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1568984383.Pdf The Architecture of Modern Italy SWITZERLAND AUSTRIA Italy 1750 Simplon Veneto Lombardy Belluno Gallarate Bergamo Possagno Monza Treviso Novara Brescia Verona Trieste Milan Venice Tur in Padua Mantua Piedmont Parma Ferrara Modena Genoa Bologna Liguria Faenza Carrara Pistoia San Marino Florence Urbino Livorno Ancona Tuscany Papal States ADRIATIC SEA Montalcino Follonica Perugia Elba Civitavecchia Tivoli Rome Subiaco Terracina Minturno Gaeta Caserta Naples Kingdom of Portici/Herculaneum Two Sicilies Amalfi SARDINIA Paestum TYRRHENIAN SEA Palermo The Architecture of Modern Italy Volume I:The Challenge of Tradition,1750–1900 Terry Kirk Princeton Architectural Press New York for marcello Published by Princeton Architectural Press 37 East Seventh Street New York,New York 10003 For a free catalog of books, call 1.800.722.6657. Visit our web site at www.papress.com. © 2005 Princeton Architectural Press All rights reserved Printed and bound in Hong Kong 08 07 06 05 5 4 3 2 1 First edition No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Project Coordinator: Mark Lamster Editing: Elizabeth Johnson, Linda Lee, Megan Carey Layout: Jane Sheinman Special thanks to: Nettie Aljian, Dorothy Ball, Nicola Bednarek, Janet Behning, Penny (Yuen Pik) Chu, Russell Fernandez, Clare Jacobson, John King, Nancy Eklund Later, Katharine Myers, Lauren Nelson, Scott Tennent,Jennifer Thompson, and Joseph Weston of Princeton Architectural Press —Kevin C. Lippert, publisher Library of Congress Cataloging-in-Publication Data Kirk,Terry. The architecture of modern Italy / Terry Kirk. v. cm. Includes bibliographical references. Contents: v. 1.The challenge of tradition, 1750–1900 — v. 2.Visions of Utopia, 1900–present. ISBN 1-56898-438-3 (set : alk. paper) — ISBN 1-56898-420-0 (v. 1 : alk. paper) — ISBN 1-56898-436-7 (v. 2 : alk. paper) 1.Architecture—Italy. 2.Architecture, Modern. I.Title. NA1114.K574 2005 720'.945—dc22 2004006479 Contents Acknowledgments . .9 Introduction . .10 Chapter 1 Architecture of the Italian Enlightenment,1750–1800 The Pantheon Revisited . .14 Rome of the Nolli Plan . .20 Alessandro Galilei and San Giovanni Laterano . .22 Nicola Salvi and the Trevi Fountain . .24 Luigi Vanvitelli and the Reggia at Caserta . .28 Fernando Fuga and the Albergo dei Poveri . .40 Giovanni Battista Piranesi . .47 Giacomo Quarenghi . .59 The Grand Tour and the Impact of Archeology . .62 Collecting and Cultural Heritage . .65 The Patronage of Pope Pius VI . .73 Giuseppe Piermarini and Milan in the Eighteenth Century . .77 Venice’s Teatro La Fenice and Conclusions on Neoclassicism . .83 Chapter 2 Napoleon in Italy,1800–1815 Napoleon’s Italic Empire . .86 Milan . .91 Venice . .98 Turin . .101 Naples . .105 Trieste . .107 The Neoclassical Interior . .110 Rome . .112 Napoleon’s Interest in Archeology . .120 Political Restoration and Restitution of Artworks . .123 Napoleonic Neoclassicism . .125 Chapter 3 Restoration and Romanticism,1815–1860 Giuseppe Jappelli and the Romantic Ideal . .126 Villa Rivalry:The Borghese and the Torlonia of Rome .136 Italian Opera Stage Design and Theater Interiors . .143 Antonio Canova’s Temple in Possagno . .147 Pantheon Progeny and Carlo Barabino . .153 Romanticism in Tuscany . .156 Alessandro Antonelli . .160 Construction in Iron . .166 Architectural Restoration of Monuments . .169 Revivalism and Camillo Boito . .176 Chapter 4 Unification and the Nation’s Capitals,1860–1900 Turin, the First Capital . .186 Florence, the Interim Capital . .190 Naples Risanata . .196 Milan, the Industrial Capital . .199 Cathedral Facades and Town Halls . .204 Palermo and National Unification . .217 The Last of Papal Rome . .219 Rome, the Capital of United Italy . .222 Monumental Symbols of the New State . .231 A New Urban Infrastructure for Rome . .241 A National Architecture . .246 Rome, a World Capital . .252 Bibliography . .260 Credits . .275 Index . .276 acknowledgments The author would like to thank by name those who supported the gestation of this project with valuable advice, expertise, and inspiration: Marcello Barbanera, Eve Sinaiko, Claudia Conforti, John Pinto, Marco Mulazzani, Fabio Barry,Allan Ceen, Nigel Ryan, Jeffery Collins, Lars Berggren, Elisabeth Kieven, Diana Murphy, Lucy 9 Maulsby, Catherine Brice, Flavia Marcello, and Andrew Solomon. Illustrations for these volumes were in many cases provided free of charge, and the author thanks Maria Grazia Sgrilli, the FIAT Archivio Storico, and the Fondazione Ente Cassa di Risparmio di Roma; the archives of the following studios:Albini Helg & Piva,Armando Brasini, Costantino Dardi, Mario Fiorentino, Gino Pollini, Gio Ponti, and Aldo Rossi; and personally the following architects: Carlo Aymonino, Lodovico Belgioioso, Mario Botta, Massimiliano Fuksas, Vittorio Gregotti, Zaha Hadid, Richard Meier, Manfredi Nicoletti, Renzo Piano, Paolo Portoghesi, Franco Purini, and Gino Valle. The author would also like to acknowledge the professional support from the staffs of the Biblioteca Hertziana, the Biblioteca dell’Istituto Nazionale di Archeologia e Storia dell’Arte, the Biblioteca Nazionale Centrale Vittorio Emanuele II, and the generous financial support of The American University of Rome. introduction “Modern Italy” may sound like an oxymoron. For Western civilization, Italian culture represents the classical past and the continuity of canonical tradition, while modernity is understood in contrary terms of rupture and rapid innovation. Charting the 10 evolution of a culture renowned for its historical past into the modern era challenges our understanding of both the resilience of tradition and the elasticity of modernity. We have a tendency when imagining Italy to look to a rather distant and definitely premodern setting.The ancient forum, medieval cloisters, baroque piazzas, and papal palaces constitute our ideal itinerary of Italian civilization.The Campo of Siena, Saint Peter’s, all of Venice and San Gimignano satisfy us with their seemingly unbroken panoramas onto historical moments untouched by time; but elsewhere modern intrusions alter and obstruct the view to the landscapes of our expectations.As seasonal tourist or seasoned historian, we edit the encroachments time and change have wrought on our image of Italy.The learning of history is always a complex task, one that in the Italian environment is complicated by the changes wrought everywhere over the past 250 years. Culture on the peninsula continues to evolve with characteristic vibrancy. Italy is not a museum.To think of it as such—as a disorganized yet phenomenally rich museum unchanging in its exhibits—is to misunderstand the nature of the Italian cultural condition and the writing of history itself.To edit Italy is to overlook the dynamic relationship of tradition and innovation that has always characterized its genius. It has never been easy for architects to operate in an atmosphere conditioned by the weight of history while responding to modern progress and change.Their best works describe a deft compromise between Italy’s roles as Europe’s oldest culture and one of its newer nation states.Architects of varying convictions in this context have striven for a balance, and a vibrant pluralistic architectural culture is the result.There is a surprisingly transparent top layer on the palimpsest of Italy’s cultural history.This book explores the significance of the architecture and urbanism of Italy’s latest, modern layer. This book is a survey of architectural works that have shaped the Italian landscape according to the dictates of an emerging modern state.The idea of Italy had existed as a collective cultural notion for centuries, but it was not until the late nineteenth century that Italy as a political state became a reality. It was founded upon the strength of the cultural tradition that brought together diverse regional entities in a political whole for the first time since antiquity.The architecture 11 and the traditions it drew upon provided images and rallying points, figures to concretize the collective ideal. Far from a degradation of tradition—as superficial treatments of the period after the baroque propose—Italy’s architectural culture reached a zenith of expressive power in the service of this new nation by relying expressly on the wealth of its historical memory. Elsewhere in Europe, the tenets of a modern functionalism were being defined, tenets that are still used rather indiscriminately and unsuccessfully to evaluate the modern architecture of Italy.The classical tradition, now doubly enriched for modern times by the contributions of the intervening Renaissance, vied in Italy with forces of international modernism in a dynamic balance of political and aesthetic concerns.An understanding of the transformation of the Italian tradition in the modern age rests upon a clarification of contemporary attitudes toward tradition and modernity with respect to national consciousness. Contemporary scholarship has demonstrated the benefits of breaking down the barriers between periods. Notions of revolution are being dismantled to reconstruct a more continuous picture of historical development in the arts.Yet our vision of modern Italian architecture is still characterized by discontinuities. Over the last fifty years, scholars have explored individual subjects from Piranesi to the present, and have contributed
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