It pleased few besides Ferdinando Across from the new forum the Teatro San

It pleased few besides ferdinando across from the new

This preview shows page 106 - 108 out of 280 pages.

correct in geometry if poor in poetry. It pleased few besides Ferdinando. Across from the new forum, the Teatro San Carlo, built for Carlos in 1737 by Giovanni Antonio Medrano, was also a site of continual transformation and updating with each successive regime. The theater’s interior was redesigned numerous times by its staff scenographers.The exterior, the inelegant stairs, and ballrooms were, Murat believed, also due for a face-lift. In 1809 Antonio Niccolini, head of the scenography team at San Carlo, suggested holding an architectural competition, which he himself won. Niccolini rebuilt the front portion of the theater. Behind the ample ground floor vestibule, stairs climb commodiously to grand rooms of the long Ionic loggia.The unusual proportions were characteristic of the unabashed originality of Niccolini’s designs; the theater was a spectacular visceral display of virtuosity with no clear precedent. Everybody in Naples liked it, so much so that when a fire destroyed the by-then stale interior in 1816, Niccolini was immediately commissioned to rebuild it.The reconstruction of the tired horseshoe-shaped auditorium took seven months.The Teatro di San Carlo was a continually evolving laboratory for Niccolini’s scenographic experiments, visions of architectural adaptations, and wider urbanistic proposals. 106 the architecture of modern italy
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trieste Since the beginning of the eighteenth century,Trieste had provided the Austrian empire with important southern access to the Adriatic, and it was the recipient of much Hapsburg urban and economic rationalization.Trieste was declared a free port in 1719.The town was weeded out of unnecessarily crowded constructions, the port rebuilt, and the salt flats to the west, once a source of income for the region, reclaimed. In 1736, an infrastructural framework of interlocking canals and street systems, the “Borgo Teresiano,” was planned. It represented an abstract, rational, and rudimentary framework for a city, the kind Milizia praised as more important for a successful city than even fine architecture. Upon this egalitarian grid, merchants from the Italian and Istrian coasts, Greeks, Germans,Arabs, and Dutch settled in what was a spontaneous generation of the collective civil society Enlightenment rhetoric exalted. Casanova took refuge here, Lorenzo da Ponte shifted through, and Winckelmann met his assassin in Trieste.The lack of any strong local tradition allowed free reign in the new city for the building of entirely innovative social and urban structures.The merchants of the flourishing port were wary of Napoleon’s approach in 1797, but the Treaty of Campoformio, which ceded Trento and the Veneto regions to Austria, bolstered Trieste by eliminating its rivalry with Venice under uniform Hapsburg control. Trieste was endowed with representative public buildings, such as a grand merchants’ exchange designed by Antonio Mollari in 1802. Its crisp, tetrastyle portico stands as a visual anchor in the irregular piazza at the juncture between the old and new towns.The construction of a
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  • Spring '17
  • Archt. De Veyra

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