90652 - Survey of Italian and European Early Modern Architecture

Learning outcomes

Students acquire necessary knowledge to read and critically interpret architecture between the Fourteenth and Sixteenth century as well as the methodological tools to understand the territory, the city and its major buildings.

Course contents

Contents:

The course will provide a historical overview of the major figures of Italian Renaissance architecture from 1400 to 1600—Brunelleschi, Alberti, Bramante, Raphael, Antonio da Sangallo the Younger, Michelangelo, Peruzzi, Giulio Romano, Sanmicheli, Sansovino, Palladio as well as an outlook on a selection of European Renaissance architects. They will be analyzed within the cities or countries they operated and will be compared with the cultural, social and political local context. The second part of the course is an overview on a selection of European courts and on the role of humanistic architecture at the dawn of colonialism. Issues such as local antiquities, revival and survival, rules and license, theory of architecture, drawings and graphic conventions will be addressed throughout the course.

SCHEDULE OF CLASS

Lesson one

Introduction on the Rediscovery of the Past

Readings:

R. Weiss, The Renaissance Discovery of Classical Antiquity (New York, Oxford England: Basil Blackwell, 1969), pp. 59-72, 90-130.

Lesson two

The Classical language of Architecture: The Architectural Orders

Readings:

E. Forssman, Dorico, ionico, corinzio nell'architettura del Rinascimento, Bari: Editori Laterza 1988, 7-112. 

Lesson three

Filippo Brunelleschi, early works

Readings:

L. H. Heidenreich (revised by P. Davies), Architecture in Italy 1400-1500 (New Haven and London: Yale University Press, 1996), pp. 13-20.

Lesson four

Filippo Brunelleschi and his legacy

Readings:

L. H. Heidenreich (revised by P. Davies), Architecture in Italy 1400-1500 (New Haven and London: Yale University Press, 1996), pp. 20-33.

Lesson five

Leon Battista Alberti and the birth of Early Modern Architectural Theory

Readings:

L. H. Heidenreich (revised by P. Davies), Architecture in Italy 1400-1500 (New Haven and London: Yale University Press, 1996), pp. 34-44.

Lesson six

Leon Battista Alberti’s architecture and its aftermath in Florence

Readings:

L. H. Heidenreich (revised by P. Davies), Architecture in Italy 1400-1500 (New Haven and London: Yale University Press, 1996), pp. 45-54.

Lesson seven

Bramante in Milan and Rome

Readings:

W. Lotz (revised by D. Howard), Architecture in Italy 1500-1600 (New Haven and London: Yale University Press, 1996), pp. 11-20.

Lesson eight

Rome, January 1^st 1500 - May 6^th 1527

Readings:

W. Lotz (revised by D. Howard), Architecture in Italy 1500-1600 (New Haven and London: Yale University Press, 1996), pp. 27-39.

Lesson nine

Giulio Romano and Baldassarre Peruzzi: the first crisis of classicism

Readings:

W. Lotz (revised by D. Howard), Architecture in Italy 1500-1600 (New Haven and London: Yale University Press, 1996), pp. 45-60.

Lesson ten

Michelangelo between Florence and Rome

Readings:

W. Lotz (revised by D. Howard), Architecture in Italy 1500-1600 (New Haven and London: Yale University Press, 1996), pp. 89-106.

Lesson eleven

Walking tour among Bolognese Renaissance Architecture

Meeting at San Petronio’s steps.

Lesson twelve

Palladio, archaeology and abstraction

Readings:

W. Lotz (revised by D. Howard), Architecture in Italy 1500-1600 (New Haven and London: Yale University Press, 1996), pp.145-158.

Lesson thirteen

Renaissance architecture in France, Spain and the rest of Europe

Readings:

A. Blunt (revised by R. Beresford), Art and Architecture in France 1500-1700 (New Haven and London: Yale University Press, 1999), pp. 2-15, 26-31, 40-63.

M. Tafuri, Interpreting the Renaissance: Princes, Cities, Architects (New Haven and London: Yale University Press, 2006), pp. 181-219.

D. Watkin, A History of Western Architecture (New York: Barnes & Noble, 1996 or any other edition), pp. 223-239.

Lesson fourteen

Visit to the Drawing Collection of the Museum of San Petronio

Lesson fifteen

Conclusions

A field trip to Rome (2 days) or Florence (for the day) might be organized right after the end of the course (date TBA), depending on the amount of students interested in participating.

Readings/Bibliography

• R. Weiss, The Renaissance Discovery of Classical Antiquity (New York, Oxford England: Basil Blackwell, 1969)
• E. Forssman, Dorico, ionico, corinzio nell'architettura del Rinascimento, Bari: Laterza 1988 (ora any other edition)
• L. H. Heidenreich (revised by P. Davies), Architecture in Italy 1400-1500 (New Haven and London: Yale University Press, 1996)
• W. Lotz (revised by D. Howard), Architecture in Italy 1500-1600 (New Haven and London: Yale University Press, 1996)
• A. Blunt (revised by R.Beresford), Art and Architecture in France 1500-1700 (New Haven and London: Yale University Press, 1999)
• M. Tafuri, Interpreting the Renaissance: Princes, Cities, Architects (New Haven and London: Yale University press, 2006),
• D. Watkin, A history of Western Architecture (New York: Barnes & Noble, 1996 or any other edition)

Teaching methods

Teaching methods

The course is offered during the first five weeks of the second semester (Spring) in a 30-hour block divided in 15 lessons of 1.45 hour each, three times a week, corresponding to 6 CFU. Attendance is strongly recommended and is recorder in every class. More than non-excused two absences will affect the final grade.

Class starts 10 minutes past the hour and end 5 minutes before the hour.

 As requirement to be admitted to the final oral exam, students must produce a graphic assignment consisting on sketching a selection of two Bolognese Renaissance buildings. These sketches should be annotated with critical thoughts about each building according to what is discussed and learned in class. Please note that the graphic quality of the assignment will not affect the grade. What is important is to show your analytical skills and critical understanding of architecture.

In order not to disturb the professor and the students, it is strictly required to take a seat in the classroom before the beginning of class. It is a good practice not to bring any kind of food in class and eating during the lesson. I am fully available and happy to answer any question you might have during and after class. A good grade also depends on regular presence in class and, active participation as well as showing up at office hours.

LIST OF BUILDINGS: 

Palazzo del Podesta', Piazza Maggiore (north side)

Dal Monte Palace, Via Galliera 3

 

 

Assessment methods

 

Final exam is an oral interview. It consists on a 10 minutes long presentation of a topic of your choice – not necessarily included in the list of topics but compatible with it (you may prepare a PPT) – and random questions about subjects or issues included in the readings as well as discussed in class (the latter might be not included in the readings). Students must be prepared on the precise pages listed in the syllabus class by class.

Non-attending students are required to write a 7/8 pages long paper on a topic included in the syllabus (but a different topic is also welcomed) to be approved by the professor. The paper should be submitted in a PDF format no later than seven days before the exam.

During the interview the student must show the acquisition of the knowledge of main topics discussed in class as well as the mastering of the methods and critical tools acquired during the course. Pictures identifications of monuments (description, what it is, architect, date, location and why is important) and knowledge of the broader context are crucial requirements for the success of the exam.

For this reason, a careful study of the iconographical material distributed class by class is strongly recommended, which can be also downloaded from IOL

Grade breakdown

1. 30L/28, the highest range of grade, is given when the student shows to be able to deeply, critically and creatively analyze the texts and the images and to put them in the broader context. Special attention is given to the articulation with which the student presents and delivers his ideas during the interview.

2. 24/27 is the range of grade given to the student that shows only a mnemonic knowledge of the material and delivers his interview with a fairly proper language, at times inappropriate.

3. 18/23 is the range of grade that reflects a sufficient or superficial knowledge and critical understanding of the material.

4. Lower than 18: Lacunae, inappropriate language skills, lack of mastering the material will result into a failing grade.

Teaching tools

Pdf texts and images of the illustrations showed in class. Additional bibliography when needed.

Office hours

See the website of Francesco Benelli