impost
outgoing
More wrought in
upper.
Large blocks
shortly carved
(Style
Rustic) Ground
floor
Pitti Palace
Brunelleschi
9.
10. Brunelleschi. Pazzi Chapel. Florence
General characteristics:
Proportion, symmetry, completely harmonious relationship with
the parties and including mathematical proportions on a human
scale, etc
Portico serves
separation
outer space
(cloister) with plenty
of natural light.
Columned portico
Corinthian smooth
shaft.
Central arc
semicircular
Axis symmetry
11.
12. In the inner room is passed
rectangular centralized plant
by creating on the sides
two narrow rectangular spaces
covered with a barrel vault and
the central space created, for
square dome is placed
on scallops topped with
flashlight which enhances the
vanishing point toward vertical
Two-color indoor game: elements
Structural gray stone walls
whites
Interior gantry
barrel vault with
coffered and domed
central
Brunelleschi. Pazzi
Chapel.
Inside
13.
14. Very salient cornice supported by
corbels replaced Gothic roofs
Proportion between the
parties and all from one
based on the rectangle is
between two pilasters
module. All elements bear a
mathematical relationship to
this module
Originally the building was made up of
five sections, the axis of symmetry
being the gateway. Added three new
modules to the ideal composition
broke
Proportion between the
parties and all from one
based on the rectangle is
between two pilasters
module.
All elements bear a
mathematical relationship
to this module
15. Downstairs windows
small, square
in upper
Horizontal entablature
balanced vertical rhythms
pilasters
Façade distributed on three
floors. Overlap
Order: I first body Doric and
Corinthian in the following
Main floor windows
Rectangular vertical
with subtle play of forms
pure geometric lines
(Jambs, lintels)
and curves (Arcos half
point circles)
Obsession proportion made
fascia lines do not match the
level of the floors inside
Bank Run For customers
waiting
