Italy has a very broad and diversearchitectural style, which cannot be simply classified by period or region, due to Italy's division into various small states until 1861. 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 aqueducts, temples and similar structures duringancient Rome, the founding of theRenaissance architectural movement in the late-14th to 16th century, and being the homeland ofPalladianism, a style of construction which inspired movements such as that ofNeoclassical architecture, and influenced the designs which noblemen built their country houses all over the world, notably in theUnited Kingdom,Australia and theUnited States of America during the late-17th to early 20th centuries.
Several of the finest works in Western architecture, such as theColosseum, theDuomo of Milan, theMole Antonelliana in Turin,Florence Cathedral and the building designs ofVenice 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] Now Italy is in the forefront of modernist andsustainable design with architects likeRenzo Piano andCarlo Mollino.
Italian architecture has also widely influenced the architecture of the world.[5] Moreover,Italianate architecture, popular abroad since the 19th century, was used to describe foreign architecture which was built in an Italian style, especially modelled onRenaissance architecture.
Along with pre-historic architecture, the first people in Italy to truly begin a sequence of designs were the Greeks 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,[6] with the exception of a few inVolterra, Tuscany andPerugia, Umbria. The Etruscans built temples, fora, public streets, aqueducts and city gates which had a significant influence on Roman architecture.[6]
In Southern Italy, from the 8th century BC, the Greek colonists who created what was known asMagna Graecia used to build their buildings in their own style. They built bigger, better and technologically advanced houses which influenced Roman architecture too.[6] Yet, by the 4th century BC, the Hellenistic Age, less concentration was put on constructing temples, rather more time was spent building theatres.[6] 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. The temples in theValle dei Templi, which are currentlyUNESCOWorld Heritage Sites, are a fine example.
Influenced by Greek architecture (which had left important signs in Magna Grecia, in the temples ofAgrigento,Selinunte andPaestum) and by the Etruscan architecture (which aroused the attentions ofVitruvius), Roman architecture assumed its own characteristics.
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 thetriclinium in Roman villas as a place and manner of dining. The Romans, similarly, were indebted to their Etruscan neighbours who supplied them with a wealth of knowledge essential for future architectural solutions such ashydraulics 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 ofvaults andarches, together with a sound knowledge of building materials, enabled them to achieve unprecedented successes in the construction of imposing structures for public use. Prominent examples include theaqueducts of Rome, theBaths of Diocletian, and theColosseum. These were reproduced at smaller scale in major towns and cities throughout the Empire, with some structures surviving almost completely intact, such as thetown walls ofLugo inHispania Tarraconensis.
Italy was widely affected by the Early Christian age, with Rome being the new seat of thepope. After theJustinian reconquest of Italy, several buildings, palaces and churches were built in the Roman-Byzantine style. The Christian concept ofbasilica 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 manycatacombs in Rome.[7]
Early Christian churches in Milan are the firstchurches built immediately after theEdict of Milan (Edictum Mediolanense) in February 313, issued byConstantine the Great andLicinius, which granted tolerance andreligious liberty to Christianity within theRoman Empire. The early Christian basilicas inMediolanum (now Milan) can be divided into several categories, corresponding to their periods. The first basilicas we know are divided into two separate churches, one for thebaptized, being the sacrament of baptism at that time granted only upon completion of a process of conversion and spiritual purification, and the other forcatechumens. This particular arrangement perhaps derived fromhorrea, a type of public warehouse used during the ancient Roman period, such as the ancient buildings ofAquileia. TheBasilica di Santa Tecla (45°27′50″N45°27′50″E / 45.46389°N 45.46389°E /45.46389; 45.46389), whose ruins can be visited under theMilan Cathedral, hasapse of traditional type, reminiscent of those of the churches annexed to great civic buildings. The religious center of the city, nowPiazza del Duomo, included two cathedrals: thebasilica vetus or basilica minor, used during the winter season, and basilica nova or basilica major, used during the summer. With the Roman governor and bishop Ambrose began a program to build basilicas dedicated to various categories: a basilica for theprophets, one for theapostles (San Nazaro in Brolo), one for themartyrs (martyrium, which later housed his remains and became theBasilica of Sant'Ambrogio), one for thevirgins (Basilica of San Simpliciano).
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.[7] The Byzantines, which technically 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.[7] Since the Byzantines resided in Sicily for some time, their architectural influence can still be seen today, for example in the Cathedral ofCefalu,Palermo, orMonreale, with their richly decorated churches.
The term "Italo-Byzantine" is used for sculpture much less often, as the Byzantines did not provide large models to follow for that. It may be used of ivories,[9] mosaics and the like. In architecture it is the almost inevitable term used forSan Marco, Venice, and a few other very old buildings in Venice (theFondaco dei Turchi for example) and on the small islands ofTorcello (Torcello Cathedral) andMurano in the lagoon, but is not often used for other buildings (until 19th-centuryrevivals such asWestminster Cathedral andBristol Byzantine).[10] Even the rest ofVenetian Gothic architecture does not owe much toByzantium.[11]St Mark's Basilica inVenice is also an example of Byzantine architecture in Italy. It is one of the best known examples ofItalo-Byzantine architecture[8]
Between the Byzantine 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, when several masterpieces such as theLeaning Tower of Pisa inPiazza dei Miracoli and theBasilica of Sant'Ambrogio inMilan were built. The style 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.[12]
Romanesque architecture varied greatly in Italy in both style and construction. Arguably, the most artistic was the Tuscan Romanesque, especially Florentine and Pisan, yet that of Sicily, influenced by theNorman 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 thegroined vault or barrels.[12] The buildings' weight tended to buckle on the outside, and there used to bebuttresses 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 thevault, which had never been seen before in the history of Western architecture.[12]
TheGothic architecture appeared in Italy in the 12th century.Italian Gothic always maintained a peculiar characteristic which differentiated its evolution from that in France, where it had originated. In particular, the bold architectural solutions and technical innovations of theFrench Gothic never appeared: Italian architects preferred to keep the construction tradition established in the previous centuries. Aesthetically, in Italy the vertical development was rarely important.
Gothic architecture was imported in Italy, just as it was in many other European countries. TheBenedictineCistercian order was, through their new edifices, the main carrier of this new architectural style. It spread fromBurgundy (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 theRenaissance. It is in Florence that the new architectural style had its beginning, not slowly evolving in the way thatGothic grew out ofRomanesque, 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 elements that expressed their purpose.[16] Many Tuscan Romanesque buildings demonstrate these characteristics, as seen in theFlorence Baptistery andPisa Cathedral.
Italy had never fully adopted the Gothic style of architecture. Apart from theCathedral of Milan, largely the work of German builders, few Italian churches show the emphasis on verticality, the clustered shafts, ornate tracery and complex ribbed vaulting that characteriseGothic in other parts of Europe.[16]
The presence, particularly in Rome, of ancient architectural remains showing the orderedClassical style provided an inspiration to artists at a time when philosophy was also turning towards the Classical.[16]
The transition from Gothic to Renaissance architecture coincides with the construction of the dome of theFlorence Cathedral, carried out byFilippo Brunelleschi between 1420 and 1436. The Cathedral, built by Arnolfo di Cambio, was left unfinished by the end of the 14th century; it had a huge hole at the centre, where the dome was meant to be. The competition to build it was won by Brunelleschi, who built the largest dome since Roman times.
TheBasilica di San Lorenzo in Florence was designed by Brunelleschi using all the things he had learnt by studying the architecture of Ancient Rome. It has arches, columns and round-topped windows in the Roman style. It looks completely different from the pointy-arched churches of theGothic period. The building, with alterations, was not completed until after his death.
When the Roman Emperors came back from winning a battle, they built atriumphal arch as a monument to themselves. There are several of these monuments in Rome as well as in other parts of Italy, and the general design is that of a big arch at the centre, and a smaller lower arch or doorway on either side. The architectLeon Battista Alberti adapted theRoman triumphal arch to the church facade of theBasilica of Sant'Andrea in Mantua. He used the same pattern of tall and arched, low and square, all down the inside of the church as well. This was copied by many other architects. It was also the first building to use columns in thegiant order.
-Palazzo_Medici_courtyard_Apr_2008_(9).jpg)
When it came to building palaces, the rich people of the Renaissance had different needs to the Roman Emperors, so the architects had to use the rules to make a new sort of grand building. These Renaissance palaces, of which thePalazzo Medici Riccardi is a fine example, are usually three stories high and quite plain on the outside. On the inside there is a courtyard, surrounded by beautiful columns and windows. Architects likeMichelozzo, who worked forCosimo de' Medici, looked at the RomanColosseum for inspiration.
The most famous church in Rome was theOld St. Peter's Basilica, built over a small shrine believed to mark theburial place of St. Peter. By the end of the 15th century, the old basilica had fallen into disrepair. In 1505, Pope Julius II made a decision to demolish the ancient basilica and replace it with a new one. A succession of popes and architects followed in the next 120 years, their combined efforts resulting in thepresent building. By the time it was finished, many important artists had worked on the design, which changed dramatically, becoming moreBaroque than Renaissance. Among the architects present on the site there wereDonato Bramante,Raphael,Antonio da Sangallo the Younger,Michelangelo,Pirro Ligorio,Giacomo Barozzi da Vignola,Giacomo della Porta, andCarlo Maderno. It has one of the most magnificent domes in the world, which has been copied in many countries.
One of the most original works of late Baroque architecture is thePalazzina di caccia di Stupinigi (Hunting Lodge of Stupinigi), dating back to 18th century.[17] Featuring a highly articulated plant based upon aSaint Andrew's Cross, it was designed byFilippo Juvarra, who also built theBasilica di Superga, near Turin.
In the same period inVeneto there was a rapprochement withPalladian architecture, evident inVilla Pisani atStra (1721) andSan Simeone Piccolo church in Venice (completed in 1738).
In Rome, some of the most significant achievements are theSpanish Steps and theTrevi Fountain, while the façade ofSan Giovanni in Laterano byAlessandro Galilei has more austere, classical traits.
In theKingdom of Naples, the architectLuigi Vanvitelli began in 1752 the construction of theRoyal 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 theNeoclassical style. The gigantic size of the palace is echoed by theOspedale L'Albergo Reale dei Poveri in Naples, built in the same years byFerdinando Fuga.
A return to more classical architectural forms as a reaction to the Rococo style can be detected in early 18th century, most vividly represented in thePalladian architecture. In the late 18th and early 19th centuries Italy was affected by the Neoclassical architectural movement. Everything from villas, palaces, gardens, interiors and art began to be based on ancient Roman and Greek themes,[18] and buildings were widely themed on theVilla Capra "La Rotonda", the masterpiece byAndrea Palladio. Before the discoveries of the lost cities ofPompeii andHerculaneum, buildings were themed onAncient Rome andClassical Athens, but were later inspired by these archaeological sites.[19]
Examples of Neoclassical architecture in Italy includeLuigi Cagnola'sArco della Pace (Milan),[19] theSan Carlo Theatre (Naples, 1810),[20]San Francesco di Paola (Naples, 1817),Pedrocchi Café (Padua, 1816),Tempio Canoviano, (Posagno, 1819),Teatro Carlo Felice (Genoa, 1827), and theCisternone (Livorno, 1829).[20]
Italy, in the mid-19th century, was also well known for some relatively avant-garde structures. TheGalleria Vittorio Emanuele II in Milan, built in 1865, was the first building in iron, glass and steel in Italy, and the world's oldest purpose-built shopping gallery, which later influenced theGalleria Umberto I inNaples.
Art Nouveau, known in Italy asLiberty style, had its main and most original exponents inGiuseppe Sommaruga andErnesto Basile. The former was author ofPalazzo Castiglioni in Milan, while the second projected an expansion ofPalazzo Montecitorio in Rome.
In the 1920s and following years a new architectural language,Razionalismo, was introduced. This form ofFuturist architecture was pioneered byAntonio Sant'Elia and hence byGruppo 7, formed in 1926. After the dissolution of the group, it was adopted by single artists likeGiuseppe Terragni (Casa del Fascio, Como),Adalberto Libera (Villa Malaparte inCapri) andGiovanni Michelucci (Firenze Santa Maria Novella railway station).
During the Fascist period, Razionalismo was outranked byNovecento 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 wereGio Ponti,Pietro Aschieri [it] andGiovanni Muzio. This movement inspiredMarcello Piacentini in his creation of a "simplifiedNeoclassicism" 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 ofVia 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 theGruppo 7 group, whose architects includedLuigi Figini, Guido Frette, Sebastiano Larco,Gino Pollini, Carlo Enrico Rava,Giuseppe Terragni, Ubaldo Castagnola andAdalberto Libera. Two branches have been identified, amodernist branch withGiuseppe Terragni being the most prominent exponent, and a conservative branch of whichMarcello Piacentini and theLa Burbera group were most influential.
Fascist styles often resemble that ofancient Rome, but can extend to modern aesthetics as well. Fascist-era buildings are frequently constructed with particular concern given tosymmetry andsimplicity. Fascist-styles of architecture are a branch of modernist architecture which became popular in the early 20th century. The Italian Fascist style was also greatly influenced by the rationalist movement in Italy in the 1920s.Rationalist architecture, with the help of Italian government support, celebrated the new fascist age of culture and government in Italy.[21]
Two Italian architects have received thePritzker Architecture Prize:Aldo Rossi (1990) andRenzo Piano (1998). 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 andGae Aulenti. Piano's works includeStadio San Nicola in Bari,Auditorium Parco della Musica in Rome, the renovation works of theOld Port of Genoa, andPadre Pio Pilgrimage Church in San Giovanni Rotondo. Among Fuksas' projects (As of January 2011[update]) arePiedmont Region Headquarters andRoma Convention Center - La Nuvola atEUR, Rome. Gae Aulenti's Italian works feature the renovation works ofPalazzo Grassi in Venice and the"Museo" station of theNaples Metro.
Other remarkable figures for contemporary architecture in Italy are the SwissMario Botta (Museo d'arte moderna e contemporanea di Trento e Rovereto, renovation ofLa Scala in Milan),Michele Valori (it:Corviale),Zaha Hadid (National Museum of the 21st Century Arts in Rome, skyscraper "Lo Storto" in Milan),Richard Meier (Jubilee Church and cover building ofAra Pacis, both in Rome),Norman Foster (Firenze Belfiore railway station),Daniel Libeskind (skyscraper "Il Curvo" in Milan) andArata Isozaki (Palasport Olimpico in Turin, together withPier Paolo Maggiora and Marco Brizio; skyscraper "Il Dritto" in Milan).
Among the most important Neo-futuristic architecture works in Italy is theCityLife project inMilan.
Renewal architectural style is such asNeo-futuristic but strongly oriented towards integration into the environment, where the newly constructed building is inserted into a context of urban redevelopment and reforestation and landscape protection. While the existingItalian real estate heritage is maintained, restored and preserved, in harmony with the environment and therefore revalued. The environment, through its protection, plays a fundamental role in the health and well-being of the community, its inhabitants and citizens.the stylistic concept of the Italian Renewal is intended as a renewed balance between man and nature. TheRenaissance Ideal City is rethought, reworked throughhigh-technology, which allow to find a new balance between man and the environment, a renewed balance. The Italian Pavilion forExpo 2025Osaka designed by Mario Cucinella, represents the constructed manifesto of this Italian renewal vision of architecture.[22]
