Papers by Raffaele Giannantonio
Castel di Sangro. Tecnologie e progetti, 2025
The most authoritative studies on the eighteenth-century reconstruction
of the church of S. Maria... more The most authoritative studies on the eighteenth-century reconstruction
of the church of S. Maria Assunta in Castel di Sangro, first of all that of
Damiano Venanzio Fucinese, assigned the architectural aspects of the work to the lombardo Francesco Ferradini, limiting the intervention of Domenico Antonio Vaccaro to the execution of the paintings. Based on the analogies of other churches in which Vaccaro is the protagonist as an architect, as in the case of the SS. Annunziata in Sessa Aurunca, it is possible to hypothesize that the new architecture of the church of Castel di Sangro could also be attributed to the same Vaccaro. In this way his architectural thought would extend from Naples to the Altopiani Maggiori d’Abruzzo. The story of the baroque reconstruction of the collegiata in Castel di Sangro is therefore a further fundamental testimony of the transition of architectural ideas between the center and the periphery
of the Neapolitan state, which so Raffaele Giannantonio, Virginia Scamardella, Federico Bulfone Gransinigh far had been limited to the figure of Cosimo Fanzago and which here, instead, involves Domenico Antonio Vaccaro, a leading artist in the capital’s cultural environment, shedding light on a particular aspect of his activity as an architect which has so far remained in the shadows.
AISU 2023. Oltre lo sguardo/Beyond the gaze 6 tomi/books 1, 2025
In the Abruzzo region, experiences in the field of asylum architecture between 19th and 20th
cent... more In the Abruzzo region, experiences in the field of asylum architecture between 19th and 20th
centuries confirm what happened throughout Italy, where asylums were created by breaking away
from hospitals and hospices. This applies to both the Teramo and L’Aquila asylums. In spite of
this, their events present different outcomes since while in Teramo the asylum was developed by
expanding a large building of medieval origin, in L’Aquila a large modern complex was built
outside the city of the time.
Opus, 2023
L'analisi atorica e architettonica di due tra le più interessanti opere del Maestro dell'architet... more L'analisi atorica e architettonica di due tra le più interessanti opere del Maestro dell'architettura moderna ungherese sospesa tra Neogotico e Secessione
Marcello Piacentini e Vincenzo Pilotti: i concorsi di architettura nell'Abruzzo della Grande Guerra, 2020
Studi Medievali e Moderni arte letteratura storia, 2021
Relazioni tra Dante Alighieri e l'Architettura nelle sue opere e interpretazione architettonica d... more Relazioni tra Dante Alighieri e l'Architettura nelle sue opere e interpretazione architettonica della Divina Commedia
Dante e l'Architettura, 2021
Rapporti tra Dante Alighieri e l'Architettura e interpretazioni architettoniche dell'Inferno
Vincenzo Monaco e la chiesa della Madonna della Neve a Roccaraso
Il contributo analizza una delle rare opere di architettura sacra nella carriera di Vincenzo Mona... more Il contributo analizza una delle rare opere di architettura sacra nella carriera di Vincenzo Monaco, protagonista della ricostruzione del secondo dopoguerra a Roma, in rapporto al panorama dell'architettura italiana del periodo.
OPUS, 2021
L'utopia urbana di uno dei più grandi musicisti del Novecento, a lungo collaboratore di Le Corbus... more L'utopia urbana di uno dei più grandi musicisti del Novecento, a lungo collaboratore di Le Corbusier che pure contesta le città del Movimento Moderno
Piano regolatore: un problema sociale
MATERIALI DIDATTICI Appunti delle comunicazioni integrative al corso tenute nell'Anno Accademico 1992-93
P.R.G.: variante generale o varianti specifiche?
Tradizione e modernità. L'architettura del ventennio fascista in Chieti e provincia
Gioacchino Murat, un sovrano napoleonico alla periferia dell'Impero
Nel breve periodo dei re napoleonidi, nel Sud d'Italia si realizzano opere urbanistiche di straor... more Nel breve periodo dei re napoleonidi, nel Sud d'Italia si realizzano opere urbanistiche di straordinaria importanza. In questo ambito rientra la fondazione di Ateleta, nell'Abruzzo interno, creata come città nuova nello spirito di uguaglianza tipicamente illuminista. Nel saggio viene analizzata la successione delle fasi che portano dalla prima progettazione di carattere teorico alla fondazione della piccola cittàin mezzo alle montagne che non impediscono ai criteri urbanistici napoleonici di affermare i propri principi, grazie anche alla figura di Giuseppe De Tomasis di Montenerodomo, prima Intendente di Abruz-
zo Citra e poi Commissario Ripartitore per i Tre Abruzzi.
Ricostruire la città , 2018
The story of the psychiatric hospital in L’Aquila began in 1896, when the Province’s administrati... more The story of the psychiatric hospital in L’Aquila began in 1896, when the Province’s administration decided to move some of the patients from the hospital in Teramo and to create a special psychiatric section within the Ospizio di Mendicità di Collemag-gio. A year later, the increase in the number of patients forced the same administration to plan the building of a brand new asylum. Thus began a series of projects where the choice of construction site was crucial. In 1899, the engineer Ginocchietti produced the first two plans. Three years later, the Provincial Council decided on a different site and commissioned the engi-neer Guido Rimini, the chief of the Technical Office, to design a new project. Nevertheless, in 1903, the psychiatrist Bonfigli, at the request of the President of the Provincial Council, declared that the original site was more suitable for the new asylum, and consequently Guido Rimini had to adapt his project to the new area. Work started with the organisation of whole ground area, but was carried out according to the executive plans for the various pavilions which had been drawn up by the engineers Camillo Tranquilli and Guido Tortora, who had replaced Guido Rimini. In 1939, the establishment of the Neurological Depart-ment, which was only the second of its kind in Italy, allowed the Provincial Asylum to be renamed the “Neuropsychiatric Hospi-tal”. Other important works were carried out after 1950 including the building of the church. The fact that many of these projects were constructed by the patients themselves, but under the guidance of master builders, is particularly notable. The analy-sis conducted by the author of this paper shows how the various different solutions in the design of the “Manicomio di Collemag-gio” followed very precise rules in terms of typology and style. Also shown is how Abruzzo was not unfamiliar with the national debate concerning this important and sensitive topic, which had both social and architectural implications.
Modern Environmental Science and Engineering, 2019
Sulmona is a town of significant historical memory, but it is currently living through a dramatic... more Sulmona is a town of significant historical memory, but it is currently living through a dramatic moment in its centuries-old history. Today it shows signs of a progressive demographic decrease that has been mainly due to the effects of the 2009 earthquake in the nearby city of L’Aquila. They haven’t studied the structural causes of the depopulation which has taken the form of a turn-over of the traditional local residents with citizens from outside EU. It is from these fundamentals that the need for this study has arisen to implement a strategy of consolidation and revitalisation within the ancient centre of Sulmona.
Fragile Territories, 2019
Piazza Sant’Oronzo, centro pulsante dell’odierna Lecce, deriva da un processo di stratificazione ... more Piazza Sant’Oronzo, centro pulsante dell’odierna Lecce, deriva da un processo di stratificazione secolare ma nel contempo è il risultato di pesanti interventi di modifica degli spazi pubblici e di inserimento di imponenti costruzioni. Fino alla fine del XIX secolo la piazza, chiamata “dei Mercanti” (Mercadanti) sviluppava una planimetria diversa dall’attuale in quanto lo spazio in cui oggi vediamo i resti dell’anfiteatro romano era occultato da botteghe e strutture commerciali. La particolarità della “nuova” piazza nasce appunto dalla sua duplice natura di “luogo” della città antica e di “spazio” pubblico creato mediante interventi modifica in un organismo urbano sottoposto in età rinascimentale ad una ridefinizione geometrica dell’impianto di età messapica e tardo imperiale. Dalla seconda metà del XIX secolo la città è sottoposta a sventramenti, rettifiche stradali e nuovi allineamenti. Agli inizi del Novecento, per consentire la costruzione della Banca d’Italia, viene demolita la quinta edilizia meridionale della piazza, detta “Isola del Governatore”. Nel corso dei lavori viene scoperto ma solo parzialmente liberato l’anfiteatro romano ma è negli anni Trenta che una nuova campagna di lavori definisce il nuovo spazio urbano. Per la costruzione del palazzo INA vengono infatti demoliti gli isolati dietro il Sedile, scavato ampiamente l’anfiteatro, abbattuta l’isola delle “Capande” (“dei Veneziani”) e realizzati i nuovi fronti, primo fra tutti quello su via D’Amelio. Anche la collocazione della statua patrono viene spostata sino a raggiungere l’attuale posizione di perno tra la vecchia e la nuova piazza. Infine negli anni Cinquanta-Sessanta gli interventi di sistemazione di via Templari e la costruzione del palazzo della Banca Nazionale del Lavoro sul fronte orientale definiscono l’immagine definitiva di piazza Sant’Oronzo, spazio affascinante nella sua complessità e molteplicità storica e compositiva.
Il Vate e l'Architettura. Gabriele d'Annunzio tra estetismo ed Eclettismo, 2019
Gabriele d'Annunzio è stato sempre considerato un dilettante di Architettura mentre la presente p... more Gabriele d'Annunzio è stato sempre considerato un dilettante di Architettura mentre la presente pubblicazione dimostra come egli abbia nutrito un interesse molto profondo che lo ha accompagnato in tutta la sua vita, intesa come "opera d'arte totale". Tale interesse si articola nei vari capitoli in cui è suddiviso lo studio: d'Annunzio e l'Architettura, l'architettura di Roma Capitale, d'Annunzio e la casa, l'esperienza estetica della Guerra, d'Annunzio e la Città, d'Annunzio e Pescara: le ragioni di un assenza. Al termine le note conclusive tracciano i lineamenti di una figura straordinaria così come la sua passione per l'architettura.
RA Restauro Archeologico, 2019
On the 15th of March 1915, Gabriele d'Annunzio, visiting the cathedral of reims burned by tha bom... more On the 15th of March 1915, Gabriele d'Annunzio, visiting the cathedral of reims burned by tha bombardment, axalts the flames that, shooting upwards like the Gothic architecture, become the symbol of rebirth of the whole France. For this he recommends that the church not be restored. The "ravaging" of what remained of the cathedral appears in clear harmony with the thought of John Ruskin, whose 'Bible of Amines' (1885), translated into French in 1904 by Marcel Proust, had strongly affected "il Vate". Another fascinating liaison is that between Ruskin, Charls-Edouard Jeanneret and d'Annunzio regarding the architecture of venice, loved in different ways by each of the three. The purpose of the study is to underline the diffusion of Ruskin's works and d'Annunzio's architectural expertise. Indeed, we recall that in 1932 Gustavo Giovannoni asked "il Vate" to trace the path for the renewal of Italian architecture.
Palladio, 2016
After the nation was unified in the second half of the 19th century, Italian architecture was in ... more After the nation was unified in the second half of the 19th century, Italian architecture was in search of a 'national style'. Around the turn of the century, an important role was played by a number of magazines dealing not only with architecture but with interior decoration and applied arts as well. The schock of the Futurist movement led to the final demise of all academic and historic styles, and more attention was dedicated to the contemporary experiences in foreign countries, such as England, France, Germany and Austria and even as far away as Japan. Magazines such "LA Casa", "Novissima", "L'edilizia moderna" contributed in the literary, artistica and technical fields to the definition of a domestic dimension intended for a wider public: the 'future style' as a way of living.
Architettura Sacra dell'Ottocento in Abruzzo. Pratola Peligna e il santuario di Maria ss. della Libera, 2020
The works of religious architecture made in Abruzzo in the 1800’s can be divided in three: the ne... more The works of religious architecture made in Abruzzo in the 1800’s can be divided in three: the new constructions and the constructions on existing foundations; the works of interior arrangement; the outdoor arrangement works and façade completion works. As part of this classification, a sub-classification concerns the three styles used: one is a transition from late 1700’s Baroque to Neoclassicism; one is Neoclassic; the third one is Eclectic; however, this sub-classification can be refuted based on specific requirements. The new constructions include the church Sacro Cuore in Castellammare Adriatico designed by engineer Alberto Porta from Turin (1894), the Sanctuary Maria SS. della Libera in Pratola Peligna (1851), built upon the previous 1500’s church, the construction of the oratory Concezione (1888-95) designed by Luigi Filippi, the reconstruction of Madonna della Penna in Vasto made from 1887 by Francesco Benedetti. The Sanctuary Maria ss. della Libera of Pratola Peligna is one of the most important works in the framework of the 1800’s Abruzzo sacral architecture. The church is designed by Eusebio Tedeschi and started between 1844 and 1851. The typological references point to Abruzzo Baroque churches which adopt the basilica layout like s. Flaviano in Barisciano and Madonna dei Sette Dolori in Pescara, but the Peligna construction shows precise peculiarities which allow the planimetric structure of the church to be considered as an eclectic evolution of the usual three-nave layout. Likewise, the typology of the church shows an additional uniqueness when one considers the diagram as one moderately longitudinal centric layout with the addition of two spans. Such a consideration strengthens the historicist character of the design by Tedeschi which is influenced by the far-away examples of sacral architecture of the Counter-Reformation, especially the Roman church Gesù della Vignola. The analysis of the proportional ratios on the basis of the composition of the Pratola architect draws from the Renaissance and in particular the Neoplatonic “spatial mathematics”. Eventually, the allusion to the Latin cross determined by the presence of the semi-cylindric volumes which house the altars ss. Trinità and s. Antonio reveals how the provisions of Carlo Borromeo in favour of such layout arrived in the heart of Abruzzo in the mid-1800’s. Equally important are the references to the Neapolitan setting in which Tedeschi had trained and in particular the hegemonic figure of Pietro Valente and his church s. Maria a Mare in Maiori, but also the theoretical thought of Nicola D’Apuzzo. This becomes even more interesting when analysing the facade, the actual spatial crux of the composition, looking both to Rome and to Naples. If specific elements refer to the experiences of the second half of the Roman 1500’s and in particular to the churches by Giacomo Della Porta, especially s. Maria ai Monti, the use of stylistic elements on the other hand refers to a clear simplified trend typical of the 1800’s sacral architecture of Abruzzo. One last consideration should be made on the presence in the Sanctuary of the Feneziani brothers which makes Pratola participant of the extraordinary season of Art Nouveau which shows how the new floral culture was known and practiced inside the region and how Pratola shows a much higher cultural level than the one so far attributed to mountainous Abruzzo.
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Papers by Raffaele Giannantonio
of the church of S. Maria Assunta in Castel di Sangro, first of all that of
Damiano Venanzio Fucinese, assigned the architectural aspects of the work to the lombardo Francesco Ferradini, limiting the intervention of Domenico Antonio Vaccaro to the execution of the paintings. Based on the analogies of other churches in which Vaccaro is the protagonist as an architect, as in the case of the SS. Annunziata in Sessa Aurunca, it is possible to hypothesize that the new architecture of the church of Castel di Sangro could also be attributed to the same Vaccaro. In this way his architectural thought would extend from Naples to the Altopiani Maggiori d’Abruzzo. The story of the baroque reconstruction of the collegiata in Castel di Sangro is therefore a further fundamental testimony of the transition of architectural ideas between the center and the periphery
of the Neapolitan state, which so Raffaele Giannantonio, Virginia Scamardella, Federico Bulfone Gransinigh far had been limited to the figure of Cosimo Fanzago and which here, instead, involves Domenico Antonio Vaccaro, a leading artist in the capital’s cultural environment, shedding light on a particular aspect of his activity as an architect which has so far remained in the shadows.
centuries confirm what happened throughout Italy, where asylums were created by breaking away
from hospitals and hospices. This applies to both the Teramo and L’Aquila asylums. In spite of
this, their events present different outcomes since while in Teramo the asylum was developed by
expanding a large building of medieval origin, in L’Aquila a large modern complex was built
outside the city of the time.
zo Citra e poi Commissario Ripartitore per i Tre Abruzzi.