methodological mediation in the building type and was imitated by countless

Methodological mediation in the building type and was

This preview shows page 82 - 85 out of 280 pages.

methodological mediation in the building type and was imitated by countless others across Italy.The original aspiration of the palchettisti to make a theater “by its magnificence and by its size...superior to any other in Italy” has indeed been excelled by La Scala’s status today as a world-famous cultural institution. Piermarini brought the spirit of classicism to life in Milan. His role in the progress of Lombard architecture is comparable to Vanvitelli’s in Naples: giving rigor to the baroque with classical 82 the architecture of modern italy
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discipline.This was brought about through formal, constructive, and procedural clarification not only in architecture but also in decoration, urbanism, and education. Piermarini renewed Milan through the classical traditions while addressing its current needs to lift it to capital rank. venice’s teatro la fenice and conclusions on neoclassicism An overview of Italian architecture of the late eighteenth century testifies to the vigorous continuity of tradition combined with the innovations brought on by the Enlightenment.A glance to late- eighteenth-century Venice provides an idea of the classical renewal in architecture. In Palladio’s homeland, one needn’t think of a “neoclassicism” at all but of an unbroken tradition. Giannantonio Selva is a typical product of the Palladian heritage. Selva was a student of mathematics who traveled more widely than most in his day. From the ruins of Paestum to the gardens at Stowe, England, Selva was witness to the gamut of eighteenth-century cultural phenomena. His mental bank of images paid out in a career in theatrical scenography.When in 1787 the Venetian gentlemen’s club Nobile Società undertook the initiative to build yet another theater in that city, they held a competition and Selva won.A site was found in the city’s tight fabric at Campo San Fantin.There was hope of creating a new cultural center there. A competition program detailing the complex’s various functional requirements was published in 1789 and distributed through academies all across Italy, attracting dozens of projects.The Società members favored Selva, even though, as other competitors brought to their attention in a lawsuit, it did not fulfill the program requirements.The Teatro “La Fenice” was built from scratch in eighteen months and inaugurated on 16 May 1792.The exterior of the theater, confined as it is to a short end facing the small campo , has sober Palladian rhythms and is noteworthy in its rejection of 83 the challenge of tradition, 1750–1900
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extraneous surface decoration. Selva’s auditorium was modeled without apology on Piermarini’s La Scala, and again excellent acoustics and financial gain resulted.There are four levels of wooden-fronted palchi , instead of La Scala’s five, and broad box partitions to accommodate the local tradition of dining during a performance. La Fenice’s original interior decorations were neoclassical but lightened by a rococo touch, but they were altered, as was the custom, by each successive scenographer on staff.
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  • Spring '17
  • Archt. De Veyra

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