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Archivio Del '900 Del Mart – Fondo Luciano Baldessari

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Archivio Del '900 Del Mart – Fondo Luciano Baldessari Archivio del '900 del Mart – Fondo Luciano Baldessari a cura di Patrizia Regorda Mart, con il contributo della Fondazione Cassa di Risparmio di Trento e Rovereto 2016 L’inventario del fondo Luciano Baldessari è l’esito di un lavoro di analisi, riordino e schedatura informatizzata avviato alla fine del 2014. E’ consultabile online dalle pagine di Trentino Cultura - grazie ad AST, Sistema Archivi Storici del Trentino - e nel sito del Mart attraverso il CIM, Catalogo Integrato del Museo: i due distinti sistemi informativi esaltano da un lato l’appartenenza territoriale dell’archivio, dall’altro il suo dialogo con gli altri fondi dell’Archivio del ’900. L’inventario del fondo Baldessari segna il buon esito di un dialogo fra diverse banche dati, reso possibile grazie alla collaborazione dell’Ufficio Beni Librari e Archivistici della Soprintendenza e delle ditte Informatica Trentina e Memetic di Rovereto. La redazione dell’inventario è parte di un progetto più vasto, che ha promosso la conoscenza di Luciano Baldessari e una lettura riunificata della sua opera, disseminata fra più istituzioni. Ciò è avvenuto attraverso lo sviluppo dell’Archivio digitale di Luciano Baldessari, portale nato per volontà del Dipartimento di design del Politecnico di Milano, e cresciuto grazie al contributo del CASVA - Centro di alti studi sulle arti visive del Comune di Milano - e del Mart. 2 Albero delle strutture Fondo Luciano Baldessari, 1900 - 1999 Corrispondenza, 1918 - 1986 Documentazione relativa ai progetti, 1927 - 1999 Fotografie relative ai progetti, 1900 - 1999 Materiale iconografico e documentazione a stampa, 1911 - 1992 Cartoline con scenografie e varie, 1919 - 1992 Negativi e diapositive, 1920 - 1969 Calendari e specimen di edizioni FRM, 1952 - 1980 Materiale informativo a stampa, 1911 - 1985 Rassegna stampa, 1927 - 1999 Documentazione di carattere biografico, 1924 - 1985 Scritti vari, 1939 - 1985 Appunti, 1950 - 1982 Schizzi, 1924 - 1959 3 Albero dei soggetti produttori Baldessari Luciano 4 Persona 1896 dicembre 10 - 1982 settembre 26 Luoghi Rovereto (TN) Berlino dal 1923 al 1926 Milano dal 1926 al 1939 e dal 1948 al 1982 (studio: dal 1927 in via Santa Marta n. 25, dal 1948 in via Borgonuovo n. 9. dal 1954 in corso di Porta Romana n. 6 ) New York dal 1939 al 1948 Altre Forme autorizzate del nome Baldessari Luciano, 1986 - 1982 Archivi prodotti Fondo Fondo Luciano Baldessari, 01/01/1900 - 31/12/1999 Storia Architetto, scenografo teatrale e cinematografico, nonché curatore di allestimenti per mostre e per padiglioni fieristici; si dedica anche alla pittura e al disegno. Nasce il l0 dicembre 1896 a Rovereto da Leopoldo e Maria Casetti, sesto di nove figli Dopo la morte del padre, avvenuta nel 1906, è ospitato all’Istituto Orfanotrofio di Rovereto, dove conosce fortunato Depero che gli impartisce le prime lezioni di disegno. Nel 1909 si iscrive alla Scuola reale superiore Elisabettina di Rovereto, dove ha per insegnante di disegno Luigi Comel, maestro di altri futuri artisti tra cui Fortunato Depero, Tullio Garbari, Fausto Melotti e Giorgio Wenter-Marini. Nel 1913 aderisce al Circolo futurista roveretano guidato dall'amico Fortunato Depero. Sfollato in Austria a causa della guerra, termina la Scuola reale a Vienna, dove ha modo di conoscere le opere dei maestri dell’architettura contemporanea, Hoffmann e in particolare Loos. Dopo aver prestato il servizio militare nell'esercito austriaco, nel 1919 rientra in Italia e si trasferisce a Milano: si iscrive al Politecnico e frequenta contemporaneamente i corsi di prospettiva scenografica a Brera. A questi anni risale l’inizio delle amicizie con il compositore Riccardo Zandonai e lo scultore Fausto Melotti. Consegue la laurea in architettura nel 1922. Dal 1923 al 1926 vive a Berlino, in quegli anni centro europeo d'avanguardia per movimenti artistici quali espressionismo, razionalismo architettonico e nuova oggettività, dove si occupa prevalentemente di scenografia cinematografica e di pittura ed entra in contatto con artisti ed architetti quali Oscar Kokoschka, Otto Dix, Walter Gropius e altri; per un breve periodo ospita l'amico roveretano Carlo Belli. Rientrato in Italia si occupa di allestimenti per mostre e per padiglioni fieristici (Mostra nazionale serica di Como, nel 1927, Teatro della moda alla Fiera di Milano), di arredamento (Libreria Notari a Milano, nel 1927) e di scenografia teatrale (bozzetti per l'opera "Il Giuliano" di Riccardo Zandonai), lavori che risentono, in questa prima fase, dell'influenza espressionista. In questi anni stringe fraterna amicizia con i pittori Mario Radice e Marcello Nizzoli , con i critici Rosa Menni e il marito Raffaello Giolli, con gli architetti Giuseppe Terragni, Gio Ponti, Emilio Lancia), Mario Chiattone, 5 Pietro Lingeri, conosce e frequenta l’industriale e collezionista d’arte Carlo Frua che gli commissiona importanti lavori e che per suo tramite sosterrà economicamente Tullio Garbari nel corso del soggiorno parigino. Nel 1928 apre lo studio di architettura a Milano. Ottiene nel 1930 l'incarico di progettare il nuovo caffè Craja a Milano che, oltre a rappresentare uno dei primi esempi di architettura moderna in Italia, diverrà il luogo di incontro preferito degli artisti d'avanguardia: collaboreranno al progetto gli architetti Luigi Figini e Gino Pollini, lo scultore Fausto Melotti e l'architetto Marcello Nizzoli. Al Craja stringe amicizia con Luigi Broggini, Alfonso Gatto, Gino e Peppino Ghiringhelli, Adriano di Spilimbergo, Atanasio Soldati, Renato Birolli, Gino Severini, Ernesto Saliva, Luigi Veronesi; in questi anni conosce Aligi Sassu, Aldo Carpi, Felice Casorati Angelo Del Bon, Umberto Lilloni, Mauro Reggiani, Carlo Carrà, Pier Maria Bardi, Sergio Solmi, Leonardo Sinisgalli, Carlo Conte, Cesare Zavattini, Luigi Bolgiani, Raffaele Carrieri. La sua attività professionale continua ponendo le sue nel razionalismo architettonico, secondo una rilettura personale che tiene conto di altre esperienze culturali (futurismo, espressionismo) ed in una posizione operativa di autonomia rispetto a collaborazioni con gruppi e con associazioni di settore: rifiuta in due occasioni l'adesione al CIAM (Congressi internazionali di architettura moderna), così come rifiuta l'invito a collaborare con altri professionisti al progetto per la stazione di Firenze. Nei primi anni Trenta realizza importanti progetti per la città ambrosiana, tra cui: lo stabilimento Italcima (1932- 1936), la Città cinematografica (1933), il complesso architettonico di piazza San Babila (1936, non realizzato). I progetti realizzati saranno esposti alla Triennale di Milano, di cui curerà l'allestimento del Padiglione della stampa nell'edizione del 1933. Allo scoppio della seconda guerra mondiale, nel settembre del 1939, in seguito alla delusione per la mancata realizzazione di un grande complesso per Piazza San Babila a Milano lascia l'Italia e si reca a New York, dove risiede fino al 1948, dedicandosi prevalentemente alla scenografia e alla pittura, in quanto l'ordinamento americano non gli riconosceva il titolo di studio conseguito in Italia. Durante la residenza newyorkese ha per compagna Alma Griffith, cognata del regista David Griffith, e stinge rapporti con gli architetti Mies van der Rohe, Walter Gropius, Stamo Papadaky, José Louis Sert, Paul Lester Wiener, con gli artisti Fernand Leger, Amedeé Ozenfant, Alexander Calder, con il critico Siegfried Gideion e con il direttore del Museum of Modern Art Alfred Barr; nel 1947 incontra ed aiuta Depero nel corso della suo secondo viaggio americano. Rientrato a Milano nel giugno 1948 torna ad occuparsi di architettura e riapre lo studio professionale. Conosce l’ingegnere Marcello Grisotti con cui collaborerà sino al 1955. Nel 1950 progetta il Padiglione espositivo delle Acciaierie Breda presentato alla Fiera internazionale di Milano, primo di una serie di Padiglioni fieristici che prosegue fino agli inoltrati anni Sessanta. Nel 1951 entra a far parte della Giunta esecutiva della Triennale di Milano, per la quale cura gli allestimenti di Oslo e di Helsinki dell'anno successivo. In occasione della IX Triennale del 1951 ottiene anche l’incarico per l’allestimento dell’atrio, dello scalone d’onore e del vestibolo superiore coinvolgendo nel progetto una ventina di artisti tra cui Lucio Fontana che realizza un cirro luminoso per il fondale dello Scalone d’onore. Nel 1954 è chiamato a Berlino per la ricostruzione internazionale dell'Hansaviertel, unico italiano accanto a Le Corbusier, Gropius e Niemeyer. Baldessari realizza un grattacielo di 17 piani con la pianta ad H che, insieme agli altri edifici del quartiere, viene reso noto al pubblico internazionale nell’importante Mostra internazionale dell'edilizia Interbau che tenne a Berlino Ovest nel 1957. Il 1957 rappresenta per l’architetto un periodo ricco di importanti riconoscimenti: Riccardo Maroni, editore della Collana artisti trentini (CAT) dedica un volume monografico all’opera di Baldessari, corredata da testi della storica e critica Giulia 6 Veronesi; il volume funge anche da supporto editoriale per l’importante personale che si tiene a Milano presso la Galleria Schettini dal 9 al 22 ottobre 1957. Grazie ai contatti tedeschi di Baldessari e alla dedizione della compagna Schifra l’esposizione milanese, tra il 1958 e il 1959, viene esposta in diverse città tedesche (Technische Hochschule, Frankfurt, 1958; Die Neue Sammlung, Munchen, 1958; Staatlichen Hochschule für bildende Künste, Hamburg 1959) per poi fare ritorno in Italia con un’ultima tappa nella città di Trento. Gli anni Cinquanta rappresentano
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