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Reconstructing Architects: Continuity and Gaps in Post-Fascist Italy
PROCEEDINGS Reconstructing Architects: Continuity and Gaps in Post-Fascist Italy Giovanni Corbellini, PhD Full Professor at the Polytechnic of Turin ABSTRACT The end of WWII in Italy witnessed a long-hoped- to get in tune with the most advanced expressions for and difficult political change, from Mussolini’s of the time. The anti-fascist Italy that emerged dictatorship to a fragile democracy, whose issues from the war asked for a different representation. inevitably intersected with those of architecture. Therefore, besides the many difficulties Italian ar- Fascism acted for two decades as a contradictory chitects had to tackle in reconstructing their cities, factor of development, mixing Roman imperial they also had to cope with a serious reconsider- rhetoric with the myth of youth, reactionary social ation of the tools of their own discipline in order politics with radical urban transformations, and to overcome methods and outcomes associated rural tradition and industrialization. In Marshall with Mussolini’s rule. The tricky layering of both Berman’s terms, it pursued modernization (of the need for continuity (with history, of the urban technology, infrastructures, communication…) by fabric, of the communities involved…) and discon- getting rid of modernity (as liberation of individuals tinuity (from the political choices that precipitated from the constraints of family, religion, gender…), Italy into a bloody conflict and from everything with some awkward consequences. The huge gaps that brought them to mind) became central in the created by the wartime destruction in Italian cities architectural reflection about reconstruction: an came after other – sometimes deeper – wounds endeavor that went far beyond the sheer recovery inflicted by the fascist regime on their historic ur- of the war destructions. -
Italy Creates. Gio Ponti, America and the Shaping of the Italian Design Image
Politecnico di Torino Porto Institutional Repository [Article] ITALY CREATES. GIO PONTI, AMERICA AND THE SHAPING OF THE ITALIAN DESIGN IMAGE Original Citation: Elena, Dellapiana (2018). ITALY CREATES. GIO PONTI, AMERICA AND THE SHAPING OF THE ITALIAN DESIGN IMAGE. In: RES MOBILIS, vol. 7 n. 8, pp. 20-48. - ISSN 2255-2057 Availability: This version is available at : http://porto.polito.it/2698442/ since: January 2018 Publisher: REUNIDO Terms of use: This article is made available under terms and conditions applicable to Open Access Policy Article ("["licenses_typename_cc_by_nc_nd_30_it" not defined]") , as described at http://porto.polito. it/terms_and_conditions.html Porto, the institutional repository of the Politecnico di Torino, is provided by the University Library and the IT-Services. The aim is to enable open access to all the world. Please share with us how this access benefits you. Your story matters. (Article begins on next page) Res Mobilis Revista internacional de investigación en mobiliario y objetos decorativos Vol. 7, nº. 8, 2018 ITALY CREATES. GIO PONTI, AMERICA AND THE SHAPING OF THE ITALIAN DESIGN IMAGE ITALIA CREA. GIO PONTI, AMÉRICA Y LA CONFIGURACIÓN DE LA IMAGEN DEL DISEÑO ITALIANO Elena Dellapiana* Politecnico di Torino Abstract The paper explores transatlantic dialogues in design during the post-war period and how America looked to Italy as alternative to a mainstream modernity defined by industrial consumer capitalism. The focus begins in 1950, when the American and the Italian curated and financed exhibition Italy at Work. Her Renaissance in Design Today embarked on its three-year tour of US museums, showing objects and environments designed in Italy’s post-war reconstruction by leading architects including Carlo Mollino and Gio Ponti. -
141205 Diss Lekt
Research Collection Doctoral Thesis Konstruktionen von Ambiente Wohnungsbau von Luigi Caccia Dominioni in Mailand, 1945-1970 Author(s): Mosayebi, Elli Publication Date: 2014 Permanent Link: https://doi.org/10.3929/ethz-a-010290401 Rights / License: In Copyright - Non-Commercial Use Permitted This page was generated automatically upon download from the ETH Zurich Research Collection. For more information please consult the Terms of use. ETH Library 2 3 Dank Wie stets bei einer solchen Forschungsarbeit tragen im Hintergrund eine Vielzahl von Personen zum Gelingen bei. Ihnen allen gilt mein ganz herzlicher Dank: an allererster Stelle meinem Doktorvater Ákos Moravánszky für die zahlreichen anregenden und kritischen Gespräche, bei denen ich viel lernen durfte, und meinem Korreferenten Markus Peter für seine motivierenden und erhellenden Kommentare. Luigi Caccia Dominioni und seine Familie haben in grosszügiger Bereitschaft ihr Archiv geöffnet und wichtige Kontakte vermittelt. Eine unverzichtbare Stütze war Antonio Caccia Dominioni, der meine Anliegen gegenüber der Familie zu vertreten wusste. Ohne das Wohlwollen der Bauherren, Bewohner und Architekten im Umfeld von Luigi Caccia Dominioni hätte diese Arbeit nicht geschrieben werden können. Angefangen bei Cino Zucchi, dem ich grundlegende Hintergrundinformationen und Kontakte verdanke, setzt sich die Reihe fort mit Aline Mondelli und Federico Maineri, Elena Mondelli, Carlina Dubini-Soldini, Maria Luisa Siccardi, Agostino Mari, Cecilia Pirelli, Anna und Giordano Zucchi, Vittore Ceretti, Luisa -
I Tanti Motivi Di Quest'elezione «Ho Fiducia In
PAG. io / roma - regione l'Unità / venerdì 28 settembre 1979 Luigi Petroselli è da ieri sera, dopo il dibattito e il voto del consiglio comunale, il nuovo sindaco di Roma I tanti motivi di quest'elezione «Ho fiducia in questa città Il segretario regionale del PCI, che succede a Giulio Carlo Argan, ha ricevuto viva, democratica, aperta» 39 suffragi - La seduta è durata per tutta la giornata - Falomi: una sostanziale Il discorso di saluto, dopo reiezione, del compagno Petroselli - « Si risana continuità - La posizione vecchia della DC - Gli interventi di Severi, Pala e Mammì Roma solo affrontando i problemi degli emarginati, dei giovani, degli anziani » « Petroselli 39 voti, bianche luigi Severi — capogruppo so Subito dopo l'elezione, il amicizia non fa velo al dove renti e quotidiane di resa al gli uomini, le istituzioni, la 20... *: quando il prosindaco cialista — e di Antonio Pala compagno Luigi Petrosel re che io sento oggi di ren peggio, alla prepotenza e ai società. Btnzoni legge i risultati della — capogruppo socialdemocra li. ha rivolto al consiglio dere omaggio, in qualità di veleni di quanti si adoperano Sta a noi dimostrare che la votazione e proclama sinda tico —. Continuità che certo comunale un discorso di sindaco di Roma, a Giulio di sfruttarla e di piegarla ai città è anche dei giovani e co il compagno Luigi Petro non vuol dire piatta soddisfa saluto del quale pubbli Carlo Argan come ad un cit propri fini particolari ma in selli la gente torna ad ap zione per l'esistente. In tutti per i giovani che aspirano a chiamo ampi stralci. -
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. -
Italian Jewish Subjectivities and the Jewish Museum of Rome
What is an Italian Jew? Italian Jewish Subjectivities and the Jewish Museum of Rome 1. Introduction The Roman Jewish ghetto is no more. Standing in its place is the Tempio Maggiore, or Great Synagogue, a monumental testament to the emancipation of Roman and Italian Jewry in the late nineteenth century. During that era, the Roman Jewish community, along with city planners, raised most of the old ghetto environs to make way for a less crowded, more hygienic, and overtly modern Jewish quarter.1 Today only one piece of the ghetto wall remains, and the Comunità Ebraica di Roma has dwindled to approximately 15,000 Jews. The ghetto area is home to shops and restaurants that serve a diverse tourist clientele. The Museo Ebraico di Roma, housed, along with the Spanish synagogue, in the basement floor of the Great Synagogue, showcases, with artifacts and art, the long history of Roman Jewry. While visiting, one also notices the video cameras, heavier police presence, and use of security protocol at sites, all of which suggest very real threats to the community and its public spaces. This essay explores how Rome's Jewish Museum and synagogues complex represent Italian Jewish identity. It uses the complex and its guidebook to investigate how the museum displays multiple, complex, and even contradictory subject-effects. These effects are complicated by the non- homogeneity of the audience the museum seeks to address, an audience that includes both Jews and non-Jews. What can this space and its history tell us about how this particular “contact zone” seeks to actualize subjects? How can attention to these matters stimulate a richer, more complex understanding of Italian Jewish subjectivities and their histories? We will ultimately suggest that, as a result of history, the museum is on some level “caught” between a series of contradictions, wanting on the one hand to demonstrate the Comunità Ebraica di Roma’s twentieth-century commitment to Zionism and on the other to be true to the historical legacy of its millennial-long diasporic origins. -
La Saracena Di Luigi Moretti Fra Suggestioni Mediterranee, Barocche E Informali
Università della Svizzera italiana Accademia di architettura Archivio del Moderno La Saracena di Luigi Moretti fra suggestioni mediterranee, barocche e informali Annalisa Viati Navone Mendrisio Academy Press 001 Orchestra_Saracena_pp1-18.qxp:Prime_Atti_F.qxp 2/6/12 4:51 PM Page 1 Archivio del Moderno / Saggi 20 Collana diretta da Letizia Tedeschi 001 Orchestra_Saracena_pp1-18.qxp:Prime_Atti_F.qxp 2/6/12 4:51 PM Page 2 001 Orchestra_Saracena_pp1-18.qxp:Prime_Atti_F.qxp 2/6/12 4:51 PM Page 3 La Saracena di Luigi Moretti fra suggestioni mediterranee, barocche e informali Annalisa Viati Navone Mendrisio Academy Press / 001 Orchestra_Saracena_pp1-18.qxp:Prime_Atti_F.qxp 2/6/12 4:51 PM Page 4 Coordinamento editoriale Tiziano Casartelli Redazione Marta Valdata Impaginazione e gestione immagini Sabine Cortat Le immagini provenienti dall’Archivio Centrale dello Stato di Roma (ACSRo) sono pubblicate con autorizzazione n. 946/2011. Le immagini provenienti dall’Archivio privato Moretti-Magnifico di Roma (AMMRo) sono pubbicate per gentile concessione dell’Architetto Tommaso Magnifico. La pubblicazione ha avuto il sostegno del Fondo Nazionale Svizzero per la Ricerca Scientifica In copertina: Villa La Saracena, scorcio del prospetto nord dal giardino d’ingresso (ACSRo) © 2012 Fondazione Archivio del Moderno, Mendrisio 001 Orchestra_Saracena_pp1-18.qxp:Prime_Atti_F.qxp 2/6/12 4:51 PM Page 5 Sommario 7 Prefazione Bruno Reichlin 13 Premessa 21 Storia e fortuna critica 47 L’analisi genetica dell’opera 71 “Mediterraneità”: un suggestivo intertesto 177 Barocco -
Renaissance Art and Architecture
Renaissance Art and Architecture from the libraries of Professor Craig Hugh Smyth late Director of the Institute of Fine Arts, New York University; Director, I Tatti, Florence; Ph.D., Princeton University & Professor Robert Munman Associate Professor Emeritus of the University of Illinois; Ph.D., Harvard University 2552 titles in circa 3000 physical volumes Craig Hugh Smyth Craig Hugh Smyth, 91, Dies; Renaissance Art Historian By ROJA HEYDARPOUR Published: January 1, 2007 Craig Hugh Smyth, an art historian who drew attention to the importance of conservation and the recovery of purloined art and cultural objects, died on Dec. 22 in Englewood, N.J. He was 91 and lived in Cresskill, N.J. The New York Times, 1964 Craig Hugh Smyth The cause was a heart attack, his daughter, Alexandra, said. Mr. Smyth led the first academic program in conservation in the United States in 1960 as the director of the Institute of Fine Arts at New York University. Long before he began his academic career, he worked in the recovery of stolen art. After the defeat of Germany in World War II, Mr. Smyth was made director of the Munich Central Collecting Point, set up by the Allies for works that they retrieved. There, he received art and cultural relics confiscated by the Nazis, cared for them and tried to return them to their owners or their countries of origin. He served as a lieutenant in the United States Naval Reserve during the war, and the art job was part of his military service. Upon returning from Germany in 1946, he lectured at the Frick Collection and, in 1949, was awarded a Fulbright research fellowship, which took him to Florence, Italy. -
Roma Dopo L'unita' 4
ROMA DOPO L’UNITA’ 4 NUOVI QUARTIERI DAL DOPOGUERRA AGLI ANNI ‘60 1945-1960 NEL DOPOGUERRA ROMA SOGNA DI DIVENTARE UNA GRANDE CITTA’ MODERNA, IL BOOM ECONOMICO E LE OLIMPIADI DEL 1960 SEGNANO UNA SVOLTA INTRODUZIONE Finita la guerra Roma dovette affrontare il problema della ricostruzione in misura meno drammatica di altre città italiane ed europee. A parte il quartiere di San Lorenzo, duramente colpito da due bombardamenti, e le infrastrutture viarie e ferroviarie da ricostruire, la città non ebbe altri gravi danni. Si riscopre il valore sociale dell’architettura, si cerca di conciliare i principi generali con gli scarsi mezzi economici di quegli anni. Mario Ridolfi (l’autore del palazzo delle Poste a piazza Bologna e del quartiere Ina Casa Tiburtino), compila per il CNR, un Manuale dell’architetto in cui presenta una serie di soluzioni progettuali facilmente realizzabili. Nel 1945 nasce l’Apao, l’Associazione per l’Architettura Organica, che apprezza Wright e Aalto ma, contro un rigido funzionalismo, propone la libertà di ogni organismo architettonico. Nel 1949 la nascita dell’INA Casa, vedrà il sorgere di interi quartieri per i ceti popolari di un livello qualitativo alto. La speculazione privata la fa da padrona, tende a riempire tutti i vuoti possibili, e a costruire in tutte quelle zone periferiche dove il Comune deve portare i servizi essenziali. L’espansione più massiccia di intensivi investirà la Tiburtina, la Casilina, l’Appia e la Tuscolana. Prenestina e Casilina sono il regno delle costruzioni spontanee o meglio abusive di quegli italiani provenienti dal Sud, dall’Abruzzo, dalle zone interne del Lazio, che giungono a Roma nella speranza di trovare un lavoro. -
Cesare Brandi and Contemporary Art: Theory, Aesthetic and Restoration
Cesare Brandi and contemporary art: theory, aesthetic and restoration. A tempestuous dialectic CARLOTA SANTABÁRBARA MORERA Translation by Valerie Magar Abstract Cesare Brandi's theory of restoration is conditioned by his philosophical foundation and his critical vision of art; therefore, in order to understand Brandi's thinking, it is imperative to know his conception of aesthetics and the relationship he established between art criticism and its fundamental philosophy, which underlies the basis of his concept of art and his approach to the restoration of the art of his time. Cesare Brandi experienced a remarkable evolution in his relationship with contemporary art, which initially was completely contrary to avant-garde and abstractionism due to the lack of formal representation or image. However, after he acquired more knowledge and with the awakening of his admiration for artists like Burri, he later found it possible to include abstraction and the absence of an image in the definition of what he considered art. Although his definition of restoration seems to be constrained to traditional art in terms of material fabric and image, his concept of restoration can be applied to contemporary art from the standpoint of a more flexible view of his ideas. Keywords: Contemporary art, restoration, art theory, patina, material. The concept of restoration for Cesare Brandi Cesare Brandi (1906-1986), restorer, historian and scholar of Italian art, whose thinking is the starting point and foundation of critical restoration, is undoubtedly one of -
150 Gio Ponti (With Antonio Fornaroli and Eugenio Soncini), Office
Gio Ponti (with Antonio Fornaroli and Eugenio Soncini), Office-building Montecatini in Milan. 150 The Nocturnal Aesthetic of Italian Modern Architecture and Art from Post World War II to the 1970s Chiara Visentin « All was dark yet splendid… » vision of a city that is growing, a city in progress, plays an es- Edgar Allan Poe, The Man of the Crowd sential role. Night, with its artificial light, increases the emo- tional quality of a place. Apart from the aesthetic relation- The historian Jules Trousset, introducing the Exposition ship between architecture, artificial light and art that was Universelle of 1900 in Paris, wrote : « la véritable souveraine developed within the Italian Futurist groups, is challenging de l’Exposition de 1900 sera l’Électricité, cette jeune et bril- to investigate what happened later, taking into account such lante fée qui dote l’industrie contemporaine des deux facteurs crucial historical events of the twentieth century as dictator- principaux : le mouvement et la lumière »1. From its earli- ships, world wars, reconstructions and hopes of modernity. est beginnings, electricity was characterized by the strong This analysis will be conducted through textual references aesthetic potential of its being a creator of art. Moreover, that trace just a few of the very interesting figures of archi- Ernst Cassirer in his Philosophie der symbolischen Formen2 tects, artists and film directors between the 1930s and the explained that the contrast between day and night, between beginning of the 1970s. light and darkness, could be interpreted as the very essence The relationship between Modern Italian architecture and of cultural development of mankind. -
La Città Dell' Uomo
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archivio istituzionale della ricerca - Politecnico di Milano A € 25,00 / B € 21,00 / CH CHF 20,00 Poste Italiane S.p.A. aprile/april euro 10.00 Italy only CH Canton Ticino CHF 20,00 / D € 26,00 Spedizione in Abbonamento Postale D.L. 353/2003 periodico mensile E € 19,95 / F € 16,00 / I € 10,00 / J ¥ 3,100 (conv. in Legge 27/02/2004 n. 46), Articolo 1, 2017 d. usc. 01/04/17 NL € 16,50 / P € 19,00 / UK £ 18,20 / USA $ 33,95 Comma 1, DCB—Milano 1012 LA CITTÀ DELL’ UOMO domus 1012 Aprile / April 2017 SOMMARIO/CONTENTS IX Autore / Author Progettista / Designer Titolo Title Nicola Di Battista X Editoriale Editorial Del mestiere On our profession Coriandoli Confetti Ross Lovegrove 1 Scultura e tecnologia Sculpture and technology Christian Kerez 6 Laboratorio Burda The Burda workshop Smiljan Radic Franco Marrocco 10 Accademia di Belle Arti di Brera, Milano Accademia di Belle Arti di Brera, Milan Predrag Matvejevic´ 16 Sull’Adriatico The Adriatic Collaboratori / Lorenzo Pignatti 20 Un ricordo di Predrag Matvejevic´ Remembering Predrag Matvejevic´ Consultants Cristina Moro Guido Musante Emanuele Orsini 21 Fare sistema e ascoltare tutti i territori d’Italia Create a system and listen to all areas of Italy Traduttori / Translators Beppe Finessi 24 SaloneSatellite. 20 anni di nuova creatività SaloneSatellite. 20 years of new creativity Paolo Cecchetto Daniel Clarke Achille Bonito Oliva 30 Totò e l’arte contemporanea Totò and contemporary art Barbara Fisher Ferdinando