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.
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the challenge of tradition, 1750–1900 2.19 Excavations at the Column of Trajan, Rome, with boundary wall by Pietro Bianchi, 1812–13 the architecture of modern italy in Place Vendôme in Paris.The original, left in situ and restored by Percier, was the locus of intense activity.The built-up area around the column was cleared for excavation by expropriating several convents. In 1813 the granite columns of a basilica and its marble floor were uncovered and the ensemble of Trajan’s magnificent
Valadier’s villa structure, and the interiors were done up in a variety of alternative historical styles.To allude to another namesake from history, and to amplify his self-image, Alessandro had a chamber decorated with a relief showing the life of Alexander the Great. On several trips to Britain and on a tour of gardens in Italy, 141 including Saonara,Torlonia had seen the best his era could offer in landscape design and wanted to outdo the Borghese with Rome’s most genuinely picturesque
promised. On a hill above Naples at Capodimonte he had a hunting lodge built that outstripped in its ambitious scope that modest program. Both palaces were in large part the work of a Sicilian architect, Giovanni Antonio Medrano, but both projects proved insufficient in Carlos’s eye on aesthetic, representational, and functional grounds. Finding local architects lacking, Carlos turned to Rome’s prominent architectural culture for the professionals he required. Nicola Salvi was first on his wish
pan-regional identification. The bank has two distinct functions—official business on the left and public branch access on the right—and this duality was expressed throughout Koch’s design.The building was also equipped with the most modern technology, including elevators and air conditioning. Koch’s neo-Cinquecento handling is grander and richer, more vigorous and rigorous than Calderini’s and became a benchmark itself. Koch was also responsible for the Piazza dell’Esedra, a high-profile site
di come ‘utopia negativa’,” Angelus Novus 20: architettura e prospettive. 89–127; republished in English translation in 1756 Piranesi, Giovanni Battista, Le Antichità romane, Architecture and Utopia, Design and Capitalist 4 vol. (Bouchard & Gravier, Rome) Development (MIT Press, Cambridge MA, 1761 Piranesi, Giovanni Battista, Invenzioni 1976). capric[ciosi] di carceri. 1972 Wilton-Ely, John, ed., Giovanni Battista Piranesi, 1761 Piranesi, Giovanni Battista, Della Magnificenza The
