The grand dukes of Lorraine successors to the Medici also continued work at the

The grand dukes of lorraine successors to the medici

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apartments on the second floor, and a new grand staircase.The grand dukes of Lorraine, successors to the Medici, also continued work at the Church of San Lorenzo, asking Poccianti for a facade design that might conclude Brunelleschi’s unfinished exterior, plus a funerary chapel of their own and an expansion of the famous library in the cloister. Only the last project, a Pantheonic rotunda, was realized, Poccianti was also Tuscany’s prime engineer, and it was in this complementary role that he was sent to Livorno to design that port city’s aqueduct and cisterns. Representative of the endeavor is the monumental “Cisternone.” Rising above a severe portico of Tuscan columns an enormous half-dome structure open to the front holds back in its coffered concavity the mass of the water tanks behind. The large scale, austere forms, fine stone, and impeccable execution are entirely unexpected qualities for a work of such pure utility.The Pantheon’s dome is nowhere else so closely reproduced, but here vivisected like an abstract representation of the paradigm.The half dome recalls ancient fallen vaults, the Serapeum at Hadrian’s Villa, Palladian drawings of ancient baths, and motifs developed by Ledoux, 158 the architecture of modern italy
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the challenge of tradition, 1750–1900 3.12 Agostino Fantastici,Villa Il Pavone, Siena, 1825–35.Watercolor by Alessandro Maffei, 1841 3.13 Cosimo Rossi-Melocchi, Pantheon degli Uomini illustri, Pistoia, 1826 3.14 Pasquale Poccianti,“Il Cisternone,” Livorno, 1827–42
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all of which may have been suggested to Poccianti.The dome space is apparently inaccessible and functionless, and can be read only as a symbol, an absence, a poignant inverse to the volume of water behind. Poccianti’s formal language, like Barabino’s in Genoa, is rigorous to the point of abstraction. Unlike his Florentine architecture, Poccianti’s Livorno engineering explored a formal poetic language beyond the confines of former neoclassical doctrine and opened, even for engineering work, dynamic new possibilities of imagery. alessandro antonelli Alessandro Antonelli explored the intersection of architecture and engineering.As Turin’s top student, he won the university’s first Rome Prize in 1826. He gravitated to the lectures on applied geometry and construction at Rome’s new engineering faculty. Antonelli’s Roman credentials did not after all help much in the workaday atmosphere of Piemontese building, where he at first made only modest inroads.Among minor provincial church restorations, he distinguished himself in Turin with a series of apartment block constructions for developers in the area of Piazza Vittorio Emanuele I.At a time of sluggish and small-scale building,Antonelli wisely lent his ordered and rational manner to this modest bourgeois building type.Among his most popular was the Casa delle colonne of 1853, with its Doric trabeation and clear internal planning.A skeletal system permits an infinite extension of the composition and a variety of interior divisions for the various classes within. For the developer, Antonelli’s equations were clear: maximum return on the plot with minimal outlay of material.
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  • Spring '17
  • Archt. De Veyra

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