and rambling spirit could imagine and its first visitors compared its bright

And rambling spirit could imagine and its first

This preview shows page 194 - 197 out of 280 pages.

and rambling spirit could imagine,” and its first visitors compared its bright and festive naturalness to the music of Rossini. Since the early Renaissance, Florentines had been climbing the hills to admire their city in vedute , and now Poggi programmed this experience in a novel contribution to the city’s structure, connected with omnibus service from the train station.At its most dramatic moment, the street rises to a panoramic overlook near the church of San Miniato, with the entire city spread out for the eye in one sweeping vista.The self-referential nature of this viewing experience is accentuated by the dedication of the piazza overlook to Florence’s revered native son, Michelangelo.A loggia was designed to display casts of his sculptures, as at Canova’s shrine.A bronze David stands at the center of the piazza, a full-sized version of the souvenir simulacra sold to the tourists in stalls beneath it.As with so many other projects of the period, Poggi’s shrine to Michelangelo demonstrated a collective cultural policy to make Florence more demonstrably Florentine. 194 the architecture of modern italy
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The renewal of the old marketplace reiterated this idea.The area between the Via dei Calzaiuoli and Palazzo Strozzi around the Mercato Vecchio, once the Jewish ghetto, had been a concern of the Ufficio d’Arte since 1860. Not until the market could be moved to a new structure elsewhere could new planning begin.A commission sent in to study the sixteen city blocks found only misery and squalor. Noting concerns of hygiene and cultural prestige (fears of moral lassitude and political unrest were unspoken), the commission initiated a process it called risanamento , or curing, of the center.A dozen proposals for rebuilding the area were displayed in local shop windows, a perfectly suggestive frame for the bourgeois initiative. There was no discussion of restoration of the architecture. Most designs cleared away everything for new constructions and new configurations. In the end, only a handful of structures of artistic interest were saved, some shifted to new locations. In 1889, before the city had made any decisions, an equestrian monument of King Vittorio Emanuele II was placed at the center of the area.The final plan, by Mariano Falcini, called upon lingering memory of an ancient forum somewhere underneath his rectified street grid.The architecture, like that of the Via dei Calzaiuoli, was grand and confident in execution—keyed to the now national tenor of building in Italian cities. Although the capital was soon transferred elsewhere, the remaking of Florence was nearly complete.Anchored in a cultural prestige it would never lose, Florence was nonetheless denied the economic base the presence of the government offered, and local building contractors went bankrupt in 1878.The bronze of Michelangelo’s David and the equestrian statue of Emanuele II were symbolic gifts from the state to assure the city’s economic rescue. 195 the challenge of tradition, 1750–1900
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naples risanata
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  • Spring '17
  • Archt. De Veyra

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