Capodimonte: il museo esce all'aperto

CAPODIMONTE: THE MUSEUM EXIT OUTDOORS. The royal site was born to indulge the hunting passion of Carlo di Borbone (1735). Later on the king thought abaut building a royal palace (1737); the construction of the site took about a century. The park was the great pride of the Neapolitan royal families (Borbone, Bonaparte, Murat, Borbone), it is formed by a complex plan that integrates the wood with the gardens and cultivations area. During the nineteenth century the layout of the park was modified for both new acquisition of property and trasformation of existing; the design becam more organic and the English Garden was finally introduced in Naples. Architects, gardeners and botanists (Medrano, Canevari, Sanfelice, Astarita, Fuga, Niccolini, Giordano, the Biancour, Dehnhardt) had worked in these hundred years contributing to the final result. The separation of the palace from the park occurred when the palace was transformed into a museum (1957); only recently the park has been the subject of a renewed interest – the restoration of the Torre farmhouse – and in these years (2015), the palace-museum and park are again managed together by the Direzione del Museo e Real Bosco di Capodimonte. After this managerial restructruring, we intend to examine the park’s emergencies: some were born before the royal site, other ones ransformed for contingent needs

Il Sito Reale di Capodimonte: Il primo bosco, parco e palazzo dei Borbone di Napoli

Capodimonte was the first Palace of Neapolitan Dinasty “Borbone”, but it was neglected due to the rise of Portici and Caserta’s Royal Palaces, therefore, it was built very slowly. It was completed only a century after the laying of the foundation stone (1738). After so long times, which saw the succession of several architects aiming the leadership to the royal site, some of them were quite famous among the most representative figures of Architecture and Art History in Naples, across Eighteenth and Nineteenth centuries. The Royal Site was originally meant as Hunting reserve nearby the Capital and significant place of rest for the young Carlo di Borbone (Charles of Bourbon), who two years later decided to build a Royal Palace too. That decision was intended to amend the territorial aspects of Neapolitan northern hill, also to influence the urban layout before the unification of Italy. This study, based on a careful documentary and iconographic research, highlights the complex development of the palace and its park which are still paying a high price for the most controversial aspects of the project and its execution, emerged since the beginnings

Il Sito Reale di Capodimonte: Il primo bosco, parco e palazzo dei Borbone di Napoli

[English]:apodimonte was the first Palace of Neapolitan Dinasty “Borbone”, but it was neglected due to the rise of Portici and Caserta’s Royal Palaces, therefore, it was built very slowly. It was completed only a century after the laying of the foundation stone (1738). After so long times, which saw the succession of several architects aiming the leadership to the royal site, some of them were quite famous among the most representative figures of Architecture and Art History in Naples, across Eighteenth and Nineteenth centuries. The Royal Site was originally meant as Hunting reserve nearby the Capital and significant place of rest for the young Carlo di Borbone (Charles of Bourbon), who two years later decided to build a Royal Palace too. That decision was intended to amend the territorial aspects of Neapolitan northern hill, also to influence the urban layout before the unification of Italy. This study, based on a careful documentary and iconographic research, highlights the complex development of the palace and its park which are still paying a high price for the most controversial aspects of the project and its execution, emerged since the beginnings./ [Italiano]:Capodimonte fu il primo palazzo reale dei Borbone di Napoli ma, trascurato a seguito della nascita delle regge di Portici e Caserta, fu costruito molto lentamente, potendo considerarsi terminato solo un secolo dopo la posa della prima pietra (1738). Lunghi anni che videro susseguirsi alla direzione del Sito reale molti architetti, alcuni annoverabili tra le figure più rappresentative della storia dell’architettura e dell’arte a Napoli tra Sette e Ottocento. Il Sito reale nacque in origine come riserva di caccia nei pressi della capitale e luogo di ristoro indispensabile al giovane Carlo di Borbone, che due anni dopo decise di costruirvi anche un palazzo reale. Tale decisione era destinata a modificare gli aspetti territoriali della collina settentrionale napoletana e a condizionare le scelte urbanistiche per la Napoli preunitaria. Questo studio, sulla scorta di un’attenta ricerca documentaria e iconografica, mette in evidenza il complesso sviluppo della reggia e del suo parco, che ancora oggi scontano gli aspetti più controversi del progetto e della sua esecuzione, emersi sin dal primo atto fondativo

Un’architettura per il paesaggio. Le case operaie di Camillo Guerra per le Manifatture cotoniere meridionali a Napoli

Le case operaie di Camillo Guerra rappresentano un’opera rilevante, che viene studiata oggi perché dopo anni l’archivio Guerra è nuovamente consultabile. L’opera fu eseguita tra il 1937 e il 1939, difficile periodo prima dello scoppio della Seconda guerra mondiale, e pertanto l’edificio viene confrontato con le altre architetture autarchiche. Le case operaie, collegate agli stabilimenti industriali Mcm napoletani, furono costruite in un luogo rilevante paesisticamente. Il progetto di Guerra sensibile al contesto si può definire come un’architettura per il paesaggio

LA CITTÀ PALINSESTO/I. Tracce, sguardi e narrazioni sulla complessità dei contesti urbani storici: Memorie, storie, immagini

[Italiano]: Oggetto di questo volume è l’articolato patrimonio di tracce, di immagini, di narrazioni che costruiscono lacittà contemporanea. Parliamo di realtà urbane che vanno rilette e raccontate per parti, per strati, a ritroso, in maniera tale da poter sbrogliare quell’intricata matassa di sovrapposizioni che si sono succedute nel corso del tempo. Sono tracce molto spesso ancora in situ, talvolta nascoste, qualche volta modificate, ma anche distratte, frammentate, malcelate e nascoste ./[English]:The subject of this bookis the complex heritage of traces, images and narratives that build the contemporary city. We are talking about urban realities that must be reread and recounted in parts, by layers, backwards, in such a way asto be able to unravel that intricate skein of overlaps that have occurred over time. They are traces very often still in situ, sometimes hidden, sometimes modified, but also distracted, fragmented, poorly concealed and hidden

Delli Aspetti de Paesi. Vecchi e nuovi Media per l’Immagine del Paesaggio: Rappresentazione, memoria, conservazione - Tomo II

[English]:Starting from one of the most significant chapters of Leonardo's Libro di Pittura, we hwant to focus on the media - namely on the narrative, descriptive and graphics methodologies together with the techniques adopting during the modern and contemporary age as 'diffusers' of the landscape image - and on the deriving potential models for the enhancement of the historical landscape heritage./ [Italiano]: Partendo dal titolo di uno dei capitoli più significativi del Libro di Pittura di Leonardo, si vuole porre l'attenzione sui media, ossia sulle metodologie e sulle tecniche narrative, descrittive e grafiche adottate, nella storia moderna e contemporanea, quali 'diffusori' dell'immagine del paesaggio, e sui potenziali modelli che ne derivano ai fini della valorizzazione del patrimonio storico paesaggistico

La città, il viaggio, il turismo: Percezione, produzione e trasformazione

[English]:The city as a destination of the journey in his long evolution throughout history: a basic human need, an event aimed at knowledge, to education, to business and trade, military and religious conquests, but also related to redundancies for the achievement of mere physical or spiritual salvation. In the frame of one of the world's most celebrated historical city, the cradle of Greek antiquity, myth and beauty, travel timeless destination for culture and leisure, and today, more than ever, strongly tending to the conservation and development of their own identity, this collection of essays aims to provide, in the tradition of AISU studies, a further opportunity for reflection and exchange between the various disciplines related to urban history./ [Italiano]:La città come meta del viaggio nella sua lunga evoluzione nel corso della storia: un bisogno primario dell'uomo, un evento finalizzato alla conoscenza, all'istruzione, agli affari e agli scambi commerciali, alle conquiste militari o religiose, ma anche legato agli esodi per il conseguimento della mera salvezza fisica o spirituale. Nella cornice di una delle città storiche più celebrate al mondo, culla dell'antichità greca, del mito e della bellezza, meta intramontabile di viaggi di cultura e di piacere, e oggi, più che mai, fortemente protesa alla conservazione e alla valorizzazione della propria identità, questa raccolta di saggi intende offrire, nel solco della tradizione di studi dell'AISU, un'ulteriore occasione di riflessione e di confronto tra i più svariati ambiti disciplinari attinenti alla storia urbana

La Città Altra:Storia e immagine della diversità urbana: luoghi e paesaggi dei privilegi e del benessere, dell’isolamento, del disagio, della multiculturalità

This volume proposes a rich corpus of papers about the ‘Other City’, a subject only few times dealt with, but worthy of all our attention: it imposes itself on the scene of international modern and contemporary historiography for its undeniable topicality. Throughout history, the city has always had to deal with social ‘otherness’, i.e. with class privileges and, consequently, with discrimination and marginalization of minorities, of the less well-off, of foreigners, in short, with the differences in status, culture, religion. So that the urban fabric has ended up structuring itself also in function of those inequalities, as well as of the strategic places for the exercise of power, of the political, military or social control, of the spaces for imprisonment, for the sanitary isolation or for the ‘temporary’ remedy to the catastrophes. From the first portraits of cities, made and diffused at the beginning of the fifteenth century for political exaltation purposes or for religious propaganda and for devotional purposes, which often, through increasingly refined graphic techniques, distort or even deny the true urban image, we reach, at the dawn of contemporary history, the new meaning given by scientific topography and new methods of representation; these latter aimed at revealing the structure and the urban landscape in their objectivity, often unexpected for who had known the city through the filter of ‘regime’ iconography. The representation of the urban image still shows the contradictions of a community that sometimes includes and even exalts the diversities, other times rejects them, showing the unease of a difficult integration