Italian Architecture Art - Essay Example

Italian Architecture Art The depiction of finesse, beauty and ethereal projections in the form Italy’s architectural excellence is a notion which has been valued by historians, scholars and the admirers of art for its unparalleled defiance of time and space as it is intricately interweaved within the balance of society and the historical development of events in the nation. As stated by Castex, the architectural epitome which the land holds can be traced back or associated with significant eras in history marking the beginning of an enthralling journey from the Temple of Poseidon in fifth century BC to the more recent renovations of structures which occurred at the departure of the twentieth century (xxvii). Moreover, the a comprehensive analysis into the association between Italian art and architecture and the advent of Renaissance indicates that the epoch essentially transformed Italy into the “conceptual centre of art and architecture” (Castex xxvii). This view indicates that the advancement of architectural art in the nation inspired a global movement for revising the standards or guidelines for practicing architecture by exploring the nuances of novel spatial formation which had not been highlighted or ventured into previously. Accordingly, Castex outlines that with the passage of time perhaps the most celebrated and admirable aspect with regard to Italian architecture which remained and thrived was that separate architectural movements in the country that occurred during different epochs continued to enhance the teachings of previous movements to develop, enhance and augment existing architecture rather than discarding prior learning (xxvii). As the mastery of Italian architecture continues to be celebrated and appreciated across the globe to this day, this paper explores the progress of Italy’s architecture through the historical stages of the nation and links the evolution of the art form with the changing elements of the wider society. In the assessment of Italy’s architectural journey perhaps the era which particularly stands out is that of the 17th century which is identified by scholars as a significant phase in the advancement of art forms and expressions across the land (Reiche and Bussagli 215). The affirmation of this claim can be conducted by highlighting the achievement of St. Peter’s and Piazza Navona during the era which are also known to be the defining moments of architectural distinction which were acquired by Italy during the 17th century. However, it is still important to reiterate that even though, the 17th century brought with itself incredible architectural achievements, these outcomes could not have emerged had it not been for the fundamental influence of the Renaissance. Documenting the arrival of architectural conceptions which drew significant influence from the notion of ‘rebirth’ which is regarded as the foundation of the Renaissance, Castex asserts that the preceding works of influential architects such as Brunelleschi were already laying the groundwork for accommodating the styles that would later be adopted on a much larger scale (xxxviii). Brunelleschi sculptures later adorned the Pazi Chapel and the Churches of San Lorenzo (Reiche and Bussagli 82). The parallel element which can be found in the art of architects and sculptors who preceded the advent of the Renaissance in Italy is identified by Castex as “central linear perspective” (xxxviii). According to Kirk, the concept of perspective has remained one of the most critical considerations for understanding the nuances and nature of architectural accomplishments as the idea of perspective is associated with identifying the single element which inspires finesse and splendor in the architecture (48). Therefore, the aspect of perspective is essentially rooted in recognizing the combination of visual elements in architecture to understand how different architects seek inspiration and project their influences in their works. In terms of assessing the utilization of “central linear perspective” in the architecture of Renaissance, the concept of perspective is applied to comprehend space and not the drawing of the work itself. Therefore, the objective of applying this perspective is to obtain an outcome which is able to successfully reflect against the given space or location when it is seen by the viewer (Castex xxxix). Eventually, the arrival of architecture in the phase of Renaissance did not only prompt a rebirth of the constructions and buildings but also set out to redefine the duties of an architect. According to Castex, this aspect is associated with charting the growing abilities of architects as they were gradually able to define their separate works as full-fledged projects which needed to be addressed from different angles (xxxix). For example, the architects of Renaissance were able to communicate their ideas, influences and conceptual understandings of space and dimensions through intricate and detailed illustrations that were eventually provided to builders who now possessed a vivid picture of what the architect demand and expected from the execution of the project (Castex xxxix). As stated previously, perhaps the key to the achievements of Italian architects exist in the fact that they were able to improve upon the recommendations and comprehensions of their predecessors to develop more exquisite and refined buildings. However, this does not imply that such a mindset was possessed by all Italian architects who lived at the time. For example, Castex postulates that Brunelleschi saw the Gothic style of Italian architecture as an inherently baffling and puzzling architectural style which did not possess clarity of thought or understanding in the execution of various projects (xxxix). The scope of Renaissance’s architectural influence on Italy has also been examined by Warr and Eliot who state that epoch acted as a bridge between the art forms and expressions of the North and South even though, scholars argue that the primary emergence of rebirth occurred in Florence it is still possible to view the longstanding impact of the era’s influence on the architectural status of Naples (21). Despite of the unprecedented and drastic transformation of Italian architecture which occurred in earlier periods, Fuller presents a present-day examination of the subject by outlining three distinct theories of 20th century Italian architecture which are termed as 1) Modern Italian Architecture 2) Colonial Modern and 3) Imperial Urbanism respectively (vii). The purpose of these theoretical models of architecture is to outline the progression of Italian architecture and art in a more contemporary scenario as opposed to prior comprehensions that specifically look upon the period of Renaissance or the epochs which succeeded this significant stage in history. Fuller documents that the beginning of the phase of ‘Modern Italian Architecture’ in the earlier part of the 20th century was faced with numerous problems and issues which had neither been addressed nor experienced by the nation in terms of the fields of art and architecture (87). The most critical issue which was being experienced by the field at the time was the absence of a distinguished or specific centre for teaching and learning where modern architects could acquire training and gain membership to a circle of professionals who would be committed to understand and resolve the issues of the time (Fuller 87). Furthermore, Kirk identifies that an predominant issue of assessing the genre of the modern architectural state of Italy is that the notion itself is highly disputed because of its oxymoronic nature and the fact that it is still perplexing to associate the architecture of Italy with contemporary periods when the marvels of Italian architecture were born at a much earlier stage in the nation’s history (10). However, from Fuller’s perspective the assessment of Italy’s modern architectural status is fundamental and necessary to advance the nation’s forte and develop a field which has been remarkably preserved in the neighborhoods and streets of the country (88). Under the Modern Italian Architecture phase, the systematic effort to transform the field of architecture into a discipline met with the development of dedicated institutions and educational centers to teach the subject. Moreover, with the aid of influential architects such as Giovannoni Italy began to evolve the field which had largely remained restricted in the sense of city planning by integrating the conceptions of architecture to systematically develop and organize cities, understand landscapes and assist the establishment of a structure which could efficiently accommodate the growing population (Fuller 88-89). The campaign which was conducted under this banner soon became to be identified as urbanistica and ventured into commercial, residential and settlement locations for enhancing their existing setup and crusade for better access to housing schemes while, still retaining the beauty and excellence of Italian architecture. Eventually, the period of Modern Italian Architecture also corresponded with the nation’s changing political ideologies which were prompted by the development and promotion of nationalist feelings. Even though, it may appear to be quite impossible to relate the notion of architecture with political and social influences of the era as art in itself is a form of expression which seeks to advance feelings, emotions and influences it is undeniable that the emergence of Italy as a fascist state had a significant influence upon the foundations of architecture. Fuller understands that the influence of a fascist state impacted architecture by continually transforming the profession under a centralized setup where the power of a few architects who soon came to be recognized as the ‘state’s architects’ was unprecedented (92). Eventually, the politicization of the field reached its epitome during the period as motivations for embarking upon projects became limited to the loyalty of individuals and the state’s decision to assign projects. Therefore, in such circumstances if an architect refused to abide by the dictation of the state and its desires he had to experience the negative consequences of failing to receive work or contribute towards the nation’s architectural development. Thus, in such scenario emerged a separate movement of Italian moderns who were left to obtain work and projects through channels which were not declared openly. Fuller understands that in terms of linking the architectural conceptions of the time to the construction works and buildings it can be declared that the architects of the time intended to exercise tremendous individuality and they forwarded this desire by practicing a number of styles and combining variable approaches to create a final piece (97). Moreover, architectural practices while, leaning more towards contemporary choices also opted to integrate and incorporate the historical elements of architecture by devising a style which is known as “historic modern” (Fuller 97). This fusion of elements from the country’s historical references aimed to transform previous learning and create pieces which could speak to the masses who were perhaps unaware of the true extent of their nation’s architectural achievements and could only realize their potential in a more modern and contemporary outlook. Accordingly, certain factions of architectural society which had become inspired by the advancements in other European nations and across cultures chose to opt for implementing ‘international modern’ styles. According to Fuller the purpose of these variable styles was to redefine the existence of Italy’s architectural reality and descend into unexplored realms which had previously appeared to be too far-fetched or unrealistic for traditional tastes (98). Even though, Italian architectural achievements are primarily rooted in the historic and traditional setting of the nation, it is intriguing to identify how as a form of expression and medium of art that is much more extravagant and ambitious compared to other art expressions architecture has been greatly impacted by political, social and ideological changes which occurred in the country. For example, the period of Renaissance which marked ‘rebirth’ triggered a transformation of the profession itself while, introducing new perspectives into the discipline which previously had not been explored by architects. Moreover, this rebirth also coincided with the development of previous conceptions and to enhance them for achieving more refined outcomes. Eventually, as fascism crept into the political structure of society architecture became a more centralized field under the state’s wishes and commandments yet it is interesting to see how the movement of modern Italian architects continued to practice the medium on their own terms by venturing into uncharted territories including international modern architecture and European and Mediterranean influences. Works Cited Castex, Jean. Architecture of Italy. ABC-CLIO, 2008. Fuller, Mia. Moderns abroad: architecture, cities and Italian imperialism. Routledge, 2007. Kirk, Terry. The Architecture of Modern Italy: The Challenge of Tradition 1750-1900. Vol. 1. Princeton Architectural Press, 2005. Reiche, Mattia, and Marco Bussagli. Italian Art: Painting, Sculpture, Architecture from the Origins to the Present Day. Ed. Gloria Fossi. Giunti Editore, 2000. Warr, Cordelia, and Janis Elliott, eds. Art and Architecture in Naples, 1266-1713: New Approaches. John Wiley & Sons, 2010. Read More