ALLA SCOPERTA DEL FORO ITALICO Video Dell’Inaugurazione

Total Page:16

File Type:pdf, Size:1020Kb

ALLA SCOPERTA DEL FORO ITALICO Video Dell’Inaugurazione ALLA SCOPERTA DEL FORO ITALICO Video dell’inaugurazione: https:///www.youtube.com/watch?v=cgmD1qXi3GY FORO ITALICO L'attuale Foro Italico - denominato Foro Mussolini - fu ideato come un grande complesso sportivo ed educativo, una vera e propria "città dello sport". La data di nascita del Foro può essere fissata il 5 febbraio 1928, giorno in cui si tenne solennemente la cerimonia della posa della prima pietra dell'Accademia di Educazione Fisica. Oggi è sede del CONI, Comitato Olimpico Nazionale Italiano. Il CONI è un’autorità che si occupa della gestione e della regolamentazione di tutte le attività sportive nazionali. L'edificio progettato da Del Debbio su commissione dell'Opera Nazionale Balilla, istituita due anni prima dal regime fascista "per l'assistenza e l'educazione fisica e morale della gioventù", di cui era presidente il Ministro Renato Ricci. L'edificio dell'Accademia si articola in due corpi laterali simmetrici collegati da uno trasversale pensile, sotto il quale si aprono la vista e l'accesso al retrostante Stadio dei Marmi, tutto circondato dalle colossali statue di atleti, ciascuna offerta da una provincia italiana, così da costituire una specie di museo all'aperto della scultura italiana del primo '900. Alla sinistra dell'Accademia, in disposizione quasi simmetrica si colloca il duplice edificio (1937), delle Terme, oggi Piscine del CONI, e dell'Accademia di Musica, oggi palazzo dello IUSM e sede dell’auditorium RAI, anch'esso strutturato con due corpi longitudinali paralleli, collegati da uno trasversale pensile. Tra i due insiemi edilizi si inserisce il Piazzale dell'Impero (1937), oggi Viale del Foro Italico, tutto pavimentato a mosaici, con figurazioni nere su fondo bianco. Collegato assialmente alla sponda sinistra del Tevere dal Ponte Duca Emanuele Filiberto d'Aosta (1936), il Foro era marcato dal colossale monolite (1932), dalla Fontana della Sfera (1934), infine dallo Stadio dei Cipressi (1932), poi Olimpico (1953). Il complesso è inoltre completato dallo Stadio del Tennis, dagli elegantissimi volumi razionali della Casa delle Armi (1936), dalle due Foresterie e dalla soprastante Colonia Elioterapica (1933) adesso parte dell’Istituto Don Orione. Nel corso della sua storia ultrasettantennale, il Foro Italico ha subito molte integrazioni (in particolare il corpo dello Stadio del nuoto, realizzato in occasione delle Olimpiadi del 1960) e soprattutto alterazioni, sia funzionali che strutturali. La prima risale già all'anteguerra, allorché, nel comprensorio della Città dello Sport, si volle collocare il colossale Palazzo del Littorio, oggi sede del Ministero degli Esteri. Numerose le alterazioni apportate in occasione delle Olimpiadi; ma le manomissioni più pesanti risalgono ad un'epoca relativamente recente. All'inizio degli anni '80 la Casa delle Armi fu brutalmente quanto incongruamente trasformata in aula bunker per processi di alta sicurezza, e in occasione dei campionati di calcio del 1990 lo Stadio Olimpico venne ricostruito e dotato di un sistema di copertura, che ha pesantemente alterato la percezione delle pendici di Monte Mario e gli interi valori spaziali del Foro Italico. 1 1. STADIO DELLA FARNESINA L'area su cui sorge il campo, come del resto tutta l'area del Foro Italico nel suo complesso, era spesso inondata dalle acque del Tevere, in occasione di straripamenti anche non disastrosi. I lavori di bonifica ebbero inizio già a partire dagli anni '10, e l'area fu a lungo utilizzata come campo di allenamento dalla squadra calcistica della Lazio. Oggi è un campo di atletica leggera. 2. STADIO DEI MARMI Alla fine degli anni '20, nel periodo in cui il fascismo stava favorendo la cultura della fisicità maschile a favore della futura classe popolare, base del futuro della nazione, si rappresentano le figure di atleti ispirandosi direttamente alla Grecia classica. La più spettacolare manifestazione di questo movimento si chiama Stadio dei Marmi ed è stata realizzata a Roma negli anni '30. Considerato ancora oggi insuperato per la sua raffinata bellezza, contiene 64 statue grecizzanti, scolpite da giovani artisti di tutte le regioni italiane. Le statue dello stadio furono regalate da sessanta province italiane. Le gradinate perimetrali in marmo bianco di Carrara furono ottenute sopraelevando il terreno di 5,50 m. I due corpi di fabbrica affiancati che delimitano l’accesso al campo sono destinati ai servizi e ai magazzini per gli attrezzi. Ideatore dello Stadio dei Marmi fu Renato Ricci, sottosegretario all'Educazione e fondatore dell'Opera nazionale Balilla. Scuole e centri ricreativi furono dotati di palestre, piscine, biblioteche, sale di riunione, giardini. Lo Stadio (con 5.280 posti) fu inaugurato nel 1932. 3. STADIO OLIMPICO Lo stadio Olimpico è un impianto sportivo polifunzionale; si trova al Foro Italico, alle pendici di Monte Mario, nel settore nordoccidentale di Roma. Ideato nel 1927 e originariamente noto come stadio dei Cipressi, nacque su progetto di Enrico Del Debbio per poi essere ripreso nel 1937 da Luigi Moretti e usato come quinta scenica dei giochi del periodo fascista; abbandonato durante la guerra e usato come autoparco dalle truppe alleate, nel 1949 ne fu deciso dal CONI, suo proprietario, il completamento a cura di Annibale Vitellozzi, che lo ultimò nel 1953; all'epoca noto come stadio dei Centomila per via della capienza che si aggirava intorno ai 100.000 posti, fu ribattezzato stadio Olimpico dopo l'assegnazione a Roma dei giochi della XVII Olimpiade del 1960. Ospita fin dall'inaugurazione, avvenuta il 17 maggio 1953, gare di calcio, atletica leggera e rugby, oltre a eventi extrasportivi come concerti e rappresentazioni sceniche. In occasione del campionato del mondo di calcio del 1990 incorse in una quasi completa ristrutturazione diventando il secondo più capiente stadio italiano dopo il Meazza di Milano. La principale caratteristica dell'Olimpico fu la sua sorprendentemente bassa elevazione da terra, a dispetto della sua rilevante capienza, così come erano stati previsti gli stadi da Enrico Del Debbio nel suo progetto del Piano regolatore del Foro Italico. Questo risultato fu ottenuto grazie alla parziale sottoelevazione del terreno di gioco, sfruttando inoltre la forma naturale a conca del terreno attorno ad esso. Grazie a questi accorgimenti l'impianto si integrava perfettamente con l'ambiente circostante, offrendo un impatto visivo gradevole e contenuto. I seggiolini furono inizialmente costruiti in legno, sostituiti in seguito da altri in pietra di colore verde chiaro. Nel 2007 è stato avviato un vasto piano di restyling riguardante l'interno dello stadio, per renderlo conforme alle norme UEFA, in vista della finale di Champions League che si è disputata il 27 maggio 2009. I lavori, conclusi nel 2008, hanno contemplato la messa a norma delle strutture - con miglioramenti per la sicurezza - l'adeguamento di spogliatoi e sala stampa, la sostituzione completa dei sedili, l'installazione di nuovi maxischermi digitali ad alta definizione, l'arretramento delle panchine, la parziale rimozione delle barriere in plexiglas tra gli spalti e il terreno di gioco, e una riduzione dei posti fino alla capienza attuale di 73.261 posti. Sono stati aumentati i punti di ristoro e adeguati i servizi igienici. Questi interventi hanno permesso allo Stadio Olimpico di rientrare nella categoria quattro (Elite) degli stadi europei. 2 4. STADI DEL TENNIS Stadio Centrale Il vecchio centrale del Foro Italico è stato smantellato ed al suo posto è sorto un nuovo centrale più moderno e capiente rispetto al precedente, che potrebbe in futuro essere dotato anche di una copertura mobile del campo che potrà essere utilizzata qualora le condizioni atmosferiche lo rendano necessario, senza dover più interrompere lo svolgimento degli eventi sportivi in caso di condizioni atmosferiche avverse. Inaugurato ufficialmente il 27 aprile 2010 è entrato in funzione per l'edizione degli Internazionali d'Italia del 2010. Numero di spettatori: 10.000 circa Stadio Pietrangeli In passato stadio della pallacorda (forma medievale del tennis), piccolo anfiteatro con capienza 3.720 posti è composto da una serie di gradinate di marmi bianchi, scarti dei marmi di Carrara dell’epoca, con le sedute ad angolo retto. Delle aiuole delimitano il campo mentre dall’alto, all’altezza del piano strada, enormi statue che raffigurano le varie attività sportive circondano l’ellisse del tennis, come a proteggerlo. Nel 2006 allo stadio viene dato il nome di Nicola Pietrangeli che nel 1961 vinse gli internazionali d’Italia. Walk of Fame (strada della gloria) inaugurata il 7 maggio 2015 Le leggende dello sport italiano: 100 nomi incastonati in mattonelle celebrative dedicate, un pavimento lastricato di "stelle" che da Viale delle Olimpiadi arriva fino allo Stadio Olimpico; un museo da vedere camminando, tutto d’un fiato. Si ricordano trionfi indimenticabili, personaggi invincibili, emozioni indelebili. Cento fuoriclasse senza tempo, scelti in base alle esclusive determinazioni della Commissione Atleti del CONI. 5. COMPLESSO NATATORIO Realizzato negli anni ‘30. Dopo la seconda guerra mondiale fu ampliato, in occasione dei giochi olimpici di Roma 1960, attraverso la costruzione dello Stadio olimpico del nuoto, su progetto degli architetti Enrico Del Debbio ed Annibale Vitellozzi e dagli ingegneri Musumeci e Morandi. Lo stadio, struttura completamente all'aperto, inaugurato nel 1959 con un torneo internazionale di nuoto, pallanuoto e tuffi, fu dotato di 2 vasche e di vari servizi annessi (docce, ristoranti, area per passeggiate). In previsione
Recommended publications
  • Casting Call: Spatial Impressions in the Work of Rachel Whiteread
    The Plan Journal 0 (0): 97-110, 2016 doi: 10.15274/TPJ-2016-10008 CASTING CALL: SPATIAL IMPRESSIONS IN THE WORK OF RACHEL WHITEREAD CROSS-DISCIPLINARY STUDIES PETER L. WONG Rachel Whiteread, Ghost, 1990. Casting Call: Spatial Impressions in the Work of Rachel Whiteread Peter L. Wong ABSTRACT - For more than 20 years, Rachel Whiteread has situated her sculpture inside the realm of architecture. Her constructions elicit a connection between: things and space, matter and memory, assemblage and wholeness by drawing us toward a reciprocal relationship between objects and their settings. Her chosen means of casting solids from “ready- made” objects reflect a process of visual estrangement that is dependent on the original artifact. The space beneath a table, the volume of a water tank, or the hollow undersides of a porcelain sink serve as examples of a technique that aligns objet-trouvé with a reverence for the everyday. The products of this method, now rendered as space, acquire their own autonomous presence as the formwork of things is replaced by space as it solidifies and congeals. The effect is both reliant and independent, familiar yet strange. Much of the writing about Whiteread’s work occurs in the form of art criticism and exhibition reviews. Her work is frequently under scrutiny, fueled by the popular press and those holding strict values and expectations of public art. Little is mentioned of the architectural relevance of her process, though her more controversial pieces are derived from buildings themselves – e,g, the casting of surfaces (Floor, 1995), rooms (Ghost, 1990 and The Nameless Library, 2000), or entire buildings (House, 1993).
    [Show full text]
  • Watergate Landscaping Watergate Innovation
    Innovation Watergate Watergate Landscaping Landscape architect Boris Timchenko faced a major challenge Located at the intersections of Rock Creek Parkway and in creating the interior gardens of Watergate as most of the Virginia and New Hampshire Avenues, with sweeping views open grass area sits over underground parking garages, shops of the Potomac River, the Watergate complex is a group of six and the hotel meeting rooms. To provide views from both interconnected buildings built between 1964 and 1971 on land ground level and the cantilivered balconies above, Timchenko purchased from Washington Gas Light Company. The 10-acre looked to the hanging roof gardens of ancient Babylon. An site contains three residential cooperative apartment buildings, essential part of vernacular architecture since the 1940s, green two office buildings, and a hotel. In 1964, Watergate was the roofs gained in popularity with landscapers and developers largest privately funded planned urban renewal development during the 1960s green awareness movement. At Watergate, the (PUD) in the history of Washington, DC -- the first project to green roof served as camouflage for the underground elements implement the mixed-use rezoning adopted by the District of of the complex and the base of a park-like design of pools, Columbia in 1958, as well as the first commercial project in the fountains, flowers, open courtyards, and trees. USA to use computers in design configurations. With both curvilinear and angular footprints, the configuration As envisioned by famed Italian architect Dr. Luigi Moretti, and of the buildings defines four distinct areas ranging from public, developed by the Italian firm Società Generale Immobiliare semi-public, and private zones.
    [Show full text]
  • The Watergate Project: a Contrapuntal Multi-Use Urban Complex in Washington, Dc
    THE WATERGATE PROJECT: A CONTRAPUNTAL MULTI-USE URBAN COMPLEX IN WASHINGTON, DC Adrian Sheppard, FRAIC Professor of Architecture McGill University Montreal Canada INTRODUCTION Watergate is one of North America’s most imaginative and powerful architectural ensembles. Few modern projects of this scale and inventiveness have been so fittingly integrated within an existing and well-defined urban fabric without overpowering its neighbors, or creating a situation of conflict. Large contemporary urban interventions are usually conceived as objects unto themselves or as predictable replicas of their environs. There are, of course, some highly successful exceptions, such as New York’s Rockefeller Centre, which are exemplars of meaningful integration of imposing projects on an existing city, but these are rare. By today’s standards where significance in architecture is measured in terms of spectacle and flamboyance, Watergate is a dignified and rigorous urban project. Neither conventional as an urban design project, nor radical in its housing premise, it is nevertheless as provocative as anything in Europe. Because Moretti grasped the essence of Washington so accurately, he was able to bring to the city a new vision of urbanity. Watergate would prove to be an unequivocally European import grafted unto a typical North-American city, its most remarkable and successful characteristic being its relationship to its immediate context and the city in general. As an urban intervention, Watergate is an inspiring example of how a Roman architect, Luigi Moretti, succeeded in introducing a project of considerable proportions in the fabric of Washington, a city he had never visited before he received the commission. 1 Visually and symbolically, the richness of the traditional city is derived from the fact that there exists a legible distinction and balance between urban fabric and urban monument.
    [Show full text]
  • Mussolini's Ambiguous and Opportunistic Conception of Romanità
    “A Mysterious Revival of Roman Passion”: Mussolini’s Ambiguous and Opportunistic Conception of Romanità Benjamin Barron Senior Honors Thesis in History HIST-409-02 Georgetown University Mentored by Professor Foss May 4, 2009 “A Mysterious Revival of Roman Passion”: Mussolini’s Ambiguous and Opportunistic Conception of Romanità CONTENTS Preface and Acknowledgments ii List of Illustrations iii Introduction 1 I. Mussolini and the Power of Words 7 II. The Restrained Side of Mussolini’s Romanità 28 III. The Shift to Imperialism: The Second Italo-Ethiopian War 1935 – 1936 49 IV. Romanità in Mussolini’s New Roman Empire 58 Conclusion 90 Bibliography 95 i PREFACE AND ACKNOWLEDGEMENTS I first came up with the topic for this thesis when I visited Rome for the first time in March of 2008. I was studying abroad for the spring semester in Milan, and my six-month experience in Italy undoubtedly influenced the outcome of this thesis. In Milan, I grew to love everything about Italy – the language, the culture, the food, the people, and the history. During this time, I traveled throughout all of Italian peninsula and, without the support of my parents, this tremendous experience would not have been possible. For that, I thank them sincerely. This thesis would not have been possible without a few others whom I would like to thank. First and foremost, thank you, Professor Astarita, for all the time you put into our Honors Seminar class during the semester. I cannot imagine how hard it must have been to read all of our drafts so intently. Your effort has not gone unnoticed.
    [Show full text]
  • The Power of Images in the Age of Mussolini
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 The Power of Images in the Age of Mussolini Valentina Follo University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Follo, Valentina, "The Power of Images in the Age of Mussolini" (2013). Publicly Accessible Penn Dissertations. 858. https://repository.upenn.edu/edissertations/858 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/858 For more information, please contact [email protected]. The Power of Images in the Age of Mussolini Abstract The year 1937 marked the bimillenary of the birth of Augustus. With characteristic pomp and vigor, Benito Mussolini undertook numerous initiatives keyed to the occasion, including the opening of the Mostra Augustea della Romanità , the restoration of the Ara Pacis , and the reconstruction of Piazza Augusto Imperatore. New excavation campaigns were inaugurated at Augustan sites throughout the peninsula, while the state issued a series of commemorative stamps and medallions focused on ancient Rome. In the same year, Mussolini inaugurated an impressive square named Forum Imperii, situated within the Foro Mussolini - known today as the Foro Italico, in celebration of the first anniversary of his Ethiopian conquest. The Forum Imperii's decorative program included large-scale black and white figural mosaics flanked by rows of marble blocks; each of these featured inscriptions boasting about key events in the regime's history. This work examines the iconography of the Forum Imperii's mosaic decorative program and situates these visual statements into a broader discourse that encompasses the panorama of images that circulated in abundance throughout Italy and its colonies.
    [Show full text]
  • Rome Hotel Eden
    ROME HOTEL EDEN Two day itinerary: Teenagers With strong historical and cultural appeal, it isn’t difficult to find activities to entertain and educate the whole family in Rome. While travelling with teenagers can have its challenges, the key to a fantastic trip lies in a little imagination and a lot of creative planning. Visit these popular places for teenagers with this two-day travel guide to Rome. Day One Start the day with a 15-minute drive to Castel Sant’Angelo, crossing over the River Tiber. CASTEL SANT’ANGELO T: 006 32810 | Lungotevere Castello 50, 00193 Rome An unmissable attraction for history buffs, Castel Sant’Angelo is more than just a castle. The ancient Roman fortress is home to Hadrian’s tomb, built by the 2nd century emperor himself. Starting at the tomb, young adventurers can explore the castle and discover the National Museum of Castel Sant’Angelo with its collections of antique weapons, pottery and art. Next, take a leisurely 10-minute walk to St. Peter’s Basilica in Vatican City. ST PETER’S BASILICA T: 006 6988 3229 | Piazza San Pietro, Vatican City, 00120 Instantly recognisable by its enormous domed roof, St Peter’s Basilica is among the most famous sights in Rome. Treat teenagers to an alternative view by climbing to the top of the dome. From the roof level of the basilica, it’s over 500 steps to the top of the dome, but it’s worth the effort for incredible panoramic views of the Eternal City. To reach Pizzarium, take either a 10-minute drive or a 20-minute walk.
    [Show full text]
  • The Economic Costs of Civil War: Synthetic Counterfactual Evidence and the Effects of Ethnic Fractionalization 1
    H i C N Households in Conflict Network The Institute of Development Studies - at the University of Sussex - Falmer - Brighton - BN1 9RE www.hicn.org The Economic Costs of Civil War: Synthetic Counterfactual Evidence and the Effects of Ethnic Fractionalization 1 Stefano Costalli 2, Luigi Moretti3 and Costantino Pischedda4 HiCN Working Paper 184 September 2014 Abstract: There is a consensus that civil wars entail enormous economic costs, but we lack reliable estimates, due to the endogenous relationship between violence and socio-economic conditions. This paper measures the economic consequences of civil wars with the synthetic control method. This allows us to identify appropriate counterfactuals for assessing the national-level economic impact of civil war in a sample of 20 countries. We find that the average annual loss of GDP per capita is 17.5 percent. Moreover, we use our estimates of annual losses to study the determinants of war destructiveness, focusing on the effects of ethnic heterogeneity. Building on an emerging literature on the relationships between ethnicity, trust, economic outcomes, and conflict, we argue that civil war erodes interethnic trust and highly fractionalized societies pay an especially high “price”, as they rely heavily on interethnic business relations. We find a consistent positive effect of ethnic fractionalization economic war-induced loss. 1 We would like to thank participants at the Conflict Research Society Conference (University of Essex, 2013), the Midwest Political Science Association 72nd Annual Conference (Chicago, 2014), and the European Political Science Association Conference (Edinburgh, 2014) for comments on previous drafts of the paper. The usual disclaimer applies. 2 Stefano Costalli, Department of Government, University of Essex, Wivenhoe Park, Colchester, CO43SQ, United Kingdom.
    [Show full text]
  • MUSSOLINI's ITALIAN and ITALIAN AMERICAN STUDIES Stanislao G
    MUSSOLINI'S ITALIAN AND ITALIAN AMERICAN STUDIES Stanislao G. Pugliese Hofstra University Series Editor This publishing initiative seeks to bring the latest scholarship in Italian and Ital­ ian American history, literature, cinema, and cultural studies to a large audience of specialists, general readers, and students. I&IAS will feature works on mod­ ern Italy (Renaissance to the present) and Italian American culture and society by established scholars as well as new voices in the academy. This endeavor will help to shape the evolving fields of Italian and Italian American Studies by re­ emphasizing the connection between the two. The following editorial board of esteemed senior scholars are advisors to the series editor. REBECCA WEST JOHN A. DAVIS University of Chicago University of Connecticut FRED GARDAPHE PHILIP V. CANNISTRARO Stony Brook University Queens College and the Graduate School, CUNY JOSEPHINE GATTUSO HENDIN VICTORIA DeGRAZIA New York University Columbia University Queer Italia: Same-Sex Desire in Italian Literature and Film edited by Gary P. Cestaro July 2004 Frank Sinatra: History, Identity, and Italian American Culture edited by Stanislao G. Pugliese October 2004 The Legacy ofPrimo Levi edited by Stanislao G. Pugliese December 2004 Italian Colonialism edited by Ruth Ben-Ghiat and Mia Fuller July 2005 Mussolini's Rome: Rebuilding the Eternal City Borden W Painter Jr. July 2005 Representing Sacco and Vanzetti edited by Jerome A. Delamater and Mary Ann Trasciatti forthcoming, September 2005 Carlo Tresca: Portrait ofa Rebel Nunzio Pernicone forthcoming, October 2005 MUSSOLINI'S Rebuilding the Eternal City BORDEN W. PAINTER, JR. MUSSOLINI'S ROME Copyright © Borden Painter, 2005. Softcover reprint of the hardcover 1st edition 2005 978-1-4039-6604-9 All rights reserved.
    [Show full text]
  • Sustainability Report 2013 Coni Sustainability Report 2013
    SUSTAINABILITY REPORT 2013 CONI SUSTAINABILITY REPORT C M Y CM CONI.IT MY CY CMY K 2013 EDITED BY SUSTAINABILITY REPORT 2013 CONTENTS PRESIDENT’S LETTER 4 STRATEGIC OBJECTIVES AND STAKEHOLDER ENGAGEMENT 6 APPROACH TO SOCIAL RESPONSIBILITY 11 METHODOLOGY AND MATERIALITY ASSESSMENT 14 1 2 3 SPORTS IN ITALY 20 ABOUT CONI 32 CONI’S CONTRIBUTION TO SPORTS 52 The organisational CONI’s history 32 structure of sports 20 CONI’s activities 52 CONI today 38 Sports regulation CONI’s social role 63 The governance model 40 framework in Italy 23 The control and Key sports figures 24 risk management system 47 The CONI and Coni Servizi Code of Ethics and Conduct 48 4 5 6 ECONOMIC PERFORMANCE RELATIONSHIPS WITH CONI AND THE AND VALUE DISTRIBUTED STAKEHOLDERS 86 ENVIRONMENT 116 TO STAKEHOLDERS 80 Stakeholders and Environmental policy 116 The CONI system’s dialogue channels 86 CONI’s environmental impact 117 economic value 80 National and international Supporting the Italian institutions 88 sports system 83 Sports bodies 92 Our people 96 Suppliers 108 Our partners 112 ANNEXES 122 GRI Content Index 122 Report of the Independent Auditors 129 4 CONI 2013 SUSTAINABILITY REPORT PRESIDENT’S LETTER CONI is presenting its first Sustainability Report to confirm its commitment to consistently, effectively and transparently managing administration and implementing its strategic objectives. This Sustainability Report has been prepared with the contribution of all Coni Servizi’s areas and divisions and reports on the results of social, environmental, governance and financial activities. This document, which has been prepared in accordance with the current international guidelines of the Global Reporting Initiative (GRI) and complements the financial information published in the Annual Report, gives all stakeholders access to complete disclosure of CONI’s strategies, actions and Giovanni Malagò results in the pursuit of its mission.
    [Show full text]
  • Place Victoria: a Joint Venture Between Luigi Moretti and Pier Luigi Nervi
    PLACE VICTORIA: A JOINT VENTURE BETWEEN LUIGI MORETTI AND PIER LUIGI NERVI Adrian Sheppard, FRAIC McGill University, Montreal INTRODUCTION lace Victoria stands alone amongst Moretti’s many buildings. The very fact that it deviates ideologically and formally from the rest of his oeuvre makes the project significant and P revelatory of Moretti’s architecture and of the man. The project neither follows the architectural principles of his prewar Rationalist period, nor those of his later expressionist phase. This divergence from his lifelong thinking is more the result of circumstances than the outcome of a re-evaluation of a well-defined design approach. The saga of the design process is a fascinating one for it illustrates how Moretti’s early ideas for the urban skyscraper changed continuously with his increased knowledge and awareness of the problem. He began by attempting to redefine the form and the use of the modern high-rise, but ended with an elegant landmark rather than a breakthrough. Instead of the heroic sculptural object he had hoped to create, he produced a highly functional and very beautiful tower. By Moretti’s earlier (and later) standards, the final version of Place Victoria is a remarkably disciplined and controlled work of architecture in which the usual concerns for self- expression and visual exhilaration are absent. This new formal clarity and structural logic are in great part attributable to his collaborator, engineer, Pier Luigi Nervi. The concept of Place Victoria is the outcome of a coming together of a radical architect and a conservative engineer. In culture and temperament, Nervi and Moretti were opposites.
    [Show full text]
  • The Architect Luigi Moretti. from Rationalism to Informalism1
    Jedno z ostatnich zdj B4 architekta zrobionych pod nowy, strukturalny paradygmat tworzenia architek- koniec bycia to podsumowanie, czy mo be raczej wi- tury, który realn = nieci =goV4 form przeciwstawia zja Vwiata kultury Luigiego Morettiego (il. 53). Ar- ich poza realnej ci =goVci, tak jak ci Bb ar materialnej chitekt fotografuje si B z makiet = Palazzo dei Conser- rzeczywisto Vci – lekko Vci jej obrazu, aby stworzy 4 vatori, symbolem bliskiego zwi =zku jego prac z hi- rodzaj architektury marze L, która b Bdzie w stanie stori =, trzyma uformowany w kul B zwój metalowych dostarczy 4 prze by4 najintensywniejszych, jakich do- pasków od Claire Falkenstein, wyra baj =cy emocjo- zna 4 jeste Vmy w stanie, nazwanych przez Morettie- nalny zwi =zek z nowoczesn = sztuk = l‘art informel , go - incantamento – zakl Bciem, bo to ono stanowi przed nim stoi makieta [ lara z Fiuggi, obrazuj =ca gówny cel sztuki. Tumaczenie I. Szyma Lska, D. K osek-Koz owska Annalisa Viati Navone, dr arch. Archivio del Moderno Accademia di Architettura Università della Svizzera italiana Mendrisio THE ARCHITECT LUIGI MORETTI. FROM RATIONALISM TO INFORMALISM 1 ANNALISA VIATI NAVONE Many pictures portray Luigi Moretti in his materials, which led him to a kind of Informal elegant, enormous and famous of [ ce extended Art called «materic». Many artists of this circle on two \ oors of Palazzo Colonna, rented from were fascinated with gestural art (action painting), the Colonna Princes, near Piazza Venezia, in the among them Lucio Fontana, the famous author historical heart of Rome. This was the place where of cuts, Jackson Pollock with his drippings, and Moretti spent most of his life, his of [ ce, but at the Georges Mathieu, author of abstract compositions same time his home, where he kept his great art made by repeating a few signs many times on the collection and his very rich library, in the 1960s used canvas.
    [Show full text]
  • National Register of Historic Places Registration Form
    NFS Form 10-900 (Rev. 11-90) Y5&2&\ \Opafto.l0024-0018 United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM This form is for use in nominating or requesting determinations for individual properties or districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NFS Form 10-900a). Use a typewriter, word processor, or computer, to compete all items. 1. Name of Property______________________________________________ Historic name: Watergate______________________________________________ Other names/site number:_________________________________________________ 2. T vocation____________________________________________________ Street fc Number 2500^ 7.6003 2650. 7.600 Virginia Avemie3 N.W.; 6003 700 New Hampshire Avenue., N.W.__________________________________[ ] Not for Publication_____ City or town: Washington_____________________[ ] Vicinity___________________ State: DC________Code- 001 County_________Code:______Zip Code: 20037______ 3. State/Federal Agency Certification__________________________________
    [Show full text]