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'I Giovanni Delle Colonne.' Tradition and Continuity Ante Litteram

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'I Giovanni Delle Colonne.' Tradition and Continuity Ante Litteram CPA 5 CPA In the School of Architecture of the Milan Polytechnic per l’Architettura. 11 'I giovanni delle in the mid-ifties, a group of students started to use in To present their protest to the MSA meant increasing their academic ex tempora sessions a series of very the visibility of the initiative of the group and entering colonne.' Tradition personal stylistic references, which were linked to a the debate about Italian modern architecture and its certain historic and traditional grounding, giving rise to teaching; above all if we take into consideration the and continuity ante a protest that intended to report the limitations of the stated interest of the members of the MSA towards razionalismo di maniera that the university education of giving architecture a formative role in the changes that 12 litteram. the time offered. were taking place in the Italian society . The provocative use of columns, arches and pinnacles in Francesca Fiorelli their formal studies earned the young Michele Achilli, In his dissertation, referring to the work of the present Daniele Brigidini, Maurizio Calzavara, Guido Canella, members of the MSA , Canella afirmed: Being precisely Fredi Drugman, Laura Lazzari, Giusa Marcialis, Aldo the concept of tradition, its interpretation, and, if I may, Rossi, Giacomo Scarpini, Silvano Tintori y Virgilio its feeling, what separates us from your line of thought, Vercelloni the nickname of giovani delle colonne, we honestly think it is one of the original reasons of this 14 according to Giancarlo De Carlo’s deinition in Casabella- debate . 2 3 Contiuità magazine . According to Aldo Castellano , it Expanding his relection to the widest scope of is very likely that only some of them used these formal architecture, he continued: it is necessary for all the references in their academic projects. In this respect, realistic artists to be aware of the existence, at the 4 Silvano Tintori states in a recent interview: 'It was heart of tradition, of models that have already proven not a group: we were only two (Virgilio Vercelloni and themselves as able to interpret the contents of the society 15 me); and the ex tempore «of the columns», an eight- that applied them, thoroughly representing its feelings . hour project that we had to carry out in the classroom workshop once a week, emerged from an episodic To inish his speech, Canella answered the accusations situation' (F1). However, that apparently isolated event made by that ‘old’ generation – deeply linked to the had aroused the interest of the most critical students investigation of the irst Italian Modern Movement – in the 4th year. The debate started by Tintori and about their interpretation of the concept of tradition: Vercelloni in the 5th year Architectural Composition Having said that, we consider the accusation of literary course of Professor Piero Portaluppi –Dean of the School complacencies, of yearning, of love for the past, whose of Architecture– regarding the project-place relationship, atmosphere we would like to evoke by the use of columns, was reached that group of students, activating a vivid friezes and pinnacles, out of place, to say the least. […] debate about the concept of tradition. However, this does not deny the fact that columns and arches are all elements subject to the autonomous live of 16 It was one of those student minorities that –in the words each artistic expression, in each historical moment . of De Carlo– do not know how control their rage about the need to face, also at the schools of architecture, the Silvano Tintori clariies that, in his controversial ex 5 risky innovations of architectural thought . tempore –a jetty in Lake Como–, the broken columns represented the landscape of the lake hit by speculation, - 136 Silvano Tintori recalls: Our disagreement with the that is, the irst symptoms of the aggression to the teaching of the Architectural Composition course in the Italian miracle and a condemnation of the abandoned 17 last year of our degree stemmed from the dissatisfaction state of the historical heritage . coming from the disappointing Modernity of the This statement probably explains the need of reconstruction of the Italian post-war, with respect to the provocation of the giovani delle colonne, of using English (the new cities) and the French one (The Unité references to historical elements well-recognized in 6 d'Habitation by Le Corbusier in Marseille and Nantes) . collective memory. It was obviously a memento, an appeal to certain formal imagery catalogue which, During the years 1954 and 1955, the most active focus according to the members of the group, had not of the controversy developed, surpassing the limits of exhausted all its expressive potential and that would the university, and achieved the role of small revolution allow freedom of action in a project a new place with the explicit goal of shaking the stagnated situation and unprecedented success within contemporary of the Milanese architecture. According to Tintori, in the architectural investigation, as long as it was able to capital city of Lombardy, the interest in an architecture provide elements clearly connected to the past. oriented to a civil society sensitive to the culture of the city prevailed, […] in full confrontation not only against From that reading came the accusation, not much the rationalist formalism, but also the philosophy on concealed, that Canella directed against the “old guard” which it was based: one which had yielded to progress of the MSA, which, from his point of view, had not 7 and technology . been able to detach themselves from the functionalist In a general atmosphere of revision, which nourished precepts of the Modern Movement. In his opinion, the the question about the achievements and limitations of architects of the Modern Movement maintained some modern architecture facing the new social demands and kind of rejection towards tradition, deinitely linked to concerns, the giovani delle colonne aimed at reactivating the concept of historicism. Consequently, tradition did the controversy pointing at the heart of the matter. In not represent a live concept in its architectural role, 18 this sense, the school of architecture provided a quite becoming this way an argument frozen in time . limited action ield for the magnitude of the provocative According to these young people, the content of history, discourse that they wanted to carry out. together with the social demands, was at the bottom of The design attitude they had adopted within the the interpretative mistake of the Modern Movement: academic world had attracted Giancarlo De Carlo’s If, in fact, it is not possible for us to dismiss beforehand attention (F2) –at that moment president of the certain «solutions» of the Modern Movement, it is not 8 Movimento di Studi per l’Architettura , a movement that possible either to dismiss or to be against forms that gathered together the rationalist core– who proposed […] are imposed to our consideration and our study. a public debate about ‘tradition in architecture’ (F3) Since they do not have their origin in a simple functional as the main argument of the giovani delle colonne as demand, but are instead justiϔied by the deep content of opposed to the modus operandi of the professionals history, by the social demands in their descriptive and 19 who moved within the rationalist framework of celebratory aspects […] . the north of Italy, which was, perhaps, closer to the 10 European trend . For the giovani delle colonne this was the ideological premise that allowed them to link their theoretical Finally, in June 1955, the approach adopted by the choice and their architectonic practice (still in its early giovani delle colonne achieved recognition thanks to the stages) to that reality of the grand architecture of the reading of the report written by Guido Canella and Aldo past, rescuing the meaning of tradition that in their * Photographs are attached in the spanish version Rossi in front of the members of the Movimento di Studi opinion had been forgotten, although not lost, in the most vivid stage of rationalism. To that end, De Carlo made clear the intrinsic limitations understood as continuity in time; continuity in 37 Apart from the personal design variations (F4, F5, F6), of that movement that had its origins in an initial and space . A continuity that he considered to be the the real value of that experience lay in the daring will generous distress towards academic instruction as starting point for the investigation carried out by to add an ‘unprecedented’ alternative, in cultural terms, well as towards the architectural profession in itself, Giuseppe Pagano and Edoardo Persico’s Casabella to the consolidated principles of the heritage of the which was suffering, in his own words, the negative magazine and connected with the pursuit of a critical ante litteram. Modern Movement. Their experience intended to be a inluence of a supposition from which no productive historical consciousness, seen as the necessary 30 provocative call of attention, of easy assimilation on the consequences could be drawn. knowledge for a relection that would lay down the part of society and at an urban level, above all in the Despite the common interest between the member guidelines for a methodology based on tradizione, historical Italian city. In this sense, the aspect of social of the MSA and the youngsters of the columns in the understood as dynamic continuity and not as a 38 legitimation of the intervention of architecture became, average citizen and their need of a home, schools, public passive copy . to them, essential. buildings, streets, squares, residential areas, etc. , the In their speech the desire for a progressive architecture debate was, in the end, about the formal aspect directed Some months after being in charge of the magazine became evident; for a style that would not only focus towards the use of references taken from historical (in the editorial of the issue 202 in 1954), Rogers on expression mediated by architectural forms, but one tradition.
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