The architecture of Ancient Rome adopted the appearance of Greek architecture around the century BC. C., creating a new architectural style. Both styles are often considered together as the core of classical architecture. The Romans also adopted other aspects related to architecture from the Greeks; for example, in the introduction and use of the triclinium in Roman villas as the place and way of eating. The Romans also adopted elements from the neighboring Etruscan civilization, from which they took essential elements of their architecture such as hydraulic works and the construction of arches "Arch (architecture)").

The wealth and population density, among other elements, forced us to look for our own architectural solutions in Roman cities. The use of the dome and arches, together with knowledge of construction materials, allowed for unprecedented success in the construction of impressive public structures. Examples include the aqueducts, the Baths of Diocletian, the Baths of Caracalla, the basilicas and, perhaps his most famous work, the Colosseum. These works were reproduced on a smaller scale in the most important cities of the Empire. Some of the structures that have survived are almost intact, such as the walls of Lugo in Hispania Tarraconensis.

Italy was soon affected by the new Christian religion, and Rome became the seat of the pope. Early Christian art and architecture was also largely inspired by the pagan culture of the Romans; and statues, mosaics and paintings decorated their churches. The Christian concept of the "basilica" was invented in Rome: long, rectangular buildings, almost in ancient Roman style, often with rich mosaics and decorations adorning the interior, the best preserved being the Basilica of Santa Sabina in Rome. Late early Christian frescoes can still be seen in some of Rome's numerous catacombs.[7]​.

After the fall of the Western Roman Empire in 476, the Byzantine Empire became the most advanced area in many aspects of the arts and sciences, which also included architecture.[7] The Byzantines also left their mark in Italy, constructing various buildings, palaces and churches in their characteristic style, following the principles of Roman architecture, but giving it an oriental air. Byzantine architecture is known for its lowered domes and the extensive use of golden mosaics and icons, instead of statues.[7] The main examples of Byzantine architecture in Italy are found in Sicily, where you can see for example the cathedrals of Cefalu, Palermo or Monreale, although the best-known example is found in the north, St. Mark's Basilica in Venice.

Century Italy, and particularly the city of Florence, are the cradle of the Renaissance. The new Renaissance architectural style began its steps in Florence, unlike the Gothic, the Renaissance did not emerge from a slow evolution of the previous style, the Romanesque in the case of the Gothic, but rather arose from a conscious effort by a particular group of architects who sought to revive the order of a "Golden Age." The interest in the study of ancient architecture coincided with a general emergence of the study.

Italy had never fully accepted Gothic architecture. With the exception of Milan Cathedral, built largely by Germans, few Italian churches display an emphasis on the verticality, variegated spiers, ornamental tracery, and complex ribbed vaults that characterize International Gothic. Italian architects preferred forms that were clearly defined and structural elements that expressed their function.[13] Many Tuscan Romanesque buildings display these characteristics, such as the Baptistery of Florence or the Cathedral of Pisa.

The presence of archaeological remains from Antiquity, especially in Rome, showing the classical style, served as inspiration for artists, at a time when philosophy also turned its gaze towards classical authors.[13]​.

Rococo and late Baroque architecture

During the century the capital of European architecture") was transferred from Rome to Paris. The Italian Rococo, which flourished in Rome from the 1720s, was deeply influenced by the ideas of Borromini. The main architects in Rome—Francesco de Sanctis "Francesco De Sanctis (architect)") (Spanish Steps "Spanish Steps "Spanish Steps (Rome)", 1723) and Filippo Raguzzini (Piazza Sant'Ignazio"), 1727)—had little influence outside their native country, as did the numerous followers of the Sicilian Baroque, including Giovanni Battista Vaccarini, Andrea Palma "Andrea Palma (architect)") and Giuseppe Venanzio Marvuglia.

Among the architects who were deeply influenced by the brilliance and diversity of Juvarra and Guarini, perhaps the most important was Bernardo Vittone. His main works are a series of Rococo churches, with four-leaf plants and delicate details. Their sophisticated designs often feature multiple vaults, structures within structures, and domes within domes.

During this time, an approach to Palladio's themes was being made in Veneto, evident in the Villa Pisani in Stra (1721) and in the Church of San Simeone Piccolo") in Venice, completed in 1738.

The last phase of Baroque architecture in Italy can be exemplified by Luigi Vanvitelli's Palace of Caserta, known as the largest building built in Europe in the 19th century. Indebted to contemporary French and Spanish models, the palace is skillfully related to the landscape. In Naples and Caserta, Vanvitelli realized a sober and classical academic style, with equal attention to aesthetics and engineering, a style that would make an easy transition to Neoclassicism. From the same period is the Real Albergo dei Poveri in Naples, built shortly before by Ferdinando Fuga, whose size reflects that of the Palace of Caserta.

In the middle of the century, Italy also gained some renown for some of its avant-garde structures. The Victor Emmanuel II Gallery in Milan, built in 1865, was the first iron and glass structure in Italy and the oldest purpose-built shopping gallery in the world. The gallery would later influence the Galleria Umberto I in Naples.

Modernist, rationalist and fascist architecture

Modernist architecture had its main and most original exponents in Giuseppe Sommaruga" and Ernesto Basile"). The first, author of the Palazzo Castiglioni "Palazzo Castiglioni (Milan)") in Milan, and the second projected an expansion of the Palazzo Montecitorio in Rome.

However, in the 1920s and following years a new architectural language developed: Rationalism. This form of futuristic architecture was introduced by Antonio Sant'Elia and then by the Gruppo 7"), formed in 1926, among others by Luigi Figini, Guido Frette, Sebastiano Larco, Gino Pollini, Carlo Enrico Rava, Giuseppe Terragni, Ubaldo Castagnola and Adalberto Libera. After the dissolution of the group, it was adopted by individual architects, such as Giuseppe Terragni (Casa del Fascio in Como), Adalberto Libera (Villa Malaparte") in Capri) and Giovanni Michelucci (Florence Santa Maria Novella Station).

During the years of Fascism, Rationalism was superseded by the Novecento Italiano"), which rejected the themes of the avant-garde and tried to revive the art of the past. Its most important members in the field of architecture were Gio Ponti, Pietro Aschieri") and Giovanni Muzio. This movement inspired Marcello Piacentini in the creation of his "Simplified Neoclassicism", related to the rediscovery of imperial Rome. Piacentini was the author of various works in many Italian cities, the most important of which would be the creation of the controversial Via della Conciliazione in Rome.

Architecture after World War II

Some of the most important architects who have worked in Italy between the end of the 20th century and the beginning of the 21st are Renzo Piano, Massimiliano Fuksas and Gae Aulenti. Piano's works include the San Nicola Stadium in Bari, the Auditorium Parco della Musica in Rome, the renovation work of the Old Port of Genoa and the Church of Padre Pio in San Giovanni Rotondo. Among Fuksas' most notable works are the Grattacielo della Regione Piemonte and the Centro Congressi Italia Nuvola in EUR, Rome. Gae Aulenti's Italian works include the renovation works of the Palazzo Grassi in Venice and the Stazione Museo") of the Naples Metro.

Other notable figures, active in contemporary architecture in Italy, are the Swiss Mario Botta (Museo d'arte moderne e contemporanea di Trento e Rovereto"), renovation of La Scala in Milan), Zaha Hadid (MAXXI in Rome, skyscraper "Lo Storto" in Milan), Richard Meier (Church of God the Merciful Father") and building covering the Ara Pacis, both in Rome), Norman Foster (Belfiore Station") in Florence), Daniel Libeskind (skyscraper "Il Curvo" in Milan) and Arata Isozaki (Palasport Olimpico in Turin, together with Pier Paolo Maggiora) and Marco Brizio skyscraper "Il Dritto" in Milan).

The architecture of Ancient Rome adopted the appearance of Greek architecture around the century BC. C., creating a new architectural style. Both styles are often considered together as the core of classical architecture. The Romans also adopted other aspects related to architecture from the Greeks; for example, in the introduction and use of the triclinium in Roman villas as the place and way of eating. The Romans also adopted elements from the neighboring Etruscan civilization, from which they took essential elements of their architecture such as hydraulic works and the construction of arches "Arch (architecture)").

The wealth and population density, among other elements, forced us to look for our own architectural solutions in Roman cities. The use of the dome and arches, together with knowledge of construction materials, allowed for unprecedented success in the construction of impressive public structures. Examples include the aqueducts, the Baths of Diocletian, the Baths of Caracalla, the basilicas and, perhaps his most famous work, the Colosseum. These works were reproduced on a smaller scale in the most important cities of the Empire. Some of the structures that have survived are almost intact, such as the walls of Lugo in Hispania Tarraconensis.

Italy was soon affected by the new Christian religion, and Rome became the seat of the pope. Early Christian art and architecture was also largely inspired by the pagan culture of the Romans; and statues, mosaics and paintings decorated their churches. The Christian concept of the "basilica" was invented in Rome: long, rectangular buildings, almost in ancient Roman style, often with rich mosaics and decorations adorning the interior, the best preserved being the Basilica of Santa Sabina in Rome. Late early Christian frescoes can still be seen in some of Rome's numerous catacombs.[7]​.

After the fall of the Western Roman Empire in 476, the Byzantine Empire became the most advanced area in many aspects of the arts and sciences, which also included architecture.[7] The Byzantines also left their mark in Italy, constructing various buildings, palaces and churches in their characteristic style, following the principles of Roman architecture, but giving it an oriental air. Byzantine architecture is known for its lowered domes and the extensive use of golden mosaics and icons, instead of statues.[7] The main examples of Byzantine architecture in Italy are found in Sicily, where you can see for example the cathedrals of Cefalu, Palermo or Monreale, although the best-known example is found in the north, St. Mark's Basilica in Venice.

Century Italy, and particularly the city of Florence, are the cradle of the Renaissance. The new Renaissance architectural style began its steps in Florence, unlike the Gothic, the Renaissance did not emerge from a slow evolution of the previous style, the Romanesque in the case of the Gothic, but rather arose from a conscious effort by a particular group of architects who sought to revive the order of a "Golden Age." The interest in the study of ancient architecture coincided with a general emergence of the study.

Italy had never fully accepted Gothic architecture. With the exception of Milan Cathedral, built largely by Germans, few Italian churches display an emphasis on the verticality, variegated spiers, ornamental tracery, and complex ribbed vaults that characterize International Gothic. Italian architects preferred forms that were clearly defined and structural elements that expressed their function.[13] Many Tuscan Romanesque buildings display these characteristics, such as the Baptistery of Florence or the Cathedral of Pisa.

The presence of archaeological remains from Antiquity, especially in Rome, showing the classical style, served as inspiration for artists, at a time when philosophy also turned its gaze towards classical authors.[13]​.

Rococo and late Baroque architecture

During the century the capital of European architecture") was transferred from Rome to Paris. The Italian Rococo, which flourished in Rome from the 1720s, was deeply influenced by the ideas of Borromini. The main architects in Rome—Francesco de Sanctis "Francesco De Sanctis (architect)") (Spanish Steps "Spanish Steps "Spanish Steps (Rome)", 1723) and Filippo Raguzzini (Piazza Sant'Ignazio"), 1727)—had little influence outside their native country, as did the numerous followers of the Sicilian Baroque, including Giovanni Battista Vaccarini, Andrea Palma "Andrea Palma (architect)") and Giuseppe Venanzio Marvuglia.

Among the architects who were deeply influenced by the brilliance and diversity of Juvarra and Guarini, perhaps the most important was Bernardo Vittone. His main works are a series of Rococo churches, with four-leaf plants and delicate details. Their sophisticated designs often feature multiple vaults, structures within structures, and domes within domes.

During this time, an approach to Palladio's themes was being made in Veneto, evident in the Villa Pisani in Stra (1721) and in the Church of San Simeone Piccolo") in Venice, completed in 1738.

The last phase of Baroque architecture in Italy can be exemplified by Luigi Vanvitelli's Palace of Caserta, known as the largest building built in Europe in the 19th century. Indebted to contemporary French and Spanish models, the palace is skillfully related to the landscape. In Naples and Caserta, Vanvitelli realized a sober and classical academic style, with equal attention to aesthetics and engineering, a style that would make an easy transition to Neoclassicism. From the same period is the Real Albergo dei Poveri in Naples, built shortly before by Ferdinando Fuga, whose size reflects that of the Palace of Caserta.

In the middle of the century, Italy also gained some renown for some of its avant-garde structures. The Victor Emmanuel II Gallery in Milan, built in 1865, was the first iron and glass structure in Italy and the oldest purpose-built shopping gallery in the world. The gallery would later influence the Galleria Umberto I in Naples.

Modernist, rationalist and fascist architecture

Modernist architecture had its main and most original exponents in Giuseppe Sommaruga" and Ernesto Basile"). The first, author of the Palazzo Castiglioni "Palazzo Castiglioni (Milan)") in Milan, and the second projected an expansion of the Palazzo Montecitorio in Rome.

However, in the 1920s and following years a new architectural language developed: Rationalism. This form of futuristic architecture was introduced by Antonio Sant'Elia and then by the Gruppo 7"), formed in 1926, among others by Luigi Figini, Guido Frette, Sebastiano Larco, Gino Pollini, Carlo Enrico Rava, Giuseppe Terragni, Ubaldo Castagnola and Adalberto Libera. After the dissolution of the group, it was adopted by individual architects, such as Giuseppe Terragni (Casa del Fascio in Como), Adalberto Libera (Villa Malaparte") in Capri) and Giovanni Michelucci (Florence Santa Maria Novella Station).

During the years of Fascism, Rationalism was superseded by the Novecento Italiano"), which rejected the themes of the avant-garde and tried to revive the art of the past. Its most important members in the field of architecture were Gio Ponti, Pietro Aschieri") and Giovanni Muzio. This movement inspired Marcello Piacentini in the creation of his "Simplified Neoclassicism", related to the rediscovery of imperial Rome. Piacentini was the author of various works in many Italian cities, the most important of which would be the creation of the controversial Via della Conciliazione in Rome.

Architecture after World War II

Some of the most important architects who have worked in Italy between the end of the 20th century and the beginning of the 21st are Renzo Piano, Massimiliano Fuksas and Gae Aulenti. Piano's works include the San Nicola Stadium in Bari, the Auditorium Parco della Musica in Rome, the renovation work of the Old Port of Genoa and the Church of Padre Pio in San Giovanni Rotondo. Among Fuksas' most notable works are the Grattacielo della Regione Piemonte and the Centro Congressi Italia Nuvola in EUR, Rome. Gae Aulenti's Italian works include the renovation works of the Palazzo Grassi in Venice and the Stazione Museo") of the Naples Metro.

Other notable figures, active in contemporary architecture in Italy, are the Swiss Mario Botta (Museo d'arte moderne e contemporanea di Trento e Rovereto"), renovation of La Scala in Milan), Zaha Hadid (MAXXI in Rome, skyscraper "Lo Storto" in Milan), Richard Meier (Church of God the Merciful Father") and building covering the Ara Pacis, both in Rome), Norman Foster (Belfiore Station") in Florence), Daniel Libeskind (skyscraper "Il Curvo" in Milan) and Arata Isozaki (Palasport Olimpico in Turin, together with Pier Paolo Maggiora) and Marco Brizio skyscraper "Il Dritto" in Milan).