Italian architecture

https://www.springerprofessional.de/en/demystified-territories-city-versus-countryside-in-andrea-branzi/16439670
This chapter analyzes the relationship between city and countryside in the urban proposals by Italian architect Andrea Branzi (Florence 1938). It starts by examining the No-Stop City (1969–71) a project that arose from a political critique of the capitalist city aimed at demystifying it, that is, at making the hidden structures of the capitalist system visible. While this uncommon agenda entailed a radical reconsideration of the territory, implying the end of the city–countryside dialectic, it is argued that the proposal is ultimately ambiguous about the outcomes of such radical shift. The chapter goes to examine Agronica (1995), a later urban model by Branzi that poses a decided hybridization of city and countryside. Despite the stark differences between the two, it is claimed that Agronica can be read as a logical evolution of the No-Stop City that clarifies some of its contradictions. Finally, it is argued that the politically rooted realism underpinning the No-Stop City opened the door to an original and inspiring territorial vision that could allow us to reconsider, not only the relations between urban and rural, or between artificial and natural but, even, the very nature of these categories.

The study focuses on the spread of the brick decoration in the late-medieval architecture of Chierese and Alto Astigiano land. The survey covered an area of 500 sq km and identified 37 defensive, civil and religious buildings in 17 towns. Of each building, settlement context, type, structural and formal evolution were analyzed, with special emphasis on the various repertoire of terracotta decorative elements and plaques (XIII-XV centuries). The work was closely linked to a computerized filing: in a large database specific data were merged for each record, accompanied by extensive graphic documentation on both architectures and their decoration. The classification of the decorative patterns is planned according to typological criteria in order to facilitate comparisons and define history and evolution. The graphic set, ranging from the relief of a single plaque to the representation of whole facades, is designed to provide the widest recording on their features. The research has revealed a number of evolutionary processes: starting from religious buildings, decorative patterns spread to defensive architectures, first in schematic and linear forms (the overfired brick diapering, linear frames etc.), and then, from fifthteenth century on, in the appearance in civil architecture of impressive decorations assembled on the basis of a rich repertoire of figurative molded plaques. The so-called "civilization of baked clay" centered around Chieri is found not to be apart from the artistic and cultural milieu of Northern Italy: close ties to the Lombard environment emerge, from which it draws building features and decorative patterns. Moreover, it shows to share ferments of renewal with the Gothic style flourishing beyond the Alps, due to contacts of the Chierese élites with the refined courts of Burgundy and Flanders. The surveyed repertory showed how Chieri and its land shared an international context, maintaining at the same time a marked originality in many of its achievements.

Nel 2005 lo storico Magazzino Vini viene acquistato dalla Fondazione Cassa di Risparmio di Trieste e nel 2017, riqualificato e trasformato, riapre al pubblico come sede di Eataly.
Il progetto, firmato dagli architetti fiorentini Archea Associati, ha previsto la conservazione e il recupero dei muri perimetrali del vecchio manufatto e la realizzazione di un nuovo corpo al suo interno, completamente vetrato e autonomo, che si sviluppa in profondità.

In 2005 the historic Magazzino Vini (Wine Warehouse) facing Trieste’s waterfront was acquired by the Fondazione Cassa di Risparmio di Trieste. Renovated and refurbished, it was opened to the public in 2017 as a new Eataly store.
Designed by the Florentine office Archea Associati, the project conserved and refurbished the perimeter walls of the historic construction and inserted a new volume inside them, entirely glazed and totally autonomous.
An imposing excavation, well below sea level, provided new floor area without altering the profile of the original building.

Omodeo 57 è uno dei progetti realizzati per il Comune
di Bari nell’ambito del Programma Integrato di
Riqualificazione delle Periferie (PIRP) di San Marcello, un
quartiere sviluppatosi nel tempo senza linee guida,
progressivamente assorbito dal tessuto urbano consolidato.Grazie a questo progetto, nei suoi due interventi, il
Comune di Bari e il team di progettisti hanno vinto il
Premio UrbanPromo 2013.

At the 40th anniversary of its inauguration, the Pompidou Centre represents by no doubts one of the most relevant achievements within the history of construction of the past century. Its realisation is the result of a unique joint venture between a young group of architects led by Renzo Piano and Richard Rogers and the engineering team Structure 3 of Ove Arup composed, among the others, by Peter Rice, Edmund Happold and Lennart Grut. One of the key parts of the whole structure is the joint supporting the 48-meter span floor, realized in the form of the gerberette and fabricated in the special technique of steel cast.

The first solution employed to solve the joint consisted of a friction collar supporting moving floors made of lattice girders, a powerful translation of the principle of flexibility the competition entry was rooted in. After renouncing to further develop the moving floor solution, architects and engineers undertook new studies in order to solve the connection between floors and the vertical structures. The lattice girders solution left the place to a composite Vierendeel truss joint to the vertical structure by the means of a secondary horizontal beam anchored to the internal and external poles of the façade. The complexity of the solution and the new restrictions imposed by the project’s budget led to another setback and further research were needed. The numerous solutions attempted in 1972 included the reduction of the Vierendeel truss, the transformation of the external poles into pre-tensed cables, the abandonment of the Vierendeel and the adoption of a cantilevered beam anchored to the vertical poles. Once identified as the definitive structural breakthrough, this cantilevered beam was submitted to a process of refinement and improvement that turned a first steel composite element into the monolithic sculptural piece that nowadays so distinctively characterizes the structure of the Centre Pompidou: the gerberette.

In the last decades the value of this breakthrough seems to have overshadowed the complex process laying behind it. The aim of this contribution is both to reposition the gerberette as an arrival point of a complex evolutionary path and therefore to deepen each of the relevant stages which preceded and led to the gerberette’s design and fabrication.  To achieve these objectives this contribution will resort to unpublished material preserved in public archives and private collections and will profit of a series of interviews with the protagonists of Beaubourg’s design and construction.

Essay written as part of an introductory issue to a box set of publications concerning the work of five different young Milan-based architects (YellowOffice, Piovenefabi, F.A.T., Forestieri Pace Pezzani and Casatibuonsante Architects).

https://divisare.com/books/368-gizmo-milano-mix

The Holy Gates Cemetery in Florence is located on the hill of San Miniato al Monte. The cemetery was built in 1854 and it has always been characterized by its monumental nature, with highly decorated burials and chapels designed by the most famous architects of the time. Today the cemetery is not well preserved; many tombs are abandoned and there is a general need for restoration. Many studies on the major chapels of the cemetery have been carried out by the Diagnostics Laboratory of the Specialization School of the University of Florence. This paper presents the survey and the analysis of the state of degradation of the Bogliaco Bartolani Chapel, built in 1913 by the architect Enrico Dante Fantappiè, an Italian master of Eclecticism. This chapel is a very interesting example of the characteristic style of the cemetery, which is notable for the juxtaposition and contrast of different materials and crafts employed. The studies on the chapel follow a line that goes from an initial photographic and metric survey, to bibliographic and archival research, and finally to an examination of the decay on the exterior façades. The final phase will be a comparison between this tomb and another example of a chapel by Fantappiè, located in the same cemetery, where similar construction design has led to similar degradation phenomena. Moreover, the workflow presented provides an interesting example of how studies can be carried out quickly and economically in a context where money and human resources are lacking.

Trarre un bilancio a distanza di cinquant’anni sullo stato della tutela dei beni architettonici e paesaggistici in Italia significa verificare quanto i nuovi concetti storicistici che hanno improntato la nuova definizione di “bene culturale” abbiano influenzato la mentalità dei cittadini e degli amministratori del Paese. La novità dirompente del nuovo approccio ai beni culturali effettuata dalla Commissione Franceschini avrebbe dovuto modificare profondamente il valore attribuito all’enorme patrimonio culturale, superando i limiti del “bello” per conferire dignità di “documento” di civiltà a ogni manufatto o intervento antropico sul paesaggio.
L’analisi di alcuni dei beni segnalati nel terzo volume degli atti della Commissione è finalizzata al confronto con lo stato attuale per valutare i risultati raggiunti nella loro tutela, conservazione e valorizzazione.

Boğaziçi’nin her iki yakasındaki tarihî yapıları, yalıları, görkemli camileri, çağdaş mimarlık arayışlarını, hatta hikâyesi olan apartmanları sırayla anlatarak Kavaklar’a kadar uzanıyor.
Karaköy, Galata ve Dolmabahçe üzerinden ilerlerken daha ziyade bankalar, deniz ulaşımıyla ilgili binalar, Paket Postanesi, İstanbul Modern’in yıllarca hizmet verdiği antrepo, cami ve saraylar gibi kamusal amaçlarla bina edilmiş yapılar ağırlık taşırken özellikle Bebek sonrasında sivil mimari örnekleri üzerinden birbirinden ilginç yapılara ve onların içlerinde yaşanmış hikâyelere de rastlıyoruz.
Bir dönemin mimari arayışlarını, sosyolojisini ve insan hikâyelerini zevkle yansıtmakla beraber artık uzaklarda kalmış bir geçmişe ağıt yakan bir kitap da değil bu. Örneğin Deniz Müzesi’nin 2008’de açılan yarışma sonrasında kavuştuğu yeni halini dikkatlere sunuyor. Kesintisiz iç hacmi ile İstanbul’daki müze ve teşhir mekânlarının çıtasını yükselten Deniz Müzesi, Bornovalı’nın sözleriyle “deniz yönündeki cam cephesiyle, teşhir edilen deniz taşıtlarını ait oldukları yere, Boğaziçi’ne engelsizce kavuşturarak, Üsküdar’a doğru bakıp sefere çıkan Osmanlı donanmasını gözümüzde canlandırmamızı sağlıyor.
Kavalalı Mehmet Ali Paşa isyanı, Rusların Boğaz’ın kuzeyine asker yerleştirmesi, Hünkar İskelesi Anlaşması, Alman silahı Mauser’in büyük bayii olan Huber Bey’in İstanbul günleri, Amerika’nın Boğaz sırtlarında kurduğu protestan mektebi ve ilk pastor Cyrus Hamlin’in Robert Kolej hatıraları eşliğinde anlatırken bizlere Osmanlı’nın son 150 yılında tarihin ve siyasetin nasıl Boğaziçi ekseninde şekillendiğini de hatırlatıyor.
Boğaziçi’nin her iki yakasına sıralanmış tarihî ve kültürel mirası incelikle anlatırken zengin bir görsellik de sunuyor: Yahya Efendi Dergahı’nın yanındaki Küçük Mecidiye Camii, Bebek’teki Kavafyan Konağı, Tarabya Oteli’nin hemen yanındaki şahane İtalyan Sefareti Yazlık Sarayı gibi mekânlar birçoğu ilk kez yayınlanan fotoğrafları ile yer alıyor.
1855 Paris Expo’su için çizilen ilk eskizi, şimdi yerinde park olan Nazime Sultan Sahil Sarayı’nın yok olmadan önceki hali, hatta İstanbul’un ilk açık yüzme havuzlu mekanı Lido’nun (ki sonradan Reina oldu) fotoğrafları da birçok diğer özel görüntüyle birlikte yer alıyor.

The focus of this paper is a school in Kordon-Izmir which is known as "Italian Girls School", originally as "Istituto centrale femminile (di Smirne) " in Italian. The location of the school was at the same place as the Rectorate Building of the Dokuz Eylül University in Izmir. It was active between the years 1906 and 1945. This paper in Turkish language concentrates on the school's history as well as architecture.