But the money ran out nonetheless in 1869 It seemed to the congregation that

But the money ran out nonetheless in 1869 it seemed

This preview shows page 164 - 167 out of 280 pages.

But the money ran out nonetheless in 1869. It seemed to the congregation that commissioned him that Antonelli, quite unscrupulously, had outstretched the original program and budget to pursue his own ambitious agenda. He had doubled the dome to a monstrous height—construction was halted at 77 meters.They pondered the aesthetic impact and called in consultants to assess its stability.Antonelli tried in vain to win the rabbis over but they bailed out, selling the outlandish construction to the city in 1877. No one was sure what would be done with it, but it was shaping up as a most monumental pile, a mole , the Torinesi began to call it. By June 1878, the erstwhile synagogue was designated as Turin’s National Monument and Museum of Italian Independence.At 77 meters and still rising, the Mole had a shot at being the tallest construction in the world, and Antonelli, who kept tabs on such feats, was brought back to continue climbing. He was eighty years old. The dome was capped at a height of 81 meters with a lantern and finally a towering spire doubling the building’s height again.At slightly over 163 meters, the Mole is indeed the tallest masonry construction in Europe. Super tall structures like the Eiffel Tower sprang up at world’s fairs as exciting proof of industrial progress.The Mole is also a monument to a heroic vision, and like Eiffel’s it was officially named after its architect.The Mole Antonelliana is the culmination of a continuous Italian tradition in construction and the ultimate expression of the age of Romanticism. Inside, the space overhead is so lofty and of such overwhelming volume that the rushing absence of scale makes the mind spasm.Antonelli has invested architecture with a sense of continual becoming, unpredictable in its outcomes.The Mole Antonelliana is a dynamic conception, a culmination of the
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the challenge of tradition, 1750–1900 3.17–3.19 Alessandro Antonelli, Mole Antonelliana,Turin, 1862–1900.Axonometric drawing; photograph during construction, 1877; view with Piazza Vittorio Emanuele I
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exploratory characteristics of the nineteenth century and a fountainhead of the twentieth, never fully finished, never fully functional—just like the modern world of Antonelli’s day. construction in iron As Antonelli was extending the potential of masonry construction, iron was making inroads into Italian architecture. Indeed, iron had always been present, but in an ancillary and hidden role.Vanvitelli used it to reinforce Saint Peter’s dome in 1743. Milizia, however, was opposed to the belts and latches, the rods and chains that were in common use to make, for example, stone lintels stretch further. Valadier had accepted iron for the fixtures in neoclassical design and also noted that for public works where economy, speed, and lightness were needed iron would be a great help. But the peninsula lagged behind England and France in the quantity and quality of its iron production. Italy’s metallurgy was grounded in artisinal processes and remained an industry that varied by region, some with no iron production at all.While Italy continued to export its aesthetic
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  • Spring '17
  • Archt. De Veyra

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