society not through empty political symbols but in long lasting structural

Society not through empty political symbols but in

This preview shows page 101 - 104 out of 280 pages.

society not through empty political symbols but in long-lasting structural modernizations that connected with the historical city in graceful and useful ways. turin Napoleon’s operations in Turin exemplified the effective symbiosis of modernity and tradition in Italy under his aegis.Turin, the Savoy monarchic capital, was thoroughly demilitarized by Napoleon.The city walls were dismantled within a year and public promenades planned by the local architect Ferdinando Bonsignore. Migration to Turin from the countryside caused the population to leap to seventy thousand, requiring serious consideration of the city’s infrastructure.Turin was already endowed with an efficient grid pattern of streets, the inheritance of its ancient Roman military castrum .The city planning commission on which Bonsignore sat developed a proposal in 1808 for an extension of this grid while introducing public gardens and a pleasant variety of geometric 101 the challenge of tradition, 1750–1900
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the architecture of modern italy 2.8 Giuseppe Frizzi, Piazza Vittorio Emanuele I,Turin, 1825–29; with Claude La Ramée Pertinchamp, Ponte Vittorio Emanuele, 1810; and Ferdinando Bonsignore, Church of La Gran Madre di Dio, 1818–31
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piazzas at the principal points of entry to the city.As in Napoleonic Paris, street names were registered, house numbers assigned, and clear building codes established. French military engineer Claude La Ramée Pertinchamp built Turin’s first stone bridge over the Po in 1810, attracting urban expansion to the riverbank. Even after the departure of the French, the restored Savoy king, Vittorio Emanuele I, continued Napoleonic city planning projects. It was thought that the king himself designed the broad rectangular piazza aligned on the French bridge. His edict defined the piazza’s perimeter and implemented tax breaks to individuals willing to build there, but only if they used a prescribed facade prototype.A decade later, the project, still lacking public interest, was revised by the city commission.The open space was reduced and the facades simplified by the city architect Giuseppe Frizzi. By the late 1820s construction was finished.The simple, decorous masses of the residential blocks exemplified the economy of Torinese urban solutions.The ground floor arcades, similar to Percier and Fontaine’s Rue de Rivoli buildings in Paris, perpetuate the long-standing Piedmontese tradition of continuous commercial space under cover. Despite this lineage, the Piazza Vittorio Emanuele bears the stamp of Napoleonic planning in the unprecedented scale of its conception and in its harnessing of private initiative in the creation of rational and uniform public space. Years later, Bonsignore completed the Church of La Gran Madre di Dio on the axis of the piazza. His design, refined in consultation with Luigi Cagnola, was an elaboration upon the Pantheon and commands the piazza’s vista. It stands, despite its dedication to the restored king, as a reminder of the literally broadened spatial consciousness with which Napoleon invested this city.
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  • Spring '17
  • Archt. De Veyra

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