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in the keywords:  Rome, Baroque, urban layout, Capitol Square, St. Peter’s Square, Navona Square, Spanish Stairs, Del Popolo Square, Sixtus V, Domenico Fontana
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PL
The process of redeveloping historical city centres and adjusting them to the requirements of the contemporary law and new utilitarian functions is of continuous character. Heritage protection brings along responsibility for design decisions concerning the choice of solutions so that they would serve the owners of objects, their users and mankind in general. More and more frequently, we encounter realizations which apply the latest achievements in the field of building technologies and materials, such as glazing or glass constructions. They make it possible to limit the mechanical impact on a protected object making a full barrier to the atmospheric conditions, pollutions and many other threats with guaranteed insight and the access of sunlight. Architectural details and additional elements are reduced, too, therefore the visual influence of such solutions on the existing tissue is weakened. In this article, issues related to the possibilities of applying glass divisions and elements in such realizations are exemplified by selected objects located in Rome.
PL
This article presents changes which occurred in the urban structure of Rome in the Baroque period. The initiator of the redevelopment of this city, dictated mainly by ideological concerns, was Pope Sixtus V who commissioned one of the greatest creators of that epoch – architect Domenico Fontana – to redesign the urban structure. The redevelopment was expected to become a symbol of the popes’ return to Rome as well as to improve transport between the most important basilicas in the city: S. Trinita dei Monti, S.M. Maggiore, S. Giovanni in Laterano and S. Croce in Gerusaleme. The construction of the most important urban enclosures in that period – the square outside St. Peter’s Basilica, Navona Square, the Spanish Stairs and Del Popolo Square – was planned then, too. Changes which occurred in the tissue of Rome in relation to Fontana’s plan are still legible in the urban layout of the city, whereas squares designed at that time make the centre of cultural and tourist life these days.
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