Резиденции королевского Савойского дома – Residencias de la Casa Real de Saboya – Résidences des Savoie

Резиденции королевского Савойского дома (Турин и окрестности) 

Когда герцог Савойский Эммануэль-Филибер в 1562 г. переместил столицу в Турин, он заложил целую серию строительных проектов (продолженных его преемниками), чтобы продемонстрировать мощь правящего дома. Этот выдающийся комплекс зданий, созданных и украшенных ведущими архитекторами и художниками того времени, выходит за пределы города и продолжается в окружающей сельской местности. Он включает не только Королевский дворец в «Правительственном районе» Турина, но и множество загородных резиденций и охотничьих домиков.

Série sobre Turim – Series about Turin – Torino – 16-01-2009 - IMG_20090116_9999_244

Residencias de la Casa Real de Saboya

Cuando el duque Emmanuel Filiberto de Saboya trasladó su capital a Turín en 1562, quiso mostrar el poderío de su familia acometiendo la ejecución de una vasta serie de proyectos de construcción, que serían proseguidos por sus sucesores. Este conjunto de edificios de alta calidad, diseñados y decorados por los mejores artistas y arquitectos de la época, tiene su centro en el palacio real situado en la “zona de gobierno” de Turín y se extiende por la campiña circundante, abarcando numerosas casas de campo y cotos de caza.

Résidences des Savoie

Lorsque le duc de Savoie, Emmanuel-Philibert, choisit de déplacer la capitale du duché à Turin en 1562, il entreprit un vaste programme de construction, symbole du pouvoir de la maison royale des Savoie, qui allait être mené à bien par ses successeurs. Cet ensemble de bâtiments de haute qualité, conçu et décoré par les plus grands architectes et artistes du temps, rayonne sur la campagne environnante, à partir du palais royal situé dans la « zone de commandement » de Turin, pour atteindre de nombreuses résidences de campagne et des pavillons de chasse.

Source: Advisory Body Evaluation

Residences of the Royal House of Savoy – UNESCO World Heritage Centre

When the Duke of Savoy, Emmanuel-Philibert (1553-6O), decided to move the seat of his court from Chambéry to Turin in 1562, he assigned an unexpected and decisive role to the latter. The new capital of the Duchy was still a small, fortified medieval town that had remained on the fringes of the main cultural developments of the Renaissance. As a result of the impetus of Emmanuel-Philibert, his successors developed a vast building programme throughout the 17th and 18th centuries, giving the town and its region a Baroque style, the pivot of which is the residences. These pleasure and hunting residences, built in the countryside along the PO, on the hills, and further away in vast wooded areas, also serve as reference points in a system of large estates important in both economic and strategic terms. This programme was the symbol of the absolute power of the Savoy rulers, who built a state and a European capital. They acquired the throne of the Kingdom of Sicily with Victor-Amadeus Il(l713) and that of the Kingdom of Italy with Victor- Emmanuel II (1861), which they kept until the foundation of the Republic in 1946.

Série sobre Turim – Series about Turin – Torino – 16-01-2009 - IMG_20090116_9999_244

The construction of these buildings involves a town planning system that provides links between one palace and another and between the palaces and the villas, at the same time giving an architectural unity and solemnity to the areas that house the seats of power. Thus the group of buildings in the “Command Area,” which are connected with each other starting from the ducal residence and where central power was exercised in its different political, administrative, and cultural forms, together with the palaces of the House of Savoy (Palazzo Madama, Palazzo di Carignano), form the central node, which has a direct relationship with the outlying residences by means of a radial plan, the form of which can be traced from its centre, Turin. They are rapidly accessible from the capital through a network of straight tree-lined roads, which ensure the cohesive and the functional aspects of the ensemble.

This system is underpinned by large-scale planning projects. Although the organization of the defences of Turin was Emmanuel-Philibert’s major preoccupation, he succeeded in establishing his residence in the former bishop’s palace. Between the end of the 16th century and the 18th century, his successors carried out three large expansion projects centred on the Piazza Castello. The first urban and architectural renovation schemes, launched by Charles-Emmanuel I to the plans of the architect Ascanio Vitozzi (late 16th/early 17th century), were designed to create a “Command Area” to the north-east of the city that would be more in keeping with princely rank and be more practical in defensive terms. The former ducal palace, which was slightly away from the centre, was rebuilt on a new orientation so as to be in direct contact with the Piazza Castello. It was also linked with the southern part of the city by opening a new road (1612-15, the present Via Roma) in the direction of the Mirafiori ducal residence in the country (now demolished). This project was a major innovation, since it established bipolarity in urban and territorial terms.

In 1673, Charles-Emmanuel II (1638-75) commissioned Amedeo di CastelIamonte to extend the town eastwards in the direction of the PO. The new main axis, the Via PO, linked the Piazza Castello with the bridge crossing the river in the direction of the hills where the Villa della Regina was built. The opportunity was also taken to extend the Piazza Castello eastwards, and the State Secretariats and the Royal Theatre were later built along its sides.

Victor-Amadeus II (1675-1730) commissioned Michelangelo Garove, Antonio Bertola, and (from 1716) Filippo Juvarra to carry out the third extension. This was in the direction of the western access to the city, running from the Porta Susina to the Castello di Rivoli and the Palazzina di Stupinigi.

Charles-Emmanuel III (1730-73) inherited several projects from his father. He planned the Palazzo Reale, the State Secretariats, and the theatre on the Piazza Castello, and organized a vast rebuilding and extension programme for the residences, involving Filippo Juvarra, followed by Benedetto Alfieri when Juvarra left Turin in 1735.

The relationships and dynastic links that the House of Savoy established with the royal courts in Paris, Lisbon, Madrid, Munich, and Vienna as well as the towns of Italy created a cosmopolitan artistic and cultural milieu at the court of Turin. Emmanuel-Philibert laid the foundations of a court tradition that had not previously existed in Turin. As the two superb volumes of the Theatrum Sabaudiae, published in 1682, demonstrate, the Dukes of Savoy were tireless builders. With ceaseless perseverance, they enriched their family heritage and commissioned internationally famous architects, artists, and gardeners such Ascanio Vitoti, Carlo and Amedeo di Castellamonte, Guarino Guarini, Filippo Juvarra, Michelangelo Garove, Benedetto Altieri, Daniel Seiter, Francesco Solimena, Sebastiano Ricci, Charles Andre Vanloo, Claudio Francesco Beaumont, Francesco Ladatte, Michel Benard, and many others.

Source: Advisory Body Evaluation

Brian Eno, after Bowie and U2, puts music in the Baroque Juvarra

Brian Eno is working with a sound track in the tunnel Juvarra Venaria, north of Turin. The installation will be completed by July 7 at the opening of HOP.E., two weeks of workshops and initiatives for young artists.

The Venaria Royal Savoy is one of the largest residences in Piedmont. Probably the largest in size, was designed and built in a few years (1658 – 1679) by architect Amedeo di Castellamonte. A commissionarla was the Duke Carlo Emanuele II, who wanted to make the base for hunting in the heather hills of Turin, the same name in Latin of the palace, Venatio Director, is derived from the art of hunting.

The set of buildings that make up the complex, enormous if you consider the extension (80,000 m²), including the park and the historic village of Venaria, constructed so as to form a sort of collar that directly recalls the Annunciation, symbol of the house of Savoy. The village can be joined many houses and buildings of workers and ordinary citizens who wanted to live near the palace, until it becomes Venaria a separate municipality in the province of Turin.

In 1972 he began the adventure of Brian Peter George St. John le Baptiste de la Salle Eno, which is now divided into over fifty albums as a solo artist or in collaboration with others. Some have marked the history of music, such as Another Green World, Before and After Science, Music For Airports, but as a producer that Eno has revolutionized the world of rock music, working with David Bowie, Devo, Talking Heads, U2. With them has become an intellectual million copies: just turned 64 years old, signing still interesting albums (the last, Drums Between the Bells, came out last year), but most part, takes a position, he theorizes. Brian Eno says, “I am still very interested in the idea of a music that is born alone, once a given set of conditions. The composition has a life of its own, so maybe for a while nothing happens then suddenly everything changes. ”

Now he calls “generative music”, but already in 1975 on the back of Discreet Music wrote of “systems that adjust individually and can create entire songs with little or no human intervention.” The same principle is found in the iPhone app: eTrope Bloom (“It is going to arrivarne another,” announces) produce ambient music is always different, but always equally persuasive, reacting to the touch of fingers on the screen. It’s the end of the ego? “I do not know, I establish the rules, but then I do not know the end result, sometimes surprises even me.” The artist of the future for Eno is also a programmer: “In my app the computer code is as important as the sounds.” But technology is not transparent and the medium affects the message, so the music that comes from a PC will not be the same that you can write with a guitar. Eno, a pioneer of the music machines, began with a reel to reel tape recorders and synthesizers, now uses a Mac

Opera per  lara pacis Mimmo Paladino Brian Eno

Opera per l’Ara pacis Mimmo Paladino Brian Eno

Brian Eno has already numerous collaborations with artists or art, remember the event designed for site-specific spaces of the Museum of Ara Pacis. In 2008 the exhibition / event “Brian Eno | Mimmo Paladino. Opera for the Ara Pacis, “was the occasion for two undisputed protagonists of contemporary culture, to find themselves working together after almost 10 years since their first joint project of the Round House in London in 1999.



Brian Eno, dopo Bowie e gli U2 mette in musica il barocco di Juvarra

Brian Eno sta lavorando alla sonorizzazione della galleria juvarriana nella reggia di Venaria, a nord di Torino. L’installazione sarà terminata per il 7 luglio in occasione dell’apertura di HOP.E., due settimane di workshop e iniziative per giovani artisti.

La reggia di Venaria Reale è una delle maggiori residenze sabaude in Piemonte. Probabilmente la più grande per dimensioni, fu progettata e costruita in pochi anni (1658 – 1679) su progetto dell’architetto Amedeo di Castellamonte. A commissionarla fu il duca Carlo Emanuele II che intendeva farne la base per le battute di caccia nella brughiera collinare torinese, lo stesso nome in lingua latina della reggia, Venatio Regia, viene fatto derivare dall’arte venatoria.

L’insieme dei corpi di fabbrica che costituiscono il complesso, enorme se si considera l’estensione (80.000 m²), include il parco ed il borgo storico di Venaria, costruiti in modo da formare una sorta di collare che rievoca direttamente la Santissima Annunziata, simbolo della casa sabauda. Al borgo si unirono molte case e palazzi di lavoratori e normali cittadini che vollero abitare nei dintorni della Reggia, fino a far diventare Venaria Reale un comune autonomo della provincia di Torino.

Nel 1972 cominciò l’avventura di Brian Peter George St. John le Baptiste de la Salle Eno, che si articola finora in una cinquantina di album da solista o in collaborazione con altri. Alcuni hanno segnato la storia della musica, come Another Green World , Before and After Science , Music For Airports, ma è come produttore che Eno ha rivoluzionato il mondo del rock, lavorando con David Bowie, Devo, Talking Heads, U2. Con loro è diventato un intellettuale da milioni di copie: a 64 anni appena compiuti, firma ancora album interessanti (l’ultimo, Drums between the Bells , è uscito lo scorso anno), ma soprattutto partecipa, prende posizione, teorizza. Brian Eno dice: «Sono ancora molto interessato all’idea di una musica che nasca da sola, una volta date una serie di condizioni. La composizione ha una vita propria, in cui magari per un certo periodo non succede nulla poi all’improvviso tutto cambia».

Ora la chiama «musica generativa», ma già nel 1975 sul retro di Discreet Music scriveva di «sistemi che si regolano autonomamente e possono creare interi brani con intervento umano minimo o nullo». Lo stesso principio si ritrova nelle app per iPhone: Bloom eTrope («E sta per arrivarne un’altra», annuncia) producono musica ambient sempre diversa, ma sempre egualmente suadente, reagendo al tocco delle dita sullo schermo. È la fine dell’ego? «Non saprei, io stabilisco le regole, ma poi non conosco il risultato finale, a volte sorprende anche me». Così l’artista del futuro per Eno è anche un programmatore: «Nelle mie app il codice informatico conta quanto i suoni». Ma la tecnologia non è trasparente e il mezzo influenza il messaggio, così la musica che nasce da un pc non sarà la stessa che si può scrivere con una chitarra. Eno, pioniere delle macchine musicali, ha cominciato con registratori a bobine e sintetizzatori, oggi usa un Mac.

Opera per  lara pacis Mimmo Paladino Brian Eno

Opera per l’Ara pacis Mimmo Paladino Brian Eno

Brian Eno vanta già numerose collaborazioni con artisti o con l’arte, ricordiamo l’evento site specific pensato per gli spazi del Museo dell’Ara Pacis. Nel 2008 la mostra/evento “Brian Eno | Mimmo Paladino. Opera per l’Ara Pacis”  fu l’occasione, per due indiscussi protagonisti della cultura contemporanea, di ritrovarsi a lavorare insieme dopo quasi 10 anni dal loro primo progetto comune alla Round House di Londra nel 1999.



%d bloggers like this: