HISTORY OF ARCHITETUREFILIPO BRUNELLESCHI : DOME OF THE CATHEDRAL OF FLORENCE

FILIPO BRUNELLESCHI

I

the father of Renaissance architecture

most prominent architect in Italy

first modern engineer and an innovative problem solver

first to apply the scientific laws of perspective to his work

BIRTH NAME : Filippo di ser Brunellesco di Lippo Lapi

Born: 1377Birthplace: Florence, ItalyDied: 15-Apr-1446 at the age of sixty-nine

Location of death: Florence, ItalyCause of death: unspecified

Place of death : in Cathedral of Santa Maria del Fiore, Florence, with a marble bust,

FATHER: Brunellesco di Lippo(notary)

MOTHER: Giuliana Spini

SIBLINGS: 2 DARI 3

FRIEND : Donatello. nine years Brunelleschi's junior

Gender: MaleRace or Ethnicity: White

FieldArchitecture, Sculpture, Mechanical engineering

Movement Early RenaissanceWorks Dome of Santa Maria del Fiore (designed in 1419 by Filippo Brunelleschi and finished in 1461 by Michellozzo. )

Early Life and Education: trained as a goldsmith and sculptor and enrolled in the Arte della

Seta(the silk merchants' guild, which also included goldsmiths, metalworkers and bronze workers.)

his peers Ghiberti and Donatello, was apprenticed to a goldsmith, Benincasa Lotti.

INTEREST : mathematics and engineering and the study of ancient monuments

Study : in Rome learning the ancient monuments

Achievment: 

discovered the principle of of linear perspective(known to ancient Greeks and Romans, but lost during the Middle Ages.), showing depth on a flat surface.

 invented hydraulic machinery and elaborate clockwork created the Foundling Hospital, which still stands today, but not as a

hospital; the Foundling Hospital is used as an orphanage for children. Filippo wrote a book called, Rules of Perspective, which was used as a text for many architects in the future. 

formulated techniques for lifting construction materials into position

ACCOMPLISHMENTS: architectural works, sculpture, mathematics, engineering and even ship design

EX : formulated techniques for lifting construction materials into position ,

creating a self-supporting upper shell of domes.

Career and timeline of Filippo Brunelleschi : 

1392: Started his apprenticeship as a goldsmith

1398: Filippo passed his examination and became a guild master goldsmith

1401: Filippo Brunelleschi and Lorenzo Ghiberti and Lorenzo Ghiberti won a competition designing the bronze doors of Baptistery of Florence Cathedral

This work featured panels of the Sacrifice of Isaac

Filippo Brunelleschi then turned to his favorite interest of architecture

1409: He worked on the construction of Santa Maria di fiori

He worked on the reinforcement problem of the Cupola of the Santa Maria di fiori

Definition of cupola: A cupola is a dome, especially a small dome, on a circular base crowning a roof or turret of a building. A cupola also serves as a belfry, lantern, or belvedere 

1418: His design won the competition for the Cupola of Santa Maria di fiori

1421: Brunelleschi started work on the Spedale degli Innocenti

1423: Filippo Brunelleschi was put in complete charge of the building works of the Cupola of Santa Maria di fiori

1423: Brunelleschi also worked on the reconstruction of San Lorenzo

1425: Architectural work on the Ponte a Mare at Pisa, Palazzo di Parte Guelfa

1428: Brunelleschi also worked onthe Old Sacristy at San Lorenzo

1430: Brunelleschi also worked the Pazzi Chapel in the Cloisters of Santa Croce

1434: The main structure of the Cupola of Santa Maria di fiori   was completed

1436: Brunelleschi worked and on the design for the medieval city of Santo Spirito

1436: The lantern of the Cupola of Santa Maria di fiori  was completed

The lantern was erected by using a machine a machine that was built with the help of Leonardo da Vinci

1438: The four tribunes in the apse in the Cupola of Santa Maria di fiori  were completed

Both the magnificent dome of this famous church and many other devices,

invented by Filippo the architect, bare witness to his superb skill.

Therefore, in tribute to his exceptional talents, a grateful country that will always remember

buries him here in the soil below.

This epitaph was found inside the Cathedral of Florence's entrance.

This picture shows the Cathedral of Florence...the dome of this cathedral is one of Brunelleschi's most famous works.

PERMULAAN 1

BIODATA FILIPO BRUNELLESCI 2-7

KEHIDUPAN DI FLORENCE,ITALI

TEMPAT FILIPO BRUNELLESCHI BELAJAR

PEMBINAAN KUBAH

KUBAH

DUGAAN FILIPO BRNULLESCHI

KEJAYAAN FILIPO BRNULLESCHI

PENUTUP

SUMBER KAJIAN

KEHIDUPAN DI FLORENCE ITALI

Florence, like many cities of the Renaissance, had been built over many years and so was home to numerous churches, public buildings, and houses constructed with Romanesque or Gothic architecture. Therefore, when a revival of classical styles became popular, new edifices in the classical style were built alongside or added to buildings of older styles.

Florence in the early 1400s still retained a rural aspect. Wheatfields, orchards and vineyards could be found inside its walls, while flocks of sheep were driven bleating through the streets to the market near the Baptistery of San Giovanni. But the city also had a population of 50,000, roughly the same as London's, and the new cathedral was intended to reflect its importance as a large and powerful mercantile city. Florence had become one of the most prosperous cities in Europe. Much of its wealth came from the wool industry started by the Umiliati monks soon after their arrival in the city in 1239. Bales of English wool — the finest in the world — were brought from monasteries in the Cotswolds to be washed in the River Arno, combed, spun into yarn, woven on wooden looms, then dyed beautiful colours: vermilion, made from cinnabar gathered on the shores of the Red Sea, or a brilliant yellow procured from the crocuses growing in meadows near the hilltop town of San Gimignano. The result was the most expensive and most sought-after cloth in Europe.

Because of this prosperity, Florence had undergone a building boom during the 1300s the like of which had not been seen in Italy since the time

of the Ancient Romans. Quarries of golden-brown sandstone were opened inside the city walls; sand from the River Arno, dredged and filtered after every flood, was used in the making of mortar, and gravel was harvested from the riverbed to fill in the walls of the dozens of new buildings that

TEMPAT FILIPO BRUNELLESCHI BELAJAR

(1402–1404) that Brunelleschi and his friend Donatello visited Rome to study the ancient Roman ruins

Brunelleschi, had received his training in a goldsmith's workshop, and had then worked in Ghiberti's studio. Although in previous decades the writers and philosophers had discussed the glories of ancient Rome, it seems that until Brunelleschi and Donatello made their journey, no-one had studied the physical fabric of these ruins in any great detail. They gained inspiration too from ancient Roman authors, especially Vitruvius whose De Architectura provided an intellectual framework for the standing structures still visible.

PELAJARAN YANG DIPEROLEH HASIL PEMBELAJARAN DI ROM

with ancient architecture and the vaulting methods of these buildings in particular. One building especially intrigued Brunelleschi--the Pantheon (118-128 CE).(7)

Originally dedicated to all of the Roman gods and goddesses, the Pantheon was built during the Roman Empire.(8) Still standing today, it has an enormous dome which spans the structure of the building. Because the building was so well preserved from Roman times, Brunelleschi was able to study in person various important technical aspects related to building a dome of such magnitude.

Brunelleschi would utilize some of the methods he witnessed in the Pantheon in combination with his own unique solutions in order to create the dome for Santa Maria del Fiore.

One of the obstacles that Brunelleschi noticed the Pantheon surmounted was counteracting the two forces of compression and tension which push and pull on the vault. The stones in the dome put massive amounts of strain downward on the base as well as a thrust outward. Brunelleschi noticed that where the horizontal stress was greatest at the base of the dome, these walls were very thick. As the dome ascended, more lightweight materials were used.(9) This technique was significant in developing a dome that would not crush the base of the structure.

Brunelleschi also studied the Domus Aurea in Rome, which is also known as the Golden House of Nero due to the shape of one of its structures. There was an octagonal room in the Domus Aurea that resembled the shape of Santa Maria del Fiore, where the dome would be placed. This room was covered by a large dome.(10) Thus, the Domus Aurea, in addition to the Pantheon, may also have provided inspiration for Brunelleschi’s dome for Santa Maria del Fiore. While in Rome, Brunelleschi also discovered that the Romans used a building material that became a crucial element for the construction of many of their buildings: concrete. Roman concrete contained mortar that was mixed with volcanic ash which allowed it to be very strong and caused it to be fast setting.(11) With the use of concrete, the Romans were able to build magnificent structures that could bend and curve to the need of the structure. Brunelleschi went on to employ concrete in the dome for Santa Maria del Fiore.

Brunelleschi had a brilliant idea: modeled on great Roman architecture, like the monumental Pantheon dome, that he'd studied and redesigned as a young man; he designed an octagonal, self-supporting dome, that didn't need a centre, built from different materials: stone down below where the curve was minimum, for greater resistance, and bricks above as they were lighter. Furthermore, the double pensa was formed by two spherical vaults placed one on top of the other, the internal one more than two meters thick and the external one just 80 centimeters.

spent the next 10-years living rough in Rome with his good friend, the sculptor Donatello, studying the ruins of the great city. He was especially interested in Roman engineering and the use of fixed proportion and Roman vaults. The construction of the Pantheon - especially the dome - fascinated him. Brunelleschi dedicated himself to understanding how it stayed up, which included pouring Roman concrete over a massive timber frame.

PEMBINAAN KUBAH

One of the most significant architectural achievements of the entire Renaissance was undoubtedly the construction, by Filippo Brunelleschi, of the dome over the Florence Cathedral. This work, begun in the summer 1420, was completed (except for the lantern) in 1436.

From the architectural viewpoint, the construction of the Dome of Santa Maria del Fiore represented the event that marked the beginning of the Renaissance, that is, the rediscovery of building models from the classical age and the contemporary changes in the organisation of construction sites, with separation of the roles of designer and builder, a system still in use today. It was the new figure of the designer, exemplified by Brunelleschi, that conferred on architecture the status of an artistic-scientific discipline, from this time on fully entitled to claim its place in the cultural system.

The dome was built without employing centring (a wooden or iron structure) to support the masonry. To achieve this, overcoming the scepticism of his fellow citizens, Brunelleschi devised some extraordinary solutions to lighten the imposing structure and to efficiently organise a worksite capable of fulfilling the requirements of the various stages of construction and guaranteeing the stability of the planes on which the bricks were laid, marked by progressive inclination from the base to the oculus in the dome. To build the dome, Brunelleschi employed innovative machines that he designed himself. The organisation of the worksite and the availability of machines that could move enormous weights and lift them to considerable heights played a decisive role in the construction of the dome. Brunelleschi left neither drawings nor verbal descriptions of the various machines he designed and utilised. However, their exceptionally innovative nature attracted the attention of the greatest engineers of the 15th century (Taccola, Francesco di Giorgio, Bonaccorso Ghiberti, and Giuliano da Sangallo), whose eloquent testimony has survived. Even Leonardo

da Vinci drew in his notebooks, with extreme precision, the most important machines used by Brunelleschi to build the dome.

It was only in 1471, with the positioning of the lantern, for which the machines designed by Brunelleschi were used, that the dome could be considered finished. In the spring of 1601 the lantern was struck by lightening that damaged its structure, but was promptly restored.

The structure of the dome is truly imposing. The impost, rising to a height of 35.50 meters above the tambour, is about 54 meters above ground level. The distance between the two opposite edges of the octagonal base is around 35 meters. The height of the lantern that tops it, including the copper sphere, is a little over 22 meters. The inner vaulting cell of the dome has a curve whose radius is 4/5 the diameter of the base, while the outer dome has an inclination whose radius is 3/4 of the diameter. The weight of the dome is estimated as 37,000 tons. It has been calculated that over four million bricks were used in its construction. It is the biggest dome ever built without using centring to support the masonry

Around 1475 Paolo Dal Pozzo Toscanelli constructed a gnomon in the dome, the highest one ever built up to then, which showed the moment when the sun passed through the summer solstice. Toward the middle of the 18th century the gnomon was restored by Leonardo Ximenes, who utilised it to conduct a number of astronomical and physical observations.

the dome is egg-shaped and was made without scaffolding.

he actual construction of the Florence Cathedral dome by skilled Italian craftsmen took about 16 years and was finally completed in 1436. Brunelleschi's design features a double-walled ovoid shell anchored at the bottom by a 15 meter high tambour eliminating the need for scaffolding and reinforcement. The dome is 44 meters in diameter and 113 meters high topped by a lantern that is accessed by a stairway between the interior and exterior walls of the dome. Florence Cathedral is commonly known simply as The Duomo because of the beauty and magnificence of Brunelleschi's design and its striking impact on the skyline of Florence.

Weighing 37,000 tons and using more than 4,000,000 bricks, Brunelleschi's dome was the greatest architectural feat in the Western world.

Another key trait that Brunelleschi included in his design for the cupola of Santa Maria del Fiore was the herringbone design of the bricks. Reflecting Middle Eastern style(30) the herringbone bond was essential to the structure of the dome.(31) By utilizing this pattern, Brunelleschi was able to create a structure that did not require the centering support. In the scholar Howard Saalman’s words, “…the herringbone bond would have made it possible to proceed without such support.”(32) In the herringbone pattern, bricks were laid at a horizontal angle while large bricks were placed at a right angle. These bricks rose diagonally to form a zigzag pattern and a strong bond between the bricks.(33) By placing bricks in this type of manner, it prevented the natural tendency for the bricks to fall

away from the structure. This also eliminated the need for a support system while the bricks were placed and the mortar set and dried.(34)

introduced the double shell structure design. The double shell allowed the outer shell to be relatively thin while the inner shell was denser and heavier.(24) Both shells were simultaneously raised. The quick-drying mortar utilized allowed this process to be accomplished because there was no need to wait for an extensive period of time while the mortar dried.(25

The cupola, however, called for bricks of more unorthodox designs: rectangular bricks, triangular bricks, dove-tailed bricks, bricks with flanges, bricks specially shaped to fit the angles of the octagon. The sizes of these bricks were so various, and the templates used to design them so numerous, that at one point parchment ran short and Filippo was forced to improvise: he resorted to palimpsests, drawing his designs on pages torn from old books specially bought for the purpose.

These templates were sent to a barrel-maker who constructed the wooden moulds used to shape the bricks. Once the mould was finished, it went to the brickyard.

The Florence Cathedral dome have over 4 million bricks and the structure hangs on a drum but not on the roof and this let the dome to be built without staging from the ground. The base of the dome is strained by horizontal chains of iron and wood. Brunelleschi’s design had two shells for the dome. The internal dome shell was made of a light weight material, and the external dome shell was made of heavier, wind and water resistant material. By creating these to kind of two domes, Brunelleschi solved the problem of weight. During the construction workers were able to sit on the top of internal shell and build the external shell of the dome. To support the dome Brunelleschi had put on temporary eight large and sixteen lighter wooden ribs. He moved these supports up as building progressed. The dome was build up course by course, each piece of the structure were supporting the next one. The secret of this giant structure’s balance lies in the knowledgeable jointing game that makes dome puzzling, but in same time perfect mechanical device. After two years when the Florence Cathedral dome was finished in 1436, he added white marble lantern on the top and it made the total dome height 114 meters. It was really impressive height for that era.

He invented a new hoisting machine for raising the masonry needed for the dome, a task no doubt inspired by republication of Vitruvius' De Architectura, which describes Roman machines used in the first century AD to build large structures such as the Pantheon and the Baths of Diocletian, structures still standing which he would have seen for himself. He also issued one of the first patents

for the hoist in an attempt to prevent theft of his ideas. Brunelleschi was granted the first modern patent for his invention of a river transport vessel.[10]

Brunelleschi's dome consists of two layers, an inner dome spanning the diameter and a parallel outer shell to protect it from the weather and give it a more pleasing external form. Both domes are supported by 24 stone half arches, or ribs, of circular form, 2.1 metres (seven feet) thick at the base and tapering to 1.5 metres (five feet), which meet at an open stone compression ring at the top. To resist outward thrust, tie rings of stone held together with metal cramps run horizontally between the ribs. There are also tie rings of oak timbers joined by metal connectors. The spaces between the ribs and tie rings are spanned by the inner and outer shells, which are of stone for the first 7.1 metres and brick above. The entire structure was built without formwork, the circular profiles of the ribs and rings being maintained by a system of measuring wires fixed at the centres of curvature. Brunelleschi obviously understood enough about the structural behaviour of the dome to know that, if it were built in horizontal layers, it would always be stable and not require timber centring. He also designed elaborate wooden machines to move the needed building materials both vertically and horizontally. Having all but equaled the span of the Pantheon in stone, Brunelleschi was hailed as the man who "renewed Roman masonry work"; the dome was established as the paragon of built form.

The dome's springing point stands 177 feet above ground level, while its height from the drum base to the top is about 108 feet. The distance between two opposite edges of the exterior octagonal base is about 176 feet. The height of the lantern atop the dome is slightly more than 72 feet. The dome weighs an estimated 37,000 metric tons, and the number of bricks used in the structure may exceed four million.

need for materials faster than could produced throughout the time of construction for the dome. For example, when using the wooden chains, Filippo wanted to use oak, but due to limited quantities, he was forced to use chestnut; nevertheless, the chestnut trees were smaller in size and still required a very lengthy time to prepare, further proving to be an inconvenience (73-74). With the efficiently designed cranes and streamlined work processes, it became a need to get bricks much faster than could be produced. For instance, due to the reliance on kilns, using one alone, “it would have taken one kiln over thirteen years to produce enough bricks for the dome” (92). As the work continued, the need for marble to be transported from far away quarries became a major concern for the project, and for this reason Filippo went out of his way to devise a plan, build a ship, and attempt to transport the marble himself (113-114). This proved to be a major setback, because his ship with “100 tons of white marble” sank, costing him “the equivalent of ten years salary”

There were many architectural achievements along the way during the construction of the dome, to include the engineering feats. The ability to use the wooden and iron chains to create “invisible buttressing” to “protect” the dome was very important (74). The wood and metal have higher “tensile strength” to resist the motions of pushing or pulling on the structure (74). These types of precautions play a large role in why the dome still stands after multiple earthquakes in the region (75). The dome also had “two shells,” aiding in the construction methods and strength of the design (83). One of the construction and architectural accomplishments along the way was allowing each of the arched eight walls to come up and meet precisely in the middle (83). Filippo had to create “ribs” for the dome, helping to hold the weight of the bricks and guide them along (84). To add to the strength of the dome, Brunelleschi used “bands” of brick in a “zigzag or herringbone pattern” (97). This type of pattern helped tie in the bricks and compensate for weaker areas. In the 1970’s Rowland Mainstone, “an English structural engineer” arrived in Florence to inspect and determine some of the construction methods used by Filippo (104). It was determined he used “nine [horizontal] rings” that “served a vital function in building” the dome (105). The circles basically formed a skeleton on top of the inner dome, keeping the outside dome stable and “from falling inward” (106).

The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. A wooden form had held the Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[10] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of bricks, due to its light weight compared to stone and easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.

Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one each at the top and bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.[7]

Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the

drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. He was also able to accomplish this by setting vertical "ribs" on the corners of the octagon curving towards the center point. The ribs had slits to take beams the supported platforms, thus allowing the work to progress upward without the need for scaffolding.[11]

The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its base; it has no embedded chains.[13]

runelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.

To really get going on the construction of the dome, all Filippo had to do was design, build, and invent something that had never been done before, the “ox-hoist” . This invention was absolutely necessary to the project, because it enabled the transportation of materials to the base of the dome (a height of 170 ft) more efficiently and much safer . For an example showing the hoist’s importance, the ox-hoist lifted “an estimated 70 million pounds” of material for the construction of the dome (58). The most revolutionary aspect of the hoist was the added feature of the “reversible gear,” truly a much needed invention . The reversible gear allowed the material loads to ascend and descend without unhooking the ox from the hoist, each time they needed to reverse the direction of the hoist

A separate setback to the construction of the dome came about during the “winter of 1422-23” During this time the “tramontana, a raw wind…bringing depression and fatigue to Florence” brought work on the dome to a halt. Filippo was able to take this time and design a new crane for the competition being held by the Opera del Duomo. This time, the goal was to build a crane to move the weighted load horizontally in place. Filippo’s design won the competition, and his crane was called the “castello” It was not uncommon for others to come and draw his new crane, and for that

reason, Leonardo da Vinci and others are often credited with castello’s design, one of Filippo’s greatest fears As time went on and the dome began to grow in height, the job became more and more dangerous, and for this reason among others, the masonry workers went on strike (96

INRODUCTION

Florence's cathedral stands tall over the city with its magnificent Renaissance dome designed by Filippo Brunelleschi. The cathedral named in honor of Santa Maria del Fiore is a vast Gothic structure built on the site of the 7th century church of Santa Reparata, the remains of which can be seen in the crypt.

The cathedral was begun at the end of the 13th century by Arnolfo di Cambio, and the dome, which dominates the exterior, was added in the 15th century on a design of Filippo Brunelleschi. A statue to each of these important architects can be found outside to the right of the cathedral, both admiring their work for the rest of eternity. Can you imagine it took two centuries for the cathedral to be deemed finished?

The church was consecrated as soon as the dome was in place although the façade (front of the church) was only half finished by then. It was just decoration, and thus remained unfinished up until the 19th century. At that point, it was actually redone by the likes of the time and finally finished!

bigger than any dome built before, and completely new in its design. It's one of the most studied buildings on the planet, but still no one knows quite how it was built.

The Duomo, as it is ordinarily called, was begun in 1296 in the Gothic style to the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th century Gothic Revival façade by Emilio De Fabris.

The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. The three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting the region of Tuscany. The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.

The cathedral is the mother church of the Roman Catholic Archdiocese of Florence,

Santa Maria del Fiore was the new cathedral of the city, and by 1418 the dome had yet to be defined. When the building was designed in the previous century, no one had any idea about how such a dome was to be built, given that it was to be even larger than the Pantheon's dome in Rome and that no dome of that size had been built since antiquity

PENUTUP

runelleschi was virtually obsessed with the dome, and really believed that only he could build it.

At one point he says (IN ITALIAN ) I see it already covered with its dome. When they asked him how he would build it, he refused to tell them. At one point the famous story is told, that he invited everyone to bring an egg, and he said anyone who could make the egg stand up straight on the marble table, will understand my system.

They all tried it fell over. Brunelleschi finally took the egg, 'broke the arse of the egg on the edge of the table' ( IN ITALIAN) The egg stood up straight, but the others said we could have done that too. and Brunelleschi said yes, and if I tell you my system, you'll be able to build the dome.

His tomb was found in 1972 in the right nave in the cathedral in Florence

DUGAAN FILIPO

The difficulties faced by Brunelleschi were enormous. The usual way to build an arch or dome was to support it with scaffolding called "centring" but the open space in the cathedral was 42m in width and the Florentines wanted a tall, soaring dome. All the timber in Tuscany would not have been sufficient to make the centring. Brunelleschi decided to build without scaffolding in such a way it supported itself as it progressed.

What the book graphically conveys is the immensity of the task and how the architect designed the cranes and lifts needed to take tonnes of stone to a great height and position it very accurately. It points out that the invention of many of the lifting devices attributed to Leonardo da Vinci may be drawings by the young Leonardo of things he had seen in the cathedral.

Brunelleschi's invention went everywhere. King tells how he set up a cafe high on the buildings so the workers would not have to return to the floor for lunch.

He describes the interlocking bricks Brunelleschi designed to fill between the ribs of the dome.

He overcame challenges of all kinds, worked through political matters and won endless competitions to build his dream, and he proved to the world he could do it. He worked tirelessly for so long, and it was miraculous he was able to see it finished before his time to pass. In some ways, it might have been a sense of catharsis to see the cathedral completed, so relieved and happy to see it completed, and once it was finished, he was ready to go, passing away a month later, completing the work of a lifetime (153).

Ghiberti, appointed coadjutator, was drawing a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, would potentially earn equal credit, while spending most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423 Brunelleschi was back in charge and took over sole responsibility

, the masonry workers went on strike (96). This caused a minor setback to the construction, but in the end, the workers needed to work so bad, they came back to work for less pay As luck would have it, the cathedral would fall delay as Florence went to war with Milan in 1424 In 1429 “cracks were discovered” on one of the side walls This produced a serious hold-up in the construction. It was determined supports on the side walls would be needed, and planning for this had to be constructed as a model and approved before further work With Florence still at war, a risky attempt to have Filippo construct a dam used to flood enemy camps was taken on, and to further hurt his reputation, his dam failed and flooded the friendly camp instead of

the enemy’s This was a huge setback to Brunelleschi’s reputation. After the war, Florence was in a time of new lows after having spent money on the war, because the funding and resources for the continued construction of the dome had been more than cut in half, further slowing the progress As chapter fifteen is titled, “From Bad To Worse” I could not agree more with the recent developments hindering the project. If things could not get worse, Filippo gets thrown in jail for “Masons Guild” payments being past due, a truly petty offense, more than likely being fueled by one of his longtime rivals

200 gold Florins for winning the commission for the dome, did pay his debts and get him out of jail from the Masons Guild fines Without the help of the Opera de Duomo

PENDAPAT LAIN TENTANG PEMBINAAN KUBAH

Massimo believes that Brunelleschi drew a pattern of petals where the dome was to spring from the tops of the cathedral walls base of the dome.

Once the flower pattern is fixed all you need are ropes leading from the pattern at one end, to the top of the wall on the opposite side. A line is adjusted along the flower until it passes through the centre point of the dome.

This allows a bricklayer, holding the other end of the rope, to line up each brick at a slightly different angle preserving the dome's overall shape.

The curve of the walls demonstrates that the flower pattern works

The curve of the walls demonstrates that the flower pattern works. But how could historians be sure that Brunelleschi used the same technique? The search was on for a piece of historical evidence.

We know that at a certain point, when the walls of his dome began to curve inward, when therefore the workmen's confidence that the normal structural stability was undermined by the curve toward the centre, they refused to go out on the scaffolding, they felt it was certain to fall. Brunelleschi himself had to go out on the scaffolding, pull great weights behind him, walk up and down, jump to show them, that the walls would in fact stay in place.

KEJAYAAN FILIPO BRUNELLESHI

not enough timber in Tuscany to build a scaffold inside the Cathedral, and the recipe for concrete had been lost since the fall of Rome. Brunelleschi instead came up with an ingenious and completely original theory. His plans showed an inner hemispherical dome within Florence cathedral's octagonal drum. A second, ovoid brick dome was to be placed on top, and nine sandstone rings would then hold the structure together, like a barrel. To raise the bricks and sandstone beams several hundred feet in the air, Brunelleschi invented a fast and efficient hoist with the world's first reverse gear, allowing an ox to raise or lower a load at the flick of a switch.

Brunelleschi had no formal training. The ideas he brought to building sites were completely new. Every day, he ensured workers remained sober by providing their lunch and watering down the wine. A safety net prevented workers from falling to their deaths, a chiming clock regulated their working hours and Brunelleschi had a canteen half way up the dome. His methods seemed to work. Only three deaths were recorded during a 16-year construction period.

As the magnificent dome neared completion, Brunelleschi indulged in other interests. In 1434, he held a public display, sketching the outline of the nearby baptistery. Using a novel technique, involving reflective material and pinholes, Brunelleschi produced an exact isometric simulation of the octagonal building. Brunelleschi had reproduced a three-dimensional object in two dimensions. He had invented perspective.

With the dome complete, Cosimo de'Medici invited the Pope himself to consecrate the finished Cathedral on Easter Sunday, 1436. The dome towered majestically over the city of Florence, a triumph for the Florentine people and the city's most powerful family.

He was the first engineer of the Renaisssance.

finally completed after sixteen years of construction

The cathedral was consecrated by Pope Eugene IV on March 25, 1436 (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame: the Roman Pantheon, a circular dome, was built in 117–128 AD with support structures. It was one of the most impressive projects of the Renaissance. During the consecration service in 1436, Guillaume Dufay's similarly unique motet Nuper rosarum flores was performed. The structure of this motet was strongly influenced by the structure of the dome

LATAR BELAKANG PEMBINAAN KUBAH

Santa Maria del Fiore was built on the site of an earlier cathedral dedicated to Saint Reparata.[1] The ancient building, founded in the early 5th century and having undergone many repairs, was crumbling with age, as attested in the 14th century Nuova Cronica of Giovanni Villani,[2] and was no longer large enough to serve the growing population of the city.[2] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, as seen at Pisa and particularly Siena where the enormous proposed extensions were never completed.

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After the Black Death of 1348, the cathedral was left with its nave completed but no work done on the proposed octagonal rotunda, much as see in the drawing below.

The Duomo, as if completed, in a fresco by Andrea di Bonaiuto, painted in the 1390s, before the commencement of the dome

During the last decade of 1390-1400, the Opera (the ongoing workshop) of the cathedral constructed the seven walls of the rotunda to complete the octagon.

The cathedral plan

after 1405 the decision was made to build the tambour (or drum) which then ensued in 1409-10. This decision may have been pushed by Brunelleschi due to his own perceptions of the structural integrity of the rotunda and his support system. According to the biographer Vasari, Brunelleschi believed that the half-domes that would cover the exedrae would be worthless to stabilize a cupola or dome because the octagonal shape of the base would direct vault pressures to the corners through ribs located at those points. Additionally, all forces actng on he drum and dome, except for their weight, could be absorbed by their own structure,

two of the semi-domed exedrae (to the left and right) and salient buttresses at the corners of the octagon. The tambour or drum is the section above that with oculus windows

SECTION OF THE DOME

(1409-10), Brunelleschi apparently disclosed the notion of building a bault without a centering armature as had been commonly used in all stone and brick vaulting from classical times on. This concept arose from the reality that the width of the octagon was about 140' and a conventional centering device would be exceptionally complicated and difficult. Brunelleschi proposed a scaffolding device that would be lightweight to hold the masons and their materials but would not be used to support the weight of the dome itself.

model something like this was built at a size of about 11-12' in width on the inside or, in another words, at a scale of about 1:12.

the pointed arch directs its thrusts more downward than outward (in comparison with the round arch) and this permitted him to use the octagonal drum to its greatest advantage. He strengthened the drum by adding "chains" or wooden beams linked together with iron connectors to act like a belt around the drum. This would further balance outward thrusts. The dome was also lightened and strengthened by being built with a masonry frame of vertical and horizontal ribs covered by thin inner and outer shells.

The lantern was completed according to Brunelleschi's design, but after his death. Its structural function is to add weight at the oculus in order to stablize the structure, much like a keystone. Its artistic function is to crown the dome and bring it to an aesthetic conclusion.

Procession outside the cathedral during the 18th century

FINISH DOME OF THE CATHEDRAL