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Fabio Colonnese: "The Rear as an Unintentional Façade". In archimaera#9 (2021). (urn:nbn:de:0009-21-52208)
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%0 Journal Article %T The Rear as an Unintentional Façade %A Colonnese, Fabio %J archimaera %D 2021 %V 2021 %N 9 %@ 1865-7001 %F colonnese2021 %X The design for Thomas Le Roy’s palace in Rome, although conditioned by the small, irregular site, was conceived as a C-shape plan around a square courtyard, in order to provide a sophisticated, celebrative route leading from the opaque, solid facade in Vicolo dell’Aquila to the loggia at the noble floor. When the building was still under construction, Paul III Farnese pro- moted urban works that caused the demolition of part of the insula the pa- lace belonged to and exhibited its previously hidden rear on Via dei Baul- lari, turning it into the most visible part of the palace. From that moment onwards, both the works of the different owners and the graphical inter- pretations provided by artists from XVII to XIX century contributed to con- note the verso as the new recto. While the original experience of the palace is being gradually lost, the rear is elected as an unintentional façade, condi- tioning the Farnesina’s role and development till the 20th century. %L 720 %U http://nbn-resolving.de/urn:nbn:de:0009-21-52208Download
Bibtex
@Article{colonnese2021,
author = "Colonnese, Fabio",
title = "The Rear as an Unintentional Fa{\c{c}}ade",
journal = "archimaera",
year = "2021",
volume = "2021",
number = "9",
abstract = "The design for Thomas Le Roy's palace in Rome, although conditioned by the small, irregular site, was conceived as a C-shape plan around a square courtyard, in order to provide a sophisticated, celebrative route leading from the opaque, solid facade in Vicolo dell'Aquila to the loggia at the noble floor. When the building was still under construction, Paul III Farnese pro- moted urban works that caused the demolition of part of the insula the pa- lace belonged to and exhibited its previously hidden rear on Via dei Baul- lari, turning it into the most visible part of the palace. From that moment onwards, both the works of the different owners and the graphical inter- pretations provided by artists from XVII to XIX century contributed to con- note the verso as the new recto. While the original experience of the palace is being gradually lost, the rear is elected as an unintentional fa{\c{c}}ade, condi- tioning the Farnesina's role and development till the 20th century.",
issn = "1865-7001",
url = "http://nbn-resolving.de/urn:nbn:de:0009-21-52208"
}
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TY - JOUR AU - Colonnese, Fabio PY - 2021 DA - 2021// TI - The Rear as an Unintentional Façade JO - archimaera VL - 2021 IS - 9 AB - The design for Thomas Le Roy’s palace in Rome, although conditioned by the small, irregular site, was conceived as a C-shape plan around a square courtyard, in order to provide a sophisticated, celebrative route leading from the opaque, solid facade in Vicolo dell’Aquila to the loggia at the noble floor. When the building was still under construction, Paul III Farnese pro- moted urban works that caused the demolition of part of the insula the pa- lace belonged to and exhibited its previously hidden rear on Via dei Baul- lari, turning it into the most visible part of the palace. From that moment onwards, both the works of the different owners and the graphical inter- pretations provided by artists from XVII to XIX century contributed to con- note the verso as the new recto. While the original experience of the palace is being gradually lost, the rear is elected as an unintentional façade, condi- tioning the Farnesina’s role and development till the 20th century. SN - 1865-7001 UR - http://nbn-resolving.de/urn:nbn:de:0009-21-52208 ID - colonnese2021 ER -Download
Wordbib
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ISI
PT Journal AU Colonnese, F TI The Rear as an Unintentional Façade SO archimaera PY 2021 VL 2021 IS 9 AB The design for Thomas Le Roy’s palace in Rome, although conditioned by the small, irregular site, was conceived as a C-shape plan around a square courtyard, in order to provide a sophisticated, celebrative route leading from the opaque, solid facade in Vicolo dell’Aquila to the loggia at the noble floor. When the building was still under construction, Paul III Farnese pro- moted urban works that caused the demolition of part of the insula the pa- lace belonged to and exhibited its previously hidden rear on Via dei Baul- lari, turning it into the most visible part of the palace. From that moment onwards, both the works of the different owners and the graphical inter- pretations provided by artists from XVII to XIX century contributed to con- note the verso as the new recto. While the original experience of the palace is being gradually lost, the rear is elected as an unintentional façade, condi- tioning the Farnesina’s role and development till the 20th century. ERDownload
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Full Metadata
| Bibliographisches Zitat | archimaera#9 (2021) |
|---|---|
| Titel |
The Rear as an Unintentional Façade (eng) |
| Autor | Fabio Colonnese |
| Sprache | eng |
| Zusammenfassung | The design for Thomas Le Roy’s palace in Rome, although conditioned by the small, irregular site, was conceived as a C-shape plan around a square courtyard, in order to provide a sophisticated, celebrative route leading from the opaque, solid facade in Vicolo dell’Aquila to the loggia at the noble floor. When the building was still under construction, Paul III Farnese pro- moted urban works that caused the demolition of part of the insula the pa- lace belonged to and exhibited its previously hidden rear on Via dei Baul- lari, turning it into the most visible part of the palace. From that moment onwards, both the works of the different owners and the graphical inter- pretations provided by artists from XVII to XIX century contributed to con- note the verso as the new recto. While the original experience of the palace is being gradually lost, the rear is elected as an unintentional façade, condi- tioning the Farnesina’s role and development till the 20th century. |
| Freie Schlagworte | |
| DDC | 720 |
| Rechte | DPPL |
| URN: | urn:nbn:de:0009-21-52208 |
