Boitos Lombard Romanesque was not a revival styleAn archeological return to the

Boitos lombard romanesque was not a revival stylean

This preview shows page 180 - 183 out of 280 pages.

Boito’s Lombard Romanesque was not a revival style.An archeological return to the fourteenth century would not, he warned, provide an architecture fit for modern needs. Instead, Boito proposed the rediscovery of the process of making style.A contemporary style would be born of the symbiotic relationship between the parte organica , the structure, the materials, the work’s disposition according to function, and the parte simbolica , the aesthetic considerations of decoration. In order to create the humus for the regeneration of Italian modern architecture, it would be necessary to strike a synthesis of utility and beauty.“When architects begin to follow scrupulously the demands of the architectonic organism,” Boito often repeated,“then they will have laid the fundamental basis of Italian architecture; they will have discovered in large part its new symbolism.The heart of the matter is in the organism.” Boito concretized this theoretical principle in a highly successful practice. At Gallerata, on Milan’s inchoate industrial periphery, Boito designed a municipal cemetery in 1865 and a hospital in 1869. Their plans are drawn from utilitarian considerations of spatial disposition and their forms recall the essential qualities of Romanesque monastic cells.There is no styling, but a simplification from which a reasoned aesthetic expression of function and structure and an essential if bitter beauty have been extracted. In Padua, Boito designed an elementary school building in the same manner: a thoroughly functional distribution of spaces and a correspondingly robust vertical structure in brick and stone. Inaugurated in 1881, the schoolhouse earned Boito gold-medal recognition at the second national architectural exposition in Milan and the design was propagated as a paradigm of its type in special photographs ordered by the ministry of education. Also in Padua, across the street from the Palazzo della Ragione, Boito erected his most important building, the Palazzo delle Debite.The local Paduan Ornato board, which included Selvatico,
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the challenge of tradition, 1750–1900 3.24 Camillo Boito, Scuola Carrarese, Padua, 1883. Photograph by L. Borlinetto, 1883 3.25 Camillo Boito, Palazzo delle Debite, Padua, 1873
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called for the rehabilitation of the city’s former debtors prison. Not only did the key site need a face-lift, but as debt was no longer a criminal offence, the historical memory of the place needed revamping too. In 1872, a general competition was held from which Boito’s designs gained favor for their good distribution and facades that harmonized well with the Ragione next door. Boito boosted the volume of the block with a high ground floor portico for shops, typical of Padua’s commercial streets, and upper floors with richly articulated walls and windows for private habitation.
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  • Spring '17
  • Archt. De Veyra

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