Michelangelo the architect was every bit as original as Michelangelo the sculptor. Unlike Brunelleschi (the architect of the Spedale degli Innocenti), however, he wasn't obsessed with proportion and perfect geometry. He was interested in experimentation and invention and in the expression of a personal vision that was at times highly idiosyncratic.
It was never more idiosyncratic than in the Laurentian Library, begun in 1524 and finished in 1568 by Bartolomeo Ammannati. Its famous vestibolo, a strangely shaped anteroom, has had scholars scratching their heads for centuries. In a space more than two stories high, why did Michelangelo limit his use of columns and pilasters to the upper two-thirds of the wall? Why didn't he rest them on strong pedestals instead of on huge, decorative curlicue scrolls, which rob them of all visual support? Why did he recess them into the wall, which makes them look weaker still? The architectural elements here do not stand firm and strong and
tall, as inside San Lorenzo, next door; instead, they seem to be pressed into the wall as if into putty, giving the room a soft, rubbery look that is one of the strangest effects ever achieved by 16th-century architecture. It's almost as if Michelangelo intentionally flouted the conventions of the High Renaissance to see what kind of bizarre, mannered effect might result. His innovations were tremendously influential, and produced a period of architectural experimentation. As his contemporary Giorgio Vasari put it, "Artisans have been infinitely and perpetually indebted to him because he broke the bonds and chains of a way of working that had become habitual by common usage."
The anteroom's staircase (best viewed straight-on), which emerges from the library with the visual force of an unstoppable lava flow, has been exempted from the criticism, however. In its highly sculptural conception and execution, it is quite simply one of the most original and fluid staircases in the world.