Michelangelo was someone who wanted to stamp his own personal touch on each and every project in which he was involved, and his architectural sketches and plans were no different in this regard. On certain projects Michelangelo would take existing designs from other architects and add his own ideas to push them up in terms of originality and technical quality.
Instead Italian architecture at this time followed classical shapes and forms, taking inspiration from the great ancient Roman architecture which the city states across Italy were all surrounded by. As such Renaissance architecture was very structured with particular attention paid to symmetry, harmony, proportion and geometry.
He continued to work on the tomb of Julius II, which the pope had interrupted for his Sistine Chapel commission, for the next several decades. Michelangelo also designed the Medici Chapel and the Laurentian Library — located opposite the Basilica San Lorenzo in Florence — to house the Medici book collection. These buildings are considered a turning point in architectural history.
The strength of the statue’s sinews, vulnerability of its nakedness, humanity of expression and overall courage made the “David” a highly prized representative of the city of Florence.
These fortifications change from top to bottom the data for these specific constructions as we restore the plans preserved at the Casa Buonarroti. For the first time, the builder thinks as much about defense as offense, from the interior towards the exterior, achieved by spaces with a clear view, placed between the bastions in the form of pliers or claws which enclose the uncovered areas. As de Tolnay noted, the plans for the fortifications would have a decided influence on one of the greatest architects of strategic construction, Vauban.
Michelangelo’s first important architectural project was the fagade of the church of San Lorenzo, a commission from Pope Leo X de’ Medici, who wanted to honor his family. In a project design competition, the Pope and Cardinal Julius de’ Medici chose Michelangelo’s design over those presented by the most prominent artists of the time. Baccio d’Angelo, Michelangelo’s assistant on this project, build a model based on this design. It was rejected. A new model built by Michelangelo and Pietro Urbano won the Pope’s approval two years later; unfortunately, the work was interrupted and was never completed.
Michelangelo was born on 6 March 1475 [a] in Caprese, known today as Caprese Michelangelo, a small town situated in Valtiberina,  near Arezzo, Tuscany.  For several generations, his family had been small-scale bankers in Florence; but the bank failed, and his father, Ludovico di Leonardo Buonarroti Simoni, briefly took a government post in Caprese, where Michelangelo was born.  At the time of Michelangelo’s birth, his father was the town’s judicial administrator and podestà or local administrator of Chiusi della Verna. Michelangelo’s mother was Francesca di Neri del Miniato di Siena.  The Buonarrotis claimed to descend from the Countess Mathilde of Canossa—a claim that remains unproven, but which Michelangelo believed. 
From 1490 to 1492, Michelangelo attended the Humanist academy the Medici had founded along Neo-Platonic lines. There his work and outlook were influenced by many of the most prominent philosophers and writers of the day, including Marsilio Ficino, Pico della Mirandola and Poliziano.  At this time, Michelangelo sculpted the reliefs Madonna of the Steps (1490–1492) and Battle of the Centaurs (1491–1492),  the latter based on a theme suggested by Poliziano and commissioned by Lorenzo de Medici.  Michelangelo worked for a time with the sculptor Bertoldo di Giovanni. When he was seventeen, another pupil, Pietro Torrigiano, struck him on the nose, causing the disfigurement that is conspicuous in the portraits of Michelangelo. 
“I have never felt salvation in nature. I love cities above all. ” This quote by Michelangelo describes his attitude toward art extremely well. Unlike one of his contemporaries, Leonardo Da Vinci, he did not draw on nature, but did his best to do away with it. This is perhaps more evident in his architecture than anywhere else.
In this article, some of Michelangelo’s most important architectural works are explored. Follow the links below to learn the histories behind these works and the opposition between artist’s anguish and his sense of divine designation.