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RATIONALISMUL ITALIAN GIUSEPPE TERRAGNI

Rationalismul Italian: Gruppo 7 Gruppo 7 a aparut ca o reactie la instruirea deficitara cu accent pe individualism si au denumit ideologia ca fiind "Rationalism". " Noua arhitectura, arhitectura adevarata, trebuie sa rezulte dintr-o aderenta rigida la logica si rationalitate...nu pretindem ca vrem sa cream un stil , in schimb dorim ca prin folosirea constanta a ratiunii, prin corespondenta perfecta dintre structura unei cladiri si scopul ei , sa permitem nasterea unui stil" . Rationalistii in mod deliberat si-au asociat miscarea cu cea a modernismului functionalist a lui Le Courbusier . Si- au bazat noua arhitectura pe calitatile pe care Papini le -a criticat in Expozitia din 1925 de la Paris: articularea structurii, emanciparea si ornamentatie minimala.

Alessandro Bruschetti, Sintesi fascista 1935

Palazzo della Civiltà

Colosseo quadrato

Giovanni Guerrini, Ernesto Bruno La Padula y Mario Romano Palazzo della Civiltà Italiana Roma

EUR Esposizione Universale Roma. In 1936 the Italian government made a successful application for hosting in Rome the next World Exhibition which was due in 1941. The Exhibition was soon postponed to 1942 to celebrate the XXth anniversary of the Fascist regime. The area chosen for the exhibition was some three miles south of the walls, near the river and the road to Ostia. The architect Marcello Piacentini was asked to coordinate the development of a plan having the objective to create a new quarter of Rome and not only to build the temporary pavilions required by the Exhibition.

Sediul partidului Fascist si al lui Benito Musolini din Roma in 1930.

Terza Roma, Palazzo della Civiltà Italiana [Italian Civility Palace] by Guerrini, La Padula, Romano. Centre, Terza Roma, Palazzo dei Congressi [Congress Palace] by Adalberto Libera

The Palazzo was designed by the architects Giovanni Guerrini, Ernesto Bruno La Padula and Mario Romano and constructed between 1938 and 1943.

TERRAGNI

Casa del Fascio , 1936 Como, Italia

Giuseppe Terragni Casa del Fascio 1936 Como, Italia

Casa del Fascio, ground floor plan

Sangallo, Palazzo Farnese, Rome,piano nobile plan

Giuseppe Terragni, Casa del Fascio, Como, Italy, 1936

Casa Rustici | G. Terragni P. Lingeri | 1937 | Milano

Novocomun, Giussepe Terragni, Como, 1927-1929

Giussepe Pagano scria in Casabella despre Novocomun ca fiind o capodopera moderna, e clar insa ca a evaluat-o doar pe baza exteriorului : " O noua estetica s-a nascut, un nou mod de viata, un nou mod de imaginare a habitatului. Aceasta casa anti-romantica, anti-decadenta nu s-a nascut din capriciu ci s-a nascut din nevoile spirituale, din necesitati impuse de logica, acest arhitect, aceasta casa care starneste azi protest si uimire, intr-un timp scurt va deveni norma, va fi casa tuturor, casa viitorului".

Asilo infantile Sant'Elia, designed by Giuseppe Terragni1936-37, Como

Villa di Terragni a Seveso

G. Terragni, Danteum

The Danteum is an unbuilt monument to Dante Alighieri designed by the modernist architect Giuseppe Terragni at the behest of Benito Mussolini's Fascist government. The structure was meant to be built in Rome on the Via dell'Impero. The intention was to celebrate the famous Italian poet Dante Alighieri, whose Divine Comedy glorifies Imperial Rome and extols the virtues of a strong secular government. Though it was not constructed, the design was presented at the 1942 Exhibition in Rome. Compositionally, the Danteum is conceived as an allegory of the Divine Comedy. It consists of a sequence of monumental spaces that parallel the narrator's journey from the "dark wood" through hell, purgatory, and paradise. Rather than attempting to illustrate the narrative, however, Terragni focuses on the text's form and rhyme structure, translating them into the language of carefully proportioned spaces and unadorned surfaces typical of Italian Rationalism. Since the form of the Divine Comedy was itself influenced by the architectural structure of Byzantine churches, the Danteum is in a sense a translation of a translation. Because of the complex of literary, artistic, and architectural meaning associated with the design, the theorist Aarati Kanekar regards it as examplary of how a spatial structure can express a sophisticated poetic meaning without an explicit "vocabulary" of architectural symbols.

Dante and His Poem, Michelangelo

1 THE DARK FOREST (Selva Oscura) 2 THE HALL OF HELL (Inferno) 3 THE ROOM IN PURGATORY (Purgator) 4 THE ROOM OF HEAVEN (Paradiso) 5 THE EMPIRE ROOM 6 THE STEPS The journey begins, as in Dante's poem, with the crossing of the "Selva Oscura" (1), represented by a dense network of columns. The light filters through the cracks in this space in the attic, just like in a forest where the ground comes luca filtered by the leaves and branches of trees. We must therefore get into the "forest", avoid the "trees" and find, as in a labyrinth marked by dense columns, the entrance to the next room

As the Divine Comedy includes references to numerology and geometry, the poem could be seen as a written allegory of the physical structure of the afterlife. Terragni, in his turn, took the text and designed a physical model of that written allegory, also using numerology and geometry.

THE DARK FOREST (Selva Oscura)

Adalberto Libera's Villa Malaparte, Capri, 1938

Adalberto Libera's Villa Malaparte, Capri, 1938

Drawing by Adalberto Libera

Cesare Cattaneo, Casa d'affitto a Cernobbio, 1938-1939