Popes controlled cities in the early 1500s. Too many churces made in Italy, and power of churches were in conflict with each other. Construction of important religious civil buildings were important very much. Financing of new streets and alignment wide roads till churches improves because of control of religion. City was called as “the home of christian religion”. For example : Capitoline designed by Michelangelo. This design was in essence under a papal control. We can think that economic and ceremonial sense were undercontrol of churches. Modernizing a city have 3 principal points. Medieval core must be open space and improved. Also residental areas must be in use for a lot of people. Roads and ways must be linked churches, especially linked to great basilicas. Modern palaces blocks guide the city of Italy to make order streets, squares and orthogonal city blocks. Modern palaces were insinuative and adaptable for city, because of standardized design and production of palaces. Pope Paul the Third, ordered the hasty preperation of 3km long professional route within the walls, in 15 weeks the imperial avenue was cleared, leveled, paved in parts, decorated and spent with mock triumphal arches. The design solution of Michelangelo of palace is that clotned the two existing palaces and duplicated on the opposite side the acute angle they formed by erecting a third block before the monastry of the Aracoeli, or rather in front of the long flank of its church which faced the open space a stair ramp called the Cordanata negotiated the gentle incline from the city. First the surface of Michelangelo’s Piazza del Campidoglio is convex like a shielter and the pavement inscreeps an oval within the elongated trapezoid of the open space. All the complexes combine a more or less strict axiality with the staged rise of the architecture that moves toward the climax at the summit which is also the end of the axis. The urban stretch ended and gave weigh to the heroic romantism of the ancient ruins. The goal of Renaissance urban design was to create a restful visual order, free of tension or unresolved geometry. The control and perfect stability of the design, would speak of a serene social system, the sublimation of conflict. The Complidoglio upsests this ideal in urban terms, much as the mannerism of Giulio Romano had teased Renaissance reason architecturaly. Dynamism, impetuous reach, sensate passage through space the illusionism of theater, sculpture or monumental props motivates and devices of the city’s planners from a point on. Pope Sixtus V took the entire city and its extramural periphery as his canvas and wit a broad brush imposed upon it breathtaking avenues that rushed across the empty spaces of the eastern hills and inward to the edges of the built up the core. Each one of these long ribbons of road was suspended between two points of interest. The avowed object was to expedite Christian worship and specifically the pilgrim’s penitential round among the seven principal churches.

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