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Journal articles on the topic 'Architectural drawing, Renaissance'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Carpo, Mario. "Drawing with Numbers: Geometry and Numeracy in Early Modern Architectural Design." Journal of the Society of Architectural Historians 62, no. 4 (2003): 448–69. http://dx.doi.org/10.2307/3592497.

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Precision in building was pursued and achieved well before the rise of modern science and technology. This fact applies to the classical tradition as well as to medieval architecture, and is particularly evident in architectural drawings and design from the Italian Renaissance onward. In this essay, I trace the shift from geometry-the primary tool for quantification in classical architecture- to numeracy that characterizes Renaissance architectural theory and practice. I also address some more general aspects of the relation between technologies of quantification and the making of architectura

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Wilkinson, Daniel. "The sculptor-architect: In rêverie." Design Ecologies 10, no. 1 (2021): 99–121. http://dx.doi.org/10.1386/des_00012_1.

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As an architectural designer who has also worked as a figurative sculptor, my practice-led research sees the bringing together of sculptural modelling techniques with the sculpting of architectural drawings. Taking a singular reference to a lost architectural treatise by Michelangelo as its prompt, this article considers Renaissance sculptural practice as offering an alternate disciplinary footing to the norms that developed around Alberti; to which the development of contemporary architectural practice can be attributed. Through a process that moves towards drawing by way of a historically in

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Bnin-Bninski, Anđelka, and Maja Dragišić. "Scale on paper between technique and imagination: Example of Constant's drawing hypothesis." SAJ - Serbian Architectural Journal 8, no. 3 (2016): 322–39. http://dx.doi.org/10.5937/saj1603322b.

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The procedure of scaling is one of the elemental routines in architectural drawing. Along with paper as a fundamental drawing material, scale is the architectural convention that follows the emergence of drawing in architecture from the Renaissance. This analysis is questioning the scaling procedure through the position of drawing in the conception process. Current theoretical researches on architectural drawing are underlining the paradigm change that occurred as a sudden switch from handmade to computer generated drawing. This change consequently influenced notions of drawing materiality, re

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Petcu, Elizabeth J. "Amorphous Ornament:." Journal of the Society of Architectural Historians 77, no. 1 (2018): 29–55. http://dx.doi.org/10.1525/jsah.2018.77.1.29.

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Leon Battista Alberti famously likened the relationship between architectural structure and superstructure to the dualism of skeleton and skin. In Amorphous Ornament: Wendel Dietterlin and the Dissection of Architecture, Elizabeth J. Petcu scrutinizes how the Architectura treatise (1593–98) of Strasbourg artist Wendel Dietterlin the Elder (ca. 1550–99) subverted Alberti's theory and the aesthetic of stability it promoted by popularizing a style of amorphous architectural motifs that recall bone, cartilage, muscle, and flesh, melding built framework with decorative surface. Drawing these corpor

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Castilla, Manuel V. "The Cultural Heritage of Architectural Linear Perspective: The Mural Paintings in Nantang Church." Heritage 4, no. 3 (2021): 1773–85. http://dx.doi.org/10.3390/heritage4030099.

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This paper presents a contextual use of the innovative drawing techniques that involved architecture and painting in the Qing court during the first half of the eighteenth century. At this point architectural linear perspective in painting (quadratura) and stage design had become common fields of experimentation for the Chinese and Jesuit artists missionaries. In this conceptual context, Western quadratura was developed in China by Giovanni Gherardini. (1655–1729), and especially by Giuseppe Castiglione (1688–1766), who is remembered as an extraordinarily versatile architect–painter. The focus

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Karimi, Zamila, and M. Saleh Uddin. "A Missing Link: Thinking | making | presenting." SHS Web of Conferences 64 (2019): 02017. http://dx.doi.org/10.1051/shsconf/20196402017.

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Let whoever may have attained to so much as to have the power of drawing know that he holds a great treasure ... Michelangelo The tradition of architectural drawings and making as a means of design thinking in a constant feedback loop results in discoveries that facilitate creative thinking in an iterative process. In the digital age, notion of drawing and making by hand as a cognitive process of thinking is fading. This trend is increasingly evident in upper-level architecture students who depend strictly on digital tools for design thinking, missing many critical decisionmaking steps. Concep

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Vozniak, Ekaterina, Tatyana Slavina, and Anna Kopytova. "Transformation of the column order in the Baroque architecture in St. Petersburg of the XVIII century." MATEC Web of Conferences 193 (2018): 04020. http://dx.doi.org/10.1051/matecconf/201819304020.

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The forms and proportions of the Baroque column order of the buildings in St. Petersburg of the XVIII century differ substantially from the Western European canonical designs. The independent order system was created in each historical period under the influence of European architectural concepts, local style preferences, and creative choice of architects, and is of undoubted interest to both historians of architecture and restorers of historic buildings. The authors made a comparative analysis of the construction and drawing of architectural orders of buildings in St. Petersburg with architec

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Gioioso, Gianluca, and Luigi Corniello. "The photogrammetric survey for the knowledge of religious spaces. Geometrical and dimensional analysis of the cloister." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-2/W5-2024 (December 16, 2024): 61–66. https://doi.org/10.5194/isprs-archives-xlviii-2-w5-2024-61-2024.

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Abstract. This research shows the photogrammetric survey and graphic documentation of the cloister of the Cathedral of the Assumption of the Virgin Mary and San Frutos in the city of Segovia, Spain.The building consists of a series of architectural elements dating back to the Renaissance period. Segovia Cathedral, dedicated to Our Lady of the Assumption and San Frutos, is a masterpiece of Gothic and Renaissance architecture. It represents an icon of the Christian faith and a cultural-historical point in Spanish history.The building was erected in the 16th century (1525–1577), when Renaissance

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Merrill, Elizabeth. "The Professione di Architetto in Renaissance Italy." Journal of the Society of Architectural Historians 76, no. 1 (2017): 13–35. http://dx.doi.org/10.1525/jsah.2017.76.1.13.

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The Professione di Architetto in Renaissance Italy shows how Renaissance Italian architects used the concept of the professione di architetto as a way to affirm and delineate the character of their occupation. Drawing inspiration from antiquarian models and taking advantage of the humanist ethos, these architects equated “profession” with manual and theoretical expertise, social authority, and the fulfillment of artistic, civic, and moral ideals. Elizabeth Merrill places the origins of architectural professionalism in early modern Italy—rather than in the nineteenth-century movements frequentl

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Simon, Michele, and Stefano Cavatorta. "A Venetian Dwelling Between Two Epochs: Architectural Traces of Humanism and the Renaissance." International Journal of Research in Engineering 3, no. 6 (2023): 1–5. https://doi.org/10.55640/ijre-03-06-01.

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The architecture of the Venetian villa that flourished between the 15th and 16th centuries embodies a crucial moment of cultural and stylistic transition, marking the passage from the Middle Ages to the Renaissance through the filter of Humanism. These country residences transcend their merely agricultural function to become centers of intellectual life, places of representation, and tangible manifestations of a renewed relationship between man, nature, and classical antiquity. This article explores the historical and architectural characteristics of a Venetian villa representative of this evo

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Bereczki, Zoltán. "The machine drawings of Hans Hammer in the context of the contemporary machine representations." Pollack Periodica 10, no. 3 (2015): 165–74. https://doi.org/10.1556/606.2015.10.3.17.

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The first known drawings of machines can be found in warfare-themed manuscripts. The oldest of them dates back to the 14th century, but their proliferation took place in the 15th century. During the century an almost standardized drawing style, vocabulary was developed, which also survived throughout the Renaissance. Compared to the relatively high number of the survived warfare-related manuscripts that included drawings (their number is above 50), the representation of machines for civil usage is very rare throughout the century, even though the architectural drawings also proliferated during

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Ng, Morgan. "Drafted Stone: A Monumental Architectural Drawing on Pavement in Late Renaissance Rome." I Tatti Studies 27, no. 2 (2024): 157–203. https://doi.org/10.1086/732250.

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Goffi, Federica. "Translations and dislocations of architectural media at the Fabric of St Peter's, the Vatican." Architectural Research Quarterly 22, no. 4 (2018): 325–38. http://dx.doi.org/10.1017/s1359135518000660.

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Despite drawing being the first-hand work of the architect, there has not been enough discussion about where architectural drawings and models belong, and the ways in which they move and develop between sites of production, storage, and revision. It is often assumed that the mobility of drawings in the Renaissance period implied the possibility of action at a distance, allowing the architect to be absent from the fabrication site. Earlier Medieval practices of incised stone drawings and plaster drawings traced on floors determined the immobility of drawings, which made them integral parts of t

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Gudelj, Jasenka, and Petar Strunje. "Palladio i Dioklecijanova palača: renesansni arhitektonski crteži splitskog sklopa." Ars Adriatica, no. 5 (January 1, 2015): 127. http://dx.doi.org/10.15291/ars.522.

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The article analyses the drawings of Diocletian’s Palace at Split which had belonged to the Renaissance architect Andrea Palladio and which represent the only surviving Renaissance drawings of the most important late antique architectural structure on the east Adriatic coast. Today, they are housed at the Royal Institute of British Architects in London and in the Devonshire collection, Chatsworth. A detailed analysis of the drawing technique, the paper, the handwriting and the style of the drawings, have confirmed the opinion of the scholars who argued that the ground-plan of the emperor’s mau

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Gudelj, Jasenka, and Petar Strunje. "Palladio i Dioklecijanova palača: renesansni arhitektonski crteži splitskog sklopa." Ars Adriatica, no. 5 (January 1, 2015): 127. http://dx.doi.org/10.15291/ars.935.

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The article analyses the drawings of Diocletian’s Palace at Split which had belonged to the Renaissance architect Andrea Palladio and which represent the only surviving Renaissance drawings of the most important late antique architectural structure on the east Adriatic coast. Today, they are housed at the Royal Institute of British Architects in London and in the Devonshire collection, Chatsworth. A detailed analysis of the drawing technique, the paper, the handwriting and the style of the drawings, have confirmed the opinion of the scholars who argued that the ground-plan of the emperor’s mau

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Schmitt, Gerhard, Florian Wenz, David Kurmann, and Eric van der Mark. "Toward Virtual Reality in Architecture:Concepts and Scenarios from the Architectural Space Laboratory." Presence: Teleoperators and Virtual Environments 4, no. 3 (1995): 267–85. http://dx.doi.org/10.1162/pres.1995.4.3.267.

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Virtual reality is the logical step that started way back in time with the appearance of the very first architectural drawing. This has been a long history of development: architectural drawings in Europe, which date back to the tenth century, were the first kind of abstraction that appeared “virtually real” to potential clients and builders—real enough to base decisions on. With the discovery of perspective techniques, drawings became more refined and developed into a form of art with numerous branches, ranging from technical drawings to presentation drawings. Wooden models appeared even befo

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Waters, Michael J. "Carolyn Yerkes, Drawing after Architecture: Renaissance Architectural Drawings and Their Reception; Marsilio (Venice, 2017), 289 pp. incl. 154 ills; ISBN: 9788831726740; £35." Architectural History 62 (2019): 273–75. http://dx.doi.org/10.1017/arh.2019.11.

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Kumaraku, Llazar, and Bianka Madhi. "Facade and Form in Architecture: The Case of Kristo Sotiri’s Buildings in Albania." Athens Journal of Architecture 11, no. 3 (2025): 317–42. https://doi.org/10.30958/aja.11-3-5.

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This article is based on concepts that belong to theoretical speculation in the discipline of architecture with a focus on the elements and instruments of architectural composition during the contemporary period. The main purpose is to study the architectural elements of the façade in history and its influence on contemporary architecture. The objective is to focus the attention of architects and academics on the importance of the façade. The preliminary hypothesis is that nowadays the “façade” in architecture is dead. The façade as a compositive element of the architecture is closely related

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De Jonge, Krista. "Drawing after Architecture: Renaissance Architectural Drawings and Their Reception. Carolyn Yerkes. Premio James Ackerman per la storia dell'architettura 8. Venice: Marsilio Editori, 2017. 288 pp. €38." Renaissance Quarterly 72, no. 3 (2019): 1026–27. http://dx.doi.org/10.1017/rqx.2019.277.

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Konstantinidou, Danai. "L’art gothique et la Renaissance en Chypre by Camille Enlart (1899) and the medieval monuments of Cyprus: the book’s contribution to the preservation of the island’s medieval heritage." Cahiers du Centre d'Etudes Chypriotes 54 (2024): 425–53. http://dx.doi.org/10.4000/12lse.

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In 1899 Camille Enlart’s book L’art gothique et la Renaissance en Chypre was published. In its two volumes, it provided the first thorough study of Cyprus’s Gothic structures and placed them in the context of French architectural history. While the book remains an established reference for scholars of Gothic architecture, its connection to the preservation of Cyprus’s medieval monuments has not been fully explored. This article studies the book’s role during the emergence of the interest for medieval monuments in the beginning of the twentieth century, and examines its continuous role as a cat

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Licht, Meg. ""I Ragionamenti"-Visualizing St. Peter's." Journal of the Society of Architectural Historians 44, no. 2 (1985): 111–28. http://dx.doi.org/10.2307/990024.

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Thirteen architectural drawings by four architects-Bramante, Baldassare Peruzzi, Giuliano da Sangallo, and Antonio da Sangallo the Younger-all dating from the period between early 1505 to 18 April 1506, all except one in the Gabinetto dei Disegni e Stampe of the Uffizi, and all connected with the earliest proposals for the new St. Peter's, are examined to establish their authorship and date and the exact sequence in which they were executed. Beyond that, the chronological alignment of the drawings enables us to follow the process of visualizing and creating a building of an unprecedented type

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Bolognesi, C., and S. Garagnani. "FROM A POINT CLOUD SURVEY TO A MASS 3D MODELLING: RENAISSANCE HBIM IN POGGIO A CAIANO." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2 (May 30, 2018): 117–23. http://dx.doi.org/10.5194/isprs-archives-xlii-2-117-2018.

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This paper introduces some studies developed regarding the Medicea Villa at Poggio a Caiano, in Italy. The monumental building was built by Lorenzo de’ Medici and his heirs following the design of the famous architect Giuliano da Sangallo, between 1485 and 1520. The Villa embodies many of the typical features of the Italian Renaissance, added a monumental double circular stairway in the front façade during neoclassical times, heading to the upper balcony surrounded by a balustrade. The Villa was surveyed taking advantage of Terrestrial Laser Scanning and Digital Photogrammetry, in order to pro

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Haralambidou, Penelope. "Between the Retina and the Celestial Dome: Challenging the scaffolding of spatial imagination." Design Ecologies 12, no. 1 (2023): 37–77. http://dx.doi.org/10.1386/des_00022_1.

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Taking as a starting point French artist Marcel Duchamp’s preoccupation with a poetic portrayal of stereoscopic vision and the red and blue expansion of depth in the technique of the anaglyph, Between the Retina and the Celestial Dome playfully challenges the disciplinary constraints and conventions of spatial thinking. The text takes the form of shorter or lengthier annotations on a twin ‘essayist drawing’ that exists in two versions: a hand-drawn gilding on parchment and a digital film. It proposes that our understanding of visual perception in combination with the perceived immediate enviro

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Härö, Merja, and Eeva Maija Viljo. "The Peasant Master-Builders’ Double Cross-Church." ICO Iconographisk Post. Nordisk tidskrift för bildtolkning – Nordic Review of Iconography, no. 3-4 (July 20, 2023): 87–142. https://doi.org/10.69945/ico.vi3-4.25313.

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The centralized church type called double cross-church was introduced in Sweden in the 17th century and later extensively applied in log built churches in Finland. The study focuses on the churches built by a family of peasant master-builders in southeast Finland 1790–1830. We have reconstructed possible building procedures of these master-builders on the basis of existing churches, documents in congregational archives digitized by the National Records Office (Helsinki), generally known procedures of historic log building and information from measured drawings in the archives of the National B

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Chitrabongs, Chittawadi. "Curartistry: Curating Everyday Artistry in Bangkok." Nakhara : Journal of Environmental Design and Planning 21, no. 1 (2022): 208. http://dx.doi.org/10.54028/nj202221208.

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How can architecture be taught internationally, beyond the neocolonialist tendency of European-based international exchange programs? Curartistry, a method of curating everyday artistry in Bangkok, is used to achieve bilateral exchanges in art and architectural education between teachers and students of different nationalities. We offer interpretations of late-nineteenth-century and post-war ideas of “everyday life,” based especially on Charles Baudelaire’s “The Painter of Modern Life,” Henry Lefebvre’s “Critique of Everyday Life,” Maurice Blanchot and Susan Hanson’s “Everyday Speech,” and Wal

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Selim, Haitham Sadek, Abdullah Abuzaid, and Mohammed Salah Mayhoub. "Developing an Integrated Analytical Framework for Sustainability Assessment: Focusing on Selected Projects in Riyadh." Sustainability 16, no. 23 (2024): 10185. http://dx.doi.org/10.3390/su162310185.

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Riyadh, the capital of the Kingdom of Saudi Arabia, is now presenting itself as one of the most attractive capitals in the Middle East, with a number of ambitious expansion projects that aim to develop the city and align its urban development with the goals of Vision 2030. This urban renaissance requires researchers to adopt evaluation approaches (BSAMs) based on comprehensive sustainability criteria represented by environmental and cultural sustainability, community engagement, and economic feasibility. This research relies on the ETE methodology to determine evaluation criteria and their wei

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Salmon, Frank. "Perspectival Restoration Drawings in Roman Archaeology and Architectural History." Antiquaries Journal 83 (September 2003): 397–424. http://dx.doi.org/10.1017/s000358150007774x.

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This paper is concerned with the graphic means deployed since the Renaissance to restore the appearance of ancient Roman architecture, and specifically with the use of various forms of perspective. Disdained by architectural theorists from Leon Battista Alberti onwards because of its supposed subjectivity, the perspective nonetheless became a valuable tool in the second half of the eighteenth century for studying Roman architecture and urban form in pristine condition. It remained so until, with the consolidation of a more scientific approach to the discipline of archaeology in the last third

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Efimova, Elena. "Architectural Fantasies on Classical Antiquity in the Renaissance Drawings." Actual Problems of Theory and History of Art 5 (2015): 442–50. http://dx.doi.org/10.18688/aa155-5-48.

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Zhang, Boyuan. "A Chinese Renaissance: Henry Killam Murphy and His Interpretation of Traditional Chinese Architecture." Journal of Traditional Building, Architecture and Urbanism, no. 3 (November 8, 2022): 312–24. http://dx.doi.org/10.51303/jtbau.vi3.605.

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American architect Henry Killam Murphy (1877-1954) dedicated his career to a “Chinese Renaissance” that adapted traditional Chinese architecture to meet technological and programmatic needs. Although previous scholarship has surveyed Murphy’s work, it deserves a closer analysis in order to measure Murphy’s design outcomes against the goals he described. This paper examines archive drawings by Murphy’s office so as to show the architect’s design intent, identifying creative design solutions provided by Murphy and his team that balance traditional architectural principles with modern requirement

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Sean, Keller. "Architecture after Drafting." Zeitschrift für Medien- und Kulturforschung 3, no. 1 (2012): 119–34. http://dx.doi.org/10.28937/1000106359.

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"In den letzten zwei Jahrzehnten wurde die Dominanz des Zeichnens für die Architektur von einer ganzen Reihe von digitalen Repräsentationstechniken verdrängt. Der Beitrag stellt eine kritische Antwort auf Mario Carpos These dar, dieser Wandel bringe Architektur zu einer »autographischen« Praxis zurück, die noch vor die Renaissance zurückreiche. Demgegenüber argumentiert der Beitrag, dass Architektur nach dem Modell von Rosalind Kraus als post-medium art (»postmediale Kunst«) gedacht werden sollte. </br></br>Over the last two decades drawing has been displaced from its dominant role

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Yerkes, Carolyn. "Review: Building with Paper: The Materiality of Renaissance Architectural Drawings." Journal of the Society of Architectural Historians 81, no. 4 (2022): 514–16. http://dx.doi.org/10.1525/jsah.2022.81.4.514.

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Hurx, Merlijn. "Gothic Locks: Pioneering Drawings for Hydraulic Works in 16th-Century Holland." Arts 13, no. 5 (2024): 151. http://dx.doi.org/10.3390/arts13050151.

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Just as Gothic cathedrals have long dominated the perception of medieval architecture, the spectacular drawings of the German lodges have shaped our view of the medieval design process. However, their towering importance has diverted scholarly attention from alternative drafting practices and reinforced the view of a homogeneous Gothic design practice based on quadrature. Historians generally accept that in the 16th century a new Renaissance graphic language challenged and ultimately replaced the Gothic tradition north of the Alps. However, this antagonistic narrative of one dominant practice

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Chamel, Olivier. "Design/build: A Relevant Pedagogy for Architecture Education." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 2 (2016): 53. http://dx.doi.org/10.4995/vitruvio-ijats.2016.6773.

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<p class="Abstracttext-VITRUVIOCxSpFirst">The predominance of drawing as a mean to create and represent architecture, whether in an educational setting or in professional practice, has had a profound influence on the design process. Drawings are so much a part of that process that they can often be mistaken for architecture itself. But drawings are not architecture, rather they are tools to create and control.</p><p class="Abstracttext-VITRUVIOCxSpMiddle">Historically, drawings greatly contributed to the establishment of the profession of architect inaugurated by the Italian

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Horogszegi, Tamás. "Az esztergomi főszékesegyház és egyházkormányzati központ építészeti koncepciójának kialakulása és változásai." Művészettörténeti Értesítő 72, no. 1 (2024): 5–63. http://dx.doi.org/10.1556/080.2023.00001.

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The plans of the ecclesiastical complex drafted in the 1820s were based on certain 18th century antecedents. The death of Archbishop Ferenc Barkóczy (1761–1765) in 1765 interrupted the constructions started on plans by Franz Anton Hillebrandt (1719–1797). The retransfer of the archiepiscopal see from Nagyszombat to Esztergom was not possible for more than another half a century, until the archiepiscopacy of Sándor Rudnay (1819–1831) (Fig. 1).So as to reconstruct the evolution of the 19th century conceptions, all the extant and accessible plan material must be put to meticulous analysis – to co

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Mitrovic, Jelena. "The architecture of subject." Facta universitatis - series: Architecture and Civil Engineering 14, no. 1 (2016): 123–39. http://dx.doi.org/10.2298/fuace1601123m.

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This essay defines material and symbolic implications of linear perspective in modern architecture. First is seen as aesthetical method, which appears in architectural drawings since beginning of European Renaissance. It represents graphic system of creating illusion of spatial depth on flat surface. Second refers to perspective in figurative sense. It symbolizes perception of a subject: the capacity to view things in their true relations or relative importance. In terms of vision, it characterizes a visible scene, a mental view or prospect. Modern culture is, accordingly, the culture of persp

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Mattison, Elizabeth Rice. "Donetti, Dario, and Cara Rachele, eds. Building with Paper: The Materiality of Renaissance Architectural Drawings." Renaissance and Reformation 46, no. 2 (2024): 208–10. http://dx.doi.org/10.33137/rr.v46i2.42310.

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Sisa, József. "Neo-Gothic Architecture and Restoration of Historic Buildings in Central Europe: Friedrich Schmidt and His School." Journal of the Society of Architectural Historians 61, no. 2 (2002): 170–87. http://dx.doi.org/10.2307/991838.

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Friedrich Schmidt, the foremost Gothicist of Austria, exerted seminal influence in central Europe through his activities as architect, restorer of historic buildings, and professor at the Vienna Academy of Fine Arts. His unorthodox teaching methods included personal tuition near the drawing board and study trips to examine medieval buildings, attended by students of different ethnic, religious, and cultural backgrounds from all corners of the monarchy and even beyond. The students' school society, called Wiener Bauhütte, or Vienna Building Lodge, published their drawings in albums under the sa

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d'Orgeix, Émilie. "The Goldschmidt and Scholz Scrapbooks in the Metropolitan Museum of Art: A Study of Renaissance Architectural Drawings." Metropolitan Museum Journal 36 (January 2001): 169–206. http://dx.doi.org/10.2307/1513062.

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Tsyshchuk, Svetlana E. "Domenico Gilardi’s Sketch of a Park Pavilion: Aspects of Attribution." Observatory of Culture 20, no. 3 (2023): 280–90. http://dx.doi.org/10.25281/2072-3156-2023-20-3-280-290.

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This article is devoted to the problem of the attribution of architectural graphics, the identification and analysis of the individual graphic style of Domenico (Dementi Ivanovich) Gilardi, a master of Swiss origin, the chief architect of post-fire Moscow. In spite of the formal, stylistic and iconographic knowledge of the Moscow Empire style, the issue of attribution of architectural graphics to the period remains open. The work of Gilardi is no exception in this respect.The objective of this research is to use stylistic and iconographic analysis of his most outstanding works to form an idea

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Kulawik, Bernd. "Sangallo, Vignola, Palladio and the Roman «Accademia de lo Studio de l’Architettura»." TEMPORÁNEA. Revista de Historia de la Arquitectura, no. 2 (2021): 52–79. http://dx.doi.org/10.12795/temporanea.2021.02.03.

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Bernd Kulawik is a trained marine engineer who studied physics, musicology and philosophy at the Technical Universities of Dresden and Berlin. MA thesis in 1996 about Monteverdi’s «Seconda Pratica». PhD in 2002 with a dissertation about drawings in the Berlin «Codex Destailleur D» for Antonio da Sangallo the Younger’s last project for St. Peter’s in Rome. Since 1988 he worked in research libraries and institutes in Berlin, Rome, Berne, Einsiedeln and Zurich, mostly as developer for database projects. Since 2013 he could take up his research about the study of ancient architecture in Renaissanc

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Cooper, James G. "Michelangelo's Laurentian Library: Drawings and Design Process." Architectural History 54 (2011): 49–90. http://dx.doi.org/10.1017/s0066622x00004007.

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Re-examination of a key group of Michelangelo's sketches for the Laurentian Library, located in the monastic complex of Florence's S. Lorenzo, offers a new understanding of his design process and the project as it was built. While drawings by Michelangelo survive for all three of the library's intended spaces, this study concentrates on a number of drawings on four sheets for the entrance vestibule, or ricetto, and the two drawings for what would have constituted the third space, the unbuilt rare books room. It offers a major revision of Rudolf Wittkower's pioneering study of the library's des

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Benelli, Francesco. "Antonio da Sangallo the Younger's Reactions to the Pantheon:." Journal of the Society of Architectural Historians 78, no. 3 (2019): 276–91. http://dx.doi.org/10.1525/jsah.2019.78.3.276.

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In Antonio da Sangallo the Younger's Reactions to the Pantheon: An Early Modern Case of Operative Criticism, Francesco Benelli looks at three annotated drawings by Antonio in which he analyzed features of the Roman Pantheon. The architect's analysis of this ancient monument drew on both his close, methodical, and pragmatic investigations of the building and his deep knowledge of Vitruvian theory. Together, the drawings and text represent an unprecedented critique of a building then almost universally admired. Yet Antonio's dependence on Vitruvius, who belonged to a different period of Roman hi

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Е.А., Ефимова. "РЕЦЕНЗИЯ НА КНИГУ: LANZARINI O., MARTINIS R. “QUESTO LIBRO FU DI ANDREA PALLADIO”. IL CODICE DESTAILLEUR B DE L’ERMITAGE. - ROMA: “L’ERMA” DI BRETSCHNEIDER, 2015". Человеческий капитал, № 8(164) (26 серпня 2022): 114–22. http://dx.doi.org/10.25629/hc.2022.08.13.

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Книга “Questo libro fu di Andrea Palladio”. Il codice Destailleur B de l’Ermitage (2015), выпущенная О. Ландзарини и Р. Мартинис, представляет собой первую научную публикацию сборника итальянских архитектурных рисунков XVI в., хранящегося в научной библиотеке Государственного Эрмитажа. В рецензии рассматривается история изучения этого альбома, который имел особое значение в эволюции архитектурного рисунка эпохи Ренессанса и вызывал большой интерес у исследователей XIX-XXI вв. Автор высоко оценивает качество каталога рисунков альбома, выполненного на современном научном уровне с учетом последни

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Mascorella, Anna. "Demolishing and Resurrecting the Baroque in Fascist Rome: The Case of Santa Rita da Cascia." Journal of the Society of Architectural Historians 84, no. 2 (2025): 181–205. https://doi.org/10.1525/jsah.2025.84.2.181.

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Abstract When Italy’s Fascist regime redesigned Rome, it celebrated the “Italianness” of the city’s ancient, medieval, and Renaissance heritage. Rome’s Baroque past, however, held a paradoxical status: It could be interpreted as either Roman or foreign. This article examines the regime’s fraught approach to the Baroque through the case of Santa Rita da Cascia, the seventeenth-century church designed by Carlo Fontana. Demolished in 1928 during the renovation of the city center, Santa Rita was then reconstructed by the regime more than a decade later. Merging issues of style, restoration, and ur

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Bédard, Jean-François. "La vitalité du décor : Fiske Kimball, du rococo au Colonial Revival." Zeitschrift für Kunstgeschichte 80, no. 4 (2017): 515–27. http://dx.doi.org/10.1515/zkg-2017-0027.

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Abstract In 1943, the American historian of architecture Fiske Kimball (1888 – 1955) published The Creation of the Rococo, a milestone in the study of this movement. Thanks to a close examination of archival documents and drawings, Kimball sought to trace ‘objectively’ the evolution of the rocaille. Despite his claims to scholarly neutrality, however, Kimball multiplied value judgments in his writings. For Kimball, the rococo exhibited “vitality”, a quality he also found in the classical-inspired buildings of colonial America. Like other members of the conservative establishment, Kimball promo

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Holzman, Samuel, and Carolyn Yerkes. "Antonio da Sangallo the Younger and St Peter’s Keys: Building Technology and Vitruvian Theory." Architectural History 66 (2023): 21–56. http://dx.doi.org/10.1017/arh.2023.3.

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ABSTRACTThis article reconstructs an exceptional lifting device — a cruciform lewis — drawn by Antonio da Sangallo the Younger (1484–1546) at St Peter’s Basilica in Rome and connects it to the other drawings, mainly of Vitruvian theory, on the same sheet (now in the Uffizi in Florence). Elements of this sheet, dated to January 1542, have been studied in isolation, but this article connects them, underscoring how Sangallo’s theoretical interests in the art of building and the practicalities of masonry construction were inseparable. A question posed by the sheet is whether it documents Sangallo’

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Cosnean, Letiția. "The architectural patronage of Miklós Bethlen in late seventeenth-century Transylvania." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 5 (2014): 135–50. http://dx.doi.org/10.47950/caieteara.2014.5.06.

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Analysing the architectural patronage of the noble Miklós Bethlen in Late Renaissance Transylvania, this article sheds light upon the scope of a noble building patronage in Early Modern Transylvania, reflecting at the same time the exceptional case of a patron playing the role of the architect. Miklós Bethlen is an exceptional fi gure of late seventeenth-century Transylvanian nobility, active both on the political scene and on the cultural one. He is better known due to the memoirs he has written during his last years spent in prison in Vienna, and published for the fi rst time in the middle o

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Camerota, Filippo. "Leggere Dante “con le sexte, et con il regolo”." Opus Incertum 7 (December 11, 2021): 62–75. http://dx.doi.org/10.36253/opus-13250.

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The astronomical metaphors with which Dante in the Divine Comedy periodically provides the coordinates of his journey into the afterlife, suggest that the poet has materially drawn the cosmographic model of the afterworld by measuring the path taken on it, as pilots did during navigation. Renaissance commentators were certainly convinced of this, starting with Antonio di Tuccio Manetti, who around 1460 initiated a period of cosmographic studies on Dante’s hell that continued throughout the 16th century. The Florentine mathematician believed that to fully understand the architecture conceived b

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Carpo, Mario. "How Do You Imitate a Building That You Have Never Seen? Printed Images, Ancient Models, and Handmade Drawings in Renaissance Architectural Theory." Zeitschrift für Kunstgeschichte 64, no. 2 (2001): 223. http://dx.doi.org/10.2307/3657211.

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Smyth-Pinney, Julia M. "The Geometries of S. Andrea al Quirinale." Journal of the Society of Architectural Historians 48, no. 1 (1989): 53–65. http://dx.doi.org/10.2307/990406.

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The unusual complexities of the oval plan of Bernini's S. Andrea al Quirinale result from a series of variations founded in traditional Renaissance geometric method. Through the comparative analysis of new measured drawings of the church and existing archival evidence, the development of the design is traced from its initial Serlian beginnings to its final innovative resolution. Analysis of the drawings in conjunction with historical documents confirms Bernini's use of conservative geometric procedures and reveals the reasons for his subsequent departure from strictest practice. The manipulati

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