Hotel Principe Di Savoia

Total Page:16

File Type:pdf, Size:1020Kb

Hotel Principe Di Savoia MILAN HOTEL PRINCIPE DI SAVOIA One day itinerary: Shopping While Rome and Florence attract visitors for their historical sights, Milan is the place to go to shop for high fashion and Italian craftsmanship. From ancient arcades and classical boulevards to modern malls and concept boutiques, follow in the footsteps of the city’s well-heeled citizens with this one-day shopping itinerary. Start your shopping journey with a 20-minute walk, or a 10-minute taxi journey, from hotel to the streets of the Quadrilatero d’Oro. QUADRILATERO D’ORO 20121 Milan The Quadrilatero d’Oro is a district bounded by four main streets, where the best of high Italian fashion comes together in the heart of Milan. Discover the great Italian shoemaker Berluti on Via Sant’Andrea; explore the luxury offerings at the Via Montenapoleone Gucci flagship; or visit the Armani megastore on Via Alessandro Manzoni. Via Della Spiga is prettiest of all, with two Dolce & Gabbana boutiques. Take a 10-minute walk towards the Duomo di Milano and discover La Rinascente on Piazza Duomo. LA RINASCENTE T: 002 88521 | Piazza del Duomo, 20121 Milan Standing in the shadow of the magnificent Duomo cathedral in Milan’s Piazza Duomo, La Rinascente department store is an eclectic stop on a shopping day out. The upscale fashion, home and beauty store brings together high-end designers, contemporary brands and classic Italian names in one stylish space. Next, walk over to Galleria Vittorio Emanuele II, next door to La Rinascente. GALLERIA VITTORIO EMANUELE II Piazza del Duomo, 20123 Milan One of the world’s oldest shopping malls, Galleria Vittorio Emanuele II is an architectural masterpiece. Worth a visit for the experience alone, the arcade’s captivating glass ceiling draws shoppers’ gazes upward, while the rich haute couture offerings bring them back down. Prada and Versace take pride of place in the centre, while fashion, accessories and Italian goods boutiques line the arcade. The next stop, Antonia, is located a 10-minute walk away. The Dorchester, London | 45 Park Lane, London | Coworth Park, Ascot | Le Meurice, Paris | Hôtel Plaza Athénée, Paris Hotel Principe di Savoia, Milan | Hotel Eden, Rome | The Beverly Hills Hotel, Beverly Hills | Hotel Bel-Air, Los Angeles | Dubai (opening 2020) ANTONIA T: +39 02 8699 8340 Palazzo Cagnola, Via Cusani 5, 20121 Milan Antonia brings some of the world’s leading brands together under one roof. The multi-brand boutique located in the renovated 19th century Palazzo Cagnola, presents a tasteful selection of men’s and women’s clothing, curated by eponymous founder Antonia Giacinti, a respected Italian fashion influencer. Antonia also stocks a wide range of accessories, including shoes, bags and leather goods, to enable shoppers to complete their new looks. On your way back to the hotel, explore Brera, the district in which Antonia is located. BRERA 20121 Milan The bohemian neighbourhood of Brera is filled with art, antiques and one-of-a-kind trinkets. A fascinating place to explore when in Milan, it’s the place to go for independent boutiques, antiques stores and commercial art galleries. Highlights include antiques and art deco paradise Robertaebasta (Via Fiori Chiari 2), vintage store Cavalli E Nastri (Via Brera 2) and contemporary fashion haven Luisa Beccaria (Via Formentini 1). Hail a taxi to get back to Hotel Principe di Savoia in 10 minutes, or take a leisurely 20-minute walk. All journey times are approximate and subject to variation. The Dorchester, London | 45 Park Lane, London | Coworth Park, Ascot | Le Meurice, Paris | Hôtel Plaza Athénée, Paris Hotel Principe di Savoia, Milan | Hotel Eden, Rome | The Beverly Hills Hotel, Beverly Hills | Hotel Bel-Air, Los Angeles | Dubai (opening 2020).
Recommended publications
  • The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The
    The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí.
    [Show full text]
  • Commerce and Exchange Buildings Listing Selection Guide Summary
    Commerce and Exchange Buildings Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https:// www.gov.uk/government/publications/principles-of-selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide treats commercial buildings. These range from small local shops to huge department stores, from corner pubs to Victorian ‘gin palaces’, from simple sets of chambers to huge speculative office blocks.
    [Show full text]
  • 2008 Romanesque in the Sousa Valley.Pdf
    ROMANESQUE IN THE SOUSA VALLEY ATLANTIC OCEAN Porto Sousa Valley PORTUGAL Lisbon S PA I N AFRICA FRANCE I TA LY MEDITERRANEAN SEA Index 13 Prefaces 31 Abbreviations 33 Chapter I – The Romanesque Architecture and the Scenery 35 Romanesque Architecture 39 The Romanesque in Portugal 45 The Romanesque in the Sousa Valley 53 Dynamics of the Artistic Heritage in the Modern Period 62 Territory and Landscape in the Sousa Valley in the 19th and 20th centuries 69 Chapter II – The Monuments of the Route of the Romanesque of the Sousa Valley 71 Church of Saint Peter of Abragão 73 1. The church in the Middle Ages 77 2. The church in the Modern Period 77 2.1. Architecture and space distribution 79 2.2. Gilding and painting 81 3. Restoration and conservation 83 Chronology 85 Church of Saint Mary of Airães 87 1. The church in the Middle Ages 91 2. The church in the Modern Period 95 3. Conservation and requalification 95 Chronology 97 Castle Tower of Aguiar de Sousa 103 Chronology 105 Church of the Savior of Aveleda 107 1. The church in the Middle Ages 111 2. The church in the Modern Period 112 2.1. Renovation in the 17th-18th centuries 115 2.2. Ceiling painting and the iconographic program 119 3. Restoration and conservation 119 Chronology 121 Vilela Bridge and Espindo Bridge 127 Church of Saint Genes of Boelhe 129 1. The church in the Middle Ages 134 2. The church in the Modern Period 138 3. Restoration and conservation 139 Chronology 141 Church of the Savior of Cabeça Santa 143 1.
    [Show full text]
  • Romanesque Architecture and Arts
    INDEX 9 PREFACES 17 1ST CHAPTER 19 Romanesque architecture and arts 24 Romanesque style and territory: the Douro and Tâmega basins 31 Devotions 33 The manorial nobility of Tâmega and Douro 36 Romanesque legacies in Tâmega and Douro 36 Chronologies 40 Religious architecture 54 Funerary elements 56 Civil architecture 57 Territory and landscape in the Tâmega and Douro between the 19th and the 21st centuries 57 The administrative evolution of the territory 61 Contemporary interventions (19th-21st centuries) 69 2ND CHAPTER 71 Bridge of Fundo de Rua, Aboadela, Amarante 83 Memorial of Alpendorada, Alpendorada e Matos, Marco de Canaveses ROMANESQUE ARCHITECTURE AND ARTS omanesque architecture was developed between the late 10th century and the first two decades of the 11th century. During this period, there is a striking dynamism in the defi- Rnition of original plans, new building solutions and in the first architectural sculpture ex- periments, especially in the regions of Burgundy, Poitou, Auvergne (France) and Catalonia (Spain). However, it is between 1060 and 1080 that Romanesque architecture consolidates its main techni- cal and formal innovations. According to Barral i Altet, the plans of the Romanesque churches, despite their diversity, are well defined around 1100; simultaneously, sculpture invades the building, covering the capitals and decorating façades and cloisters. The Romanesque has been regarded as the first European style. While it is certain that Romanesque architecture and arts are a common phenomenon to the European kingdoms of that period, the truth is that one of its main stylistic characteristics is exactly its regional diversity. It is from this standpoint that we should understand Portuguese Romanesque architecture, which developed in Portugal from the late 11th century on- wards.
    [Show full text]
  • The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design
    The Aesthetics of Islamic Architecture & The Exuberance of Mamluk Design Tarek A. El-Akkad Dipòsit Legal: B. 17657-2013 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del s eu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos.
    [Show full text]
  • GOTHIC ADVENTURE Exploring the Gothic Style of Washington National Cathedral
    ABSTRACT A three-part program that is Common Core friendly and introduces architectural concepts and explores the relationship between gothic architecture, math, science, and art. Each lesson is about an hour. Worksheets and handouts are attached at the end of each lesson. GOTHIC ADVENTURE Exploring the gothic style of Washington National Cathedral 1 1 Gothic Adventure TABLE OF CONTENTS Introduction and Welcome………………………………………………………………ii Curriculum Standards…..………………………………………………………………..iii Part I: The Architectural Landscape………………………………………………....1-12 Part II: It’s Bigger on the Inside…….……………………………………..………..14-22 Part III: What’s in an image? ........………………………….……………………….24-36 Photo Credits…………………………………………………………………………….37 i Gothic Adventure Objectives: After completing the three-part Gothic Adventure lesson plan, students will be better able to a. Analyze their surroundings; b. Identify architectural forms of a Gothic cathedral; c. Explain how those features work together to create a desired effect; d. Communicate and share different perspectives; and e. Cite ways in which math, science, and art achievements of the past have influenced modern architecture through ratios, area, writing, comparing/contrasting, and hands-on activities. Audiences: 1. The primary audience of this program is fifth-grade students (ages 10-11). 2. Teachers may also benefit from the program as a preparatory tool for a visit to Washington National Cathedral or as a primer for teaching fundamentals of gothic architecture in the classroom. Welcome to Washington National Cathedral Washington National Cathedral offers educational materials to enrich the learning experiences of students across the country by helping them connect with engaging content through the art, architecture, and history of the Cathedral. The programs help fulfill the Cathedral’s mission of hospitality and education and are separate from the Cathedral’s religious mission.
    [Show full text]
  • The Elements of Local and Non-Local Mosque Architecture for Analysis of Mosque Architecture Changes in Indonesia
    The International Journal of Engineering and Science (IJES) || Volume || 7 || Issue || 12 Ver.I || Pages || PP 08-16 || 2018 || ISSN (e): 2319 – 1813 ISSN (p): 23-19 – 1805 The Elements of Local and Non-Local Mosque Architecture for Analysis of Mosque Architecture Changes in Indonesia Budiono Sutarjo1, Endang Titi Sunarti Darjosanjoto2, Muhammad Faqih2 1Student of Doctoral Program, Department of Architecture, Institut Teknologi Sepuluh Nopember (ITS), Surabaya, Indonesia 2Senior Lecturer, Department of Architecture, Institut Teknologi Sepuluh Nopember (ITS), Surabaya, Indonesia Corresponding Author : Budiono Sutarjo --------------------------------------------------------ABSTRACT---------------------------------------------------------- The mosque architecture that deserves to use as a starting point in the analysis of architectural changes in Indonesian mosques is the Wali mosque as an early generation mosque in Indonesia. As a reference, the architectural element characteristic of Wali mosque (local mosque) needs to be known, so that this paper aims to find a description of a local mosque (Wali mosque), and also description of architectural elements of non- local mosques (mosques with foreign cultural context) because one of the causes of changes in mosque architecture is cultural factors. The findings of this paper are expected to be input for further studies on the details of physical changes in the architectural elements of mosques in Indonesia. The study subjects taken were 6 Wali mosques that were widely known by the Indonesian Muslim community as Wali mosques and 6 non-local mosques that were very well known and frequently visited by Indonesian Muslim communities. Data obtained from literature studies, interviews and observations. The analysis is done by sketching from visual data, critiquing data, making interpretations, making comparisons and compiling the chronology of the findings.
    [Show full text]
  • The Secret Life of Shotengai
    THE SECRET LIFE OF SHOTENGAI PRATT INSTITUTE TOKYO STUDIO 2019 1 Nishi-Sando shotengai in Asakusa, Tokyo ACKNOWLEDGEMENTS This report was created in conjunction with the Land Use and Urban Design Studio: Tokyo, a graduate level City and Regional Planning studio course in the Pratt Institute’s Graduate Center for Planning and the Environment. The opportunity to travel to Japan to conduct this research was made possible through financial support from the School of Architecture. We would like to thank: Jonathan Martin, Ph.D., AICP, for his guidance during the course and urban form recommendations and thoughts. Assistant Professor Alexa Fabrega for her coordination with locals and translations of conversations as well as the survey in this research and insight into the retail mix of shotengai. Anonymous survey respondents for the insight into local Japanese culture and the functionality of shotegnai. Students of the Tokyo Studio for their thoughts surrounding this research. Koichiro Tamura for his insight into Kyoto City nightlife and history. 2 3 AUTHORS TABLE OF CONTENTS CAROLINE BUCK INTRODUCTION 06 M.S. Urban Placemaking & Management candidate LITERATURE REVIEW 07 ELIZABETH HOREN METHODOLOGY 15 M.S. City & Regional Planning candidate SHOTENGAI MAP 34 JOSIE MATTESON PATTERNS M.S. City & Regional Planning candidate 38 SHOTENGAI OBSERVATIONS 44 YANXIN MAO M.S. Sustainable Environmental Systems candidate ANALYSIS 82 CONCLUSION 94 4 5 INTRODUCTION FORM, CHARACTERISTICS, + CULTURAL SIGNIFICANCE OF SHOTENGAI Shotengai (商店街) are defined as “shopping streets” or on defining a perspective of success that considers the value of Shotengai are small or medium sized commercial corridors “shopping districts.” While this term seems broad according place as it relates to supporting communities.
    [Show full text]
  • Medieval Christendom
    Chapter 9 MEDIEVAL CHRISTENDOM • The complexities of Early Medieval civilization reflect its origin in the turbulent centuries following the death of Charlemagne in 814. • Charlemagne’s empire began to crumble internally a decade before his death. • The empire also came under attack from the Muslims from Spain and the Vikings in the North. • In 911, the king of the western Franks granted territorial rights to a Viking band who had settled in the area, now known as Normandy, with their leader given the title of duke and baptized a Christian the next year. • Germany and France began to take shape under their own ruling houses and to develop individual cultures. • Monasticism developed organically acquiring the importance of a supranational force. Key Terms: rune stone pilgrimage Gothic Ottonian tympanum fresco westwork Romanesque Tres Riches Heures Learning Objectives: • The importance of churches and how they changed throughout the Middle Ages. • The representation of Christ in northern Europe. • The emergence of churches in Romanesque and Gothic periods. • The importance of the pilgrimages socially and for the Church. • The use of art outside the Church. Cross of Gero (fig. 9.1) • The early Christians had depicted Christ as healer, teacher, law-giver, or judge. • For them the cross was a symbol of triumph over death. • Byzantine artists sometimes depicted the cross after the Iconoclastic period, but always with a restrained and dignified remoteness stressing its sacramental significance. Page 83 • This presentation of Christ as a degraded, humiliated, suffering god in human form was something that did not start until the Middle Ages. • The image here has no precedent as it illustrates Christ exhausted by physical pain and torment, stomach bulging, head slumped forward with eyes closed and mouth very slightly open.
    [Show full text]
  • The Iron-Glass Roof of the Milan Gallery Vittorio Emanuele II: Knowing the Past, Understanding the Present and Preservation for the Future
    Structural Studies, Repairs and Maintenance of Heritage Architecture XIV 75 The iron-glass roof of the Milan Gallery Vittorio Emanuele II: knowing the past, understanding the present and preservation for the future I. Stoyanova Department of Architecture and Urban Studies, Polytechnic University of Milan, Italy Abstract Past research discussed the genesis of the Milan Gallery Vittorio Emanuele II and its importance as an emblematic example of 19th century glazed arcades. The iron-glass cover was hailed as a significant technological accomplishment at the time. Previous personal studies highlighted the reinforcing system which integrated the iron roof into the surrounding masonry structures and the glazing system as characteristic technological aspects which were closely related to the monumental vocation of the Gallery and survived until the present day. This paper deepens the knowledge on the reinforcing and the glazing systems respectively as solutions for lateral thrust management and as a complex of glazing techniques which obtained architectural value in the case of the Gallery. The introduction outlines the complex Gallery genesis in relation to its monumental vocation. The paper then explains the elements and the logic of the two systems in view of the 19th century building practice. Next, these studies argue that the roof reconstruction after the Second World War conserved the primary roof system and improved the long-term performance of the original glazing technology with technical alterations such as dilatation joints and trapezoidal laps instead of triangular ones. The paper also documents the present- day state of the reinforcing and glazing systems and discusses which aspects complied with the original technology and which were introduced in the post- war reconstruction.
    [Show full text]
  • Walking and Representation in Nineteenth-Century Paris
    Wesleyan University The Honors College Walking and Representation in Nineteenth-Century Paris by Jesse Coburn Class of 2009 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors from the College of Letters Middletown, Connecticut April, 2009 Contents Acknowledgements………………………………………………………………..1 Introduction....……………………………………………………………………..2 1. Transitional Spaces: Le Père Goriot, the Flâneur and the Arcade………………...…………..……………………...13 2. Concept City / / Dream City: Haussmann and Baudelaire…………………………………….……………..38 3. The Capital as Commerce: Au Bonheur Des Dames………………………………………………………67 Epilogue………………………………………………………………………….89 Bibliography……………………………………...…………………..……….....93 Notes……………………………………………………………………………..96 i Acknowledgements First, I wish to thank the faculty of the College of Letters for fostering my intellectual endeavors over the past three years. I would also like to acknowledge the donors of the College’s Lankford Fund, whose generosity greatly facilitated my research. I owe special thanks to my advisor, Kari Weil, for both introducing me to the subject and guiding me through my research and writing for the past year and a half. Without her direction and encouragement, this project would have been impossible. I would like to express my gratitude to the Columbia University Special Collections Library, as well as to the Bibliothèque Historique de la Ville de Paris, for generously opening their archives to me. Of the numerous friends who have helped with this project, special thanks are due to Karina Maravelias, Mike Litwack, Emma Teitelman and Kacey Wochna for reading and critiquing portions of the manuscript, and to William Krieger for his last minute assistance. I am greatly indebted to Margot Jayle, who introduced me to the city.
    [Show full text]
  • The Changing Design of Shopping Places
    The Changing Design of Shopping Places From the palatial department SHOPPING IS an interaction between a marketing strategy and the store to the no-frills power design of the shopping place. The envi- ronment is an integral part of the retail center, design plays a key role equation, as important as the way that goods are marketed. Sometimes changes in retailing environments. in shopping are driven by environmental innovations, sometimes by innovations in strategy, and sometimes innovations occur in both realms at once. The only constant is change, for retailing, more than other sector of commercial real estate, is particu- larly susceptible to fashion. Whatever attracts consumers one year may repel them the next. WITOLD RYBCZYNSKI 34 ZELL/LURIE REAL ESTATE CENTER ARCADES AND GALLERIES the glass roofs meant that shops usually sold expensive goods, and most arcades For centuries, the design of shops was rel- were located in fashionable districts such as atively static. Shops were small, usually Piccadilly. A number of arcades were built owner-operated, and though the shop- in American cities such as Philadelphia, window is a venerable device, displays of New York, Cleveland, and Providence. goods inside the shop were minimal. In The grandest arcades, such as those in many cases, manufacturing occurred in a Berlin, Moscow, and Naples, were referred back room. Since the shopkeeper generally to as galleries. The Galleria Vittorio owned the building, in which he also lived, Emanuele II in Milan, built in 1865–67, a shoemaker’s shop or a bakery combined has an extremely tall and ornate interior, retail, workshop, and residential.
    [Show full text]