Graziano Gasparini 31 July — 30 November was a Venezuelan architect and architectural historian, [1] sometimes referred to as Graciano Gasparini ie using a Spanish version of his first name. Gasparini was born in Gorizia , on the Italian—Slovenian border, in After completing his education in Venice , he worked for Carlo Scarpa in connection with the Biennale. After a break caused by the Second World War , the famous exhibition resumed in , and Gasparini first visited Venezuela that year while promoting it. He specialised in restoring Spanish Colonial architecture , while pursuing a parallel career as an architectural historian.

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Creator Name s currently unknown. Location Cuzco, PER. Introduction This interior courtyard of a large monastery where Dominican friars lived and worked, was built on the Korikancha, a sacred Inka site in Cuzco, Peru.

Iconography The complex was built in phases. Fine ashlar masonry dates to its pre-Hispanic phase, and the rougher masonry and plaster walls visible here to its colonial phases, although the Dominicans reused the dressed stones of the Inka complex in their later construction. They employed standard monastic models in creating an arcaded passageway around the patio. This arcade, with its 1 to 2 proportions between bottom and top, is particularly graceful. The slightly squat proportions of the tower that rises above the cloister are appropriate for this seismically active region.

After the conquest, the site was taken over by the Dominicans, one of the religious orders entrusted with evangelization of the Andes. They rebuilt the building many times; this version dates mostly to after the earthquake of A earthquake destroyed much of Santo Domingo, and revealed the extensive reuse of Inka parts of the building. In recent years, archeologists have worked to strip away the colonial layers to reveal Inka buildings, largely intact, within the compound.

The Dominican friars who occupied the site after the conquest found they could modify these Inka buildings to fit the standard monastic plan of long galleries around a patio.

Korikancha would have been one of first sacred Inka buildings that travelers would encounter coming to Cuzco along the ancient road from Collasuyo, the southern reaches of the empire.

This is still a main artery into the city, and the encounter with Santo Domingo still striking. Cultural Interpretation The reuse of building materials was common practice and the buildings of Inka Cuzco proved particularly adaptable to Spanish tastes and traditions.

They offered enclosed spaces of exquisitely finished masonry, built to withstand earthquakes. Inka walls are still in use today. But because Spaniards were key patrons in post-conquest Cuzco, their architectural ideologies often dominated. Thus, they could treat the architectural mixing at places like Santo Domingo as a practical matter, finding in Inka masonry their buildings enveloped solid foundations rather than refined aesthetic systems.

Photo credit Barbara E. Cite as Dana Leibsohn and Barbara E. Vistas: Visual Culture in Spanish America, Gasparini, Graziano and Luise Margolies.

Arquitectura inka. Inca Architecture. Patricia Lyons. Bloomington: Indiana University Press. Collection Architecture. Output Formats atom dcmes-xml json omeka-json omeka-xml vra.


Graziano Gasparini



Inca architecture / by Graziano Gasparini & Luise Margolies ; translated by Patricia J. Lyon


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