Podcast appearances and mentions of Carlo Maderno

Con Jorge Bustos y Pilar Cisneros, la última hora en mediodía cope. Estar informado. ¿Qué tal? Soy Jorge Bustos, bienvenido al mediodía de este martes 22 de abril. Es fácil entender por qué Francisco quiso ser enterrado en el lugar donde me encuentro ahora mismo. Quizá escuches mientras hablo el tañido de una campana o quizás el rumor de la fuente que diseñó Carlo Maderno a los pies de la basílica de Santa María la Mayor, bajo la columna de la Virgen y frente a la fachada barroca que esconde el viejo templo románico medieval repleto de obras de arte, una de las cuatro basílicas papales de ...

Rom ist die Hauptstadt des Barock. Berühmte Architekten entwarfen die Plätze und Paläste: Carlo Maderno oder Francesco Borromini. Allesamt Männer. Doch es gab auch eine Architektin, die Rom mitgestaltete. Es ist Zeit, Plautilla Bricci kennenzulernen. Von Laura Helena Wurth www.deutschlandfunk.de, Essay und Diskurs

In 1627, Pope Urban VIII hired Carlo Maderno to design his new family palace in Rome. When Maderno died two years later, instead of assigning Maderno's nephew, the visionary architect Francesco Borromini, as architect, the pope gave the job to Gian Lorenzo Bernini. This may have been the beginning of the famous rivalry between the two architects.

In 1608, the architect Carlo Maderno was commissioned by Pope Paul V to complete the Basilica of St. Peter by building its façade. That façade has been criticized for centuries for looking more like a palace façade than a church façade because of its emphasis on horizontality. This podcast explores the history and design of the of the most important church front in the world!

A Praça de São Pedro (em latim: Forum Sancti Petri, em italiano: Piazza San Pietro) é uma grande praça localizada diretamente em frente à Basílica de São Pedro na Cidade do Vaticano, o enclave papal dentro de Roma, diretamente a oeste do bairro (rione) de Borgo. Tanto a praça quanto a basílica têm o nome de São Pedro, um apóstolo de Jesus que os católicos consideram o primeiro Papa. No centro da praça está um antigo obelisco egípcio, erguido no local atual em 1586. Gian Lorenzo Bernini projetou a praça quase 100 anos depois, incluindo as enormes colunatas dóricas, com quatro colunas de profundidade, que abraçam os visitantes nos "braços maternos da Mãe Igreja". Uma fonte de granito construída por Bernini em 1675 combina com outra fonte projetada por Carlo Maderno em 1613. --- Send in a voice message: https://anchor.fm/manuel-velez61/message

En 1680, a los 81 años, murió en Roma Gian Lorenzo Bernini. Dejaba a sus espaldas algunas de las obras de arquitectura y escultura más significativas de la corte papal del siglo XVII, obras aún reconocidas universalmente: del baldaquino de la basílica hasta la columnata de la plaza de San Pedro, o del Rapto de Proserpina hasta el Éxtasis de Santa Teresa. Bernini, napolitano de nacimiento y, por lo tanto, súbdito de los monarcas españoles, murió aclamado por todos como un artista fuera de lo común cuyas obras eran admiradas en el mundo entero y de las que los romanos se sentían muy orgullosos. Le enterraron bajo una humilde lápida en la basílica de Santa María la Mayor de Roma y pasó a formar parte del panteón de los grandes arquitectos y escultores de la Roma del renacimiento papal de los siglos XVI y XVII junto a Miguel Ángel, Rafael o Bramante. Buena parte de esa fama de la que disfrutó en vida hubo de compartirla con un singular rival, un hombre de su misma edad y que murió trece años antes que él: Francesco Borromini, un dotadísimo arquitecto proveniente del Tesino, en la Suiza italiana, que firmó muchos de los mejores edificios de la Roma del 'seicento' como la iglesia de San Carlos de las cuatro fuentes, el oratorio de San Felipe Neri o el Colegio de Propaganda fide, una congregación creada por Gregorio XV en plena contrarreforma para extender la evangelización por el mundo. Bernini y Borromini, las dos grandes “bes” de la arquitectura romana del siglo XVII se formaron juntos como arquitectos hasta que Bernini fue nombrado director de las obras de San Pedro del Vaticano en 1629 y Borromini se convirtió en su ayudante. Pero en 1644, las tornas cambiaron y Borromini se convirtió en el nuevo director del Vaticano mientras Bernini quedaba marginado. La rueda de la fortuna volvió a girar y en 1655, Bernini volvió al mando y Borromini al olvido, esto agudizó su carácter retraído y desconfiado y le llevó directo al suicidio en 1667. Lo hizo al modo de los antiguos héroes griegos, como Áyax el Grande, apoyó su espada sobre el suelo y se la clavó. Luego pidió ser enterrado sin que se consignase su nombre junto a Carlo Maderno, otro gran arquitecto de la Roma papal por quien sentía devoción y que había muerto muchos años antes. El trágico final de Francesco Borromini puso fin a cinco décadas en las que convivieron en Roma dos arquitectos geniales. A pesar de su rivalidad no hicieron más que prestarse ideas y soluciones que marcarían el arte en el centro de Italia y en todo el orbe católico, desde Europa occidental hasta Hispanoamérica. Para conocer con más detalle la vida y obra de ambos, los motivos de su rivalidad y los muchos aportes que hicieron a la arquitectura hoy tenemos de nuevo a Alberto Garín en La ContraHistoria. Alberto conoce muy bien la obra de ambos, la tiene, de hecho, estudiada a fondo, así que nos va a descubrir más de un secreto de esos que en las clases de historia del arte suelen pasarse por alto y en los que acostumbra a estar la clave de muchas obras artísticas. Bibliografía: - "Geni rivali. Bernini, Borromini e la creazione di Roma barocca" de Jake Morrissey - https://amzn.to/3zXYua4 - "Bernini" de Franco Borsi - https://amzn.to/3oQtCBZ - "Borromini" de Anthony Blunt - https://amzn.to/3vEbjDT - "El Renacimiento en Roma" de Loren Partridge - https://amzn.to/3zw6Vb9 · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #Bernini #Borromini Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Versione audio: Nel luglio del 1600, monsignor Tiberio Cerasi, tesoriere di Clemente VIII e amico del cardinale Borromeo, acquistò una piccola cappella nella Chiesa di Santa Maria del Popolo a Roma, a sinistra dell'altare maggiore, destinandola alla propria sepoltura. Cerasi incaricò l'architetto Carlo Maderno dell'ampliamento e della risistemazione della cappella. Per la decorazione, contattò i […] L'articolo Caravaggio e Carracci nella Cappella Cerasi a Roma proviene da Arte Svelata.

Base d'asta 'abbassata' a 377 milioni di Euro per aggiudicarsi il Casino Aurora, la villa romana al cui interno vi sono opere di artisti come Caravaggio,il Guercino, o Carlo Maderno. Ma lo Stato italiano può permetterselo? 

Conoscete questa meraviglia che attraversa il Rione Ponte ed il Rione Pigna?Da piazza dell'Oro - dove per i Romani antica stava il Tarentum, con l'altare di Dite e Proserpina che veniva disseppellito una volta oogni cent'anni - all'Arco dei Farnese, chiese, palazzi, progetti, corse di cavalli attarverso i secoli, sofà di pietra, carceri ed oratori... a lavorarci, tra gli altri, Donato Bramante, Raffello Sanzio, Francesco Borromini, Jacopo Sansovino, Carlo Maderno, Giacomo Della Porta. Il video sul canale youtube di radio 21 aprile Web è a questo link: https://youtu.be/yL2ukYuG6rM

Versione audio: Roma, luglio 1600. Monsignor Tiberio Cerasi, tesoriere di Papa Clemente VIII, acquistò una piccola cappella nella Chiesa di Santa Maria del Popolo, destinandola alla sua sepoltura. Affidò la ristrutturazione architettonica del vano a Carlo Maderno, in quegli anni il miglior architetto di Roma; per la sua decorazione, invece, contattò i due pittori più […] L'articolo La Conversione di San Paolo di Caravaggio proviene da Arte Svelata.

Pidió ser enterrado sin nombre al lado del que fuera su maestro, Carlo Maderno y tras su suicidio Borromini descansa, prácticamente anónimo, en la iglesia de San Giovanni dei Fiorentini. Allí se halla también, además, su último proyecto arquitectónico: la cripta de los Falconieri, que dejó sin terminar.

Assistant Professor Federica Goffi fills a blind spot in current architectural theory and practice with this book, Time Matter(s): Invention and Re-Imagination in Built Conservation: The Unfinished Drawing and Building of St. Peter’s, the Vatican (Routledge, 2013). In proposing a hybrid approach which merges architectural and conservation theory the work offers the reader a counter-viewpoint to common understandings of preservation as singular moment from the past which has been frozen and brought forward to the present. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano’s 1571 ichnography of St. Peter’s Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple’s plans, Alfarano created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. Federica Goffi book further uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. This research shows how architectural and conservation practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design joining multiple temporalities within a continuity of identity. The study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when transforming a building of recognized significance. Brant Matthew Tate https://au.linkedin.com/in/t8architect https://uq.academia.edu/BrantMatthewTate branttate@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Assistant Professor Federica Goffi fills a blind spot in current architectural theory and practice with this book, Time Matter(s): Invention and Re-Imagination in Built Conservation: The Unfinished Drawing and Building of St. Peter’s, the Vatican (Routledge, 2013). In proposing a hybrid approach which merges architectural and conservation theory the work offers the reader a counter-viewpoint to common understandings of preservation as singular moment from the past which has been frozen and brought forward to the present. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano’s 1571 ichnography of St. Peter’s Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple’s plans, Alfarano created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. Federica Goffi book further uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. This research shows how architectural and conservation practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design joining multiple temporalities within a continuity of identity. The study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when transforming a building of recognized significance. Brant Matthew Tate https://au.linkedin.com/in/t8architect https://uq.academia.edu/BrantMatthewTate branttate@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Assistant Professor Federica Goffi fills a blind spot in current architectural theory and practice with this book, Time Matter(s): Invention and Re-Imagination in Built Conservation: The Unfinished Drawing and Building of St. Peter’s, the Vatican (Routledge, 2013). In proposing a hybrid approach which merges architectural and conservation theory the work offers the reader a counter-viewpoint to common understandings of preservation as singular moment from the past which has been frozen and brought forward to the present. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano’s 1571 ichnography of St. Peter’s Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple’s plans, Alfarano created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. Federica Goffi book further uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. This research shows how architectural and conservation practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design joining multiple temporalities within a continuity of identity. The study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when transforming a building of recognized significance. Brant Matthew Tate https://au.linkedin.com/in/t8architect https://uq.academia.edu/BrantMatthewTate branttate@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Assistant Professor Federica Goffi fills a blind spot in current architectural theory and practice with this book, Time Matter(s): Invention and Re-Imagination in Built Conservation: The Unfinished Drawing and Building of St. Peter’s, the Vatican (Routledge, 2013). In proposing a hybrid approach which merges architectural and conservation theory the work offers the reader a counter-viewpoint to common understandings of preservation as singular moment from the past which has been frozen and brought forward to the present. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano’s 1571 ichnography of St. Peter’s Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple’s plans, Alfarano created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. Federica Goffi book further uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. This research shows how architectural and conservation practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design joining multiple temporalities within a continuity of identity. The study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when transforming a building of recognized significance. Brant Matthew Tate https://au.linkedin.com/in/t8architect https://uq.academia.edu/BrantMatthewTate branttate@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Assistant Professor Federica Goffi fills a blind spot in current architectural theory and practice with this book, Time Matter(s): Invention and Re-Imagination in Built Conservation: The Unfinished Drawing and Building of St. Peter’s, the Vatican (Routledge, 2013). In proposing a hybrid approach which merges architectural and conservation theory the work offers the reader a counter-viewpoint to common understandings of preservation as singular moment from the past which has been frozen and brought forward to the present. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano’s 1571 ichnography of St. Peter’s Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple’s plans, Alfarano created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. Federica Goffi book further uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. This research shows how architectural and conservation practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design joining multiple temporalities within a continuity of identity. The study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when transforming a building of recognized significance. Brant Matthew Tate https://au.linkedin.com/in/t8architect https://uq.academia.edu/BrantMatthewTate branttate@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Assistant Professor Federica Goffi fills a blind spot in current architectural theory and practice with this book, Time Matter(s): Invention and Re-Imagination in Built Conservation: The Unfinished Drawing and Building of St. Peter’s, the Vatican (Routledge, 2013). In proposing a hybrid approach which merges architectural and conservation theory the work offers the reader a counter-viewpoint to common understandings of preservation as singular moment from the past which has been frozen and brought forward to the present. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano’s 1571 ichnography of St. Peter’s Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple’s plans, Alfarano created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. Federica Goffi book further uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. This research shows how architectural and conservation practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design joining multiple temporalities within a continuity of identity. The study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when transforming a building of recognized significance. Brant Matthew Tate https://au.linkedin.com/in/t8architect https://uq.academia.edu/BrantMatthewTate branttate@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Assistant Professor Federica Goffi fills a blind spot in current architectural theory and practice with this book, Time Matter(s): Invention and Re-Imagination in Built Conservation: The Unfinished Drawing and Building of St. Peter’s, the Vatican (Routledge, 2013). In proposing a hybrid approach which merges architectural and conservation theory the work offers the reader a counter-viewpoint to common understandings of preservation as singular moment from the past which has been frozen and brought forward to the present. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano’s 1571 ichnography of St. Peter’s Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple’s plans, Alfarano created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. Federica Goffi book further uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. This research shows how architectural and conservation practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design joining multiple temporalities within a continuity of identity. The study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when transforming a building of recognized significance. Brant Matthew Tate https://au.linkedin.com/in/t8architect https://uq.academia.edu/BrantMatthewTate branttate@gmail.com