Download Architecture of Italy PDF

TitleArchitecture of Italy
PublisherGreenwood Press
ISBN 139780313320866
File Size6.6 MB
Total Pages286
Table of Contents
Entries by Location
Entries by Architectural Style and Period
Augustus Gate, Perugia
Baths of Caracalla, Rome
Ca d’Oro, Venice
Caffè Pedrocchi (Café Pedrocchi), Padua
Campidoglio (Capitoline Hill), Rome
Casa Rustici, 36 Corso Sempione, Milan
Casa Torre, San Gimignano
Castel del Monte, Puglia
Castelvecchio Museum of Art, Verona
Cathedral, Campanile, Babtistery, and Campo Santo, Pisa
Church of the Autostrada, San Giovanni Battista, Campi Bisenzio
Collegio del Colle and Extensions, Urbino
Colonnade of Saint Peter’s Basilica, Rome
Colosseum, Rome
Confraternity of San Bernardino, Chieri
Cornaro Chapel, Santa Maria della Vittoria, Rome
Ducal Palace, Urbino
Fiat Lingotto Plant, Turin
Florence Cathedral Dome, Florence
Forum Romanum, Roman Forum, Rome
Galleria Vittorio Emmanuele (Victor Emmanuel Gallery), Milan
Garzoni Gardens, Collodi
Hadrian’s Villa (Villa Adriana), Tivoli
Horrea Epagathiana and Epaphroditiana, Ostia
House of the Faun, Pompeii
Isola Bella Gardens, Lake Maggiore
Laurentian Library, Florence
Mausoleum of Constantina (Church of Santa Costanza), Rome
Milan Cathedral, Milan
Monreale Cathedral and Cloister, Palermo
Monte Amiata Housing, Gallaratese, Milan
Orvieto Cathedral (Church of the Assumption of Virgin Mary), Orvieto
Palace of Labor, Turin
Palatine Chapel, Norman Palace, Palermo
Palazzo dei Priori, Piazza Grande (Platea Comunis), Perugia
Palazzo del Te, Mantua
Palazzo Farnese, Caprarola
Palazzo Sanfelice, Naples
Palazzo Vecchio, Florence
Pantheon, Rome
Pazzi Chapel, Franciscan Convent of Santa Croce, Florence
Piazza del Campo, Palazzo Pubblico, Siena
Piazza Ducale, Vigevano
Piazza Pio II, Pienza
Piazza Vittorio Veneto (Piazza Po), Turin
Renovation of the Old Harbor, Genoa
Royal Hunting Lodge, Stupinigi
Ruins of the Greek City of Selinus, Selinunte
Saffa Area Public Housing, Canareggio, Venice
Saint Mark’s Square, Venice
Saint Peter’s Dome, Rome
San Carlo alle Quattro Fontane, Rome
San Francesco (Saint Francis Basilica), Assisi
San Gaudenzio Dome, Novara
San Marco (Saint Mark’s Basilica), Venice
San Vitale, Ravenna
San Zeno Maggiore, Verona
Sant’ Andrea, Mantua
Sant’ Andrea al Quirinale, Rome
Sant’ Apollinare in Classe, Ravenna
Santa Maria della Consolazione, Todi
Santa Maria della Pace Cloister, Rome
Santa Maria della Salute, Venice
Santissima Sindone (Holy Shroud Chapel), Turin
Spanish Steps, Rome
Temple of Poseidon, Paestum
Theater, Taormina
Theater of San Carlo, Naples
Trevi Fountain, Rome
Trulli, Alberobello
Tuscolano II Public Housing, Rome
Velasca Tower, Milan
Viaduct of the Polcevera, Genoa
Villa Lante Gardens, Bagnaia
Villa Malaparte, Capri
Villa Rotonda, Vicenza
Document Text Contents
Page 1

of Italy

Page 2

Recent Titles in
Reference Guides to National Architecture

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Janina K. Darling

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Nigel R. Jones

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Alejandro Lapunzina

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David A. Hanser

Page 143

Palace of Labor 89

book façade” is an example of an original use of relief sculpture and colorful
mosaic, which create a strong contrast to the severe black-and-white masonry
of the rest of the cathedral. The church itself affords a startling view of the
changing architectural concerns of fourteenth-century Italy.

Further Reading

Gillerman, D. M. “The Evolution of the Design of Orvieto Cathedral.” Journal of the
Society of Architectural Historians 53 (1994): 300–321.

Riccetti, Lucio. Il duomo di Orvieto. Rome and Bari: Laterza, 1988.
Rosatelli, Eraldo. The Cathedral of Orvieto: Faith, Art, Literature. Perugia: Quattro-

emme, 2000.
Waley, Daniel P. Mediaeval Orvieto: The Political History of an Italian City-State 1157–

1334. Cambridge: Cambridge University Press, 1952.


Style: Contemporary
Dates: 1960–1961

Architects: Pier Luigi Nervi; Antonio Nervi; Gino Covre

The Palace of Labor, an exhibition hall built in Turin by P. L. Nervi (1891–1979) and his son Antonio with the help of Gino Covre, was quickly
nicknamed the “Concrete Parthenon.” Its size (580,000 square feet) and its
absolute regularity—the 75-foot-tall concrete columns are spaced 130 feet
apart—celebrate a return to classicism by an audacious engineer. Nervi’s fame
was based on his curiosity about structural engineering and his imaginative
creations, clearly reasoned, and mathematically advanced. He resisted con-
ventional solutions, even considered them a creative failure. His sense of
economy and desire to fi t the building to the very conditions of the program
gave his practice a strong sense of moral integrity. Nervi had to go beyond an
architect’s or an engineer’s abstract, preliminary plan; he had to be involved in
every detail from the beginning of the design until the moment of realization.
Nervi’s ideas came from discussions with his clients, but execution of those
ideas demanded that he translate his sense of structure into such mundane
things as formwork for the concrete. In designing the shapes of the ribs sup-
porting the roof of the Palace of Labor, for example, he was inspired to give
them the fl uidity of Gothic rib-and-panel vaulting. Nervi had always expressed
structure in a novel and imaginary way, which is obvious in his primary works
in Italy, the Exhibition Hall B in Turin (1947–1949) and the two Palaces
of Sport in Rome (1956–1957 and 1958–1959). From 1960 to 1962, he was

Page 144

90 Palace of Labor

involved in building the George Washington Bus Station in Manhattan that
still serves more than 700 buses each day.

The hall of the Palace of Labor required neutral, open spaces. Nervi be-
lieved that the building could be transformed into an industrial school after
serving as an exhibition hall for the Turin exhibition. However, the time allot-
ted for building the palace was extremely limited�only seventeen months.
Nervi reduced the program to its essentials; he advocated a universal space not
very different from Mies van der Rohe�s buildings such as Crown Hall at the

The Palace of Labor, Turin. Nervi�s modern classicism is re� ected in the nickname given to this
building�the �Concrete Parthenon.� Photo by Remy Rouyer.

Page 285

About the Author

JEAN CASTEX is an architect and professor of architectural history at the
Versailles School of Architecture, where he has served as president of the
faculty. Professor Castex graduated from the École des Beaux-Arts in 1968
and was awarded a doctorate from Paris VIII University in 1997 with a thesis
on the seventeenth-century French architect François Mansart. He has pub-
lished several books and articles on urban studies, including Urban Forms, the
Death and Life of the Urban Block (1977), which he authored with Ph. Panerai
and J. Ch. Depaule. His 1989 book on architecture of the fi fteenth through
the nineteenth centuries, Renaissance, Baroque, Classicisme, 1420–1720, was
re-edited in 2004 and has been translated into Dutch and Spanish.

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