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San Lorenzo Torino GUARINO GUARINI SAN LORENZO TORINO SAN LORENZO 1668-1687 von GUARINO GUARINI 1624-1683 San Lorenzo in Turin von Guarino Guarini Studienarbeit im Fach Baugeschichte an der TU Braunschweig Institut für Baugeschichte Prof. Dr. H. Thies SS 2001 Christoph A. Dausel Inhaltsverzeichnis A Einleitung ............................................................................. 5 B Hauptteil .............................................................................. 7 1 Umfeld 1.1 Bauherr, zeitlicher Kontext ................................................................................. 7 1.2 städtischer Kontext............................................................................................ 8 1.3 Guarino Guarini............................................................................................ 10 1.4 Ordo Clericorum Regolarium - Chierici regolari ............................................... 14 2 San Lorenzo 2.1 Baugeschichte ............................................................................................... 17 2.2 Funktionale Bereiche - Organisation................................................................ 19 2.3 Figuren - Elementgruppen............................................................................... 20 2.4 Aufriss........................................................................................................... 29 2.5 Geometrie..................................................................................................... 30 2.6 Licht.............................................................................................................. 31 2.7 Fassade......................................................................................................... 33 2.8 Materialien.................................................................................................... 36 2.9 Statisches System ........................................................................................... 38 3 Einordnung in den historischen Kontext 3.1 Maurische Architektur - staufische Architektur ................................................... 41 3.2 Antike - Renaissance ...................................................................................... 43 3.3 Michelangelo, Borromini ................................................................................ 44 3.4 Frankreich ..................................................................................................... 46 3.5 Guarinis Bauten............................................................................................. 47 3.6 Piemont - Vittone und andere.......................................................................... 50 3.7 Böhmen, Süddeutschland ............................................................................... 51 C Schluss............................................................................... 53 Anhang A Bibliographie ................................................................................................. 55 B Abbildungsverzeichnis..................................................................................... 57 C Tavola di Riscontro delle Antiche misure piemontisi col sistema metrico decimale 58 D Geschichtsdaten San Lorenzo.......................................................................... 59 E Öffnungszeiten San Lorenzo............................................................................ 59 F Zeitgenossen Guarinis.................................................................................... 60 5 Einleitung Guarino Guarini baute und entwarf im 17. Jahrhundert Bau- werke, welche als Höchstleistungen des Barocks gelten. Der Theati- nermönch Guarini trat 1666 in den Dienst der Fürsten von Savoyen, welche ihre Residenz in Turin aufgeschlagen hatten. Hier entwickelte Guarini die meisten Entwürfe seines Oeuvres, Turin sollte die frucht- barste Periode in seinem Schaffen werden. Neben der Kapelle SS. Sindone, dem Palazzo Carignano, das Collegio dei Nobili zeugt heute noch die Kirche San Lorenzo von Guarinis Wirken. Im Jahre 1668 wurde Guarini mit der Kirche San Lorenzo beauftragt, der Grundstein dieses als Palast- und Klosterkirche zu verstehenden Bauwerks wurde bereits vor Guarini gelegt. Der Bau wurde 1687, vier Jahre nach dem Tod von Guarini, vollendet. San Lorenzo kann dennoch uneingeschränkt als Werk Guarinis angese- hen werden, wie unter anderem in dieser Arbeit ausgeführt wird. Die Umstände der Entstehungsgeschichte von San Lorenzo, das zeitliche und städtebauliche Umfeld, die Einflüsse seiner Berufung als Mönch und sein theoretisches Schaffen werden im ersten Teil beleuchtet. Der zweite Teil befasst sich mit einer Betrachtung des Bauwerks selbst, das komplexe System wird unter verschiedenen Gesichtspunkten analysiert, der Schwerpunkt der Betrachtung liegt hierbei auf den Hauptmotiven des Entwurfs von San Lorenzo. Im dritten Teil wird der Einfluss vorangegangener Bauwerke auf die Gestalt von San Lorenzo analysiert und die Wirkung dieses Bauwerks auf die spätere Architek- tur im näheren und weiteren Umkreis untersucht. Die vorliegende Arbeit hat nicht den Anspruch, das Bauwerk bis in alle Einzelheiten restlos zu erfassen und zu beschreiben. Vielmehr soll anhand der Erklärung von Grundzügen des Entwurfs das Ver- ständnis für diese Eine der originellsten Kirchen Guarinis geschärft werden. 5 7 A Hauptteil 1 Umfeld 1.1 Bauherr, zeitlicher Kontext Als Inbegriff des italienischen Barock galt lange Zeit der römische Barock. Die Würdigung zeitlich nachgeordneter aber ebenso bedeu- tender Werke dieser Epoche außerhalb des Epizentrums von Miche- langelo, Bernini, Borromini war dem 20. Jahrhundert vorbehalten.1 1563 verlegte der Savoyer Emanuele Filiberto seine Residenz in die bis dahin unbedeutende Landstadt Turin. Turin wurde somit zur capitale des zwischen den Großmächten Frankreich und Habsburg gelegenen Herzogtums Savoyen. Der Emanzipationsprozess des einst in seperate Herschaftsgebiete geteilten Piemont - Savoyens zeichnete sich durch folgendes aus: familiäre Beziehungen zu Paris, das Stre- ben nach Unabhängigkeit von dieser Großmacht und daraus resul- tierende bürgerkriegsähnliche Unruhen; Annäherungsversuche an die spanische Linie der Habsburger in Mailand und später an Wien (Prinz Eugen von Savoyen – Carrignano). Dieser Aufstieg endete in der Gründung des Königreichs Italien durch den Savoyer Vittorio Emamuele II. Ganz nach dem Vorbild Frankreichs, suchte der abso- lutistische Adel auch in Turin seine Geltung durch entsprechende Bauten zu bestätigen. 1 Zeitgenössische Darstellung des Hofstaats Neben den verschiedenen Schlachten, welche durch den Adel 1 Burckhards Cicerone kommt ohne die Beschreibung ausgefochten wurden, kennzeichneten die gegenreformatorischen des Piemonts und seiner Bauten aus. Erste Betrachtun- Bemühungen der römisch – katholischen Kirche das Zeitgeschehen. gen stellt Erich Brinckmann in: Theatrum Pedemonti: Auch hier waren es die Bauwerke, welche den Geltungsanspruch Ideen, Entwürfe und Bauten von Guarini, Juvarra, verdeutlichten sollen. Einen wesentlichen Beitrag hierzu leisteten die Vittone wie anderen bedeutenden Architekten des piemontesischen Hochbarocks. Düsseldorf: Schwann, Bauten der neuentstanden Glaubensgemeinschaften, unter welchen 1931 an. die Jesuiten und die Theatiner die führenden werden sollten. 7 Adel und Klerus waren die gestaltenden Kräfte dieser Zeit; familiäre Beziehungen untereinander verflochten auch in Turin die Interessen beider Parteien. In diesem Zusammenhang ist es nicht verwunderlich, dass San Lorenzo genaugenommen dreierlei Zwecke erfüllen musste. Zum ersten war sie die Klosterkirche der casa der Theatiner in Turin, zum zweiten diente sie als Hofkirche des Fürsten- hauses Savoyen und war darüberhinaus als Votivkirche, dem Sieg über die Franzosen gewidmet. 1.2 städtischer Kontext Turin weist wie viele italienische Städte im Zentrum einen recht- winklig organisierten Kern auf, der auf die Anlage des antiken Cast- rums (Cardo und Decumanus) zurückgeht.2 Ab 1563 Hauptstadt des savoyischen Territoriums wurde Turin schließlich 1714 Residenzstadt des Königreiches Sardinien-Piemont, von 1861 – 65 Hauptstadt des Königreichs Italien.3 Diese Entwicklungsschritte hatten mehrere Erweiterungen zur Folge (Abb.: 2). Das verbindliche Raster des Kerns aber wurde fortgesetzt. Der östliche Stadteingang der Decumanus war durch die Porta Praetoria gesichert, welche im Zuge der Zeit schließlich zur Residenz (Castello d’Acaja) ausgebaut wurde, ihr heutiges Gesicht erhielt sie durch Juvarra und wird zugleich als Palazzo Madama bezeichnet. Sie steht inmitten des Platzgefüges von Piazza Castello und Piazza Reale; eine Absperrung in Form eines gusseisernen Zaunes (padiglione) trennt den einst adeligen Stadtraum von dem öffentlichen Platz. Für die Lage von San Lorenzo war für die Wahl des Bauplatzes 2 Entwicklungsstufen Turins 1600 - 1620 - 1714 die unmittelbare Nähe zum Palazzo Reale von ausschlaggebender Bedeutung. Dies war in erster Linie Ausdruck der besonderen Bezie- hung der Theatiner zum Fürstenhaus der Savoyer, aber sicherlich auch von praktischer Bedeutung. Die Wege für den Hofstaat zur 2 noch heute lässt sich diese röm. antike Stadtanlage Kapelle, sowie der Weg der Hoftheologen zu ihren Schülern wurden ablesen, die der ursprünglich keltischen Siedlung dadurch verkürzt, die Kontakte dadurch intensiviert.4 aufgeprägt wurde. (s. a.: Schomann, Heinz: Westliches Oberitalien. Darmstadt: Wissenschaftliche Buchgesell- Genau dort wo der Padiglione auf die Westseite der Platzfas- schaft, 1987) saden
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