Written by: Oisin Foley O’Connell   Subject:Building Palazzo MediciArchitect Michelozzo di BartolomeoBuilt between 1444 and 1484What use does perspective have within architecture? Today I will be exploring the linear perspective of the palazzo medic riccardi and it’s representation of the renascence style of architecture.  Palazzo Medici-Riccardi is a study in contradictions. With its rough stone exterior walls, a textbook example of rustication and the interiors decorated with fine marbles and gold befit for the guests who would grace its halls, one could be forgiven for thinking they were two different buildings.  “I am not what I am” is an apt quote to describe this magnificent example of a renaissance palace in Florence. What it did portray to the outside world was a firm foundation and impenetrable defences.The building was originally known as the Medici-palazzo, Palazzo’s have one aspect in common, originally palazzos were a serious of buildings that were built together in Florence, this was due to the sumptuary laws in Florence, these laws restricted buildings to become more unified and modest, these laws made it more difficult to express your wealth. It made ostentatious expressions of wealth uncommon in c14-c15 Italy; therefore the humble architecture of palazzos were, created. However there were ways around these laws, palazzos have exteriors made of clay, concrete and cement to appear like stone, the entire exterior of the structure is a façade . The key aspect in this architectural visual trickery is the use of Rustication This is a term used to describe something to be rustic, or rough. As you move up the façade, you can see the rustication become less and less prominent. The imitation stones are exclusive to the lowest level of the three levelled exterior. This creates a fade of the façade, as you move up the surface of the building to the second tier, the rustication becomes faint, the rustication is less expressed, and creates a lower relief and higher rustication.If you now look at the top section of the exterior, there is no relief express at all. It appears to be only a drawing of a layer in the façade. These layered Facades were very important to these buildings. These structures were made to house wealthy banking families in Florence; the Médicis were, one of the families in Florence that used these fortified palazzos. THE ADVANTAGES OF HAVING THIS FAÇADE The Médici were a very wealthy family in Florence so having protection was necessary, furthermore the exterior façades very intimidating rough surface was in itself, a visual fortified threat to people whom wanted to harm the Médici. With past assassination attempts on the family, having a fortress like castle as a home was comforting to families with enemy’s in Florence.If you look an the mid and top tiers, you can see ornamentation. The arches above the doors and the windows are not there for support for the building. These are for ornamentation and are not true roman arches. Therefore, the arches on the façade are there as a reference to roman arches, and used as a decorative theme to express the classical architecture. This reference is also present in the rustication of the building, as you move from the bottom to the top, this of course referencing the colosseum, and how it’s teirs and columns had a heavy lower order, and them to a corinthien order and an ionic order at the top, showing this idea of a rising building, lifting from the ground, this was the reference classical roman architecture. And this call back to classical architecture is used to create an atmospheric perspective or even linear perspective on the building. This is an areal birds eye view of the palazzo. The palazzo was designed to be an inward looking structure. Even so, the structure still has windows facing the streets. This makes the inner courtyard acted as a multifunctional living-room for the occupants. It could be an open aired place that would be a more, refreshing as an atmosphere compared to the streets on the front of the building. This inward courtyard was there to get away from the outside noises and smells of horses in the Main Street. And in the courtyard is where we also have more reference to roman classical architecture. Here we look at the interior courtyard, and as you gaze around you can spot classical sculpture inside the perimeter stylos or column. The whole perimeter of this has an over hang, therefore even if the weather was pouring down or blistering with the suns rays, you can get into the shade. We also can see the classical columns, expand so slightly in the middle of these Corinthian columns. And all the columns in the area is connected via arches, which also reference  back to the classical roman architecture. Above the columns there are some ornamentations within the frieze, medallions and cartouches, right underneath the windows, should be the entablature of the courtyard. All of these aspects of the building shows key signs of a Renaissance styleIn the renaissance in Italy , the architecture is an understanding of the classical past, to which the these Florence people take heir to. Therefore creating the rebirth of roman classical past. The architecture explains its understanding of the classical past and implements new building techniques to reinvent architecture. Cosmo the elder ordered this establishment during the early renaissance, just short of two dozen buildings were destroyed to make space for empowering palace. Cosmo also ordered the architect Michelozzo di Bartolomeo design the palace. Cosmo wanted the building to be strong because of the high political power he had, his paranoia and the sumptuary laws is the reason that the palazzo is so fortified. Also given that the Médici had a strong passion for collecting fine art, some of the finest works of the entire Italian Renaissance resides on the walls of the construct .While the exterior is of a simple design in nature, the Médici flaunt their wealth the the elaborate interior courtyard, while cosmo the elder hosted his grand political meetings amongst the grand art and the extravagant interior.