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Architecture of The Uffizzi Palace in Florence - 16th Century

Consistently with his concept of an authoritarian and centralized state, during the years from 1540-1550, Cosimo had the idea of bringing all the major guilds, administrative offices and authorities of the city together in the vicinity of the Palazzo della Signoria. It was a way of affirming the State's ability to organize and control, and of demonstrating this ability to citizens and foreigners alike.

In 1574 upon the deaths of Cosimo and Vasari, the Uffizi building was almost, but not definitively complete. Going beyond inspiration taken from the forum of ancient cities, there are clear references in the structure to the Laurentian Library and Villa Giulia in Rome; there is also some hint of reference to the urban arrangement of St. Mark's Square in Venice, in both the planimetry and the walls of the Procuratie del Sansovino.

It is here, however, that Michelangelo's theme of tension, limited contained and channeled within precise limits is most cleverly interpreted on the urbanistic level. The dynamic series, in depth is related to the vertical structure of Palazzo Vecchio and the entire concept of the walls follows logically from all the environmental relationships that comprise the picture.

The building is configured as a system of parallels - external on the ground floor and internal on the upper floors-that are markedly characterized and differentiated. The piazza of the Uffizi itself, more or less squeezed between the two wings-is configured as a piazza-courtyard, but also as a street. The three roads, one raised a few steps and running under the arcades, and the open one in the middle go between the two endpoints: the Arno River and the Palazzo and Piazza della Signoria.

The doors under the arches led to the headquarters of the three Florentine magistratures that could also meet collectively in the "courtyard". However, in everyday situations, the arcades were reserved for vendors and on special occasions, such as the Mardi Gras festivities, they were used for a fancy dress parade.

Cosimo's death the upper loggia story was arranged to house the Medici museum that had been planned since the beginning, along with the studios of the court artists, workshops of the artisans who worked in semi-precious stones, etc.
The court services were organized around the square. Thus, for example the lancers of the honor guard were quartered in what is now the Chiasso Baroncelli (and remained there until 1736). While Cosimo lived in the Palazzo della Signoria the grand dukes stables and coaches were in a street that was named for the coaches, that is, Via della Carrozze.

The definition of the Uffizi space as an "interior" is also due to the use of pietra serena, the local greystone that was usually employed for inside courtyards. On the other hand, by the end of the fifteenth century, Brunelleschi's influence had led to the use of pietra serena as opposed to the other type of stronger stone that was practically the exclusive building material in the Middle Ages.

Pietra serena also requires much more protection against the elements. This fact, aside from all esthetic considerations, explains the use of eaves with overhangs over 2 meters long, that are an essential architectural element. The entire building is also an excellent example of construction technique. Metal reinforcements and other devices in the walls, made it possible to achieve structural continuity that guaranteed that any subsidence in any given part would not involve the entire structure. Vasari himself was well aware of the importance of these technical solutions and described them in the introductory chapter of The Lives.

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