-Bernini would begin thinking about these projects while in Rome
-his design is a typical roman palace when the recessed sides are taken away
-segmented to triangular pediments
-also has an almost rusticated basement
-a problem of scale is that when done on such a large scale elements don’t become a large boring block
-the recession of the bays on either side and the projection of end wings make it more interesting
-shows a classicism that is expanded and multiplied by four on this scale to express the role of the king
-Cortona, Rome
-was destroyed in the 19th century
-painting by Vanvitelli, Gasparo
-the building incorporates a number of motifs from the high renaissance
-the simple, symmetrical plan and concave wings of the Villa del Pigneto reveal Cornato's understanding of the phrasing of the Palladian winged villa
-it is a pleasure villa for the Sachetti family
-the facade is composed of a series of central ramps
-same context as the belvedere (nichionne) with the ramps and the niche design
-references earlier garden architecture but taking
it to a new scale
-Cortona received much less recognition that Bernini or Barromini
-Cortona, Rome
-acquired by the the academy of St. Luke, the newly founded artists society in 1588
-1634 Cortona elected the director of the academy it was completed in 1644
-it was personally and professionally important for Cortona giving him recognition for his design
-led from a renovation process to essentially an entire rebuilding project
-one of the issues for this church is the location, there is not much space so the design was restricted
-he has a superb sense of urban planning, seen by how monumental the building looks within such a small space
-designs a compact façade and made monumental b/c has a very high elevated dome which creates almost another 2 stories- becoming the tallest building-as you approach it the transept falls away and you focus on the façade
-has projecting end bays with paired pilasters and then those angle inward creating a recessing area, next pair projects out and central portal projects out subtly
-the cornice projects out
-new drama of the way it is plastic in the use of these ornaments
-marked by a strong horizontal element emphasizing onjulation
-dramatic use of light and dark helps to mark out architectural qualities in the way the church is silhouetted
-it is a domed Greek cross plan
Santa Maria della Pace, 1656-57, Rome
-cloister by bromante
-Pietro da Cortona did the façade 1656-church that was built at a period of time having to do with victory over the French
-problem is by this time people are driving around on carriages, very crowded does not have straight streets
-solution masks the alleys
-classic temple in the round
-the available space was limited but Cortona disguised the restricted scale by allowing the boundaries of the church to fluctuate(p. 115, Varriano)
-has paired columns and a center bay with a window up above
-lower storey convex and arms concave and projecting ,masking other alleyway entrances
-keyhole shape pediment over the window on top storey making the façade more complex
-effective kind of theatrical element making church seem bigger than it really is
-Born 1599 and dies 1667
-father was an architect
-did many of the decorative elements in St. Peters
-Maderno used him for his project drawing
-he and maderno requested to be buried in the same tomb
-was assistant to Bernini at St. Peters
-considered to be rather melancholic (thought to be artistic)
-not trained in sculpture and painting unlike bernini and maderno
-worked on other peoples project and as assistant till 1634
-more theoretically inclined
-it was thought he had intended to write an architectural treatise
-very interested in past architectural practice such as gothic
San Carlo alle Quatro, 1638-1641
-Borromini, Rome
-this was his first individual project
-at intersection of via sistina and crosses another street opened up by the pope who commissioned Michelangelo porta pia (via feliche), at intersection four fountains
-façade is done after rest of building-first phase begins 1634
- received support from Francesco Barbarini
-begins with the monestary and the cloister
-each of the elements form a Palladian window, which he uses to link all the way around whereas it is usually used on only straight areas
-lentil is not straight but curves out giving a concave/ convex look
exterior
-onjulating bays
-use of giant order, fully engaged with the flow of the façade, flowing from concave to convex
-find the tiers are almost equal in importance, not a single unified story
-has a strong relationship to interior
-ballisters are one in one direction one the other direction a new motif
-interior of the church was commissioned 1637-plan: sense of how confined the site was, very cramped
-cloisters are typically square/ rectangle, here is interestingly a shape that has a very different feeling to it, b/c right angles close off movement
-here there is continuous movement all around it, oval where its side are straight
-takes up themes we saw in the cloister and utilizes space to accentuate some of the same qualities of this active organic movement
-plan: shape is centralized with direction (oval), almost looks like an oval with pinched out shapes
-how do you measure out such a complex idea?
-by using geometric shapes within the shape
-characterized by projecting and recessing bays w/ concave and convex elements and a really strong horizontal cornice-upper level is even more extraordinary as we look at geometric shapes when looking at the coffering of the ceiling 1665-67
-iconography is seen through architectural form, has three shapes (cross, ruby shape..) all linked together in a perspectivally diminishing shape to make dome seem even further away
-Borromini, Rome
-Located on the main thoroughfare from the Vatican
-the order called oratorians- able to preach w/o going though a theological structure
-use of material is interesting in contrast to church façade next door which uses travertine
-uses brick, extremely fine small bricks created specifically so areas that are curved have curved bricks
-had to be adjacent to church so façade is not equal on both sides, use of brick at ends frame the building
-there are monumental columns on the bottom stories and then smaller columns on the top storey
-use of pure geometry
-unusual octagonal type of shape in the plan of the building
-by using coffers on the upper story there is an illusionistic depth
-entire façade is slightly curved this is the first façade to do that
Interior
-probably appointed through regilio spatta?
-oratory completed b/w 37 &38
-corners do not come to a right angle again
-also interesting aspect if look at the orders, follow up and the columns become ribs up and over the vaulting
-use of reversed ballisters again
-there is vestige of a Palladian window not completely b/c have curved silhouette on sides- giving it a centralized space
-key hole shaped windows over the doors and on top floor
San Ivo della Sapienza, begun 1642 -Borromini, Rome
-sat w/in the Sapienza
-buildings on either side are part of this university building
-circular courtyard termination
-1642 appointed to work there
-43- began church finished 1648
-is one of the sites of which constrictions are quite severe, constraining the architects design
-creating a plan to build a centralized church to be incorporated into existing structures
-use of kind of crowing element (dome and lantern)
-alternating concave and convex surfaces
-façade is concave topped by small attic with small towers
-the drum is convex over the concave lower façade
-there is a symbolism of elements as related to the concept of wisdom
-plan: extremely complex geometrical design
-no right angles which is seen in many of Cortona's buildings
-there is use of equilateral triangles creating a six point star to decorate the interior
-interior expressing the ribs of the dome, unusual type of dome and cornice b/c of onjulation
-uses decoration of the six pointed star
-Borromini, Rome
-façade was originally on the other side, but changed to be facing the pope
-would come in and begin to realize his design
-façade that is concave with oval steps, progressing and recessing
-end towers frame the dome, would become a motif that would go throughout Europe -like that intended for st peters
-attic more like st. peters
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