The Architecture of Modern Italy, Volume 1
Terry Kirk
Language: English
Pages: 280
ISBN: 2:00001337
Format: PDF / Kindle (mobi) / ePub
This groundbreaking and authoritative two-volume survey is the first truly comprehensive history of modern Italian architecture and urbanism to appear in any language. Told in lively prose, it recounts more than 250 years of experimentation, creativity, and turmoil that have shaped the landscape of contemporary Italy. Volume I: The Challenge of Tradition, 1750-1900, explores the dynamic balancing of forces demanded by a reverence for Italy's unparalleled architectural patrimony and a desire for new means of expression and technological innovation. From the neoclassical fantasies of Giovanni Battista Piranesi to the spectacular steeland-glass gallerias of Milan and Naples, it reveals an underappreciated history of richness and complexity. The Architecture of Modern Italy is exhaustively illustrated with rare period images, new photography, maps, drawings, and plans. With Colin Rowe's Italian Architecture of the 16th Century, it provides a nearly complete overview of the history of Italian architecture.
Florence: The Biography of a City
Incontinent on the Continent: My Mother, Her Walker, and Our Grand Tour of Italy
Bella Tuscany: The Sweet Life in Italy
Swedes, and eventually Americans all came to Italy claiming its treasures as an international cultural heritage. Indeed, the Grand Tour had become a vast social phenomenon of intellectual and cultural exchange in a new atmosphere of cosmopolitanism. Such attention would have enormous consequences upon the Italians’ self-consciousness and evaluation of their own history. Veduta painters, like Gaspar Van Wittel, Luigi Vanvitelli’s father, flourished. Giovanni Paolo Panini welcomed the world to his.
Themes; a round conversation room wrapped with panoramic vedute of the Roman Forum and the Column of Trajan; refreshment parlors in Egyptian, Pompeian, Renaissance, and baroque styles. At the center, a large Empire-style ballroom of white and gold musical motifs was dedicated not to Napoleon but to the Italian conqueror of the Paris opera stage, Gioachino Rossini.The simultaneity of historical styles is a distinct feature of the Casino’s experience. Jappelli and his decorators ranged freely.
Dichotomous; his understanding of Gothic and classical was not a division of disparate styles but a continuity of related structural possibilities. Antonelli did not make explicit mathematical calculations. He worked in a fluid manner, keeping his projects in continual modification while he rethought the the challenge of tradition, 1750–1900 design possibilities. Each stage of construction was in complete equilibrium, and therefore could change direction with the architect’s intuition. At every.
His idealizing style. Pius’s urban works were designed to project a sense of well-being. Iron suspension bridges were built over the Tiber; one to the Vatican was met at the Piazza Pia with a pair of matching buildings that rehearsed the symmetrical effect of the Piazza del Popolo entry. Pius built the grand Manifattura dei Tabacchi near the hospice of San Michele in Trastevere, in which he consolidated and monopolized the city’s cigarette production.The architect for the new factory, Antonio.
Dei Poveri (Hospice of the Paupers), 41–47, 42, Berthault, Louis-Martin, 118, 119 104 Bianchi, Pietro, 104, 105, 121, 122 Alvino, Errico, 197, 213 Bianchi, Salvatore, 221 Amati, Carlo, 177 Boito, Camillo, 179–182; and contemporary style, 180 antiquities. See also archaeology; restoration (architectural): Bologna, city plan, 214 collection and preservation of, 65–69; as Bonaparte, Joseph, 104 commodities, 91, 123; removal under Treaty of Bonaparte, Napoleon. See Napoleon (Bonaparte).