Peter Eisenman with Miroslava Brooks
Fall 2015
Yale School of Architecture
Gian Lorenzo Bernini and Carlo Rainaldi
Santa Maria di Monte Santo and Santa Maria dei Miracoli
Serlio
Pavilion for a King titled ‘On the Small Royal House Outside Cities.’
Geometric characters seem to float within a field of thick poche atop an informal nine-square grid. The drawing examines the spaces of the camera forms that flank the palazzo and the augmentation of their local symmetries. Three out of four cameras are hexagonal in shape, contain a fireplace, and have a direct relationship to the center. The fourth camera is a bath, a circular space in isolation from the rest. By literally folding the plan across two axes, we start to uncover relationships between these nodes. Similar patterns occur at increasingly smaller scales, as Serlio’s palazzo performs as a fractal to the larger plan.
Giulio Romano
Palazzo Te
Leon Battista Alberti
Basilica of Sant’Andrea
The drawing delineates the intricacies of the original façade. Here, Alberti breaks the central pediment. His formal language is derived from the superimposition of the Classical temple front and Roman triumphal arch. By drawing the façade as a delamination of itself, we begin to understand the component parts as ancient models of attribution in an expanded field. The organization of these elements has a direct relationship to the interior of Sant’Andrea. The cornice line is the element that threads interior cadence with exterior signs and signifiers.
Andrea Palladio
San Giorgio Maggiore and Il Redentore
Michelangelo
Biblioteca Medicea Laurenziana
Michelangelo
Biblioteca Medicea Laurenziana