The Work of Alessandro Antonellp and Crescentino Casellj2 Between the Architecture of the Raison and the Architecture Raisonnée
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Proceedings of the First International Congress on Construction History, Madrid, 20th-24th January 2003, ed. S. Huerta, Madrid: I. Juan de Herrera, SEdHC, ETSAM, A. E. Benvenuto, COAM, F. Dragados, 2003. The work of Alessandro AntonellP and Crescentino Casellj2 between the Architecture of the Raison and the architecture raisonnée Luciano Re The representation of the Mole Antonelliana on distinguishing it among the building s of the Italian Italian 2 cents coins recognizes this unusual modern Eclecticism, adressed essentially to stylistic monument as the symbol of Turin, but at the same improvements. The Mole and all the works of time confirms its conventiona] image: the sharp Antonelli report instead, more than to the Italian profile that towers over the neighbouring houses culture of their time, to the Illuminism's principIes of roofs does not reveal its identity, constituted of little the rationality in the building arts and to an acute matter and of strong constructive conception, nor its sensi bi lity to the tasks of the architecture in the proportions and its neoclassic style as a solid prevailing bourgeois and liberal society: rational dignified appearance, contrast to the changing organisation of the cities, production of solid and suggestions of the Eclectic taste. The Mole dominates dignified public and private buildings and efficient Turin (figure 1), however it is placed in an recent and economic houses, optimizing realistically the anonymous building plot aside its ancient core, and it available local resources. A coherent program, reports to the urban development rather than to its referable to the teachings of Durand, but without built surroundings: likewise the Sagrada familia in rigorisms; referring to the accelerated developments Barcelona. As for that, the attention of the critics of the century and to the material conditions of regarded more its exceptionality, then its Piedmont at that time: good tradition of the arts, relationships with the town and with the history. scarcity of new material s and industrial technologies. The Mole,' 167 meters high and in origin all in A well-tried bricks, mortars, stone architecture, as brick and stoneashlar masonry with same necessary done by expert and intelligent workmen; a proper iron tie beams, has been understood as «a monument neoclassic style no more re ser ved to monumentals to the megalomania of his architect» (Hitchcock edifices but applied to all normal tasks of current 1971), comparing it to the Tour Eiffel, built during building (Daverio 1980:59): a choice that reminds its achievement in 1888. This concept neglects the Loos' judgements about the most proper dress of however the complex relationships about the modern man and the impossibility of conceiving Architecture/functions and traditional/innovating new ornaments. technologies, that characterize it. Admired, Crescentino Caselli, faithful, coherent and criticized, feared from the contemporaries, the Mole innovative disciple of Antonelli, affirms: arouses from a century a thin and prestigious fil muge of critical attention, understood to report it to Antonel1i was the teacher to himself, and he is the just one the European experiences of its age and to the large Italian architect who, formed when al1 sworc for Greek and coherent context of the production of its author, and Roman. was able to give to his works a very mighty 1710 L. Re personality, and to develop a system in architecture, 1 wouJd saya style, all his own. In his system, the wal1s do not exist otherwise then as enclosure and shelter; the support and the solidity of the building is all delivered to pillars, that are the principal support, to arches. wich brace pillars, and give an additional support when suitable. and prop the vauJts; order and equilibrium govern and harmonize all the masses. (Caselli 1889) A century later, we may ascertain however that such prophecy as not been accomplished, because of the rapid transformation of the productive and social context: the spread of reinforced concrete technics, the reduction of the building trade to a subordinate role in the increasing industrial town,4 the ephemeral fin-de- sii?cle fashions. So as it happened in all other fields for the utopia of Ruskin and Morris, the development of the technologies and the industrialisation, between XIXth and XXlh Century, has laid in aside the optimization search of the masonry building, that Antonelli pursued with constant coherence in all his works (monumental architectures, public buildings, residences). Such building optimization concerned equally both typologies, and technologies, through the regularity of the modular plans and of the supporting framework at fulcri (pillars, granite or masonry columns) that hold up the thin domical vaults in bricks, that are flat layed in concentric courses stiffed by arches at the extrados. The vaults are often let very lower, like a kind of continous velarium, that favours opportunely the diffusion of daylight, allowing to realize very thick bodies of building. That technique could be applied as well to the frame of the roof, built with arches and vaults in bricks to support of the covering in tiles: as it was made by Caselli in the Ospizio di Carita (poor-house) of Turin5 (figures 2, 3, 4). A few iIIustrations can display the singleness and the constructive and spatial values of that building method and of the brick-roof system as an alternative to the iron construction, still extraneous to a country as Piedmont, where the industrialisation was just begun and instead the resources of the traditional crafts were subject to be cieveriy addressed toward the same aim. The amazing exaltation of the relationship between spaces and mas se s obtained in those building s is without equals6 except in the iron-masonry architectures, like those realized or concei ved by Labrouste and Viollet-le-Duc, starting on analogous Figure 1 principies and aims of rationality; and likewise The Moje Antonelliana in Turin expressed in rigorous forms, oppositely to the new The work of Alessandro Antonelli and Crescentino Caselli 1711 (T"'-II;. j'.C>.WI,¡oJ)!CAJ\.rf,\INTORI"O ( g.~~ F,t- ;Y1J!It1l(,P'GIGlUII'f!¡OC:>P"" /) F(C- St~!~.~.i~RS'¡{S'. ~tW";<~.¿¡fi-<~ Figure 2 The Ospizio di Carita in Turin, at its achievement in 1887 ,.-~:~.,.~ ~-~~~--_.- ..~ 8.\(JGI DI TETTI A STRUTTURA LATBRIZIA Figure 4 Cross section and perspective wiew of a pavilion of the Ospizio di Carita (Caselli 1894) were both able to conceive, to praportionate and to realize completely not only usual buildings, but even the most audacious and extraordinary ones, as experimentations and demonstrations of the pragress of the art. The works of Antonelli and Casel!i, realized in the Fi gure 3 course of about a century (1830-1930), bear witness Front wiew of a pavilion of the Ospizio di Carita tu a significant phase of the history of the Italian architecture, fram Neoclassic to Modern Movement, acrass and against other changing experiences tendencies to «serving of all the concepts of the occurred in those times, but they are circumscribed in different styles in accordance with the utility, the a part of the Piedmont, among Turin, Novara, opportunity and the taste» (Boito 189 1). In the Alessandria and their countries.7 That undoubtedly Antonelli' s and Caselli' s works the architecture marginalized them, in a freshly united Nation, whose (aimed to the new functions) and the structure capital town was transfered in a few years fram Turin (according to the scientific knowledges) are integrated to Florence and finally to Rome (1870): that is those in the conception and in the practice, so as it was still who are still the centers and the references of the possible at that time, when the prafessional rules and Italian tradition of arts and of knowledge by the technical competences were just dividing, and either foreign connaisseurs. Moreover, the «Metodo an architect (as Antonelli ) or an engineer (as Caselli) antonelliano» does not fmd a generalized consent, 1712 L. Re both for the scepticism of some protagonists of the suspension bridges, but the observation can be local culture, and even for other reasons, as the applied to a lot of buildings from the architecture of success of a new political and operating class, instead Illuminism to the Modern Movement, from those of that cultured liberal middle class, active also in the according to Laugier's theory, to Sainte-Genevieve ecclesiastical hierarchy and in the local government, by Soufflot and the Bibliotheque Nationale by elective appointer of the buildings of Antonelli. His Labrouste, till the works of de Baudot and Séjourné.9 plentiful production was realized in the years between The works of Antonelli and subsequently those of the Restoration and the Italian Unity, even though the Caselli, too often neglected by critics as marginal greatest works are developed in following curiosities in comparison with the cultural debate of circumstances and sometimes among hard polemics.g those years (the conversion, one after the other, of The classical tradition and the academic models did Turin, Florence and Rome into modern capital cities; not answer any longer to the new requirements of the pursuit of a National Style, the restauration -or towns and countries (roads, bridges, social integration, or ideation- of the medieval and institutions buildings, residential typologies for Renaissance monuments, the international Competition housing or rent), nor they were able to express the for the monument to celebrate the Italian Unity and its manifold motivations of the new romantic sensibility. first King, Vittorio Emanuele Il) appears un usual for The experiences of the Napoleonic years their rational dispositions of frames and spaces, for their (1800-1814) and of the European new asset, with its strict relationship between the building art and the use references to France and United Kingdom, arose as ofthe materials (from which both their design and their the examples for the new practical requirements of shapes proceed), for their wide field of interest, open to Piedmont in the bourgeois renewal of the society.