Brunelleschi's early career in architecture (14 10? ~ 14 15), it rediscovered the principle of linear perspective structure, which was known to Greece and Rome earlier and lost together with many other aspects of medieval and ancient European civilizations. Brunelleschi proved his discovery with two oil painting boards depicting the streets and buildings in Florence, which are now lost. From Manetti's narration, it can be clearly seen that brunelleschi knows the concept that all parallel lines drawn on the same plane converge at a vanishing point, and the principle of the relationship between distance and object's retreat in space. Contemporary artists in brunelleschi can use the visual and geometric principles based on his perspective to create amazing realistic works. On the plane, they can create extraordinary three-dimensional space and the illusion of real objects. Therefore, this kind of artistic work seems to be an extension of the real world or a reflection of the natural state. Although brunelleschi expounded the theorem that determines the perspective structure, it was first written by alberti, a humanistic architect. 1435, alberti incorporated the perspective structure theorem into his famous painting paper "De La Pitura". This paper includes a passionate dedication to brunelleschi-a clear expression of alberti's gratitude for his friend's revolutionary discovery. He is the son of a notary. 4 1 year-old, job-hopping for decoration construction. Because of a design competition, the church wanted to make a bronze decorative door panel with Isaac's sacrifice in Genesis (a story about God asking his father to kill his son to sacrifice to God, and his father faithfully did it). At that time, many people applied for the exam. In the end, only he and a young jeweler were left. Finally, the opponent bribed by his father's technical guidance and his stepfather's financial resources.
Later, Pip went to Rome, accompanied by Donatello, who often received satire from his companion's sonnets. He visited the construction principle of the Pantheon and restored perspective painting.
Then the Renaissance began slowly,
People in the boring Middle Ages were surprised to find that the powerful Roman culture full of passion and vendetta immediately replaced people's interest in Hebrew Christianity. People wake up from the austerities of forbearance and restraint, and from the self-abuse of hunger strike. They found that they were not really as sinful as the church swindlers said. This is human nature.
Subsequently, Pi Bo decided to participate in the selection of the dome scheme of the Cathedral of Our Lady of Flowers.
Modern times may find it easy to do it, but in that period of underdeveloped science, people should always think about how to keep a house from collapsing, that is, consider its mechanical bearing principle and the degree of support and firmness in all aspects, otherwise earthquakes, volcanoes, typhoons and tsunamis are very dangerous. Even rats and termites can do it.
Therefore, Pi Bo didn't want to disclose the details of his plan to the Parliament and the pastor for fear of being copied. Then he took out an egg and said, who can stand up, but not with hands and support?
Nobody said anything. Pi Bo broke the egg and stood up. Then the bishop said, I would like to.
Pip laughed at him and said, If I told you the plan, you would certainly say the same thing.
The angry priest told the guards to throw him out, saying that he was crazy because he exposed their uneducated nature.
Pip persisted in the struggle for ten years, constantly appealing, appealing whenever there was an opportunity, and appealing if there was no opportunity.
Finally, he finally got the project.
Completed the dome. In addition, he also participated in the construction of the Medici Palace and the Pitti Palace.
Brunelleschi's mechanical system design concept had a great influence on Leonardo da Vinci. On the other hand, brunelleschi has a wide range of talents to solve complex engineering and statics problems. The machinery invented by brunelleschi to build the towering dome of the Cathedral of Our Lady of Flowers, the skylight of the tower on the dome (a kind of building for the internal lighting of the church) and the scheme he made for the project itself all show his great talent in technological creation. The cathedral was built in 1296. /kloc-during the 0/4th century, the middle hall was completed and the complex octagonal building at the eastern end began to be built. By 14 18, there are many technical problems to be solved when the project wants to build a vault on the octagonal building with a huge span. These problems have caused previous generations of architects to fall into a heated debate. It was brunelleschi who successfully invented the method of covering the dome, invented the machinery needed for construction, and designed the tower-shaped skylight and semi-circular podium on the side of the building. 1420 was appointed as the chief architect of the dome project, and he held this position until 1446 died.
14 18 the church authorities have a prize to collect the technical method model for building the treasury. This dome was designed in the late Gothic period. It is an octagonal arch without external buttresses (plus supporting structures) and has a sharp curved surface. Brunelleschi and many others (including his main rival ghiberti) put forward a model. 1420 adopts the model of brunelleschi. This model shows that the dome can be built with herringbone brick masonry between Liang Shi frames instead of the traditional bracket or wooden frame structure. This architectural technique was gradually developed by the ancient Romans, and it was probably first seen by brunelleschi and his friend Donatello during an unconfirmed trip to Rome about 140 1 year. It is believed that these two early Renaissance masters have studied classical sculpture and architecture. 1420, the construction of brunelleschi dome began; 1436, a dedication ceremony was held for the completed dome, and the skylight design of his tower was approved in the same year (however, the skylight of the tower was not completed until his death). The imagination and engineering calculation that enabled the dome to be successfully built established a reputation for brunelleschi.
Comments in the mid-20th century described the early study of brunelleschi architecture as the architectural foundation of the Renaissance. They now understand the relationship between the gradual decline of Gothic architecture and the early Renaissance. Therefore, we can see that brunelleschi, as an artist, still relies heavily on Gothic architecture and structural forms, but has artistic and scientific imagination based on ideal humanism. His first major construction task, the nursery, proved this point. Although the porch of the nursery has many novel features, it is still related to the tradition of Italian Romanesque architecture and late Gothic architecture in form. The real innovation of this building comes from brunelleschi's direct feelings about the principles of ancient classical art forms. The facade of the nursery gives Florence a new look, in sharp contrast to the previous medieval buildings. The legacy of the late Middle Ages is subordinate to the new style that makes the appearance have an ancient flavor: walls with elaborate classical details (such as Corinthian pillars, pilasters, circular reliefs and cornices), modular structure, geometric proportion and symmetrical plane layout.
Brunelleschi was the most outstanding architect in Florence in the early1420s. At that time, entrusted by the powerful medici family, the sacristy room of San Lorenzo Church was designed (known as the old sacristy room in the world, which is different from the "new" sacristy room designed by Michelangelo in16th century) and the rectangular hall of San Lorenzo Church itself. Project 142 1 started, 1428 completed the sacristy room (not counting decoration). The construction of the church rectangular hall stopped at that time, but resumed in 144 1 year until 1460.
The structure of the church of San Lorenzo is considered as the main typical architectural style in the early Renaissance. Formally, the church follows the traditional rectangular hall, with nave (central corridor), side corridor and back hall (semi-circular projection at the end of nave). What brunelleschi added to the traditional form is a new vocabulary, which has its own explanation for the design of ancient stigma, eaves, pilasters (rectangular columns against the wall) and columns. In addition, his church design is particularly harmonious as a whole, and all parts of the church are reasonably matched with each other, creating an ultimate harmony between vision and rationality.
The old Hallows Room designed by brunelleschi (originally intended as medici family's tomb) is a cube with a hemispherical dome on it. The structure and decorative components of the wall of the old hallows room and the architectural surface of the square hall itself were elegant and rigorous in brunelleschi's works at that time.
In about 1429, entrusted by another rich and powerful Pazzi family in Florence, brunelleschi designed a chapel near the Holy Cross Church, which was originally intended as a hall for priests (monks gathered here to handle affairs). The project was not started before 1442, and the building of 1457 was not completed. Brunelleschi adopted mathematical modules and geometric formulas in the plane and elevation of Pazzi Chapel, just like he did in San Lorenzo Chapel, but the space processing was more complicated and exquisite. A hemispherical dome extends to both sides in the central square hall, so the square hall becomes the center of the rectangle. The cubicle opens the third side of the main square, which is equivalent to the back hall of the square, covered with a dome and equipped with an altar. The beige walls of Patsy Church are geometrically patterned with dark gray stones. Brunelleschi is famous for its clear, quiet and elegant architectural features, which can be seen in this small and harmonious chapel.
Another example of brunelleschi's concentrated layout is the Santa Maria Church built in his incredible building for the Camadau Monastery in Florence. The church was built in 1434, but it was not completed in 1437 (it was not completed until 1930). The center of the building is octagonal and the periphery is hexagonal. A prayer room is opened on each of the eight sides of the inner octagon, and the end becomes a deep semi-circular room. Eight niches are opened on the small plane where the external walls meet. Santa Maria Church is the most innovative design in brunelleschi. It presents a perfect centralized structure, which is more harmonious in form than the old sacristy room.
Brunelleschi's church of San Spirito in Florence was designed in 1428 or 1434. Construction of the church began in 1436 and continued until 1480. The eastern end of this rectangular church is centrally arranged on the plane, and there is a semicircular prayer room around it, which leads to the arched side room, ear hall and back hall. These prayer rooms illustrate the uniqueness of the design, because the outer wall of the church forms a series of continuous curves to conform to the shape of the prayer room. However, after brunelleschi's death, those prominent circular prayer rooms have been surrounded by the flat traditional outer walls that we can see now. In Santospirito Church, brunelleschi did not use the style he had perfected in Sanlorenzo Church and Pazzi Church, and built the fence into a plane with thin and straight components (pilaster) attached to it, but designed it with a dignified, solemn and soft feeling. Therefore, this building can be associated with the four semi-circular pulpits in the sacristy room of Santa Maria Church and the Cathedral of Our Lady of Flowers in style. Brunelleschi approved the models of these forums in 1439. The first forum was completed in 1445, and the other three were completed in the 1960s. They all have deeply sunken semi-circular niches, with a clam-shell-like device at the top, separated by thick walls. A Corinthian semi-cylinder is used on the wall, with a protruding coil at the top of the cylinder. In form and tone, the pulpit is closer to the immortal ancient architecture than any buildings built in Florence before, and shows the magnificent appearance and magnificence of the buildings in alberti and bramante (Donato Bramante, 1444 ~ 15 14).
Brunelleschi was very active in the early1440s, and probably continued until shortly before his death. He died in Florence and was buried in the Cathedral of Our Lady of Flowers.