ADALBERTO LIBERA Francesco Garofalo and Luca Veresani Adalberto Libera ( 1903-1963 ) was one of the preeminent Italian Rationalist architects of the 1930s and 1940s . Both a protagonist of Italian modern architecture and an important ...
Author: Francesco Garofalo
Publisher: Princeton Architectural Press
Photographs, drawings, and text describe over 70 projects of Italian architect Libera (1903-63), a pioneer of modern Italian architecture, who flourished during the Fascist period. Black and white. No index. First published in Italian, 1989. Annotation copyright by Book News, Inc., Portland, OR
Adalberto Libera ( 1903-1963 ) Adalberto Libera was born in 1903 in Villa Lagarina , Upper Adige . With the outbreak of World War I , he and his family moved to Parma , where he received his degree in architecture .
Author: Barbara McCloskey
Publisher: Greenwood Publishing Group
Provides information on art during World War II with profiles of artists and descriptions of their works.
SK M25 Palazzo dei Ricevimenti e dei Congressi M25 Palazzo dei Ricevimenti e dei Congressi EUR , Piazza J. F. Kennedy ( plan G23 / B and plan VII 2/0 ) 1937–54 Adalberto Libera One of the most important competitions for the permanent ...
Author: Professor of Transnational Private and European Business Law European University Institute Florence and Professor of Private Law Business Law and Legal Theory Stefan Grundmann
Publisher: Edition Axel Menges
Architects and artists have always acknowledged over the centuries that Rome is rightly called the 'eternal city'. Rome is eternal above all because it was always young, always 'in its prime'. Here the buildings that defined the West appeared over more than 2000 years, here the history of European architecture was written. The foundations were laid even in ancient Roman times, when the first attempts were made to design interiors and thus make space open to experience as something physical. And at that time the Roman architects also started to develop building types that are still valid today, thus creating the cornerstone of later Western architecture. In it Rome's primacy remained unbroken -- whether it was with old St Peter's as the first medieval basilica or new St. Peter's as the building in which Bramante and Michelangelo developed the High Renaissance, or with works by Bernini and Borromini whose rich and lucid spatial forms were to shape Baroque as far as Vienna, Bohemia and Lower Franconia, and also with Modern buildings, of which there are many unexpected pearls to be found in Rome. All this is comprehensible only if it is presented historically, i. e. in chronological sequence, and so the guide has not been arranged topographically as usual but chronologically.This means that one is not led in random sequence from a Baroque building to an ancient or a modern one, but the historical development is followed successively. Every epoch is preceded by an introduction that identifies its key features. This produces a continuous, lavishly illustrated history of the architecture of Rome -- and thus at the same time of the whole of the West. Practical handling is guaranteed by an alphabetical index and detailed maps, whose information does not just immediately illustrate the historical picture, but also makes it possible to choose a personal route through history.
2 Gio Ponti, “Lo Stile nella casa e nell'arredamento,” Stile di Libera, no. 17 (Maggio 1942): 10–19, cited in P. Melis, Adalberto Libera, 1903–1963. The places and dates of a lifetime. Traces for a biography (Rovereto: Municipality of ...
Author: Kay Bea Jones
Today, nearly a century after the National Fascist Party came to power in Italy, questions about the built legacy of the regime provoke polemics among architects and scholars. Mussolini’s government constructed thousands of new buildings across the Italian Peninsula and islands and in colonial territories. From hospitals, post offices and stadia to housing, summer camps, Fascist Party Headquarters, ceremonial spaces, roads, railways and bridges, the physical traces of the regime have a presence in nearly every Italian town. The Routledge Companion to Italian Fascist Architecture investigates what has become of the architectural and urban projects of Italian fascism, how sites have been transformed or adapted and what constitutes the meaning of these buildings and cities today. The essays include a rich array of new arguments by both senior and early career scholars from Italy and beyond. They examine the reception of fascist architecture through studies of destruction and adaptation, debates over reuse, artistic interventions and even routine daily practices, which may slowly alter collective understandings of such places. Paolo Portoghesi sheds light on the subject from his internal perspective, while Harald Bodenschatz situates Italy among period totalitarian authorities and their symbols across Europe. Section editors frame, synthesize and moderate essays that explore fascism’s afterlife; how the physical legacy of the regime has been altered and preserved and what it means now. This critical history of interpretations of fascist-era architecture and urban projects broadens our understanding of the relationships among politics, identity, memory and place. This companion will be of interest to students and scholars in a range of fields, including Italian history, architectural history, cultural studies, visual sociology, political science and art history.
Adalberto Libera and Curzio Malaparte , 1903–63 and 1898–1957 Capri , Italy ; 1936-40. A house like me was how Curzio Malaparte's described his lonely lair on its rocky , sea - sprayed promontory on the island of Capri .
Author: Colin Davies
Publisher: Laurence King Publishing
Featuring over 100 of the most significant and influential houses of the twentieth century, For each of the houses included there are numerous, accurate scale plans showing each floor, together with elevations, sections and site plans where appropriate. All of these have been specially drawn for this book and are based on the most up-to-date information and sources.
In the Thirties, Adalberto Libera prepared a project for converting the mausoleum into a shrine for the fallen in eastern Africa3. From the beginning of the Thirties, it was planned to thin out the buildings around the monument, ...
Author: AA. VV.
Publisher: Gangemi Editore spa
This volume collects the proceedings of the International Seminar The Mediterranean Medina, that took place in the School of Architecture at Pescara from 17th to 19th of June 2004.
the studies of Pagano , Diotallevi , and Marescotti , reached fruition in the housing at Tuscolano , Rome by Adalberto Libera . The third group , also deriving from the Mediterranean is identified with Jose Sert , his partner , Wiener ...
Author: Ian L. McHarg
Publisher: Island Press
"A valuable cache of McHarg's writings produced between the 1950s and the 1990s, providing a larger framework and a new perspective on the growth and development of his key ideas promoting the design of human settlements should be based on ecological principles."--NHBS Environment Bookstore.
Fassio A., Adalberto Libera nel dopoguerra, Soprintendenza per i beni architettonici e per il paesaggio e per il patrimonio storico, artistico e demoetnoantropologico di Cagliari e Oristano, Cagliari , 2004. Giannetto M., Adalberto ...
Author: Tom Learner
Publisher: Cambridge Scholars Publishing
This volume represents a forum for conservators, conservation scientists, artists and heritage managers. It includes the voices of many of the different partners involved in the complex task of preserving artworks: • The vital experience of artists who create murals and are sometimes asked to treat their creations; • Theoretical reflections on how to deal methodologically with conservation; • Scientific studies on the identification of constituent materials and/or on the development of procedures for their preservation; • The opinion of cultural managers; • The specific experiences of conservators. All of the above must have a voice in the difficult task of preserving such a challenging and changing heritage. Este volumen se plantea como un foro de encuentro entre conservadores restauradores, científicos, artistas y gestores del patrimonio. En él se incluye el trabajo de los diferentes interlocutores que participan en la compleja tarea de conservar una obra de arte: • La experiencia vital del artista creador de murales, que a veces es llamado para restaurar lo que ya hizo; • Las reflexiones teóricas sobre el modo de enfrentarnos metodológicamente a su conservación y restauración; • Los estudios científicos destinados a la identificación de materiales constitutivos o la puesta a punto de procedimientos para su conservación; • La opinión de quienes se encargan de su gestión; • Las experiencias concretas de conservadores restauradores. Todos ellos deben tener voz en la difícil tarea de conservar un patrimonio complejo y cambiante.
Through incisive text , Albert Kahn - part of a growing series with Adalberto Libera and Adolf Loosbrings to light the novelty of Kahn's designs and his advancement of the machine aesthetic . Over ninety black - and - white photographs ...
Author: Panayotis Tournikiotis
Publisher: Princeton Architectural Press
Viennese architect Adolf Loos was one of the most important pioneers of the European Modern Movement. Born in 1870, he was an early opponent of the decorative trends of Art Nouveau, believing instead that architecture devoid of ornament represented pure and lucid thought. His rationalist design theories were put into practice in the Karntner Bar, Vienna (1907), Steiner House, Vienna (1920), and Villa Muller, Prague (1930). Surprisingly, there is no other monograph on Loos in English currently available. Adolf Loos joins Adalberto Libera and Albert Kahn in Princeton Architectural Press's historical monographs series and presents this great modernist's complete works through numerous illustrations.