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This book offers an account of neo-Renaissance taste and style in Italy during the second half of the nineteenth century. By the time Italy had developed its obsession with the neo-Renaissance in the 1870s, collectors and scholars in the rest of Europe had been excited by Renaissance taste and style for several decades. In Italy the Renaissance was promptly reconceptualised, in a forced alignment with the accepted historical version of its birth and development, and its help enlisted in the search for an Italian national identity. But what represented this neo-Renaissance in Italy, and what aided its diffusion? In an attempt to answer these questions this book explores the many areas marked by neo-Renaissance taste. It traces its diffusion and development from the institutions which instructed its chief exponents, to architecture and exhibitions and the publications which disseminated neo-Renaissance designs so effectively.
Extensive work is a result of four year research within the international project Women's Creativity since the Modern Movement, and brings new insights into women in architecture, construction, design, urban planning and landscape architecture in Europe and in the rest of the world. It is divided into eight chapters that combine 116 articles on topics: A. Women’s education and training: National and international mappings; B. Women’s legacy and heritage: Protection, restoration and enhancement; C. Women in communication and professional networks; D. Women and cultural tourism; E. Women’s achievements and professional attainments: Moving boundaries; F. Women and sustainability: City and...
Fascism, Architecture, and the Claiming of Modern Milan, 1922–1943 chronicles the dramatic architectural and urban transformation of Milan during the nearly twenty years of fascist rule. The commercial and financial centre of Italy and the birthplace of fascism, Milan played a central role in constructing fascism’s national image and identity as it advanced from a revolutionary movement to an established state power. Using a wide range of archival sources, Lucy M. Maulsby analyses the public buildings, from the relatively modest party headquarters to the grandiose Palace of Justice and the Palazzo del Popolo d’Italia, through which Mussolini intended to enhance the city’s image and solidify fascism’s presence in Milan. Maulsby establishes the extent to which Milan’s economic structure, social composition, and cultural orientation affected Il Duce’s plans for the city, demonstrating the influences on urban development that were beyond the control of the fascist regime. By placing Milan’s urban change in its historic context, this book expands our understanding of the relationship between fascism and the modern city.
This book provides a comprehensive, up-to-date overview on the most pressing issues in the conservation and management of archaeological, architectural, and urban landscapes. Multidisciplinary research is presented on a wide range of built heritage sites, from archaeological ruins and historic centers through to twentieth century and industrial architectural heritage. The role of ICT and new technologies, including those used for digital archiving, surveying, modeling, and monitoring, is extensively discussed, in recognition of their importance for professionals working in the field. Detailed attention is also paid to materials and treatments employed in preventive conservation and management. With contributions from leading experts, including university researchers, professionals, and policy makers, the book will be invaluable for all who seek to understand, and solve, the challenges face d in the protection and enhancement of the built heritage.
Bringing together studies by art historians, historians, and political scientists, Fascist Visions explores the themes and paradigms that pervaded protofascist and fascist aesthetic discourse, cultural policy, and artistic production in France and Italy. Whether traditionalist or innovative in idiom, art functioned as the expression of fascism's ideological polarities: nihilism and idealism, modernism and antimodernism, revolution and reaction. This volume charts the unfolding of fascist aesthetics from its genesis in nationalist and antimaterialist ideologies before World War I to its full development during the interwar period and World War II. It also highlights the shared motivations of ...
Emphasizing on the one hand the reconstruction of the material culture of specific residences, and on the other, the way in which particular domestic objects reflect, shape, and mediate family values and relationships within the home, this volume offers a distinct contribution to research on the early modern Italian domestic interior. Though the essays mainly take an art historical approach, the book is interdisciplinary in that it considers the social implications of domestic objects for family members of different genders, age, and rank, as well as for visitors to the home. By adopting a broad chronological framework that encompasses both Renaissance and Baroque Italy, and by expanding the regional scope beyond Florence and Venice to include domestic interiors from less studied centers such as Urbino, Ferrara, and Bologna, this collection offers genuinely new perspectives on the home in early modern Italy.
Photography, Architecture, and the Modern Italian Landscape explores the impact of photography at a pivotal moment in Italian architecture and culture, focusing on the period between 1910 and the mid-1970s. The book analyzes architectural photographs taken by Italian cultural figures who helped transform the Italian landscape into what we know today. This study charts the oscillation of Italians’ ideas about what progress signified. For example, the book demonstrates that for writers and artists familiar with ancient ideas about civilization in 1910, the Roman countryside exemplified the contradictions inherent in primitivism. On the one hand, their photographs praised the region’s primo...
In the nineteenth century, new cemeteries were built in many Italian cities that were unique in scale and grandeur, and which became destinations on the Grand Tour. From the Middle Ages, the dead had been buried in churches and urban graveyards but, in the 1740s, a radical reform across Europe prohibited burial inside cities and led to the creation of suburban burial grounds. Italy’s nineteenth-century cemeteries were distinctive as monumental or architectural structures, rather than landscaped gardens. They represented a new building type that emerged in response to momentous changes in Italian politics, tied to the fight for independence and the creation of the nation-state. As the first...
Goods made or designed in Italy enjoy a profile which far outstrips the country's modest manufacturing output. Italy's glorious design heritage and reputation for style and innovation has 'added value' to products made in Italy. Since 1945, Italian design has commanded an increasing amount of attention from design journalists, critics and consumers. But is Italian design a victim of its own celebrity? Made in Italy brings together leading design historians to explore this question, discussing both the history and significance of design from Italy and its international influence. Addressing a wide range of Italian design fields, including car design, graphic design, industrial and interior design and ceramics, well-known designers such as Alberto Rosselli and Ettore Sottsass, Jr. and iconic brands such as Olivetti, Vespa and Alessi, the book explores the historical, cultural and social influences that shaped Italian design, and how these iconic designs have contributed to the modern canon of Italian-inspired goods.
This essential reference for all students of architecture, design and the built environment provides a convenient single source for all the key texts in the recent literature on architecture and technology. The book contains over fifty carefully selected essays, manifestoes, reflections and theories by architects and architectural writers from 1900 to 2004. This mapping out of a century of architectural technology reveals the discipline's long and close attention to the experience and effects of new technologies, and provides a broad picture of the shift from the 'age of tools' to the 'age of systems'. Chronological arrangement and cross-referencing of the articles enable both a thematic and historically contextual understanding of the topic and highlight important thematic connections across time. With the ever increasing pace of technological change, this Reader presents a clear understanding of the context in which it has and does affect architecture.