Along the skyline of Florence, nestled among sights of the Duomo and Palazzo Vecchio, one monument has stood out for the past 20 years — a 60-meter yellow crane adjacent to the Uffizi Gallery.
At 7:45 a.m. on Monday, the first steps to remove the “monster” crane outside the Uffizi commenced.
The crane has called the squares outside of the gallery — Piazzale degli Uffizi and the Piazza della Signoria — its home for 20 years, the result of a long-term expansion project for the gallery. The crane, a heavily criticized and debated presence, is expected to be removed by June 21, with a celebratory event marking its removal, featuring the Italian Minister of Culture, Alessandro Giuli, in attendance.
Simone Verde, the director of the Uffizi gallery since January 2024, said in press materials that the removal of the crane “is a moment that Florence has been waiting for a long time.”
Verde continued, “With the metallic monster removed, the face of Florence returns intact and inviolate in all its dazzling beauty, after almost twenty years. This operation confirms that good administration can triumph despite the technical difficulties that we have had to resolve in recent months; and it testifies to the determination of the Uffizi Galleries to become, fully renewed, the ambassadors of Italian culture in the world.”
According to press materials, the first day of the crane’s removal included removing the crane’s hook, or the top of the crane, from its base. The subsequent days focused on deconstructing pieces from the top and the base.
Since construction began, the Piazzale degli Uffizi has undergone changes in access to the square, accompanied by the sounds of clanging as the crane came down. On Monday, the scene meant there was no access to the middle of the square as construction continued, yet as the week progressed, the Piazzale opened for people to walk through once more.
For Florence’s residents and visitors, the crane’s removal also means advancement in historical projects and work to further the city’s needs.
Christine Leto, who has lived in Florence for 9 months, found the crane’s presence common with construction for other landmarks globally yet the longevity of its existence in Florence is strange. “These big historical landmarks are always under construction,” Leto said. “So, I just think it’s crazy that that’s just been there ruining the beautiful square for so many years.”
“It’s exciting knowing that this area will open up again and help make the city look better,” Leto continued.
Others have focused on the crane’s role in the expansion and renovation of the gallery, hoping that the crane’s presence ultimately represents innovation. While projects are still underway at the Uffizi, for locals and tourists, the change represents progress for improved visitor experiences.
Andrea Almacolle, who has lived in Florence for 41 years, works near the Uffizi gallery as an artist. “It’s like historical,” Allmacolle said about the crane. He continued, referring to the construction in the Uffizi, “It’s nice when you have it like historical something and you make it like new, like before.”
Allie Rodgers, a tourist from Ohio, said she found the crane “ugly” and was excited to see it removed from the gallery. “This is supposed to be a beautiful, historic area, and it’s blocking the view.”
Rodgers continued, “I’m glad that this is coming down because one, that means the gallery’s renovations are continuing, and two, that we can better appreciate the city without seeing the crane all of the time.”
Joseph Moussa, another artist in the Piazzale degli Uffizi since 1995 who specializes in pen, ink and watercolor paintings, said he remembers when the crane was initially built for the project. “It is not quite pretty, but it is something that has been a sight for everyone,” Moussa said.
Though he thinks the crane did not match the aesthetic of the city, Moussa compared the removal of the crane to cutting bangs in one’s hair, saying the crane’s removal will open the view of the Piazza della Signoria. “It’s like cutting back distractions to get a better view of the area.” Moussa added, “It should be a good look for the city.”
While the crane has been a part of Florence’s skyline for 20 years, for some, the crane’s removal marks an aesthetic change yet not a cultural one.
“Crane or no crane, Florence is still Florence,” Moussa said. “Our history and community is strong.”
This article was produced as part of a journalism collaboration with Georgetown University’s study abroad program in Florence.