In the context of the architectural debate that raged in Italy between the 15th and 16th centuries, the issue of how to cover groined vaults in church architecture led to the progressive spread of vaults with extrados on a tall drum: these were considered to be the symbolically and formally most significant, as well as the structurally most challenging feature of the new architecture. The present study focuses on the difficult relationship between the new theory of antiquestyle architecture and coeval construction experiences. At least up until the publication of the treaty by Vincenzo Scamozzi in 1615, the theoretical debate not only almost made no mention of these new structural models and needs, but was actually ridden with cultural biases toward established construction practices, such as the use of the pointed arch, dome cladding and collar beams, often providing misleading and, in some cases, implausible models. At construction sites the debate was much livelier as it was driven by experts who were able to blend the new formal styles with traditional building practices and experimental approaches. Building domes and, more generally, balancing thrust forces continued to be regarded as an experimental art based almost entirely on work in construction yards, the only places where it was possible to advance and consolidate building expertise, through successes and failures. A key role in such complex and delicate architectural creations was played by the exempla of successful works—which led to a vast circulation of ideas—and by the consultation of those who had gained experience in building endeavours and were often at the centre of dialectic debates on the occasion of collective consultations convened by contractors. Carlo Fontana was the first Italian architect to attempt to fill this blatant divide between theory and practice in his ambitious work Il tempio Vaticano e sua Origine (1694), achieving the goal that he had set out to reach only in part.
Nell’ambito del dibattito architettonico svoltosi in Italia tra il XV e il XVI secolo, il tema della copertura della crociera nell’architettura ecclesiastica condusse alla progressiva affermazione della cupola estradossata su alto tamburo, intesa come l’elemento simbolicamente e formalmente più rilevante della nuova architettura e, allo stesso tempo, come il più complesso dal punto di vista strutturale. Lo studio qui esposto si è concentrato sul problematico rapporto tra la nuova teoria dell’architettura all’Antica e le coeve esperienze costruttive. Il dibattito teorico, almeno fino alla pubblicazione del trattato di Vincenzo Scamozzi nel 1615, non solo tese infatti a porsi con un sostanziale silenzio sulle nuove tipologie ed esigenze strutturali, ma dettò significative preclusioni culturali a scapito di consolidate prassi costruttive, quali l’uso dell’arco acuto, del tiburio e delle catene, fornendo non di rado modelli fuorvianti e, in alcuni casi, inverosimili. Sul fronte dei cantieri si assistette invece a un dibattito ben più vitale e alimentato soprattutto da tecnici in grado di coniugare le nuove istanze formali sia con tradizionali pratiche edificatorie che con soluzioni sperimentali. Costruire cupole e, più in generale, porre in equilibrio le forze spingenti continuò pertanto ad essere considerata un’arte sperimentale basata quasi integralmente sul lavoro svolto nei cantieri, gli unici luoghi dove, attraverso i successi e gli insuccessi, era possibile portare avanti e consolidare la sapienza costruttiva. Per tali complessi e delicati congegni architettonici un ruolo centrale ebbero pertanto gli exempla delle opere riuscite (che alimentarono una grande circolazione di idee) e le consulenze di coloro che avevano maturato esperienze nei processi costruttivi – spesso posti in contrapposizione dialettica attraverso consulte collettive indette dai committenti. Fu Carlo Fontana il primo architetto italiano a tentare di colmare questo evidente scollamento tra teoria e prassi, all’interno della sua ambiziosa opera Il tempio Vaticano e sua Origine (1694), riuscendo solo in parte nell’intento.
Piazza, S. (2015). All’origine delle consulte: il rapporto tra teoria e prassi nel dibattito sulle cupole nell’Italia della prima età moderna (XVI-XVII secolo). In S. Piazza (a cura di), Saperi a confronto. Consulte e perizie sulle criticità strutturali dell’architettura d’età moderna (XV-XVIII secolo) (pp. 7-24). Palermo : Edizioni Caracol.
All’origine delle consulte: il rapporto tra teoria e prassi nel dibattito sulle cupole nell’Italia della prima età moderna (XVI-XVII secolo)
PIAZZA, Stefano
2015-01-01
Abstract
In the context of the architectural debate that raged in Italy between the 15th and 16th centuries, the issue of how to cover groined vaults in church architecture led to the progressive spread of vaults with extrados on a tall drum: these were considered to be the symbolically and formally most significant, as well as the structurally most challenging feature of the new architecture. The present study focuses on the difficult relationship between the new theory of antiquestyle architecture and coeval construction experiences. At least up until the publication of the treaty by Vincenzo Scamozzi in 1615, the theoretical debate not only almost made no mention of these new structural models and needs, but was actually ridden with cultural biases toward established construction practices, such as the use of the pointed arch, dome cladding and collar beams, often providing misleading and, in some cases, implausible models. At construction sites the debate was much livelier as it was driven by experts who were able to blend the new formal styles with traditional building practices and experimental approaches. Building domes and, more generally, balancing thrust forces continued to be regarded as an experimental art based almost entirely on work in construction yards, the only places where it was possible to advance and consolidate building expertise, through successes and failures. A key role in such complex and delicate architectural creations was played by the exempla of successful works—which led to a vast circulation of ideas—and by the consultation of those who had gained experience in building endeavours and were often at the centre of dialectic debates on the occasion of collective consultations convened by contractors. Carlo Fontana was the first Italian architect to attempt to fill this blatant divide between theory and practice in his ambitious work Il tempio Vaticano e sua Origine (1694), achieving the goal that he had set out to reach only in part.File | Dimensione | Formato | |
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