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Journal articles on the topic 'Florentine architect'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Rutkoff, Peter M., and William B. Scott. "Before the Modern: The New York Renaissance, 1876–95." Prospects 25 (October 2000): 281–310. http://dx.doi.org/10.1017/s0361233300000673.

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On the evening of March 31, 1895, three hundred of New York City's most notable artists and patrons assembled in Madison Square Garden to honor Chicago architect Daniel H. Burnham. Led by Burnham, Chicago had bested New York in a hotly contested competition for sponsorship of the Columbian World Exposition that proudly exhibited the nation's Gilded Age accomplishments in art, architecture, and technology. Astride New York's most prestigious public square, Madison Square Garden might well have been built for the occasion. Arriving by carriages in livery, New York's fin de siècle elite, dressed

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2

Ulivieri, Denise. "Vittorio Giorgini in New York: The Cultural Climate Influences and the “Made in USA” Projects Never Built." Heritage 8, no. 3 (2025): 111. https://doi.org/10.3390/heritage8030111.

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The Florentine architect Vittorio Giorgini (1926–2010) graduated in 1957 from his hometown School of Architecture. During the 1950s and 1960s, he came to maturity in the lively cultural climate of Florence. Giorgini’s design process was based on the direct observation of natural structures. He coined the term “Spatiology” to define his studies of morphology. In 1969, he moved to New York City, where he worked as a professor of Architecture and Planning at the Pratt Institute until 1996. Giorgini took part in the artistic and cultural life of the Big Apple, and here, he frequented and formed a

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3

Chao, Koching. "The Castellated Façade of Montepulciano’s Palazzo Comunale, 1440: An Image of Florentine Territorial Hegemony." Architectural History 66 (2023): 1–20. http://dx.doi.org/10.1017/arh.2023.2.

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ABSTRACTThis article explores the connection between the castellated façade of Montepulciano’s Palazzo Comunale and Florence’s development into a territorial state in the mid-fifteenth century. In 1440, the comune of Montepulciano commissioned a new façade for its town hall from the prominent Florentine architect Michelozzo. While scholars have widely accepted Michelozzo’s design as an imitation of Florence’s Palazzo della Signoria, hitherto unpublished documents preserved in Montepulciano’s Biblioteca Comunale e Archivio Storico ’Piero Calamandrei’ enable further interpretation of the town ha

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4

Carl, Doris. "Neue Forschungen zu den Florentiner Künstlern in Ungarn: Buda, Esztergom und die Bakócz-Kapelle." Acta Historiae Artium 63, no. 1 (2023): 193–272. http://dx.doi.org/10.1556/170.2022.00005.

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New research concerning Florentine Artists in Hungary at Buda, Esztergom and the Bakócz-Chapel. The hitherto unknown documents discussed here regard the time from ca. 1470 to 1504. They give us the names of Florentine artists who worked for Matthias Corvinus and his successor Wladislaw II as well as for the Archbishop of Esztergom and Primate of Hungary, Tamás Bakócz. Until now, only the sculptor Gregorio di Lorenzo, the wood carver Chimente Camicia and five carpenters who worked under his supervision in Buda were known. According to Vasari, Chimente Camicia was the leading master who worked n

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Sharaboev, Ulugbek Mukhammedovich. ""PENCIL DRAWING AND METHODOLOGICAL FOUNDATIONS OF ITS TEACHING"." EURASIAN JOURNAL OF ACADEMIC RESEARCH 1, no. 2 (2021): 130–38. https://doi.org/10.5281/zenodo.4749382.

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<em>There is little information in these articles about the history of the basics of drawing, teaching materials, the contribution of foreign artists to science and the methodological foundations of teaching science.</em>  

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6

Jäger, Thomas. "The Art of Orthogonal Planning: Laparelli's Trigonometric Design of Valletta." Journal of the Society of Architectural Historians 63, no. 1 (2004): 4–31. http://dx.doi.org/10.2307/4127990.

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The fortified city of Valletta, founded in 1566 by the Knights of Malta, is one of the few Renaissance ideal cities to be built. Planned from the beginning and constructed on virgin ground, it follows a rigid gridiron scheme designed by the Italian architect Francesco Laparelli da Cortona (1521-1570) that is an exemplar of Neoplatonic planning principles of the age of humanism and constitutes a model of modern urban design. Although the founding and development of the city has been well investigated historically, the formal essence of its urban design has not yet been examined satisfactorily f

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7

Welstead, Mary. "Re C (A Child) (Adoption: Duty of Local Authority) [2007] 3 FCR 659." Denning Law Journal 20, no. 1 (2012): 211–19. http://dx.doi.org/10.5750/dlj.v20i1.333.

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ANONYMITY AND ADOPTION - A CLASH OF RIGHTSThe Ospedale degli Innocenti in the Piazza della Santissima Annunziatia in Florence, which dates back to the 15th century, was a place of refuge for babies whose mothers could not cope with taking care of them. Brunelleschi, the Italian architect and engineer, was responsible for the design of the beautiful colonnaded building. Its façade is adorned with blue and white glazed terra cotta bas-reliefs, sculpted by Andrea Della Robbia. These depict chubby Florentine babies, naked or wrapped in swaddling clothes, and are a symbol of the building’s function

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8

Gedda, L. "President's Opening Address: Twin Study Today." Acta geneticae medicae et gemellologiae: twin research 43, no. 1-2 (1994): 3–15. http://dx.doi.org/10.1017/s0001566000002907.

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I wish to thank Professor Paolo Durand, Director of the International Centre of Paediatric Genetics at the Mendel Institute, for his kind words and I particularly thank him for having proposed this celebration to mark the 40th anniversary of the foundation of the Institute.Somewhat audaciously, I borrow a metaphor when I say that the real foundation stone of the Mendel Institute is the book, “The Study of Twins” here on the bookrest [Fig. 1]. This rather large volume carries works I had collected and developed in Rome over the previous years. In the main, it relates to clinical research work w

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9

Divitiis, Bianca de. "Giuliano da Sangallo in the Kingdom of Naples." Journal of the Society of Architectural Historians 74, no. 2 (2015): 152–78. http://dx.doi.org/10.1525/jsah.2015.74.2.152.

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In 1488 Giuliano da Sangallo arrived in Naples with his model for a new royal palace commissioned by Lorenzo de’ Medici for the king of Naples, Ferrante of Aragon. In Giuliano da Sangallo in the Kingdom of Naples: Architecture and Cultural Exchange, Bianca de Divitiis examines the design of this royal palace in the context of the cultural and diplomatic relationship between Naples and Florence, considering the architect’s attempt to respond to the ceremonial and practical requirements of the Neapolitan court and to integrate “foreign” models with elements derived from local antiquities. De Div

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Morresi, Manuela, and Dorothy Hay. "Cooperation and Collaboration in Vicenza before Palladio: Jacopo Sansovino and the Pedemuro Masters at the High Altar of the Cathedral of Vicenza." Journal of the Society of Architectural Historians 55, no. 2 (1996): 158–77. http://dx.doi.org/10.2307/991118.

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In 1534 the Vicentine masters, Giovanni da Porlezza and Girolamo Pittoni da Lumignano (the so-called Pedemuro masters) signed a contract with Aurelio Dall'Acqua for the construction of the main altar in the cathedral of Vicenza. Documents concerning the altar, later Dall'Acqua's funerary monument, have led scholars to attribute the design to Andrea Palladio, who began his career as a stone carver in the Pedemuro workshop. Designed following the model of a triumphal arch, the altar constitutes an extraordinary novelty in Vicenza, which was still unfamiliar with ancient models in the 1530s and 1

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Tulić, Damir. "Štukature iz zadnje četvrtine 18. stoljeća u Palači šećerane u Rijeci." Radovi Instituta za povijest umjetnosti, no. 47 (March 2024): 109–24. http://dx.doi.org/10.31664/ripu.2023.47.09.

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This paper provides a detailed analysis, for the first time, of the stucco decorations in the representative salons on the second floor of the Sugar Refinery Palace in Rijeka. Despite being an extremely important group of secular stuccos, it has, until now, lacked a thorough iconographic and stylistic analysis and contextualization. Furthermore, no models or masters who produced them have been identified. The Sugar Refinery Palace, specifically its administration building, served as the headquarters of the Privileged Trieste-Rijeka Company, founded in Trieste in 1750 to establish sugar trade i

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Kossel, Elmar. "Das »Haus aus Glas« und sein langer Schatten." Architectura 49, no. 2 (2019): 194–221. http://dx.doi.org/10.1515/atc-2019-2004.

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Abstract Using examples from the period of Italian fascism and the National Socialist era in Germany, the relationship of modernism and modern architects to power is examined. The focus is on the changing and in part contradictory connotations to which modernism was exposed. The field of state architecture in both totalitarian regimes provide the occasion to discuss a basic problem of modernism: The instrumentalisation of its formal language for any ideology. For the Italian context, Giuseppe Terrgani’s Casa del Fascio in Como and the Florentine railway station of the Gruppo Toscano are used a

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13

Bergstein, Mary. "Marian Politics in Quattrocento Florence: The Renewed Dedication of Santa Maria del Fiore in 1412." Renaissance Quarterly 44, no. 4 (1991): 673–719. http://dx.doi.org/10.2307/2862484.

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On the Feastday of the Nativity of the Virgin, September 8, 1296, the papal legate of Boniface VIII, Pietro Valeriano di Piperno, blessed the rebuilding of the church of S. Reparata in Florence. In the ceremonial presence of the podestà, the Standard-Bearer of Justice, and the priors of the Signoria, he named the new cathedral “Santa Maria del Fiore.” Arnolfo di Cambio was made chief architect in charge of the renewal; and it was he who began a program of monumental sculpture devoted to the life of the Virgin (fig. 1). Giovanni Villani, who recorded the benediction ceremony in his chronicle, a

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14

Freeman-Grenville, G. S. P. "The Basilica of the Holy Sepulchre Jerusalem: History and Future." Journal of the Royal Asiatic Society of Great Britain & Ireland 119, no. 2 (1987): 187–207. http://dx.doi.org/10.1017/s0035869x00140614.

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In 1972 Fr Charles Coüasnon, O.P., gave the Schweich Lectures to the British Academy on this subject. As consultant architect to the restoration work he seemed well qualified to do so. But work continued until 1980, and it was not until 1982 that Fr Virgilio Corbo, O.F.M., published a definitive account of the work, Il Santo Sepolcro di Gerusalemme, in three handsome volumes. I did not succeed in obtaining a copy until 1984. Thus it was not surprising that Canon Ronald Brownrigg's Come, See the Place: the ideal companion for all travellers to the Holy Land, 1985, still treats Fr Couasnon as ha

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15

Mingardi, Lorenzo. "Aldo Rossi per 'Pitti Uomo'. Il viaggio della 'Cabina dell’Elba': da suggestione sentimentale a elemento dello spazio scenico." Opus Incertum 10 (December 24, 2024): 92–103. https://doi.org/10.36253/opus-15838.

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Many architectures obsessively designed by Aldo Rossi throughout his life exemplify the notion of unexpected journeys. Some of these journeys are tangible, such as the Teatro del Mondo featured in the crossing from Venice to Dalmatia (1980). Other, however, are abstract, existing solely within the imaginative realm of the architect’s design vision. In Rossi’s imaginative formal vocabulary, marked by a rarefaction of elements in favor of an absolute complexity of an intricate compositional complexity, the Cabina dell’Elba is one of his most recurrent subjects. First appearing in a series of dra

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16

Addona, Victoria. "Practice as Philosophy." Nuncius, February 19, 2025, 1–28. https://doi.org/10.1163/18253911-bja10147.

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Abstract The Florentine architect Bernardo Buontalenti’s only sustained commentary on his profession is found not in a treatise but in the margins of Domenico Mellini’s tract, Discorso contro il moto perpetuo (1587). While Mellini relied upon Aristotelian doctrine to disprove Buontalenti’s claimed invention of a perpetual motion machine, the architect corrected him by asserting the primacy of practical knowledge over theoretical reasoning. This paper examines incidents of late sixteenth-century Florentine architect-engineers writing against intellectual and institutional authorities, often in

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17

Ventrone, Paola. "Paradisi e voli angelici nello spettacolo e nell’iconografia in Italia nel lungo Quattrocento." Drammaturgia, December 15, 2022, 11–41. http://dx.doi.org/10.36253/dramma-14130.

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At the beginning of the 15th century, stage machines were developed in Florence to set up the mysteries of the Annunciation, Ascension and Pentecost in some churches of the city. The architect-engineer Filippo Brunelleschi, according to Giorgio Vasari, perfected the structure. These apparatuses represented heaven in three dimensions, with God the Father and his angels personified by live singers and musicians who hovered in the air in a whirlwind of dances of lights and sounds. The aim of this essay is to show, on the one hand, that the function of these apparatuses was to offer the faithful a

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18

Sully, Nicole, Timothy O'Rourke, and Andrew Wilson. "Design." M/C Journal 24, no. 4 (2021). http://dx.doi.org/10.5204/mcj.2848.

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Conventional definitions of design rarely capture its reach into our everyday lives. The Design Council, for example, estimates that more than 2.5 million people use design-related skills, principles, and practices on a daily basis in UK workplaces (Design Council 5, 8). Further, they calculate that these workers contribute £209 billion to the economy annually (8). The terrain of design professions extends from the graphic design of online environments, the business models that make them economically viable, and the algorithms that enable them to function, through to the devices we use, the cl

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