was an innovative work for Rome a reinforced concrete structure that spanned

Was an innovative work for rome a reinforced concrete

This preview shows page 259 - 261 out of 280 pages.

was an innovative work for Rome, a reinforced concrete structure that spanned the river in one low and elegant arch. It was conceived by the French engineer François Hennebique, using his patented construction system.The bridge gave access to the Italian ethnographic displays. Marcello Piacentini, son of Pio, designed the central architectural setting that consisted of a triumphal arch entrance from the bridge that led into a sweeping arcaded space called the “Forum of the Regions.”The open space culminated in a colossal festivities hall covered with a high, square dome.The correspondence of Piacentini’s design to the Vatican complex nearby was an unmistakable response to the mayor’s frank declaration of the fair as a secular equivalent to ecclesiastical celebrations. Following the precepts of his father’s generation, Marcello Piacentini amalgamated a national imagery in a culmination of Roman classicism. All around rose the pavilions erected by the fourteen regions of the peninsula.They presented fusions of elements from famous architectural works that constituted the “classical” models of their cultures: the Umbrian pavilion was a free interpretation of Perugia’s Palazzo del Popolo; Emilia-Romagna’s, a mixture of the d’Este Castle at Ferrara, the Palazzo Bentivoglio of Bologna, and the Tempio Malatesta of Rimini. Over forty individual Italian ethnic groups were represented in smaller dioramas Once Italy had been made, its architecture was called upon to make Italians.The Enlightenment of the eighteenth century invested architecture with the power of moral reform, and Romantic thought focused this reform on the goal of national unification. In Rome, the representational role of architecture was paramount in the shaping of a collective identity.The power of these architectural instruments of persuasion relied upon the inheritance of an indigenous classicism in which artistic, civil, and national identities were indissolubly united.The collective memory of the new nation was shaped efficiently by the capital’s monumental architecture. 259 the challenge of tradition, 1750–1900
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general texts 1898 Willard,Ashton, History of Modern Italian Art (Longmans and Green, New York). 1956 Lavagnino, Emilio, L’arte moderna dai neoclassici ai contemporanei, Storia dell’Arte Classica e Italiana vol. 5 (Unione Tipografico,Turin). 1960 Maltese, Corrado, Storia dell’arte in Italia, 1785–1943 (Einaudi,Turin). 1964 De Fusco, Renato, L’idea di architettura, Storia della critica da Viollet-le-Duc a Persico (Communità, Milan). 1966 Meeks, Carroll, Italian Architecture, 1750–1914 (Yale University Press, New Haven). 1975 Patetta, Luciano, L’architettura dell’eclettismo, Fonti, teorie, modelli, 1700–1900 (Marzotta, Milan). 1977 Sica, Paolo, Storia dell’urbanistica, L’Ottocento (Laterza, Bari/Rome). 1978 De Guttry, Irene, Guida di Roma moderna dal 1870 ad oggi (De Luca, Rome).
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  • Spring '17
  • Archt. De Veyra

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