La stereotomia nei disegni e nell'opera maltese di Romano Carapecchia

Risultato della ricerca: Paper

Abstract

With this study I intend to analyze the match between the language of the Roman Baroque, of academic type and stereotomy, through the work accomplished by Romano Carapecchia in Malta in the early eighteenth century. Some projects show how the architect has tried to adapt to the local context, permeated by a strong tradition of building in stone, compositional themes (sinusoidal patterns, concave convex structures) belonging to the "international" baroque language of Carlo Fontana, Francesco Borromini and Andrea Pozzo. The new curvilinear façades, for example, translate into stone that which previously was realized in Rome through the use of materials alien to the Maltese building site and therefore to stereotomy, such as bricks and travertine coatings, within a research that unites other protagonists operating in the first half of the eighteenth century in various centers in Southern Europe, such as Sicily and Spain. Through some later works, particularly the oval archway of St. Barbara church in Valletta, the expertise acquired by Carapecchia in stone cutting is also evident through the elaboration of certain structures, complex and daring from a static and executive point of view. Drawings of geometric constructions for spiral staircases and processes to achieve vaults of stone blocks inserted in the well-known “Architectural Compendium” … published in Rome in the eighties and nineties of the seventeenth century, that is during the period of apprenticeship completed by the architect at the famous studio directed by Carlo Fontana, declare actually that certain solutions already belonged to the versatile repertoire of Carapecchia. Judging by the projects and works undertaken subsequently in Malta, such as towers, town gates and portals included in the defensive circuit of the main centers of the island, an initial interest seems to find ample opportunities of study and experimentation through updating acquired through contemporary treaties and in the long tradition of local building. Fruitful collaborations with Maltese carvers together with further suggestions arising from the stay on the island, during the modern era, of specialists in the field of stereotomy such as French military engineers (MedericoBlondel, Charles Francois de Mondion), may have played a more than secondary role in the pursuit of skills shown by the architect in the construction in stone.
Lingua originaleItalian
Stato di pubblicazionePublished - 2013

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title = "La stereotomia nei disegni e nell'opera maltese di Romano Carapecchia",
abstract = "With this study I intend to analyze the match between the language of the Roman Baroque, of academic type and stereotomy, through the work accomplished by Romano Carapecchia in Malta in the early eighteenth century. Some projects show how the architect has tried to adapt to the local context, permeated by a strong tradition of building in stone, compositional themes (sinusoidal patterns, concave convex structures) belonging to the {"}international{"} baroque language of Carlo Fontana, Francesco Borromini and Andrea Pozzo. The new curvilinear fa{\cc}ades, for example, translate into stone that which previously was realized in Rome through the use of materials alien to the Maltese building site and therefore to stereotomy, such as bricks and travertine coatings, within a research that unites other protagonists operating in the first half of the eighteenth century in various centers in Southern Europe, such as Sicily and Spain. Through some later works, particularly the oval archway of St. Barbara church in Valletta, the expertise acquired by Carapecchia in stone cutting is also evident through the elaboration of certain structures, complex and daring from a static and executive point of view. Drawings of geometric constructions for spiral staircases and processes to achieve vaults of stone blocks inserted in the well-known “Architectural Compendium” … published in Rome in the eighties and nineties of the seventeenth century, that is during the period of apprenticeship completed by the architect at the famous studio directed by Carlo Fontana, declare actually that certain solutions already belonged to the versatile repertoire of Carapecchia. Judging by the projects and works undertaken subsequently in Malta, such as towers, town gates and portals included in the defensive circuit of the main centers of the island, an initial interest seems to find ample opportunities of study and experimentation through updating acquired through contemporary treaties and in the long tradition of local building. Fruitful collaborations with Maltese carvers together with further suggestions arising from the stay on the island, during the modern era, of specialists in the field of stereotomy such as French military engineers (MedericoBlondel, Charles Francois de Mondion), may have played a more than secondary role in the pursuit of skills shown by the architect in the construction in stone.",
author = "Domenica Sutera",
year = "2013",
language = "Italian",

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T1 - La stereotomia nei disegni e nell'opera maltese di Romano Carapecchia

AU - Sutera, Domenica

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N2 - With this study I intend to analyze the match between the language of the Roman Baroque, of academic type and stereotomy, through the work accomplished by Romano Carapecchia in Malta in the early eighteenth century. Some projects show how the architect has tried to adapt to the local context, permeated by a strong tradition of building in stone, compositional themes (sinusoidal patterns, concave convex structures) belonging to the "international" baroque language of Carlo Fontana, Francesco Borromini and Andrea Pozzo. The new curvilinear façades, for example, translate into stone that which previously was realized in Rome through the use of materials alien to the Maltese building site and therefore to stereotomy, such as bricks and travertine coatings, within a research that unites other protagonists operating in the first half of the eighteenth century in various centers in Southern Europe, such as Sicily and Spain. Through some later works, particularly the oval archway of St. Barbara church in Valletta, the expertise acquired by Carapecchia in stone cutting is also evident through the elaboration of certain structures, complex and daring from a static and executive point of view. Drawings of geometric constructions for spiral staircases and processes to achieve vaults of stone blocks inserted in the well-known “Architectural Compendium” … published in Rome in the eighties and nineties of the seventeenth century, that is during the period of apprenticeship completed by the architect at the famous studio directed by Carlo Fontana, declare actually that certain solutions already belonged to the versatile repertoire of Carapecchia. Judging by the projects and works undertaken subsequently in Malta, such as towers, town gates and portals included in the defensive circuit of the main centers of the island, an initial interest seems to find ample opportunities of study and experimentation through updating acquired through contemporary treaties and in the long tradition of local building. Fruitful collaborations with Maltese carvers together with further suggestions arising from the stay on the island, during the modern era, of specialists in the field of stereotomy such as French military engineers (MedericoBlondel, Charles Francois de Mondion), may have played a more than secondary role in the pursuit of skills shown by the architect in the construction in stone.

AB - With this study I intend to analyze the match between the language of the Roman Baroque, of academic type and stereotomy, through the work accomplished by Romano Carapecchia in Malta in the early eighteenth century. Some projects show how the architect has tried to adapt to the local context, permeated by a strong tradition of building in stone, compositional themes (sinusoidal patterns, concave convex structures) belonging to the "international" baroque language of Carlo Fontana, Francesco Borromini and Andrea Pozzo. The new curvilinear façades, for example, translate into stone that which previously was realized in Rome through the use of materials alien to the Maltese building site and therefore to stereotomy, such as bricks and travertine coatings, within a research that unites other protagonists operating in the first half of the eighteenth century in various centers in Southern Europe, such as Sicily and Spain. Through some later works, particularly the oval archway of St. Barbara church in Valletta, the expertise acquired by Carapecchia in stone cutting is also evident through the elaboration of certain structures, complex and daring from a static and executive point of view. Drawings of geometric constructions for spiral staircases and processes to achieve vaults of stone blocks inserted in the well-known “Architectural Compendium” … published in Rome in the eighties and nineties of the seventeenth century, that is during the period of apprenticeship completed by the architect at the famous studio directed by Carlo Fontana, declare actually that certain solutions already belonged to the versatile repertoire of Carapecchia. Judging by the projects and works undertaken subsequently in Malta, such as towers, town gates and portals included in the defensive circuit of the main centers of the island, an initial interest seems to find ample opportunities of study and experimentation through updating acquired through contemporary treaties and in the long tradition of local building. Fruitful collaborations with Maltese carvers together with further suggestions arising from the stay on the island, during the modern era, of specialists in the field of stereotomy such as French military engineers (MedericoBlondel, Charles Francois de Mondion), may have played a more than secondary role in the pursuit of skills shown by the architect in the construction in stone.

UR - http://hdl.handle.net/10447/81543

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