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La Difusió D ADVERTIMENT . La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX ( www.tesisenxarxa.net ) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA . La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR ( www.tesisenred.net ) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. En la utilización o cita de partes de la tesis es obligado indicar el nombre de la persona autora. WARNING . On having consulted this thesis you’re accepting the following use conditions: Spreading this thesis by the TDX ( www.tesisenxarxa.net ) service has been authorized by the titular of the intellectual property rights only for private uses placed in investigation and teaching activities. Reproduction with lucrative aims is not authorized neither its spreading and availability from a site foreign to the TDX service. Introducing its content in a window or frame foreign to the TDX service is not authorized (framing). This rights affect to the presentation summary of the thesis as well as to its contents. In the using or citation of parts of the thesis it’s obliged to indicate the name of the author UNIVERSITAT POLITÈCNICA DE CATALUNYA Departament de Composició Arquitectònica Teoria i Història de l’Arquitectura TESIS DOCTORAL L’architettura americana cerca una identità: 1932-1948 Tutor: Prof. Josep Maria ROVIRA Autor: Raffaella RUSSO SPENA Indice 1. L’architettura americana cerca una identità: 1932-1948 7 Introduzione 8 Inquadramento e finalità del lavoro di tesi 12 Organizzazione del lavoro di tesi 12 Archivi, Biblioteche e Fonti documentali 14 Note 2. Il dibattito storiografico tra universalismo e regionalismo 20 Introduzione 22 Dall’International Style al Bay Region Style 49 Le Mostre del MoMA dal 1929 al 1949: dai maestri europei agli useful objects 52 Alfred Barr, Henry-Russel Hitchcock, Philip Johnson e il MoMA 57 Note 3. La lezione europea: Aalto, Gropius e Breuer negli Stati Uniti 68 Introduzione 70 Alvar Aalto al MIT: “The Humanizing of Architecture” 96 Joseph Hudnut e la “crociata” per l’Architettura Moderna a Harvard 111 L’arrivo di Walter Gropius e Marcel Breuer 121 La campagna di Gropius per il “Modernismo” Bauhaus 129 Note 4. Il sogno americano: “Building the World of Tomorrow” 140 Introduzione 151 Mumford, Adams e il Regional Plan of New York 158 La lezione pragmatista di John Dewey da Chicago a New York 174 Josef Albers, il Bauhaus e il Black Mountain College 178 Le “Kahn Lectures” di Wright a Princeton 199 Note 5. Bibliografia ragionata 210 Testi Monografici 215 Articoli di Riviste 217 Cataloghi di Esposizioni e Mostre 6. Indice delle illustrazioni 220 Indice delle illustrazioni 7. Apparati 222 Dal catalogo “Modern Architecture: International exhibition” 236 Da Harper’s Journal “The Intolerable City: Must It Keep On Growing?” 241 Da Arts & Architecture “Announcement of the Case Study House Program” L’architettura americana cerca una identità: 1932-1948 […] Now there are two elements in every architecture, indeed in every esthetic or cultural expression. One of them is the local, the time-bound, that which adapts itself to special human capacities and circumstances, that belongs to a particular people and a particular soil and a particular set of economic and political institutions. Let us call this the regional element, though one must of course include in this term far more than the purely geographic characteristics. The other element is the universal: this element passes over boundaries and frontiers; it unites in a common bond people of the most different races and temperaments; it transcends the local, the limited, the partial. This universal element is what makes it possible for us to read Homer today, and to feel as sympathetic toward Odysseus as we do a contemporary refugee who is buffeted from one country to another, or to enjoy the encounter of Nausicaa and Homer’s battered hero. […] Without the existence of that universal element, there would be a deep unbridgeable gulf between the peoples of the earth. Lewis Mumford, The South in Architecture. 1.1. Introduzione Il presente lavoro intende ripercorrere i principali temi del dibattito critico sull’architettura americana nel periodo compreso tra la Grande Depressione, che raggiunge il suo culmine nel 1932, e l’inizio della Guerra Fredda, con la ricostruzione postbellica e il Piano Marshall del 1948. Si tratta di una ricerca storiografica svolta riferendosi ad articoli apparsi su riviste americane ed europee, a contributi mono- grafici ed anche ai cataloghi di alcune mostre organizzate dal MoMA di New York. L’interesse per l’approfondimento di questo argomento specifico trae origine dalla tesina finale del Master Official “Teoria i Història de l’Arquitectura” della Universitat Politécnica de Catalunya dedicata alla analisi del dibattito critico seguito alla mostra allestita dal MoMA di New York del 1932 e divenuta famosa come “Mostra dell’International Style”1. Durante la preparazione del lavoro di ricerca storiografica gli spunti di riflessione critica si sono via via ampliati fino a comprendere uno spettro ampio e composito di temi e argomenti culturali, non tutti strettamente “interni” alla disciplina architettonica, ma comunque non marginali rispetto ad essa, profondamente radicati nel pensiero americano che appaiono cruciali per una disamina, completa per quanto possibile, di un dibattito sull’architettura “moderna” che, spesso in modo riduttivo, è stato interpretato alla stregua di una banale, seppure molto intensa, polemica stilistica. Si è dunque progres- sivamente maturata la convinzione che, in prospettiva storica, una indagine ad “ampio spettro” cul- turale - che si avvale anche dei contributi letterari e filosofici - della dialettica americana universalism versus regionalism tra le due guerre mondiali possa giovare alla comprensione di quelle borderline ma- nifestations, presenti sulla frontiera della cultura strettamente architettonica, che Kenneth Frampton considera come uno dei fondamenti del “Regionalismo Critico”: […] It is my contention that Critical Regionalism continues to flourish sporadically within the cultural fissures that articulate in unexpected ways the continents of Europe and America. These borderline manifestations may be characterized, after Abraham Moles, as the “interstices of freedom”2. Il “regionalismo critico” fa riferimento ad una architettura che “resiste” alla tendenza di appiattire e livellare le differenze culturali nell’ecumenismo di una grammatica universale. Da questa “resistenza” 7 nasce la volontà di rendere evidenti le singolarità e peculiarità locali, sia armonizzandole, per sintesi, con le forme strutturali delle costruzioni “moderne”, sia rimarcandole, per opposizione e contrasto, con una significativa attenzione verso la natura dei materiali costruttivi. Frampton ammonisce a distingue- re la concezione “critica” del regionalismo dalla mera regressione nostalgica verso modelli o metodi di costruzione pre-industriali: questo regionalismo è “critico” propriamente perché ricerca nuove moda- lità per connettere il “nuovo” con la “tradizione”. Nell’affermazione dei caratteri distintivi di uno specifico luogo topografico, benché in forme modificate dal linguaggio del Movimento Moderno, si riesce a produrre una architettura che esprime un “dual co- ding”, che amalgama il nuovo con l’antico, che si mostra sensibile tanto alle influenze fisiche del clima e della geografia, quanto alle tradizioni locali e culturali del sito. Al pari di Reyner Banham e di Charles Jencks, Frampton riconosce che il livello di astrazione raggiunto dal “movimento moderno”, spogliato dalle aspirazioni etiche e dalle tensioni ideologiche che lo sostenevano, ha prodotto come principale risultato il dominio brutale della sensorialità puramente visuale, retaggio di quella tradizione occiden- tale associata alla razionalità e alla istanza epistemologica, e conclude auspicando una “architecture of resistance” capace di ampliare lo spettro delle sensibilità fisiche e psicologiche chiamate in gioco per “leggere” un edificio, in modo da acquisire piena consapevolezza della: […] intensity of light, darkness, heat and cold; the feeling of humidity; the aroma of material; the almost palpable presence of masonry as the body senses its own confinement; the momentum of an induced gait and the relative inertia of the body as it traverses the floor; the echoing resonance of our own footfall3. Pertanto, si intende dimostrare che istanze critico-dialettiche
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