GUIDONIA CITTA AERO-FU

A RATIONALIST AND FASCIST COMPANY TOWN (1934-1938)

JEAN-FRANCOIS LEJEUNE University of Miami

notorious "Ascension Day's Speech" Mussolini defined new and radical objectives for the economic, social, and urbanistic reorganization of the Sational State. One of the main decisions was to limit the natural urban growth- and the uncontrolled geographic expansion of urban territories by re-equilibrating city and countryside. A major program the first I1eaisof the aeronautzcal retzz~alHe zi~ell of public works was initiated to restructure and modernize ctesel-1 ed to harle his tmrne be remembered for towns and countryside through the construction of post cerzturzes offices, train stations, roads and railways, and This tor1 12 appean 111 front oj us zi zth the tjpical representative buildings such as Case del Fascio. The aspect of Faaclst archztecture solid pleasant, a7zd reclamation of the Pontine Marshes and the foundation of industrial towns in Istria (Astria) and Sardinia (Fertilia and Carbonia) followed directly this line of ideological and o~lrcornrnde Calm Bin1 zi ho designed and l~z~ilt technical action.Aquote from Diane Ghirardo summarizes the clfl to his mzrizedzate collclhorators, and to all adequately the program of which Guidonia was also a the 11 orker,s part: .\of lo7zg ago I irzaug~~ratedAprilla, the fourth ~onz1ni17zeof the reclal~nedPorztirze reglo71 the %eestahlzshiizel~toj~Vez~~Tou ns i~~rcler~theairsp~tcs Tort IZ of the Earth (Cltt2 della terra1 Today I of rezlol~~tionaryFascistiz LL aspart of theprotnlae of 2llaLgurate Glliciorzia the To1177 of the Shes (Clttd a presunzably foru)ardlook~ngpolltmzl program dell a17a ) that aimed ziz part to put Itab on an equal if ?lot Bet21 eerz the tr~oer elzts there IS a uery intlnzate supenor footzng {C ith the rest of the ~tzdusttrallzed corilzection Indeed in order toprotect thefanners ZL orkl Th 1s modernizing trend appears ~rzoststrongly and allo?i timn to fear-less(1~c~~ltz~late the Italzarz 171 the zncdustnal and nzilzmr)~.\eu Tori IZS LL here sod o?ze rnzlst co~istarztlypatrol the shes of the the governrizent underu mte the delelopmci~tof Fatherlatzd irzdustrial resources hut it zs also a significat~t i'he Italian flyl~zgace5 Ihaz e done zt ~n thepast and feature of the agnc~lltumlsettlements or colo)~zes lllill contzrzrre to do so in the f~l~ilre,ZL ith the IVzth both opes of to~ins, F~SCISI?~seemed to he 1ege)zdatyherois~n that the u orld has recogruzed to promzsrng a 1zeu)and bnghtf~lture ti ~thilp-to-date, them hygierztc llz~lng condztions and improrled agrzcultzwal mzd ~~zdustrzalproduct~~~zt.~' On October 31, 1937, Benito Mussolini inaugurated Guidonia, the new town designed to provide housing for Reflecting on the urban foundations in the Pontine region the military and civil personal employed by the Centro Luigi Piccinato wrote at the time that "neither Littoria nor Studi ed Esperienze della Regia Aeronautics and the Sabaudia were cities in the usual urbanistic significance adjacent airport of Monte Celio near Tivoli. The Duce had of the term."They were not walled or closed in opposition personallyrequested that, in proximity to the experimental with the countryside, but "authentic agricultural centers, center of Aeronautics, at that time one of the most indissolubly linked to their territory and to the soil that important and better equipped in the world, "a new produces." With Sabaudia and Littoria - and I would add urban center rise where the most rational and economic Guidonia or Carbonia - the concept of city was made utilization of the intellectual and industrial workforce outdated in favor of a new "city-region, city-province, could be achieved, and which would be built in city-nation."~choesof the American experiments compliance with the principle of de-urbanization that advocated by LewisMumford but also of Howard's genuine had to be followed wherever p~ssible."~ concept of garden cities were thus at work in the new In this foundational context it is important to refer to Fascist p01icy.~ the date of Map 26, 1927, that marked an momentous Whereas the Pontine towns were built by the turning point for the Fascist urbanistic policy. In his Organisazzione Nazionale degli Combattenti (ONC), 1997 ACSA EUROPEAN CONFERENCE -k BERLIN

Guidonia was entrusted to the Istituto Autonomo per le An undated pencil drawing found in the archives of the Case Popoiare or IACP Roma, a municipal organization IACP - that can probably be attributed to Giuseppe createdin 1904 to provide housing for the underprivileged Nicolosi's hand in 1935-appears to be the very first classes and directed since 1922 by architect Alberto Calza sketch of an full-fledged new town. Whereas some features Bini.6This decision was important for two reasons: first, of the final plan can already be identified-i.e., the two contrary to the ONC, the MCP had an established and perpendicular main streets and the piazza-this initial experienced team of architects and collaborators; hence plan showed a more picturesque approach in design, its plan did not result of a competition. Secondly, it particularly in the definition of a series of neighborhoods provided a major testing ground for the new urban and where one can see reminiscences of the foundation and housing policy of the regime and made Guidonia an expansion plans for Littoria respectively by Frezzoti and eloquent example of the evolving - and I would add, Nicolosi. The second project, described by Nicolosi in more complex than usually presented - "politics of L'fngegnere of August 1936, abandoned the picturesque representation" by the Fascist state.- principlesfor a cardodecumanus structure. It was partially modified during construction and the completed town 7he aero~i.nuticalcitl) Guidoni shall be ~za~ned was presented in details in the April 1938 issue of Guido~ziaand its reside~ztsGukloniani. Piacentini's Architettzira." Let's focus on these plans and how a comparison It is with these words that Mussolini launched the between these three versions clearly point out to the new town project in 1934. General Alessandro Guidoni increasingly rational vision developed by Giorgio Calza (1880-1928) - a hero of the First World War, aviator, Bini and Giorgio Nicolosi. Not surprisingly Guidonia's soldier, inventor, engineer and test-pilot - had crashed plan and urban features can be strongly related to the at the very entrance of the future town when a parachute original model of Sabaudia, to the built town of Aprilia as that he was testing had failed to opema The new well as to other entries of the controversial competition, municipality was established on April 27, 1935, on the and to the then in planning Pomezia. These projects and seventh anniversary of his death. Construction started on realizations were all characterized by a new interpretation the first of November 1936 and was completed in "Fascist of the Roman colony structure based upon the carcLo and speed" in 425 consecutive working days. About two the decumanus. It was a highly identifiable and 2,500 residents lived there in 1937, half of the projected symbolically charged center whose geometric design four to five thousands. and asymmetrical composition responded strongly to The absence of a competition had no significant Sitte's principles and their redefinition by Giovannoni impact on Guidonia's town design and layout. His main and Piacentini and was based on a group of hinctionaliy architects Giorgio Calza Bini (son of IACP's director identified squares (three with the exception of Aprilia); Alberto Calza Bini), Giuseppe Nicolosi, and GinoCancelloti a system of park and protected green spaces creating the had been involved in the new town program earlier, equivalent of a greenbelt; blocks of townhouses and Calza Bini as an original member of the Gn~ppodegli apartment houses whose modern layout was close to the Urbanisti Romani (GUR) and in competition for Aprilia German Siedlungen of Taut and Gropius. Diane G!lirardo and Pomezia, Nicolosifor similarly interesting competition noticed that these principles ran generally counter to the entries. They belonged to a new generation of young English garden city concepts. She was uncloubtediy right. architect-urbanists who had graduated from the School but I would go further and state that the ',integral of Rome, the first generation of "integral architects." As architects" of Gruppo Urbanisti Romani and others - not Giorgio Ciucci reminds us in his book "Gli architetti e il unlike Bruno Taut in his Berlin Siedlungen - im-ented a fascismo," the term was coined in 1916 by Gustavo genuine "Italian" version of the garden city whose very Giovannoni who affirmed the necessity to change the urban image was provided by the central square and its traditional figure of the "dilettante architect" and make Roman-inspired diagram.Ii him or her an "architetto integralen' In his words the In Guidonia the eccentric disposition of the diagram "integral architect" was to be "a genuine architect, who suggestively opened symbolic interpretations such as, is simultaneously artist, technician, and cultivated Sarti Ruinas'sin his propaganda book Le cittd di,ll~~ssolini: individual." In 1932 he further defined the figure as an architect "who needs to be prepared to the most acute {Gzlidorzza}1s lzke a lux~~nanttwesprend orlt 111 the constnictional problems as well as to the development of airzozth all zts fronds. thetn~?zX-pitze07~d~~1zt71o5~\ an artistic concept, to the preservation of monuments, zn the celzter, red oleanders 271 bloom 012 the t11 o and to an urbanistic task."1° szde+-~~the main street tlmt hears the rinrne of The first indication of a projected residential area Leol~ardo The lzght betli,eeiz the lenr es me the appeared in the masterplan (piano regolatore) of May 4, grassyspaces that sllrrollnd the houses The sqt~nre 1931, for the development of the Experimental Center is thegreat crou 17 the top rL hzchpinjectc zn the near the military airport. The plan clearly indicated the as n toutel; candlestick of a glgalztzc. pne '' presence of a small garden district to be connected to the new entrance of the airport by a large piazzale flanked by Yet it is seen from the air that -like in an abstracted aero- villas and additional public buildings. To the academic futurist vision - that Guidonia evocatively appears to and linear arrangement of the military installations delineate the form of an airplane, whose fuselage would contrasted a weak and a-hierarchical grid of streets and be the viale Leonardo da Vinci and the wings the lots made up of groups of three houses attached together." perpendicular axis. Similarly, at the end of the main avenue, the black and shiny municipal tower seems to be tmrzslates iizto operatzo~ialgrou~~d the geizerlc taking off toward the sky, an impression which is zderzt~ficationof a ktate moclen~ar~hitect~we "" accentuated by the ascending terrain. Guidonia's center is the square, the Piazza del The same ambiguity was described in Architettzirn in the Comune, "inspired from the traditional type of the classic following terms: Italian squares, but without simplistic reminiscences of styles."'5Tl~etransformation that affected it between the Irzasmtdi as Guidonin hoilses apopulatiorz tnade published version of 1936 and the eventual realization up, not on(y, of ,fanners, hilt also of soldiers. points out to the increasing process of rationalization il ~tellectunlsarzd technicia~ls,as well as of iimrkers pursued by the architects. In the first version the plaza of the most ~norlernrr~eapotiiy. otle can elell more was organically integrated to the town, as a wide opening appreciate the particz(1ar charactel of' its at the intersection of the two main axes; two arcaded arch itectrire, rte~:oidof arljj "1-uralisni." ahsolrlte~~ barres led the visitor to the piazza where the Casa del modern, yet zi?tho~(tthe idiosy zcmsies oftrar~sieiit Fascio displayed a palazzo-type courtyard plan with an fashiom: i.e.,sober, distilzgi~ished.erleii stnte(1: hiit attached tower, a configuration similar to the Palazzo del u,ithin the parameters of n scr'ere ecorzonzqJ of Comune in Sabaudia; the axis of the viale Leonardo da a~itarchy.'" Vinci did not tangent the piazza but bisected it more or less in two equal parts while the porticoed backdrop At the heart of this paper I tend to concur with Ikcardo building made a semi-transparent screen to the park laid Mariani when he wrttes out at the back. That idea was maintained in the finalversion although the Fasclst theoy can he fo~(tzd111 ~ts~oticrpte the closure of the piazza toward the street seriously realizat~otzs.hudt. physical, a~zdal~nostrzeuer in ~ts diminished its impact. Indeed the final version of the enunczatzon, no theoty zn a certallz i~aythzis square was built as an enclosed space on its four sides. ~Vobodyu ill ezJerkrzoui what 7~asthe real t~.~iollof This was made possible by creating two separate buildings archztecttwe for the fascwn and jot* MIISSO~~~Z~ztz for the town hall, built by Nicolosi, and the Casa del partzczilar, zt 1s zn the bzizlt ZL oiaks take17all togethe? Fascio, raised by Calza Bini on a travertine plinth and and uot sepamtel~-e~ceptzo71s to this rule are supported by travertine-clad pilotis. In the final scheme rarethat one cat2 catch the real selzse of fascist the plaza became like an appendix to the street.16The archztecture displacement of the tower at the very intersection of the cardo and decumanus, although more spectacular from According to Mariani there were three types of state afar does not remedy the feeling of isolation and semi- architecture: the public one (the best known and the one publicness. Observers like Ruinas emphasized this feeling: too often associated by historians as "fascist"), the "The square is closed, like a strongbox: words spoken bourgeois one (Gio Ponti's residential architectural as an here must sound and resonate like a clapper in the bronze example) and the popular or working-class one. Guidonia of a bell."" was the first accomplished example of the latter and the To the period or contemporary visitor, the contrast precursor of many other districts and borgate built in the between the "Italian" character of the piazza as a space late 1930s. I would venture to say that if Guidonia was so and the modernity of its architecture must have been, and rarely discussed after the war it owes it to its totally remains, the most striking element. The pilotis of the modern, in fact quite alienating, architecture and planning. Casa del Fascio, the coldness of the tower connected to Marcello Piacentini clearly recognized its significance the Casa by a glass bridge, the Palazzo del Comune and its when he published Guidonia in his very momentous abstract reinterpretation of the loggia and of the facade article of 194 1 "Onore dell'architettura italiana. " Under treatment of the Doge Palace in Venice, Calza Bini's that title he distinguished "the architectures that satisfy church of 1938 for the Madonna di Loreto, patroness of the needs, and those that satisfy the greatness; both aviators - which suggests, beyond its traditional form architectures that were born from the same spirit, within tainted by Art Deco and fromitsraised positionoverlooking the same social and political en~ironment."?~Beyond the town, the image of a modern airplane taking off - the their differences, what connected all these architectures shops around the plaza "whose ground floor seems like was their "italianity." In the words of Piacentini, "Super a birdcage or an aquarium: a line of shops, all windows," classical in spirit, super modern of realization: an Italian all of these give Guidonia a somewhat stern air that fits actuality. "" well in the ideological substratum of the place.18 This In an article where he described his education in particular metaphysical dimension - mixing Italianity Rome under Nicolosi, architect Federico Gorio and rationalism, thus different from Sabaudia - this unequivocally recalled the main issue of the time: "thus collective program of both solitude and community, was there were modern forms of architectonic language with unequivocally interpreted by Sergio Poretti: which it was possible to express the tradition; thus if they existed, why did we have to liberate from the latter?"2'.It is thus fascinating to read Gorio's account of Guidonia:

~Vcoloszhad lust cotnpleterl for the Istitzrto delle Case Popolars the holiszrig projects in Lcztliza, the thwclphase oj Tibz~tTuzo117 Rome, an,d er~zmore recently, the coiz~t~~~ct~oiiof the totc 11 center of construction of the experimental center the cho~cewas Guldonm He took z~sperso~zallq:hu stzidents to made to express the principles of order, organization, ozszt Gztzdomz zrz co~npa~zj~cfGz~star'oG~ozw~z~zo?~~ and scientific content, all concepts best embodied at that To descnbe the tozi 11 ~entet-~~~~colosihad remznded time in the Roman version of the Novecento movement. 21s of the Palazzo Dtcale m Venzce ~~11ththe The main Administration building, among others, best gothiciz~q' of ztg fli:l focacle put OR the lace of the represented that architecture and its connections to galley and the rlo~l.~0cjS its port~co,he had also European Art Deco. The first rationalist buildingwas built reca!!ed as source of lnsp~ratlo??, the idzosyncratzc in 1932 by architect Traverso and marked the beginning dzagonal dzalmilcl-tllz~zgof the facade 25 of a series of modern buildings such as the lliaclio Complex, the edifice of the Mensa that recalled Sartoris' volumetries, The housing part constituted the mostrational section the electric power plant and the "galle~with double of Guidonia and one must emphasize how tmly modern return" that recalled "the expressionist gesture of was the manner that the "integral architects" used simple, Mendelsohn at theAstronomica1 Observato? of Potsdam, articulated and thin barres typical of the Modern the Einstein Tower.""' The most impressive was the Movement to create well-defined public spaces. Whether hydrodynamic "basin" - the rlasca aerodir~nniica- Rationalist like in Guidonia or Sabaudia, or more vernacular that featured a horizontal window that made the whole and rural as in Aprilia and Carbonia, these barres created length of the building, i.e., 460-meter long. Along its traditional public spaces in a typologically new way, i.e., interior canal (three-meter deep and six-meter wide) a not as carved public spaces out of a tight fabric but as a crane, carrying a complete aircraft model for the study of group of object buildings connected to create spaces in takeoff and landing, could reach a dazzling speed of 80 a manner that had been pioneered in German Baroque miles/hour?' The research of a new dimension - speed urbanism of the eighteenth century such as at the - ideologically united the activities of the experimental Rondellplatz and Pariserplatz in Berlin, or at the centerwith the grand futurist movement, which happened Schlossplatz in P~tsdam.'~Furthermore, the competition to go at that time through a stimulating revival. for Aprilia demonstrated unquestionably that the new The violent, warmongering and machine-obsessed generation of Italian architects had totally assimilated the first phase of Futurism had ended in 1915 and it is only at lessons of the German experiences of the 1920s while the end of the 1920s that the futurist movenlent became reinventing them.?' interested again in the city. It is not a coincidence if In Guidonia the rational organization of the housing Marinetti, the day after the first transatlantic Crociera b) units went well beyond Sabaudia's: in it all references to Italo Balbo from Italy to Rio de Janeiro in 193 1, made a the traditional block structure - still very much present exhilarating speech whose f~~turistsovertones paid in Sabaudia and Littoria - have disappeared: housing homage to the courageous aviators:" barres sti!l defined the main axes of the town but, outside of those. the urban spaces opened up and dissolved in the landscape. Similarly, for those who are familiar with the urban realizations of the IACP at Trionfale, Garbatella, Aniene or Tiburtino, where Innocenzo Sabbatini had demonstrated the quasi-infinite capacity of typological reinvention offered by the Roman block, Guidonia marked a point of no return which is still influencing the contemporary practice. Considering the collective nature of the work being produced at the WCP in those years, it is not easy to attribute a clear responsibility to this change of orientation. Yet, and in regard to the status of the IACP archives I would argue that Giorgio Calza Bini and even more so Giuseppe Nicolosiwere the true artisans of that revolution as can be seen in their borgate of the late thirties at Trullo, and the ineroic Italian gerzirrs.-" Tiburtino, and Santa Maria del Soccorso. Moreover the Ascension Day discourse had been prepared by Alberto As Marc Bedarida wrote in La Villc, "paradoxicaily, this Calza Bini hin~selfin 1927 in an important report on the return to the urban scene was more the work of painters activities of the Institute where he had emphasized the like Fillia or Tullio Crali than architects."" Unfortunately need to differentiate "popular" architecture from the I have yet to locate are any aeropainting or drawing of "bo~rgeois"references of the 1920~.~~ Guidonia. Thus it is the very rare book Guidotzia by In Guidonia, the architectural language expressed Marcello Gallian in 1940 that revealed to me the futurist for the first time in a uncompromising manner the reality and concomitant metaphysical aspects of the city.'i Galiian of the new social needs and the values of the new was a prolific writer and moved in the important circle of s~ciety.~Vetit would be erroneous to see in the modern the magazine 900 led by Massinlo Bontempeiil who architecture of Guidonia a purely political statement that developed in its columns the concepts of "magical opened the way for other housing districts of the period. realism," a literary equivalent of metaphysical painting Guidonia was first and for all a company town for the and Novecento movement of De Chirico and Giovanni aeronautical industry. During the first phases of M~zio.~~In his exalted and Baroque language Galliac described the importance ofthe city for the future ofthe * Letter by Mussolini, 15 December 1934 (,on the cover of the Italian nation: book Guidonia by Marcello Gallian, 1940). See Giorgio Ciucci, Gli architerri e il fascistno: Archirertura e Ei'erything giz8es the sense of e.xpectation, the citra, 1922-44 (Torino: GiulioEinaudi, 1989) p. 9. The referred preparation to the gentrille actirli(y of the ci[y the work is Gustavo Giovannoni, Gli archirerti e gli srudi irl ,flight. The city is a parenthesis, exceptio~zalam? Archirerrurz? in Itnlia (Roma, 1916), p. 12. giga)ztic. And If its diinensions might appear to Giorgio Ciucci, op. cit.: 10. The quote from Gustavo Giovannoni sorne not that la~xe- not metropolitan infoct - is in LaScuoladiArcl~itetruradiRoriza(Roma,1932). p. 9.Trained thepr*opoti.ionsmzcl clitne?~sionsofGuiclolozia reach by and often assistants of Piacentini and Giovannoni, these young to the s.ky aid then ofzesees a jljtng macloine.,free architects-among whom werealsoPiccinato, hlontuori, Petrucci, in the high slql. dishured b.y the surz, the sky etc.-participated, between 1926 and 1912. to more than 180 i?z~,adesthe cftyJbm top to bottom. G~lido~lia. ccompetitions for "piani regolatori" for cities of all sizes. zltziqlle in all Italian cities and nozi: by uliexpected See Mariano Ranisi. L'archirert~tra de la Regin Aeronnurica .fate, cifllofcelestial atmospheres aalld arnbiajzce. A (Roma: 1991) and by the same author. "Guidonia-Montecelio, srnrrll imy in Guido?zia is an angel, just born and un'analisi architettonica e urbanistica," Rii~isticAeronaliricn , zc,hoj7ied clorc'n to the square; a street clea~zer,at no. 2 ( 1990), p. 24-3 1. clazu~~that cla.1: uns u'~>ingthe square, silent liken Giuseppe Nicoiosi, "11 Piano Regolatore di Guidonia." piece of sky rohi7ed to the enr?h. like a terrestrial L'lngegnere, no. 8 (August 1936), pp. 393-397. The referred rejiige, like ail aircraj carrier enlaiged to the documents were discovered during my research in Rome in cli~nensioiz?fa h lrge Oejzch or side~t:alk.~' March-May 1997 in the archives of the IACP in Rome. Also see Giuseppe Nicolosi, "Studio per un piano regolatore di ampliamento di Littoria," L'lngegnere , no. 6 (June 1934). For I Further toward the end of the book, he wrote: unknown reasons the presentation of Guidonia in post-war historical books has been scarce and somewhat imprecise. For G~~~do?izalsa ~ztl u here ~selnphaszzedi~oton(~*the instance the axonometric drawing published by Giorgio Ciucci oppor?~~n~tiesof the man of the future, hut also the in Gli architerri e il fascismo is erroneously dated to 1938 and collstztlatlon of the necessary cztzes Tbe !wonof does not represent the final version of the town as built. all Itall) of the future can be clearly obserrwl zn Ghirardo, op. cit. On tradition and modernity and Taut's ~orks Gzr~clonzazthar aspe~zficodor,precloin~nantl[ythe see my essay "From Hellerau to the Bauhaus: Memory and odor of fotzglle of szt eat of essentzal alune~its,of Modernity of the German Garden City," The New Cig #3 he~~re~~em7d clllsts '' (Modern Cities, 1996), pp. 50-69. Stanis Ruinas, Viagg~oper. le cctra di Mussolin~ (Milano: The end is well known:"There are no more cities to paint. Bompiani, 1939), pp. 328-329. The 'aero-painters'contemplated them for the last time, Archirert~ira,op. cit.. p. 198. just before the bombs explode."-?" The result is in fact a pyschologically quite unpleasant space, a space that appears to be under surveillance from the long NOTES residential balconies that face it. All translations from Italian are by the author. ' The only contemporary publication of the city and its architec- Ruinas, op. cit., p. 329. A similar redesign affected the church ot ture is: "Guidonia: la citth dell'aria." Architettura XVlI (April the Beata Vergine: the church square is in the first version more 1938), pp. 193-238. Mussolini's quote is on page 198. organically linked to the housing bars, while the final version replaced the bars with a double arm of porticoed loggias marked ? "Guidonia: la citth dell'aria," op. cit.: p. 194. The English name at their angleby two"art-deco" campanile: an valid architectural of the center is "Research and Experimental Center of the state- solution but definitely not as powerful as urban space. owned aeronautical company." Ruinas, op. cit., p. 329. Diane Ghirardo. Building New Corntnunities: New DealAmerica and Fc~scisrIr~zIy (Princeton, N.J.: Princeton University Press, Sergio Poretti, "Edilizia popolare e razionalismo italiano. 1989). L'attivith progettuale di Giuseppe Nicolosi dal 1925 a1 1940." Rassegna di Archiretturn e Urbanisricci XIX. no. 55 (April ' Piccinato, Luigi. "I1 significato urbanistico di Sabaudia." 1983), pp. 24-44. Quote on page 35. Urbanistica 1 (January 1934): Reprinted in Sabaudia(1933-34), (Electa, 1985). pp. 90-93. Architetrura, op. cit., p. 196. ' In particular Radburn and other projects later published in Riccardo marl an^, Fnscisrno e cut& nliove (Milano: Feltrlnelli, Toward New Torvns in America (*). 1976), p. 199. The ONC was a veterans' organization of the first World War Marcello Piacentini, "Onore all'Arch~tettura Italiana." whereas the IACP was the social housing arm of the municipal- Architetrura XX, no. 7 (July 1941), p. 263-264. ity of Rome. Alberto Calza Bini (1881-1957) was active in the Piacentini, op cit., p. 264 fields of restoration and housing. He held many official posi- Federico Gorio, "Ricordo d'una scuola d'altri tempi." Rnssegna tions, particularly as director of the IACP Roma from 1922 to di Architerrurn e Urbanisticri XIX, 110.55 (April 1983), p. 5- 13. 1940. Among his works are the urban reorganization and the restoration of the Theater of Marcellus, the headquarters of the Gorio, op. cit.. p. 7 IACP on Lungotevere Tor di Nona. See in particular Paul Zucker, De~ltsclleBarockstiidtr (Leipzig: ' See for instance Marcello Piacentini, "Onore all'Architettura Quelle & Meyer, 1927). The formal relation between Baroque Italiana" in Arcl~itetrurnXX, no. 7 (July 1941). pp. 263-4. urbanism and the Modern Movement remains a quite unex- plored and fascinating track of research. '' Marcello Piacentini, "Aprilia," Architettura XV (May 1936), 34 Marc Bedarida, "Tullio Crali (1925-)," La ville: art et architec- pp. 193-212. ture en Europe 1870-1993 (Paris: Centre Georges Pompidou), 2X Alberto Calza Bini, I1 fascisnzo per le case del popolo: I'opera p. 334. dell'istituroperle case popolari in Rorna, nelprimo quadriennio " Marcelo Gallian, Guidonia (Torino: Arione-Rotocalco Dagnino, d'Amnzinis:raziorze Fascista (Roma: Tipografia Sociale, 1927). 1940).The book is part of a series titled Le citta di Mussolini that

'IJ After his period at the IACP Roma, Nicolosi had a long teaching also includes the cited work by Stanis Ruinas. The book in the career in Rome and Bologna. Among his most noted post-war collection of The Wolfsonian in Miami Beach does not appear works figured the redesign of the Piazza del Duomo in Spoleto in any other computerized library catalogue in the U.S.

as well as several restaured and new buildings fortheuniversity '6 Gallian was also the popular author of successful novels with in Perugia (1950s-1960s). titles such I1 solrlnto perduro whose Fascist connotations all but 'O Ranisi. Mariano. L'architettum de la Regia Aeronaurica. (Roma: helped eliminate his name from most post-war dictionaries of 1990), p. 309. literature. Ranisi, Mariano. Op. cit., p. 147. " Marcello Gallian. Op. cit., p. 15. '' Mario Ranisi. Op. cit., p. 33. 'X Marcello Gallian. Op. cit., p. 87. " Marinetti, quoted by Ranisi 33; note 13. " Anne D'Elia. "La Ville selon les Artistes 19 19- 1945," La C'ille. op. cit.. p. 204.