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Giotto O Pietro Cavallini?

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Giotto O Pietro Cavallini? 28 orizzonti martedì 24 settembre 2002 Fondazione Bruno Zevi La memoria lavora per il futuro Nasce a Roma l’istituzione dedicata allo storico e architetto Renato Pallavicini e da una pratica culturale che faceva dell’ar- chitettura moderna, anticlassica e antiaccade- libertà anticlassica mica lo spazio dell’incontro e dell’integrazio- na Fondazione nel nome di Bruno ne tra i valori democratici e le concezioni Quella di Zevi, come ricordiamo qui accan- Zevi, una Fondazione in sua memo- architettoniche. Così, la Fondazione che por- to, è stata una battaglia culturale e politica, Uria. Ma non sarà un’istituzione pol- terà il suo nome e che verrà inaugurata a per l’affermazione di un’idea in cui la cultu- verosa e commemorativa, nata per celebrare Roma, domenica 29 settembre (preceduta la ra (e l’architettura che ne è una sua compo- nostalgicamente il passato. «Sarà una struttu- sera prima da un concerto, organizzato dalla nente) non può fare a meno della libertà: ra - precisa Adachiara Zevi, architetto e stori- stessa Fondazione e dall’Auditorium-Parco libertà dall’accademia, dagli schemi, dalle co dell’arte, che della Fondazione è la presi- della Musica), nasce proprio per propagan- regole. A quelle regole, paradossalmente, dente - che praticherà un concetto di memo- dare e far circolare questa idea di architettu- Bruno Zevi ne contrappose altre, quelle ria come attualità e guarderà molto al futu- ra. del suo «codice anticlassico» fondato su ro». «Era doveroso farla questa Fondazione - ci sette invarianti: 1)l’analisi della funzione e Come sarebbe piaciuto a Bruno Zevi, archi- spiega Adachiara Zevi nella villetta di Via dei contenuti edilizi, 2) il principio della tetto e storico dell’arte, ma soprattutto gran- Nomentana a Roma (già studio dell’architet- dissonanza, 3) la visione antiprospettica de animatore della cultura architettonica ita- to e sede della rivista L’architettura) che sarà spazio-temporale, 4) la disgregazione del- liana ed internazionale, scomparso all’inizio anche la sede della Fondazione - per un’insie- la tradizionale scatola edilizia, 5) la riunifi- del 2001. Zevi apostolo dell’architettura orga- me di ragioni che vanno oltre l’omaggio a cazione dell’ingegneria strutturale con l’ar- nica e delle idee di Franklyn Lloyd Wright; mio padre. C’era, innanzitutto da tutelare e chitettura, 6) la temporalizzazione dello Rita Levi Montalcini, Daniel Libeskind, Ren- zione professionali nei settori dell’architettu- Fu proprio in quell’occasione che Zevi riven- Zevi in prima linea nella battaglia per riorga- riorganizzare l’immenso patrimonio costitui- spazio, 7) la reintegrazione edificio-territo- zo Piano e Dennis Sharp. Un insieme di ra, dell’arte e della cultura; istituirà borse di dicò con orgoglio la vittoria, anche persona- nizzare e svecchiare l’architettura italiana to dalla biblioteca e dall’archivio che hanno rio. Alla luce di questo codice e delle sue grandi personalità della cultura e non solo studio e contratti di ricerca per studenti e le, di un’idea di architettura, vittoria suffraga- uscita dal Fascismo e dalla guerra; Zevi bril- ottenuto dal ministero dei Beni Culturali il successive elaborazioni Bruno Zevi riorga- architetti come si vede, conseguentemente giovani laureati. E, tra l’altro, istituirà in col- ta dall’affermarsi in questi ultimi anni (basta lante professore universitario e autore di una riconoscimento di insieme di “alto valore nizzò alcuni dei suoi contributi critici e ad uno degli intenti della Fondazione che è laborazione con altre istituzioni un «Premio andare a vedere Next la mostra veneziana Storia dell’architettura moderna che è stato il scientifico”. Penso, oltre ai libri e alle riviste, storici, riscrivendo e aggiornando anche la quello di favorire una conoscenza del patri- Bruno Zevi» per l’architettura, l’urbanistica della Biennale Architettura) su scala interna- manuale di formazione di alcune generazio- alle fotografie e alle lettere, una miniera di sua «Storia dell’architettura moderna». Al monio architettonico nei suoi indissolubili e la paesaggistica, da attribuire a personalità zionale di quel linguaggio anticlassico, anti- ni di architetti; Zevi accanito propagandista testimonianze storiche. Mio padre intratte- di là di qualche forzatura e di qualche ec- legami con quello letterario e scientifico, se- del settore non ancora affermate. Non sarà prospettico, espressionista ed informale, in- dell’architettura moderna dalle pagine della neva una fitta corrispondenza e anche nelle cesso di sistematizzazione in contraddizio- condo quella che era la concezione unitaria un premio qualunque e generico ma, coeren- dividuato nelle rotture visionarie e decostrut- sua rivista L’architettura ed implacabile pole- lettere più personali o nelle risposte a scono- ne con la sua concezione anticlassica, ed antiaccademica della cultura di cui Zevi temente alle idee e persino al carattere di tiviste (un esempio per tutti il Museo Gug- mista dalle colonne de L’Espresso con le sue sciuti che gli avevano scritto non si limitava quello di Zevi è stato un tentativo di affer- era propugnatore. Bruno Zevi, decisamente schierato per quan- genheim di Bilbao di Frank O, Gehry) della Cronache di architettura. Zevi, insomma, irri- a cortesi banalità ma esponeva con argomen- mare, sopra ogni cosa, il primato della Per raggiungere quest’obiettivo la Fondazio- to riguarda il tipo di risposte e di soluzioni tradizionale scatola architettonica. Un’archi- ducibile combattente per la libertà: in archi- tazioni e calore la sua idea di architettura e libertà che, in politica, lo portò a schierarsi ne aprirà a studiosi e ad un pubblico più da dare alla crisi megalopolitana ed ambien- tettura, anche, che tiene conto delle più re- tettura e non solo. del mondo». al fianco di molte battaglie radicali e negli vasto la biblioteca e l’archivio; promuoverà, tale. Che vanno rintracciate in quella sorta di centi problematiche ecologiche e bioclimati- Del resto la sua polemica anticlassica, tradot- La Fondazione si avvale di un comitato scien- ultimi anni della sua vita a ricostruire il anche in collaborazione con altre istituzioni «carta» dell’architettura della modernità che che, innestandole sull’antica matrice orga- ta in un vero e proprio codice, non nasceva tifico composto da Luciano Berio, Carlo Ca- Partito d’Azione. scientifiche e culturali, convegni, conferen- Zevi tracciò nel convegno da lui organizzato nica di Wright e Aalto. La stessa che ispirò da questioni di stile, da avversioni formali, racciolo, Furio Colombo, Umberto Eco, re.p. ze, seminari; promuoverà e gestirà corsi per a Modena nel 1997 intitolato Paesaggio e la lunga battaglia per la modernità dell’ar- da antipatie linguistiche, ma da un pensiero Frank O. Gehry, Zaha Hadid, Zvi Hecker, la formazione, l’aggiornamento e la qualifica- grado zero del linguaggio architettonico. chitettura combattuta da Bruno Zevi. Oggi a Milano la presentazione del libro di Bruno Zanardi che riapre la querelle sui due artisti Giotto o Pietro Cavallini? Ibio Paolucci gna invece riconsiderare il ruolo di Roma e di Cavallini, che sicuramente è a monte delle novità giottesche. iotto o Cavallini? Firenze o Non affermo che fu il maestro di Roma? In una nuova opera Giotto così come quest’ultimo non lo Gedita da Skira, destinata fa- fu di Cavallini. Ma alla luce di que- talmente a riaprire la querelle sui due st’ultime scoperte bisognerà capire grandi artisti, Bruno Zanardi, uno quanto Giotto, durante i suoi primi dei massimi maestri del restauro ita- soggiorni romani, imparò dalla pittu- liani con all’attivo, fra i tanti lavori, ra cavalliniana». gli affreschi della Basilica superiore di Zanardi, nel suo libro, forte della Assisi, del Sancta Sanctorum di Ro- propria solida esperienza, entra nel- ma, delle sculture dell’Antelami nel l’argomento usando strumenti rigo- Battistero di Parma, dei rilievi della rosamente scientifici e prima di arri- Colonna Traiana, propende, pur non vare all’interrogativo di fondo illustra abbassando del tutto la saracinesca, una storia dei cantieri medioevali, per la matrice romana. Il libro (Giot- nei quali i «capo-maestri» non suona- to e Pietro Cavallini. La questione di no in prima persona gli strumenti, Assisi e il cantiere della pittura a fresco, essendo piuttosto i direttori di un’or- pagine 296, euro 27) ripropone l’intri- chestra egregiamente condotta, così gante interrogativo sul «giallo» forse dicendo che il tema tanto discusso più emozionante dell’universo figura- dell’autografia è in questa luce che tivo. La storia delle attribuzioni al ci- deve essere valutato. Una luce ridutti- clo francescano della basilica superio- va? Non necessariamente. Ma certo re è vecchia di almeno due secoli. Si è, nella sua visione, che se l’ideazione, scontrarono allora due religiosi: il fra- che naturalmente è quella che più te francescano Guglielmo Della Valle conta, è una, l’esecuzione appartiene e l’abate Luigi Lanzi. Il primo, nel ai diversi membri della «bottega». La 1791, mise in dubbio la paternità del sua analisi passa in rassegna gli uomi- maestro toscano; il secondo, cinque ni, le giornate, i pagamenti, i tempi, anni dopo, replicò seccamente asse- la divisione dei compiti e i «patroni», gnando a Giotto le decorazioni sulla che sono sagome fatte di carta o di vita di San Francesco. Ma prima anco- pergamena pre-disegnate dal mae- ra si erano pronunciati Lorenzo Ghi- stro, che appaiono come precedenti berti e Giorgio Vasari. Il primo - se- storici dei «cartoni» rinascimentali, condo Willibald Sauerlander, che in- normalmente usati anche da grandis-
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