Palazzo Viviani Giberti, located at number 35 of Viale XX Settembre in Trieste, is an emblematic example of liberty architecture, the only large Triestine palace signed by an Italian architect, Giuseppe Sommaruga, who designed it between 1906 and 1907.
Inaugurated on 25 December 1907, the building is characterized by its refined modernity and the elegance of the decorative details, attesting to the high quality of the enterprise of the clients, Cesare Viviani and Arturo Giberti, partners in the construction company Viviani & Giberti, who served both as clients and builders.
Original Project
Originally the project contemplated the realization of a Teatro filodrammatico equipped with two galleries, parterre and a large stage, a space for representation and cultural aggregation distinguished by the presence of the caffè concerto and the restaurant on the ground floor, while the five upper floors were intended for residences.
Evolution and Interiors
Over time the theater became Cinema Eden and subsequently Cinema Ambasciatori, thus maintaining the cultural and entertainment vocation of the city.
Inside, the large hall was decorated with:
- Frescoes by Giovanni Zangrando on the covering of the stairwell
- Cement elements realized by Carlo Pirovano
The Exterior
The exterior is enriched by two allegorical female statues, work of the sculptor Romeo Rathmann, which in Triestine popular culture were sympathetically identified as Barbara and Gigogin, two figures of entertainers linked to the nearby house of tolerance Villa Orientale, also celebrated in a popular song.
Architecturally, the palace distinguishes itself by:
- The facade in plaster worked to imitate stone
- The decorated balconies along the lateral streets Brunner and Gatteri
- A front balcony with colonnade that overlooks Viale XX Settembre
A floral string course delimits the commercial area on the ground floor, separating it from the residences on the upper floors.
Historical Context
In the historical context, the palace fits into the Trieste of the early twentieth century, still part of the Impero Austro-Ungarico, a city in transformation where the liberty style reflected the modernity and cultural ferment of those years. After the Prima Guerra Mondiale and the passage of Trieste to Italy in the postwar period, the building has maintained its identity as a place of aggregation connected to new forms of spectacle, adapting to the social and cultural changes of the city.
Today
Although marked by time and the aging of the facade, Palazzo Viviani Giberti remains an architectural jewel of Triestine liberty, vivid testimony of the cultural and artistic experiences of the beginning of the twentieth century and a reference point for history enthusiasts, students and tourists interested in the city and its transformations.