The simultaneity of historical styles is a distinct feature of the Casinos

The simultaneity of historical styles is a distinct

This preview shows page 132 - 136 out of 280 pages.

Gioachino Rossini.The simultaneity of historical styles is a distinct feature of the Casino’s experience. Jappelli and his decorators ranged freely through a variety of historical material. Like Jappelli’s gardens, the Casino interiors lead us into a synchronic event for the sensations, an exploration of a new category of aesthetic expression with an enchanting effect upon the imagination.The Casino rooms were inaugurated in 1842 with a congress of Italian scientists presided by Cittadella-Vigodarzere, who praised the place for its 132 the architecture of modern italy
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the challenge of tradition, 1750–1900 3.3 and 3.4 Giuseppe Jappelli, Caffè Pedrocchi, Padua, 1826–31. Ground floor and upper floor plans; interior view 3.5 Giuseppe Jappelli, Caffè Pedrocchi and “Il Pedrocchino,” Padua, 1837–39
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balance of artistic fantasy and applied technology.A social club was formed to manage the Casino’s many activities. Like the caffè clientele below, the club membership cut across class lines. The stabilimento continued to grow, and in 1837 a neighboring property was acquired to house an annexed pastry shop,“il Pedrocchino.”This is said to be Italy’s first major building of the Gothic revival. Jappelli’s sources were both Venetian and Elizabethan, references he had assimilated through publications as well as a trip to England. (In 1836 he had been sent to England to shop for train locomotives for the chamber of commerce.) The Pedrocchino was designed simultaneously with the casino interiors to which it is linked by a bridge and a Gothic reading room. Selvatico as the city supervisor explained the unexpected use of Gothic here on formal and functional premises: the tiny plot would not have allowed for the symmetry of the classical, only an agile Gothic verticality.What was the point, asked Selvatico, of “refrying Palladio or Quarenghi, or adapting ancient forms sometimes to buildings whose purpose the ancients would not have known.” Selvatico claims that both the Pedrocchi and the Pedrocchino, two structures in different styles built at the same time, by the same architect, at the same place, demonstrate the guiding logic of forms reconciled with functions. At the end of his life, Jappelli returned to Venice to assist in his native city’s problematic modernization with studies for a railway viaduct, marsh reclamation, and a mechanized, floating port depot. He was among the few who had the technological mind and preparation to propose such concrete contributions for an ailing Venice. He met with resistance from the ossifying academies of art of the region, and no biographer grasped the immensity of his talents.They were at a loss for words: he was “the Gessner of building,”“the Ariosto of landscape.” Cicognara called him un architetto e filosofo profondissimo . Romanticism, which rose as a cultural language across restored Europe, reassessed the roles of reason and intuition in the creative process.The era needed a philosopher-architect. Positivist Enlightenment progress manifest in Napoleon’s classical hegemony was called into question through the exploration of new aesthetic 134 the architecture of modern italy
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experiences of the sublime and the picturesque. In architectural
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  • Spring '17
  • Archt. De Veyra

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