Quintino Sella barracks a drilling ground and military hospital a public

Quintino sella barracks a drilling ground and

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Quintino Sella), barracks, a drilling ground and military hospital, a public hospital and a major exhibition building for the fine arts.The siting of the national buildings, however, was not left to Viviani but to the various heads of the institutions, who jockeyed for position within the politicized topography of Rome.The ministers of justice and public instruction chose sites in the historic center, while the two municipal projects, the hospital and the exhibition hall, were kept, more conservatively, up on the Città alta . Once these locations were designated,Viviani concentrated on traffic arteries and bridge connections. His master plan was ratified in 1883, and constitutes Rome’s first ever all-inclusive development scheme.Although not all the interventions were carried out, it would be the basic guideline for all urban projects over the next twenty-five years. Viviani’s most controversial task was carving out a passage for modern traffic through the historic city center.This intervention, the Corso Vittorio Emanuele II, is a demonstration of the difficulty of Viviani’s work and the subtlety of his accomplishment.The westward route from Piazza Venezia begins with the Via del Plebiscito and slips between pre-existing palaces and the Church of Il Gesù. Beyond this point, expropriation of buildings considered of lesser historic or artistic value was undertaken along a swerving path that dodges a selection of important monuments: the Palazzo della Valle and the Church of Sant’Andrea, the Palazzo Massimo alle Colonne, and the Chiesa Nuova among others.The flanks of the Palazzo della Cancelleria and the little Palazzo Regis were exposed and redressed with neo-Renaissance decor.The new apartment buildings along the 243 the challenge of tradition, 1750–1900
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Corso Vittorio take their scale from the noble facades opposite them, patrician and ecclesiastical tradition here counterbalanced by the architecture of bourgeois democracy. Viviani’s urban planning solution was empirical, unlike the abstract slicing typical in Haussmann’s Paris—a remarkably subdued intervention in which the famous piazzas along the way, like Piazza Navona, were left undisturbed. Consequently, the Corso Vittorio is a shifting route of constantly changing views leading to the cupola of Saint Peter’s, the ultimate destination of the route.The path is also populated with commemorative monuments to secular cultural and government leaders. Like the Via Papale, the traditional route of ecclesiastical processions from Saint Peter’s, the Corso Vittorio is a route tying the Vatican to the city. But now, inexorably and emphatically, that route leads to a secular and nationalist city center, the Altare della Patria . The program of the Corso Vittorio was made explicit with the Ponte Vittorio, the bridge that links the reformed city and the Vatican.
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  • Spring '17
  • Archt. De Veyra

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