SANTI APOSTOLI
ART OF FLORENCE Instructor - Rachele Sughi
piazza del limbo, 1, 50123 Firenze FI
2020
GEORGIA
CASHMORE
FLORENCE DESIGN ACADEMY Piazza della Libertà , Firenze FI
CONTENTS 03 ABOUT 04
LOCATION / SITE
06
SITE IMAGES
08
LOCATIONS HISTORY
16 CONCEPT 18
MOOD BOARD
20
SKETCHES
23 PLAN 24
SECTIONS
25
PERSPECTIVE
32 FINAL
02
ABOUT Designing an interior for a cafĂŠ that will be inaugurated next December in piazza del Limbo, in Florence. The cafe will be right opposite the Romanesque church Santissimi Apostoli, therefore it will have to fit the style of the church. Doing a case study on the church also allowing me to get a better idea of the history of Santissimi Apostoli church.
03
L O C AT I O N HOTEL BERCHIELL OFFICIAL SITE FOR BUILD Set in a 19th-century building, this upscale hotel is a 4-minute walk from the Uffizi Gallery and 300 meters from the Ponte Vecchio bridge. Lungarno degli Acciaiuoli, 14, 50123 Firenze FI
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SITE IMAGES
06
HISTORY OF HOTEL BERCHIELL It is a centuries-old story that you breathe along Lungarno degli Acciaiuoli, a story rich in commitment, human ingenuity and fascinating discoveries, a story that continues crossing the threshold of the ancient building that miraculously survived the bombings of the Second World War. The Palazzo Storico which has housed the Hotel Berchielli since 1890, one of the most famous hotels in the center of Florence and a golden refuge for many of the distinguished personalities who have chosen to stay in the city over the centuries. It is a marble engraving placed outside the building to remember the numerous stays of Romain Rolland, distinguished literary critic and Nobel Prize for literature in 1915 who elected the Hotel Berchielli as his Florentine home, imitated a few decades later by the great Pablo Picasso who took up residence in these rooms in the autumn of 1949. Hotel Berchielli
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Vintage drawings / Paintings of Hotel Berchielli
HISTORY OF SANTI APOSTOLI In the Roman era, this part of Florence – the Borgo Santi Apostoli – was outside the city walls. The river Arno and the public baths of Roman Florence were nearby. A slab with a Latin text above the left entrance attributes the founding of the church to Charlemagne. It relates how on 6 April 805, upon returning from Rome, Charlemagne, King of the Franks, entered Florence and was greeted with great joy by the population. The Ecclesia Sanctorum Apostolorum was subsequently founded and consecrated by the archbishop Turpinus, with two of Charlemagne’s trusted paladins, Roland and Oliver, present as witnesses. This was all recorded on a lead slab, which was placed inside the altar. The church was built between 1059-1100. Much of its original Romanesque form and style has been preserved. There is a tradition that claims that we have Michelangelo to thank for this. When the church was remodeled in the sixteenth century, Santi Apostoli
10
the great artist is supposed to have convinced the project’s principal financier, a banker named Bindo Altoviti (1491-1557), to show some restraint. Some changes were made, however, and the chapels in the aisles – especially the right aisle where one can find Vasari’s Allegoria della Concezione – are clearly not medieval. The small bell tower of the Santi Apostoli, barely visible because the church is hemmed in between other buildings, is the work of Baccio d’Agnolo (1462-1543). Interior of the church. The entrance to the church is through a portal that has been attributed to the architect and sculptor Benedetto da Rovezzano (ca. 1474-1552). The nave of the church has certainly retained the look and feel of a Romanesque basilica. We see walls of plain brick, a roof made of decorated wooden beams and rafters (added in 1333), columns of green marble from Prato with Roman capitals (some of them presumably taken from the nearby Roman baths) and light pouring in through the windows of the clerestory. On the high altar is a polyptych attributed to Jacopo di Cione (ca. 1325-1399) and Niccolò Gerini (died 1415). The subject of the altarpiece is The Madonna Enthroned with Saints and Angels, and since the saints have been labelled, it is not hard to identify them. On the left we see Saints Lawrence and John the Baptist, while on the right the Saints Franciscus and Stephanus the Protomartyr are shown (it looks like Stephanus has Mickey Mouse ears, but these are actually the rocks that were used to stone him to death). A text below the Madonna indicates that the polyptych was painted in 1383 and was restored in 1423. Jacopo di Cione had an older brother named Andrea (ca. 1310-1368), who was nicknamed Orcagna. Andrea Orcagna painted the original altarpiece of the Santi Apostoli, a triptych known as the Pentecoste, which is now in the Galleria dell’Accademia in Florence. Altarpiece (1383). Tabernacle by Della Robbia. Also of interest is a colourful glazed terracotta tabernacle by Giovanni della Robbia (1469-1529). It can be found at the end of the left aisle. The church possesses three flints that are called the Pietre del Santo Sepolcro, and which according to tradition were used to light the lamps of the Holy Sepulchre in Jerusalem. The same tradition claims that after the First Crusade, a young knight brought these flints to Florence, where they were kept in the Santi Apostoli. The flints are still used in the annual ceremony of Lo Scoppio del Carro, the Explosion of the Cart. A description of this ceremony, which is held on Easter Sunday and involves fireworks, can be found here.
INTERIORS ARTISTIC TREASURES Eucharistic tabernacle (circa 1512) By Andrea Della Robbia This ceramic work represents two angels holding open a curtain which reveals the tabernacle with the Trinity on a blue starry background. Four columns in linear perspective point towards the door of the tabernacle with the figure of Christ rising from the tomb. In the lunette above, there is a dove representing the Holy Spirit and in the top section, God the Father is depicted giving his blessing.
Eucharistic tabernacle (circa 1512) By Andrea Della Robbia
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The Immaculate Conception (1540-1541) By Giorgio Vasari This is considered a masterpiece of Giorgio Vasari among his religious works. The painting depicts the tree of original sin to which Adam and Eve, and the Old Testament patriarchs up to John the Baptist are tied to its branches. Mary crushes the head of the devil (snake) and carries a child in her womb, the child that will free humanity from the slavery of sin. Stones from the Tomb of Jesus and “Fire holder” (13th-14th centuries) By Florentine goldsmiths In the Church of Santi Apostoli e Biagio there are three stones that are preserved and come from the Tomb of Jesus in Jerusalem. Goffredo di Buglione donated this precious relic to Pazzino de’ Pazzi, a Florentine knight, on the occasion of the First Crusade, for his courage in the reconquest of the city. These flints are still carried in a solemn procession to the Cathedral of Florence to light the candle of the Easter Vigil. The “Fire holder” is made of bronze and supported by a gilded copper cup. On the far top (the oldest part dating back to 13th century) is the dove, which is used during the Easter ceremony of the “Explosion of the cart”. Enthroned Virgin and Saints (1382) By Iacopo di Cione and Niccolò di Pietro Gerini The painting was originally located in the convent of the Poor Clares in via dei Malcontenti. In 1950, the altarpiece was moved to the Church of Santi Apostoli e Biagio in place of an altarpiece representing Pentecost by Orcagna. In the center of the painting the Virgin and the Child are represented. At her sides there are two angels, Saint Clare and Saint Catherine of Alexandria. The other four figures are: Saint Lawrence, Saint John the Baptist, Saint Francis and Saint Stephen.
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Stones from the Tomb of Jesus and “Fire holder” (13th-14th centuries) By Florentine goldsmiths
CONCEPT My concept is to recreate this hotel space into a cafe from the inspiration of the church and its surroundings. The cafe will be a coffee house that serves only coffee, and small snacks. I will recreate an indoor outdoor flow with sliding folding doors making the space feel lighter. In contrast with an internal garden contained in a glass box, to make the space feel more lively. The space is L. 10 m x W. 7 m H. 3 m and consist of one large table (seating for 8 -10 people) inside, 4 small round tables (each table seating 2 - 3) inside and two small round tables (each table seating 2) outside. The main materials that will be used are concrete, brick, textured marble, glass and steel.
16
MOOD BOARD
18
INTIAL IDEAS /SKETCHES
20
COFFEE HOUSE
7m
MENU Brewed Coffee Flat White Cappuccino Latte Long Black Short Black
THE E HOUSE
1,2 1,6 1,2 1,7 1,2 1,2
3m
OPENING HOURS Monday - Friday Saturday - Sunday
3m
22
7:00am - 2:00pm 8:00am - 3:00pm
10 m
FLOOR PLAN
23
THE COFFEE HOUSE
7m
3m
7m
10 m
THE COFFEE HOUSE
3m
SECTIONS
10 m
3m
10 m
24
PERSPECTIVES
26
COFF PERSPECTIVE N.1
26
10 m
THE COFFEE HOUSE
THE FEE HOUSE 7m
3m
MENU PERSPECTIVE N.2
28
Brewed Coffee Flat White Cappuccino Latte Long Black Short Black
1,2 1,6 1,2 1,7 1,2 1,2
10 m
THE COFFEE HOUSE
7m
3m
PERSPECTIVE N.3
30
10 m
THE COFFEE HOUSE
7m
3m
3m
N.3
PLAN
7m
COFFEE HOUSE
THE COFFEE HOUSE
PLAN
10 m
PERSPECTIVES
1,2 1,6 1,2 1,7 1,2 1,2
PLAN
PLAN
MENU
3m
Instructor - Rachele Sughi
Monday - Friday Saturday - Sunday
3m 7m
Brewed Coffee Flat White
N.2
THE COFFEE HOUSE
ART OF FLORENCE
OPENING HOURS
7:00am - 2:00pm 8:00am - 3:00pm
MENU
10 m
Brewed Coffee Flat White Cappuccino Latte Long Black Short Black
1,2 1,6 1,2 1,7 1,2 1,2
10 m
MENU
I will recreate an indoor outdoor flow with sliding folding doors making the space feel lighter. In contrast with an internal garden contained in a glass box, to make the space feel more lively. The internal garden is 2m w - 2m l - 2.5 h.
OPENING HOURS
THE COFFEE HOUSE
My concept is to recreate this hotel space into a cafe from the inspiration of the church and its surroundings. The cafe will be a coffee house that serves only coffee, and small snacks.
Monday - Friday Saturday - Sunday
COFFEE HOUSE
7m
Interior Designer - Georgia Cashmore
Brewed Coffee Flat White
Monday - Friday Saturday - Sunday
Monday - Friday Saturday - Sunday
OPENING HOURS
OPENING HOURS
MENU
3m
Brewed Coffee Flat White
COFFEE HOUSE
Brewed Coffee Flat White Cappuccino Latte Long Black Short Black
THE COFFEE HOUSE
COFFEE HOUSE
MENU
7m
MENU Brewed Coffee Flat White Cappuccino Latte Long Black Short Black
10 m
SECTIONS
MENU Brewed Coffee Flat White Cappuccino Latte Long Black Short Black
10 m
1,2 1,6 1,2 1,7 1,2 1,2
10 m
THE COFFEE HOUSE
3m
10 m
OPENING HOURS Monday - Friday Saturday - Sunday
3m
3m
10 m
10 m
OPENING HOURS Monday - Friday Saturday - Sunday
3m
1,2 1,6 1,2 1,7 1,2 1,2
COFFEE HOUSE
7m
THE COFFEE HOUSE
COFFEE HOUSE
THE COFFEE HOUSE
The space is L. 10 m x W. 7 m H. 3 m and consist of one large table (seating for 8 -10 people) inside, 4 small round tables (each table seating 2 - 3) inside and two small round tables (each table seating 2) outside. The main materials that will be used are concrete, brick, textured marble, glass and Perspective smaller Persepctive Coffee steel. tables Counter
7m
3m
N.3
7:00am - 2:00pm 8:00am - 3:00pm
7:00am - 2:00pm 8:00am - 3:00pm
THE COFFEE HOUSE
SANTI APOSTOLI
ART OF FLORENCE Instructor - Rachele Sughi
piazza del limbo, 1, 50123 Firenze FI
2020
GEORGIA CASHMORE
FLORENCE DESIGN ACADEMY Piazza della Libertà , Firenze FI
