While Italy continued to export its aesthetic expertise its new material

While italy continued to export its aesthetic

This preview shows page 166 - 169 out of 280 pages.

production at all.While Italy continued to export its aesthetic expertise, its new material technology was of foreign supply. Antonelli’s iron was imported from France but remained hidden behind his patriotic pursuit of masonry achievement. Iron took on a vaguely antipatriotic tinge. Iron construction was confined to new building types: railway stations, markets, and bridges. In 1832, Italy’s first iron suspension bridges were opened over the Garigliano River at Minturno north of Naples and, shortly thereafter, at the Calore River on the route south to Paestum.The rivers at Florence,Turin, and Rome were soon bridged quickly and easily with the new technology.The iron suspension links were in these cases hung from masonry pylons affecting more often than not Egyptian styling—papyrus columns or obelisks.The Neapolitan bridges were conceived by a local engineer, Luigi Giura, and made of locally produced material, but all the others were made on commission to French builders. 166 the architecture of modern italy
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the challenge of tradition, 1750–1900 3.20 Carlo Reishammer, Church of San Leopoldo, Follonica, 1838
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168 the architecture of modern italy Naples also led in railway construction, opening Italy’s first line in 1839 with service to Portici. Its two modest stations employed exposed iron in light canopies over the tracks. Milan’s first train station—providing service to Monza—was designed in 1840 by Giovanni Milani. It was typical of early stations, a hybrid mixture of iron construction over the tracks framed by service buildings that were classically dressed in the style of Piermarini. Longer-ranging rail lines were a rarity on the peninsula, divided at it was into separate states.Austrian reluctance to concede links to its territory stalled the construction of a railway viaduct bridge across the shallow lagoon out to Venice until 1846 (it was also built by Giovanni Milani). Meanwhile, there was no use of new iron technology on the Adriadic coast, in the deep south, or on the islands. Only Tuscany managed to establish a healthy iron industry, relying on a plant at Follonica that was conveniently situated halfway between its mineral supply (on the Isle of Elba) and its marketplace (Livorno). Grand Duke Leopoldo II provided support to reclaim the malarial swamps along Follonica’s coast and to renew its traditional foundries with the latest furnace technology from England. Production expanded quickly under the direction of Florentine-born architect Carlo Reishammer. Reishammer’s constructions in Follonica included a Palladian-style portal to the foundry, the Gothic filagree of the town’s clock tower, and the Church of San Leopoldo of 1838. Onto the rather plain masonry box of San Leopoldo, Reishammer riveted a deep porch made entirely of iron components. Inside, all the liturgical fixtures are of iron, from the pulpit to the Stations of the Cross.
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  • Spring '17
  • Archt. De Veyra

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