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・ Giovanni Mei
・ Giovanni Melchiorre Calosso
・ Giovanni Meli
・ Giovanni Melis Fois
・ Giovanni Melluso
・ Giovanni Meoni
・ Giovanni Mercati
・ Giovanni Mercurio da Correggio
・ Giovanni Messe
・ Giovanni Mezzani
・ Giovanni Michele Alberto da Carrara
・ Giovanni Michele Graneri
・ Giovanni Michele Saraceni
・ Giovanni Micheletto
・ Giovanni Michelotti
Giovanni Michelucci
・ Giovanni Michiel
・ Giovanni Michiel, Co-Lord of Serifos
・ Giovanni Miegge
・ Giovanni Migliara
・ Giovanni Migliorini
・ Giovanni Mincio
・ Giovanni Mincio da Morrovalle
・ Giovanni Mingazzini
・ Giovanni Minzoni
・ Giovanni Mirabassi
・ Giovanni Miranda
・ Giovanni Mocenigo
・ Giovanni Moneri
・ Giovanni Montanari


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Giovanni Michelucci : ウィキペディア英語版
Giovanni Michelucci

Giovanni Michelucci, Italian architect, urban planner and designer, was born in Pistoia on the 2nd of January 1891 and died on the night of 31 December 1990, two days before his hundredth birthday, at his studio-home in Fiesole, in Florence's hills, now the headquarters of his Foundation.
He had the good fortune to live a long life almost entirely within the span of the twentieth century, giving us a valuable witness through his work with innovative architectural vernaculars and proposals, from his understanding of the complexity of events, transformations, and ideas that animated the twentieth century.
He was one of the major Italian architects of that century, known for famous projects such as the Firenze Santa Maria Novella railway station and the San Giovanni Battista church on the Autostrada del Sole.
He came from a family which owned an outstanding workshop for artistic iron craftsmanship and his youthful formative years were spent immersed in that world, after graduating from the Higher Institute of Architecture at the Academy of Fine Arts of Florence. In 1914 he was licensed as a professor of architectural design; so he could teach at the Institute of Architecture of Florence, and became Dean of the Faculty of Architecture in 1944.
Renato Fondi became involved in book projects, one of the "Famiglia Artistica" and "La Tempra", which bind to the critical Pistoia also in the subsequent experiences in Rome.
During the war Michelucci built his first architectural work, a chapel on the eastern front in Casale Ladra, near Caporetto (today in Slovenia); later he was often forced to face the effects of trauma (the reconstruction of the center of Florence after the Second World War, the church at Longarone after the tragedy of Vajont dam, the plan for the popular Santa Croce district after the Florence Flood in 1966).
== 1918–1945 ==
After the war he left Pistoia and the family's "Officine Michelucci" and moved to Rome. He met Eloisa Pacini, a refined painter and pianist, also from Pistoia, and who belonged to the same artistic milieu where Michelucci played an important role in intellectual culture. They married in 1928, sharing a strong social awareness during their life together. Life in Rome was experienced as an extraordinary opportunity to study the architecture of the holy city and to build new work experience.
His ability to focus on relationships with contemporary needs was recognized in 1933 when, as coordinator of the Tuscan group with Baroni, Berardi, Gamberini, Guarnieri and Lusanna, he gained first prize in the architectural contest for the Santa Maria Novella new railway station in Florence with a work that won international acclaim not only for its rational and functional qualities but also for the quality of its integration into the historical and urban context. He reaffirmed the value of attention to architectural history and the desire to escape from rhetorical excitement, which was thought to represent an era, confronting modern architectural challenges removed from the feeling of conforming to a current architecture or blindly tied to one style.
Between December '45 and January '46 he founded the magazine "La Nuova Città". In that period, from observing the bomb rubble of the destroyed center of Florence, he produced firm ideas and plans for the reconstruction of the area around Ponte Vecchio. These concepts for innovative spaces clashed against the award-winning, elitist trend of reconstruction "like it was where it was" that would deliver a series of historical fakes responsible for the future museification of the city.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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