Tonnini an amateur painter directed his chosen architect Francesco Azzurri to

Tonnini an amateur painter directed his chosen

This preview shows page 216 - 218 out of 280 pages.

refashioning of their featureless city hall.Tonnini, an amateur painter, directed his chosen architect, Francesco Azzurri, to supply only rough sketches that looked very much like Verdi’s opera sets. Local craftsmen were given considerable latitude to interpret these images in a kind of cooperative design process.The original building was eventually entirely dismantled in 1884 and every single nondescript stone was replaced with a new, medievalized one.Though people called it a “restoration,” the reality was that it was a wholly concocted invention, a simulacrum of a medieval governing seat that never was. By the 1940s, the entire city center had been remedievalized according to the stylistic lead established by the Palazzo Pubblico. Today, the proud citizens of San Marino think it has been like this for as long as anyone can remember. 216 the architecture of modern italy
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palermo and national unification In contrast to many other Italian cities, Palermo enjoyed direct connections to European culture and trade, thanks to its coastal position, along with a well-developed entrepreneurial class. Its 1848 revolutionary government was one of the few to leave an indelible mark upon its city during that brief republican interlude—the broad “Strada della Libertà,” which extended beyond the city walls. (The restored Bourbons renamed the street.) When Garibaldi entered the city in May 1860, he established a commission to demolish fortification walls, plan traffic arteries, and build markets and workers’ housing.Architect Giovanni Battista Filippo Basile was nominated as the head of the new municipal development board in 1863; he had followed Garibaldi across Sicily, studying the island’s ancient architecture along the way. For King Vittorio Emanuele II’s entry into Palermo, he designed a triumphal arch, a Trajanic column, and a patriotic altar. Basile helped develop a master plan for Palermo with a rettifilo ,Via Roma, through the lower port area, but its implementation was delayed by corrupt city administrators with vested interests in an unregulated real estate boom. What Palermo lacked was prominent public buildings.As if to fend off an inevitable provincialism, given its peripheral location within the new nation, the Palermo city council decided to erect the country’s largest theater, the Teatro Massimo Vittorio Emanuele II.An international design competition was convened. Charles Garnier and Karl Friedrich Schinkel were invited to serve on the jury, but declined. In the end, the city fathers cajoled Gottfried Semper, who built the acclaimed Dresden Theater, Mariano Falcini of Florence, and local engineer Saverio Cavallari to serve on the three-person panel. Of the thirty-five entries, they chose one by Basile: “encouraging proof of an incredibly robust renewal of the arts,” according to Semper. Basile synthesized the century’s cumulative design experience with a grand columnar exterior that brings to mind Sicily’s ancient temples.The ample distribution and structural articulation of its spaces confirm a diligent study of Garnier and Semper. Iron was used in the construction of the central dome.The
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  • Spring '17
  • Archt. De Veyra

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