Fillippo Brunelleschi

1.

Domul Catedralei Santa Maria del Fiore(Arnolfo di Cambio)

La 100 de ani de la constructie, catedrala inca nu avea un dom, dupa
nenumarate concursuri, FB
propune un dom cu doua coji care se autosustin
Domul are o forma octogonala si a fost facut din caramizi , unele formand
spirale pe verticala, si un schelet din piatra(dale)
Are un lanteron din marmura

2. Ospedale degli Innocenti

Building History
The Foundling Hospital was constructed in several phases and only the first phase (1419
1427) was under Brunelleschis direct supervision.[3] Later phases added the attic story
(1439), but omitted the pilasters that Brunelleschi seems to have envisioned, and
expanded the building by one bay to the south (1430). The vaulted passageway in the bay
to the left of the loggia was also added later. Since the loggia was started before the
hospital was begun, the hospital was not formally opened until 1445.[4]
Design
Brunelleschi's design was based on Classical Roman, Italian Romanesque and late Gothic
architecture.[2] The loggia was a well known building type, such as the Loggia dei Lanzi.
But the use of round columns with classically correct capitals, in this case of the
Composite Order, in conjunction with a dosserets (or impost blocks) was novel. So too,
the circular arches and the segmented spherical domes behind them.[5] The architectural
elements were also all articulated in grey stone and set off against the white of the walls.
This motif came to be known as pietra serena (Italian: serene stone). Also novel was the
proportional logic. The heights of the columns, for example, was not arbitrary. If a
horizontal line is drawn along the tops of the columns, a square is created out of the
height of the column and the distance from one column to the next. This desire for
regularity and geometric order was to become an important element in Renaissance
architecture.[6]

3.

San Lorenzo +Sagrestia Vecchia

History

The structure was begun 1421 and largely complete in 1440.[2] When finished, it was,
however, quite isolated, the reason being that construction for the new building for San
Lorenzo, the design for which Brunelleschi was also responsible, was not far along. It
was only in the years after 1459 that the Old Sacristy was unified with San Lorenzo.[3]
Design

The plan is a perfect square with a smaller square scarsella or altar on the south side. The
scarsella is axially positioned in the wall, and connected to the main space by an arched
opening. The interior of the main space is articulated by a rhythmic system of pilasters,
arches that emphasize the spaces geometric unity. The pilasters are for purely visual
purposes, and it was this break between real structure and the appearance of structure that
constituted one of the important novelties of Brunelleschis work. The pilasters support
an entablature, the only purpose of which is to divide the space into two equal horizontal
zones. The upper zone features pendentives under the dome, another relative novelty,
more typical of Byzantine architecture. The dome is actually an umbrella dome,
composed of twelve vaults joined together at the center.[4] It was not an uncommon design
and Brunelleschi may have learned the technique from a visit to Milan or other places
where such domes existed. What was new was the way in which the dome was integrated
into the proportion of the space below. The use of color is restricted to grey for the stone
and white for the wall. The correct use of the Corinthian order for the capitals was also
new and a testament to Brunelleschis studies of ancient Roman architecture.
The decorative details are by Donatello, who designed the tondoes in the pendentives, the
lunettes, the reliefs above the doors and the doors themselves.[