1,720,983 research outputs found
Il patrimonio culturale e la sfida della sostenibilità: il contributo della Storia dell’Architettura
No full textL’architettura di palazzo Francesconi. Peruzzi tra Roma e Siena
No full textOn the basis of new documents and a detailed analysis of its fabric, the article examines the architecture of the Palazzo Francesconi at Siena, one of the many buildings traditionally attributed to Baldassarre Peruzzi in his hometown, but never yet subjected to any detailed study. After a summary discussion of the chronology of the building, closely linked to the fortunes of its patron, and after firmly establishing that the work began in 1520, the author examines its architecture in detail. She points out the close links with architectural research in Rome, and especially in the circle of Leo X, in the second decade of the sixteenth century, but also the differences and similarities with the contemporary context in Siena itself, from the viewpoint of plan, use of materials, design of the main façade and type of arcaded courtyard.
In the second part of her article the author presents some hypotheses on the configuration of the initial project, which was only partially put into practice, and reviews the successive changes in programme. The regular plan and the façade with superimposed orders – a case unique of its kind in Siena in the first half of the sixteenth century –, the patron Bernardino Francesconi’s network of political and family contacts, the dating, personal relations with the Sienese artistic environment, and the traces identified in other projects of the architect and in some of his drawings, permit the author to argue convincingly for the project’s attribution to Peruzzi. A less schematic division of the chronology of Peruzzi’s activity as an architect, traditionally separated into an ante 1527 in Rome and a post 1527 in Siena, results from this. The article thus suggests a greater mobility of Baldassarre and lends force to the idea that he continued to have relations with Siena throughout his career, as would also be confirmed by other episodes recalled in the article
Ad triangulum. Il Duomo di Milano e il suo tiburio, da Stornaloco a Bramante, Leonardo e Giovanni Antonio Amadeo
No full textLa costruzione del tiburio del Duomo di Milano rappresenta uno degli episodi più affascinanti e complessi della storia dell’architettura italiana del Quattrocento. Si tratta di un caso esemplare, per la specificità e l’eccezionalità della Fabbrica del Duomo e per il coinvolgimento di alcuni dei più autorevoli protagonisti dell’epoca – Bramante, Francesco di Giorgio Martini, Luca Fancelli e Leonardo da Vinci – invitati da Giangaleazzo e Ludovico Maria Sforza
a proporre un’innovativa soluzione strutturale, costruttiva e formale. Il desiderio della famiglia ducale di affermare la propria immagine attraverso questa impresa fa da sfondo all’avvicendarsi di costruttori, maestranze e ambiziosi progetti impegnati a dare all’edificio il giusto coronamento. La complessa vicenda è qui ripercorsa a partire dal riconoscimento dell’importanza dell’intervento del matematico piacentino Gabriele Stornaloco, ideatore nel 1391 di uno schema geometrico per stabilire le dimensioni dell’alzato, da ritenersi il “filo di Arianna” per la costruzione di tutto il Duomo. Approfondendo l’accesa discussione sull’adozione o meno di differenti tecniche costruttive – lombarde, toscane e d’oltralpe – vengono poi analizzati i numerosi progetti proposti per risolvere il problema del tiburio, che spinge gli Sforza e la Fabbrica ad avvalersi di prestigiose consulenze, coinvolgendo anche Leonardo da Vinci, autore di un perduto modello ligneo. Si giunge infine al progetto vincitore di due lombardi, Giovanni Antonio Amedeo e Giangiacomo Dolcebuono che, tra il 1490 e il 1500, costruiscono il tiburio fino alla base della lanterna, utilizzando pratiche radicate nella cultura architettonica lombarda, tralasciando soltanto la guglia maggiore che sarà costruita nel 1769 a testimonianza della complessità di un cantiere durato oltre 400 anni, che fa del Duomo di Milano una delle architetture più originali d’Europa
Review to the exhibition "Architetti a Siena. Testimonianze della Biblioteca comunale tra XV e XVIII secolo", ed. by D. Danesi, M. Pagni, A. Pezzo, Biblioteca comunale degli Intronati, Siena, 19 December 2009 – 12 April 2010
No full textUn doge e il suo manifesto: Il palazzo di Leonardo Donà (1536-1612) alle Fondamenta Nuove a Venezia
No full textReview to the exhibition "L’Accademia Nazionale di San Luca per una collezione del disegno contemporaneo", ed. by F. Moschini, Accademia di San Luca, Rome, 20 December 2008 - 30 June 2009
No full textReview to the exhibition "In mezzo a un dialogo. La piazza di Carpi dal Rinascimento a oggi", ed. by Manuela Rossi, Elena Svalduz and Andrea Giordano, Musei di Palazzo dei Pio, Carpi, 31 March –10 June 2012
No full textOn Architectural Practice and Arithmetic Abilities in Renaissance Italy
No full textThe article examines the figure of the architect at work in Renaissance Italy, when a major change occurred in the practice of design with the spread of arithmetic. This deep scientific, technical, methodological, and cultural shift involved the image of the architect and his profession, his relationship with the patron, as well as the cultural conception of architecture. The essay, crossing disciplinary boundaries, analyses some technical aspects of architectural design in early modern Italy only marginally investigated. If proportional systems and architecture’s theoretical questions have been amply studied, the practical culture, the daily professional practice and its working tools, such as the operative arithmetic actually known to architects, have been only sporadically analysed. During the Renaissance, especially in Italy, an important development of mathematics occurred and arithmetic was clarified and simplified so to allow its diffusion, but at the same time those disciplines remained essentially despised by aristocratic and intellectual elites. What was the architects’ role in this moment of deep change? Which was the arithmetic usually employed by them in the design process? When did Hindu-Arabic numbers and fractions became familiar in the field of architecture? In the secular battle between geometry and arithmetic, which system was used in what professional cases? The essay illustrates how architects with different backgrounds responded to this change, through a comparative analysis of all the architectural drawings containing numbers and calculations made by Michelangelo Buonarroti (1475–1564), Baldassarre Peruzzi (1481–1536), and Antonio da Sangallo the Younger (1484–1546)
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