The synagogues of TurinTrieste and Florence for example were all in exotic non

The synagogues of turintrieste and florence for

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tradition that buttresses the constructions of the Catholic faith.The synagogues of Turin,Trieste, and Florence, for example, were all in exotic, non-Western styles. Armanni and Costa elaborated on Babylo-Assyrian motifs that hearkened to a tradition older than Rome itself and seemed to trace a history back to the time of the Torah. Employing the prevalent historicist method, a “Jewish” architectural style was constructed from a range of appropriate pre-Roman sources.The synagogue rises from a centralized plan in a blocky ziggurat form up to its most salient feature, a square dome lined with aluminum.Antonelli had developed the image of a square dome for the original Turin synagogue and it became a fortuitous and distinctive motif for the Jewish community. The square dome, in counterbalance to the established Catholic images everywhere, helps to distinguish this alternative religious building at a glance. 253 the challenge of tradition, 1750–1900
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the architecture of modern italy 4.43 and 4.44 Osvaldo Armanni and Vincenzo Costa,Tempio israelitico, Rome, 1889–1904.Tiber island view; interior 4.45 Giulio de Angelis, Magazzini Boccioni,Via del Corso, Rome, 1886–90
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Rome was also opened to the new commercial building that had already marked the other cities of the peninsula. Giulio de Angelis built two remarkable structures in the heart of Rome.The city’s first galleria , the Galleria Sciarra of 1883, although of a modest scale, is very much in the spirit of Mengoni’s work in Milan, with slender iron columns and neo-Renaissance frescoes.A department store, the Magazzini Boccioni, also by de Angelis was built at a prominent site on the corner of the Via del Corso and the newly opened Via del Tritone, opposite the Palazzo Chigi.There, the architect broadly adapted the classical language of the palazzo to a new iron structure wrapped with a thin wall of stone. De Angelis was praised by his contemporaries for creating an imagery that confirmed Italian cultural identity in an evolving material and technological world. A new plan for Rome, spreading now far beyond the city’s ancient walls, was developed under the populist mayor Ernesto Nathan and ratified in 1909.Viviani’s inner-city arteries were here extended under the design direction of Edmondo Sanjust de Teulada. Beyond the city walls, Sanjust planned a ring road encircling the city that followed the curves of the natural topography. Elsewhere, such as in Prati, elegant radial boulevards were planned. Most importantly, the Sanjust plan thoroughly integrated green areas with Rome’s urban expansion and the concept of zoning for low-density garden city development and designated areas for major public building complexes. Before implementation of the plan began, the area north of Prati, the former piazza d’armi , or military drilling ground, was designated as a world’s fair site.The year 1911 marked the fiftieth anniversary of Italian national unity, and an international exhibition seemed an ideal way to celebrate the achievement. Mayor Nathan had turned down the invitation to host the Olympic Games of 1908
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  • Spring '17
  • Archt. De Veyra

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