Best Architecture & Design in Rome

Total Page:16

File Type:pdf, Size:1020Kb

Best Architecture & Design in Rome "Best Architecture & Design in Rome" Erstellt von : Cityseeker 4 Vorgemerkte Orte Museo d'Arte Ebraica "Ein Volk, das kämpft" Bei Besichtigung des Museums erhalten Sie auch Zutritt zur Synagoge. Zu den glanzvollen Exponaten gehören prunkvolle Kronen, Silbergegenstände und Thoras, Umhänge, die die Juden zum Gebet überziehen. In einer Abteilung ist eine Ausstellung über die Verfolgungen, die das jüdische Volk im Laufe von zwei Jahrtausenden erlitt. Zum by Public Domain Beispiel eine Kopie des päpstlichen Edikts aus dem 16. Jahrhundert, das den Juden die Ausübung verschiedener Tätigkeiten untersagte, und Zeugnisse aus den Konzentrationslagern der Nazi-Zeit. Die mächtige Synagoge neben dem Museum, die auf den Tiber blickt, wurde 1870 errichtet. Eintritt EUR4; Schulklassen EUR3 +39 06 684 0061 www.museoebraico.roma.i [email protected] Lungotevere Cenci, Tempio t/ Maggiore di Roma, Rom Museo dell'Ara Pacis "Museum for Peace Altar" The Ara Pacis Museum is one of the most beautiful museums in Rome, dedicated to the ancient Ara Pacis (Altar of Peace). The altar itself is from the year 9 B.C. The museum was designed by American architect Richard Meier, who created a wonderful space of light and shadow. The central pavilion holds the Ara Pacis, which is illuminated by natural light filtered by Public Domain through 500 square meters of glass. +39 06 0608 www.arapacis.it/ [email protected] Lungotevere in Augusta, a.it Rom Casa dell'Architettura "Art & Architecture" The Casa dell'Architettura came into being due to the efforts of the Municipality of Rome and the Association of Architects of Rome who recognized the need for an exclusive cultural space. Thus, this cultural space is now home to a variety of art events and festivities. Also, the venue seeks to further the cause of ancient and contemporary by Public Domain architecture and organizes events for the same. So, find a bevy of music concerts, exhibitions, literary meetings and conferences at this venue, alongside a passel of architectural conventions and discussions. Check website for more details. +39 06 9760 4598 www.casadellarchitettura.i [email protected] Piazza Manfredo Fanti 47, t/ Rom by _Pek_ National Museum of the XXI Century Arts (MAXXI) "Promoting Contemporary Creations" National Museum of the XXI Century Arts (MAXXI) stands with an aim to promote all the forms of contemporary art. This magnificent structure takes pride in housing the first national museum in architecture, housing all the products and documents involved in architecture as an entity. The MAXXI showcases artistic productions through conferences, documentaries, presentations of cinema and video series, concerts and dance performances. All in all, a great place that educates and enlightens every visitor, right from an art connoisseur to a layman. +39 06 3 2810 www.fondazionemaxxi.it/ [email protected] Via Guido Reni 4A, Rom (Reservations) Schließen Sie sich uns an bei: cityseeker.com Allgemeine Geschäftsbedingungen | DATENSCHUTZBESTIMMUNG | API | KONTAKT | Urheberrecht (COPYRIGHT) 2020 CITYSEEKER Powered by TCPDF (www.tcpdf.org).
Recommended publications
  • Domitian's Arae Incendii Neroniani in New Flavian Rome
    Rising from the Ashes: Domitian’s Arae Incendii Neroniani in New Flavian Rome Lea K. Cline In the August 1888 edition of the Notizie degli Scavi, profes- on a base of two steps; it is a long, solid rectangle, 6.25 m sors Guliermo Gatti and Rodolfo Lanciani announced the deep, 3.25 m wide, and 1.26 m high (lacking its crown). rediscovery of a Domitianic altar on the Quirinal hill during These dimensions make it the second largest public altar to the construction of the Casa Reale (Figures 1 and 2).1 This survive in the ancient capital. Built of travertine and revet- altar, found in situ on the southeast side of the Alta Semita ted in marble, this altar lacks sculptural decoration. Only its (an important northern thoroughfare) adjacent to the church inscription identifies it as an Ara Incendii Neroniani, an altar of San Andrea al Quirinale, was not unknown to scholars.2 erected in fulfillment of a vow made after the great fire of The site was discovered, but not excavated, in 1644 when Nero (A.D. 64).7 Pope Urban VIII (Maffeo Barberini) and Gianlorenzo Bernini Archaeological evidence attests to two other altars, laid the foundations of San Andrea al Quirinale; at that time, bearing identical inscriptions, excavated in the sixteenth the inscription was removed to the Vatican, and then the and seventeenth centuries; the Ara Incendii Neroniani found altar was essentially forgotten.3 Lanciani’s notes from May on the Quirinal was the last of the three to be discovered.8 22, 1889, describe a fairly intact structure—a travertine block Little is known of the two other altars; one, presumably altar with remnants of a marble base molding on two sides.4 found on the Vatican plain, was reportedly used as building Although the altar’s inscription was not in situ, Lanciani refers material for the basilica of St.
    [Show full text]
  • The Mythology of the Ara Pacis Augustae: Iconography and Symbolism of the Western Side
    Acta Ant. Hung. 55, 2015, 17–43 DOI: 10.1556/068.2015.55.1–4.2 DAN-TUDOR IONESCU THE MYTHOLOGY OF THE ARA PACIS AUGUSTAE: ICONOGRAPHY AND SYMBOLISM OF THE WESTERN SIDE Summary: The guiding idea of my article is to see the mythical and political ideology conveyed by the western side of the Ara Pacis Augustae in a (hopefully) new light. The Augustan ideology of power is in the modest opinion of the author intimately intertwined with the myths and legends concerning the Pri- mordia Romae. Augustus strove very hard to be seen by his contemporaries as the Novus Romulus and as the providential leader (fatalis dux, an expression loved by Augustan poetry) under the protection of the traditional Roman gods and especially of Apollo, the Greek god who has been early on adopted (and adapted) by Roman mythology and religion. Key words: Apollo, Ara, Augustus, Pax Augusta, Roma Aeterna, Saeculum Augustum, Victoria The aim of my communication is to describe and interpret the human figures that ap- pear on the external western upper frieze (e.g., on the two sides of the staircase) of the Ara Pacis Augustae, especially from a mythological and ideological (i.e., defined in the terms of Augustan political ideology) point of view. I have deliberately chosen to omit from my presentation the procession or gathering of human figures on both the Northern and on the Southern upper frieze of the outer wall of the Ara Pacis, since their relationship with the iconography of the Western and of the Eastern outer-upper friezes of this famous monument is indirect, although essential, at least in my humble opinion.
    [Show full text]
  • ROME : ART and HISTORY OPENAIR 2020-2021, 2Nd Semester Meeting 1 – 13.03.2021 the Eternal City
    University of Rome Tor Vergata School of Global Governance Prof. Anna Vyazemtseva ROME : ART AND HISTORY OPENAIR 2020-2021, 2nd semester Meeting 1 – 13.03.2021 The Eternal City 10 am – 5 pm :, The Palatine (Domus Augustana, Horti Farnesiani), Roman and Imperial Forums, The Colosseum, Vittoriano Complex, Musei Capitolini. 1 - 2pm:Lunch Meeting 2 – 20.03.2021 Introduction to the Renaissance 10 am – 5 pm: St. Peter’s Basilica, Vatican Museums (Sistine Chapel by Michelangelo, Stanze by Raphael). 1 - 2pm: Lunch Meeting 3 – 27.03.2021 Architecture and Power: Palaces of Rome 10 am – 5 pm: Villa Farnesina, Via Giulia, Palazzo Farnese, Palazzo Spada-Capodiferro, Palazzo della Cancelleria, Palazzo Mattei, Palazzo Venezia 1 - 2pm: Lunch Meeting 4 – 10.04.2021 Society, Politics and Art in Rome in XV-XVIII cc. 10 am – 5 pm: Santa Maria del Popolo, Piazza di Spagna, Barberini Palace and Gallery, Fon tana di Trevi, San Carlino alle Quattro Fontane, Sant’Andrea al Quirinale, Palazzo del Quirinale 1 - 2pm:Lunch Meeting 5 – 14.04.2021 The Re-use of the Past 10 am – 5 pm: Pantheon, Piazza di Pietra, Piazza Navona, Baths of Diocletian, National Archeological Museum Palazzo Massimo alle Terme. 1 - 2pm: Lunch Meeting 6 – 08.03.2021 Contemporary Architecture in Rome 10 am – 5pm: EUR district, MAXXI – Museum of Arts of XXI c. (Zaha Hadid Architects), Ara Pacis Museum. 1 – 2 pm: Lunch Proposals and Requirements The course consists of 6 open air lectures on artistic heritage of Rome. The direct contact with sites, buildings and works of art provides not only a better comprehension of their historical and artistic importance but also helps to understand the role of heritage in contemporary society.
    [Show full text]
  • Calendar of Roman Events
    Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th.
    [Show full text]
  • Ara Pacis (13-9 BCE) Architecture Published on Judaism and Rome (
    Ara Pacis (13-9 BCE)_Architecture Published on Judaism and Rome (https://www.judaism-and-rome.org) Ara Pacis (13-9 BCE)_Architecture Reconstruction of the Ara Pacis [1] Ara Pacis: frontal view [2] [3] Ara Pacis: side view [4] [5] Ara Pacis: side view [6] [7] Patron/Sponsor: Senate Original Location/Place: Rome: Campus Martius Actual Location (Collection/Museum): In loco Date: 9 BCE Material: Marble Page 1 of 4 Ara Pacis (13-9 BCE)_Architecture Published on Judaism and Rome (https://www.judaism-and-rome.org) Measurements: 11.6 m by 10.6 m by 3.6 m Building Typology: Altar Description: The Ara Pacis Augustae is a monumental altar. The altar, which is set on a four steps base, was sculpted in marble from Luna. The altar is surrounded by walls. There are two gates, the first located on the eastern wall and the other on the western one. Four Corinthian pilasters are set at the corners and at the doorways. The decoration on the exterior of the precinct walls is characterized by reliefs set on two registers. The lower register of the frieze consists in acanthus scrolls filled by small animals and birds. The upper part of the altar is decorated with garlands of fruits and leaves suspended between bucrania, or decorations shaped as oxen’s skulls, from fluttering ribbons. The loops made by the garlands are filled with free-floating paterae, or metal libation bowls. On the northern and southern walls, the upper register depicts the sacrfical procession of members of the imperial household, together with priests and lictors.
    [Show full text]
  • The Power of Images in the Age of Mussolini
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 The Power of Images in the Age of Mussolini Valentina Follo University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Follo, Valentina, "The Power of Images in the Age of Mussolini" (2013). Publicly Accessible Penn Dissertations. 858. https://repository.upenn.edu/edissertations/858 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/858 For more information, please contact [email protected]. The Power of Images in the Age of Mussolini Abstract The year 1937 marked the bimillenary of the birth of Augustus. With characteristic pomp and vigor, Benito Mussolini undertook numerous initiatives keyed to the occasion, including the opening of the Mostra Augustea della Romanità , the restoration of the Ara Pacis , and the reconstruction of Piazza Augusto Imperatore. New excavation campaigns were inaugurated at Augustan sites throughout the peninsula, while the state issued a series of commemorative stamps and medallions focused on ancient Rome. In the same year, Mussolini inaugurated an impressive square named Forum Imperii, situated within the Foro Mussolini - known today as the Foro Italico, in celebration of the first anniversary of his Ethiopian conquest. The Forum Imperii's decorative program included large-scale black and white figural mosaics flanked by rows of marble blocks; each of these featured inscriptions boasting about key events in the regime's history. This work examines the iconography of the Forum Imperii's mosaic decorative program and situates these visual statements into a broader discourse that encompasses the panorama of images that circulated in abundance throughout Italy and its colonies.
    [Show full text]
  • Attraction List
    ATTRACTION LIST Normal Adult FREE ENTRY WITH THE OMNIA CARD Entry Fee Sistine Chapel and Vatican Museum (skip the line) € 30.00 72-hour Hop-On Hop-Off Bus Tour € 32.00 Basilica Of St.John In The Lateran and the Cloister € 5.00 Carcer Tullianum € 10.00 Cloister of St. Paul’s Outside the Walls Basilica € 4.00 Normal Adult FREE ENTRY TO THE FIRST TWO ATTRACTIONS WITH THE ROMA PASS Entry Fee Colosseum + Roman Forum + Palatine Hill € 16.00 Castel Sant’Angelo € 15.00 Capitoline Museums € 11.50 Galleria Borghese € 13.00 FURTHER MUSEUMS / ARCHEOLOGICAL SITES ON THE ROMA PASS WITH DISCOUNTED ENTRY National Academy of Saint Luke (Free) Ancient Appian Way - Mausoleum of Cecilia Metella and the Castrum Caetani Ancient Appian Way – Baths of Caracalla Ancient Appian Way - Villa of the Quintili Rome Modern Art Gallery National Gallery of Ancient Art in Palazzo Barberini and Palazzo Corsini Spada Gallery National Gallery of Modern and Contemporary Art MACRO – Rome Contemporary Art Museum MAXXI - National Museum of 21st Century Arts Trajan’s Markets - Museum of the Imperial Forums Museums of Villa Torlonia Carlo Bilotti Orangery Museum in Villa Borghese (Free) Civic Zoology Museum Ara Pacis Museum Museum of Roman Civilization Museum of the Roman Republic and of the Garibaldian Memory (Free) Museum of the City Walls (Free) Casal de’ Pazzi Museum (Free) Rome Museum Rome Trastevere Museum Museum of Ancient Sculpture Giovanni Barracco (Free) Napoleonic Museum (Free) National Museum of Musical Instruments National Museum of Palazzo Venezia National Etruscan
    [Show full text]
  • From Seven Hills to Three Continents: the Art of Ancient Rome 753 BCE – According to Legend, Rome Was Founded by Romulus and Remus
    From Seven Hills to Three Continents: The Art of Ancient Rome 753 BCE – According to legend, Rome was founded by Romulus and Remus. According to Virgil, Romulus and Remus were descendants of Aeneas, son of Aphrodite. Capitoline Wolf, from Rome, Italy, ca. 500–480 BCE. Bronze, approx. 2’ 7 1/2” high. Palazzo dei Conservatori, Rome. The Great Empire: The Republic of Rome http://www.youtube.com/watch?v=yvsbfoKgG-8 The Roman Republic (Late 6th – 1st c. BCE) 509 BC- Expulsion of the Etruscan Kings and establishment of the Roman Republic 27 BC – End of the Republic - Augustus Becomes the First Emperor of Rome This formula is referring to the government of the Roman Republic, and was used as an official signature of the government. Senatus Populusque Romanus "The Roman Senate and People“ The Roman constitution was a republic in the modern sense of the word, in that the supreme power rested with the people; and the right to take part in political life was given to all adult male citizens. Although it was thus nominally a democracy in that all laws had to be approved by an assembly of citizens, the republic was in fact organized as an aristocracy or broad based oligarchy, governed by a fairly small group of about fifty noble families. Sculpture Roman with Busts of Ancestors 1st c. BCE-1st c. CE Roman Republican sculpture is noted for its patrician portraits employing a verism (extreme realism) derived from the patrician cult of ancestors and the practice of making likenesses of the deceased from wax death-masks.
    [Show full text]
  • Modern Currents Along the Tiber
    Forum / AIA Diane Ghirardo Modern Currents The American Institute of Architects Along the Tiber Committee on Design For many tourists, Rome enchants than only tourists. The national gov- with its quaint medieval and Renais- ernment has continued to spread like sance buildings and art, as well as its an octopus in the city center, recently treasures of imperial Roman antiquity, even taking over storage space at Bor- such as the Colosseum and the Pan- romini’s University of S. Ivo and theon. But there is also a modern threatening scholarly research in the Rome, dating to 1870, when the city public archives of pre-1870 Rome. became the capital of the newly uni- fied country. How this new city took The recent transformation of diverse shape raises provocative questions for buildings into museums has been architecture. How can a fundamen- relentless: The former Acquarium tally medieval and Renaissance city be (Ettore Bernich, 1883) is now a gallery transformed into a national capital? for contemporary art; the Montemar- How is it possible to fit new structures tini Museum (Francesco Stefanori, into an ancient city fabric? What is or 1997), the former power plant, is now should be the relationship between the sculpture gallery for the Capito- archaeological artifact and living city? line Museum; the former papal stables How have modern ideas on housing (Scuderie Papali) at the Quirinale are and urbanism provided decent envi- now a museum of modern art (Gae ronments for contemporary residents Aulenti, 2000). In each case, unused —or have they? structures were transformed into public settings for displays of art, A good place to start is with twenty some quite spectacularly.
    [Show full text]
  • 1. CV Vitti Last, 2020
    12, Via Oreste Regnoli, I-00152 Rome Paolo Vitti +39 3478907453 Curriculum Vitae Paolo Vitti Rome, December 2020 CONTENT Personal Information ......................................................................................................................................................................... 2 Higher Education .............................................................................................................................................................................. 2 Present Teaching Positions ................................................................................................................................................................ 2 Previous Teaching Positions .............................................................................................................................................................. 2 Fellowships and Grants ..................................................................................................................................................................... 3 Honors and Awards ........................................................................................................................................................................... 3 Publications ...................................................................................................................................................................................... 4 Authored books and dissertations .....................................................................................................................................................................
    [Show full text]
  • Pharaonic Egypt and the Ara Pacis in Augustan Rome
    Princeton/Stanford Working Papers in Classics Pharaonic Egypt and the Ara Pacis in Augustan Rome Version 2.0 September 2007 Jennifer Trimble Stanford University Abstract: This paper explores processes of cultural appropriation, and specifically Augustan visual receptions of pharaonic Egypt. As a test case, I consider the possibility of Egyptianizing precedents for the Ara Pacis, including the architecture of Middle and New Kingdom jubilee chapels. This requires looking at the Augustan interventions into the traditional temple complexes of Egypt, the transmission of imperial ideas about pharaonic Egypt to Rome, their uses there, and the role of pharaonic appropriations within a broader landscape of Aegyptiaca in Rome. © Jennifer Trimble. [email protected] 2 1. Appropriations1 The Ara Pacis Augustae is the product of a modern appropriation (fig. 1). Fragments were known from the sixteenth century and there was serious interest in the nineteenth, but the decisive intervention came under Mussolini in 1937-38, when the majority of the altar was excavated under the direction of Giuseppe Moretti in a spectacular feat of engineering that included freezing the groundwater at the site.2 The subsequent reconstruction presented a monument that was compellingly whole. Within a new pavilion designed for it by Vittorio Ballio Morpurgo, it could be visited and walked around, and its program and sculpture studied in detail. This splendid presence was coupled with a striking absence. The monument had been removed from its original location in the southern Campus Martius and was now reconstructed as the fourth side of the Piazzale Augusto Imperatore, the other three sides consisting of new buildings framing Augustus’ Mausoleum (fig.
    [Show full text]
  • Unit Diagram Unit: Lessons 1
    Rhetoric in the Monuments of Rome Unit Diagram Unit: Lessons 1. 11-12 Grade and AP students Rhetoric in the Lesson One: Analyzing the Monuments of Ancient Ara Pacis 2. 5-7 Class Periods Rome Lesson Two: Analyzing 3. Author: Claire Walter, the Roman Forum [email protected] 4. English, AP Language and Composition Overview The classical tradition of rhetoric fostered the skills of information discovery, information organization and information presentation. It traced its history from the great playwrights of Greece like Sophocles and Euripides through Greek philosophers such as Plato and Aristotle to the great Greek orators like Demosthenes. From there the development and use of rhetorical techniques passed on to Rome and Cicero. The physical spaces constructed during these time periods, because they served as public message boards and cultural expressions, employed the rhetorical styles, structures, and tenets of these early playwrights, philosophers and orators. The most dramatic use of monumental rhetoric occurred during the Roman Empire. Cicero, as the voice of the waning Roman Republic, and Augustus, in his rise as Emperor of Rome, employed rhetorical strategies and devices that were simultaneously reflected in the physical spaces around them. In studying the visual depiction of rhetoric in conjunction with written rhetorical forms, students will build visual frameworks for 1 | Page Page | 2 identifying rhetorical strategies and analyzing their use in both written and visual forms. Introduction The best remembered and most imitated orator of Rome was Marcus Tullius Cicero (106 to 43 B.C.). Cicero’s most remembered works, a set of three orations written in 63 B.C., were designed to root out the nefarious plot of Catiline to overthrow the Roman government.
    [Show full text]