villa maria college interior design
it is my pleasure to introduce our speakertonight, professor charles burroughs. i have known his work for a number of yearssince fortuitously coming across his book entitled“the italian renaissance palace faã§ade: structures ofauthority and surfaces of sense.†it was the “surfacesof sense†part of the title that got my attention. sincereading his book, it has been my sincere desire tohave him come to lecture at
syracuse. if you attended my lecture a couple of weeksago, one of his books was one on the italy renaissance facade. it is an excellent book it's an excellent place to begin. i have wanted to bring him to syracuse. he was recommended to me many years ago bya colleague at cornell. i'm very pleased that we have this opportunityto extend the invitation at this time. professor burroughs hailsoriginally from great britain where he receivedhis
baccalaureate degree fromoxford university and his master's and phd degrees atthe renowned warburg institute at the universityof london. in 1979 he movedit is one of the premier interdisciplinary institutes in the world. some of the well known scholars that haveworked and studied there include among many others wit cover and collin roe. in 1979 he moved tothe u.s. to take up various teaching positions thatincluded stints at the
universityof wisconsin in milwaukee, northwestern university inevanston, illinois, and the university of california atberkeley. during the summerof 1982 he taught at the trinity college's summerprogram at their rome, italy campus. in 1982 professor burroughsjoined the faculty of art history at the stateuniversity of new york in binghamton where, between2004 and 2005, he served
as the chair of thedepartment of art history. in 2005 he moved tocleveland, ohio to take up a positionas chair of the department of art history and art atcase western reserve university. he remainedthere as the elsie b. smith professor of liberal artsuntil his retirement in 2014. he moved to the east.
professor burroughscurrently lives in rochester, new york andcontinues to teach at suny geneseo where he isa visiting professor of art history. he is the author ofthree books and numerous articles. his scholarlyand conference papers. his scholarlyinterests range widely and encompassitalian architecture and
urbanism of the 14th to17th centuries, renaissance painting and art writing,and plantation landscapes in the americas,including the hudson valley. since settling in rochesterhe has been working on a revisionist account offrederick law olmsted's plans for the park system,i'm looking at julia because she's a landscape architect.and on the impact of jane jacobs' ideas about citylife on the design, by an associate of hers, of anacademic facility in upstate
new york, a building thatmarked an early departure from modernistorthodoxy. please join me in welcomingprofessor charles burroughs. [applause]. >> it sounds like your microphone is on. >> it is on. [indiscernible]>> it builds up the suspense, you know. i would like to thank you for the invitation.
but also for pushing my book. also for all of you for showing up. art is something i have been involved withall my life, for my career. of course, this invitation forced me to comeback to ideas that are lying dormant, i guess. it is down in my life. more suspense. okay. i should say i am having a horrible attackof the whooping cough. it affected my lungs, i tend to speak thesedays with a weird whisper.
please, if you can't hear, you know, waveyour arms or whatever is customary here to get the attention of the speaker. in my work on the facadethere have always been two basic ideas. first, thefaã§ade has a history a beginningand an end, and perhaps new beginnings. both beginningi will be part of, to celebrate this momentous occasion.
this is a condition that i recognize. and ending, needless to say,happen over many years they are complex events. that's related to my otherprinciple that the faã§ade is not only an architecturaldevice, but also a cultural phenomenon, a matter of theway people think and how they engage with theirsurroundings. when dealingwith many cultural phenomena it is often useful to startat the end, to carry out a
biopsy rather than aninterrogation, and that's what i am going to do today. but first i imagine youexpect a definition from me whatdo i mean by the “faã§ade.†ishould specify right away that my topic is the secularfaã§ade especially the front of a residence or officialbuilding; religious architecture follows its ownlogic to a great extent. also, i willfocus on developments in the
west, which have distinctivecharacter though of course they were widelyexported, along with the underlying culturalexpectations. a common and basicallycorrect definition of the architectural faã§ade is thatit is a surface belonging both tothe inside and outside, and mediating between them. soit is part of the domesticenvironment, as well as of
public space especiallycertain types of public space, thestreet or the square, that loom large in the history ofwestern urbanism. on thescreen is a representation, anengraving, of a famous early sixteenth centurypalace in rome that only existed a few years as aphysical building, but enjoyed anextraordinary afterlife as a model for designers.
this isthe palazzo caprini, often knownas the house of raphael, because the famous painter,occasional architect, and papal favorite owned ituntil his death in an upstairs roomin 1520. the architect wasraphael's compatriot bramante (they were bothfrom urbino), who was alsotrained as a painter, a maker of images.
so it'sappropriate that in this engraving theharmoniously composed front of the palazzo caprinishould float free of the materiality of the builtpalace. an issue i can'ttake up here is the coincidence between theemergence of the architectural faã§ade and thediffusion of printing, followedshortly by the appearance of the architecturalfrontispiece a
kind of faã§ade to a book. as for the idea of a faã§adeas a kind of membrane between inside and outside,this example poses a problem. theprint does not indicate the location of the palace,which stood on a busy streetthe processional route toward the papal palace,just up the road, hence the shops on either side of theportal; in other words, the
“outside†invades the houseand makes it part of the street. so there is acontrast between the rusticated lowerstory, with the shops, and the upper story with itstall windows, framed by pairedcolumns and fronted by balustrades, enabling viewsof the street. in short, thedistinction between inside
and outside is inscribed onthe faã§ade, in a way that drawsattention to social as well as architecturalstratification. it does this through placingclassical columns refined symbols of civilizationabove rough stone, alluding to the world of nature. ironically this “naturalâ€effect was entirely fake the apparent stone was infact plaster, and so as artificial asanything in the design,
pointing, again, to thesensibility of a maker of paintedillusions, which is how bramante started his career. the dialectic of art andnature or we might say, nature and culture was amajor theme of early modern architecture, especially offaã§ade architecture, into the18th century. what happenedthen was the emergence of a radical approach,championing the claims of
nature, and of what wasclaimed to be natural, above those of convention andtradition. you probablyall know the little hut (his petitecabane) on the famous frontispiece of the secondedition of the abbe laugier's essayon architecture of 1755. this dramatizes therejection of academic classicism thepile of ruins on the right in favor of a buildingrooted in the earth as well
as in alogic of primitive human development. in its idealform, the building not only lacks afaã§ade, it lacks walls altogether. the landscape oflaugier's grove is entirely imaginary, of course, but iwant to shift the discussion to a very real and verydense forest thirty miles or sofrom paris, to a place
called ermenonville. tucked away among the treesis also a little hut, a petite cabane, withimportant cultural connections . itwas here that the famous french swiss philosopherjean jacques rousseau lived out his last years inretreat from the sickness of civilization, as he saw it. this is what it looks like now. in an early essay,which won him a prize that
set him on his way, he wrote: “what happiness would it befor those who live among us, if our externalappearance were always a true mirror of our hearts... external ornaments are ...foreign to virtue, which is the strength and activityof the mind. the honest manis an athlete, who loves to wrestle stark naked;he scorns all those vile trappings, which prevent theexertion of his strength,
and were, for the most part,invented only to conceal some deformity.†so you architecture studentsshould have something sweaty and muscular like thisin mind when you design a building. you shouldcertainly not have something like this in mind :rousseau doesn't refer he used to dress like this. he got rid of his fashionable clothes andwore tunics, like a peasant.
he was a blatant example of .explicitly to architecture, but he gets close instatements like these:“before art had molded our behavior, and taught ourpassions to speak an artificial language, ourmorals were rude but natural; and the differentways in which we behavedproclaimed at the first glance the difference of ourdispositions. (he's talkingabout the time when people
lived in little huts)human nature was not at bottom better then than now;but men found their security in the ease withwhich they could see through one another, and thisadvantage ...prevented their having many vices. here comes the kicker †...jealousy, suspicion, fear, coldness, reserve, hateand fraud lie constantly concealed under that uniformand deceitful veil of politeness.â€
rousseau's emphasis onsincerity, in throwing off the deceitful veil ofpoliteness, the mask of politeconvention, had an extraordinary resonancelasting until today. in terms of the builtenvironment, the architectural faã§ade was theultimate veil of politeness, disguising whoknows what nasty or naughty behavior , as perhaps atthe place des victoires in paris.
so rousseau's ideashelped bring about the rejection of traditionalnotions of urban, not to speak of urbane,architecture. artincluding architecture, for rousseau was a betrayal ofnature. and his ideascertainly resonated: if you go to ermenonville you canstill see rousseau's tomb on the island of poplars ina landscaped park in the english manner, where thephilosopher once roamed .
however the body itself wassoon moved to the pantheon in paris, restingplace of the heroes of french culture. a few miles fromermenonville is a place of more conventional forms ofreverence. the royal abbey of chaaliswas one of the great monastic institutions thatexisted in the environs of medieval paris. there is notmuch left now of the
medieval abbey, built in agothic style abhorrent to the cardinal who controlledit in the mid sixteenth century. this was ippolitod'este, known to you i'm sureas the patron of the amazing villa d'este in tivoli,which he began after returning toitaly. he was a major playerat the french court, not least because he was relatedby
marriage to the king and byvirtue of his status as papal ambassador. he hadgrand plans for modernizingchaalis; little was built, but a rather pathetic relicof the cardinal's ambitions is anelaborate gate leading to a rose garden . the garden . the designer was[speaking off microphone] sebastiano serlio, bestknown for his serial
treatises onvarious aspects of architecture; especiallywhen collected into a single volume thiswas one of the great architectural publicationsof the pre modern era, quicklyinspiring buildings as far away as mexico and ecuador,then part of peru. serliowas a key figure in theintroduction of italian renaissance ideas to france;for instance
in his treatise heillustrates how to give a traditional frenchmedieval style building a renaissancemakeover. as you can see,this is already faã§ade architecture. it also foreshadows theso called great rebuilding in much of early moderneurope, which scattered symmetricalclassical facades across diverse landscapes.
whatever the eventualsuccess of serlio's treatise, the man himselfhad a frustrating experience infrance, not least through the opposition of local menin the building trades to thisknow it all italian intruder. he built verylittle; actually his paltry addition to themonastic complex at chaalis is symptomatic.
but hislittle garden portal is interestingas a kind of distillation of a renaissance faã§ade intoits semiotic essence,abstracting it from its architectural function. serlio designed agrand rusticated archway surmounted by a greatpediment and a high attic carryingthe arms of the d'este family.
the effect is one ofcollage, a cobbling together ofelements. in fact serliodidn't like it either because he left it out ofone of his more remarkable publications, theextraordinary book, which came out in 1551 inlyons in both french and italian versions. itcontains 50 examples of more or lessbizarre portal designs, some
for urb understood, some for urban, some rural,some explicitly recalling thetheme of the roman triumphal arch, a key site of diverselexical and visual signs, as is clear from serlio's owntreatment of triumphal arches in his third book. the extraordinary book openswith the entrance portal of the residence serliodesigned for ippolito in fontainebleau, a majorcenter of the french court andfamously important in the
diffusion of italianartistic models. so thisportal was the threshold into a buildingand also a book. ippolito'sresidence was known as the grand ferrare (the d'estewere lords of ferrara); all that remains today is theportal. the palace followed the typeof the french hotel, in which the main range islocated at the rear of an entrycourtyard flanked by
subsidiary buildings. thekey point is that there is no real streetfaã§ade in the italian manner, so the portalassumes particular importance. itdisplays the tension or even conflict of architecturalelements and rough stone (in short, art and nature) thatserlio expresses more explicitly elsewhere in hisextraordinary book, which
features all kinds ofcollisions between elementsrepresenting the classical orders and rough orrusticated stone . you may know hisillustration of what he calls the bestial order(it's not doric, it is not eventuscan, it's bestial). heremonstrous faces glower from thespandrel stones, as if they are products of nature's ownaberrant form making.
thebestial portal echoes the darkest preoccupation of theperiod the rebellion of the repressed. just think of theroom of the giants in mantua, or the faã§ade of thepalazzo degli omenoni in milan. both these examplesare associated with imperial power, and thestruggle against heresy. as the grand ferrareillustrates, the portal can
become detached from thebuilding it gives access to. in other words, thearchitectural task of designing acoherent faã§ade and that of designing a threshold becomeseparated. this happensimplicitly also in 16th century italian faã§adedesign. probably you allknow the palazzo della cancelleria,built a few years before bramante's palazzo caprini.
you can probably see [speaking away from microphone] theimpressive width of the chief faã§ade accommodatestwo major elements a palace and a major church. whereyou may ask is the church? as you see there are twoportals, one grander than the other. is that a clue? in fact yes but the granderportal leads to the palace
not the church. originallyhowever, the two portals wereidentical elements of a typical unified renaissancefaã§ade, as for example in thepalazzo rucellai, which ended up with two portals,and is an obvious model for thecancelleria front. at thecancelleria , it is only beyond the doors that keydifferences become apparent.
as you can see from theplan, the supports of the church vault are piers. here's the interiorimpossible to see what the piers aremade of. the supports inthe palace courtyard are columns, obviously ofexpensive stone and robbedfrom the ancient building that once stood on the site. actually the columns wererobbed twice once for the
early christian church, andthen in the renaissance they ended up in this palacecourtyard. evidence of changing values, for sure. in the 1580s, the decisionwas made to disturb the renaissance effect ofbalance and harmony by emphasizingthe palace entrance with a splendid two storyportal, including a balcony . such a balcony became a feature of roman laterenaissance and baroque
palace design. this is thequirinal hill, dominated by an immense palace once afavorite papal residence, now the official home of thepresident of italy. the mainentrance looks out on the piazza of monte cavallo,with its famous ancient statuesof horse tamers, symbols of autocratic power. the portalitself was designed by
maderno around 1615. itopens in a vast wing of the palace, and its design andlocation have nothing to do with any concern to make afaã§ade responding to renaissance designprinciples balance, harmony, symmetry,etc. indeed this is asautonomous a portal as any of serlio's. the presence of a balconygives the entrance portal a
double function, both as athreshold and a viewing platform, here for the grandpersonage resident in the palace. whether or not it isactually occupied, the balcony is a symbol ofpower, and so is often present in afacade, and of course, the national flag is placed on the balcony. an interesting examplebrings us back to the cancelleria and the functionof the ancient building that
provided the courtyardcolumns. it was a barracksfor one of the four chariot racing teams that romansflocked to see in the circus maximus, along with thecolosseum, one of the greatestsporting facilities of the ancient world. unlike thecolosseum, it was overlooked byand connected to the imperial palaces on thepalatine hill.
a favorite occupation ofrenaissance antiquarians and others was recreating socialpractices of the romans, including their recreations. i show you a very fancifulrecreation of the circus it's from a famous late 16thcentury atlas of prints that exists in various versions. the horses and chariots aretearing around the course, cheered on by the crowd,including dignitaries assembled in a viewing standraised
above an archway; evidentlythis is the imperial box, located on the side towardthe palace complex on thepalatine hill. as was wellknown in renaissance rome therewas such a viewing loggia a kathisma at thehippodrome of constantinople it is shown on this 5thcentury sculpted relief still visible on the site. [indiscernible]this is a
digital reconstruction ofthe emperor's view. an echoof the byzantine kathisma exists in isfahan in iran,in the great viewing platform, part of the late16th century ali qapu palace thatoverlooks the maidan, a vast space used for polo games,horse and camel races, and other spectacles. so far as i know there wereno camel races in renaissance rome, butthere
was a fashion forspanish style bull fights. agreat enthusiast was pope paul iii, whocommissioned michelangelo in 1546 to work on the greatpalace he had been building for about 30 years,mostly as cardinal. this wasthe palazzo farnese, where a huge piazza wascarved out of the city to set off the palace front. michelangelo's majorcontribution to the faã§ade
was the design of thebalcony, from which the pope loved towatch bullfights as well as the processions of carnival,which were rerouted through the piazza. the focus ofcarnival events was the via del corso, named for thehorse races that took place along it from thefifteenth century; so at least for afew days a year the corso was the modern equivalent ofthe
circus maximus. the raceswent the whole length of the corso, ending underanother balcony inserted into a faã§ade, in this casethat of the fifteenth centurypalazzo venezia, notorious as the favorite place formussolini's harangues. thespectacle of the corso, not only at carnival, impactedthe faã§ade architecture even ofa church , that of s. maria
in via lata not far from thepalazzo venezia, where pope alexander vii had aviewing loggia built into the front. you could saythat the theme of the viewingplatform has taken over the whole faã§ade. so far i have been exploringthe tension in early modern facade design between theaesthetic as well as rhetorical concern withfronting a building with a
unifiedcomposition, and the social concern of accommodating anddramatizing the act of entrance, that is, mediatingbetween different kinds of space, as well as humanlifeworlds. i have alsonoted the way that renaissance facades oftenemphasize the contrast of rough orrusticated lower stories with colonnaded zones ofrefined life in the story above, the pianonobile.
the palazzo caprini,we saw, was a key model, and though certainly some 16thcentury facades lack this contrast, it is adetermining feature of an importantcurrent of faã§ade design, with interesting social oreven political overtones. a remarkable case is thepalazzo dei conservatori on the campidoglio in rome,effectively the city hall of the renaissance city.
as youno doubt know, the palace was redesigned bymichelangelo as an element of an urban scenographyembracing three buildings arrayedaround a piazza that mounded into an oval pavement. atthe conservatori michelangelo accepted andenhanced the traditional inclusionof the offices of craft guilds butchers, cattlemerchants, dealers in
spices, etc. inthe groundfloor loggia, beneath theoften magnificent spaces for the city officialson the upper floor. michelangelo made thecontrast visible through associating asmall ionic order in the portico with a colossalcorinthian order embracing bothstories this is effectively the first case of a colossalorder structuring a faã§ade.
michelangelo's corinthianorder is orthodox, alluding to the nearby ancient forumas well as to the contemporary spaces ofrepresentation within the theionic of the portico is entirely unorthodox, evenweird; i have argued elsewherethat the volutes allude to animal hides, in other wordsto the economic basis of the roman citizen elite. in anycase, these bizarre volutes
characterize the basementfloor of a palace in a manner more usually assignedto rustication. the realm of nature isinherently fluid, often metamorphic, alive. therough stone used in rustication ispietra viva, living stone. even more striking is thecontrast of flowing water as substrateto a solid, emphatically architectonic upperstructure.
the campidoglio is part ofthis tendency also. michelangelo largely rebuiltthe palazzo dei conservatori,but he refaced theexisting and largely ancient senators palace the justicebuilding at the head of the piazza, adding the famousdouble stair leading up to the entrance. the stairgenerated triangular spaces oneither side that were filled
in the 1540s with ancientstatues of river gods: one representing the tiber, andthe other the nile, the greatest river of theancient world, either side of astatue of rome. the tiberrests on a compliant wolf and holds a cornucopia,symbol of natural fertility. between these images ofmetaphorical fluidity pope sixtus v had an actualfountain installed in the late 1580sin front of the figure of
rome. this set up a tellingopposition of a basin overflowing with water and,above it, the hieratic personification of empirewithin a great classical niche,ruling the waves. this inturn related to the idea, alreadyarticulated in ancient sources, of the city of romeas raised above a hydrographicstratum comprising seven
streams, the same number asits hills, as well as of the branches of the nile delta. there is stories of disastrous flooding inrome. so i am going to end withthe idea of an opposition of fluid and solid matter as arecurrent theme of renaissance and baroquearchitecture, especially of faã§adedesign. this opposition isespecially clear, needless to say, in the design of themonumental fountains that
rome is famous for: thefirst to be built was sixtusv's moses fountain, with its ludicrously bad statue ofmoses, on the via pia, now vente settembre. mosesstands triumphant over the streams of water that,according to the bible he miraculously caused to flowfrom solid rock. the typerecurs even more dramatically in thefountain of paul v in
trastevere and evenin the trevi fountain , where the water imageryforms the base of a palace facade. obviously it's afeature of palace architecture in venice,where grand facades rise above the canals,especially the grand canal, overlooking the regatta andother festive events. sansovino's palazzo corneris a version of the palazzo caprini, with the basementfloor used for commercial
purposes fronted byrustication, and the upper floors the aristocraticapartments adorned with paired columns. in otherrenaissance palaces on the canal the water of the canalseems to take the place of rustication. villas alsowere suitable sites for these ideasto be realized, as at the villa giulia, of 1550 5,where river gods frame a
triumphal arch, and waterflows beneath. sebastiano serlio had spentmany years in venice, and his publication show a deepappreciation of the architecture of the city. whatever the motivation,when he was working for the cardinald'este and the french royal court, he produced designsthat featured the opposition of fluid and solid afavorite motif. these arenot for
urban palaces, or evenfacades, but for bathing pavilions for the pleasureand perhaps also the hygiene ofthe king and his company. this one for example sets abath or fountain below spaces for socializing. herein front of the viewer, the curving stair winds down and invites descent to a lowerlevel. with the arch. the terrace opens out
to a deep space. this horizontal plane was expressed. there are stairs down to the lowest level,but you can see. below the nymph and behind them is a stream. water from the river that flows and meetsthe tiber not far from here. the middle story of the villa of the nymphsstill features nymphs in the painting. personifications are evident, but how thesolid architecture rises above and from a zone of fluidity in flux, of slippery nymphsthat are holding up such a great super structure. the villa was a retreat for the folk, certainly.
you like to hang out in the cool vaulted room,drinking wine and eating raw onions. more importantly, this was an architecturallaboratory. it was the setting of the fresco painting,in the grotto area have largely disappeared. the villa was designed as a retreat from thevatican, but used as a meeting place. here it rises above the canal, especiallythe grand canal, perhaps the original streets of europe. the palace balcony has splendid views andthat of festive events. one of the most splendid is a version, witha basement floor used for commercial persons,
fronted by rustification, and the aristocraticapartments. there are certainly brackets here. this is what it looks like falling into thewaterfall. the other renaissance palaces on the canal,the water seems to take place. he spent many years in venice. his publications show a deep appreciationof the architecture of the city. whether or not he was thinking of venice orroman architecture, when he was working for the royal courts, he produced designs withfluid and solid. they're not for urban palaces or facades.
i will make a quick detour. consider a design for a bathing pavilion,intended for pleasure and hygiene of the king and his company. i'll come back to that topic of the facade,of course. this unexecuted project, the lower floor containsa bathing area around an interior pool. and there is the facade of the mean feature, the justification and dark enclosure below, and the upper storyand the columns. a similar building which seems to have hada hand is part of the most prominent residential and one of the most prominent in europe.
the royal family. here, a long demolished wing contained atthe end adjoining a garden set in pine trees. the grotto there that was known as a it wasn'tin the pavilion as was one thought, but it overlooked a long disappeared pool of thegarden of pines. human figures struggle as if resisting theirtransformation into stone and enslaving those figures and revolt, with partly exited painting,showing upper realm of goddesses, high over the world of human struggle or pleasure. coming by air and water. the building was known as [indiscernible]having represented the two story facade.
it is enhanced by the residences of michelangelo'sunfinished images of slaves, which also ended up later in a grato. what you may wonder does it have to do withfacade architecture. to return to the point i made at the beginning,a facade is a matter of consciousness. this pavilion and many things i will showyou bring into the open the conceptual logic of many renaissance and baroque designs ofthe aristocratic palace and public realm. the expression of social security. this is not this is social superiority. if you know early modern city scope [indiscernible]you may well marvel at the coherence, the
way the buildings are different scale andarchitectural elaboration contribute to the effect. obviously implicitly arguing with the effect,contributes to the beauty of the city as a whole. it is a principle that doesn't apply withthe towers of the contemporary city. the important point is that the early modernarchitectural facade was a screen, but a field of resolved or unresolved encounter betweenopposing principles. especially in the design facades, early modernarchitects on the metaphorical fixity and fluidity not in terms of norms and rules.
he had argued the place for architecturallicense was in the city or the country, observing convention and sense of what was appropriatefor the setting and the client. [indiscernible] in the settings of the facadeof the residence is what might have been called licentiousness. on the other hand there is room for the playfulengagement of architectural rules, it always gave room for the fantasy. it is in the extraordinary book in his insistence,he was away from civilization, in the forested countryside, populated by animals or beastsrather than men. i'm sure he's joking.
on the other hand, if we look at the facadesof renaissance architects, hard not to conclude that the city and no nature, were not so [indiscernible][applause] >> [indiscernible]>> [question off microphone] >> the question about the possibility of thedesign of theater sets might have had an enlivening effect on architecture. it is true of the 17th century. i think in the 16th century, it was just gettinggoing. with the design at the end of his life, theydesigned a theater, the vitruvian theater. so that is ... the famous article.
this is on stage set. if you like transmitted to real freedom place. of course, the mysterious baltimore panel. the famous perspective set. don't know when they were done exactly. but there is the suggestion is made that thesewere connected in some way to very early experiments, which is where it was here, which was also[speaking away from microphone] it is bound up, in the earlier designs forthe theater sets, with that perspective. that is not only at the end of the book.
if you follow the book, this is what you cando with it. yeah? >> [question off microphone] >> well, these cities were extraordinarily[indiscernible]. you are right. they were begun at the beginning. to the support. [speaking away from microphone] also in the one hand, what you are defendingon the ground floor are good, there are people
upstairs, but you are making sure your goodsare safe. the early example of the rustication is deliveredin a sense in this way that is real. which in turn imitates a feudal palace ina nearby town. for the rustification can be used, becausethey can't put the ladder up against this flat wall. so that is one of the ways that it comes back,is that kind of thinking. >> there is a distinction between the basementfloor. everybody wants to be there, and also withcommerce because it was [indiscernible]. and upstairs.
it is interesting because the apertures don'tline up. the windows don't line up. there was of a clear division between thelower level and upper level. even when you go inside for centuries, someof the rooms [speaking softly off microphone] that is where this symbolic residence is aboutin the exclusivity. >> expensive piece of architecture. >> [discussion off microphone] >> yeah. >> that is an interesting question.
yeah. that is a great question. we had the a team. michelangelo. they were [speaking away from microphone] [applause][presentation ended]