ARCHITECTURAL HOMES SOUTH AFRICA

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It is as if he wished to state that the dome was a completely separate architectural unit, hovering – almost rotating – over the nave octagon without need of structural support from below. Longhena also showed his awareness of contemporary concepts of urban planning, like those that were developing rapidly in seventeenth-century Rome. The baroque era brought a growing interest in the possibilities of radiating vistas stretching across whole cities, linked by prominent monuments at the most conspicuous points. With its obvious echoes of features of San Marco and Palladio’s churches, the Salute boldly declared its grand visual function as the city’s new centre point, drawing the ring of older monuments around itself into a coherent whole. Despite these affinities with the work of Roman baroque architects, Longhena’s church is unmistakably Venetian. Like Palladio, and Codussi BAROQUE 221 before him, Longhena took advantage of the special visual qualities of Istrian stone. Whether sunlit against a deep blue sky or plunging boldly into storm clouds, the Salute makes an unforgettable impression, casting its huge shadow right across the mouth of the Grand Canal. In the interior, Longhena used Istrian stone and whitewashed stucco to enhance the bright, even lighting, although now that the stone has somewhat darkened the effect is less marked. It seems that Longhena himself wanted to soften the Palladian severity of the Salute interior, for he intended to have the dome decorated with stucco work and paintings.
Homedesignq African Office Buildings – Offices Africa – e-architect

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