As part of the ' Arte Alle Corti ' , these Mediterraneanbuffaloes stand in the space in front of the entrance to the Royal Palace, making their welcome to the visitors of the palace.
The work of David Rivalta fixed a meeting between three different elements: the shape of the animal (in this case of buffalo sculptures, which naturally preserved their presence sacredness of innocent); the Piazzetta Reale, a known and justified place; and finally, all those who are confronted with these guests. Invasion presence of hoaxes pose a question about the identity of the place. Their meeting is an epiphanic experience of otherness and index of openiness.
The church of the Sacred Heart of Mary ( Sacro Cuore di Maria ) is an important monument in the history of the district San Salvario. It
was built in the late nineteenth century through the initiative of
Olivero theologian, around 1885 to the district, which was then in strong
urban growth, but still marked by fields, canals, factories and
barracks. Thanks to his determination, in a short time created an organizing committee for its construction.
the contribution of Count Architect Carlo Ceppi, master of the 'Turin
eclectic and designer (for free) of the church, and the Count of
Viancino Viancino, the main funder of' work together with the numerous
offers of the inhabitants, in 1890 it began building. In
just over five years the church was completed (1897) and was used for
several important organ's concerts and for the Marian Convention. The church was served as a sanctuary, dedicated in 1900 to the
Sacred Heart of Mary, and it was until 1910 when it became parish.
Sacred Heart of Mary stands out for its neo-gothic characters and its
two towers with high spiers, visible from many points of the
neighborhood. It looks like a compendium of Gothic styles: German, Pisa, Genoa and who knows how many others. But it is not only a neo-Gothic monument, presents inverosibilmente
Nouveau decorations, geometric and floral, and inside the volumetric
arrangement, punctuated by geometric forms (octagonal, hexagonal and
pentagonal), is inspired by Guarini architectures.
space of three typical aisles is distorted by the innovative internal
geometry, it then creates a large bustling central nave and two aisles
winding that produces the chapels. Unusual
are also the external sides of the church, in which the geometric
structure is not hidden but revealed in simple, with volumes that create
a more rationalist than eclectic joints. In the interior numerous
objects (lamps, balustrades and
beautiful stained glass windows) are all inspired by floral motifs.