903 SCUOLE E MUSEI ARCHITETTURE PER GLI OSPEDALI ELEMENTAL EDDEA ARCHITECTURE OLIVETTI 1908–1958 RICARDO BAK GORDON & URBANISM SERGIO POLANO ADOLFO ZANETTI EL EQUIPO MAZZANTI HEIKE HANADA IGNACIO MALLOL TAMAYO

DAL 1928

ITALIAN+ENGLISH EDITION ANNO LXXXIII — NOVEMBRE 2019 ITALIA €12,00 AUT €22,50. BEL €21,70. CAN $37,00. CHE IT CHF27,00. CHE DE CHF27,50. DEU €28,50. ESP €21,40. FIN €22,00. FRA €20,00. PRT CONT €20,10. USA $31,50.

CB903 copertina OK.indd 1 23/10/19 16:48 903 SCUOLE E MUSEI ARCHITETTURE PER GLI OSPEDALI ELEMENTAL EDDEA ARCHITECTURE OLIVETTI 1908–1958 RICARDO BAK GORDON & URBANISM SERGIO POLANO ADOLFO ZANETTI EL EQUIPO MAZZANTI HEIKE HANADA IGNACIO MALLOL TAMAYO

DAL 1928

ITALIAN+ENGLISH +JAPANESE EDITION CASABELLA-JAPAN.JP

CB903 copertina OK.indd 2 23/10/19 16:48 903

copertina / cover Johannes Iden, Casa dell’uomo bianco, litografia, 1922 Johannes Iden, White man’s house, lithograph, 1922 1996–2018 indici nuova edizione sommario indices 632–893 new edition in consultazione esclusiva su: available for reference only at: 903 — novembre 2019 casabellaweb.eu

3–57 48 Scuole e Musei Ignacio Mallol 4 Tamayo Elemental Museo de la Libertad, Colegio Ayelén, Panama Rancagua, Cile 49 5 Razionalismo ai tropici La scuola come centro di Camillo Magni comunità Marco Biagi 60–79 Architetture 18 per gli ospedali Ricardo Bak Gordon 63 e Bernhard Maurer Dalla Colombia alla Spagna, Scuola Weitenzelg, nuove forme di innovazione Romanshorn, tipologica Lago di Costanza, Svizzera Camillo Magni 19 Un modello di scuola per gli 65 studenti e per la comunità Eddea Architecture Federico Tranfa & Urbanism 26 Centro ospedaliero a Cazorla, Jaén, Spagna Adolfo Zanetti Scuola a Caslano, 73 Canton Ticino, Svizzera El Equipo Mazzanti 27 Una scuola al servizio della Ampliamento dell’ospedale comunità della Fondazione Santa Fe, Marco Mulazzani BogotÁ , Colombia

36 80–97 Heike Hanada Bauhaus-Museum Weimar, Disegno industriale Germania Olivetti 1908–58 37 81 Il Bauhaus torna a Weimar “Serio ed elegante” Luis Feduchi Sergio Polano 46 cent'anni di Bauhaus Luis Feduchi 98—101 ENGLISH TEXTS 98 English texts

Per mancanza di spazio in questo numero di «Casabella» non compaiono le pagine dedicate alla “Biblioteca dell’Architetto”: ci scusiamo con i lettori.

2 SOMMARIO Laboratorio dei metalli del Bauhaus, Weimar 1923 Metal workshop at the Bauhaus, Weimar 1923 Scuole e musei 1 Ignacio Mallol Tamayo Museo de la Libertad, Panama

Razionalismo ai tropici intaccare le preesistenze arboree. In particolare Camillo Magni un grande albero esistente di Corotù Il Museo della Libertà e dei Diritti Umani sorge (Enterolobium Cyclocarpum) lambisce il fronte su un piccolo promontorio negli immediati pressi est e diventa il fulcro visivo dell’intero intervento. del ponte delle Americhe, la straordinaria Il prospetto stesso, realizzato con ampie e infrastruttura che unisce con un lembo di silenziose murature intonacate di bianco, diventa cemento i due continenti americani. Il valore lo sfondo sul quale l’albero di corotù si riflette simbolico del luogo si riverbera nell’ambizione costruendo interessanti interazioni tra edificio del programma museale: narrare la storia della e natura. democrazia di Panama e del mondo attraverso Una piazza esterna funge da vestibolo 1 il susseguirsi degli eventi storici che l’hanno e accoglie i molti visitatori in arrivo da due vista generale del museo e della grande pensilina che funge da rappresentata. Queste premesse avrebbero potuto continenti. L’importanza di questo spazio è vestibolo per l’accesso agli spazi orientare l’autore verso un progetto iconico evidenziata da una grande pensilina in cemento espositivi overall view of the museum inducendolo alla spettacolarizzazione delle armato realizzata da un sistema di travi a vista and of the large canopy that forme. Diversamente lo studio di Ignacio Mallol a doppio arco con flesso centrale che corrisponde functions as a vestibule for access to the exhibition Tamayo propone un intervento caratterizzato all’unico appoggio realizzato da una trave spaces dal rigoroso controllo delle figure, dall’uso di a “V” sorretta da due soli pilastri inclinati a forma materiali semplici, dall’assenza di cromatismi di “Y”. La complessità della struttura si mostra e dal rispetto dell’ambiante vegetale circostante. attraverso le muscolose geometrie dei suoi Al forte impatto sociale del tema espositivo componenti in dialettico equilibrio tra loro. Nel l’architetto risponde con la potenza della solco della tradizione delle architetture tropicali semplicità, aggregando volumi puri e strutture l’ombra rappresenta l’anticamera degli spazi primarie. interni, il luogo dove godere del comfort termico Inserito in un contesto condizionato dal delle zone d’ombra e del piacere della brezza. Il sistema viabilistico del ponte, l’edificio occupa rapporto tra i volumi del museo e della copertura una piccola porzione del lotto mirando a non antistante è un intrigante dialogo tra oggetti di

casabella 903 49 3

natura diversa accomunati dal colore, ma diversi Ignacio Mallol Tamayo per senso architettonico e formale. In questo Museo de la Libertad, Panama equilibrio risiede l’interesse del progetto, nella scheda del progetto capacità di manipolare forme disomogenee progetto Ignacio Mallol Tamayo in armonia tra loro. team di progetto 2 Il museo è relativamente di piccole Ignacio Mallol Tamayo, Juan dimensioni, circa 630 mq disposti su tre piani. Carlos Sáenz, Grace Attie curatore museale L’organizzazione funzionale si articola in due Heidi McKinnon semplici parti: un volume ospita la distribuzione progetto e realizzazione allestimento museografico verticale e orizzontale contenendo una scala, un ReHaB ascensore e degli spazi a doppia e tripla altezza; impresa mentre un secondo volume è dedicato alle aree Constructora Ripard committente espositive e di servizio. I due corpi edilizi si Fundación Democracia differenziano per dimensione e carattere y Libertad dati dimensionali architettonico: il volume dedicato alla 633.95 mq superficie costruita distribuzione presenta un ordinato rivestimento 6.603,41 mq superficie spazi in vetro con orientamento verticale, il secondo aperti cronologia ha proporzioni cubiche con un impaginato 2016: progetto di facciata in cui finestre a nastro orizzontali 2017–19: costruzione localizzazione e verticali compensano ampie murature Avenida Amador, Calzada bianche. Alcuni piccoli arretramenti posti de Amador, Città di Panama, in corrispondenza della tangenza tra le parti Repubblica di Panama evidenziano l’autonomia dei volumi che aspirano fotografie a valorizzare una composizione aggregativa pura. Fernando Alda È evidente il riferimento al primo razionalismo tedesco così come l’ambizione di costruire la qualità architettonica attraverso l’astrazione geometrica e materica delle forme. L’allestimento interno usa una diversa sintassi compositiva: articolato in tre ambienti 2 dedicati ad altrettante sezioni tematiche, vi schizzo di progetto project sketch permane l’uso del colore bianco in contrasto al 3 nero delle pareti e dei soffitti. Il risultato è una pianta del piano terra, del primo piano, del secondo piano e della successione di segni, simboli e forme bianche copertura. Le due sezioni sovraesposte con luce artificiale che fluttuano trasversali evidenziano lo spazio espositivo e quello di risalita in neri spazi di penombra che costruiscono ground, first and second floor l’espediente narrativo di sicura efficacia plans, roof plan. The two cross-sections show the divulgativa. exhibition space and the Il Museo della Libertà e dei Diritti Umani vertical access di Panama elude le convenzioni formali coniugando con sorprendente armonia le rigorose forme degli esterni alle potenti strutture del portico e all’espressivo allestimento degli interni. È nel controllo dell’armonico equilibrio tra le parti che risiede la sofisticata qualità dell’opera di Mallol Arquitectos.

50 Scuole e musei casabella 903 51 7

4 6

4, 5, 6 alcuni dettagli della piazza e della pensilina caratterizzata dalla nervatura della struttura estradossata e dai pilastri inclinati details of the plaza and the canopy displaying the ribbing of the structure and the inclined pillars 7 vista del prospetto ovest in cui prevalgono le ampie murature bianche senza finestre view of the west elevation, showing the large white walls without windows 8 vista del prospetto est e della massiccia struttura della pensilina view of the east elevaton and the massive structue 5 of the canopy

8

52 Scuole e musei casabella 903 53 9

10

9 vista generale del prospetto est caratterizzato dai volumi pieni, dalla pensilina, dalle ampie vetrate e dalle preesistenze arboree overall view of the east elevation characterized by full volumes, the canopy, the large glazings and existing trees 10, 11, 12 immagini degli interni che mostrano l’allestimento del percorso espositivo caratterizzato dall’uso dei colori nero e bianco e da forme organiche Interior views showing the setup of the exhibition itinerary, the use of black and white and the organic forms 11

12

54 Scuole e musei casabella 903 55 17

13 15

13 17 vista frontale della vetrata vista frontale della geometrica che illumina il corpo scale facciata in vetro del corpo scale frontal view of the glazing frontal view of the geometric that lights the stairwell glass facade of the stairwell 14, 15, 16 immagini dell’interno del corpo scala in cui è evidente il rapporto con il paesaggio naturale circostante images of the interior of the stairwell showing the relationship with the surrounding natural landscape

16

14

56 Scuole e musei casabella 903 57 page 5 unified image with a subdivision of its country’s investment in the future. The lined tiles is combined with the powder terpreting the existing context– an um – materials nearly always left visible At first Hanada devoted a substan- another material solution might have nudity, already states a program that The school as civic center parts, making it able to function as a school is also the physical space in tone of the roller blinds and the pink appealing landscape setting, with in the interiors, combined with floors in tial part of the limited space allowed for generated greater attention (the cannot be only linear, chronological, Marco Biagi small civic center, open outside of which alongside the transmission of plaster of the older wing. As if through a widespread residential settlement – linoleum, clinker (laboratories), the presentation to illustrating the Guggenheim effect sought by other narrative. The Bauhaus does not find school hours, for the local territory and knowledge, the integration and absorp- progressive desaturation of tones, Bak while creating a place of civic and synthetic material (gym) and granite characteristics and placement of the participants in the competition), but space in a Prussian palace: it would The school building is undoubtedly one the life of its inhabitants. tion of future citizens into the social fab- Gordon had set out to test his own relational character for the community. (staircases); the “earthy” look of the new building, putting it into relation Hanada has clearly avoided that idea, demolish it. of the noble themes of architecture. Not The structure is organized so that the ric takes place. Contemporary Switzer- certainties, exposing them to the pale The slope of the terrain towards the exteriors has been obtained with brick with the city’s two historic museums. making the museum into an object As a result of the dual exercise of just a mechanism for learning, but a spaces of extraordinary width and land is a multicultural nation in which light of the northern sun. An evocative lake to the south has been carefully cladding installed with abundant flush The first plan featured a volume closed in itself, but open to memory. attraction, inclusion and condensation place of initiation into conventions of double height, like the dining hall and the presence of immigrants is both and delicate transition from the fullness exploited to organize the complex in mortar – a “crafted” finish that produc- comparable to that of the Landesmuse- The funereal physiognomy of the of its context, and at the same time of social coexistence, partly a functional the gymnasium, used for community visual and habitual. The school also of Portuguese primary colors to the three constructions that gravitate es a stimulating contrast with the clear um built in 1864 and now known as the building has perhaps been the most maximum distancing from it, the device and partly an urban monument, activities, are aligned on the street, for provides civic education, along with a lakeside transparency of the palette of around a raised piazza, clearly defining geometry of the volumes. Looking Neues Museum, and an orientation controversial aspect of the museum building presents to us an indispensa- a reflection of ideologies and pedagogi- easy access even when the school is model of taste in terms of space and Romanshorn. The rest belongs to the the zones: to the north, facing the town, closely, we see that the limitation of the identical to that of the Stadtmuseum since its opening, generating punctual ble condition of monumentality from cal concepts. During the second half of closed. The large entrance lobby materials. This represents a great finest Swiss tradition of construction: stands the public building, with the cladding to just two surfaces of each from 1954, located in the Bertuchhaus criticism such as that of Philip Oswalt, the inside: amazement without direct the 1800s and in the 1900s the culture connecting the two blocks can be responsibility for the designer, but also control of the details, fair-face concrete library and the auditorium; to the building –the main ones, namely those from 1780. as well as other less brilliant remarks. reference to the size or the scale, in the of Eclecticism and then the Modern opened and changed in character by a stimulus to do his best. From the of superior quality, casements and south, there is the volume of the “internal” to the area– does not invali- The project also highlighted the In various cases, however, this detail detail and in the geography, in the Movement questioned and experiment- moving a simple enclosure. standpoint of construction, the Weiten- handles of autarkic beauty. Special classrooms, with the gymnasium to the date this device; in fact, it reinforces the form and position of the proposal, has been interpreted as a further manual character of its objects, in the ed with the school’s “typological” and To guarantee the safety and security of zelg school is the result of a partial mention should be made of the custom east, whose height is absorbed by the role of the piazza, the true heart of the minimizing the importance of the confirmation of Hanada’s correct body of its spaces and the image of its “representative” nature, in an age in over 1000 students by day, and positive demolition and the incorporation of an carpentry, especially the wall wardrobes level shift, connected to a sports area. project, while allowing the perimeter urban location on the north-south approach to the project, seeing the openings. which mass education had become an interaction among young people existing building into a new organism, of the classrooms clad in linoleum, on This sort of small acropolis rises on a facades to have a more subdued station-university axis but underlining opacity of the building as an immediate During this centenary full of inalienable right and a strategic factor ranging in age from 6 to 17 –from whose fulcrum is formed by a small which to hang pieces of paper, and the single base, since all the spaces are dialogue with the surroundings. the geographical site with reference to a reference to the transparency of the celebrations, the Bauhaus is conveyed to of competitive advantage for the elementary to high school, not counting tree-lined courtyard and the multifunc- handrails of the staircases, in curved connected on the lower level though at series of places connected with the Bauhaus. The structure forces the us in the new museum in Weimar with emancipation of individuals and the the kindergarten– the classrooms in tional space that faces it. Patio and solid wood. Materials that combine the same time facing outward (the history of the Bauhaus. Surprising visitor to think about its nature and its precisely the opposite of clamor: economic growth of nations. rows on two levels are arranged around Salão, as they have been officially tactile pleasure with excellent ageing classrooms) or, in the public building, page 37 anyone familiar with the vertical content. Even the inscription on the silence. Today, when the western world and the three sides of a courtyard partially christened, belong to the school and and fragrance. The image that best facing a patio (the dining hall/restau- The Bauhaus returns to Weimar character of the plan of Weimar, facade is unclear, just as the names on Extinct, but at the same time advanced nations are mainly coming to covered by a flat roof. A large circular also to the community in the wider sums up the atmosphere of the building rant and the nutritional education Luis Feduchi Hanada avoided the north-south focal tombstones tell us very little about the redeemed. terms with the problem of moderniza- opening at the center of the roof sense. They form a place for assemblies, is probably the view of the intrados of room), while the double height of the points, framing her proposal horizon- deceased. It is an invitation to remem- tion and regeneration of a heritage of triggers an arrangement that maximiz- screenings, performances and celebra- the roof across the staircase that leads library brings light into the innermost The name Weimar conjures up a vast tally, from west to east, in relation to the ber, more than a statement. old and often obsolete school buildings, es play areas without concealed zones, tions. The Swiss system assigns great from the entrance lobby to the upper lev- recesses. In these buildings the range of concepts (style, politics, urban corridor through which the First of all, its tomb-like appearance page 46 the emerging and developing countries, while a shady margin takes form, of importance to such social activities, and el: a complex geometric space, with the functional and visual connection, at classicism) and depending on one’s Asbach flows – a small stream that sets out to reject the banality of our One hundred years of the Bauhaus or those of Third World, are looking to variable depth, to improve the livability to spaces of relation. At Romanshorn, in mutable pattern of the formwork and each floor and between the different perspective some of the ideas it evokes vanishes next to the lot to flow to the time, recognizing the value of the Luis Feduchi the future by investing in the construc- of the outdoor space which is perceived keeping with these tenets, the corridor the sinuous lines of the wooden levels, is resolved effectively, in constant may seem to clash, as in the case of the east of the city into the Ilm, and further redeeming experience of the Bauhaus as tion of new schools. This is precisely the as cozy, protected and exclusive, but not and the lobby tend to combine, expand- handrail. relation to the outdoor spaces. From the relationship between rebirth and east to the Saale, in the direction of opposed to the dominant philistinism. The construction and opening of the case of the Colegio Ayelén recently oppressive. ing the first and contracting the second. Given the character of the worksite piazza, through the porticos, one enters debacle. The city, in spite of the attempt Dessau, the later location of the Beyond this, however, it also seems to Bauhaus Museum Weimar is part of a designed by the Elemental group in the Bak Gordon and Maurer (his local and the limited available budget, the the lobbies facing the full-height cavity, to shift the focus towards illustrious Bauhaus. To the west, on the other suggest that a secular society still series of initiatives to commemorate the Chilean town of Rancagua, 90 kilome- partner) have approached the job in a building has been made by using lit by skylights and containing the main personages or historical events, cannot hand, the mouth leads to the beech astonished by what has taken place centenary of the founding of the ters to the south of Santiago. This is a page 19 pragmatic way, but not without pursuing conventional and economical construc- staircases. In the classroom building shake off the responsibility this series of forests of Buchenwald, location of the needs places in which to remember Bauhaus: an anniversary that has been social project of private initiative, A model school for students the perceptible and spatial qualities that tion systems and materials –essentially the lobby “continues” to the lower and political, artistic, symbolic and cultural concentration camp where its own what has been destroyed. and continues to be widely celebrated promoted and funded by Fundación and the neighborhood would make the school not just recog- reinforced concrete and steel for the upper levels, extending on each floor in meanings implies. In the dual task of creator was imprisoned, the architect inside and outside of Germany. There english Educational Impulsa, a non-profit Federico Tranfa nizable, but also likeable. In keeping larger spans– implemented with various spaces that become place of acknowledging and denying its history, and student of the Bauhaus Franz It is sufficient to enter in order to are obviously the official projects organization formed in 2012 by Pablo with the constructed character of the minimal finishing or none at all. The relation for the students; in the public Weimar presents itself to us in its Ehrlich. immediately understand where we are, publicly financed by theBauhaus texts Ibañez with his wife, Constanza Graell, The new middle school of Romanshorn, portion of the building to be reutilized, approach is similar to the one applied building the design of the cross-section physical materialization of urban Once the project had been outlined as might happen with a cathedral, a Kooperation –an association created in and the support of the agricultural a town on the western shore of Lake fair-face concrete has been chosen as by Elemental in its social housing permits a view of the library from above layout, as the sum of discordant in its volume and explained in its school or a hospital: we are in a muse- the three main places of origin of the entrepreneur Sergio Massai. The funds Constance, obeys a rule –that of the basic material for the reorganization projects, where the limited resources and of the development of the paths of manifestations, at times dissonant and orientation thanks to the large scale, um, but not just any museum. This is a movement, Weimar, Dessau and Berlin, come partly from the state and partly excellence in Swiss public construction– of the complex. The Portuguese archi- are concentrated on the structuring of circulation on the upper and lower impossible to reconcile. In this context, Hanada made use of an aerial plan to museum of modern art without the with the precise aim of coordinating the from donations gathered thanks to but also makes an exception, as it is the tect has met the challenge of building the load-bearing framework and the levels. Here, beyond the library “on building a museum to commemorate insert the building in the triangular capital letters, so as not to run the risk activities, avoiding duplication– togeth- specific tax incentives enacted by result of a competition won by a while stripping the finishing to a nodes of the architectural organisms, display,” the longitudinal circulation the Bauhaus, a century after its found- void where the direct neighbors of the of identifying it only with its archetype: er with “off” initiatives like theProjekt national legislation. Portuguese architect. A fact that reflects minimum in the conviction that it could assigning the users –in a second corridor lit at the side by the patio of the ing, is no easy assignment, above all museum already appeared. To the the MoMA, the architectural prototype Bauhaus collective. The objective is to guarantee free the growing cultural contamination of be interpreted in a consciously critical phase– the task of completion and dining hall/restaurant points to the when it is done in the manner of Heike northeast, the back of the Gauforum, born in the same period and to a great Faced with the banality of those access to quality education, also for the Swiss contemporary architecture, also way. To build internal spaces in fair-face perfecting of details. The fundamental lower atrium of the classrooms to the Hanada: with the ambition of reviewing one of the few projects for administra- extent influenced by the disappearance who think of the anniversary as a mere children of low-income families living due to the systematic use of the tool of concrete, like fresco painting, is a requirement is that the spatial and point of reaching the light source from everything that has happened before tive complexes of the Third Reich to of the Bauhaus, though it then went on chance for self-congratulation, it is in the neighborhood selected for the the competition, which during the crisis discipline that leaves no room for formal framework be arranged in a the opening of the southern end of the and after the institution of the move- have been implemented. To the growing in spite of the end of the surprising to notice the critical project, in a nation where the resources made the prospect of a commission in second thoughts. Everything on the sufficiently clear, orderly and flexible construction. In the volume of the ment, without excluding its end. northwest, the residential district of movement. position with which Germany has invested in public schooling are small, that country particularly appealing. It is walls has to be predetermined in the way, ready to absorb possible additions gymnasium, finally, the entrance lobby The Bauhaus Museum Weimar, thus Asbachviertel, and to the southwest the Along the itinerary the building approached the matter in official and the selection mechanisms strict, and also important to remember that design phase, in coordination with the or alterations without losing its dilates to become a loggia facing the observed, becomes a witness to illumi- avant-garde Volkspark, designed at the closes, then expands in the space in a unofficial contexts. In the first, only the wealthy have the option of investment in education in Switzerland, needs of the structures and the physical character. This is precisely what has playing fields, while from the latter, nism, classicism and the modernity of height of the New Objectivity around sculptural way, and opens to certain together with the construction of two enrolling their children in the best – in terms of both programs and infra- plant systems. As a contrast to the happened at Colegio Ayelén, where through a series of glazings placed the avant-gardes suppressed by Nazism the by-then defunct Weimarhalle. views with a strategy that reminds us of new museums –the one discussed here generally private– institutes, to ensure structures, has continued to be much mineral nature of the concrete, the other players and other designers have along the walls, one can see large and Soviet socialism, but also of the Finally, straight to the east, the start of Marcel Breuer in the Whitney and and another in Dessau, not yet opened– that they have a satisfactory or at least greater than in the countries of the EU. choice was made to use oak for all the been able to intervene a posteriori, offer- portions of the outside world. recent transformations imposed after the Friedenstrasse in the direction of Moneo in many museums. At the first it is worth mentioning the exhibition acceptable level of instruction. These are two very good reasons for the fixed furnishings of the building ing valuable and diversified contribu- While the organization of the the reunification, which far from the Lange Jakob student residence and floor the reference is more classical (not “Bauhaus Imaginista” at HKW in In the design of the school, prior to the high number of submissions that arrive (paneling, wall wardrobes, internal tions to the project. In particular, we complex in three volumes is based on attenuating existing imbalances have the Weimar Atrium shopping mall, to say Schinkel-like) to the extent that it Berlin, with future stops in Hangzhou, architecture thought went into an for every international competition. window and door frames), as well as for can mention the design of the central functional considerations –the possibil- stigmatized them through neoliberal- respectively with socialist and neoliber- is enough to turn around in order to Kyoto, Moscow, Sao Paulo and New innovative educational model, in line Readers of «Casabella» are aware of the the floor of theSalão , treated as if it were patio of the school, with plantings and ity of using the various parts separately, ism. al architecture. discover a large window from which to Delhi. On the alternative front, we can with the objectives of the initiative, past works in the field of scholastic part of a private dwelling. The arrange- outdoor recreation equipment coordi- at different times and in different These contradictions were particu- In a very small, compact space, view the city. Next come other openings, indicate the commission on the part of decided to focus on the KIPP – Knowl- architecture of Ricardo Bak Gordon (see ment of the boards, the pattern of the nated by Fundación Patio Vivo (archi- ways– and their position is based on larly evident in the zone of the city for Hanada makes no concessions to the respectively towards the park of the the Berlin Volksbühne of a theater edge Is Power Program in the United «Casabella» 839-840, 2014), but they latticework and the sound-absorbing tects: Álvaro Benítez with Alejandra analysis of pathways, views, relations which in 2008 a competition was held triangular geometry of the void made Weimarhalle, the Gauforum and, from piece (Das Bauhaus: Ein rettendes States, which aims above all at forming might be tempted to think that outside panels applied to the ceiling do not Ross and Beatriz Suazo), and the and spaces between the constructions, for the construction of a building to available to him, and gets as far away as above, towards Buchenwald – all the Requiem) by the Hamburg-based artist the character of the student, favoring his country the necessary adaptation to follow the orthogonal order of the walls, interior furnishings of the apsidal the architectural form –ever since the conserve and display the collections possible from the surrounding context, fundamental elements, as we have seen, Schorsch Kamerun, and preceded by a self-esteem, self-control and versatile the cultural context and clientele may but an independent geometry, rotated volume of the library, in collaboration competition phase– is that of a single dating back to the period of foundation occupying the space with the mastery of to understand the building’s reason for farewell party titled Ciao Bauhaus!, abilities in children from disadvantaged have limited his creative potential. In by 45 degrees. An apparent flamboyance with Fundación Había una Vez, thanks organism composed of compact of the Bauhaus, establishing order in a commander who guides her ship into being, the origin and context of its organized by the magazine Arch+ backgrounds, selected by lottery. practice this has not happened, or more that nevertheless enhances the spaces, to a donation from Fundación Educa- monolithic volumes, but hollowed by the reigning chaos. The proof of how a busy port, amidst merchant vessels, collection. In short, its story. together with outstanding personali- Elemental, the studio founded in precisely it has happened in such a way adding a rotary dynamism that is also cional Hernán Briones. the openings and porticos. The choice important the summons was, and how ocean liners, fishing boats and row- Inside, the plastic and spatial value ties like Beatriz Colomina, Alexander 2001 by Alejandro Aravena with the as to become a very fertile process. From echoed in the prefabricated concrete of reducing –almost eliminating– any complex the job, lies in the large boats. But one fundamental aspect of of the teachings of the Bauhaus is Kluge, Peter Richter and Mark Wigley, precise mission of operating in the field this viewpoint much of the credit should pilasters. The face-off between oblique volumetric organization, (brilliantly) number of responses and the disap- the competition project is missing: the revealed without the use of facile among others. of public and social construction, go to Bernhard Maurer, the Austrian and orthogonal becomes even clearer in page 28 resolving the complexity of the func- pointing average level of the proposals, pool that like an untreaded walkway citation. The spaces, the route, what is In this moment of commemoration especially of housing, to improve the architect with a studio in Zurich, who the use of sawtooth roofing to light the A school at the service of the community tions and the interior spaces through which in most cases were limited to a made the entrance to the opaque expected of and granted to the visitor, it is legitimate to ask ourselves what living conditions of the population of has acted as a local partner of Bak communal spaces of the first floor. Marco Mulazzani the layout of the plan and the design of literal interpretation of Bauhaus container of the museum clear. the freedom of movement, the sense of remains of the educational and produc- Chile, was assigned the task of design- Gordon, taking charge of relations with Thanks to the double internal heights, the section, is substantiated by the precepts. exploration, of bewilderment, of tive experience of the Bauhaus: are we ing a complex of spaces suitable to the local administration and of worksite the space is dilated and the modular Slightly more than ten years after the constructive characteristics of the As an isolated building the structure contrast; the opportunity to again see sure –curator Marion von Osten contain the envisioned activities, while supervision. The building at Roman- imprints of the formwork bring contrast publication of an elementary school at materials used. The simplicity of the The winning project, now successfully could have utilized a multitude of what has been observed in a different provocatively asks in the context of her at the same time communicating the shorn, in a zone of low settlement with respect to the angled lines of the Casalserugo, in the province of Padua arrangement makes it possible to built, required two phases of selection material solutions, yet from the first context… all fundamental precepts of exceptional exhibition “Bauhaus identity and values of the community. density, is of strategic importance for skylights. Outside a more subtle but («Casabella» no. 770, October 2008), we deploy a structure of orthogonal for the equidistance, aplomb, solidity sketch Hanada seems to choose the the Bauhaus, embodied here in the Imaginista”– that the influence of the Following an increasingly widespread the community. In a provincial setting, equally interesting contrast happens now examine a middle school by the concrete partitions, full reinforced and density of the proposal to become path of homogeneity, opting for a potential offered by the voids generated movement has been only positive? The orientation in the current design of more than in urban contexts of greater between the surfaces in fair-face same architect built in the “province” of concrete foundations and mixed floor clearly the sole option capable of solution that is monolithic to say the inside the building: transversality, Bauhaus Museum Weimar is clearly schools, and to make up for a chronic density, the institution of the school is concrete of the existing building and the Lugano –at Caslano, Canton Ticino. slabs (wood/concrete) for the intermedi- countering the repeated superficiality of least. The final result is a rectangular scale, movement, transparency. The inserted in this line of research, in lack of services in the area of its the place in which the quality of the ceramic cladding of the facades of the Again in this case, Adolfo Zanetti won a ate ceilings of the classrooms and for so many others, while gathering into it block clad in prefabricated concrete images that accompany this article are which celebration is not without critical insertion, the building reconciles a space and the materials reflect the new addition. The warm gray of the competition with a project capable of in- the roof of the volume of the gymnasi- the best intuitions of the rivals. panels. It is legitimate to imagine that the best description. The interior, in its viewpoints.

98 english texts casabella 903 99 page 49 walls. Some small recesses at the access that gives the rest of the plan inserting new environments and tary and confused situation over time, nary in 2008– not only fails to offer a com- Having been ready for production gically organized the program The office machinery industry was on tagonist in the history (of the culture) of plete summary of the Olivetti “plot” urged Tropical rationalism connections between the parts under- wide margins of flexibility. The health functions. The visual relationship with marked by the layering of buildings since 1929, the first version of theM40 , around two types of performance, which the verge of a structural transformation business, not just in Italy, with what be- by some scholars, but also fails to provide Camillo Magni line the autonomy of the volumes, care center of Cazorla, on the other the outside world is crucial to this constructed in different periods, the third standard , appeared in would be the keys to the success of Olivetti due to electrification, while the fall of the came known as the “Olivetti style”: a par- which set out to enhance a pure hand, has a large ground floor capable conception: the building becomes autonomous and poorly connected to the possibility of detailed examination of 1930, based on a design by Gino Levi Mar- adding machines: the reduced decimal planetary dominance of the USA in the ticular blend of empirical and sophisticat- The Museum of Freedom and Human aggregating composition. The reference of sorting people, orienting their flow permeable to the surroundings in order each other. The proposal of Equipo the field of the company’s industrial arti- tinoli, under the supervision of Camillo. keyboard and writing, unlike the most field, for a combined series of political- ed, systematic but a-methodical Rights stands on a small promontory to early German Rationalism is clear, as towards a higher level and a system of to compensate, through architecture, Mazzanti, the result of an international facts, though of no lesser importance. The This model was a lasting success, with the widespread of the time. After economic causes, permitted extraordinary managerial choices, which brought out the near the Bridge of the Americas, the is the aim of constructing architectural lateral patios. In both cases the typolog- for the sense of separation the illness competition, sets out to bring order to bibliography is still lacking in complete, support of an intelligent, increasingly more the testing of an experimental model, growth of the industry in Europe, with Ol- potential of collaborators and favored extraordinary infrastructure that quality through the geometric and ical choices originate in the organiza- causes in patients. As a result, the the whole through a new pedestrian reasoned and reliable critical repertories variegated ad campaign. In 1930 Aldo starting in 1939 the setup was underway ivetti as the leader on the continent since overall quality –of ideas, production and connects the two American continents material abstraction of the forms. tion of flows through branching constructed enclosures open through route that crosses the entire block on the very wide range of Olivetti’s prod- Magnelli was assigned a dual design task: for the MC 4S Summa, soon to be joined by 1953 in terms of employees, sales and industrial artifacts– as opposed to pure with a strip of concrete. The symbolic The interior design applies a schemes in which parallel and inde- large glazings or other facade devices to diagonally, connecting the various ucts; as Elserino Piol has pointed out, much for Synthesis, the first Olivetti filling cabi- other “mdc” models. Nizzoli developed the production. Not by chance, in 1952 it was business. value of the site jibes with the ambitions different compositional syntax: organ- pendent routes guarantee the separa- encourage relations between the world parts to the new construction. The continues to be written about Olivetti (es- net, which responded to a need formulated design of the die-cast housing in light alloy, the first European company to show at of the museum program: to narrate the ized in three zones for three themes, it tion of different types of users, while at outside and the interiors. pathway compensates for an existing ur- pecially Adriano), but little about the com- by Adriano, and would reach its high point of great pertinence to the performance MoMA New York, with the exhibition Ol- Particular thanks to Luigino Tozzi of Fon- history of democracy in Panama and does continue with the use of white in the same time connecting the public These various themes underline the ban level shift of about four meters, pany itself: there is more discussion of de- in the series of modular furnishings in the and with tastefully streamlined accents ivetti: Design in Industry, installed by Leo dazione Natale Capellaro, the source of a the world through the sequence of contrast with the black of walls and areas to those with higher degrees of fact that architecture can not only thanks to a large two-story hall towards sign than of product innovation, more 1960s and 1970s; and for the first porta- and appealing details. Lionni, in charge of the company’s North large quantity of images of Olivetti prod- historical events that represent it. These ceilings. The result is a succession of specialization. reassert and express itself within which the routes of the upper level about the works of architecture than about ble typewriter, the MP1, for use in the With the appointment of Natale Capel- American advertising. ucts, in photographs taken by Renato Bi- premises might have suggested an signs, symbols and white forms bathed A second aspect has to do with the complex health care functions, but also connected to the mezzanines converge, the production cycles of an extraordinary home, outside the office, though not in full laro, hired as an apprentice in 1916 and After having created the Summa 15 in ancotto. iconic project, based on spectacular in artificial light, floating in dark spaces potential landscape value of these make a concrete contribution to the along with those of the lower level industrial and cultural episode, the excep- mobility. The mechanical design by Ricca- gifted with true inventive genius, at the 1949, Capellaro was designing –starting forms. Instead, the studio of Ignacio in a narrative technique of remarkable works. From the 1500s to the present wellbeing of patients. oriented toward the ground level of the tional result of premises that would be im- rdo Levi for the MP1 was granted a form in helm of the design office of the adding ma- in 1951– a new calculator, the MC 21 Du- Mallol Tamayo offers a project marked impact. the typological evolution has been city. The orientation of the main possible to repeat. the sober die-cast shell developed by chines, replacing Levi, who had joined the plex, marketed under the name Elettro- by rigorous control of the figures, the The Museum of Freedom and Human influenced by the relationship between building reinforces the diagonal axis, Magnelli (perhaps with the help of his underground resistance in 1943, the path summa Duplex since 1954: a patient but High Resolution Hospital in Cazorla use of simple materials, the absence of Rights of Panama shuns formal conven- architecture and scientific advances in assigning the design of public space the At the start of the 1900s the entrepre- brother), in a surprising range of colors. began that in the decade to follow was to speedy machine designed by Nizzoli. At the chromatic effects and respect for the tions, combining with surprising medicine. Over the centuries, alterna- Built on the outskirts of the city of Jaén task of combining the geometric neurial spirit of Camillo Olivetti made it With the opening in 1931 of the Devel- make Olivetti the worldwide leader in auto- Milan fair in 1956, finally, the company pre- surrounding natural setting. The harmony the rigorous forms of the tive models initially focused on the in the immediate vicinity of the Sierras differences between the new interven- possible to launch production in Italy of opment and Advertising Office directed by matic calculation. Declared an “auxiliary sented Capellaro’s masterpiece, in the new architect responds to the forceful social exteriors with the powerful structures secularization of the health care de Cazorla national park, the new tion and the orthogonal layout of the “mps” (acronym for “macchine per scri- Renato Zveteremich (“bizarre, exuberant company,” Olivetti continued the produc- MC 24 class, a “fast and superautomatic” impact of the theme with the power of of the portico and the expressive setup function (transforming it from a health care center is surrounded by an block. The result is an interesting vere” or , for convenience, like and very ambitious”), the formidable team tion of typewriters (especially in the KR calculator, it too built with “simple sheet simplicity, grouping pure volumes and of the interiors. This control of equilib- religious into a civil work), and then set extraordinary landscape. Immersed in ground surface, permeable and public, “mdc” some time later, for “macchine da of designers and multidisciplinary collabo- version of the M40) and calculators, even metal,” in an impressive concentrate of basic structures. rium among the parts is the key factor out to optimize use with respect to the olive groves, the complex of about composed of plazas, steps and a calcolo”), also as a result of a youthful rators of Olivetti communication began to after 8 September 1943, but to return to various innovations: the Divisumma 24, Inserted in a context shaped by the in the sophisticated quality of the work evolution of ways of caring for the “sick” 10,000 m2 exploits the topography of flourishing system of gardens at journey to the United States in 1893-94. take form. Not by chance, the promotion of the record levels of 1942 took more than which in 1967 would sell its millionth unit. circulation system of the bridge, the of Mallol Arquitectos. (only in the 1500s did the word “patient” the land to place the tallest part against different levels. The ground floor is Back in Italy, among other commercial- the MP1, presented in 1932, is summed up five years. At the same time, in 1956 two other calcu- building occupies a small portion of the come into use). These ways correspond the hill and to open the ground floor to entirely glazed, with an evocative industrial ventures, in 1908 he founded by an epochal affiche by Schawinsky, fea- In December 1943 Camillo, the far- lator evolutions in the same class were lot, with the aim of not damaging the to multiple forms of construction and of the countryside. This choice reduces the structure of V-shaped concrete pillars to the “ico” –Ingegner Camillo Olivetti & C.– turing a languid portrait of Maria Grassis (a sighted founder whose workshops had shown, the Elettrosumma 24 Duplex and existing vegetation. In particular, a page 63 relation to the city. Abandoning the visual impact of the building, also support a cubical volume in brick for the manufacture of “mps,” with which worker who tested ), been transformed into a major industrial the Tetractys, to be followed by other MC large corotù tree (Enterolobium cyclo- From Colombia to Spain, religious models oriented towards the mitigated by the use of brick rather than generated by a square plan repeated on the common image of the company is with the palms of her long hands resting on company for mass production, died at the 24 models from 1961 to 1963, all aptly de- carpum) reaches the eastern facade and new forms of typological innovation typological reiteration of the monastery, the traditional white stucco characteris- eleven levels. The vertical connections identified, though typewriters did not rep- the shell of a red MP1; in 1935 the display age of 75. signed with bodies by Nizzoli. In 1957, becomes the visual fulcrum of the Camillo Magni over the last five centuries two main tic of the city of Jaén and Andalusia. The are contained in a single concrete core resent the field of greatest innovation or policies of the company were also formu- In 1943-44 Capellaro came up with the based on a project of Capellaro and his entire project. The elevation itself, made types have alternated: on the one hand, most significant feature of the project is subdivided into a dual system of revenues in the overall business. The iron- lated, with a booth set up at the Milan fair idea for a calculator, set up for manufac- growing team (with Teresio Gassino as his with large, silent masonry finished in Observing the addition to the Santa Fé the pavilion structure organized to the design of the ground level: organ- staircases and elevators, separating the clad strategy of Camillo, who from the by Figini & Pollini. After becoming the gen- ture in 1945 and produced starting in right-hand man), a new, more compact white, becomes the backdrop on which de Bogota Foundation done by Equipo isolate the patient inside an enclosure ized around various patios, it mediates flow of technical staff from that of the outset sought a point of force in the total eral director in 1932, Adriano completed 1946: the MC 14 Elettrosumma, the first of class of calculators was introduced, the the corotù is reflected, constructing Mazzanti and the health care center of that contains independent buildings; the indoor-outdoor relationship, patients. This device makes it possible autonomy and very high quality of the pro- the corporate restructuring he had begun a long series of successes. It was followed MC 22: the first was the basic model interesting interactions between the Cazorla built by Eddea, we can think on the other, the “block” structure in breaking up the western boundary into to rationalize the entire plan, offering duction cycle, prompted another trip to in 1927; at the same time, the first quarter- in 1947 by the MC 14 Multisumma and in Elettrosumma 22. The graphic quality of building and nature. about the architectural value of which the hospital, reflecting other civic four separate volumes. The presence of remarkable flexibility of uses. The the USA in 1908-09, including visits to century mark of ico had been reached, with 1948 by the MC 14 Divisumma, the first the promotion of the MC 24 and MC 22 An external plaza functions as a contemporary health care facilities, functions (the town hall, the civic nature enters the building through apparent simplicity of the volume is Remington and Underwood, the world’s the engaging, little-known and even less four-function model in the world and a reached high points in the exquisite work vestibule and welcomes the many recognizing several significant themes. museum, the noble palace), takes a manmade botanical elements that alter countered by the cladding of the biggest producers of typewriters. Having studied 25 anni Olivetti, a booklet with a market protagonist for many years. In an of illustration of Pintori, where the product visitors arriving from two continents. First of all, these works demonstrate significant part in the construction of its geometry. The result is a front enclosure done with a double facade turned over the technical management of metal spiral binding printed by Guido evolution of the lines of the MC 4, Nizzoli is absent and its visual conceptual transla- The importance of this space is empha- that architecture can reclaim a func- the city. With apparently opposing marked by independent volumes that and the geometric design of the the factory in 1909 to his “best collabora- Modiano, substantially covering the techni- designed the enclosure of the MC 14; Pin- tion becomes vibrant, with extraordinary sized by a large reinforced concrete tional area that in recent decades has strategies, the two selected examples allude to a unified design of a perimeter horizontal openings. The outer mem- tor,” Domenico Burzio (a self-made facto- cal-logistical organization of the company. tori, at the same time, organized memora- results for the Tetractys and the Elettro- canopy made with a system of exposed been gutted of its design potential and evoke the second approach in a contem- interrupted by four open courtyards. On brane is composed of rhythmical brick ry man), Camillo’s project for the first Ital- In the meantime, work was being conduct- ble ad campaigns, featuring lyrical illus- summa 22. In the field of typewriters, the double arched beams with a central flex relegated to sectorial specialization. porary way: the hospital is treated as an the other hand, the elevation facing the supported by steel tie-rods, with the ian standard “mps” (office machine) took ed on a semi-standard typewriter (for light trated posters, and involving –among standard Graphika with proportional types that corresponds to the sole impost Though in the past hospitals represent- integral part of the landscape or a facet hill is an inflexible continuous front in function of protecting the internal form in three years, a true record at the office work), which went into production in others– Herbert Bayer, Paul Rand and Ray- from 1957 remains a unique experiment achieved by a V-shaped beam supported ed important episodes in the history of of urban character of the metropolis. In brick, facing a retaining wall made with casement from the sun’s rays in the time. From 1910 the activity of the “Prima 1935, with mechanical design by Ottavio mond Savignac, while in Milan Ignazio today, though it did not meet with success. by just two inclined Y-shaped pillars. architecture and cities, today’s health the case of Eddea the environmental metal cages and stones. The interspace tropical climate. The space thus offers a Fabbrica Nazionale Macchine per Scri- Luzzati and aesthetic design by Figini & Weiss was placed at the head of the recon- In 1959, with the restyling of the Lexicon The complexity of the structure is care facilities have become –especially quality of the surroundings has induced contains a double ramp that leads to the surprising relationship with the vere” of was concentrated on the Pollini, flanked by Schawinsky. It is the stituted Ufficio Tecnico Pubblicità, which 80, now named Diaspron 82, Nizzoli coped displayed by the muscular geometry of in Italy– intricate technological the architects to favor a horizontal basement level, with vehicle access for landscape, thanks to casements that setup of the M1, the “first-degree” type- MP2 or M42, better known as the Studio over time was to welcome the finest tal- with the “oscillations of taste,” reshaping its parts in dialectic balance with each machines in which architecture extension of the construction through a ambulances. occupy the entire outer wall and frame writer featuring “modern workmanship of 42: devised as a rational object, perhaps it ents of international visual design. the premium standard model inside an an- other. In keeping with the tradition of struggles to express itself. The many plate oriented towards the countryside The main entrance, marked by a a pattern of bricks to filter the light in a absolute precision,” presented à bout de represents the most “serious and elegant” After a disappointing political interlude gular housing, with a front front cover with tropical architecture, shade represents regulations have produced complicated and subdivided by a surprising se- sinuous canopy, is on the south side of natural way, with respect to the souffle at the International Exposition of pre-war Olivetti product. In 1939 the Stu- in Rome, Adriano returned to the presidency “crystalline facets.” the introduction to the internal spaces, functional and aggregative schemes quence of patios. In a different way, the the ground floor. It offers access to a orientation and the openings. A tropical Turin in 1911. In December 1911 “we had dio 42 was the protagonist of excellent of the company in 1946, not without fric- The desire to “create an enterprise of a the place in which to enjoy the thermal whose transposition into constructed urban character of Bogota has echoes in large central space that sorts the flows four-story garden placed on the seventh the satisfaction –Camillo recalled in promotion, relying on the visual flair above tion, with the definitive decline of his rela- new type, beyond [real] socialism and capi- comfort of shadow and the pleasure of form is often literal and banal. In this the work by Equipo Mazzanti, where the to the different departments located on floor is the symbol of a different way of 1932– of winning, without hoping to, an all of Pintori, destined to become the Ol- tions with his third-born brother Massimo. talism,” the socio-political visions of a the breeze. The relationship between short circuit, the missing link is base becomes a formal expedient to the upper level or inside the patios. This thinking about the hospital, including important contract from the Navy” for 100 ivetti graphic artist par excellence from In 1947 Adriano also took over the position “concrete community” and the utopian fer- the volumes of the museum and the architecture, flattened by the short- connected various city parts, assigning large hall has been conceived as a recreational functions inside the typewriters. “A typewriter should not be a 1940 (with a short interruption) until 1967. of CEO and the clash came to an end with vor of the “human city” of Adriano Olivetti, canopy in front of it is an intriguing sighted approach of management which the main volume the role of a new urban public plaza towards which to orient the inpatient areas. The garden (initially parlor trinket with ornaments of question- Starting in 1934, a new production ar- the expulsion of Massimo from the board of the non-conformist leader, skilled in team- dialogue between objects of a different pays attention only to aspects of landmark. vertical and horizontal connections, imagined as a space for butterflies) able taste –Camillo insisted, in 1912– but ea was under examination, assigned to directors in 1948. He died one year later. work but also “in the factory, a centralizing nature, sharing a color but diverse in stipulation, performance and the One last consideration: both and the main functional areas. A system echoes on the facade through a large should have a serious and elegant look at Riccardo Levi: the sector of calculation, The year 1948 also saw the return to type- executive –Soavi points out– autocratic terms of architectural and formal multitude of often contrasting legisla- examples reveal a maniacal focus on of small patios with organic forms introflexed circle, the physical represen- the same time.” which was to determine the financial suc- writers and to normal production: the and ruthless,” encounter a not-so-under- meaning. The interest of the project lies tive norms. The two examples narrated internal spaces and external relations. enhances the space and permits natural tation of the exceptional character of The Great War detoured the activity of cess of the company. In 1937-38 the sec- standard M80 was presented, renamed ground opposition that would gain in this balance, in the ability to manipu- here, on the other hand, demonstrate This approach reveals a new way of light to enter the core of the building. the place and a new urban landmark. ico towards precision armaments, with ond version of the M40 went into produc- Lexikon 80 in 1949-50, with mechanical strength, alongside waning business suc- late contrasting forms in a situation of that functional and operative complexi- thinking about the patient, whose care The alternation of the volumes, open- substantial growth of the factory in Ivrea. tion, followed in 1942 by the M40 KR and, design by Giuseppe Beccio and product de- cess, in the “corporate” wing sustained by harmony. ty can represent a resource rather than –beyond the medical aspects– also ings and patios generates an intriguing Returning with great effort in 1919 to the in the immediate postwar period, a third sign by Nizzoli, a rare synthesis of technique several family members, around the pivotal The museum is relatively small, an impediment for architectural design. extends to the emotional, intimate sequence of parts in which the indoor- page 81 production of typewriters, Camillo perfect- M40, which reflects the touch of Figini & and industrial art. The release of the porta- figure of Giuseppe Pero, general director. about 630 square meters on three levels. The necessary rationalization of the sphere. The concepts of comfort and outdoor separation is dematerialized ed the M1 with Burzio: the result was the Pollini, more than the style of Marcello Niz- ble Lettera 22 in 1950 (list price 42,000 li- In the Jubilee year of 1958, celebrated with Olivetti industrial design, 1908–58. The functional organization is divided hospital machine can become the hominess take on new value, leading to thanks to the use of natural light and M20, introduced in 1920. In 1926, after the zoli, an ongoing collaborator of the adver- re), another Olivetti design masterpiece, the publication Olivetti 1908-1958 with “Serious and elegant” into two simple parts: one volume stimulus for new typological experi- original spatial experiments with the large glazings. launch of omo Officina Meccanica Olivetti tising division since 1937. Camillo turned again by Beccio and Nizzoli, confirmed the graphic design by Max Huber, Adriano Ol- Sergio Polano contains the vertical and horizontal mentation aimed at optimizing the flow aim of changing the perception of the for the production of machine tools and over the presidency of the company to innovative prowess of the designers. ivetti was the head of a company that had circulation system, with a staircase, an of people (patients, visitors and staff) care facility. Full-height windows, One might imagine that by now everything equipment, the chemical engineer Adriano Adriano in 1938, and in 1940 the later re- In 1950 the Lexikon 80E represented reached the apex of its industrial rise; it Addition to the hospital of the Santa Fe elevator and two or three-story spaces; a while addressing the sequence of the patios, roof gardens, brick membranes, that can be known about the relevant, Olivetti (firstborn of the patriarchal family placed the “fanaticism of the unforgetta- the first test for Olivetti in the field of elec- had multiplied production by a factor of 13 de Bogota Foundation second volume is for the exhibits and various functional areas, in keeping circular courtyards and materials are complex story summed up under the head- of Camillo), returning from a frenetic voy- ble” Zveteremich as director of the adver- tric typewriters, while the renewal of the since 1946 (with a drastic reformulation of services. The two volumes differ in with scaled degrees of isolation. In the the ingredients that reveal the objective Made in the northern part of Bogota, ing olivetti, prodigiously branching into age in the USA in 1925-26, began working tising division with the eccentric range was completed in 1952 with the quotas of product types: the calculators terms of size and architectural charac- case of the Santa Fé de Bogata founda- of transforming hospital space into a the addition to the hospital of the Santa multiple fields, has already been elucidat- in the company management, where as a intelligence of Leonardo Sinisgalli, the semi-standard Studio 44, where Nizzoli had shifted roughly from 6% to 40%; the ter: the circulation area has orderly clad- tion, for example, a double spine of welcoming, familiar and luminous Fe de Bogota Foundation represents the ed. Instead, with its orientation towards recent graduate he had already gained ini- creator of superb exhibit tours de force in displayed a variation on the theme of the standard typewriters had dropped to 25%, ding with a vertical orientation, while vertical connections (elevators and place. The functional program also latest segment of a large block that socio-economic and political-cultural as- tial experience as a workman in 1924. After Milan. Thus the program of the Olivetti Lexikon 80 and Lettera 22, now with great- while the portables had reached 35%), for the second volume has cubical propor- staircases) runs through a building with avoids traditional gathering places began development in the 1970s, with pects, the very vast literature on Olivetti having published his first book in 1927, “mdc” is taken to completion, destined –as er geometric reinforcement; in 1952 Niz- an increase of average productivity of tions with a facade composition in a square plan and eleven levels, in (rooms, corridors, waiting areas) to the purpose of containing various (and the Olivetti family), which has grown L’organizzazione scientifica del lavoro, forecast at the shareholders’ meeting in zoli also designed the only, enigmatic Ol- about 14% per year. which horizontal and vertical ribbon which the autonomy of pathways is replace them with a broader, more health care facilities. The absence of a by leaps and bounds in the present millen- Adriano activated an in-house advertising 1939– “to put our industry into its true in- ivetti pictogram: a squared spiral, At the moment of its 50th anniversary, windows are inserted in large white ensured by a complex system of vertical programmatic vision capable of master plan has generated a fragmen- nium –especially on the wave of the cente- service in 1928. ternational rank.” For five years Levi strate- “beginning without end.” the Ivrea-based company was thus a pro-

100 english texts casabella 903 101 «Casabella» è disponibile rivista mensile Arnoldo Mondadori Editore Cover price anche in edizione giapponese, monthly magazine 20090 Segrate – Milano € 12,00 in Italy, € 22,50 in Austria, attraverso: € 21,70 in Belgium, $ 37,00 Canada, Architects Studio Japan Inc. numero 903/issue 903 Casabella CHF 27,00 in Switzerland (C.T.), 8-1 24F Kakuda-cho, Kita-ku, n. 11/2019 Cascina Tregarezzo – Via Mondadori 1, CHF 27,50 in Switzerland (Ger.), Osaka anno/year LXXXIII 20090 Segrate (Mi) € 28,50 in Germany, € 21,40 in Spain, 530-0017 Japan novembre/November 2019 tel +39.02.75421 € 22,00 in Finland, € 20,00 in France, tel +81.06.63635701 fax +39.02.75422706 € 20,10 in Portugal (Cont.), www.asj-net.com Redazione / Editorial staff rivista internazionale di architettura $ 31,50 United States of America tel +39.02.75422179 pubblicazione mensile / monthly review fax +39.02.75422706 registrazione tribunale Milano n. 3108 Abbonamento annuale email [email protected] del 26 giugno 1953 (11 numeri di cui uno doppio). email [email protected] Gli abbonamenti iniziano, salvo diversa indicazione Blind-review da parte dell’abbonato, dal primo numero Direttore responsabile I testi e le proposte di pubblicazione che raggiungibile in qualsiasi momento dell’anno. Francesco Dal Co pervengono in redazione sono sottoposti alla Italia € 80,70 (prezzo comprensivo del contributo valutazione del comitato scientifico-editoriale, per le spese di spedizione); Segreteria di redazione / secondo competenze specifiche e interpellando offerta riservata agli studenti € 70,70 Editorial secretariat lettori esterni con il criterio del blind-review. (prezzo comprensivo del contributo per le spese email [email protected] di spedizione). Collegarsi all’indirizzo: Distribuzione per l’Italia e l’estero www.abbonamenti.it Coordinamento redazionale / Distribuzione a cura di Press-Di srl Estero € 81,90 + spese di spedizione. Editorial coordinator Per controllare il prezzo nel proprio Paese Alessandra Pizzochero Pubblicità / Advertising e per abbonarsi, collegarsi all’indirizzo: email [email protected] Mediamond S.p.A. www.abbonamenti.it/casabellasubscription Palazzo Cellini – Milano Due – 20090 Segrate Art Direction tel +39.02.21025259 Yearly subscription Paolo Tassinari email [email protected] (11 issues, including one special double issue). Pubblicità, Sede Centrale Divisione Living Subscriptions begin from the first available issue Progetto e impaginazione / Vice Direttore Generale: Flora Ribera after request, unless otherwise specified by the Design and layout email [email protected] subscriber. Tassinari/Vetta Coordinamento: Rossella Agnusdei Outside Italy € 81,90 + shipping costs. Francesco Nicoletti email [email protected] You may check the price in your own country www.mediamond.it and subscribe through: Comitato di redazione / www.abbonamenti.it/casabellasubscription Editorial board stampato da ELCOGRAF S.p.A. Marco Biagi Via Mondadori, 15 – Verona Modalità di pagamento Nicola Braghieri nel mese di ottobre 2019 Inviare l’importo tramite c/c postale n. 77003101 a: Federico Bucci Press-di Abbonamenti SpA – Ufficio Abbonamenti. Francesca Chiorino copyright © 2019 Altrimenti è possibile pagare con carta di credito Giovanna Crespi Arnoldo Mondadori Editore o paypal sul sito: Massimo Curzi Tutti i diritti di proprietà letteraria e artistica www.abbonamenti.it Camillo Magni riservati. Manoscritti e foto anche se non pubblicati Marco Mulazzani non si restituiscono. Payment Francesca Serrazanetti Payment may be made in Italy through any Post Federico Tranfa Arretrati Office, order account no. 77003101, addressed to: € 15 Press-di Abbonamenti SpA – Ufficio Abbonamenti. Comitato scientifico-editoriale / Modalità di pagamento: c/c postale n. 77270387 You may also pay with credit card or paypal Scientific-editorial committee intestato a Press-Di srl “Collezionisti” through the website: Nicholas Adams (tel +39.045.8884400 dalle 8.30 alle 12.30 www.abbonamenti.it/casabellasubscription Julia Bloomfield e dalle 13.30 alle 17.30 dal lunedì al venerdì) tel +39.041.5099049 Claudia Conforti specificando sul bollettino il proprio indirizzo fax +39.030.7772387 Juan José Lahuerta e i numeri richiesti. L’ordine può essere inviato email [email protected] Jacques Lucan via fax (+39.045.8884378) o via e-mail Winfried Nerdinger ([email protected]). Per spedizioni all’estero, Per contattare il servizio abbonamenti Joan Ockman maggiorare l’importo di un contributo fisso tel 02 7542 9001 Sergio Polano di € 5,70 per spese postali. La disponibilità (valido solo per l’Italia – dal lunedì al venerdì di copie arretrate è limitata, salvo esauriti, 9.00–19.00) Corrispondenti / Correspondents agli ultimi 18 mesi. Non si effettuano spedizioni fax +39.030.7772387 Alejandro Aravena (Cile) in contrassegno. email [email protected] Marc Dubois (Benelux) posta scrivere all’indirizzo: Direct Channel Luis Feduchi (Spagna) Back issues via Dalmazia, 13 – 25126 Brescia (BS) Françoise Fromonot (Francia) € 15 Andrea Maffei (Giappone) Payment: Italian postal account no. 77270387 Luca Paschini (Austria) in the name of Press-Di srl “Collezionisti” (tel +39.045.8884400 from 8.30 to 12.30 Traduzioni / Translations and 13.30 to 17.30, Monday-Friday) indicating your transiting_s.piccolo address and the issues ordered on the form. The order can be sent by fax (+39.045.8884378) Produzione, innovazione or e-mail ([email protected]). For foreign edilizia e design / shipping add a fixed contribution of € 5.70 for Production, construction postal costs. Availability of back issues is limited innovation and design to the last 18 months, as long as supplies last. No Silvia Sala COD. email [email protected]

Formazione Roberto Bosi Silvia Sala email [email protected] www.casabellaformazione.it

Web Sergio Polano

abbonarsi conviene! casabellaweb.eu www.abbonamenti.it/casabella