The Theory of Michelangelo’s Architecture

Michelangelos architecture was revolutionary to verbalize the least when observed against the background of the then accepted norms in architecture and arts in general. During his time, architects usually think of architecture and arts in universal terms as seeing the works per se as composed of mathematical add up (measurements) or geometry. Artists of the Renaissance period expressed their arts in more commonly in abstract forms. Michelangelo, on the other hand, feels, sees, and would interact with his art as though it is an animated amour (p 38).Indeed, it is enlightening to approach a structural design through the lenses of such a genius as the Master. It is important to get enough familiarity with the anatomy of the whole thing. For Michelangelo, the building is not just a building, exactly like the gay body, it lives and breathes so he could look at a structure and see every part of it as having its unique and supererogatory function as nose, eyes, arms, and other split of the body have their let special purposes for the proper functioning of the whole physique to the full emolument of the man.While the writers of medieval times would draw their ideas of architectural outline from the human beings anatomy, most of them do not conceive of the body as a life form. When drawing from the human body any architectural ideas, the presume perception is that the body is a miniature of the universe with all its parts functioning in perfect harmony.This perfect synchronization though, according to the familiar notions of the artists of those days, could not be achieved practically since according to them it was only an ideal and therefore could not be possibly realized in actuality. Hence, the use of numbers and measurements in short, geometrical approach. For example, one can just look at the available models, such as those crafted by Francisco Di Giorgio (ideal church plan p. 39), and Cesariano (the Vitruvian Figure, 1521 p 40).The said model s, as can be observed, are both replicas of the human body. These architectural designs were common in medieval period. Michelangelos attitude was some off tangent when compared to his peers. Indeed, he was different and was very free in terms of his individuality, especially as it was applied to his works. Whereas his contemporaries have elect to settle for the perfections of mathematical figures/measurements, Michelangelo argued for (as attested in his works) the motions and the emotions. For Michelangelo, everything from the observer to the object including the gigantic backdrop of the surroundings are all interconnected, that when an artist sets himself to plan a building, he should consider the presumed interplay between the object (the architectural design of the building), its backdrop (the environment), and the observer. Remember, the structural design for Michelangelo was a dynamic thing which exerts its influence to the observers.