Download Article In

Total Page:16

File Type:pdf, Size:1020Kb

Download Article In Journal Director: R. Gulli e-ISSN 2421-4574 Vol. 6, No. 2 (2020) Issue edited by Editor in Chief: R. Gulli Cover illustration: The west grandstand of the Flaminio Stadium in Rome, by P.L. and A. Nervi. © Archivio dell’Ufficio Beni Storici Culturali e Documentari, CONI, Rome Editorial Assistants: C. Mazzoli, D. Prati e-ISSN 2421-4574 Vol. 6, No. 2 (2020) Year 2020 (Issues per year: 2) Journal Director Riccardo Gulli Scientific Committee Construction History and Preservation Santiago Huerta, Antonio Becchi, Camilla Mileto, Amedeo Bellini, Stefano Della Torre, Alberto Grimoldi, Claudio Varagnoli, Tullia Iori, Antonello Sanna, Renato Morganti, Giovanni Fatta, Marco Dezzi Bardeschi, Corrado Fianchino Construction and Building Performance Matheos Santamuris, Francisco Javier Neila González, M. Hyle, John Richard Littlewood, Gianfranco Carrara, Riccardo Nelva, Enrico Dassori, Marina Fumo Building and Design Technology Maurizio Brocato, José Luis Gonzalez, Emilio Pizzi, Francesco Polverino, Raffaella Lione, Angelo Salemi, Giorgio Cacciaguerra, Enrico Sicignano, Antonella Guida Editor in Chief Riccardo Gulli Assistant Editors Marco D’Orazio, Annarita Ferrante, Enrico Quagliarini Editorial Assistants Cecilia Mazzoli, Davide Prati Scientific Society Partner: Ar.Tec. Onlus c/o DICEA, Università Politecnica delle Marche, Polo Montedago, Via Brecce Bianche 12 60131 Ancona - Italy Phone: +39 071 2204587 Email: [email protected] [email protected] Media Partner: Edicom Edizioni Via I Maggio 117 34074 Monfalcone (GO) - Italy Phone: +39 0481 484488 Vol. 6, No. 1 (2020) e-ISSN 2421-4574 TEMA: Technologies Engineering Materials Architecture TEMA: Technologies Engineering Materials Architecture Vol. 6, No. 2 (2020) e-ISSN 2421-4574 Editorial Bridging over bridges’ sources problems 5 Tullia Iori DOI: 10.30682/tema0602i CONSTRUCTION HISTORY AND PRESERVATION “Structural fantasies” in 20th century architectural heritage: The forgotten works of Enrico Castiglioni 8 Ilaria Giannetti DOI: 10.30682/tema0602a The use of “structural prefabrication” in the Flaminio Stadium by Pier Luigi and Antonio Nervi. A technical-constructive study aimed at formulating guidelines for a future conservation plan 20 Rosalia Vittorini, Rinaldo Capomolla DOI: 10.30682/tema0602b Italian building models in the 1950s. the Agip motels 31 Giorgia Predari, Riccardo Gulli DOI: 10.30682/tema0602c Designed for machines. Italian bridges and viaducts (1965-1990) 42 Gianluca Capurso, Francesca Martire DOI: 10.30682/tema0602d Methods and instruments for prefabricated housing refurbishment: the French case (1960-70) 52 Angelo Bertolazzi, Agata Maniero, Giorgio Croatto, Giovanni Santi, Umberto Turrini DOI: 10.30682/tema0602e “La Fabril” resistencia’s industrial heritage: re-functional chance and managerial challenge 62 Daniel E. Vedoya, Claudia A. Pilar, Caterina Mele, Paolo Piantanida DOI: 10.30682/tema0602f 3 Vol. 6, No. 1 (2020) e-ISSN 2421-4574 TEMA: Technologies Engineering Materials Architecture H-BIM objects for modern stone facing. Genesis and informative contents for the shell of the station of Messina 73 Alessandra Cernaro DOI: 10.30682/tema0602g Operational atlas of exposed mortars and conglomerates for interventions on the widespread architectural heritage 85 Sara Fasana, Marco Zerbinatti, Alessandro Grazzini, Federico Vecchio DOI: 10.30682/tema0602h H-BIM OBJECTS FOR MODERN STONE FACING GENESIS AND INFORMATIVE CONTENTS 2421-4574 e-ISSN FOR THE SHELL OF THE STATION OF 2 - (2020) 6, No. Vol. MESSINA Alessandra Cernaro DOI: 10.30682/tema0602g Highlights To keep track of interventions carried out, or to be carried out, on a stone material facing of an existing building shell with historical-artistic fea- tures, an H-BIM (Heritage-Building Information Modelling) object of the construction element has been conceived to reach a more detailed char- acterisation of slabs both from a technical, specifying the properties of each one, and historical point of view, associating the Construction His- tory phase in which the laying occurred. Thus, the consideration of a vir- tual and informative Abacus of Stones has been undertaken to make it an effective tool of knowledge and management for future actions. Abstract The revolution of the BIM methodology lies in the informative component attributable to digital entities, more challenging to define for the historical buildings due to the need to resort to documentary sources and diagnostic investigations instead of datasheets or virtual “pre-packaged” objects. In line with a research about the shell stone facing of the Station of Messina, a stylistic feature recurring in the public buildings of the 1930s-1940s, this study aims to conceive specific “H-BIM objects” so that they can Alessandra Cernaro represent new channels for collection and processing of data, in support DE - Dipartimento di Ingegneria, of adequate Building Dossier and Maintenance Plan for cultural heritage. Università degli Studi di Messina, Messina (Italy) Keywords BIM (Building Information Modelling), Heritage-BIM Object, Stone fac- * Corresponding author: ing, Station of Messina, Building Dossier. e-mail: [email protected] 1. TOWARDS THE DEFINITION OF “H-BIM OBJECTS” The scenario that emerges with the introduction of the entities that can increasingly emulate the reality, inter- BIM (Building Information Modelling/Model/Man- act and interface with each other, promptly highlighting agement) methodology requires a different approach the onset of any interferences and anticipating the con- to the design practise aimed at the digitalisation of the struction site ones [1, 2]. However, there is a difference construction process. Greater control of the project and in application between new designs and existing build- management of the building through its life cycle is ings, perhaps deliberately denounced by the adoption possible thanks to the so-called “BIM objects”, virtual of the two acronyms BIM and H-BIM (Heritage-BIM), 73 Vol. 6, No. 2 (2020) e-ISSN 2421-4574 TEMA: Technologies Engineering Materials Architecture which are worthy of conceptual and operative consid- In these cases, it is necessary to protect technical and erations. cultural reasons that require a critical recognition of the Although the methodology is not yet widespread building past; the latter should be retraced by identify- and the regulations are still being defined, the benefits ing the interventions, due to natural or anthropic events, that can derive from the use of architectural, structural, which have occurred over time and may have produced plant engineering and infrastructural modelling through variations of the original configuration defined during parametric objects – in technical language called system/ the design phase, often with the loss of peculiarities that loadable/local families – are more and more evident and should have been protected. interesting [3]. In addition to an analytical description of the techni- The data baggage related to them allows us to over- cal characteristics, there is, therefore, the need to narrate come the limits of CAD (Computer-Aided Design), and the evolution or involution of a building or its parts, as- therefore of the simple vectorial restitution of the proj- sociating documentary evidence to the families adopt- ect, thanks to the possibility of associating “informative” ed in the modelling and attempting to parameterise the and not just geometric features. “time” factor to define all properties that an “H-BIM ob- The effectiveness of the use of these objects is regis- ject” should have. tering a new operative trend that induces the sector com- Such purposes are not different from those of the panies to provide the diffusion of the virtual equivalents Building Dossier, the operative tool that should be of their technological solutions, with the attached portfo- useful for multidisciplinary edifice knowledge and lio of information, to simplify project processing. more conscious management, predisposing to adequate If this is really advantageous when the aim is new Maintenance Plans [4]. Thus, this study aims to test the construction, when recovering an existing building there contribution of the BIM methodology employing the is a higher degree of difficulty due to the lack of find- “autarchic” stone envelope of the Station of Messina, ing adequate objects on web sites of companies or in the which dates back to the 1930s and is subject over time online sharing platforms, without prior modification of to changes that have altered its technical and formal the geometry and redefinition of the parameters that may qualities. lead to consider the creation from scratch more conve- nient. 2. THE “MODERN” STONE FACING OF THE The informative contents of the virtual models for ex- STATION OF MESSINA: THE NECESSITY isting buildings should be inferred by interpolating the OF A NEW METHODOLOGICAL data deriving from: APPROACH FOR THE RECOVERY • Historical-critical analysis, to retrace the Construc- tion History through documentary and bibliographic The public buildings of many Italian cities built during sources; the 1930s-40s were renowned due to the stone material • Survey of the state of affairs, to acquire geomet- cladding of the vertical, horizontal, external, and internal ric-dimensional specificities and to find out the materials surfaces. It was assumed as the distinctive and essential that were adopted; feature of an architectural language that had to satisfy • Diagnostic investigations, to determine the over- the purposes of modernisation and economic autarky
Recommended publications
  • Italian Futurism, 1909–1944: Reconstructing the Universe Published on Iitaly.Org (
    Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Italian Futurism, 1909–1944: Reconstructing the Universe Natasha Lardera (February 21, 2014) On view at the Solomon R. Guggenheim Museum, until September 1st, 2014, this thorough exploration of the Futurist movement, a major modernist expression that in many ways remains little known among American audiences, promises to show audiences a little known branch of Italian art. Giovanni Acquaviva, Guillaume Apollinaire, Fedele Azari, Francesco Balilla Pratella, Giacomo Balla, Barbara (Olga Biglieri), Benedetta (Benedetta Cappa Marinetti), Mario Bellusi, Ottavio Berard, Romeo Bevilacqua, Piero Boccardi, Umberto Boccioni, Enrico Bona, Aroldo Bonzagni, Anton Giulio Bragaglia, Arturo Bragaglia, Alessandro Bruschetti, Paolo Buzzi, Mauro Camuzzi, Francesco Cangiullo, Pasqualino Cangiullo, Mario Carli, Carlo Carra, Mario Castagneri, Giannina Censi, Cesare Cerati, Mario Chiattone, Gilbert Clavel, Bruno Corra (Bruno Ginanni Corradini), Tullio Crali, Tullio d’Albisola (Tullio Mazzotti), Ferruccio Demanins, Fortunato Depero, Nicolaj Diulgheroff, Gerardo Dottori, Fillia (Luigi Page 1 of 3 Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Colombo), Luciano Folgore (Omero Vecchi), Corrado Govoni, Virgilio Marchi, Filippo Tommaso Marinetti, Alberto Martini, Pino Masnata, Filippo Masoero, Angiolo Mazzoni, Torido Mazzotti, Alberto Montacchini, Nelson Morpurgo, Bruno Munari, N. Nicciani, Vinicio Paladini
    [Show full text]
  • Mazzoni E I Suoi Artisti Futuristi
    MAZZONI E I SUOI ARTISTI FUTURISTI Il 23 novembre del 1933 Sua Eccellenza il Ministro delle Comunicazioni Costanzo Ciano inaugura fra ali di folla plaudente (circa 70.000 persone) il Palazzo delle Poste di La Spezia e loda la costruzione “che ha in sé tutte le doti più recenti della tecnica (…) opera di un valente architetto”. Angiolo Mazzoni Del Grande, che quell’edificio ha progettato, è ben più di un valente architetto. Nel corso di vent’anni elabora e realizza edifici profondamente innovativi, che coniugano le istanze dell’ architettura moderna con l’arte e un raffinato e sapiente uso dei materiali perché, racconta, Un’architettura senza l’ausilio decorativo della polimateria, della scultura e della pittura non è altro che una sterile espressione di povertà spirituale. La presenza di opere d’arte nei suoi Palazzi delle Poste è quasi una costante: a Bergamo (1932) la scultura di Napoleone Martinuzzi, in vetro pulegoso, che raffigura un cactus e due grandi quadri di Mario Sironi, Il lavoro in città. L’Architettura e Il lavoro nei campi. L’agricoltura; a Gorizia (1932) il quadro Treno in corsa di Guglielmo Sansoni (Tato), il ciclo pittorico di Guido Cadorin Le guerre mietono vittime, il mosaico San Cristofaro di Matilde Festa Piacentini; a Grosseto (1932) il gruppo scultoreo La madre, di Domenico Ponzi. In alcuni casi, come i quadri di Sironi, si tratta di autentici capolavori, ma è quando aderisce al Futurismo, nel 1933, e sottoscrive il Manifesto Futurista dell’Architettura Aerea, nel 1934, che la presenza delle opere d’arte assume una valenza diversa. Le opere non sembrano più un elemento decorativo esterno all’edificio, ne diventano un tutt’uno sotto il profilo estetico.
    [Show full text]
  • A Rare Convergence of Futuro-Fascist Objectives in Benedetta's
    Memorializing Technology: A Rare Convergence of Futuro-Fascist Objectives in Benedetta’s Synthesis of Communications Ashley N. Lindeman Benedetta Cappa Marinetti (1897-1977), member of Italian the phenomenological aspects of the idea of flight and the Futurism, imagined a utopian world, artistically synthesizing utilization of space for communication. This paper argues elements and fabricating perfect balance between seem- that Benedetta’s Synthesis of Communications (Sintesi delle ingly conflicting dualities.1 In the years of 1933 and 1934, comunicazioni) murals conveyed an unusual and rare in- she accepted a mural commission from state architect and tersection between two disparate entities––Futurism and engineer Angiolo Mazzoni (1894-1979) to decorate the Fascism––in which technology and industrialization dem- conference room on the second floor of Palermo’s main post onstrated both the ideals of the National Fascist Party and office (Figure 1). The National Fascist Party commissioned the the aesthetic expectations of Benedetta and other Futurists. establishment of new state buildings such as post offices and To elaborate on this contention, this paper scrutinizes the train stations all over Italy, connecting the nation by means of ways that the state expanded the use of new technologies a robust syndicate at a time of tension in Europe.2 This mural in order to overcome nature and to manipulate the funda- commission was one of three appointed in 1933, the other mental limitations concerning time and space. By looking two offered to Futurist artists Enrico Prampolini and Fillia, and at the socio-political context in which the technologies of to Fortunato Depero. Unlike other Futurists, Benedetta felt airplanes, telephones, telegraphs, radios, highways, and that nature and technology could cooperate and should not ocean liners prevailed, this paper assesses what these ma- be viewed as adversaries, which is precisely why this mural chines meant to both Futurists and Fascists in Italy during the commission was successful.
    [Show full text]
  • Filippo Tommaso Marinetti - Poems
    Classic Poetry Series Filippo Tommaso Marinetti - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Filippo Tommaso Marinetti(22 December 1876 – 2 December 1944) Filippo Tommaso Emilio Marinetti was an Italian poet and editor, the founder of the Futurist movement, and a fascist ideologue. <b>Childhood and Adolescence</b> Emilio Angelo Carlo Marinetti (some documents give his name as "Filippo Achille Emilio Marinetti") spent the first years of his life in Alexandria, Egypt, where his father (Enrico Marinetti) and his mother (Amalia Grolli) lived together more uxorio (as if married). His love for literature developed during his school years. At age seventeen he started his first school magazine, Papyrus; the Jesuits threatened to expel him for publicizing Emile Zola's scandalous novels in the school. He studied in Egypt and Paris, where he obtained a baccalaureat degree in 1894 at the Sorbonne. He obtained a degree in law at Pavia University, graduating in 1899. He decided not to be a lawyer but to develop a literary career. He experimented with every type of literature (poetry, narrative, theatre, words in liberty), signing everything "Filippo Tommaso Marinetti". <b>Futurism</b> Marinetti is known best as the author of the Futurist Manifesto, which he wrote in 1908. It was published in French on the front page of the most prestigious French daily newspaper, Le Figaro, on 20 February 1909. In The Founding and Manifesto of Futurism, Marinetti declared that "Art [...] can be nothing but violence, cruelty, and injustice." Since that text proclaims the unity of life and art, Marinetti understood violence not only as a means of producing an aesthetic effect, but also as being inherent to life itself.[citation needed] George Sorel, who influenced the entire political spectrum from anarchism to Fascism, also argued for the importance of violence.
    [Show full text]
  • Architecture and the Novel Under the Italian Fascist Regime
    Architecture and the Novel under the Italian Fascist Regime Francesca Billiani Laura Pennacchietti Architecture and the Novel under the Italian Fascist Regime Francesca Billiani • Laura Pennacchietti Architecture and the Novel under the Italian Fascist Regime Francesca Billiani Laura Pennacchietti School of Arts, Languages and Cultures School of Arts, Languages and Cultures University of Manchester University of Manchester Manchester, UK Manchester, UK ISBN 978-3-030-19427-7 ISBN 978-3-030-19428-4 (eBook) https://doi.org/10.1007/978-3-030-19428-4 © The Editor(s) (if applicable) and The Author(s) 2019. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence and indicate if changes were made. The images or other third party material in this book are included in the book’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
    [Show full text]
  • Transformation and Reorganization of Italian Cities and Their Architecture in the Interwar Period
    From: Carmen M. Enss, Luigi Monzo (eds.) Townscapes in Transition Transformation and Reorganization of Italian Cities and Their Architecture in the Interwar Period November 2019, 276 p., pb., 128 b&w-ill. 39,99 € (DE), 978-3-8376-4660-3 E-Book: PDF: 39,99 € (DE), ISBN 978-3-8394-4660-7 How did urban Italy come to look the way it does today? This collection of essays assem- bles recent studies in architectural history and theory exploring the historical paradigms guiding architecture and landscape design between the world wars. The authors explore physical changes in townscapes and landscapes, covering a wide range of architectural designs from strict modernist solutions to variations of regionalism, mediterraneanism and national style from all over Italy. Specifically, the volume explains how conservation, restoration and town planning for historic areas led to the production of heritage, and elucidates the role played by architects like Marcello Piacentini, Innocenzo Sabbatini, Mario De Renzi and Giulio Ulisse Arata. Carmen M. Enss (PhD), born in 1975, is a researcher at the Centre for Heritage Con- servation Studies and Technologies at the University of Bamberg. Her research links urban planning with heritage conservation. Luigi Monzo (PhD), born in 1977, works as an architect in Germany and teaches archi- tectural history and design at the University of Innsbruck. His research addresses the intersections between architectural culture, design process and political conditions in regimes of totalitarian aspiration, especially in fascist Italy. For further information: www.transcript-verlag.de/en/978-3-8376-4660-3 © 2019 transcript Verlag, Bielefeld ,+0"+0/ !&0&+$ &0&"/&++0".3.0)49 Carmen M.
    [Show full text]
  • Photo Maarc 2020
    allegato 1 | ELENCO EDIFICI AGRIGENTO (Sicilia) 1) Agrigento: Stazione Centrale Fabbricato Viaggiatori (1924 -1933) _ Ing. Luigi Caruana piazza Pirro Marconi 2020 2) Agrigento: O.N.B. Casa del Balilla, oggi Cine Astor (1929 ) _ Arch. Enrico Del Debbio piazza Vittorio Emanuele 10 3) Agrigento: Palazzo delle Poste e dei Telegrafi (1932-1935) _ Arch. Ing. Angiolo Mazzoni piazza Vittorio Emanuele ALESSANDRIA (Piemonte) 4) Alessandria: Ex Dispensario antitubercolare, oggi Poliambulatorio (1934-1938) _ Arch. Ignazio Gardella via Gasparolo 5) Alessandria: Palazzo delle Poste (1937-1941) _ Arch. Franco Petrucci piazza della Libertà MAARC AOSTA (Val D’Aosta) 6) Aosta: Palazzo di Giustizia (1931-1932) _ Ing. Umberto Rossi via Ollietti 1 7) Aosta: Poste e telegrafi (1941) _ Ing. Lino Binel via Ribitel 1 AREZZO (Toscana) 8) Arezzo: Palazzo del Governo (1939) _ Arch. Giovanni Michelucci piazza Poggio del Sole 1 / via Frà Guittone 4-8 9) Arezzo: Palazzo del Genio Civile (1939) _ Arch. Giovanni Michelucci PHOTO via Frà Guittone 2-4 AVELLINO (Campania) 10) Avellino: Casa del balilla "Bruno Mussolini" , poi G.I.L. - Gioventù Italiana del Littorio (1937) _ Arch. Enrico Del Debbio BARI (Puglia) 11) Bari: Palazzo dell'Acquedotto pugliese - Sede centrale (1924-1932) _ Ing. Cesare Brunetti via Salvatore Cognetti, 36 12) Bari: Fiera del Levante (1929) _ Arch. Augusto Corradini lungomare Starita, 4 13) Bari:Ex Palazzo Poste e Telegrafi,oggi Centro Multifunzionale per Studenti (1931-1934) _ Arch. Ing. Roberto Narducci via Nicolai / piazza Cesare Battisti / via Garruba 14) Bari: Caserma " Chiaffredo Bergia" (1932) _ Arch. Ing. Cesare Bazzani lungomare Nazario Sauro 15) Bari: Grande Albergo delle Nazioni (1932-1935) _ Arch.
    [Show full text]
  • Conference Full Paper Template
    Proceedings of the 2nd ICAUD International Conference in Architecture and Urban Design Epoka University, Tirana, Albania, 08-10 May 2014 Paper No. 166 The Founding of a City: Construction Techniques between Innovation and Tradition in Littoria Ph.D. arch. Francesco Scricco Dicar Department – Polytechnic of Bari via Orabona, 4 – 70125 Bari, Italy [email protected] ABSTRACT The founding of the city of Littoria (then Latina) in 1932 represented a nearly unique event on the European scene of those years, both for the speed with which it was completed, both for the fact that a single designer (Oriolo Frezzotti, 1888-1965) created the urban plan, the expansion plans and all main buildings. The great constructive and stylistic uniformity that characterizes the buildings of the city is due, as well as to the only designer, even to a variety of economic, social and political factors. The first factor was the autarky, imposed by economic sanctions suffered from Italy after the invasion of Ethiopia: the requirement to reduce the use of iron, and therefore of the reinforced concrete, involved the use of traditional construction techniques, such as the bearing stone masonry with double row of bricks, alternating each 1,5 metres, the continuous foundations in rubble stone masonry (named "alla Romana") with brick vault, the wooden window frames. The adoption of traditional techniques was also necessitated by the lack of technical preparation of the manpower, consisting mainly by the settlers, mostly veterans of the First World War. The desire to rebuild an environment familiar to the settlers themselves, involved the choice of rustic materials, simple finishes, that confer a rural appearance to buildings: hence the use of the plaster coatings façade, of travertine to the basement, and the use of types of buildings tall than two floors.
    [Show full text]
  • Anaiolo Mazzoni: Geometry. Materiality and Motion in the Fascist City
    200 LA ClTTA NOL'V4 -THE NEW CITY Anaiolo Mazzoni: Geometry. Materiality and Motion in the Fascist City MICHAEL MCNAMARA Kansas State University insula, Sicily and Sardinia. Among his built works, the most notable are the railroad powerhouse and switch tower in Florence, and railroad stations in Siena, Trent. Littoria, Messina and Montecatini. He was also commissioned to design many of the largest urban railroad stations in Italy. Unbuilt or partially realized station projects included Florence, Trieste Centrale, Venice Santa Lucia , Milan Porta Volta, RomeTiburtina, and RomeTermini, the most important station in the Italy. Models and drawings of the final design for the Roma Termini complex were displayed at the New York World's Fair in 1939 (Matteucci, A. et al., 1985). Other important works include the Children's Colony at Calambrone, and Post Offices for Ostia Lido, Agrigento, Grosseto, Sabaudia, and Palermo. This paper examines the formal language of Ma~zoni'smodern- ist opera, first, in an overview of influences followed by a compara- tive compositional and formal analysis of twelve rationalist and two mixcd rational/neo-historicist buildings. The key formal elements addressed are : plan order, volumetric order, elongation, horizontality, geometry, site connection and color and material palettes. Fig. I. Florence Ra~l\bayPo\rerhouse and S\\ttch ToM~I..1932-34. INFLUENCES INTRODUCTION Education .4fter Benito Mussolini consolidated his ;~uthorityin 1925-26, he As a student hlazzoni was schooled by Gustavo Giovanoni and sought to extend the poi4.c~and presence of the fascist state with others in ambie~~risn~o,a form of contextual design based upon major public infraitructure conatructlon throughout the nation.
    [Show full text]
  • Architettura Del Moderno Nell'istria Italiana (1922-1942)*
    ARCHITETTURA DEL MODERNO NELL'ISTRIA ITALIANA (1922-1942)* Futurismo a Pa la, città "di velocissimi, fu turisti caccia d'acciaio ": la visita di Marinetti (6 maggio 1930) e il Pa lazzo delle Poste ( 1930-1935) di Angiolo Mazzoni FERRUCCIO CANALI CDU 725+728( 497 .SPola)" 1 922/ 1 942" Università di Firenze Saggio scientifico originale Tra il 1930 e i/ 1935 Pala viene coinvolta nei dibattiti e nelle problematiche del Futurismo italiano sia dal punto di vista politico, nel non sempre fa cile rapporto tra Futuristi e Fa scisti, per la presenza di Filippo To mmaso Marinetti in città; sia dal punto di vista artistico per la realizzazione del Pa lazzo delle Po ste, una delle primissime opere compiutamente futuriste di Angiolo Mazzoni. Ta le op eraè oggi pu rtropp o pressoché dimenticata e di essa, nella corrente bibliografi a specialistica, sono reperibili solo poche informazioni fra mmentarie. l. La visita di Filippo Tommaso Marinetti a Pola (6 maggio 1930) e l'epu­ razione delle leve futuriste del Gruppo Universitario Fascista (G.U.F.) istriano Con grande trepidazione era stata preparato dai giovani del Gruppo Univer­ sitario Fascista di Pola l'arrivo in città di Filippo To""mmaso Marinetti, capo indi- scusso e fo ndatore del Futurismo. L'evento non era da poco non solo alla luce delle antiche glorie patriottiche del Primo Futurismo, schierato a suo tempo in prima linea per l'interventismo nella Prima Guerra Mondiale e la "liberazione delle Terre irredente" tra cui l'Istria; ma anche alla luce dalla rinnovata notorietà che il Movimento era riuscito a n ta­ gliarsi nel panorama del Regime, a livello politico incanalando le aspirazioni dell'ala più movimentista del Fascismo con il quale i rapporti furono sempre molto articolati; e a livello artistico nella celebrazione itala-centrica e itala-gene­ tica delle Avanguardie artistiche.
    [Show full text]
  • Angiolo Mazzoni
    Ricevitoria Postelegrafonica di Ostia Lido, Roma, 1933-34 Angiolo Mazzoni Testo Luca Marzi Elab. grafiche Luca Marzi e Marco Bondioli Nel 1921, il ventisettenne ingegner Angiolo “Architettura Ferroviaria” nel 1927: ...i chiamati wayfinding), Mazzoni può liberare Mazzoni viene assunto dalla direzione delle caratteri innovativi vanno ricercati la sua vena più progressista e sperimentale. ferrovie dello stato divenendo, due anni nell’armonia con gli edifici circostanti, con In tal senso, da attore attivo del suo dopo, ispettore stabile della Divisione l’ambiente paesistico formatosi nei secoli tempo, diviene necessariamente anche un Lavori presso gli uffici centrali delle F.S. di ... conciliando le esigenze tecniche con le “futurista” che vede nell’azione del designer Roma. La sua carica dirigenziale, leggi dell’estetica”. Questa visione eclettica il pretesto per seminare un nuovo nell'ambito della nuova amministrazione del mestiere del progettista non è solo linguaggio espressivo basato sulla unificata delle Poste e Telegrafi e delle intesa come capacità di conformarsi, a funzionalità e rappresentatività delle sue Ferrovie Statali, gli permetterà, sin dal seconda delle necessità, a linguaggi (le opere e del suo committente. 1924, l’inizio di una copiosa attività di leggi dell’estetica), ma anche come L’adesione ufficiale al movimento futurista progettazione relativa agli edifici della occasione per ricercare e sperimentare avviene solo nel 1934, divenendo nuova azienda statale. Attività che si soluzioni all’avanguardia (le esigenze condirettore della rivista “Sant’Elia”, concluderà con la fine della guerra, tecniche). Non è un caso che Giovanni naturale proseguimento del periodico lasciando una testimonianza emblematica Klaus Koening indichi, nel modus-operandi “Futurismo”. L’ingresso di Mazzoni nel del trentennio lungo tutto il territorio di Mazzoni, un carattere innovativo, attento movimento, specie a seguito delle vicende nazionale.
    [Show full text]