Fascism and Architecture (original) (raw)

Abstract

Fascism and Architecture There has never been an epoch that did not feel itself to be 'modern' in the sense of eccentric, and did not believe itself to be standing directly before the abyss.-Benjamin (Arcades, [S1a, 4], 545

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References (20)

  1. The critical literature on architecture during the Fascist regime is vast and offers a thorough analysis of its historical development; for the purposes of this chapter, it is worth mentioning the works of Ciucci (2002 [1989]), Cresti (1986), Danesi and Patetta (1988), Doordan (1988), Etlin (1991), Nicoloso (2008), which present the most com- prehensive and sustained analysis of the architectural field during the Ventennio.
  2. For a detailed discussion of Wagner's use of the world and its political reverberations, see Pederson (2016, 43-46).
  3. For an exploration of these intersections, with a specific view on archi- tecture and the other arts, see Patetta, in Mozzoni and Santini (2009, 3).
  4. See Roberts (2011, 2) and, on Prampolini's idea of totalising architec- ture, Ori (2014, 26-27). On Mazzoni's Futurist architecture, see Mangione (2009, 9-45). For a detailed technical account of Mazzoni's projects for Italian train stations, see Neudecker (2007, 59-192).
  5. For an analysis of cultural flows between Germany and Italy in the late 1920s and early 1930s on the subject of the total work of art and total theatre, especially the BL18, see Schnapp (2012, 99-114) and Rifkind (2012, 13).
  6. Notable examples are Prampolini's cosmic experiments, especially in aero painting (Lista 2013, 211-26).
  7. 'A mio giudizio la massima di tutte le arti,-disse Mussolini,-è l'architettura, perchè comprende tutto'. 1932. 'Colloqui con Mussolini sull'arte.' L'Italia letteraria 4, no. 27 (3 July): 1. See also the article by Bernardo Giovenale, 1933, 'Avvenire delle corporazioni.' Quadrante 1, no. 4 (August): 2-7, where he reinforced the point regarding Fascist doctrine being about the collective sense of life.
  8. These buildings have been extensively discussed in the context of the role of architecture in State art; see, for example, Storchi (2007, 237- 44) and Schumacher (1991, 140-70). See also Bontempelli's praise of Terragni's use of glass, in L'avventura novecentista, September 1936, 336.
  9. For a detailed discussion of the technical specifications of the Casa del fascio, see Federica Dal Falco, 'Caratteri costruttivi' (2002, 13-33).
  10. Two examples are particularly telling regarding this transition. The first was the violent polemic, published in La Tribuna between 2 and 26 February 1933, between Piacentini and Ugo Ojetti over the use of arches and columns, with the former accusing the latter of not being able to accept the changes required by the new society (see Piacentini 'Gli archi e le colonne e l'italianità d'oggi' and 'Archi e colonne' in Pisani 1996, 182-190). The second was Piacentini's article on the competition to design the Palazzo del Littorio. He accepts new architecture as long as it is placed in the service of the regime (1934, 'Il concorso nazionale per il progetto del Palazzo del Littorio e della Mostra della Rivoluzione
  11. 'al fabbricato delle turbine, nudo, elementare, senza ombre, si innesta l'edificio quadri, a solette sovrapposte e sporgenti tutto all'intorno così da alternare ritmicamente fasce orizzaontali di luce e di ombre'.
  12. Libera-Minucci, Introduzione, in I Esposizione italiana di architettura razionale, catalogue of the exhibition, De Alberti, Rome, 1928, now in Patetta (1972, 127-28).
  13. For a clear assessment of the second MIAR exhibition and reactions to it, see Kallis (2014, 63-66) and Etlin (1991, 385).
  14. The Mostra della Rivoluzione was directed by Libera and De Renzi, supported by Piacentini and supervised by Dino Alfieri. It ran for two years, from 28 October 1932 to 28 October 1934, and enjoyed extraor- dinary success, with a total of 3,700,000 visitors.
  15. On the arguments within the rationalist front Bardi (Quadrante), Terragni, and Pagano, see Patetta (1972, 119-51) and Ciucci (2002 [1989], 129-51), while on those within the monumentalists front (Piacentini and Ojetti), see (Patetta 1972, 315-33).
  16. P. M. Bardi, 1933, 'La Rivoluzione "Consegna" di Mussolini.' Quadrante 1, no. 4 (May): 1.
  17. Vinicio Paladini, 1933, 'Imborghesimento del razionalismo.' Quadrante 1, no. 3 (July): 36.
  18. On the relationship between architects and Mussolini and on his close scrutiny of State-commissioned projects, see Nicoloso (2008, 79-80, especially Chaps. 6 and 7).
  19. Giò Ponti designed the Maths building, Pagano the Physics building, and Piacentini the Rectorate.
  20. Fillìa's 'Futurismo e Fascismo' was published in April 1929 in La Città futurista (Patetta 1972, 257-61). He considered Futurism and archi-