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Within Renaissance art theory, architecture was often said to be the greatest feat of artistic ingenuity. However, by the very nature of his work, the architect was never autonomous.
Architecture in the early modern period, as still today, was highly collaborative in nature. Buildings were produced by many hands, and materialized over years if not decades. This paper examines how Renaissance architects confronted the tension between the contemporary ideal of the autonomous artistic genius and the collaborative reality of their practice. Developing upon the Albertian model of the authorial-architect, leading architects of the 15th- and 16th-centuries individuated themselves through writing, the development of signature forms, political involvement, and the cultivation of distinguished patrons.
Francesco di Giorgio and the Formation of the Renaissance Architect more. This dissertation examines the prodigious career of the Sienese architect Francesco di Giorgio Martini Чand considers the modes of his practice within the broader framework of the emerging early-modern architectural This dissertation examines the prodigious career of the Sienese architect Francesco di Giorgio Martini Чand considers the modes of his practice within the broader framework of the emerging early-modern architectural profession.
The role of the early-modern architect is a subject of longstanding historical interest, as during this period the character of the building designer remained substantially undefined. Yet, whereas scholars customarily highlight the heterogeneity displayed by Renaissance architects Ч who followed diverse courses of training and executed a wide range of building commissions Ч my study draws attention to the skills, design procedures and social networks these practitioners shared in common.
Francesco di Giorgio, I argue, is exemplary of the early-modern architect due not only to the breadth of his practice Ч which extends beyond the modern definition of architecture and challenges our historical understanding of this polysemic concept Ч but also the degree to which his activities may be examined through primary source documentation.
Perhaps even more importantly, Francesco di Giorgio is a model of the early-modern architect due to his well-documented desire to delineate the nascent profession, an ambition which found a receptive audience in his popular Trattato di Architettura.
Previous scholarship on Francesco di Giorgio has tended to atomize his career Ч focusing on either his Trattato di Architettura, his work as fortification designer, or his tenure at the court of Urbino. These highly focused studies have created a fragmented vision of the important architect, glossing over crucial aspects of his life because they exhibit no immediate link to his cardinal architectural achievements. These three lenses provide not only a formable, objective framework for understanding the complex architect, but also allow us more easily to draw comparisons between his work and that of his contemporaries.
Beyond Francesco di Giorgio, this is a study of Renaissance building and design practices, and the development of artistic professionalism. The attention given to the technical nature of early-modern architecture Ч which often required knowledge of hydraulic engineering, machine design, and defense construction Ч is particularly noteworthy, as these themes have been substantially neglected in art historical scholarship, despite their central role in early modern practice.
Courses Taught. This course will examine the rich interconnections in early-modern Italy between technological innovations and architecture Ч broadly defined to include fortifications, hydraulic works, building machines, as well as the more traditionally This course will examine the rich interconnections in early-modern Italy between technological innovations and architecture Ч broadly defined to include fortifications, hydraulic works, building machines, as well as the more traditionally studied civic, religious and residential constructions.
Lectures and assigned readings will consider some of the key, early-modern achievements in architecture which were engendered through technological advances Ч from the construction of the great Florentine Duomo, to the development of the ichnographic map, and the design of new firearms and firearm-resistant fortifications.
Within the context of these case-studies, we will also address broader themes pertaining to the role of the early-modern architect and his training.
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The Italian Renaissance Villa more. This seminar examines the Italian Renaissance Villa in the context of humanist culture and literary study, building typology and economic initiative. The course begins with an overview of the classical origins of the villa and the ideal The course begins with an overview of the classical origins of the villa and the ideal of country living villeggiatura.
We then trace the evolution of the early-modern villa Ч from the fortified villa-castles of Tuscany, to the papal villas and gardens of Rome, and the expansive villa-palaces and villa-farms of Andrea Palladio in the Veneto. Within this, we will explore themes related to early-modern recreation, prescriptions for healthy living, farming, building patronage, and land reclamation. This seminar focuses on Italian Renaissance court architecture Ч the palaces, villas, castles and fortifications constructed by the ruling dukes, marquis and princes of the 15th and 16th centuries.
Readings and seminar discussions center Readings and seminar discussions center on themes of patronage, court politics and culture, artistic decorum, courtly style and artists' travel.
Questions considered include: What is Renaissance court architecture and how did it differ from contemporary urban or civic building? Who was the court architect?
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