Luke Byrne
Structural Engineering with Arch
Student Number: 15398721
The Villa; the form and ideology of the Country House
The Villa has always been a part of social standings, leisure and art throughout History. Built in the country side the mould of a villa has not changed in over two thousand years (Akerman, 1990). Outside the city, upper class people found peace away from overcrowded, diseased cities. The ideology of country life was often pursued by these nobles. Too them, the idyllic country lifestyle was the natural way of life consisting of peace, innocence and simple virtue (Williams, 2011). The country house was a place of comfort, leisure and wealth, far from the ‘real country was of life’ lived by the farmers and lower classes. Only the rich nobles sought leisure in the countryside, and this is what the Villa symbolised. Too the upper class the villa was more than just a home, it was a better way of life, encouraged arts and music and most important an escape from the city. The concept of the villa was around since 2000 years stretching from Roman times all through the medieval age, evident from painting and tapestries in all stages of history (Akerman, 1990). Around the 1500s the Renaissance began, and the basic programme and ideology of the Villa grew. In Europe the monarchy halted progress of Villas,
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Built around 1480 near St. Peter’s Basilica by Pope Innocent VIII, this building sparked the renaissance type architecture seen in Rome today (Coffin, 1988). While the villa was beside the Vatican, the Belvedere was built for peace and fresh air. Pope Innocent was quite ill for his life and it was advised to get clean air. The resulting structure became a representation for the typical suburban villa built near Rome. There was a sense of informality in the plans, stemming from their decent from the countryside farmhouse (Coffin, 1988), bring country lifestyle closer to
The Renaissance was an incredible period for artistic patronage. It seemed as though it was nearly impossible for any well-to-do private individual to avoid some level of interaction with the art world, whether they required art to furnish their lavish houses, or to create religious iconography, or even to provide gifts for family and friends. For a royal family, or a member of the nobility, the need for artistic patronage was considerably larger, given the office they held. ‘Since an aura of personal splendour was a requirement of state, the line between public and private artistic consumption was often unclear. This was especially the case with the Medici, a family which long demonstrated
The Ospedale Degli Innocenti, or the “Hospital of the Innocent”, designed Filippo Brunelleschi, is a historical building located in Florence, Italy. The elegant colonnaded facade was a brand new look which some say pioneered Renaissance architecture.The Ospedale was built and managed by the Silk guild of Florence, Arte Della Lana ; one of the largest and wealthiest guilds in the city and designed by Filippo Brunelleschi; one of the greatest architects of all time. He is known for his style of linear perspective and the dome in Florence “Brunelleschi’s Dome.” The building itself is not just an architectural building but it was originally an orphanage which closed in 1875. The desire was to take care of abandoned children reflected the humanist
The Tenement Museum is prestigious for its fine architecture and history that continues to relive itself. The tours of the museum show the lives of the people who once lived inside the tenements. The tours educate the visitors on historical events and display a museum unlike any other. The following essay will incorporate my experience at the museum along with the stories of the families that once dwelled in these tenements and lived during a time of economic struggle.
A Roman Villa was a upper-class country house built for Roman Republic and the Roman Empire. A Roman Villa is a brilliant architecture complexes and were decorated with paintings and sculpture. A Villa of a wealthy Roman family was much larger and more delightful than a regular standard Roman house. A Roman Villa had multiple rooms. The multiple rooms included a triclinium (dining room), peristyle (garden), impluvium (pool), culina (kitchen), and cubiculum (the bedrooms). Some Roman Villas had sloping roofs, covered in broaded tiles. The Roman Villas windows were covered with blinds of linen, but most likely covered with shutters of wood. The very wealthy had glass windows. Roman villas had water straight piped to them. Lead pipes brought water to the villa.
The authors, Mark Wigley and Elizabeth Honig, each address the common theme of gender and space, especially the domestic interior of the home. Although both authors discuss these conjunct ideas of sexuality and domesticity, Honig’s arguments and perspectives are a departure from the canonical arguments manifested in Wigley’s article. In his article, Wigley establishes the normative view of space and gender, especially practiced in southern Europe in the 16th and 17th centuries, particularly in Renaissance Italy. However, Honig updates this ancient thread of misogynistic writing by situating the topic further north in the Netherlands, where Dutch genre painting prevailed.
The lives of those in renaissance Italy depended greatly on their social class. Their diets, pastimes, clothing where they lived and even down to their family customs depended heavily on their wealth- or lack thereof. This paper serves to analyze these important sections of their lives, comparing and contrasting them to the opposite class.
Many architectural and urban forms and elements that we witness today are largely influenced by how buildings were design and laid in Rome. Not only in terms of its external design that brought upon important messages but the design of interiors and the significance of spatial arrangement of spaces exist within them has created the sense of physical experience in the buildings as well. Rome’s urban development and the rise of architectural movement began during the time of Augustus
Anne life is also a grand example of the lifestyle and luxuries of royalty in Renaissance
The lords preferred having a good time to relax rather than having a piece of art been done in a complicate way. This lead to the point in which artists preferred to be ranked together with philosophers, because “painters preferred the intellectually elite status of poets and philosophers…” (pg. 28). Even though artists would have had a poor quality lifestyle, for them it was a lot better than been a buffone because a buffone was a career that lacked respect. The overall purpose of Warnke’s article is the explanation of the financial status that one could expect as a painter, singer and buffone, during the renaissance time. The author explains his thesis thoroughly, but the reader ends with more questions regarding the situation that performers would have. The struggle of having work and been paid not only for the need of money but for the social status as an artist. In this article, the point of view is that as an artist in the category of paint, doing something that was less time consuming would leave an individual with better life opportunities, rather than an artist doing complex frescos and putting their soul into
Ferrara is a small city in Italy, almost comparable in size to Portland, ME. This city is known for its many buildings from the renaissance era in which at the time was ruled by the Este family. The Este family is known for building the Diamanti Palace, as well as the famous Este Castle. The Castello Estense, also known as the Este Castle is a historical building in the center of the city of Ferrara, Italy. This medieval castle served as a fortress for the Este family during the late 1300s. This castle is an important part of Ferrara’s history because of the part it played in the growth of power that the Este family gained throughout the 13th century. Throughout the
In the eighteenth century, art historian and scholar Lord Burlington, designed an addition to Chiswick House, considered an important monument to both architecture, and horticulture. Chiswick House, with its naturalistic gardens, and lavish interior, is an ideal place for the display of wealth, and provided Burlington with a showcase for art, and a spectacular place to entertain guests, whilst instilling his social standing within society. The pressure to conform to such society, continued into Victorian England, where we see depicted through art, and the elegantly dressed pictures of people enjoying life at the seaside, as in Boudin’s Beach Scene, Trouville (1860-70) which depicts ‘fashionably dressed holiday-makers’ (Harrison, 2008,
Constable’s “Housing the Stranger in the Mediterranean World: Lodging, Trade, and Travel in Late Antiquity and the Middle Ages” is much more than an observation on ancient hotels and hostels. More specifically, she observes the evolution from the Greek pandocheion, to the Islamic funduq, to the development of the western merchants’ fondaco. Through the illumination of these institutions and their importance, she presents an historical analysis regarding ancient societal, economical, and political attributes of this long ago world. With her research, she proposes that the region was more culturally interwoven than usually given credit for. In saying that, ultimately, the concept of colonialism is put to rest with her research. An inspiring
Michelozzi’s Medici Palace is an example of classical Renaissance, though it has features that make it noteworthy. Beginning with the exterior, the palace has an overhanging cornice that surrounds the roofline and its size is in relation to the entire building, rather than the top floor. Atypical of
The essay will examine the immediate context of the Villa Barbaro and explore it’s paradoxical relationship with the landscape. Analysis of the building will show that while it appears to be an open villa expanding onto the landscape there is a complexity of a more reserved nature than is initially perceived. While immediate interpretation see’s the villa as opening onto the landscape in a very open way, the interpretation offered by Peter Eisenman suggests a subtler layering of spaces which in the after reading makes the building appear more closed off and reserved. Whereby he contrasts this notion of openness suggesting that the relationship of the garden is defined by Barchesses. Whereas Wittkower suggests a more public front, whereby “The whole façade may be transformed into a temple front as was done at the villa Maser.” Clearly there is a tension between the public and private nature of the villa, further emphases by the main stairs and entrances being “divorced from the front façade.” (Kubelik)
The crowning jewel of Mannerist Architecture is Saint Peter’s Basilica in Rome. This great structure is the out come of a series of classical revival styles that were established and developed during this course in history. This was a time where famous architects like Brunelleschi and Michelangelo were pushing boundaries and testing new waters. Architecture of the time was seeking to express the culture and religion through evermore ornamented and magnificent