Download - Piranesi and Marc Antonie
Presented by : Ar.Shruti
• Giovanni Battista (also Giambattista) Piranesi (4 October 1720 – 9 November 1778) was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric "prisons"
� Giovanni Ba)sta Piranesi was a mul3-‐talented and accomplished man of the enlightenment who combined supreme ar3s3c ability and historical scholarship with an entrepreneurial business sense.
� He was at once an ar3st, architect, archeologist, designer, collector, and print and an3qui3es dealer. Many consider him one of the most influen3al ar3sts in the development and populariza3on of the neoclassical style of the late 18th century.
� Characteris3cs of Piranesi’s early works were “the unorthodox combina3on of classical mo3fs, the manipula3on of superhuman scale, the organiza3on of powerfully receding perspec3ves upon diagonal axes, and the modula3on of space by means of skilful ligh3ng.”
� Piranesi etched and published numerous folio print sets of art, architecture and archaeology of Rome and environs, that served as source material for other architects and designers.
� Born January 22, 1713 in Manosque, Provence
� Family of upper-‐class bourgeoisie
� Studied at ages 14-‐17 at college at Avignon
to become a Jesuit priest, then on to Lyons, Province.
� Par3cipated in public educa3on with the Jesuits
� Developed interest in architecture and began
discovering buildings on his own. � Spoke publicly to the king and
his consorts regarding religious and poli3cal
problems � . � Died April 5, 1769 in Paris,
France
� Interna3onal, intellectual movement likely beginning with the poli3cal, economical, moral and religious struggles in Britain and France.
� Believed in reason (science and thinking), rather than faith or tradi3on: The Ra3onalist movement
� The Enlightenment’s Creed: “Sapere aude!” (“Dare to know!) � Enlightenment is man’s release from his self-‐incurred tutelage. Tutelage is
man’s inability to make use of his understanding without direc3on from another.” Immanuel Kant, 1784
Denis Diderot Immanuel Kant Jean-‐Jacques Rosseau Voltaire
“…it is above all important to think.” -‐Laugier
� Chapter I: General Principles of Architecture � Ar3cle I: The Column � Ar3cle II: The Entablature � Ar3cle III: The Pediment � Ar3cle IV: The Different Stories of a
Building � Ar3cle V: Windows and Doors
• Chapter II: The Different Architectural Orders – Article I: What All Orders Have in
Common – Article II: The Doric Order – Article III: The Ionic Order – Article IV: The Corinthian Order – Article V: The Different Kinds of
Composite – Article VI: How to Enrich the Various
Orders – Article VII: On Buildings without any
Orders
• Chapter III: Observations on the Art of Building – Article I: On the Solidity of Buildings – Article II: On Convenience – Article III: On How to Observe Bienseance
in Buildings
• Chapter IV: On the Style in Which to Build Churches
• Chapter V: On the Embellishment of Towns – Article I: On Entries of Towns – Article II: On the Layout of Streets – Article III: On the Decoration of
Buildings • Chapter VI: On the Embellishment of
Gardens
� Founded on simple nature. Nature indicates its rules. � Example: The Primi3ve Hut
� Tells story of primi3ve man seeking shelter and building out of necessity.
� What this man built became the basis for all architecture
� The Hut is made of the following architectural elements: � The column � The entablature � The pediment
� Marc-‐Antoine Laugier’s Essay on Architecture (1755) had a profound impact on all architectural theories from the moment of publica3on. Within its pages Laugier called for the simplifica3on of architecture. To remove all the ornate Baroque and Rococo elements and create architecture that everyone can understand and read the structure with ease.
� He turned to the Classical architecture of the Greek and Roman world; here he saw a perfect reference to the ideal of the primi%ve hut.
� The primi%ve hut in Laugier’s mind stood on columns of tree trunks with a simple gable (pediment) roof. Columns were a key factor to his idea of architectural perfec3on; they had to be ver3cal, free standing, and they had to be round, for as he states “as nature forms nothing square.”
� Laugier fails to look beyond Europe when he speaks of an ideal architecture, and he surveys no further then the forest for the ‘natural’; one of nature’s simplest compound NaCl, or salt, as well as other crystalline rocks, grow square.
• Architecture was founded on simple nature. • Laugier wanted a "more rigorous" understanding of architecture and ornament: look for precedents for classical architecture at the absolute roots of history. • He searched for absolute beauty, which in his primitive hut came from nature.
Was rooted in functional or structural basis. (This theory was the basis of the so-‐called Rationalist movement.)
• Little basis in archeology or fact, and tangental basis in historical text
• Like Vitruvius, Laugier places the origins of architectural forms in nature: the first dwelling was built in the forest, with branches and trees.
• This differs from the previous theories of Vitruvius in one important aspect: the hut is an abstract concept as much as it is a material construction.
• The Primitive Hut represents the first architectural idea.
• Shows beginnings of an understanding of column, entablature, and pediments. Future architecture is based on these principles.
Article I: The Column
• Columns must: – Be strictly perpendicular to the ground – Be free-‐standing, to be expressed in a natural way – Be round, because nature makes nothing square – Be tapered from bottom to top in imitation of plants in nature – Rest directly on the floor
• The faults:
– “Being engaged in the wall” is a fault because it detracts from the overall beauty and aesthetic nature of columns. – The use of pilasters should strictly be frowned upon especially since in nearly every case columns could be used instead. – Setting columns upon pedestals is “like adding a second set of legs beneath the first pair.”
Article II: The Entablature
• The Entablature must: – always rest on its columns like a lintel – In its whole length it must not have any corner or projection
• The Faults: – Instead of a beam-‐like structure it becomes an arch
• Against nature because: – require massive piers and imposts – They become pilasters – Force columns to give lateral support; columns are meant to give vertical support only.
– Not straight, but broken with angles and projections
• Why? “Never put anything into a building for which one cannot give a sound reason.” Nature is so, buildings should also be.
Article III: The Pediment
• The Pediment must: – represent the gable of the roof – never be anywhere except across the width of a building. – be above the entablature
• The faults:
– To erect the pediment on the long side of a building. – To make non-‐triangular pediments
• Should not be curved, broken nor scrolled
– To pile pediments on top of each other
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