Architecture of Italy, often called Italian architecture refers to all forms of this art in Italy. Italy has a very broad and diverse architectural style, which cannot be simply classified by period, but also by region, due to Italy's division into several city-states until 1861. However, this has created a highly diverse and eclectic range in architectural designs. Italy is known for its considerable architectural achievements,[3] such as the construction of arches, domes and similar structure during ancient Rome, the founding of the Renaissance architectural movement in the late-14th to 16th century, and being the homeland of Palladianism, a style of construction which inspired movements such as that of Neoclassical architecture, and influenced the designs which noblemen built their country houses all over the world, notably in the United Kingdom, Australia and the United States of America during the late-17th to early 20th centuries. Several of the finest works in Western architecture, such as the Colosseum, the Duomo of Milan, Florence cathedral and the building designs of Venice are found in Italy. Italy has an estimated total of 100,000 monuments of all varieties (museums, palaces, buildings, statues, churches, art galleries, villas, fountains, historic houses and archaeological remains).[4]
Italian architecture has also widely influenced the architecture of the world. Italianate architecture, popular abroad from the 16th to mid-20th century, was used to describe foreign architecture which was built in an Italian style. British architect Inigo Jones, inspired by the avant-garde designs of Italian buildings and cities, in the early-17th century, brought back these ideas with him to London, and ever since, this Italianate architecture has been popular in construction designs all over the world.
Along with pre-historic architecture, the first people in Italy to truly begin a sequence of designs were the Greeks like men and the Etruscans. In Northern and Central Italy, it was the Etruscans who led the way in architecture in that time. Etruscan buildings were made from brick and wood, thus few Etruscan architectural sites are now in evidence in Italy,[5] with the exception of a few in Volterra, Tuscany. The Etruscans strongly influenced Roman architecture, as they too used to build temples, fora, public streets and acqueducts. The heavy pillars and porches created by the Etruscans, and their city gates were also a significant influence on Roman architecture.[5]
In Southern Italy, from the 8th century BC, the Greek colonists who created what was known as Magna Graecia used to build their buildings in their own style. The Greeks built bigger, better and more technologically advanced houses that people in the Iron and Bronze Age, and also influenced Roman architecture too.[5] Yet, by the 4th century BC, the Hellenistic Age, less concentration was put on constructing temples, more rather the Greeks spent more time building theatres.[5] The theatres were semi-circular and had an auditorium and a stage. They used to be built only on hills, unlike the Romans who would artificially construct the audience's seats. The Greek temples were known for containing bulky stone or marble pillars. Today, there are several remains of Greek architecture in Italy, notably in Calabria, Apulia and Sicily. An example could be the remains of Agrigento, Sicily, which are currently UNESCO World Heritage Sites.
The Architecture of Ancient Rome adopted the external Greek architecture around second century B.C. for their own purposes, creating a new architectural style. The two styles are often considered one body of classical architecture. This approach is considered reproductive, and sometimes it hinders scholars' understanding and ability to judge Roman buildings by Greek standards, particularly when relying solely on external appearances. The Romans absorbed Greek influence, apparent in many aspects closely related to architecture; for example, this can be seen in the introduction and use of the Triclinium in Roman villas as a place and manner of dining. The Romans, similarly, were indebted to their Etruscan neighbors and forefathers who supplied them with a wealth of knowledge essential for future architectural solutions, such as hydraulics and in the construction of arches.
Social elements such as wealth and high population densities in cities forced the ancient Romans to discover new (architectural) solutions of their own. The use of vaults and arches together with a sound knowledge of building materials, for example, enabled them to achieve unprecedented successes in the construction of imposing structures for public use. Examples include the aqueducts of Rome, the Baths of Diocletian and the Baths of Caracalla, the basilicas and perhaps most famously of all, the Colosseum. They were reproduced at smaller scale in most important towns and cities in the Empire. Some surviving structures are almost complete, such as the town walls of Lugo in Hispania Tarraconensis, or northern Spain.
Italy was widely affected by the Early Christian age, with Rome being the new seat of the pope. The Byzantines also came to Italy, creating several buildings, palaces and churches in their own style.
The Christian concept of a "Basilica" was invented in Rome. They were known for being long, rectangular buildings, which were built in an almost ancient Roman style, often rich in mosaics and decorations. The early Christians' art and architecture was also widely inspired by that of the pagan Romans; statues, mosaics and paintings decorated all their churches. Late-Christian frescos can be easily seen in some of the many catacombs in Rome.[6]
Byzantine architecture was also widely diffused in Italy. When the Western Roman Empire fell in 476 AD, the Byzantines were the leaders in the world regarding aspects of culture, arts, music, literature, fashion, science, technology, business and architecture too.[6] The Byzantines, which technincally were the people of the Eastern Roman Empire, kept Roman principles of architecture and art alive, yet gave it a more Eastern twist, and were famous for their slightly flatter domes, and richer usage of gilded mosaics and icons rather than statues.[6] Since the Byzantines resided in Sicily for some time, their architectural influence can still be seen today, for example, in the Cathedral of Cefalu, in Palermo or in Monreale, with their richly decorated churches. St Mark's Basilica in Venice is also an example of Byzantine architecture in Italy.
In between the Byzantine period and the Gothic period was the Romanesque movement, which went from approximately 800 AD to 1100 AD. This was one of the most fruitful and creative periods in Italian architecture, with several masterpieces, such as the Leaning Tower of Pisa in the Piazza dei Miracoli, and the Basilica of Sant'Ambrogio in Milan were built. It was called "Roman"-esque because of its usage of the Roman arches, stained glass windows, and also its curved columns which commonly featured in cloisters.[7]
Romanesque architecture varied greatly in Italy in both style and construction. Arguably the most artistic was Tuscan, notably Florentine and Pisan Romanesque architecture, yet that of Sicily, influenced by the Norman settlers, was considerable too. Lombard Romanesque was certainly more structurally progressive than the Tuscan but less artistic.
Romanesque architecture in Italy halted the construction of wooden roofs in churches, and also experimented with the usage of the groined vault or barrels.[7] The buildings' weight tended to buckle on the outside, and there used to be buttresses to support the buildings. Church walls using the Romanesque tended to be bulky and heavy to support the roof, however this meant that Romanesque church interiors in Italy tended to be far more banal and bland than those of the Early Christian and Byzantine periods. They used to simply consist of marble or stone, and had little decoration, unlike the rich mosaics found in Italian Byzantine architectural works.
The main innovation of Italian Romanesque architecture was the vault, which had never been seen before in the history of Western architecture.[7]
The Gothic architecture appeared in Italy in the 12th century. Italian Gothic always maintained peculiar characteristic which differentiated its evolution from that in France, where it had originated, and in other European countries. In particular, the architectural ardite solutions and technical innovations of the French Gothic cathedrals never appeared: Italian architects preferred to keep the construction tradition established in the previous countries. Aesthetically, in Italy the vertical development was rarely important.
Gothic architecture was imported in Italy, just as it was in many other European countries. The Benedictine Cistercian order was, through their new edifices, the main carrier of this new architectural style. It spread from Burgundy (in what is now eastern France), their original area, over the rest of Western Europe
A possible timeline of Gothic architecture in Italy can comprise:
Italy of the 15th century, and the city of Florence in particular, was home to the Renaissance. It is in Florence that the new architectural style had its beginning, not slowly evolving in the way that Gothic grew out of Romanesque, but consciously brought to being by particular architects who sought to revive the order of a past "Golden Age". The scholarly approach to the architecture of the ancient coincided with the general revival of learning. A number of factors were influential in bringing this about.
Italian architects had always preferred forms that were clearly defined and structural members that expressed their purpose.[8] Many Tuscan Romanesque buildings demonstrate these characteristics, as seen in the Florence Bapistery and Pisa Cathedral.
Italy had never fully adopted the Gothic style of architecture. Apart from the Cathedral of Milan, largely the work of German builders, few Italian churches show the emphasis on vertically, the clustered shafts, ornate tracery and complex ribbed vaulting that characterise Gothic in other parts of Europe.[8]
The presence, particularly in Rome, of ancient architectural remains showing the ordered Classical style provided an inspiration to artists at a time when philosophy was also turning towards the Classical.[8]
The Dome of Florence Cathedral
This country house was built by Palladio in 1550. It is a square building which looks the same from every side. At the centre, there is a dome. On every side is a large porch, (portico), like a Greek temple. It is such an elegant design that other architects used the same style which can be seen on churches, houses and palaces, including the White House.
The sacred architecture of the Baroque period had its beginnings in the Italian paradigm of the basilica with crossed dome and nave. One of the first Roman structures to break with the Mannerist conventions exemplified in the Gesù, was the church of Santa Susanna, designed by Carlo Maderno. The dynamic rhythm of columns and pilasters, central massing, and the protrusion and condensed central decoration add complexity to the structure. There is an incipient playfulness with the rules of classic design, still maintaining rigor. They had domed roofs.
The same emphasis on plasticity, continuity and dramatic effects is evident in the work of Pietro da Cortona, illustrated by San Luca e Santa Martina (1635) and Santa Maria della Pace (1656). The latter building, with concave wings devised to simulate a theatrical set, presses forward to fill a tiny piazza in front of it. Other Roman ensembles of the period are likewise suffused with theatricality, dominating the surrounding cityscape as a sort of theatrical environment.
Probably the best known example of such an approach is trapezoidal Saint Peter's Square, which has been praised as a masterstroke of Baroque theatre. The square is shaped by two colonnades, designed by Gian Lorenzo Bernini on an unprecedented colossal scale to suit the space and provide emotions of awe. Bernini's own favourite design was the polychromatic oval church of Sant'Andrea al Quirinale (1658), which, with its lofty altar and soaring dome, provides a concentrated sampling of the new architecture. His idea of the Baroque townhouse is typified by the Palazzo Barberini (1629) and Palazzo Chigi-Odescalchi (1664), both in Rome.
Bernini's chief rival in the papal capital was Francesco Borromini, whose designs deviate from the regular compositions of the ancient world and Renaissance even more dramatically. Acclaimed by later generations as a revolutionary in architecture, Borromini condemned the anthropomorphic approach of the 16th century, choosing to base his designs on complicated geometric figures (modules). Borromini's architectural space seems to expand and contract when needed, showing some affinity with the late style of Michelangelo. His iconic masterpiece is the diminutive church of San Carlo alle Quattro Fontane, distinguished by a corrugated oval plan and complex convex-concave rhythms. A later work, Sant'Ivo alla Sapienza, displays the same antipathy to the flat surface and playful inventiveness, epitomized by a corkscrew lantern dome.
Following the death of Bernini in 1680, Carlo Fontana emerged as the most influential architect working in Rome. His early style is exemplified by the slightly concave façade of San Marcello al Corso. Fontana's academic approach, though lacking in the dazzling inventiveness of his Roman predecessors, exerted substantial influence on Baroque architecture both through his prolific writings and through a number of architects whom he trained and who would disseminate the Baroque idioms throughout 18th-century Europe.
The 18th century saw the capital of Europe's architectural world transferred from Rome to Paris. The Italian Rococo, which flourished in Rome from the 1720s onward, was profoundly influenced by the ideas of Borromini. The most talented architects active in Rome—Francesco de Sanctis (Spanish Steps, 1723) and Filippo Raguzzini (Piazza Sant'Ignazio, 1727)—had little influence outside their native country, as did numerous practitioners of the Sicilian Baroque, including Giovanni Battista Vaccarini, Andrea Palma, and Giuseppe Venanzio Marvuglia.
The last phase of Baroque architecture in Italy is exemplified by Luigi Vanvitelli's Caserta Palace, reputedly the largest building erected in Europe in the 18th century. Indebted to contemporary French and Spanish models, the palace is skillfully related to the landscape. At Naples and Caserta, Vanvitelli practiced a sober classicizing academic style, with equal attention to aesthetics and engineering, a style that would make an easy transition to Neoclassicism.
In the north of Italy, the monarchs from the House of Savoy were particularly receptive to the new style. They employed a brilliant triad of architects—Guarino Guarini, Filippo Juvarra and Bernardo Vittone—to illustrate the grandiose political ambitions and the newly acquired royal status of their dynasty.
Guarini was a peripatetic monk who combined many traditions (including that of Gothic architecture) to create irregular structures remarkable for their oval columns and unconventional façades. Building upon the findings of contemporary geometry and stereotomy, Guarini elaborated the concept of architectura obliqua, which approximated Borromini's style in both theoretical and structural audacity. Guarini's Palazzo Carignano (1679) may have been the most flamboyant application of the Baroque style to the design of a private house in the 17th century.
Fluid forms, weightless details and airy prospects of Juvarra's architecture anticipated the art of Rococo. Although his practice ranged well beyond Turin, Juvarra's most arresting designs were created for Victor Amadeus II of Sardinia. The visual impact of his Basilica di Superga (1717) derives from its soaring roofline and masterful placement on a hill above Turin. Rustic ambience encouraged a freer articulation of architectural form at the royal hunting lodge of the Palazzina di Stupinigi (1729). Juvarra finished his short but eventful career in Madrid, where he worked on the royal palaces at La Granja and Aranjuez.
Among the many who were profoundly influenced by the brilliance and diversity of Juvarra and Guarini none was more important than Bernardo Vittone. This Piedmontese architect is remembered for an outcrop of flamboyant Rococo churches, quatrefoil in plan and delicate in detailing. His sophisticated designs often feature multiple vaults, structures within structures and domes within domes.
The most original work of all late Baroque and Rococo architecture is the Palazzina di caccia di Stupinigi (Hunting Lodge of Stupinigi), dating back to 18th century.[9] Featuring a highly articulated plant based upon a Saint Andrew's Cross, it was designed by Filippo Juvarra, who also built the Basilica di Superga, near Turin.
In the same period, in Veneto there was a rapprochement with the Palladian themes, evident in Villa Pisani at Stra (1721) and San Simeone Piccolo church in Venice (completed in 1738).
In Rome, the last chapter of the Baroque season has its most significant achievements in some major urban improvements like the Spanish Steps and the Trevi Fountain, while the façade of San Giovanni in Laterano by Alessandro Galilei, has more austere, classical traits.
In the Kingdom of Naples, the architect Luigi Vanvitelli began in 1752 the construction of the Palace of Caserta. In this large complex, the grandiose Baroque style interiors and gardens are opposed to a more sober building envelope, which seems to anticipate the motifs of Neoclassicism. The gigantic size of the palace is echoed by the Albergo Reale dei Poveri (Royal Hospice for the Poor) in Naples, built in the same years by Ferdinando Fuga.
Italy, in the late 18th and early 19th centuries, was affected by the Neoclassical architectural movement. Everything from villas, palaces, gardens, interiors and art began to be based on Roman and Greek themes,[10] and buildings were also widely themed on the Villa Capra "La Rotonda", the masterpiece by Andrea Palladio.
Before the discoveries of the lost cities of Pompeii and Herculaneum, buildings were themed on Ancient Rome and Classical Athens, but were later inspired by these archaeological sites.[11] Examples of Neoclassical architecture in Italy include Luigi Cagnola's Arco della Pace,[11] the San Carlo Theatre (Naples, 1810),[12] San Francesco di Paolo (Naples, 1817), Pedrocchi Café (Padua, 1816), Canova Temple, (Posagno, 1819), Teatro Carlo Felice (Genoa, 1827) and the Cisternone (Livorno, 1829).[12]
Italy, in the mid-19th century, was also well-known for some relatively avant-garde structures. The Galleria Vittorio Emanuele II in Milan, built in 1865, was the first building in iron, glass and steel in Italy, and the world's oldest purposely-built shopping gallery, which later influenced the Galleria Umberto I in Naples.
Art Nouveau had its main and most original exponents in Giuseppe Sommaruga and Ernesto Basile. The former was author of Palazzo Castiglioni in Milan, while the second projected an expansion of Palazzo Montecitorio in Rome.
However, in the 1920s and following years a new architectural language, razionalismo, was introduced. This form of Futurist architecture was pioneered by Antonio Sant'Elia and hence by Gruppo 7, formed in 1926. After the dissolution of the group, it was adopted by single artists like Giuseppe Terragni (Casa del Fascio, Como), Adalberto Libera (Villa Malaparte in Capri) and Giovanni Michelucci (Firenze Santa Maria Novella railway station).
During the Fascist period, razionalismo was outranked by Novecento Italiano, which rejected the avant-garde themes and aimed instead to revive the art of the past. Its most important members in the field of Architecture were Gio Ponti, Pietro Aschieri and Giovanni Muzio. This movement inspired Marcello Piacentini in his creation of a "simplified Neoclassicism" linked to the rediscovery of the imperial Rome. Piacentini was author of several works in many Italian cities, the most important of which is the controversial creation of Via della Conciliazione in Rome.
Rationalist-Fascist architecture was an Italian architectural style developed during the Fascist regime and in particular starting from the late 1920s. It was promoted and practiced initially by the Gruppo 7 group, whose architects included Luigi Figini, Guido Frette, Sebastiano Larco, Gino Pollini, Carlo Enrico Rava, Giuseppe Terragni, Ubaldo Castagnola and Adalberto Libera. Two branches have been identified, a modernist branch with Giuseppe Terragni being the most prominent exponent, and a conservative branch of which Marcello Piacentini and the La Burbera group were most influential.
Some of the main architects working in Italy between the end of the 20th century and the beginning of the 21st are Renzo Piano, Massimiliano Fuksas and Gae Aulenti. Piano's works include Stadio San Nicola in Bari, Auditorium Parco della Musica in Rome, the renovation works of the Old Port of Genoa, Padre Pio Pilgrimage Church in San Giovanni Rotondo; among Fuksas' projects (As of January 2011[update]) are Grattacielo della Regione Piemonte (skyscraper of Piedmont Region) and Centro Congressi Italia Nuvola at EUR, Rome. Gae Aulenti's Italian works feature the renovation works of Palazzo Grassi in Venice and the Stazione Museo ("Museum Station") of Naples Metro.
Other remarkable figures for contemporary architecture in Italy are the Swiss Mario Botta (Museo d'arte moderna e contemporanea di Trento e Rovereto, renovation of La Scala in Milan), Zaha Hadid (National Museum of the 21st Century Arts in Rome, skyscraper "Lo Storto" in Milan), Richard Meier (Jubilee Church and cover building of Ara Pacis, both in Rome), Norman Foster (Firenze Belfiore railway station), Daniel Libeskind (skyscraper "Il Curvo" in Milan) and Arata Isozaki (Palasport Olimpico in Turin, together with Pier Paolo Maggiora and Marco Brizio; skyscraper "Il Dritto" in Milan).
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