“Italy has a rich legacy in ceilings, steeped in history, craftsmanship, and culture. From the grandeur of the Renaissance to the Romanesque traditions, Italian ceilings are revered as artistic canvases within architecture. Nook explores this rich history and meets modern architects inspired by this heritage who are elevating the ‘fifth plane’ to new heights.”
words by Anneloes van Gaalen
The rise of artistic genius
The Renaissance plays an essential role in the history of the ceiling – think of the Sistine Chapel – although long before that, Italy already had a Romanesque building tradition. While ornate ceilings are not a unique Italian invention, the Renaissance certainly put them in the spotlight. James W. P. Campbell, Professor of Architecture and Construction History at the University of Cambridge, explains how the Renaissance marked a significant shift in the status of artists, which in turn, had its effect on the evolution of ceiling art. Campbell: “During the Renaissance, artistic talent was seen as a divine gift, and the concept of an ‘artistic genius’ emerged.
Wealthy families, like the Medicis, used art to elevate their social standing and assert moral worth, despite their often violent and thuggish behaviour – as vividly depicted in stories like Romeo and Juliet.”
Art became a means for these families to showcase culture and refinement, hiring scholars and artists for their homes and supporting religious art, which eventually transitioned to personal portraits. This patronage system led to fierce competition among families to employ the most talented artists. Rafael and Michelangelo, who were exceptionally wellpaid, elevated the artist’s role from mere craftsmen to wealthy, influential figures. This transformation in the role and perception of artists in Renaissance Italy had a profound impact, spreading northwards through the Catholic Church and influencing art across Europe.
From fake ornaments to false ceilings
By the late 17th century, there was a shift in the development of illusionistic ceiling art, quadratura. Andrea Pozzo was a pivotal figure in this movement, merging architecture, sculpture, and painting, as well as using false perspectives to blur the boundaries between the wall and ceiling.
Campbell: “This art form was technically challenging, requiring meticulous planning and execution, particularly as it had to be done on wet plaster. The technique’s complexity is likened to the intricate mathematics of designing staircases.”
Quadratura gained popularity across Europe, especially during the Rococo period, influencing ceiling designs in countries like Austria and Germany.
Palatial rooms with ornate Rococo interiors were given equally ornate ceilings, with most of the decorations being made of plaster and covered in paint to look like wood or marble. Campbell: “In short, most of it was fake. And if you would go above those ceilings, you’d typically see extensive timber roofs and everything suspended from above.” With the onset of the modern movement, ceilings started to lower even further, eventually transforming into the false ceilings that are prevalent today.
The realm of the gods
Fortunately, there are exceptions to this rule, such as architects Andrea Marcante and Adelaide Testa from the Turin-based design studio Marcante – Testa. They are eager to demonstrate how the ‘fifth wall’ can go beyond its conventional role and become a crucial element in interior architecture.
Marcante: “The ‘fifth wall’ is our favourite wall. It has become a specific area of design research for our architectural studio and some of our recent domestic interior projects.” In their Paris apartment on Place Saint Sulpice, the duo designed a ceiling rose inspired by the symbol of the Saint Sulpice brotherhood, guiding the gaze upward to the church and its history.
Testa explains that this approach pays homage to the historical significance of ceiling decorations. “In the past, ceilings represented ‘the realm of the gods,’ where decorative elements, height, and proportions were meticulously crafted to guide one’s gaze upward, symbolising an aspiration towards a higher cosmic order.”
During their research on the significance of ceilings, Marcante and Testa came across the insights of American psychoanalyst James Hillman. He argued that modern ceilings often represent an unconsidered and unconscious interiority, manifesting itself without a plan or a sense of internal order. Marcante clarifies, “In our design approach, influenced by Hillman’s ideas, we believe it’s crucial as designers to recognise that environmental care begins with the most fundamental aspect of the term ‘environment’ – that which surrounds us. What surrounds us daily, intimately, includes the walls, floors, and perhaps most notably, the ceiling; which is the fifth wall of our rooms, unrestricted in its perception, and serves as a reminder of the ‘original ceiling.’” Convincing clients of the importance of ceiling design can be challenging, and the duo has even gone as far as personally funding mockup ceilings to successfully persuade hesitant clients.
This commitment reflects the architects’ dedication to giving the ‘fifth wall’ the attention it rightfully deserves. Testa emphasises, “It’s significant because, as Hillman reminds us, ‘…happiness begins right from the ceiling.’”
Elevating ceiling design
Architect Lorenzo Bini, the founder of BINOCLE studio, shares the perspective that a carefully designed ceiling can add exceptional value to a space. He elaborates, “ Of the six surfaces in a hypothetical rectangular room, the ceiling is frequently overlooked and it remains an untouched canvas for designers. Just like an expansive sky can transform the landscape below, a ceiling, though, has the potential to assume diverse meanings and exert a profound influence on the space it encloses.”
“I think decoration in general is still relevant in architecture for its intrinsic property of ‘giving meaning’ to surfaces like walls, and ceilings,” Bini continues.
Although he hastens to add “that the value of historical works is not often matched in contemporary architecture.” Bini: “One reason is probably the shortage of skilled craftsmanship and motivated clients, the other reason is that ceilings in particular are very often equipped with mechanical and electrical installations. Although this fact implies a challenge for the designers, the outcome can’t possibly be an artwork of the quality and value of the historical ones. Rather it is often a gimmick, a ploy to resolve in an ingenious and virtuous way the coexistence with a technical element that we experience as inconvenient.
Perhaps our project ‘a circle in a square’ – a collaboration with Italian artist Massimo Bartolini – is an example of this attitude.” The Palazzo Bellini near Milan is one of Bini’s recent projects that showcases his innovative approach to ceiling design. In this instance, he was tasked with overseeing the renovation of two floors in a historical building that was intended as a private exhibition space for a family of collectors. “On one specific floor, every room featured a beautiful wooden coffered ceiling. However, in two rooms, the ceiling had already collapsed. Our solution was to install new coffered ceilings made of steel.
This design choice created an interesting visual dialogue with the existing wood ceilings, simultaneously contrasting and complementing them. It is quite intriguing how this very simple gesture originated a visually discrete, but also spatially impactful element.” [AvG]