The Architectural Predicament
“Breaking the norm of time period and the rejection of what was believed to be of pure form,” best describes the idea of mannerism. The building of St. Maria Novella in Florence by Leon Battista Alberti stands in all its glory as the perfect example of the above statement. One look at the building and one would believe it to be the perfect example of mannerism with its architectural style and façade which breaks the norm. However the fact that its existence precedes the era of mannerism leads it to be a series of predicament.
“Architecture is invention” is a statement by the brazilin architect, Oscar Niemeyer. However Darwin’s famous theory of evolution says otherwise. The theory believes that everything takes place as a process of evolution and nothing is an invention. This contradiction of ideas very well describe the thoughts of the Renaissance architects who were desperately trying to hold on to the old idea of classical styles yet wanting to break free by creating something new which ultimately led to a series of predicaments Contradicting the very idea of space and time, St.Maria Novella exists in the High Renaissance era (1480-1520) but stands as an example of an architectural style which was yet to make its mark in the years to come. It stood as an example of the mannerism era (1520-end of sixteenth century) which would be challenging the very idea of the high renaissance era by the breaking the norms and leading to a beautiful mix of contradiction making it one of the biggest predicaments.
On approaching the building, one would question the origin of the architectural style which gives an impression of misguided classicism. The façade makes an attempt at classical language with its entrance, consisting of fluted pilasters framed by noble column on dadoes which bring forth the beauty of Roman Pantheon. However the sight of sepulchral niches with pointed arches, lateral porches enclosed by frames and series of tall and narrow arches, one cannot ignore the gothic aspect of it. The obscurity of the line between these two styles makes it seem like an attempt at classicism. The façade seems very well under an attempt at classical style but the interior seems to be solely classical. Gone are the gothic elements for the interior states nothing but classical style with its vast interior plan which is based solely on a Latin cross which gets divided into two aisles, stained window glass and short transepts. Corinthian columns which are reminiscent of the Greek and Roman era add to the classical aspect of it. However, the transition of the style form an obscure line to a clearer line of classicism leaves the observer with a feeling of disconnection between the façade and the interior.
The final predicament comes from a tiny part of the façade which actually is the very origin of all predicaments. The most ingenious adaption of the supporting aspect of an entablature comes in the form of a scrolled gable otherwise known as volute. However, instead of supporting as it was supposed to, the volute acts as a façade to conceal the sloping roofs of the side aisle. Forth comes the loss of the initial function of the volute making it nothing but a mere façade. The volute even brings forth Alberti’s idea of nature by being the only curvy aspect of the otherwise very straight façade. Though it obeys the rules of high renaissance by being proportionate, one cannot ignore the tint of whimsical playfulness it adds to the otherwise rigid façade. The volute though small brings forth the entire series of predicament the building stands for.
Wanting to create something new yet being bound by century old styles led to the various predicaments. One had to stick to the norms of the era yet was believed to give birth to new creations. These contradictory styles which were very much evident in the buildings such as St.Maria Novella bring forth the ambitious ideologies of architects such as Alberti. While the ideologies believed in fulfilling the definition of “perfection” put forward by the society, one could not ignore the smaller aspects of architecture which was saying otherwise. A gist of wanting to break free could be seen in the otherwise “perfect” style of architecture