Formal Analysis I Portfolio

CLOSE READING AND FORMAL ANALYSIS

FALL 2020 YALE SCHOOL OF ARCHITECTURE PETER EISENMAN TA: SAM GOLINI

TAIGA TABA

CONTENTS

01 02 03 04 05 06

BRUNELLESCHI ALBERTI BRAMANTE / LAURANA RAPHAEL MICHELANGELO SERLIO

07 08 09 10 11 12

PALLADIO VIGNOLA BORROMINI BERNINI / RAINALDI NOLI / PIRANESI SCHINKEL

01 - FILIPPO BRUNELLESCHI

Santo Spirito / San Lorenzo

Florence, Italy

This analysis focuses on the dialectic of centripetal and centrifugal force. I believe the two buildings possess separate domains for the inner energy generated within, and the outer energy entering the building. In Santo Spirito, the semi-circular side chapels on the perimeter of the plan – itself being a generic form – seem to possess a centripetal force, encapsulating the external energy entering the precinct. Conversely, the central dome seems to disseminate energy serving as the centrifugal force. However, the realm of the centripetal and centrifugal force is meticulously segregated by the positioning of the columns. In San Lorenzo, the external energy enters directly into the side aisle without bypassing the side chapel, and the energy seems to be encapsulated within the vaults. Here again, the columns serve as a blockade denying the entry of the centrifugal force into the domain of the centripetal force. The critical difference between the two buildings is that the centrifugal force is disseminated towards the exterior in San Lorenzo, indicating Brunelleschi’s intention of creating another dialectic of subjective entry by the visitor as opposed to the objective entry in San Spirito.

02 - LEON BATTISTA ALBERTI

Tempio Malatestiano

Rimini, Italy

Alberti’s superimposition of the shell onto the gothic interior suggests a Renaissance reinterpretation and reinscription over the pre-existing church. Ostensibly, the side façade seems to employ a Roman interpretation and the front facade seems to employ a predominantly Greek interpretation. In Tempio Malatestiano, I believe there are three different interpretations of the pillars and columns. Firstly, the pillar is treated as an ornament (black bold) where the mere cap of the pilaster is existent, creating an impression that the pilaster is subsumed into the wall. Secondly, the pillar acts as an element supporting an arch (red). On the side façade, entablatures are disconnected between pillars; the pillars are equivalent to walls suggesting a Roman interpretation of arches resembling the Colosseum. This draws a clear distinction with the pilasters attached in the Gothic interior – although only as an ornament – suggesting an arch supported by pillars, not passively allowing pillars to be subsumed into walls; a method still prevalent prior to Brunelleschi. Lastly, on the front façade, columns are introduced on the first story, not as support for arches, but extend to the continuous entablature dividing the two stories (black hatch).

Although the columns are manifested as ornaments, it seemingly possesses a Greek interpretation of the column as a structural component. It is also worth noting the middle columns extending towards the second story, being converted back into pilasters, as it is subsumed into an arch. This complies with Alberti’s insistence on employing pillars for arches (second interpretation) and in terms of relativity to the side façade, manifest itself as an ornament (first interpretation).

03 - DONATO BRAMANTE / LUCIANO LAURANA

Santa Maria Della Pace Palazzo Ducale

Rome Urbino

Bramante’s view of the courtyard as a ‘space in itself’, or in other words, a self-referential architectural composition is formulated by the rigorous employment of the modular grid and systematic subdivision in three dimensions. The ‘self-referential’ deviates from the Renaissance norm – the ideas demonstrated by Brunelleschi – where referential datum would inform and direct the observer’s experience. This self-referential datum is created by Bramante in his positioning of architectural elements and his registration of the corner of the courtyard. The courtyard in Laurana’s Palazzo Ducale can also be argued to be ‘self-referential’, however, the method of delimitation seems to be different from Bramante. In Santa Maria della Pace, a cross-axis is introduced and sixteen piers are positioned around the courtyard. Pilasters of the Ionic order is placed with the piers, extending to the entablature, raised on a pedestal. The cross-axis is bolstered by the reiteration of the Pillar on the second story – similar composition to the Ionic pilaster on the first story – in the Composite order, suggesting an elevational extension. However, the piers and the Ionic pilasters in four corners of the courtyard are reduced to fragments (thread forms), undermining the corner as a delimiting element. The erosion of the corner renders the courtyard space to be approximated to a rounded corner or an octagonal plan. In Palazzo Ducale, the corners are very much accentuated; the cross-axis condition (pier, elevational extension, and pilaster extensions) existent in Santa Maria della Pace seems to be employed in the corners of Palazzo Ducale. Moreover, the Corinthian columns (circular section) surrounding the courtyard does not entirely serve as a delimiting element in comparison to a wall-like pillar (rectangular section) in Santa Maria della Pace. Finally, the coat of arms in the second story of Santa Maria della Pace underscores the primacy of the cross-section over the corners, whereas the fountain situated in the corner of the courtyard in Palazzo Ducale underscores the emphasis on corners as a delimiting element of the middle space.

04 - RAPHAEL The Expulsion of Heliodorus

Vatican City

As an Architect As Raphael intends to span a dome over a square space while avoiding the compromise of resorting to a pendentive, the corner columns(1) are rotated to directly support the ring of the dome. This suggests that the frontal space is not a dome, as the foremost column(2) aligns with the grid instead of facing towards a designated center. In fact, it can be argued that the observer of the painting is outside the church, facing the front façade. The sky depicted in the background corroborates this idea that the arch is the boundary of the architecture. In addition, the octagonal pattern(3) in the forefront terminates at two on the central axis, which should presumably be an odd number if it were to highlight the centrality of such space. In addition, an interval space(4) can be perceived between each dome - resulting in a plan with a tartan grid - which is the consequence of the enlargement of the corner columns, creating a poché, or in other words a Solid-Void dialectic.

As a Painter Based on my conjecture above, it can be said that the perspective effect lures you into a deeper space towards the vanishing point (instead of the emphasis on the forefront). The perspective lines on the side aisles are kept minimal, as a matter of fact, the positioning of human figures seem to conceal such effects on the side aisles; a centripetal force towards the vanishing point along the central axis is strengthened. Instead of exposing the outside-world to view at the vanishing point, a black backdrop and the alter covers over the vanishing point terminating the vista. Although this may be an overestimate, I sense another peeking hole on the other side, creating a coupled-mirror effect, extending this space ad infinitum. The peeking hole also suggests this painting to be a scene of “heavenly space” that we are observing through a portal from earth. The School of Athens employs a similar method by placing human figures over the vanishing point, while terrestrial land is not visible in both paintings. The School of Athens further suggests The Expulsion of Heliodorus be an architectural space without an enclosing façade.

05 - MICHELANGELO

Laurentian Library, San Lorenzo

Florence, Italy

Several different Mannerist aspects can be observed from Michelangelo’s ricetto of the Biblioteca Laurenziana, where through a meticulous self-reference to the interior itself, an effective visual disposition is created. As the ricetto is designed independently from the exterior, it seems as though Michelangelo had created an inverted exterior within the ricetto, paired with the staircase as a reinvigorated approach towards the library. The double columns holding up the entablature, being disassociated from the wall create an exterior-like ambiance within the ricetto. When interpreting the side walls as three divisions (division line going between the coupled columns), hiding the pilaster in the corner of the room completes an a-b-a relationship, which strengthens b over a. The accentuation is further evident in the alteration of the gables of the mock-up window in the b division, also an entrance to the library on the front wall, strengthening the central axis of entry. The staircase seems to be a synthesis of the twin stairs generally employed in sacred buildings with the once-held idea of a single staircase covering the whole breadth of the ricetto. However, the twin stairs are rather depreciated in favor of the central flight, strengthening the central axis towards the library; the steps of the central flight start before the side flights, and the landing required to connect all three flights is in fact discretely treated by creating an additional step towards the middle.

Furthermore, the oval steps converging towards the entrance of the library create fluidity and motion in the middle flight distinguishing from the orthogonal side flights. These tactful operations on the interior walls combined with the execution of the staircase regenerate a dramatic entry towards the subsequent interior (library).

06 - SEBASTIANO SERLIO

Dwelling for a King (Project 31)

Rimini, Italy

The Sixth Book by Sebanstiano Serlio covers a wide range of habitations from local huts to the more luxurious palaces. As the records of habitations progress towards high-ranking, the space forming sequence seems to transform from an additive system to a subtractive system. The variations of housings for noble gentlemen seem to position a courtyard, subsequently populating its perimeter with smaller spaces to cumulate into a geometry – most likely a quadrilateral form. Whereas, the more luxurious habitations for Princes and Kings seem to position a geometry – which could take different configurations – while subtracting from such dominant figure, with yet more variations of geometry – not restricted to quadrilateral forms.

The primacy of Platonic forms and its arrangement, not restricted by any limitations of space has consequently generated a more solidified and accentuated poché. Dwelling for a King (Project 31) has its idiosyncrasies in comparison to its contemporaries with synonymous subtractive schemes such as Dwelling for a Prince (Project S18 & 22), Fortress for a Tyrant Prince (Project Et 23 & Et 24), Pavilion for a King (Project Y25), and House of a King (Project 27). While the inner-spaces of these contemporaries are mostly generated by rotation, repetition, or mirroring on fixed units, Dwelling for a King (Project 31) seems to be relatively arbitrary in its positioning of inner spaces. This I hypothesize is due to the employment of an oval form, before the Cartesian oval was discovered by Descartes. The major axis of the oval form is contracted as it expands outwards, virtually converging towards a circular form. This most likely is a practical solution, pursuing an orderly arrangement of inner spaces, which can be kept somewhat in a uniform condition; if the oval was a mere scaling operation preserving its proportions, the inner spaces would contract in the vicinity of the minor axis and elongate as it approaches the major axis. Furthermore, the colonnades of the loggia are never aligned towards the center of the oval. They all face towards different points on the major axis of the oval; the closer the inner spaces are positioned to the major axis, they are directed further from the center of the oval, and the closer they are positioned to the minor axis, they are directed closer to the center. The inner spaces, although seemingly following the same rules as the collonades of the loggia, are more arbitrary in its alignment. The inner spaces closest to the major axis do not comply to the rule, and these spaces can be conjectured as a poché-filler more than an orderly form.

07 - ANDREA PALLADIO

Chiesa del Santissimo Redentore / Basilica di San Giorgio Maggiore

Venice, Italy

Palladio’s meticulous use of the five orders depicts his syntactic approach towards the creation of space, allowing for prototypical iterations of similar elements. His attempt to create a unifying architectural language – although there are additive elements, and modifications executed on each case to fit the pre-existing conditions – disentangles architectural compositions from a specific site, allowing autonomy in its forms. This architectural autonomy seemingly permits the juxtaposition or superimposition of different spatial units within an architectural whole, in contradistinction with predecessors such as Alberti and Bramante, where a part was seen to accumulate into a unifying whole. When comparing II Redentore and San Giorgio Maggiore, each discrete unit is apparent within the consisting whole, however, seems to have a differing degree or methodology of consolidating the various units. On the façade, II Redentore appears to assimilate some of the architectural components in order to fortify the contrasting effect created by the discrepancy of scale. In other words, by creating a common factor (matching the plinth and the composition of the pediments), the dislocation and shearing effect between each unit is better articulated, allowing for stronger autonomy within each unit; corresponding to the interior where the nave, the chapel, the domed area of the presbytery, and the choir appear to exist in independent realms. The façade of San Giorgio Maggiore, on the other hand, appears to have a gradational phase between different units. Although it does not seem to establish a common factor like II Redentore – rendering units to be relatively distinct from one another – the insertion of an intermediary element (plinth) synthesizes the varying elements into somewhat a homogenized whole; although there are thresholds separating each unit in plan, there seems to be a unifying order within the nave, the transept, the chapel, and finally the apse of the transept resonating with the composition of the presbytery and the choir. The barrel vaults in both buildings corroborate to this idea: in II Redentore, the section is oval-like, and when entering the presbytery, the threshold arch is semi-circular strengthening the separation of discrete units, while in San Giorgio Maggiore, the semi-circular section is preserved throughout, creating a sense of unity within discrete units.

08 - GIACOMO BAROZZI DA VIGNOLA

Villa Giulia

Rome, Italy

At first sight, the formation of Villa Giulia can be comprehended as a sequential progression starting from the Casino eventually culminating towards the Walled Garden. However, as one progresses through the scenes, realizes that the line of flow is not designed to be linear. Different sections being executed by different architects seem to create a distinctive division of the architectural whole into parts or phases. Consequently, each sequence possesses a conclusive composition, while conveying a pinhole clue towards the next sequence. To an observer, there is no hierarchy within different sequences, as linear progression is nullified, and is compelled to wander around each scheme before moving on. Starting from the Casino, the middle arch seems to be an axial indicator, however, once recognizing the identical arches on the sides, the main axis is subverted.

The entry from the main courtyard to Loggia II is moderated by creating a flanking entrance, disturbing the main axis towards the Nymphaeum. Before descending towards the Nymphaeum, an observer takes a glimpse of the exit, soon to acknowledge that it cannot be reached with ease. Here again, the twin stairs mitigate the main axis, creating autonomy within this phase. Moreover, the path towards the lowest floor of the small courtyard is hidden from visual recognition, and even if the lowest floor is reached, is a dead end. Eventually, the observer will find its path towards the walled garden via a vertical ascent and not through a continuous progression along the axis. Once entering the walled garden, the axis is not received by a significant indicator, but a mere wall. Exits are positioned on the sidewalls within each sequence as a practical solution and are left subtle to contain the autonomy of each sequence, while not strengthening any other negligible axes. A subtle form of unity is achieved in a peculiar way, not so much in resemblance with the axial operation of the Renaissance, nor the absolute autonomy of space seen in Mannerist works by Michelangelo.

09 - FRANCESCO BORROMINI

San Carlo alla Quatro Fontane / Sant’Ivo alla Sapienza

Rome, Italy

As architecture transitions to the Baroque, structural cohesiveness dissolves in the overwhelming force of weight, which keeps captive of architectural components within the continuous mass. The contraction and the perpetual stress induced by the mass is represented through the employment of particular geometry (geometry triumphs over architectural elements), and the treatment of corners inherent in architectural components. The ground floor plan of Sant’ Ivo is a superimposition of two triangles, rounded distinctively at the corners in the expression of fluidity in space. However, at the intersections of the triangles, a corner condition inevitably emerges, which is a deviation from the denial of angular pieces that the Baroque pursues. As a result, the dome that is placed above seems to somewhat forcefully nullify such angular pieces, and approximate them into a circle as the plan progresses upwards. This effect is explicit in section, where the angular pieces are suppressed by the composition of the dome. The interior of San Carlo on the other hand proficiently employs combinations of circles and ovals to subsume the space into its geometry, disallowing angular elements to emerge. The employment of oval creates a vector within the space, while simultaneously creating a feeling of contraction on the short-axis. Due to the large proportions of space that stretches vertically, the circle and oval geometry are repeated in plan, elevation, and section.

It almost feels as though the circular and oval elements of the dome is projected to the side walls and the plan, depicting motion and an urge to dissipate outwards as a counterforce to the confinement of ponderous mass.

10 - GIAN LORENZO BERNINI / CARLO RAINALDI

Santa Maria di Montesanto Santa Maria dei Miracoli

Rome, Italy Rome, Italy

Carlo Rainaldi and Gian Lorenzo Bernini were amongst the first to incorporate the pre-existing context within architectural design, which resonates with the city planning extant in major cities of Europe today. As an entrance to Rome, the site of Porta del Popolo required S. Maria di Montesanto and S. Maria de’Miracoli to exist in symmetry with each other. Due to the narrow context, S.Maria di Monte Santo had to be erected over an oval plan out of expediency to create symmetry with S. Maria de’Miracoli. According to Wittkower, Bernini prioritized the symmetrical effect, not in physical composition, but to the subjective experience architecture confers to the viewer. In S. Maria di Montesanto, the longitudinal axis predominates as there are no distinguishing elements in the latitudinal axis. Wittkower suggests that S. Maria de Monte Santo cannot be wholly attributed to Bernini, but to his pupil Mattia de Rossi, therefore not as sophisticated as S. Maria de’Miracoli, attributed to Rainaldi and Bernini. Due to the inherent difference between the oval and circular plan, I argue that Rainaldi and Bernini configured the interior of S.Maria de’Miracoli to emulate S. Maria de Monte Santo in its subjective experience. An oval geometry has an innate vector along the longitudinal axis and a secondary axis along the latitudinal, and a circle has a centripetal vector treating all directions equally. In order to superimpose vectors onto the circular plan of S.Maria de’Miracoli, the cornice is discontinued towards the altar (longitude), while the cornice is continuous across the chapel (latitude) creating a longitudinal axis. In addition, the inner pilaster of each twin extends over the entablature and support an arch on the longitudinal axis, while supporting a pediment on the latitudinal axis, creating both axes. These operations nullify the centripetal force the circle creates while creating transept-like vectors – innate in an oval plan – conforming with S. Maria di Montesanto.

11 - GIAMBATTISTA NOLLI / GIOVANNI BATTISTA PIRANESI

Pianta Grande di Roma / Campo Marzio dell’Antica Roma

Rome, Italy

Although the Nolli map is proclaimed to be a precise cartography of Rome without subjectivity, I believe both the Nolli map and the Campo Marzio by Piranesi are instrumental in proposing a future civic vision in urban management, suggesting different rhetorical methods. The Noli map suggests that the Tiber river and the alleys holds primacy over architectural elements; most buildings depicted align to the river or alleys. The buildings towards the inland seem to emerge from a sprawling effect, not quite having an alignment to anything prominent, rendering them autonomous. And although they are autonomus, they do not seem to create a new independent order in the urban context. However, in Campo Marzio, as a consequence of eliminating the ground, the Tiber river and architectural elements seem to exist in the same hierarchy. The imaginary castle (red hatch) creates the civic order of the majority of buildings (red dotted line), while some other buildings (black bold) align to the river, insisting the equal influence natural elements and architectural elements possess towards creating a civic order. The Noli Map suggests that architecture conforms to the context, while Piranesi clearly demonstrates that architecture (or ruins) have the potency to create order within the city.

12 - KARL FRIEDRICH SCHINKEL

Altes Museum

Assignment Partner: Iris You

Berlin, Germany

In the Altes Museum, the friction within the idea of Neo-Classicism - where there is an aesthetic pursuit referencing historical precedents, but also a pursuit of practicality which can be seen in the reduction in ornaments, and the creation of symmetry - serves as a dialectical manifestation, which in the diptych drawing we attempted to mutually express. On the left is a drawing that highlights Schinkel’s pursuit of Architectural aesthetics, by creating a linear sequential progression from the stoa (creating a dynamic, central entry towards the precinct), to the staircase (where there is no direct light source, making the place dark to serve as a threshold or a lulling space after the dynamic ambiance created by the stoa), towards the final, sublime dome (resembling the Pantheon with its oculus). This sequence was implemented to create a gradual entry towards the dome, compelling the visitor to fully appreciate the artworks exhibited in the museum. Thus aesthetically, the sequence terminates at the first three sections and the gallery is supplementary; the circulation of the gallery corroborates this supplementary nature, by only allowing the flow into the gallery via the dome, i.e., there is no shortcut to the gallery. On the right, the pursuit of practicality is highlighted. This is the idea of making a museum function as a museum. Here the staircase is a mere flowline creator towards the first and second floor of the dome. And if we strictly focus on the function of the museum, the gallery space at the end is of main importance, rendering the dome more of a lobby space towards the gallery, and the staircase towards it supplementary. In this case, the gallery space encapsulates the center dome, expressing a nesting condition.