CASTEL del MONTE:
PATRON: Emperor Frederick II
ARCHITECT: Unknown
LOCATION: Near Bari, PUGLIA, Italy
STYLE: Gothic
TYPE: Cultural
HISTORICAL INFLUENCE: Greco-Roman architecture, Medieval military architecture, Islamic Orient.
YEAR: 1240
MATERIALS: limestone, coralcrusched stone, marbles.
CHARACTERISTICS:
⦁Octagonal structure;
⦁Rigorously geometrical design;
⦁The eight corners of exterior marked by bastions, which are also octagonal in form;
⦁Massive walls, towers, portcollis gate;
⦁Grad entrance, framed by fluted pilasters,flanked by lions and topped by a classicizing pediment, suggest a ceremonial function, elements from classical design,influenced in Greco Roman architecture;
⦁Wall curtains, built in the local calcareous stone, marked by a string-course moulding;
⦁Eight windows with one light open on the lower floor, seven mullioned windows and only 3 mullioned windows, facing the city on the upper one;
⦁Two storeys, each with eight interconnected chambers;
⦁From the towers you can get on the roof terrace, paved with stone slabs arranged in a herringbone pattern;
⦁The division of the two floors is well highlighted by a julting frame;
⦁The towers are accepted for the presence of various loopholes, heterogeneously arranged between them, that illuminate the vain of the towers themselves and the spiral staircases;
⦁The towers enclose the facades, on each of which there are two windows, one of them not always equivalent, one on the upper floor, the other on the lower floor, with the exception of the two facades on which the main entrance portal is located;
⦁The second entrance shows no decorations, with a simple archiacuto profile;
RELEVANCE: Castel's unusual form and location - it appears like a massive crown on a hill - as well as its luxurious materials seem designed to evoke the splendor of the emperor in his dominions.
TEMPIETTO di SAN PIETRO in MONTUORIO
ARCHITECT: Donato Bramante
LOCATION: Rome, Italy
YEAR: 1504
STYLE: High Renaissance/ Classical Architecture
TYPE: Commemorative tomb
MATERIALS: Travertine marble, stone
CHARACTERISTICS:
⦁Doric-order; encircling sixteen-pillar colonnade, entablature modeled, balaustrade, hemispherical dome with niches carved into its walls;
⦁Proportion of double-cylinder, two-story memorial;
⦁Emphasis on volumes, command of form, proportions, lighting, spatial arrangements and composition are evident in the sanctuary's design;
⦁The round temple is in the confined inner courtyard of the monastery, surrounded by a peristyle of Tuscan columns carrying a Romanic Doric entablature;
⦁Bearing masonry;
⦁Circular temple supports a classical entablature, framed in the shadowy arch of the cloister;
⦁Regular geometric solids;
⦁Two-cylinder arrangement is created by the structure's main circular core, called the cella,and the ring of columns that surrounds it, called the peristyle. The upper part of the cella is comprised of the drum, which supports the hemispherical dome;
⦁The sixteen columns forming the peristyle were constituted from both old and new parts;
⦁The gray granite shafts, stood out in contrast to the lighter marble forming the builing;
⦁Sixteen pilasters on the same radii as the sixteen columns articulate the cella wall on each story. This arrangement of pilasters is not directly reflected on the interior, where eight pilasters stand between large and small niches;
⦁The building use the Roman Doric order in terms of proportions and the inclusion of triglyphs and metopes in its frieze. The metopes depict papal symbols and items used in prayers;
⦁The width of the wider cylinder forming the peristyle is equal to the height of the narrower cylinder forming the cella;
⦁Marble Doric-order capitals;
⦁Apsidal niches carved with shells;
⦁Gray granite shafts from ancient Roman building;
⦁Marble Doric-order bases;
⦁Hemispherical masonry dome;
⦁Narrow cylindrical core;
⦁Doric order colonade forming porch;
⦁Pilasters cornes pending to outer columns;
RELEVANCE: The Doric order used for the Circular Capital, is the only order(with the Tuscan too) whose capitals are totally round; in being totally circular the Doric order columns parallel the form of the building itself.
FARNAM MANSION:
ARCHITECT: Unknown; Stephen Farnam: builder
CITY: Oneida/ NEW YORK
YEAR: 1862
STYLE: Italianate/ Classical architecture
INFLUENCE: Renaissance, Revival architecture
TYPE: Owned mansion
MATERIALS: Brick,wood, bronze, hand-carved panels, plaster and mouldings
CHARACTERISTICS:
⦁Low-pitched roof;
⦁Projecting eaves supported by large decorative cornice brackets;
⦁Tall windows with ornate pediments;
⦁Bay windows at north and south sides of the house;
⦁Wrap-around porch at the north and east side;
⦁Square belvedere is situated above the est side of the mansion;
⦁Mansard roof and a trio of arched windows on all four sides;
⦁Front entry of the mansion features a pair of arched doors with windows, hand-carved panels and rare ornamental bronze doorknobs which feature a highly stylized dog's face and paws;
⦁Dominance of the shouldered, pointed arch that makes this house interesting, the arch where the curve of the arch is interrupted by a vertical projection; in this case the projection is pointed; his shape combines curves and straight angles together;
⦁The porch has rectangular openings but features the shoulder arch running inside these openings with jigsaw cut-outs;
⦁Same shape unifies the triple arched windows at the top of the tower and is repeated again in the base of the tower cornice;
⦁Concave roofs on the porch, bay window, and tower along with the delicate cresting;
RELEVANCE: The mansion features a tower topped by overhanging cornices supported by ornate brackets. Similarly, the windows are decorated with very heavy hood-moulds and cornices, details which add considerable richness to the building.
FARNSWORTH HOUSE:
LOCATION: Plano, Illinois, USA
STYLE: International Style
INFLUENCE: Modern movement
YEAR: 1951
MATERIALS: steel, glass, stone, marble
TYPE: Historic house museum
CHARACTERISTICS:
⦁glass box bracketed by thin, white floor and roof slabs;
⦁vertical steel columns raise the entire structure above the ground - a flood plain - accentuating the sense of the house as a sculptural object placed within the landscape;
⦁clear floor-to-ceiling glass opens the interior to its natural surroundings to an extreme degree;
⦁two distinctly expressed horizontal slabs, which form the roof and the floor, sandwich an open space for living;
⦁the slab edges are defined by exposed steel structural members painted pure white;
⦁the house is elevated above a flood plain by the eight wide flange steel columns which are attached to the sides of the floor and ceiling slabs;
⦁the slabs ends extend beyond the column supports, creating cantilevers;
⦁a third floating slab, an attached terrace, acts as a transition between the living area and the ground;
⦁the house is accessed by two sets of wide steps connecting ground to terrace and then to porch;
⦁free and open space within a minimal framework, using expressed structural columns;
⦁the house is anchored to the site in the cooling shadow of a large and majestic black maple tree;
⦁the entrance is located on the sunny side, facing the river;
⦁the simple elongated cubic form is parallel to the flow of the river, and the terrace platform is slipped downstream in relation to the elevated porch and living platform;
⦁the synthetic element always remains clearly distinct from the natural by its geometric forms that are highlighted by the choice of white as their primary color;
⦁raised travertine marble terrace;
⦁three strong, horizontal steel forms - the terrace, the floor of the house, and the roof - attached to attenuated, steel flage columns;
RELEVANCE: The house stand as a monument to purity and obstinacy, an unattainable yet fascinating state of domestic perfection. The notion of a space enclosed in a glass and supported by a minimum of structural framing located at the exterior, is the architectural ideal of space concept of Mies.
BARCELONA PAVILION:
ARCHITECT: Ludwig Mies van de Rohe
LOCATION: Barcelona, Spain
STYLE: Modernist
YEAR: 1929
MATERIALS: steel, rein forced concrete, travertine, onyx, marble
CHARACTERISTICS:
⦁flat concrete roof slab supported on a regular grid of cross-shaped steel columns that allow the roof to as effortlessly floating above the volume while freeing up the interior to allow for an open plan;
⦁structural supports concealed in some of the partitions to assist the main columns;
⦁travertine base and onyx and marble partitions treated with absolute simplicity;
⦁columns were chrome;
⦁entire building rests on a plinth of travertine;
⦁u-shape enclosure, of travertine, helps form a service annex and a large water basin;
⦁the floor slabs of the pavilion project out and over the pool connecting inside and out;
⦁another u-shape wall on the opposite side of the site also forms a smaller water basin;
⦁plates of high-grade materials like marble, onyx as well as tinted glass of grey, green, white , as well as translucent glass, perform exclusively as spatial dividers;
⦁the materials expressed through the rigor of their geometry, precision of pieces and the clarity of their assembly;
⦁low horizontal orientation that is accentuated by the low flat roof that appears to float over both the interior as well as the exterior;
⦁the low stature of the building narrows the visitor's line of vision forcing one to adjust to the views;
⦁walking up onto the plinth, one is forced under the low roof plane that captures the adjacent out door court as well as the interior moments that induce circulation throughout the pavilion;
⦁the interior consists of offset wall places that work with the low roof plane to encourage movement where framed views would induce movement through the narrow passage that would open into a larger volume;
⦁the low profile of the roof appears in elevation as a floating plane above the interior volume;
⦁the appearance of floating gives the volume a sense of weightlessness that fluctuates between enclosure and canopy;
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