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Reconstructing Architects: Continuity and Gaps in Post-Fascist Italy
PROCEEDINGS Reconstructing Architects: Continuity and Gaps in Post-Fascist Italy Giovanni Corbellini, PhD Full Professor at the Polytechnic of Turin ABSTRACT The end of WWII in Italy witnessed a long-hoped- to get in tune with the most advanced expressions for and difficult political change, from Mussolini’s of the time. The anti-fascist Italy that emerged dictatorship to a fragile democracy, whose issues from the war asked for a different representation. inevitably intersected with those of architecture. Therefore, besides the many difficulties Italian ar- Fascism acted for two decades as a contradictory chitects had to tackle in reconstructing their cities, factor of development, mixing Roman imperial they also had to cope with a serious reconsider- rhetoric with the myth of youth, reactionary social ation of the tools of their own discipline in order politics with radical urban transformations, and to overcome methods and outcomes associated rural tradition and industrialization. In Marshall with Mussolini’s rule. The tricky layering of both Berman’s terms, it pursued modernization (of the need for continuity (with history, of the urban technology, infrastructures, communication…) by fabric, of the communities involved…) and discon- getting rid of modernity (as liberation of individuals tinuity (from the political choices that precipitated from the constraints of family, religion, gender…), Italy into a bloody conflict and from everything with some awkward consequences. The huge gaps that brought them to mind) became central in the created by the wartime destruction in Italian cities architectural reflection about reconstruction: an came after other – sometimes deeper – wounds endeavor that went far beyond the sheer recovery inflicted by the fascist regime on their historic ur- of the war destructions. -
Newsletter the Society of Architectural Historians
VOL. XXXIII NO. 2 APRIL 1989 liTJ(JTAS RRmrrns UEDU51BS - NEWSLETTER THE SOCIETY OF ARCHITECTURAL HISTORIANS SAH NOTICES the National Council on Public History Special Announcement in cooperation with the Society for 1990 Annual Meeting-Boston, Industrial Archeology, June 23 -30, 1989, Massachusetts (March 28-April 1 ). At the Annual Meeting in Montreal this month, the SAH will Loyola University, Chicago, Illinois. Elisabeth Blair MacDougall, Harvard Industrial history has become an in University (retired), will be general chair kick off its 50th Anniversary Fund Raising Campaign. The Board of creasingly important concern for cultural of the meeting. Keith Morgan, Boston resource professionals. Thirty-eight na University, will serve as local chairman. Directors has approved as a con cept and slogan for this campaign, tional parks and numerous state facilities Headquarters for the meeting will be the are already involved in interpreting tech Park Plaza Hotel. A Call for Papers for "$50 FOR THE 50th." It is our goal that every member (Active catego nological and industrial history to the the Boston meeting appears as a four public. In the wake of Lowell National page insert in this issue. Those who wish ry and higher) contribute at least $50 to one of the campaign pro Historical Park, industrial heritage initia to submit papers for the Boston meeting tives all across the country are being are urged to do so promptly, and in any grams to be announced at the Annual Meeting in Montreal. All linked to economic development and case before the deadline of August 31, tourism projects. The assessment, inter 1989. -
The Case of Alberto Carocci (1926-1939)
Habitus and embeddedness in the Florentine literary field: the case of Alberto Carocci (1926-1939) Article Accepted Version La Penna, D. (2018) Habitus and embeddedness in the Florentine literary field: the case of Alberto Carocci (1926- 1939). Italian Studies, 73 (2). pp. 126-141. ISSN 1748-6181 doi: https://doi.org/10.1080/00751634.2018.1444536 Available at http://centaur.reading.ac.uk/75567/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/00751634.2018.1444536 Publisher: Taylor and Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Habitus and Embeddedness in the Florentine Literary Field: The Case of Alberto Carocci (1926-1939) Daniela La Penna Department of Modern Languages and European Studies, University of Reading, Reading, UK [email protected] 1 Habitus and Embeddedness in the Florentine Literary Field: The Case of Alberto Carocci (1926-1939) This article intends to show how the notion of embeddedness, a concept derived from network theory, can improve our understanding of how a journal’s reliance on regional and national intellectual networks impacts the journal’s performance. The study takes as test case Alberto Carocci’s editorship of Solaria. -
141205 Diss Lekt
Research Collection Doctoral Thesis Konstruktionen von Ambiente Wohnungsbau von Luigi Caccia Dominioni in Mailand, 1945-1970 Author(s): Mosayebi, Elli Publication Date: 2014 Permanent Link: https://doi.org/10.3929/ethz-a-010290401 Rights / License: In Copyright - Non-Commercial Use Permitted This page was generated automatically upon download from the ETH Zurich Research Collection. For more information please consult the Terms of use. ETH Library 2 3 Dank Wie stets bei einer solchen Forschungsarbeit tragen im Hintergrund eine Vielzahl von Personen zum Gelingen bei. Ihnen allen gilt mein ganz herzlicher Dank: an allererster Stelle meinem Doktorvater Ákos Moravánszky für die zahlreichen anregenden und kritischen Gespräche, bei denen ich viel lernen durfte, und meinem Korreferenten Markus Peter für seine motivierenden und erhellenden Kommentare. Luigi Caccia Dominioni und seine Familie haben in grosszügiger Bereitschaft ihr Archiv geöffnet und wichtige Kontakte vermittelt. Eine unverzichtbare Stütze war Antonio Caccia Dominioni, der meine Anliegen gegenüber der Familie zu vertreten wusste. Ohne das Wohlwollen der Bauherren, Bewohner und Architekten im Umfeld von Luigi Caccia Dominioni hätte diese Arbeit nicht geschrieben werden können. Angefangen bei Cino Zucchi, dem ich grundlegende Hintergrundinformationen und Kontakte verdanke, setzt sich die Reihe fort mit Aline Mondelli und Federico Maineri, Elena Mondelli, Carlina Dubini-Soldini, Maria Luisa Siccardi, Agostino Mari, Cecilia Pirelli, Anna und Giordano Zucchi, Vittore Ceretti, Luisa -
Italian Jewish Subjectivities and the Jewish Museum of Rome
What is an Italian Jew? Italian Jewish Subjectivities and the Jewish Museum of Rome 1. Introduction The Roman Jewish ghetto is no more. Standing in its place is the Tempio Maggiore, or Great Synagogue, a monumental testament to the emancipation of Roman and Italian Jewry in the late nineteenth century. During that era, the Roman Jewish community, along with city planners, raised most of the old ghetto environs to make way for a less crowded, more hygienic, and overtly modern Jewish quarter.1 Today only one piece of the ghetto wall remains, and the Comunità Ebraica di Roma has dwindled to approximately 15,000 Jews. The ghetto area is home to shops and restaurants that serve a diverse tourist clientele. The Museo Ebraico di Roma, housed, along with the Spanish synagogue, in the basement floor of the Great Synagogue, showcases, with artifacts and art, the long history of Roman Jewry. While visiting, one also notices the video cameras, heavier police presence, and use of security protocol at sites, all of which suggest very real threats to the community and its public spaces. This essay explores how Rome's Jewish Museum and synagogues complex represent Italian Jewish identity. It uses the complex and its guidebook to investigate how the museum displays multiple, complex, and even contradictory subject-effects. These effects are complicated by the non- homogeneity of the audience the museum seeks to address, an audience that includes both Jews and non-Jews. What can this space and its history tell us about how this particular “contact zone” seeks to actualize subjects? How can attention to these matters stimulate a richer, more complex understanding of Italian Jewish subjectivities and their histories? We will ultimately suggest that, as a result of history, the museum is on some level “caught” between a series of contradictions, wanting on the one hand to demonstrate the Comunità Ebraica di Roma’s twentieth-century commitment to Zionism and on the other to be true to the historical legacy of its millennial-long diasporic origins. -
0 Tesi Dott Finale 201307
DIPARTIMENTO DI STORIA DISEGNO E RESTAURO DELL’ARCHITETTURA Dottorato di Ricerca in “Storia e Restauro dell’Architettura” Sezione B – Restauro dell’Architettura, XXV Ciclo __________________ Il rapporto fra l’architettura moderna e contemporanea nella trasformazione della preesistenza nell’architettura di Roma dal 1945 ai giorni nostri. I quartieri Esquilino, Castro Pretorio, Sallustiano e Ludovisi Lettura a scala urbana e architettonica. __________________ __________________ Dottorando: Giuseppe GRIECO Supervisore: Prof. Arch. Tancredi CARUNCHIO Coordinatore del Dottorato (XXV): Prof.ssa Maria Piera SETTE M AGGIO 2013 INDICE INTRODUZIONE ................................................................................................................3 Le voci e i termini adottati: premessa per una univoca interpretazione. ........................................3 CAPITOLO 1 ........................................................................................................................ 11 LA NUOVA CAPITALE E LE ESIGENZE DELLO STATO ITALIANO...................................... 11 1.1. La nuova Roma e le nuove esigenze dello Stato italiano: i primi Piani Urbanistici. ................ 11 1.2. Lo spostamento verso est del centro di Roma nelle previsioni dei Piani ............................... 15 1.3. Il rapporto tra antico e nuovo nelle città dell’Europa tra le due guerre.................................. 20 1.4. Verso il terzo piano regolatore di Roma......................................................................... 24 IMMAGINI -
Giardino Zoologico Di Roma Archivio (1910-1998)
ARCHIVIO DEL GIARDINO ZOOLOGICO DI ROMA AMMINISTRAZIONE RAGIONERIA E CONTABILITA’ Introduzione all’Inventario di Laura Francescangeli Istituita il 17 settembre 1997, la Società Bioparco ha assunto la gestione delle strutture dello zoo di Roma nell’aprile 1998 con la contestuale dismissione del preesistente “Servizio Giardino Zoologico” municipale. L’innovazione pose all’ordine del giorno il problema della conservazione dell’archivio della cessata amministrazione. La documentazione allora custodita nella palazzina della Direzione del giardino zoologico, occupata dalla Società Bioparco, fu nel 1998 posta sotto la vigilanza dell’Archivio Storico Capitolino e fatta oggetto di un intervento di inventariazione a fine di tutela, curato da chi scrive e dai colleghi Nicola Immediato e Piero Santoni. Le carte, i registri, i disegni e le fotografie conservati, con una consistenza molto limitata per quanto riguarda i primi due decenni, documentavano la storia di un’azienda nata nel 1910 e che ha avuto un ciclo vitale di quasi novant’anni. Negli anni 1998-1999 pertanto i funzionari dell’Archivio Storico Capitolino provvidero a trasferire presso quest’ultimo la raccolta fotografica e la collezione di piante e disegni (vedi gli inventari delle due serie in consultazione in ASC). Del resto dell’archivio – il corpo più consistente, costituito dalle serie dell’Amministrazione (fascicoli del personale, registri e rubriche del protocollo, carteggio amministrativo) e dalle serie di registri della Ragioneria e Contabilità – redassero una schedatura che attraverso l’individuazione e descrizione del materiale di rilevanza storico- amministrativa destinato alla conservazione permanente, consentì il riordinamento del fondo originario con l’invio al macero a norma di legge delle carte da avviare viceversa allo scarto 1. -
Revisiting Giancarlo De Carlo's Participatory Design Approach
heritage Article Revisiting Giancarlo De Carlo’s Participatory Design Approach: From the Representation of Designers to the Representation of Users Marianna Charitonidou 1,2,3 1 Department of Architecture, Institute for the History and Theory of Architecture (GTA), ETH Zurich, Stefano-Franscini-Platz 5, CH 8093 Zurich, Switzerland; [email protected] 2 School of Architecture, National Technical University of Athens, 42 Patission Street, 106 82 Athens, Greece 3 Faculty of Art History and Theory, Athens School of Fine Arts, 42 Patission Street, 106 82 Athens, Greece Abstract: The article examines the principles of Giancarlo De Carlo’s design approach. It pays special attention to his critique of the modernist functionalist logic, which was based on a simplified understanding of users. De Carlo0s participatory design approach was related to his intention to replace of the linear design process characterising the modernist approaches with a non-hierarchical model. Such a non-hierarchical model was applied to the design of the Nuovo Villaggio Matteotti in Terni among other projects. A characteristic of the design approach applied in the case of the Nuovo Villaggio Matteotti is the attention paid to the role of inhabitants during the different phases of the design process. The article explores how De Carlo’s “participatory design” criticised the functionalist approaches of pre-war modernist architects. It analyses De Carlo’s theory and describes how it was made manifest in his architectural practice—particularly in the design for the Nuovo Villaggio Matteotti and the master plan for Urbino—in his teaching and exhibition activities, and in the manner his buildings were photographs and represented through drawings and sketches. -
The PCI Artists
The PCI Artists The PCI Artists: Antifascism and Communism in Italian Art, 1944-1951 By Juan José Gómez Gutiérrez The PCI Artists: Antifascism and Communism in Italian Art, 1944-1951 By Juan José Gómez Gutiérrez This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Juan José Gómez Gutiérrez All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8003-5 ISBN (13): 978-1-4438-8003-9 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 1. Historical Context 2. Italian Art and the Cultural Politics of the PCI Part One: The Cultural Politics of the PCI Chapter I .................................................................................................... 10 ‘The New Party’: Between the Defeat of Fascism, the Crisis of Liberalism and the Hegemony of the Church 1. The PCI and the Political Evolution of Italy during the Post-war Period 2. The PCI and Stalin’s Soviet Union 3. Defeat of Fascism, Crisis of Liberalism and Catholic hegemony -
National and International Modernism in Italian Sculpture from 1935-1959
National and International Modernism in Italian Sculpture from 1935-1959 by Antje K. Gamble A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2015 Doctoral Committee: Professor Alexander D. Potts, Chair Associate Professor Giorgio Bertellini Professor Matthew N. Biro Sharon Hecker Associate Professor Claire A. Zimmerman Associate Professor Rebecca Zurier Copyright: Antje K. Gamble, 2015 © Acknowledgements As with any large project, this dissertation could not have been completed without the support and guidance of a large number of individuals and institutions. I am glad that I have the opportunity to acknowledge them here. There were a large number of funding sources that allowed me to study, travel, and conduct primary research that I want to thank: without them, I would not have been able to do the rich archival study that has, I think, made this dissertation an important contribution to the field. For travel funding to Italy, I thank the Horace R. Rackham Graduate School at the University of Michigan for its support with the Rackham International International Research Award and the Rackham Rackham Humanities Research Fellowship. For writing support and U.S.-based research funding, I thank the Department of History of Art at the University of Michigan, the Rackham Graduate School, the Andrew W. Mellon Foundation and the University of Michigan Museum of Art. For conference travel support, I thank the Horace R. Rackham Graduate School, the Department of History of Art, and the American Association of Italian Studies. While in Italy, I was fortunate enough to work with a great number of amazing scholars, archivists, librarians and museum staff who aided in my research efforts. -
Giorgio De Chirico and the Exhibitions of the “Novecento Italiano”
233 GIORGIO DE CHIRICO AND THE EXHIBITIONS OF THE “NOVECENTO ITALIANO” Franco Ragazzi A letter from Giorgio de Chirico regarding his participation in the Prima mostra del Novecento Italiano (First exhibition of the Novecento Italiano), organised in Milan in 1926, allows us to under- stand more about relations between the Master of Metaphysics and the group led by Margherita Sarfatti, than any other study carried out until now. As well as contributing to the definition of a modern ‘Italian’ aesthetic which was purist, cerebral and anti-naturalist, made up of values that are absolute, severe and moralising, inspired by the Primitives, one of the major concerns of Sarfatti and the artists of the steering committee of the Novecento was that of widening the essentially Milanese original group to make it a national reality, and to make the 1926 exhibition a great artistic and political event. This explains the organisational work carried out principally by the secretary of the steering committee, Alberto Salietti, to increase the exhibitors through a network of artists who were ‘delegates’ of the groups and the regional groups, a dense epistolary and numerous ‘missions’ such as the ones to meet Morandi in Bologna, Soffici and de Grada in Florence, Trombadori and Socrate (after the split with Ferrazzi) in Rome, Casorati in Turin, and Tozzi in Paris.1 Sarfatti and the Committee’s aim was to conquer a substantially political significance and recog- nition in the governing of art and its market. This vision explains relations with Mussolini and the presence of Il Duce at the inauguration of the exhibition with the consequent great attention from the press. -
Numero 10 Ottobre 2017
numero 10 ottobre 2017 SOCIOLOGIA ITALIANA AIS Journal of Sociology SOMMARIO 7 Editoriale teoria e ricerca 11 Per una «Grand Historical Sociology». Metodi di un’analisi storico-sociale Andrea Lo Bianco 31 Visual artists in the German Democratic Republic and their cultural exchange with Italy. A brief overview Silvana Greco 55 Un uomo per amico. Trasformazioni dell’intimità nelle rappresentazioni della maschilità contemporanea Sandro Covolo 89 Smart working e destrutturazione temporale: opzioni di studio Matteo Rinaldini 113 Le «promesse» dei corsi di studio magistrali in Sociologia tra patto formativo e strategie di marketing Davide Borrelli, Roberto Serpieri, Danilo Taglietti, Domenico Trezza 139 Giovani, nuovi media e percorsi di orientamento nello spazio pubblico Rolando Marini, Giada Fioravanti, Matteo Gerli, Giulia Graziani focus Rileggere Blumer 165 Introduzione Andrea Salvini sommario 173 Herbert Blumer da Chicago a Berkeley: una biografia intellettuale. Prime osservazioni Raffaele Rauty 183 Da Blumer alla ricomposizione del metodo Rita Bichi 191 Dalle linee ai networks. Alcune implicazioni del pensiero di Blumer circa l’«allineamento dei corsi d’azione» Andrea Salvini e Irene Psaroudakis 201 Dalle variabili alla sociologia lirica: percorsi metodologici da Blumer ad Abbott Vincenzo Romania 211 L’influenza di Herbert Blumer sul pensiero di Anselm Strauss Giuseppina Cersosimo 221 Autoetnografia e interazionismo simbolico: un modo di essere e di vedere il mondo Charlie Barnao l’intervista 235 Intervista a Renate Siebert a cura di Marita Rampazi 249 Gli autori 253 English abstracts 261 Avvertenze per gli autori 265 Linee-guida etiche per la pubblicazione 6 Visual artists in the German Democratic Republic and their cultural exchange with Italy.