Kampflamm
December 19th, 2004, 03:58 PM
The Redentore Church was founded to call upon the Redeemer to deliver the city of Venice from a serious outbreak of the plague from 1575-1576. The church is sited on the island of the Giudecca, somewhat remote from the heart of Venice, but in a position where it is clearly visible from the Piazetta di San Marco. The Venetian Senate promised that every year the Doge would cross the Canale della Giudecca on a bridge of boats to give homage to Christ the Redeemer, and the church massing and facade were designed as the culminating point of this annual procession.
From the distance, the temple front facade stands as the front layer, behind which the higher roofs of the nave culminate in the dome and its lantern. As one approaches on axis, the building massing disappears and the white stone facade dominates.
Bathed in even north light, the centralized facade is layered to reflect the internal volumes of the nave and the side chapels. The central temple front is given prominence by being raised on a podium of wide steps, which ties together the base. Composite pilasters and half columns frame the large central door. Motifs of triangular pediments recur at each side of the main volume, as half pediments in front of the side chapels, at the same height as the pediment over the door. Each part is articulated, and yet principles of proportion (squares and golden rectangles), motifs (pediments, arches and details) and hierarchy (distinguishing major and minor scales) unify the whole.
The narrow church has a longitudinal nave with side chapels connected to each other on either side, which leads to a domed crossing. At the crossing the church develops centralized characteristics with semicircular apses on either side and a hemicycle of columns which receive the altar, while they separate the monk's choir beyond, allowing light and sound to flow through.
Influenced by the spatial qualities of Roman baths, the interior is a linked set of vaulted spaces, lit by clerestory windows. As in San Giorgio and other Counter-reformation churches, the vaults and walls of the interior are stucco, painted white, and ornament comes only from architectural detail of cut stone: columns, continuous entablatures, framed arches and railings.
http://www.greatbuildings.com/buildings/Redentore_Church.html
http://billhocker.com/italy/redentore2.jpg
http://www.kingsgalleries.com/1024x768/galleries/canaletto/expanded/49.jpg
http://upload.wikimedia.org/wikipedia/en/3/33/Redentore02.jpg
http://astronomy.swin.edu.au/~pbourke/rendering/rayshade/rayshade1.jpeg
http://astronomy.swin.edu.au/~pbourke/rendering/rayshade/rayshade3.jpeg
From the distance, the temple front facade stands as the front layer, behind which the higher roofs of the nave culminate in the dome and its lantern. As one approaches on axis, the building massing disappears and the white stone facade dominates.
Bathed in even north light, the centralized facade is layered to reflect the internal volumes of the nave and the side chapels. The central temple front is given prominence by being raised on a podium of wide steps, which ties together the base. Composite pilasters and half columns frame the large central door. Motifs of triangular pediments recur at each side of the main volume, as half pediments in front of the side chapels, at the same height as the pediment over the door. Each part is articulated, and yet principles of proportion (squares and golden rectangles), motifs (pediments, arches and details) and hierarchy (distinguishing major and minor scales) unify the whole.
The narrow church has a longitudinal nave with side chapels connected to each other on either side, which leads to a domed crossing. At the crossing the church develops centralized characteristics with semicircular apses on either side and a hemicycle of columns which receive the altar, while they separate the monk's choir beyond, allowing light and sound to flow through.
Influenced by the spatial qualities of Roman baths, the interior is a linked set of vaulted spaces, lit by clerestory windows. As in San Giorgio and other Counter-reformation churches, the vaults and walls of the interior are stucco, painted white, and ornament comes only from architectural detail of cut stone: columns, continuous entablatures, framed arches and railings.
http://www.greatbuildings.com/buildings/Redentore_Church.html
http://billhocker.com/italy/redentore2.jpg
http://www.kingsgalleries.com/1024x768/galleries/canaletto/expanded/49.jpg
http://upload.wikimedia.org/wikipedia/en/3/33/Redentore02.jpg
http://astronomy.swin.edu.au/~pbourke/rendering/rayshade/rayshade1.jpeg
http://astronomy.swin.edu.au/~pbourke/rendering/rayshade/rayshade3.jpeg