Kultour 2016 - Germany & Italy

RYE RS O N U N I V ERSI T Y Department of Architectural Science

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RYERSON - KULTOUR - TEAM Executive Director: Yew- Thong Leong Vincent Hui

Creative Director: Herrera, Laura Natalia

Graphics Team

Phagoo, Tirisha Amelia Guay, Jean-Paul Anthonie Katrjian, Arpy Manoug

Authors / Photographers: Abdi, Parandis Baduria, Anthony Ross Budhawa, Navindra Chong, Elizabeth Lor Guay, Jean-Paul Anthonie Hamanova, Elena Herrera, Laura Natalia Hoover, Tess Kadri, Syed Sanaa Katrjian, Arpy Manoug Kontos, Krystyne Athanasia Krawczyk, Magdalena Lord, Daniel Anthony Mota, Amanda Marie Nalli, Amanda Phagoo, Tirisha Amelia Phagoo, Tishana Emily Plesa, Andrea Nicole Saroy, Sahil Shemirani, Sara Baghbani Szywacz, Paul Tharshan, Noeline Zitella, Briana Nicole

TRAVELERS

Ryerson University

Fachhochschule Frankfurt am Main

Prof. Hui, Vincent.

Prof. Gies, Heribert Prof. Klaus Fäth

Abdi, Parandis

Aras,Inci

Baduria, Anthony Ross

Akbulut , Arzu

Budhawa, Navindra

Bach, Conrad

Chong, Elizabeth Lor

Biel , Sascha

Guay, Jean-Paul Anthonie

Belli , Selin

Hamanova, Elena

Catherman , Steven

Herrera, Laura Natalia

Inanc, Erka

Hoover, Tess

Kazilkaya , Muhammet

Kadri, Syed Sanaa

Lenk, Jenny

Katrjian, Arpy Manoug

Llic, Klaudija

Kontos, Krystyne Athanasia

Lotz, Darius

Krawczyk, Magdalena

Luthardt , Pascal

Lord, Daniel Anthony

Merritt, David

Mota, Amanda Marie

Mittelmann , Annette

Nalli, Amanda

Reusert , Bianca

Phagoo, Tirisha Amelia

Steinhäuser, Christoph

Phagoo, Tishana Emily

Stepien , Alexandra

Plesa, Andrea Nicole

Stoos , Olivier

Saroy, Sahil

Trubjanin , Almir

Shemirani, Sara Baghbani

Terella,Masina

Szywacz, Paul

Unal, Merve

Tharshan, Noeline

Wunder , Theresa

Zitella, Briana Nicole

Zahn , Andreas

FOREWORD Forewords are better accurately described as “after words”, as almost all authors I know write them after the fact: To do otherwise would be presumptuous of success. And of course all published works are deemed to be successful, so many forewords are predictably upbeat and even templated positive.

This certainly is the case in all my forewords for the numerous KulTour catalogues that have been published over the last decade (KulTour 2016 is the 11th version of KulTour – there has never been an exchange program of such duration ever at Ryerson University, never mind the Department of Architectural Science). In the past I merely dusted off past forewords and rewrote them in a different editorial theme.

This year, my forewords cannot be as generous in spirit and must be extremely critical by necessity.

The past 10 years, under 3 successive Chairs, KulTour was embraced, or at least tolerated in some cases. KulTour 2016, however - under the current regime - had been cancelled then reconstituted and permitted to be publicly blemished as a “student vacation without academic vigour”. It was only through the Herculean effort of the students, and the support and intervention of the Dean, that it was permitted to proceed at the very last moment ... but with a chaperone faculty who travelled and myself who provided the academic instructions.

Luckily I had previously made a similarly beneficial trek many years ago and was able to guide this tour remotely, nightly, from Canada ... save a few newer buildings that didn’t exist in my past treks.

Thanks to the Internet-of-Things I was able to tease out key facts on these newer buildings and these unsuspecting 23 students were not any wiser. And of course many thanks to my Frankfurt University colleague of almost 2 decades, Prof. Heribert Gies - whose knowledge of architecture is superior, was in-situ to save the day on many occassions.

The question many are asking, as you read this, would be why I would take an otherwise positive platform in the form of the forewords of a publication to air all these. The answer is simple, and previously established – by necessity.

Architectural exchanges in the past has been extremely elitist and not culturally sensitive.

KulTour is designed to allow up to 2 dozen students to travel at any one time, in comparison to 1 or 2 with formal exchanges. When you only have 1 or 2 spots available, only the very elite gets to travel. The rest of the less privileged students do not get to partake, at least not when guided by a

professor full time and in English (which are some of the unique characteristics of KulTour). These less privileged students’ education are wilfully short changed by design. When KulTour 2016 was initially cancelled, 23 students’ education was, in essence, short changed. That cancellation was deliberate, punitive and by design.

When I started architecture school, there were no more than maybe a dozen female students enrolled out of the 120 students that we admitted – female students back then only attended secretarial courses and maybe nursing at best. Today, 2016, the gender parity is about 50-50. We have made tremendous progress in ensuring half of the population have equal access to an architectural education.

But there are still systemic barriers – cultural perhaps – that stand in the way. And more can be done, mostly within the culture where those barriers exist. Outside of the culture we, as a university, must provide the opportunities. Canada is a land of immigrants, each of us bringing our cultural, religious and regional “baggage” (“baggage” because I would like to see a definitive Canadian identity above and beyond our personal cultures and religions). Some of these “baggage” do not permit a female student to travel unchaperoned or unguided. Without the trusted company of a professor, these students would have been further marginalized.

Finally, KulTour is economical, in comparison to formal semester-long exchanges. Such frugal economics bodes well with immigrant families, and those on a lower income structure, that do not have tens of thousands of dollars to spend.

Within these pages are the cumulative works of the 23 students who surmounted odds and challenges this year. The rewards they reaped were hard fought and well earned. These students, their works and KulTour front a trend to make an architectural education open and accessible – and hence it is critical of and challenges the elitism that has besieged the Department of Architectural Science at Ryerson University for the last few years. The fight for KulTour 2016 was a necessity, and I am happy to have helped fought for it.

Yew - Thong Leong, OAA, FRAIC, FIIAS Associate Professor of Architecture Department of Architectural Science Ryerson University

FOREWORD

At the turn of the 19th century a young Charles-Édouard Jeanneret traveled through Europe, sketching all he observed, writing copious notes, meeting similarly engaged creatives, and distilling his reflections into early ideas on how to move towards a new architecture. Better known as Le Corbusier, this young designer absorbed a great deal that ultimately served as the formative development of his understanding of architecture and its context. That his architectural pedigree consisted of no formal architectural training speaks volumes about the value of travel in architectural pedagogy, from increasing an architectural vocabulary and cultural awareness to making connections with contemporaries around the world. Ryerson University’s Department of Architectural Science presents its students with a spectrum of travel opportunities that is unmatched by its Canadian counterparts and I was fortunate to have accompanied a contingent on the Kultour trip in the Spring of 2016 through Europe.

While this book documents the students’ academic observations and syntheses during the trip, it only foreshadows the impact it had on them. Behind each photo is a student eager to capture the experience of being in a space, with each line drawn is a student translating architectural intentions with visual expression, and with each sentence is a student encapsulating the zeitgeist and inspirations behind a project. Just as important in this document are the few candid images that subtly hint at the new friendships and experiences that come about from collaborating with students and faculty from our generous hosts at the Fachhochschule. I wish to extend special gratitude to both Professors Fäth and Gies for undertaking this responsibility and treating our students as their own. It would also be impossible to imagine this opportunity to have come together had it not been for the tireless efforts of Professor Leong.

As academic as this book may be, its pedagogical value goes beyond the exhaustive documentation of architectural works. I believe this book echoes the promise behind the writings and sketches of Le Corbusier sitting at the steps of the Parthenon and the invaluable relationships made with his contemporaries such as Klimt. From sketching Scarpa’s most iconic works to enjoying the evening with Fachhochschule students in Milan, the students in this book have taken a formative step in their architectural education unfound in any conventional classroom

Vincent Hui B.E.S., C.U.T., M.Arch, M.B.A. LEED AP, MRAIC, Assoc. AIA Department of Architectural Science, Ryerson University

Daniel Lord

Deutsches Architekturmuseum Briana Zittela

MMK Frankfurt

Tess Hover

3-10 11-20

MILAN 01 - 05- 2016

Stadel Museum

Pirelli Tower Paul Szywacz

Torre Velasca Navindra Budhwa

Housing Gallaratese Anthony Baduria

21-28

MILAN 02 - 05- 2016

FRANKFURT 29 - 04- 2016

CONTENT

31-38 39-54 55-64

Bosco Verticale Magdalena Krawczyk

67-84

Casa Della Memoria Sana Kadri

85-94

Prada Fundation Parandis Abdi

95-108

111-126

Appartamenti Novocomun Sahil Saroy

127-136

Asilo Sant’Elia Laura Natalia Herrera

Casa Cattaneo Andrea Plesa

Arpy Katrjian

Banca Populare Emily Phagoo

Museo Castelveccio Amelia Phagoo

POSSAGNO 05 - 05- 2016

BERGAMO - VERONA 04 - 05- 2016

Chiesa Di Paderno Di Seriante

Jean-Paul Guay

Brion-Vega Cemetery

VENICE 06 - 05- 2016

COMO - CERNOBBIO 03 - 05- 2016

Casa del Fascio

Ponte della contituzione

Krystyne Kontos

Gipsoteca di Canova Amanda Mota

197-210 211-218

137-146 147-160

163-172

173-184 185-194

Elizabeth Chong

221-230

Graveyard San Michele Amanda Nalli

Olivetii shop Elena Hamanova

231-244 245-258

Fondazione Querini Stampalia Noeline Tharshan

259-274

Punta della Dogana Sara Baghbani

275-284

Frankfurt

Como Cernobbio Milan Verona Bergamo Possagno

Venice

MAP / SCHEDULE

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Kultour - 2016

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Germany Architect

Schneider and Schumacher

Project

Stadel Museum Extension

Author

Daniel Lord

Date of completion

2012

one of many museums located along The Main. The Stadel Museum has a long history, first being founded in 1816. The extension to the museum was designed by the architect firm of Schneider and Schumacher and was opened in 2012. The extension was a major addition to the museum providing 3000m2 of extra exhibition space for the museum. The extension is used for exhibiting 20th century artwork. The Stadel Museum is very important to the city of Frankfurt because of its history and the man who founded the museum and as well as it being the dominant foundation for artwork in Frankfurt. political tools as they are an important aspect of society. They are a place to showcase significant historical events and influential

Venice

Museums, such as the Stadel Museum, are used as economic and

Frankfurt Milan Como Cernobbio Bergamo Verona Possagno

The Stadel Museum is located in Frankfurt, Germany. It is

artworks of its city and country. The architecture of the museum therefore becomes extremely important; the architecture is shaped by the history of the city and country, the artwork the museum will exhibit, and the ideology of the architect firm. This is evident in the design of the extension to the Stadel Museum. The design pays tribute to the history of the museum and the city and provides the best “blank canvas� for exhibiting 20th century artworks. The ideology of the architect firm is also evident, almost as though the architects have left their signature within the design. These factors come together to create an exceptional design perfect for the Stadel Museum and the city of Frankfurt.

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Architecture is shaped by many important factors, however, one of the most significant is the history of the site, city, region, and country in which the building is located. This factor is even more important in the design of museums such as the Stadel Museum extension. The Stadel Museum was first founded in 1816 by Johann Friedrich Stadel. Stadel passed away in 1815 and in his will, stated that his house, book collection, and art collection will be named to the foundation in his name, Stadelsches Kunstinstitut. His house was to be accessible to the public to showcase his art and book collections. With his death, the Stadel Museum was born. Frankfurt grew to be a major “museum” city and in the 1920’s, the city of Frankfurt wanted to emphasize its history and culture and created a “New Frankfurt” movement. As part of this movement, the city wanted all the artworks from each museum to be apart of one collection. This one collection of artworks was designated to the director of the Stadel Museum and was put under the guidance of the Stadelsches Kunstinstitut Foundation. Before the second world war and during the Nazi rule of Germany, the Stadel Museum suffered an extreme loss to their collection. Due to the “Degenerate Art” campaign, a total of 77 paintings were confiscated from the collection by the government.

Another major loss happened towards the end of the war, the museum building suffered damages from bombs.

The reconstruction of the museum took 20 years and by 1963, the museum had re-acquired its lost paintings and had rebuilt the damages caused by the war. During the late 1900’s, Frankfurt experienced a museum boom. Many museums moved into historic villa’s along the Main making Frankfurt a major museum city, and Frankfurt was transformed. “As part of Frankfurt’s colossal transformation, its museums assumed a key role in municipal cultural politics”. The museum boom was huge for Frankfurt, boosting economic values and politics.The museum boom also improved the architectural fabric of the city of Frankfurt. One of the most important events in the history of the Stadel Museum was the extension; the Stadel Museum wanted to expand its contemporary art exhibition and in 2007, they began an international architectural competition where Schneider and Schumacher Architect Firm 5

took first place with their design. The expansion was

and to provide blank, white, minimal design so the

the largest in the history of the museum with almost

abstract works stand out. In 20th century Germany,

3000m2 of additional exhibition space and being a

the main art movements include expressionism,

52 million euro project. Schneider and Schumacher

impressionism,

took first place because of the fact that their design

many more. In this century, the development of art

was under the Stadel garden, gaining the most space.

was quick and many different ideas have flourished,

The history of Frankfurt and the Stadel Museum play

however, most contemporary art is about expression.

an important part in the design of the extension and

“In Impressionism it was the life-stream of light and air,

understanding the reason why the architects decided

in Expressionism the power of colour, in Surrealism the

to place the extension in the basement as to not to

fantasy of the dream�. Each art movement was about

disturb the historical presence of the older building.

a different idea of expression in art. Art in Germany

constructivism,

surrealism,

and

was very different in comparison to other countries The extension to the Stadel Museum was for

such as France. The main reason being is artistic

the sole purpose of expanding the contemporary

decentralization. In France, most art was produced

art exhibit. This is an important aspect of the way

out of Paris since the capital was the focal point of the

the extension was designed; the architects took into

country. In Germany, there was an absence of a central

consideration the fact that 20th century artworks will

political city and therefore art was being produced all

be displayed in this space and designed based on this

around Germany in different cultural centers. Overall,

premise. In architecture of a museum, it is important to

the artwork exhibited in the new extension of the

understand what will be exhibited in the space that is

Stadel Museum is full of expression, colour, abstract,

being designed. When exhibiting contemporary works

and uniqueness and the architects took this into

and sculptures like the Stadel Museum extension, it is

consideration when designing the extension.

best to provide diffused lighting as to not cast shadows,

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new realism, surrealism, and many more. In

the international competition conducted by the Stadel

this century, the development of art was quick and

Museum. The architect firm has an ideology based off

many different ideas have flourished, however,

“pragmatic poetry”; practical yet playful designs.

most contemporary art is about expression. “In

projects meet the challenges of today’s architecture yet

Impressionism it was the life-stream of light and air,

still have a playfulness to them. They are flexible within their

in Expressionism the power of colour, in Surrealism

designs but at the same time create amazing landmarks

the fantasy of the dream”. Each art movement was

within the architectural environment of the city. They do

about a different idea of expression in art. Art in

this with their design of the Stadel Museum extension,

Germany was very different in comparison to other

creating a flexible space that stands out. The architects

countries such as France. The main reason being

are also cost effective with their design yet still manage

is artistic decentralization. In France, most art was

to create memorable buildings with their choice of details

produced out of Paris since the capital was the

and materials. Much like their design with the Stadel

focal point of the country. In Germany, there was

Museum, the firm tries to blend in with the context of their

an absence of a central political city and therefore

sites, however, at the same time bring a unique aspect to

art was being produced all around Germany in

the design; “not subordinating themselves to the setting”.

different cultural centers. Overall, the artwork

Schneider and Schumacher architects were a perfect fit for

exhibited in the new extension of the Stadel

the Stadel Museum extension; their design is an art piece

Museum is full of expression, colour, abstract,

in itself. Their designs have “structural clarity and superior

and uniqueness and the architects took this into

details” yet still have beauty to the architecture. They truly

consideration when designing the extension.

bring art and science together.

Their

The architect firm hired to design the

The design of the Stadel Museum extension is

Stadel Museum extension was Schneider and

very unique. It pays tribute to the history of the museum,

Schumacher Architects. The firm was founded in

takes into consideration the contemporary art that will be

1988 by Till Schneider and Michael Schumacher.

exhibited, and reflects the core ideas of the architect firm.

The firm was hired based on their design that won

The firm won the design competition because they placed

the extension in the basement, maximizing the amount of

is supported by only 12 slim concrete columns. The

extra space added to the museum. The main extension

slimness of the columns paired with the exhibit

is located on the central axis of the building which pays

walls that do not reach the ceiling work together

tribute to the history of the museum by bringing back the

to help make the space feel light and more open.

historical spatial arrangement of the building. The extension

When standing within the space and looking

also included a remodeling of the building entrance and

up, you can see the ceiling stretch out with no

the circulation systems to make it wheelchair accessible.

interruptions. This minor detail brings a huge result

The main extension was the basement under the Stadel

in the final design. The main structure is the 160

Garden. This is the space where the 20th century art

deep piles around the outside. Also incorporated

collection is located. The space is light and airy making

are 36 geometric pile, 82m into the earth which

the colourful and abstract artworks stand out. The main

provide heating a cooling to the museum space.

aspect of the space is the domed ceiling featuring circular

This heating a cooling system creates an optimal

skylights. The walls that exhibit the artwork do not reach

climate in the room and has minimal energy use.

the ceiling of the space; this helps make the space feel

Schneider and Schumacher architects strive to

light and does not take is also an important feature of the

create sustainable designs and their choice of

design in the garden above, which makes for an amazing

locating the space in the basement, the heating

art project in itself. The roof is covered in a total of 195 of

and cooling system, and choice of materials make

these circular skylights, varying in diameter from 1.5m to

the extension a sustainable design in all aspects.

2.5m. The circular skylights were designed specifically for

One of the most interesting details of the design

the Stadel Museum and are designed to be walked on

apart from the skylights, is the way the heating and

as to not take away space from the garden above. The

cooling enters the space. While in the space, one

amount of daylight into the space can be controlled by

cannot see any air return or supply vents. The air

shading elements built into each skylight. The skylights

supply and return runs through the exhibit walls.

and the domed ceiling bring a simplicity to the design

At the bottom of the wall, one can notice that the

and does not take away from the historical building which

wall does not go to the ground but has a slight lip

surrounds, yet its uniqueness is memorable. The roof slab

where the air is supplied to t

Museum designs

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are not just important the the museum itself, but to

the country and the artworks exhibited. Museums

the people, the city, the country and the artworks

are an important aspect of any cities society and

exhibited. Museums are an important aspect of

become important tools within the economic and

any cities society and become important tools

political structures of a city. They are places to

within the economic and political structures of a

exhibit important artworks and historical events of

city. They are places to exhibit important artworks

the city and country. When designing a museum,

and historical events of the city and country. When

the architect must take into consideration the history

designing a museum, the architect must take into

of its context and the artwork it exhibits. These two

consideration the history of its context and the

things, along with the ideologies of the architect

artwork it exhibits. These two things, along with the

firm, is what shapes any design of a museum. This

ideologies of the architect firm, is what shapes any

is evident in the design of the Stadel Museum

design of a museum. This is evident in the design

extension. The architects created a simple design

of the Stadel Museum extension. The architects

to pay tribute to the history of the museum, created

created a simple design to pay tribute to the

a light, airy interior space to exhibit the colourful

history of the museum, created a light, airy interior

and abstract works in the museum’s contemporary

space to exhibit the colourful and abstract works

collection, and they chose important details within

in the museum’s contemporary collection, and they

their design that promotes their ideas and leaves

chose important details within their design that

a “signature” within the architecture. Schneider

promotes their ideas and leaves a “signature” within

and Schumacher truly created a unique and

the architecture. Schneider and Schumacher truly

magnificent architectural work that is memorable

created a unique and magnificent architectural

to anyone that visits the space.

work that is memorable to anyone that visits the space. the room. This way of heating and cooling the space provides the optimal climate in the room and allows for optimal air circulation around the space. The Stadel Museum extension is a very simple design, it does not take away from the historic museum building and creates a blank canvas inside for the artworks. However, the small details used in the design makes the extension a great architectural work. It brings a uniqueness to the Stadel Museum in a very subtle way. With this design, Schneider and Schumacher proved that the technicality of structure can meet the artistic expression and come together to create an architectural masterpiece.

Museum designs are not just important the the museum itself, but to the people, the city,

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BIBLIOGRAPHY • Gaete, Javier. “Städel Museum / Schneider + Schumacher.” ArchDaily. N.p., 29 Aug. 2012. Web.16 Mar. 2016.

• Giebelhausen, Michaela. The Architecture of the Museum: Symbolic Structures, Urban Contexts.

Manchester: Manchester UP, 2003. Print.

• “History of the Museum.” Städel Museum. N.p., n.d. Web. 16 Mar. 2016.

• James, Peter. Modern Germany: Politics, Society and Culture. London: Routledge, 1998. Web. • “Office Profiles Architects.” Schneider+schumacher. N.p., n.d. Web. 16 Mar. 2016.

• Roh, Franz, and Juliane Roh. German Art in the 20th Century. Greenwich, CT: New York Graphic Society, 1968. Print.

• “Städel Museum Extension.” | Schneider+schumacher. N.p., n.d. Web. 16 Mar. 2016.

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Kultour - 2016

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Germany Architect

Oswald Mathias Ungers

Project

German Architecture Museum

Author

Briana Nicole Zitella

Date of completion

1984

The first half of the 20th Century saw the beginning and end of two World Wars, both resulting in the destruction and loss of numerous buildings throughout Germany. Soon after the World War II ended, the Cold War began due to a power struggle between the United States and the Soviet Union (USSR). As East Germany was occupied by the USSR, the country also saw a divided – the West Federal Republic of Germany (FRG) and the East German in 1961 saw the height of conflict, with East Germany facing harsh disdain and West Germany enduring.1 Frankfurt, the city in which

Venice

Democratic Republic (GDR). The construction of the Berlin Wall

Frankfurt Milan Como Cernobbio Bergamo Verona Possagno

Context:

the German Architecture Museum (also known as Deutches Architekturmusem or DAM) is located, belonged to the FRG and was once considered as a candidate for the new capital. However, Berlin was chosen after the reunification of the two halves in 1990, a year after the collapse of the Berlin Wall. 2 What also followed after World War II was a rush to rebuild, with focus on: housing, health care facilities, and schools. Architecture became practical, efficient, and systematic, with little focus on 1. Berend, T. I. (2010). Europe since 1980. Cambridge University Press.

2. Ibid.

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Figure 2 The German Film Museum and the German Architecture Museum seen next to each other, respectively. (Zitella)

reconstruction of buildings that held historical significance. This also meant that cities lacked architectural character, which was especially true for Frankfurt at the time, being called “the [Federal Republic’s] ugliest city”,3 due to poor post-war rebuilding. In the 1960’s, the city also became Germany’s commerce and banking capital, with around 380 banks,4 it was overrun with offices and the cities urban planning had failed.5 By the 1970’s, Frankfurt could not accommodate the high number of offices and the remaining historical buildings were being threatened by business growth. At this time, Hilmar Hoffmann of the Social Democratic Party (SPD) became the head of the cultural department.6 He had a vision to expand Frankfurt’s cultural amenities and make them accessible to all citizens. During the late 70’s the SPD created a plan to expand Frankfurt’s museum landscape along the Main, which would come to be known as the Museumsufer (Museum Bank). The political party changed in 1978,7 but their leader, Walter Wallmann, adopted the plan and saw to its completion. This scheme included the creation and extension of thirteen museums,8 many of which were housed in historical villas along the river.

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3. Giebelhausen, M. (2003). The architecture of the museum: Symbolic structures, urban contexts Manchester University Press.

4. Ibid.

5. Magnago Lampugnani, V., Fischer, V., Lauer, H., Burgard, R., Robson, I., & Deutsches Architekturmuseum. (1990).

Museum architecture in frankfurt, 1980-1990 (English / by Ian Robson. ed.) Prestel.

6. Giebelhausen, M. (2003). The architecture of the museum: Symbolic structures, urban contexts Manchester University Press.

7. Magnago Lampugnani, V., Fischer, V., Lauer, H., Burgard, R., Robson, I., & Deutsches Architekturmuseum. (1990).

Museum architecture in frankfurt, 1980-1990 (English / by Ian Robson. ed.) Prestel.

8. Magnago Lampugnani, V., Fischer, V., Lauer, H., Burgard, R., Robson, I., & Deutsches Architekturmuseum. (1990). Mu-

Two problems were solved through the Museumsufer – one that protected historically significant buildings that were threatened by destruction and the creation of new cultural centres for both leisure and learning.

Among the first museums to be built were the German Film Museum and the German Architecture Museum. These were controversial projects, as they were the first museums of their kind in the country.9 People argued that architecture could not be understood through exhibition, but instead, had to be experienced in person.

Oswald Mathias Ungers (OMU) was commissioned to work on the project, because the founding director, Heinrich Klotz was fascinated with Unger’s work during the 70’s.10 Ungers addressed the criticisms through a design solution – he would make architecture itself a part of the experience of the museum.

Roland Burgard wrote, “Frankfurt’s new museum buildings are […] keystones in a programme of urban renewal that aims to bring to a conclusion the work of postwar reconstruction and to correct mistakes that have been made”.11 The efforts of Hoffmann and Wallmann through the Museumsufer helped re-establish Frankfurt as a prominent cultural centre and give a new image to what was once known as “Bankfurt”.12 Through the creation of the DAM, this initiative also relaunched Ungers’ career as a prominent architect in Germany.

Architect: Oswald Mathias Ungers studied at Technische Hochschule (TU Berlin) from 1947-1950, after which he started his own practice.13 Much of his work was residential, which was likely due to the high demand after World War II. In 1963, he began teaching at the TU Berlin, while simultaneously beginning work on the 50,000-inhabitant project Märkisches Viertel.14 By 1967 he was the Chair of the university and receiving harsh criticism about his power and role plaid in the commercial approach to housing.15 The economic pressure placed on architecture overwhelmed Ungers,16 which lead to the closure of his practice. He moved to the United States to teach at Cornell University and spent time researching and developing his theories.17

seum architecture in frankfurt, 1980-1990 (English / by Ian Robson. ed.) Prestel.

9. Ibid.

10. Brensing, C. (2007). Obituary: OSWALD MATHIAS UNGERS 1926-2007. The Architectural Review, 222(1330), 30.

11. Magnago Lampugnani, V., Fischer, V., Lauer, H., Burgard, R., Robson, I., & Deutsches Architekturmuseum. (1990). Museum architecture in frankfurt, 1980-1990 (English / by Ian Robson. ed.) Prestel.

12. Ibid.

13. Whyte, I. B. (1996). Ungers, oswald mathias Oxford University Press.

14. Bideau, A. (2014). O. M. Ungers and Frankfurt: A Career Renewed and Architecture Repositioned. Architectural Theory Review, 19(1), 22-37.

15. Ibid.

16. Bruyn, G. d., Zimmermann, G., & Inter Nationes. (1997). Contemporary architecture in Germany, 1970-1996: 50 buildings Birkhauser Verlag.

17. Peckham, A., & Schmiedeknecht, T. (2007). Dialogues with OMU. Architectural Design, 77(5), 62-67.

Figure 3 The cube, the grid, and the wall seen in multiple OMU projects.

Top: Block 1 IBA (sarrenschiff) - Middle: Messe Torhaus (Archiveofaffinities) Bottom: DAM (Zitella)

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Ungers’ work became a product of his own

other theories he had developed during his time in New

desires and fantasies. When asked, “[…] for whom,

York – ones of “identity, history, and urban morphology”.21

are you actually building?” he responded with,

Most notably in his work for the DAM was his idea of a

“For me”.

‘house within a house’.22 He took the cube, the grid, and the

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Ungers was interested in creating

transformative

architecture

through

the

use

wall, as was his approach, and turned them into objects

of static, elementary forms of construction.

on display. Ungers produced dialectic by placing an

Continuously used within his designs were the

archetypal house inside a pre-existing house, generating a

cube, the grid, and the wall, as a criticism of modern

contrast of old and new and ornate and rudimentary.

technological design. He didn’t want to abstract the phenomenological aspects of architecture

Teaching in the United States opened Ungers up

by making things transparent, or removing

to a new way of learning and practicing. Schools in the

boundaries, or changing identities. However,

US emphasized creativity and conceptualization before

Ungers used these primitive components to

constructability – he carried this over with him back to

create a tension within his designs. He describes

Germany, where he made his mark through the architecture

his methodology as, “trying to be as complex as possible within those limitations which you cannot escape”.19

21. Bideau, A. (2014). O. M. Ungers and Frankfurt: A Career Renewed and Architecture Repositioned. Architectural Theory Review, 19(1), 22-37.

22. Ibid.

His architectural style is characteristically rational, but not as a result of functionalism. This way of thinking is tied to his involvement with Team 10 and their thoughts towards the Congrès Internationaux d’Architecture Moderne (CIAM); they did not agree with the “ […] orthodox Functionalism embedded in CIAM”.20 The German Architecture Museum allowed OMU to explore this and many 18. Bouman, O., & Toorn, R. V. (1994). The Invisible in architecture. London: Academy Editions.

19. Ibid.

20. Peckham, A., & Schmiedeknecht, T. (2007). Dialogues with OMU. Architectural Design, 77(5), 62-67.

Figure 4 The concept of the ‘house within a house’ seen inside the DAM. Notice the contrast of the saddle back roof against the existing hip roof. (Zitella)

15

Figure 5 The interior and exterior of the single storey exhibition space and courtyard. The grid is carried throughout the design, including the floor, ceiling, and mullion arrangement seen here. (Zitella)

Figure 6 Chairs designed specifically for the DAM by OMU using the same proportions throughout the museum. (Zitella)

Figure 7 Exterior of the DAM. The red sandstone colonnade is seen wrapping the existing historic villa, putting the building on display. (Zitella)

museum. Following the buzz of the DAM, he received commissions for new works within the commercial, institutional, and cultural sectors. An exhibition of Ungers’ life’s work was held at Mies van der Rohe’s Neue Nationalgalerie, where his colleague and student, Rem Koolhaas, gave a speech. Oswald Mathias Ungers passed away a year later, in 2007.23 He is now regarded as one of the most significant architects to have contributed to postwar reconstruction during the 20th Century.

Building: Oswald Mathias Ungers was contracted to design the German Architecture Museum in 1979, through the initiative started by Hilmar Hoffmann and Waltermann Wallmann, at the recommendation of Heinrich Klotz.24 Klotz was the founding director of the museum, and the person responsible for the selection of the site. When asked which villa best suited him for the architecture museum, he simply said, “Well, the smallest one”.25 A double villa was chosen, built in 1902. Ungers took what he was given and used every inch of the site to construct the new museum of architecture. The villa itself is a piece on display, being completely surrounded by a wall made of red sandstone block,26 which opens up along the front of the façade.27 OMU enclosed what was previously the villa’s garden, leaving a square space in the centre for an interior courtyard, holding one existing chestnut tree.28 This space creates a contrast to the rigid organizational structure of the rest of the space. While the villa itself was maintained, it was completely hollowed out. This could be taken as neglect for the original intention of preserving Frankfurt’s historical buildings, but it was an intentional strategy used by OMU.

23. Brensing, C. (2007). Obituary: OSWALD MATHIAS UNGERS 1926-2007. The Architectural Review, 222(1330), 30.

24. Bideau, A. (2014). O. M. Ungers and Frankfurt: A Career Renewed and Architecture Repositioned. Architectural Theory Review, 19(1), 22-37.

25. Giebelhausen, M. (2003). The architecture of the museum: Symbolic structures, urban contexts Manchester University Press.

26. Köhler, B. (n.d.). DAM Portrait (J. Gaines, Trans.). Frankfurt am Main: DAM Deutsches Architekturmuseum.

27. Magnago Lampugnani, V., Fischer, V., Lauer, H., Burgard, R., Robson, I., & Deutsches Architekturmuseum. (1990).

Museum architecture in frankfurt, 1980-1990 (English / by Ian Robson. ed.) Prestel.

28. Fischer, V. (1986). The german museum of architecture. Museum Management and Curatorship, 5(1), 19-26.

16

Ungers took this opportunity to study and realize his idea of a ‘house within a house’, represented by a (reinforced concrete) structure that runs vertically through the centre of the villa. Starting at the basement level, four pillars support the structure above on a five metre x five metre frame29 – this square rationale is evident throughout the building, down to the custom furniture designed for the auditorium. The four pillars are reminiscent of a baldachin,30 giving those that enter the auditorium a spiritual sense. As the user moves upward through the building, the house begins to complete itself. The structure terminates on the fifth level, with representational doors, square windows, and a saddle back roof.31 This final image is an abstracted depiction of the primitive hut, which is seen as the purest symbol of architecture.32 Ungers successfully uses architecture as both an exhibition space and a piece on display. Along with the layering of old and new, he also adds an additional buffer by locating the support areas around the outer perimetre of the villa, hiding them from view. Although there is storage space on site, Klotz’s initial reaction to pick the smallest building may have been the wrong choice.

The museum hosts both temporary and permanent exhibitions and continually grows its collection, initiated by Klotz.33 Now, the auxiliary spaces are not enough to support the full assortment of materials, resulting in the use an off-site storage facility.34 29. Köhler, B. (n.d.). DAM Portrait (J. Gaines, Trans.). Frankfurt am Main: DAM Deutsches Architekturmuseum.

30. Magnago Lampugnani, V., Fischer, V., Lauer, H., Burgard, R., Robson, I., & Deutsches Architekturmuseum. (1990).

Museum architecture in frankfurt, 1980-1990 (English / by Ian Robson. ed.) Prestel.

31. Köhler, B. (n.d.). DAM Portrait (J. Gaines, Trans.). Frankfurt am Main: DAM Deutsches Architekturmuseum.

32. Fischer, V. (1986). The german museum of architecture. Museum Management and Curatorship, 5(1), 19-26.

33. Köhler, B. (n.d.). DAM Portrait (J. Gaines, Trans.). Frankfurt am Main: DAM Deutsches Architekturmuseum.

34. Fischer, V. (1986). The german museum of architecture. Museum Management and Curatorship, 5(1), 19-26.

Figure 8 Selectional isometric projection of the interior structure of the ‘house within a house’ showing the five by five metre grid as it continues upward in the building. (Magnago)

17

Figure 9 Perspectives showing the details and grid system used by OMU. (Zitella)

Figure 10 The ‘house within a house’ seen in its entirety with the skylight, windows, doors, porch-like railings, and the saddle back roof. (Zitella)

The building boasts a postmodern architecture, although it can be taken a first glance to fit within a modernist movement. The stark white interiors lack ornamentation, but the reason for this is to give a feeling of weightlessness and to remove distraction.

Ungers then contrasts this

approach in the single storey enclosure that replaced the villa’s courtyard. In this large room there is a heaviness of stone. Klotz argues that, “Ungers moved far away from the traditional ideas of a modern movement that preached homogeneity of all parts” by using this juxtaposition.

Conclusion: The German Architecture Museum may seem at first – from the outside – to be just a historic villa, but upon further study, one notices what is new. The building itself is then put on display as the sandstone loggia is seen wrapping the entirety of the house. Once inside, the museum is given a whole new identity, with an open courtyard and natural light flooding the single storey space – it is not as closed off as it appeared to be on the

Figure 11 Top: Red sandstone walkway. Bottom: Corner detail seen within the single storey exhibition space. Two areas where OMU chose to use a heavier material palette. (Zitella)

18

exterior. Within the existing building is an unexpected stripped interior, completely unornamented and painted white, with another house inside. A lot can be recognized from the experiential understanding of the space, like the intended dichotomy of a ‘house within a house’ or the grid as a guiding principle. However, there is much more to the history of the building. The DAM is a true example of how the social, economical, and political context can have an influence on architecture.

The German Architecture Museum was the beginning of many things. It was the first of its kind in Germany and now an internationally prominent museum of architecture. Researchers and students come to access the expansive collections, as well, international visitors looking to enjoy the exhibitions. It began the end of Frankfurt’s postwar reconstruction, through the initiative of the Museumsufer. The DAM was one of thirteen new Figure 12 Captured from bottom to top, the experiential progression of the ‘house within a house’. The user has hints and views of the entire house when at the bottom and it slowly reveals itself more and more as one moves upward - until finally, the viewer reaches the top floor and is greeted with the capped saddle back roof. (Zitella)

museums along the Main, housed in prewar villas, which preserved remaining parts of Frankfurt’s architectural history. Most notably, it was the re-emergence of OMU’s German career and a catalyst to his later work. He went on to design several other museums, as well as complete work outside of the country. Ungers was able to apply his design philosophies to the German Architecture Museum and the result was a lasting piece of architecture.

19

BIBLIOGRAPHY

• Berend, T. I. (2010). Europe since 1980. Cambridge University Press.

• Bideau, A. (2014). O. M. Ungers and Frankfurt: A Career Renewed and Architecture Repositioned. Architectural Theory Review, 19(1), 22-37.

• Bouman, O., & Toorn, R. V. (1994). The Invisible in architecture. London: Academy Editions.

• Brensing, C. (2007). Obituary: OSWALD MATHIAS UNGERS 1926-2007. The Architectural Review, 222(1330), 30. Retrieved from http://ezproxy.lib.ryerson.ca/login?url=http://search.proquest.com/docview/201142700?accountid=13631 • Bruyn, G. d., Zimmermann, G., & Inter Nationes. (1997). Contemporary architecture in Germany, 1970-1996: 50 buildings Birkhauser Verlag.

• Fischer, V. (1986). The german museum of architecture. Museum Management and Curatorship, 5(1), 19-26.

• Giebelhausen, M. (2003). The architecture of the museum: Symbolic structures, urban contexts Manchester University Press.

• Klotz, H., & Deutsches Architekturmuseum. (1989). 20th century architecture: Drawings, models, furniture from the exhibition of the deutschen architekturmuseums, frankfurt am main Rizzoli.

• Köhler, B. (n.d.). DAM Portrait (J. Gaines, Trans.). Frankfurt am Main: DAM Deutsches Architekturmuseum.

• Magnago Lampugnani, V., Fischer, V., Lauer, H., Burgard, R., Robson, I., & Deutsches Architekturmuseum. (1990). Museum architecture in frankfurt, 1980-1990 (English / by Ian Robson. ed.) Prestel.

• Peckham, A., & Schmiedeknecht, T. (2007). Dialogues with OMU. Architectural Design, 77(5), 62-67.

• Whyte, I. B. (1996). Ungers, oswald mathias Oxford University Press.

Images: • A. (n.d.). Archiveofaffinities. Retrieved October 15, 2016, from http://archiveofaffinities.tumblr.com/post/133113019331/ om-ungers-gate-house-east-elevation • Magnago Lampugnani, V., Fischer, V., Lauer, H., Burgard, R., Robson, I., & Deutsches Architekturmuseum. (1990). Museum architecture in frankfurt, 1980-1990 (English / by Ian Robson. ed.) Prestel.

• S. (n.d.). Oswald Mathias Ungers - Block 1 IBA, Berlin. Retrieved October 15, 2016, from http://sarrenschiff.tumblr.com/ post/102162789556/oswald-mathias-ungers-block-1-iba-berlin

Figure 13 The first image the presents itself when the visitor approaches the museum. There is a contrast of the old, ornamented villa and the new, clean sandstone loggia. (Zitella)

20

Kultour - 2016

21

Germany Architect

Hans Hollein

Project

Museum of Modern Art

Author

Tess Hoover

Date of completion

1981

When great minds unite, large and influential changes result.

These collaborations allow for societal advancement and betterment; however, before these revolutionary ideas are permitted to alter the face of their community, it is important for individuals to assert challenges. By questioning the foundation of these ideas, society is forced to undergo deep introspection, and analyze the very moralities that form our culture.

Postmodernism, at its heart, is an artistic style which raises this challenge of preconceived binary ideologies, promoting skepticism of modern stylistic tactics when designing the Museum of Modern Art (or Museum

Venice

culture onto its viewer. Architect Hans Hollein exercised Postmodern

Frankfurt Milan Como Cernobbio Bergamo Verona Possagno

Introduction:

für Moderne Kunst), located in Frankfurt, Germany, in an efort to provoke its visitors to question the intent of the installations and works displayed within its galleries. Generally, museums stand as a symbol of mankind’s greatest collaborations - a collection of the single pieces of culture which play a role in shaping our very lives. Hosting some of the world’s most influential artistic pieces, the Museum of Modern Art provides a platform to showcase a selection of the country’s most significant talents, ideas, and accomplishments. Yet, by utilizing postmodern themes in the design, architect Hans Hollein forces visitors to strive for continual improvement, reminding that though these pieces have helped toshape society as it is known today, there is always a need for questioning, intrigue, and debate.

22

The Architect: Hans Hollein, raised in Western Europe during the early 1940’s, was in the midst of the most destructive war in human history.

In this time, the entire face of Germany had been shattered, with Frankfurt, a heavily populated destination in the south, impacted particularly intensely (Woods, 1999). Countless buildings had been sacrificed throughout the course of World War II, and large parts of the city were rendered unrecognizable. As a result, much of what is seen today was designed and built post 1945, when many areas had been left vacant. Working alongside fellow architects, Hollein helped to reshape the appearance of Germany to its current state. An example of another notable architectural piece of his located within the same country is the Abteiberg Museum in Mönchengladbach.

Certain neighbourhoods were able to be salvaged, where historical landmarks like Römer, Alte Oper, St. Paul’s Cathedral, Frankfurt Cathedral and Archäologischer Garten currently stand as monuments of the past (Germer and Blower, 2009). These buildings were erected when stylistic periods such as Renaissance, Gothic and Baroque were leading the eyes and hands of architects. By contrast, the downtown core of the city is home to 14 of Germany’s 15 Modern style skyscrapers. These tall structures, the highest reaching upwards of 850 feet, have completely altered Frankfurt’s skyline since the decimation of WWII (Kuchenbuch, 2015). By rebuilding from the ashes of destruction, the city involves a juxtaposition of themes - new vs old, modern vs classic. Observing architecture is an excellent method of gaining historical insight into a particular location - past occurrences which helped determine how things appear and function currently. Form, colour palette, building tectonics and materiality, dimensions and proportion, and programme are all elements of an architectural project that can exhibit qualities which reveal important ideas from the past. Historic references interpreted by way of examination of an architecture project - its style, the architect who designed it, the surrounding context which shaped it - make said process a worthwhile means of study. When examining the architectural stylings in Frankfurt, one is able to

23

simultaneously observe the remnants of Frankfurt’s storied

classic components like columns being reintroduced to

past, and the beginnings of its modern redesign. Frankfurt’s

facades, just for their aesthetic purpose, rather than their

unique blend of modern and classic stylings is a fundamental

structural integrity. Additionally, postmodern buildings paid

aspect of a prominent architectural style of that time period

meaningful respect to their surrounding context, as their

-postmodernism.

design often incorporated pre-existing styles, or out rightly collaborated with them via building extensions or additions

His Style:

(McMordie,1979). Bold colours, unique shapes and forms, use of non-orthogonal angles and unusual textures are all

A style that would remodel the aesthetics which Modernist

architecture

brought

about,

recurring qualities among postmodern architectural projects.

postmodern

Many buildings constructed between 1980 and 2000 utilize

architecture began to emerge throughout the 1960’s and

postmodern stylings in their exterior and interior design, one

1970’s. Architects such as Michael Graves, Frank Gehry

of which is the Museum of Modern Art in Frankfurt.

and Philip Johnson were leading figures throughout this movement, and established some fundamental themes

His Museum:

and characteristics of its design features (Steen, 2015). The previous Modernist movement had given rise to a strict

The MMK, a museum located just north of the river

focus on functionality, coupled with simple expressions

in the Alstadt district, boasts the most distinct form of

of form. Over time, people began to question the motives

all of Hans Hollein’s pieces. He won a competition held

of this style of architecture, as many of these types of

throughout Germany to serve as the chief designer of

buildings were seen as bland, uninspiring and sometimes

the museum, and after 3 years and $38 million dollars in

unpleasant in the public’s eye. Postmodernism offered a new

construction fees, the building was unveiled to the public

way of communicating architectural concepts, whereupon

(Barker, 1999). What made this project particularly interesting

architects began taking elements and references from the

was the irregular shape of the site. The triangular plot of land,

past and revitalizing them with current building techniques

located in the heart of downtown Frankfurt, called for some

and practices (Groat, 1982). An example of this was

major innovative thinking in order to customize Hollein’s

24

25

vision. Because of his genius vision, newcomers to the

throughout the entrance foyer, visitor cafeteria and numerous

museum are unable to predict how the interior of the

galleries via critical architectural features like lighting, space and

building is played out, in relation to how it looks from the

materiality. Kinds of light sources vary throughout the building,

outside facade. It stands out as one of the most visually

ranging between natural and artificial means. The MMK has three

dynamic buildings in Frankfurt, as Hollein immediately

floors, which are severed in the middle to allow for natural light to

grabs the attention of passersby with his bold formwork

be let into the spaces via large expanses of roof glazing, located

(Kuchenbuch, 2015). Nothing in the entire city even

at different intervals of museum (Hollein, 1989). Composed of

slightly resembles its design. At the main entranceway,

rectangular glass panes set together with steel framing, these

round columns stand in front of the ground floor glazing,

not only enhance the quality of the spaces below through

creating an open walkway for visitors to approach the

improved illumination, but also through the engaging shadows

entrance. A handicap accessible ramp runs along the

they engender. Electric powered lighting fixtures take on many

side of the curved staircase. Under strict regulations, the

forms, including pod lights set into the ceiling, long extruded

cladding system was required to respect the existing

tube lighting and small metal fixtures. Even minute components

architecture around which this museum surrounds, and

such as these exemplify Postmodern design, as their appearance

furthermore, the colour scheme was to remain neutral

is based off of conventional designs of the past, but possess their

(Germer and Blower, 2009). Thus, the building’s exterior

own unique originality and novelty (Groat, 1982). The lights guide

is predominantly made of red sandstone and tan plaster.

patrons through the museum, bringing them on a journey of what

The facade itself can be interpreted as a series of layers,

seems to be a never ending change in elevation. The museum’s

each one involving a different pattern and arrangement

layout is difficult to decipher without consulting a floor plan, as

of materials. Every set of windows is dissimilar from those

each room involves entirely different dimensions and scale. The

in another area; the type of steel framing details vary; the

way in which Hollein played with the height of the spaces, and

shaping of exterior walls changes from one floor level to

how he achieved connecting them, is extraordinary. He was able

another. These deviations, carried out with unparalleled

to successfully create moments throughout the building wherein

attention to detail, are characteristic of both the architect

one may enjoy the room that they are in, while simultaneously be

who designed them as well as the style in which they

granted the opportunity to look out onto an entirely new space

were actualized. The interior of the Museum of Modern

- either through balconies, windows, or terraces (Hollein, 1989).

Art also successfully demonstrates Hollein’s mastery of

This makes for some immensely dynamic thresholds, testing the

Postmodern design. Guests are exposed to this style

limits of inter-connective spaces. To get from one area to another,

one must either climb numerous flights of stairs, or utilize the

as a few within the downtown core. All of the museums

found on all three floor plates. What is common among all the

that were established feature works in the visual art

levels of the building are the intense bursts of colour interspersed

field. This includes painting, sculpture, furniture design,

throughout. The softer tones on the exterior of the museum are

photography, architecture and model-making, film

counteracted on the inside, where many of the walls are painted

and general installations (Barker, 1999). Boasting a rich

with bright oranges and greens (Barker, 1999). This was done not

diversity of mediums, The Museum of Modern Art is a

for any specific reason, other than to ignite the visitors’ senses

place where most everyone can find a point of interest.

with sharp contrasts. As for the exhibitions showcased, a number

Established at a period of time when much political

of interior spaces were designed to house specific installations,

turmoil was going on in the country, as seen with the

which would permanently remain in those rooms. As Hans Hollein

fall of the Berlin Wall in 1989, MMK marks a progressive

himself stated about the MMK, there are “only characteristic

movement - encouraging all people, throughout the

spaces of different sizes that enter a dialectical relationship with

nation, to contribute to the arts community (Barker,

the artwork, to their reciprocal advancement” (Woods, 1999).

1999). Not only is it a popular tourist destination for

The art displayed within plays off of Hollein’s architecture, and

those exploring from abroad, it acts as a platform for

vice versa. By observing diverse elements within the Museum

local artisans to converge and display their own pieces

of Modern Art, like the ones mentioned above, it is easy to see

to fellow citizens of this lively city. Over 5000 original

that Hollein rejected the strict rules set by Modernism, and

creations are displayed within MMK’s walls, many of

went ahead with his own creative design tactics exemplifying

which come from native German artists (Kuchenbuch,

postmodern style.

2015). The building is a connective element that provided, and continues to provide, a platform for

His Impact:

Germans, and citizens of other countries alike, to come together and serve the public through creativity and

A number of positive changes seen throughout the 1980’s

freedom of expression. Hollein’s dedication to the design

and 1990’s in the city can be attributed to the establishment

of Museum of Modern Art, accompanied by the word

of museums,

community interaction

of various architects of surrounding museums, have

and cultural exchanges (Kuchenbuch, 2015). The programs,

provided a medium for collaborative expression among

exhibitions, events and social functions which are regularly

the artists of Frankfurt (Holein, 1989). The pieces held in

scheduled at the museums bring about much good in the

these museums provide a spotlight for the stylistic and

community. Internally, they offer a place where people may

thematic elements which have formed modern German

converge to share ideas about artistic and cultural topics (Barker,

culture, and allow every individual artist to contribute a

1999). Hans Hollein’s Museum of Modern Art was constructed

unique piece of Frankfurt’s artistic puzzle.­

including

increased

within the city of Frankfurt’s art and culture initiative. At this time, the city’s urban planners designated certain regions of the city as optimal sites for new building projects to be developed (Kuchenbuch, 2015). Specifically, the proposals were all to share a common programmatic theme: public gallery spaces. These museums would each house different exhibitions showcasing unique subject matter, but were all initiated as part of an effort to promote tourism, as well as revitalize the waterfront and a series of Frankfurt’s downtown neighbourhoods (Germer and Blower, 2009). The majority of the building sites are located along the Main River, where over twenty different museums were erected in a grouping labelled Museumsufer or Museum Riverbank, as well

26

Conclusion: Hans Hollein played a crucial role in the restructuring of Western Europe’s architectural endeavours, following the immense destruction of World War II. The Museum of Modern Art in downtown Frankfurt is a clear representation of his expertise regarding Postmodern style, and the mark his career left on German culture. Its unmistakable form and impressive detailing sets it apart from surrounding Modern projects, and demands the attention of architectural professionals alike (Kuchenbuch, 2015). The MMK itself, as well as the artistic compositions housed within, have a great impact on the way in which visitors interpret and respond to their environment. The postmodern style of the building, paired with the innovative nature of its exhibitions, introduces a stark contrast between the old and the new - reminding its visitors of the city’s storied past, and challenging them to think ahead to the future. This mix of aesthetic qualities is typical of Postmodern architecture. What is, however, more important than the physical appearance of the building, is the purpose it serves to the public. The museum has allowed for the city of Frankfurt to expand culturally, promoting tourism and freedom of expression. Collaboration is the integral activity that the museum strives to support. People from across the globe are given an equal opportunity to have their pieces displayed inside Hollein’s stunning gallery spaces, as the museum accommodates the exhibition of innumerable works of art. It is only within these types of creative environments where new ideas and concepts have the opportunity to be shared publicly. In this domain of collaborative expression, the world’s most talented artists provide the cultural foundation of the future, perhaps shaping societal advancement for generations to come.

27

BIBLIOGRAPHY • Barker, E. (Ed.). (1999). Contemporary Cultures of Display. New Haven, CT: Yale University Press.

• Germer, S., & Blower, J. (2009). The italian hope: Rationalist architecture’s role and reception in germany. Art in Translation, 1(3), 339-380.

• Groat, L. (1982). Meaning in post-modern architecture: An examination using the multiple sorting task. Journal of Environmental Psychology, 2(1), 3-22.

• Hollein, H. (1989). Design: MAN TransFORMS - Concepts of an Exhibition. Wien : Löcker.

• Kuchenbuch, D. (2015). Architecture and urban planning as social engineering: Selective transfers between germany and sweden in the 1930s and 1940s.Journal of Contemporary History,51(1), 22.

• McMordie, M. (1979). The language of post-modern architecture The Society of Architectural Historians.

• Steen, A. P. (2015). Radical eclecticism and post-modern architecture. Fabrications: The Journal of the Society of Architectural Historians, Australia and New Zealand, 25(1), 130-145.

• Woods, T. (1999). Beginning Postmodernism. Manchester: Manchester University Press.

28

29

30

Kultour - 2016

31

Italy Architect

Giovanni Ponti

Project

Torre Pirellone

Author

Paul Szywacz

Date of completion

1958

War is commonly perceived as a negative and chaotic act it is uncommon to view the aftermath of war as something that is positive, let alone consider the demolition of a city as an opportunity victim to a bombing raid in which many buildings were damaged including factories, train stations and the city hall. Of the affected factories, the tire and rubber manufacturing company Pirelli had its factories entirely destroyed during the final area bombings of 1943.

Possagno Venice

for a new beginning. Being part of Italy’s industrial triangle, Milan fell

Verona

that does nothing but destroys cities, people and relations. In fact,

Frankfurt Milan Como Cernobbio Bergamo

Giovanni Ponti’s Crystalline Masterpiece

Following the destruction of Milan during World War II, the Pirelli company constructed its main office building where the original factories once stood. Upon its completion, the tower became a gateway into the modern age for Milan and a symbol of strength for the entire nation of Italy. The development of the Pirelli Tower began an era of modernization for the city of Milan, where new architecture was introduced into the city and appealed to the desires of the Milanese people. A risk was taken to tread away from the traditional style of Italian buildings one would find in cities such as Florence or Verona; a risk that was only made possible after the events of a highly destructive war. The Pirelli Tower is revered for bringing 32

the city into the twentieth century, and has led to influencing other projects as the Metlife building in New York and the Alpha Tower in Birmingham. Ponti used the phrase “Architecture is a crystal” to describe his ambitions, especially the conception and realization of the Pirelli Tower. Of course, the factories’

“Upon its completion, the tower became a gateway into the modern age for Milan and a symbol of strength for the entire nation of Italy.”

destruction allowed for the development of this architecture, and without the war the factories would not have been able to move to the northern La Bicocca region as quickly as they did.

Fascist Italy For the beginning of the first World War, Italy remained neutral but soon sided with the Allies and fought against the Central Powers. It was around this time that Benito Mussolini had his beginning as a young socialist, spreading his ideas and running campaigns that got him into trouble with the authorities. After being released from prison for campaigning against the government, Mussolini was gifted the editor position of a socialist paper which he used to maximum advantage, gaining the trust and affection of the Italian people. A documentary cataloguing the events of Mussolini’s life states “[Mussolini’s] articles had

33

a separate following, and the newspapers sales

Sir Arthur Harris in an attempt to persuade the Italian

skyrocketed. Mussolini’s fame spread in Italy”(Ramki,

government to surrender. Italy’s “industrial triangle”;

2004). Eventually, Mussolini went against the socialist

Milan, Turin and Genoa, were the main targets of the

paper and began to support the government that he

area bombings. “On the night of 14/15 August, fires

was writing against. This turn of opinion had lost him

were still raging when another bombing was carried

the role as editor in the socialist paper, however he

out by 134 Lancasters, which dropped 415 more tons

had already garnered a large following of likeminded

of bombs. Several factories (Breda, Pirelli, Innocenti,

supporters, and created the Italian Fascist party which

Isotta Fraschini) and the Farini marshalling yard were

soon became the leading party in Italy. Going against all

badly hit”(Rastelli, 2000). The night of August 14th

efforts by the league of nations to stop him, Mussolini

1943 marked the destruction of the Pirelli factories

led an offensive through Africa, which was actively

in Milan, and were among the final bombings in Italy

encouraged by the leader of Nazi Germany; Adolf Hitler.

before the Bomber Command halted its attacks. Once

Nazi Germany was the only country in Western Europe

the war ended, Italy was in economic ruin and had

that had not turned against Mussolini and paved a

to begin post-war reconstruction and people turned

way for the Pact of Steel, which tied the two countries

to architecture to promote a sense of healing. Unlike

together in the event of war. Germany’s aggression

more traditional cities such as Florence, Milan and the

inevitably led to World War II and began attacking and

Milanese people wanted the city to be brought into

conquering nearby countries, Italy had been neutral

the twentieth century and were accommodating to

during the beginning of the war but joined the fight by

new ideas and architectural styles. The wealthy Pirelli

attacking a weakened France. Allies landed in Sicily in

company intended to make a new office building and

July of 1943 and managed to push German and Italian

therefore had the opportunity of constructing a new

forces off the island, and following the fall of Mussolini

building in the city’s centre. “Much of the credit for the

were the area bombings that were commanded by

building goes to Alberto Pirelli, who guided his family’s

34

company in the postwar era, and who wanted an

to a publication by the University of Milano-Bicocca,

american-type skyscraper as a corporate symbol.

“Perhaps it is no coincidence that the imposing, slightly

The Milanese had also always dreamed of building

oppressive monumentality of the station stands just a

tall buildings, and the city plan of 1953 designated

few dozen meters from the modern, linear form of the

the area near the train station for office buildings.”

skyscraper, as though in an inevitable clash between the

(Ziegler, 2009). Giovanni Ponti’s studio was selected

old and new.”(Ziegler, 2009). The Pirelli Tower and the old

to design the new building, which was intended

Stazione Centrale stand together as a reminder of what the

to be a skyscraper; a reflection of what the city’s

old architectural language had turned into, and the events

population and client wanted.

that had led to that change. Ponti lead the design with his famous quote “architecture is a crystal” and behind that,

Architecture is a Crystal

his philosophy had driven many aspects of the realization of the project. In Ponti’s dreams, architecture was not only

Giovanni Ponti assembled his studio along

meant to be a crystal but more so a diamond, which is the

with Arturo Danusso and the famous structural

perfect crystal and was a “closed form”. He believed that

engineer Pier Luigi Nervi. Their collaboration

many of the glass towers that were being built in the post

resulted in a 127m tall, 33 storey skyscraper built

World War II era were not closed forms and were open

of prestressed, reinforced concrete, that sits on

and dimensionless. Rejecting these projects as true works

a podium which accommodates parking for 800

of architecture that lend to the world of the art, he made

cars. The final construction appealed to what

it so that the design of the Pirelli Tower was of a closed

the Milanese people had wanted; a modern

and finite form, impossible to be expanded. The width of

skyscraper, and became the tallest building in

the building diminishes towards the ends to a point, and

Italy and one of Europe’s first skyscrapers. Its

the columns throughout the building each taper as the

contemporary architectural style contrasted with

buildings height increases so that at the highest level, the

the more traditional forms that surrounded the

columns are as thin as physically possible. “[Nervi] helped

building, making it even more evident that the city

Ponti by reducing the pressure of the vertical load bearing

had entered into the twentieth century. According

structure on both triangular elements at the narrow sides,

“The width of the building diminishes towards the ends to a point,”

35

the inner pillars, and the wind hatches on the central

the architectures “crystalline form”. “the thirty three

area of the building. This invention became as it were the

story skyscraper built in central Milan for the Pirelli

building’s graphical motto” (Roccella, 2009). This structural

company, was conceived as a ‘closed’ or ‘finite

innovation led to the building garnering as much praise

form’. The Pirelli was a ‘finite form’ by nature of

as it did, and became a recognised architectural icon.

its ‘structural innovations,’ designed with the help

Through collaboration with his team, Ponti had designed

of Pier Luigi Nervi, which did not permit for any

a building that resonated throughout the entire European

expansion of its essential form.” (Green, 2006). All

continent, making it an international architectural icon. The

the design decisions from materiality to placement

realization of the tower is important to Milan’s history as

of architectonic features ensured that the building

it is a crystallization of the efforts that were put towards

was unable to be expanded. This created a new

repairing the city, and the outcomes. In the afternoon of

architecture amidst the more traditional Milan that

April 18 2002 however, an incident at the tower shook

stood out, and was a recognizably new project.

Milan and the Italian government. An airplane left from

Giovanni Ponti foresaw the effectiveness of his

Sweden and was travelling north when it ran low on fuel

ideology before the realization of the Pirelli Tower,

and prepared for a crash landing, unfortunately it collided

when he wrote an article for the Italian magazine

with the building causing substantial damage to the 26th

“Stile” titled “What will be the architectonic ‘style’

and 27th floors. The building was repaired rather quickly,

of the future?”. Ponti attempted to answer the

only 2 years after the crash the tower was entirely repaired.

question that he posed in the title in the same

Efforts were put in to ensure that the architectural style

article, “‘there will be a shift from the heavy to the

was not compromised, and the vision that Gio Ponti had

light, from the opaque to the transparent…. There

was not broken from the original design. “the restoration

will be a light and transparent, simple style, linked

works on the Pirelli Tower adhered to a proper compliance

to simplified social customs.’”(Green, 2006). This

with principles of conservation and restoration. Any

paved the way for Milan’s entry into the modern

repairs should preserve the original design concepts and

era, and being among the first of its kind in Europe,

authentic materials in a modern architecture conservation

would be looked at as a precedent for many other

project.” (Campanelli, 2013). The post war reconstruction

buildings. Although other buildings could have

of Milan was symbolised through the Pirelli Tower, and it

been considered “modern” before Milan, this does

was crucial to the city to maintain that notion even after the

not stop the city from influencing the architecture

disaster that transpired in 2002. Giovanni Ponti’s dream of

in other cities. New York’s Metlife building,

“architecture is a crystal” was successfully preserved and

Birmingham’s Alpha Tower and the Center Point in

the Pirelli Tower remained as a symbol of power and post

London are a few examples that drew inspiration

war reconstruction.

from Ponti’s diamond. “The representation of architecture is a crystal suggests that ‘everything

The Pirelli Tower Today

made now is… a variant of something made a little

time ago’ in a ‘ continuous connection...to the first

The building itself successfully realizes Gio Ponti’s

morning of human time.’ Ponti’s proclamation

ideology of “architecture is a crystal” through its innovative

Architecture is a crystal suggests that all works

design and expressive form. It contained architectural

of architecture might be connected to all others

elements that were driven by his motif, and solidified it

across time by virtue that they share a primary

as a diamond which he describes as the “perfect crystal”.

reference to the crystal”(Green, 2006). All aspects

Ponti also took after Dante’s poetic structure and ensured

in regards to the buildings design, intent and

that the building contained thirty three storeys, the divine

resonance reflect Ponti’s claim that architecture

number that could not be exceeded without destroying

is a crystal. The Pirelli Tower is Giovanni Ponti’s 36

Magnum Opus, as it is the building that he is most recognized for and has had the strongest effect on the architectural community. The building illustrates how accommodation to new ideas can allow individuals to produce architecture that echoes through time.

Giovanni Ponti uses his famous phrase “Architecture

is

a

crystal”

to

describe

his

architectural ambitions and behind that phrase is an entire philosophy of design. A philosophy that he developed through his many other architectural works and designs. It is undoubtedly evident that Ponti successfully achieved his architectural goal, that is, to make a building that one may call a diamond; a perfect crystal. The success of the design of the Pirelli Tower leads one to believe that this work of his is his zenith. The tower is particularly important in the crystallization of Milan’s new modern image that welcomes change, and what helps this message become more clear is the contrast that the building has being located next to the old train station. Even more, the skyscraper became a symbol of Italy’s industrial power and its economic growth after the second World War. Looking at the condition that the country was in immediately following the war, it is clear that the country was in an economic crisis and most of the country was in ruin. This catastrophic decline for the country was spearheaded by the fascist leader of the country, Benito Mussolini, who had worked his way from a young socialist to a powerful political figure. His ties with Adolf Hitler led to the destructive attacks on the city of Milan, that destroyed much of the cities infrastructure and architecture. Although highly destructive, the second World War had shifted the country’s stagnant position that eventually led to its rise into the modern era. Without the area bombings of 1943 it would be difficult to imagine how the factories in the center of Milan would be relocated to the north so swiftly, allowing modern architecture to be built within the city.

37

BIBLIOGRAPHY • Ponti, L. L., & Ponti, G. (1990). Gio Ponti: The complete work, 1923-1978. Cambridge, MA: MIT Press.

• Roccella, G., & Ponti, G. (2009). Gio Ponti, 1891-1979: Master of lightness. Köln: Taschen.

• Fiameni, C., Gallina, G. (2003). The Incident at the Pirelli Skyscraper: A Case Study. Proceedings of the CIB-CTBUH International Conference on Tall Buildings. CIB Publication NO: 290. 703-710.

• Green, K. E. (2006). Gio Ponti and Carlo Mollino: Post-war Italian architects and the relevance of their work today. Lewiston, NY: Edwin Mellen Press.

• Campanelli, A. P. (2013). Restoration of the façade of the Pirelli skyscraper in Milan and the repair of damage to reinforced concrete structures caused by a plane crash: An example of critic conservation (Report No. 3). Retrieved from https:// www.academia.edu/7071879/Restoration_of_the_fa%C3%A7ade_of_the_Pirelli_skyscraper_in_Milan_and_the_repair_of_ damage_to_reinforced_concrete_structures_caused_by_a_plane_crash_An_example_of_critic_conservation_Frontiers_ of_Architectural_Research_2014_3_pp._212-223 • Brief History of Mussolini & Fascists in WW2. (n.d.). Retrieved August 23, 2016, from http://www.custermen.com/ ItalyWW2/History/Fascists.htm • Exeter University. (n.d.). Bombing, States and Peoples in Western Europe 1940-1945. Retrieved August 23, 2016, from https://humanities.exeter.ac.uk/history/research/centres/warstateandsociety/projects/bombing/italy/ • Foot, J., & Hibbert, C. (n.d.). Benito Mussolini. Retrieved August 23, 2016, from https://www.britannica.com/biography/ Benito-Mussolini • Ziegler, Claudia J.(2009). Out of Ashes and Rubble: The Pirelli Tower. Places, 21(1), 14. Retrieved from: https://escholarship. org/uc/item/16v9d2pd • Pirelli Tower - Gio Ponti. (n.d.). Retrieved March 16, 2016, from http://www.gioponti.com/pirelli-tower/ •

Kazakov, S. (2016). Pirelli Tower - the first modern Italian skyscraper (A. Ostapenko, Trans.). Retrieved August 23, 2016,

from http://milan.today/en/interesting/pirelli-tower-first-modern-italian-skyscraper • Pirelli Tower | ArchiTravel. (2015, November 6). Retrieved August 23, 2016, from http://www.architravel.com/architravel/ building/pirelli-tower/

38

Kultour - 2016

39

Italy Architect

BBPR Architects

Project

Torre Velasca

Author

Navindra Budhawa

Date of completion

1958

cultures, has also been home to their ancient civilizations and thus architecture. For centuries, pre-Italian kingdoms have been distinguished for producing notable, highly influential works of architecture intrinsic to foundation of architecture. But, as time goes by it becomes more challenging to keep up with grandeur works modern society. Despite this we see remnants of the past in modern architecture, whether it be seen in the organization or methodology war two, Italy saw a boom in economic growth and development.1 After being devastated by war, the Marshall plan, created by the United Stated to rebuilt war torn countries, saw the rise to what Italy would refer to as: the economic miracle. It was during this time that parliament saw an increase in its population, with an average of 21%

Possagno Venice

of form; proportioning and shape. In more recent years, post-world

Verona

of the past, so we are forced to change and adapt for the needs of

Frankfurt Milan Como Cernobbio Bergamo

Italy, being renowned for its various collection of ancient

of families living in overcrowded dwellings. These results indicated 2 a need for housing, hence the boom in construction. Europe was

also going through a change in architecture with the introduction of early modernism a few decades before. It was in the 1950’s – 70’s that Europe saw a great number of mixed use buildings being fabricated. All of these factors lead to the notable construction of the Torre Velasca, as it was built with an unusual style and remains one of Europe’s most intriguing ‘medieval’ towers. 3

40

Figure 1- The Torre Velasca’s Podium and Program layout

Its unusual style is seen in contrast to the modern movement of the time, where architects designed with

a brutalist style.4 This was to essentially fight the movement of curtain glass facades with a contrasting opaque cladding. Located in Milan Italy, the architectural partnership behind the building was BBPR, which consisted of Banfi, Belgiojoso, Peressutti and Rogers. Similar to Toronto’s tower construction, the building consists of a two level podium containing retail and service space. Due to the Torre Velasca’s dense location in the center of the city, the mid portion of the building consists of a slender shaft, which houses the office portion. The regular window grid pattern on the lower levels, express the feeling of an office with traditional stacking. However the top six floor cantilever from the main structure, expanding the floor plan, giving way to residential duplexes, with an irregular window pattern to signal that. 5The continuation of this paper will look in-depth at the events and circumstances leading up to the creation Torre Velasca as well as the context it was done in. Furthermore it will seek the economic and technological ideas behind its construction whilst giving details to its outer working.

Whilst belonging to the first generation of Italian modern architecture, an attempt was made by BBPR to relate the Torre Velasca to the surrounding context consisting of cathedrals, bell towers, and the Sforza Castle.

Sforza Castle is a medieval styled citadel, made of brick and wood.6 The Torre Velasca draws from this style of architecture as it also resides in a medieval city. Its structure recalls the Lombard Tradition of substantial profiling of towers and medieval fortresses. Furthermore, the use of heavy stone as a cladding system, creates a perceptible medieval flare, in addition to, reinforcing the idea of anti-modernism that was enveloping Italy at this time. This contrasted the push for curtain wall systems. This medieval flare is also noticed in the sloping copper roof, and red hue of the cladding, similar to the brick used in the Sforza Castle.7 41

The small windows also give the appearance of a medieval tower, with its massive proportions. Such towers were used in times of war to depend from invasion, similarly this watch tower is seen to depend against modernism.

Although the buildings physical attributes are that of medieval tower, the architects from BBPR have stated that the form was due to the mixed programming, city height restrictions, and the need to place dwellings on the top of the building; while the red hue was to avoid the modernist pallet of bright colours in favor of traditional Milanese materials— brick and stone. The Torre Velasca was able to build upon these ancient ideas and connect the modern building to the city’s historic past, without seeming out of place. BBPR reacted to the polemic international style by enriching it with medieval elements, responding to its prominent location near Milan’s historic center. It was this resistance to the modern movement that created a controversy on postmodern housing.

Figure 2 - The profiling and resemblance to a medieval tower

In the 1950’s an important philosophical debate took place on the future form of architecture, and what ideology architects should follow. Being opposed to the modernist movement, BBPR’s Torre Velasca was a key neo-liberty styled architecture, and a retreat from modern design. Completed in 1958, it was presented in the following year at the CIAM conference, and perceived by many, as the worst Italian attempt at escaping the modern movement.8 The controversial building represented the tendency to withdraw from functionalist and rationalist doctrines of the modern movement, and instead embrace the regional vernacular and nostalgic values Italy held upon.

42

The modern uprising could be captured with the movement known as the international style which independently developed in Europe, where architecture eschewed ornamental design and embraced the machine age. This saw the increase in the use of steel, glass, and concrete in new ways, and setting aside conventions of the past.9 The plans of these buildings often include completely open plans and minimal loadbearing walls, which allow for large expanses of glass, cantilevered roofs, smooth blank exteriors, and flat roofs permitting terraces and decks. These improvements were very similar to Le Corbusier’s five points of new architecture, where he stated modern age buildings should consider: pilotis, the free façade, free plan, Ribbon windows, and roof gardens. The international style exhibition, held at New York in 1932, achieved a holistic appreciation of the new style, creating and identifying a common language between architects all over the world. A further step towards the cohesive modern movement came in 1928, with the establishment of Congrès International d’Architecture Moderne (“CIAM”).

Figure 3 (right) - The use of modern materials to create an open ground floor enclosed by glass

Figure 4 (left) - The modern Pirelli Towers, built using the ideology of the time.

The meeting was organized by Le Corbusier and included twenty eight European architects, including Walter Gropius and Alvar Aalto who later joined.10 This group identified the principles of the movement and sought to act as a political collective, using urban planning to improve the world. As BBPR was designing in Milan, Carlo Scarpa and Alvar Aalto was accomplishing significant modernist projects in Vento andVenice. A greater understanding of the opposition BBPR felt towards modernism is seen by looking at buildings built at the same time. Take as an example, the Pirelli Tower built by Ponti and Nervi in Milan the same year as the Torre Velasca by. Although both buildings have the same physical, cultural, and economic context, Pirelli Towers has a completely different material build and theme as it followed modern trends. The light appearance and redundant use of stacked windows prominently contrasts the heavy, brutalist form of the Torre Velasca.

43

As the modern movement consisted of mentioned characteristics, the Torre Velasca opposed and went with what could be argued as the complete contrast of modernism. This style of architecture as Shonfield states, is the most honest and purest form of architecture, regarded as brutalism.11 Brutalism, described as an uncompromisingly modern form, was developed in Europe between 1945 and 1975.12 It was advanced during the post war period, when politics as well as architecture muddled.13 What is key to this style is the blunt approach it takes on form. The Torre Velasca in its simplest form, is an oversized cube dully sitting atop another, but it is this dulled appearance that contrasts modern Italian architecture. The adoption of the brutalist style comes with the trademark bleak, uncovered, grey concrete, as is the case with Unitè d’habitation. In addition with the repetition of modular elements, brutalism is seen to separate programmatic spaces into distinct architectural elements seen in the buildings form.14 In terms of the Torre Velasca these components are noted firstly in the building material.

Substituting the grey concrete, the Torre Velasca contains a red tinted stone cladding system maintaining the blunt heavy look. In person and approaching the building, one could have easily mistaken the façade as solely precast concrete panels if not for the red tint. Although the material pallet looks like precast concrete panels, it is also in addition to stone, and glass work, which is regarded as brutalist materials.15

Figure 5 - Depicting the pure, elemental, material pallet. The images also exhibit the heavy look to the Torre Velasca

This is due primarily to the material being elemental rather than a hybrid, in the same sense as concrete

opposed to plastic. It is the pure material that produced a raw edge or recessed joint, which is what Shonfield calls “honest” when used in addition to architecture. Furthermore, brutalist tendencies are in the separation of its three major spaces, in accordance to the building form.16 The south, two storey pavilion contains retail space and is designated as the first programmatic space. The second form is the first portion of the tower containing commercial and office space, while the third and last programmatic space is the cantilevering box atop, which contains the residential space. Doing this created a clear definition in the simplicity of the programmatic elements of the building. It is also due to the repetition 44

in the tower that reinforces this modular notion, especially in the first 18 floors.17 It is also this portion of the building that contains many verticality’s including the external structural columns, window detailing, underbracing, and stacked windows. This gives a gothic notion and logic to the building, as well as reinforce the dense flare of the brutalist era.

Figure 6 - The left image shows the separation of major spaces; Right shows the verticality’s of the building

Although the form and style of the Torre Velasca was widely debated after its construction, the need for a building of its programmatic values was generally welcomed in the 1950’s. After World War Two, Italy was left devastated economically, but was given the chance to rebuild itself. After becoming a founding member of NATO (1949) and a member of the United Nations (1955), the Italian economy was revived by the Marshall 18

plan.

The Marshal plan was an American based initiative to recuperate war torn countries, which consisted of

a loan and grant system of 12 billion dollars, Italy of which received 1.2 billion.19 It was an attempt at jump starting the European economy and further boost trading with the United States. At the end of the 1950’s the economic growth in Italy was dubbed the “Economic Miracle”, a term still used in Italian politics today. The period lasted from 1950-63 and saw an annual growth rate of 6 percent, contrasting heavily with the years of sacrifice and conservation during the war. Italy saw the largest per capita income growth rate in Europe, but also contained a poor infrastructure.

45

In 1953, Parliamentary Commission on poverty found 21% of families living in overcrowded dwellings, 52% of homes in the south without running water and only 57 percent contained lavatories.20 However the north flourished industrially and this exacerbated social contrasts, diving the country. Despite this Italy became an important member in the western economic world and proved to be, one of few countries, with a dynamic growth in both imports and exports. This created a massive population transfer within Italy, many of which choose to move to northern Italy for its booming economy compared to the impoverished south. With this growth saw an expansion of new construction, industry and investments: between 9 and 11 percent a year, more so in the north.

The 1960’s saw an upsurge in protests with many changes occurring in the social aspect of Italian economic culture. These years saw social improvements in public services, better working conditions and changes to industrial

Figure 7 - This diagram shows how the area of displaced residents is compensated by the number of residential floors.

relations to guarantee greater job security.21 Larger companies could finally begin to take on larger sizes and still be financially stable. The Italian social security was also greatly improved win increases in pension, better compensation for unemployed, and a series of measures leading to a National Health Service.22 With all of this development happening in such a short period of time, the economy was still attempting to sustain this substantial growth. This created the need for further development in northern Italy, in terms of additional residential and commercial space, with supporting infrastructure. Milan being in the optimal location during this time, was propelled into a series of developments,

46

Eventually becoming the leading financial, manufacturing, and commercial center of Italy. Milan was in the heart of trading market due to its geographical position, and saw the rise of the Torre Velasca to compensate for the need of residential and commercial building. The Torre Velasca was built to house the growing economy with regards to the lower office portion for the business class and the upper floors dedicated to residential. Most high-rises of the time d residents and pushed them out of the city in order to make room for office towers. We see this in the Pirelli Tower, and with most urban modern construction. However, the Torre Velasca managed to accommodate more residents then it displaced in the upper third of the building.23 This prevents the weakening of city centers that occur as offices replace residential construction.

Where many buildings are constructed along city street front, as the case in Toronto, The Torre Velasca was built in the center of its lot as to encourage the use of its plaza for residents and pedestrians to congregate.

This also fit with the multi-functional purposes of the building which allowed for a gathering place around the lower shops and exhibition space.24 One of the most notable features of this building is the projecting section of the upper six floors. The supporting diagonal struts are there to add stability to the cantilevered portion, 25

mimicking the gothic behaviour of surrounding structures.

The decision to express the braces was not needed

as the upper floors could have been easily cantilevered from the main structure. However, without the external supports the project would have been an exercise in modernist composition and construction.26 The tower was designed with the cities context in mind, considering the new growing trend toward glass curtain walls in highrises like this one.27 These curtain glass walls usually span a majority of the faรงade, and come with its own set of

Figure 8 - Both images show the external supports of the cantilevered floors

47

problems seen from a building science standpoint. However the Torre Velasca contains numerous window patterns created using empty walls, open windows and reflective glass surfaces. This allowed BBPR to play with the varied needs of the diverse people using it. On the interior of the building, floor plans are designed around the central mechanical shaft and double loaded corridor. The upper six projecting floors, supported by diagonal brackets, contain one and two bedroom apartment. Meanwhile the top two floors are penthouses with balconies as the two basement floors contain parking. In addition the 19th floor is slightly recessed to emphasise on the change in program, and contains mechanicals for the building.28 The interior space has been renovated and redeveloped to house a modern design.

The Torre Velasca was a challenge against the hegemony of the glass curtain wall, noting its use of cast stone panels, precast concrete mullions and limited window repeating.29 The period saw a revived interest in Louis Sullivan, and the Torre Velasca seemed to prove his teachings right, as a “sterile pile” of material become a “proud and soring thing”. The architectural forum, in 1959, labeled the curtain wall as an irritating eyesore, when used by the hands of less sensitive architects.30 BBPR used a lot of reinforced concrete in the Torre Velasca, one reason being that steel was an expensive commodity at the time. Concrete was used in the framework, while also appearing on the façade as cast-in-place and precast infill panels. This method proved to be an experiment 31

in structure, and urbanism that didn’t adhere to typical glass sheathing.

Although this building has received

criticism on numerous aspects of its design, it has been praised on its intricate details and functionality.

Figure 9 - The Torre Velasca seen from a distance, with its monumentality and braces coming into sight.

48

Approaching the building, all one feels is its enormous monumentality, as its mushroom shaped head peers above nearby buildings. It is at this point the first and most significant detail comes to sight, the diagonal struts. The concrete frames located on the façade act as a lattice enveloping the building, and holding itself together. Based on the structural diagrams, the bracing ties into the structure three floors below the cantilever.32 The inclined struts at the top of the expansion apply compression to the lower floor where they connect and tension to the upper. To compensate for this the, beams and pre-tensioned cables are used in the upper connection while the lower slab under compression is thicker than the others. The structure also includes concrete stair wells and elevator cores in the central corridor, to resist lateral loads. Traditional infill brick walls were using in the interior while precast panels on the outside.33 As one walks towards the ground floor pavilion, another interesting feature of the Torre Velasca comes to life. The fins circling the façade of the pavilion create a continuous flow from the main tower, maintaining the brutalist flare. It creates a heavy feeling as it seemingly floats atop the glass beneath. In addition, the fins match the verticality of the tower leaving that gothic reminder.

Figure 10 – Right image showing the structure of the struts; Left

image showing a rendition of how the bracing works in section.

Upon closer inspection, these fins contain more details, than they appear. They give the impression of partially supporting the roof structure, considering the second floor of the pavilion contains floor to ceiling glass spandrels. Since the second floor contains this much glass, it would be interesting to see these fins act as a shading device, which it may contribute to. However, upon closer inspection of the window panels, the interior contains an adjustable blind, hinting that more shading was required. The last and most interesting of the fin’s details is the drip edge located along its bottom. As water runs down its sides, the sides may get stained but the concrete below remains intact. The damage to the fins have reach the point where they chip and begin to deteriorate. Other notable details of this building include the window mullions which accentuate the gothic verticality, as well as frame each window. Above and around the pavilion is steel structure which is not original to the building. The addition was added, and bolted into the existing exterior columns. It creates a sheltered walkway for pedestrians and contributes to the Torre Velasca redevelopment.

49

Figure 11 - The drip edge of the fins, as well as one that has begun to deteriorate This is due primarily to the material being elemental rather than a hybrid, in the same sense as concrete opposed to plastic. It is the pure material that produced a raw edge or recessed joint, which is what Shonfield calls “honest� when used in addition to architecture. Furthermore, brutalist tendencies are in the separation of its three major spaces, in accordance to the building form. The south, two storey pavilion contains retail space and is designated as the first programmatic space. The second form is the first portion of the tower containing commercial and office space, while the third and last programmatic space is the cantilevering box atop, which contains the residential space. Doing this created a clear definition in the simplicity of the programmatic elements of the building. It is also due to the repetition in the tower that reinforces this modular notion, especially in the first 18 floors. It is also this portion of the building that contains many verticality’s including the external structural columns, window detailing, underbracing, and stacked windows. This gives a gothic notion and logic to the building, as well as reinforce the dense flare of the brutalist era.

Figure 12 - The steel structure that shelters the pedestrian walkway

50

Looking at Italy’s ancient history, its impressive track record and influential work is highly noted, especially in the field of architecture. One of many modern challenges Italian architects face is the issue of balancing the past and present and future in their designs. The Torre Velasca has accomplished both these feats by taking into account a great deal of Milan’s history and blending it with the modern movement of the 1950’s. After regaining its economic wellbeing after World war two, Italy was a booming country. With a population and business boom in Milan, commercial and residential towers were in need. Rather than choose one over the other, BBPR devised the Torre Velasca to house the mixed needs of the time. If not enough, BBPR decided to oppose the modern movement for many mentioned social factors. What was created was a 27 storey building containing offices on the lower narrower base and residential units on the protruding top. Although the shape of the Torre Velasca is fairly simple, without many angles, the outer details are essential to its working. This includes the pavilion fins, window mullions, and most notable—outer struts. The unique brutalist and gothic styled architecture raised many debates on the future of modernism, with mixed reviews of the building. Although many find it is easy to see how this building is a pleasant addition to the Milanese skyline, there will always be those to label it as they 34

see fit. And as some agree with, one of the world’s ugliest buildings.

Figure 13 - The verticality of the Torre Velasca, depicting window mullions.

51

CITATIONS • 1 Zamagni, V. (1993). The economic history of Italy, 1860-1990. Clarendon Press.

• 2 ITALY IN TO 1950’s AND 1970’s. (n.d.). Retrieved March 17, 2016, from http://www.italiaoutdoors.com /index.php/764-history-ofitaly/history-modern/1300-history-republic-1950 • 3 Binder, G. (2006). Tall Buildings of Europe, Middle East & Africa (Illustrated ed.). Images Publishing.

• 4 Shonfield, K. (2003). Walls Have Feelings: Architecture, Film and the Cit. Routledge.

• 5 Binder, G. (2006). Tall Buildings of Europe, Middle East & Africa (Illustrated ed.). Images Publishing.

• 6 Faber, M. (n.d.). Velasca Tower, BBPR | Milan | Italy | MIMOA. Retrieved August 2, 2016, from http://www.mimoa.eu/projects/ Italy/Milan/Velasca Tower/?abvar1 • 7 Housing Prototypes: Torre Velasca. (n.d.). Retrieved March, 17th 2016, from http://www.housingprototypes.org/project?File_ No=ITA022 • 8 Ibid • 9 Clement, A. (2011). Brutalism: Post-war British architecture. Ramsbury: Crowood.

• 10 Clement, A. (2011). Brutalism: Post-war British architecture. Ramsbury: Crowood • 11 Shonfield, K. (2003). Walls Have Feelings: Architecture, Film and the Cit. Routledge.

• 12 Clement, A. (2011). Brutalism: Post-war British architecture. Ramsbury: Crowood.

• 13 Shonfield, K. (2003). Walls Have Feelings: Architecture, Film and the Cit. Routledge.

• 14 Ibid • 15 Ibid • 16 Clement, A. (2011). Brutalism: Post-war British architecture. Ramsbury: Crowood.

• 17 Ibid • 18 ITALY IN TO 1950’s AND 1970’s. (n.d.). Retrieved March 17, 2016, from http://www.italiaoutdoors.com /index.php/764-historyof-italy/history-modern/1300-history-republic-1950 • 19 Zamagni, V. (1993). The economic history of Italy, 1860-1990. Clarendon Press.

• 20 ITALY IN TO 1950’s AND 1970’s. (n.d.). Retrieved March 17, 2016, from http://www.italiaoutdoors.com /index.php/764-historyof-italy/history-modern/1300-history-republic-1950 • 21 Zamagni, V. (1993). The economic history of Italy, 1860-1990. Clarendon Press • 22 Ibid • 23 Allison Hyatt. “AD Classics: Torre Velasca / BBPR” 14 Aug 2011. ArchDaily. Accessed 2 Aug 2016. http://www.archdaily. com/155121/ad-classics-torre-velasca-bbpr/24 • 24 Ibid • 25 Ibid • 26 Housing Prototypes: Torre Velasca. (n.d.). Retrieved March 17th, 2016, from http://www.housingprototypes.org/project?File_ No=ITA022 • 27 Allison Hyatt. “AD Classics: Torre Velasca / BBPR” 14 Aug 2011. ArchDaily. Accessed 2 Aug 2016. http://www.archdaily. com/155121/ad-classics-torre-velasca-bbpr/ • 28 Housing Prototypes: Torre Velasca. (n.d.). Retrieved March 17th, 2016, from http://www.housingprototypes.org/project?File_ No=ITA022 • 29 Rohan, T. M. (2014). The Architecture of Paul Rudolph. Yale University Press.

• 30 Ibid • 31 Ibid • 32 Chesi, C., Parisi, M., & Sumini, V. (2014, July 21). HISTORICAL REINFORCED CONCRETE HIGH-RISE BUILDINGS. The Velasca Tower, 5-8. Retrieved August 15, 2016, from https://nees.org/resources/12010/download/10NCEE-001067.pdf.

• 33 Ibid • 34 Worlds ugliest. (n.d.). Retrieved June 24, 2016, from http://www.telegraph.co.uk/finance/property/pictures/9126031/Theworlds-30-ugliest-buildings.html?frame=2159733

52

BiBLIOGRAPHY • Allison Hyatt. “AD Classics: Torre Velasca / BBPR” 14 Aug 2011. ArchDaily. Accessed 2 Aug 2016. http://www.archdaily. com/155121/ad-classics-torre-velasca-bbpr/ • Binder, G. (2006). Tall Buildings of Europe, Middle East & Africa (Illustrated ed.). Images Publishing.

• Chesi, C., Parisi, M., & Sumini, V. (2014, July 21). HISTORICAL REINFORCED CONCRETE HIGH-RISE BUILDINGS. The Velasca Tower, 5-8. Retrieved August 15, 2016, from https://nees.org/resources/12010/download/10NCEE-001067. pdf.

• Clement, A. (2011). Brutalism: Post-war British architecture. Ramsbury: Crowood.

• Faber, M. (n.d.). Velasca Tower, BBPR | Milan | Italy | MIMOA. Retrieved August 2, 2016, from http://www.mimoa.eu/ projects/Italy/Milan/Velasca Tower/?abvar1 • Housing Prototypes: Torre Velasca. (n.d.). Retrieved March 17th, 2016, from http://www.housingprototypes.org/ project?File_No=ITA022 • ITALY IN TO 1950’s AND 1970’s. (n.d.). Retrieved March 17, 2016, from http://www.italiaoutdoors.com /index.php/764history-of-italy/history-modern/1300-history-republic-1950 • Rohan, T. M. (2014). The Architecture of Paul Rudolph. Yale University Press.

• Shonfield, K. (2003). Walls Have Feelings: Architecture, Film and the Cit. Routledge.

• Zamagni, V. (1993). The economic history of Italy, 1860-1990. Clarendon Press.

• Worlds ugliest. (n.d.). Retrieved June 24, 2016, from http://www.telegraph.co.uk/finance/property/pictures/9126031/ The-worlds-30-ugliest-buildings.html?frame=2159733 • Picture References • • Figure 4 • Pascucci, D. (2014). AD Classics: Pirelli Tower / Gio Ponti, Pier Luigi Nervi. Retrieved August 2, 2016, from http://www. archdaily.com/481062/ad-classics-pirelli-tower-gio-ponti-pier-luigi-nervi

53

54

Kultour - 2016

55

Italy Architect

Aldo Rossi

Project

Gallaratese II Housing

Author

Anthony Baduria

Date of completion

1974

A subdivided complex clad and characterized by the generous amounts of concrete, Aldo Rossi’s addition to the Gallaratese II Housing retains itself as a modest living quarters for the suburban inhabitants of modern Milan. It is a neo-classical multi-house seamlessly a building blends within its context despite stealing the it was upon conception makes it a piece victim to the changes of culture. Although not as renowned compared to his other works, Rossi provides a housing prototype that seeks to express his values: “One can say that the city itself is the collective memory of its

Possagno Venice

most attention. Its change in usage paling in comparison to what

Verona

precedent for architects and urban planners showcasing how

Frankfurt Milan Como Cernobbio Bergamo

Introduction:

people, and like memory it is associated with objects and places.

The city is the locus of the collective memory.�1 An effort to provide the city of Milan a place that can nurture and develop the new generation, the Gallaratese II Housing project refined a typology, a style, that became an indispensible design foundation to the makings of modern Italy.

56

Picture 1: Bridge between the two blocks; Rossi (left), Aymonino (right)

Background

“One can say that the city itself is the collective memory of its people, and like memory it is associated with objects and places.

The city is the locus of the collective memory” - Aldo Rossi

Milan was in dire need to provide housing for its citizens and veterans following the end of World War II in 1945. Italy’s defeat in the war left their economy in tethers with people unable to work, food now scarce all while burdened with the responsibility to pay off various countries in accordance to the Paris Peace Treaties and Marshall Plan established in 1947.2 People were in a state of immense stress and depression as their mental and physical health deteriorated. The introduction of the First Republic led primarily by Christian Democrats in 1946 was a necessary change for Italy’s government which was once fascist. This decision allowed Italy to survive through the impending Cold War, prospering even.3 Subsequently, they provided a vision that sought to solve the weak economy; the development of a modular large-scale housing complex which would house the many left homeless from the war. The people of Italy found difficulty sustaining themselves in how they were currently living so the new government proposed for large masses of citizens to live together under a compound constructed with identical units.4 Further equipped with various commodities such as a park, and in the Gallaratese’s case an amphitheatre,

57

these modules would imitate the structure of a small city in order to replenish and rebuild its economy. Equal housing, spaces for public interaction; perhaps this was the result of the seemingly left –wing values leftover from the fascist rule that mixed together with the new democratic direction. Eventually the Gallaratese II Housing complex became a model for how large scale social housing is designed today.

The Gallaratese II Housing Complex contains 440 dwellings, was built over a lapse of seven years beginning in 1967 and ending on 1974 - and designed through the joint effort of architects Carlo Aymonino and Aldo Rossi. Its materials consist primarily of concrete with stucco along the ceilings and metal to reinforce the structure, provide accessibility or finish a window. It is a multi-purpose building found to be quite rare in its time containing both shopping spaces and offices in addition to its housing. There are 3-8 floors depending on the type of block it is, that of which numbers to a total of five blocks.5

Observations: Surrounding Context + Movement Partaking in a direct site visit to the Gallaratese project provided an opportunity to observe and review various aspects of the building. Inhabiting the space, touching the material, and circulating throughout something so very foreign impacts the architectural student quite powerfully. The aspiring students prior studies are realized the building that was once just a ‘cool’ building are instead observed not only objectively but critically. .

Situated along the Via Gaetano Fichera and the Via Enrico Falck is a vast park, highlighted by an abundance of matured trees and a simple centralized play area.6 With flora planted in a manner that surrounds and encloses, the Gallaratese housing units lay obscured and seperated from the public road. A level of privacy is created that was not initially there when conceived which double-acts as an expressive motif. The large shear concrete walls that structure block D provide a plethora of views and openings for people to enjoy.

Picture 2: West façade looking upwards along drainage path

Picture 3: Entrance from main driveway connecting to main circulation space

58

Creating an almost seamless passageway

Observations: Joint + Structure

between the driveway entrance, the hallway, followed by green space makes the stoic shade

Although appearing seamless, there is a small

of pure concrete a balanced component that

separation in unit D visible when viewed internally or

juxtaposes nature. Natural light spills through the

observed carefully from the parallel unit B. Due to the

entire space and is further illuminated because

change in levels measured approximately 4 meters high,

of its lighter tint. At the edge of the shear walls

it was necessary for the loads of the second floor which

is a recessed portion that is treated or perhaps

cantilever a significant distance offset the circular columns

varnished to withstand water. Acting as more

to be dispersed evenly.

of a central drainage component, it spans a

two vertical structures, the massive circular column to a

considerable amount along the north-south axis

continuous shear wall, painted and bolted to blend with

until breaking off just before the staircase which

the concrete. Covered in steel mesh to further mask itself,

is the dedicated entrance leading to the park.

it is one of the areas in the composition in where the steel

Entering from the east, the thin shingle flows

structural components are more evident. Along the edge

almost dictating a level of direction towards the

is a continuous C-channel that appears to have been

shear walls. Equal spaces in between make for

custom welded with multiple pieces. Since it is not flush

a very mosaic background, but its purpose was

with the ceiling, extruding approximately 30 cm, it creates

not only that of aesthetic and structure. Within

a shadow while it lays upon the supporting steel beams. At

these tiny confines, occupants would open small

the exterior, an I-beam that has been welded into a right

shops serving not only a metropolitan function

triangle disperses the weight from the C-channel onto the

but also converted this otherwise bare area into a

circular column; this is seen numorous times throughout.

communal space.7 One can only imagine how full

Rossi attempts to hide these details in places not obvious

of life this space was, that as of present it cannot

from the interior which aptly creates an illusion that the

function as it once was simply due to the change

building is solely supported with these massive shear walls

in culture.

and columns. It is noted that that Rossi saw classical roman

A steel I-beam connects the

architectural pieces such as the Amphitheater and Tragan’s

Picture 4: Steel I-beam connection to vertical cylinder structural member

59

Picture 5: Main staircase

Market as inspiration drawing strong inspiration from their

which seems to be a solution to contain noise.

repetitive structural placement and simple geometry.8

The northern area is rather acoustic due to the flatness of the materials surrounding it but is offset by the dropped ceiling. Both patterns are aligned along the same axis as the shear walls making the space appear wider despite the long rectangular form. Occupants will notice that the space easily transitions between the other commodities.

Shear walls extend over 4-storeys

The connecting enclosure between the internal courtyard and the western piazza, lays Steel frame floor spans throughout shear wall

an interesting contrast in colour. As if conflicting between the soft red and washed out white concrete, each dye is uniform in its section and

Observations: Expression

gives the complex a hidden appeal. Rather than simple repetition, the change in colour to a warmer

The ceiling for the ground floor is made out of

red does not distract but instead distinguishes

two materials: thin rectangular strips followed by wider

between the habitat and the open space. The red

rectangular panels as it bleeds unto the mezzanine level.

continues both on the staircases and some window

Made out of concrete shingle while the latter, presumably

frames and further accented with green railings

made of plaster or dry wall panel; both in a similar shade

and screens. Considering that the newly adopted

of gray. Thin strips that span from side to side are laid

flag on June 1946 used the colors green, white

uniform in the northern section and is only ever interrupted

and red, Rossi’s colour scheme can be assumed to

by an occasional light fixture which is of same thickness

have been exactly inspired from.

and blends well with the overall pattern. Panels that have an exploded cracked appearance are arranged thereafter

Picture 6: Residential hallway

Picture 7: Ay monino’s shear walls facing Rossi’s shear walls

60

A brownish paving with a hue of red similar to

style, Aymonino imparted a more horizontal design that

the colour of Aymonino units covers the walkways

is further expressed in the multi-level recession. With a

leading to the residential units as soon as you

colour scheme that influenced only the inner workings

climb the first set of stairs. They appear like bricks

of Rossi’s design, they somehow stood well with one

but are in fact painted pieces of concrete or stone;

another. Concrete stained in a reddish hue rather than

observe the colour peeling off. The hallway is

white highlighted the flora that decorated its balconies. Its

along the exterior of the building which is made

details are far more distinct creating an expression more

not so obvious by the punched square windows

sporadic and a bit intimidating. On the second floor, each

of the façade. Units are once again uniform and

unit’s balcony barrier contain four rows of miniature squares

contain a door followed by 3 square windows.

that punch through it and seem to serve only an aesthetic

Besides this, the only other means of natural light

purpose. At the lower center is a slender drainage pipe that

is from the western windows which may not have

sticks albeit rather excessively causing most to bend at its

been such an effective placement on Rossi’s part.

base. The third floor units are bigger in size with exposed

Limiting access to sunlight from only the eastern

windows. They both stick to a basic geometric principle

and western sides makes for a rather dark living

and stylize their façades in conjunction. Side by side they

quarters in par that sun will only ever illuminate

carry similar aspects that mirror one another which include

during the late morning and late afternoon. Of

the usage of squares, rectangles and cylinders as well as

course at this time, residential layouts did not

certain placements. Located on their roof levels are service

focus on daylighting but instead focused on either

rooms which despite being in different forms are aligned

functionality or expression; Rossi focusing on the

on the same axis. The large pathway connecting the two

latter.

buildings is stylized in Aymonino’s fashion but does not overwhelm Rossi’s unit because of the box-like extrusion

Parallel to Rossi’s unit was the B unit designed

that meets it halfway. They

quite earlier by fellow architect Carlo Aymonino as a part of the Gallaratese project.9 Striking a strong resemblance in form but obviously different in

Picture 8: View from communal park on west facade

61

Picture 9: West façade drainage from South

manage to create a harmonious balance between one

reacts differently when in contact with water.

another that makes Rossi’s composition more approachable

Looking closely at image__ there is noticeably

than what it would seem without context.

more dampness every four other columns of

“They manage to create a harmonious balance between one another that makes Rossi’s composition more approachable...”

Observations: Time

windows. The housing complex has a simple style of repetition and the windows are laid out uniformly yet the two sets with heavy dampness have recessed windows which are balconies of some sort while the other two sets share red blocked off windows. Underneath the two sets of damp windows on the right you see what looks

Various weep holes are placed uniformly at the

like an outline of a staircase. Then perhaps, despite

barriers between shear walls that enclose the mezzanine

its repetitive layout, the inner structure was built

level. This leads to the main drainage path mentioned

differently using more concrete every 4 units of

before which also doubles as a path to the parking lot.

space. Since these specific areas are denser, water

There is a large drainage hole located on this wall that

would retain longer.

seems to only be necessary when there is heavy rainfall.

The age becomes noticeable as the wall begins to exhibit

On another case, maybe HVAC systems

signs of mold, staining and slight cracking. Visiting the site

were aligned along the lighter walls in such that

during a rainy day led to the following observation:

the heat would dry it out quicker. Or maybe the wall isn’t exactly continuous made of a different

Water when met with concrete makes it damp and

material clad only in a concrete finish.

darken in colour. While not particularly porous, it absorbs water through minuscule spaces and is expelled upwards evaporating via heat or with enough time, downwards due to gravity. So depending on the factors such as the density of the concrete or the intensity of heat, concrete

Picture 10: Wall connection to basement parking; signs of age

Picture 11: Sourthern porton of west facade connecting to raised piazza space

62

Rossi’s unit certainly leaves a very mysterious impression despite its simplicity. He was one of the

The Gallaratesse II Housing complex succeeded in

few architects during this time that tried to hide

incorporating classicism within a modern environment.

structural components as well as electrical and

Keeping close to the purity of simple geometry, highlighting

plumbing fixtures. He did so rather well considering

the concept of repetition and displaying an ample use of

the technology. It now becomes apparent that the

concrete in both structure and in naked form, aesthetic.

built structure is far more complex than what it

How he reinforced the complex in steel members that

seems.

were hidden throughout. Such traits are becoming more prominent in today’s architecture and perhaps influenced

Conclusion

fellow great architects during his time such as Peter Zumthor or Tadao Ando

Aldo Rossi’s addition to the housing prototype although aesthetically dramatic, represents an

His downfall was that Rossi designed primarily driven

architecture that has passed its time and while

to solve problems apparent during his present life. He was

observing the surroundings there was an apparent

unable to account for drastic changes in technology which

lack of livelihood. The wide spaces in the main

effectively changed the Italian culture. An early work such

entrance which spanned a tiresome length was

as the Gallaratese II Housing especially suffered from this

not a suitable area for kids to play or people to

thus resulting in a short-lived ghost of what it was meant

gather. The entire premise of becoming a miniature

to be. It becomes ever so evident walking underneath the

city was lost, as for any tenant I saw, each rustled

masses of concrete, hidden in a thicket of green, feeling as

quickly towards their home. Rather than a housing

though you go back in time to 1970 Milan.

complex, it became something that could be easily misunderstood; for instance, a hospital. It did not appear as a functional living space as it was designed out to be, however consider that this is from a position approximately 40 years later.

Picture 12: View from northern street entrance

63

FOOTNOTES 1. QUOTES BY ALDO ROSSI | A-Z Quotes. (n.d.). Retrieved August 1, 2016, from http://www.azquotes.com/author/48677Aldo_Rossi 2. The Paris Peace Conference and the Treaty of Versailles. (n.d.). Retrieved August 4, 2016, from https://history.state.gov/ milestones/1914-1920/paris-peace 3. History.com Staff. (2009). Italian Campaign. Retrieved August 14, 2016, from http://www.history.com/topics/world-warii/italian-campaign 4. “Housing Prototypes: Gallaratese.” Housing Prototypes: Gallaratese. Web. 12 Mar. 2016.

5. “Housing Prototypes: Gallaratese.” Housing Prototypes: Gallaratese. Web. 12 Mar. 2016.

6. Google Maps. (n.d.). Retrieved August 12, 2016, from https://www.google.ca/maps 7. Leong, YT. (2016). What to look for [Readings] 8. “Housing Prototypes: Gallaratese.” Housing Prototypes: Gallaratese. Web. 12 Mar. 2016.

9. “Housing Prototypes: Gallaratese.” Housing Prototypes: Gallaratese. Web. 12 Mar. 2016.

BIBLIOGRAPHY

• Castex, Jean. Architecture of Italy. Westport, CT: Greenwood, 2008. Print.

• History.com Staff. (2009). Italian Campaign. Retrieved August 14, 2016, from http://www.history.com/topics/world-warii/italian campaign • “Housing Prototypes: Gallaratese.” Housing Prototypes: Gallaratese. Web. 12 Mar. 2016.

• INSPIRATION PETER ST JOHN: Housing at the gallaratese quarter. (2012). Building Design, 12. Retrieved from http:// ezproxy.lib.ryerson.ca/login?url=http://search.proquest.com/docview/964045629?accountid=13631 • Rossi, Aldo. A Scientific Autobiography. Cambridge, MA: MIT, 1981. Print.

• The Paris Peace Conference and the Treaty of Versailles. (n.d.). Retrieved August 4, 2016, from https://history.state.gov/ milestones/1914-1920/paris-peace • Weston, Richard. Plans, Sections and Elevations: Key Buildings of the Twentieth Century. London: Laurence King Pub., 2004 Print.

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66

Kultour - 2016

67

Italy Architect

Stefano Boeri

Project

Bosco Verticale

Author

Magdalena Krawczyk

Date of completion

2014

The realization of new construction depends highly on the perfect alignment of a vast amount of influential factors. These factors can include anything from the political situation in the world to something as miniscule as a simple childhood memory reminisced by the architect during the design process. In an attempt to fully understand the underlying intentions as well as the resulting back to the segments of the building which were shaped and fueled by them. Some lie heavier than others but all play a crucial Stefano Boeri have a very unique set of factors unlike any other structure built in the world. Some are part of the architect’s personal philosophy and are set years before a concept for a building is realized. Other criteria is developed during the design and research process through a series of iterations and circumstance. However,

Possagno Venice

role in this process. A pair of buildings such as Bosco Verticale by

Verona

product, these influencing factors need to be studied and traced

Frankfurt Milan Como Cernobbio Bergamo

Introduction:

in the final growth of a building during its construction, the events of the present moment resolve the unsettled dust that remains. A building such as Bosco Verticale showcases a very unique stance on the condition of future architecture. With such a strong message presented through innovative design, a series of conditions would have had to align in perfect harmony to lead to its eventual execution.

It is therefore evident that the factors before, during and after the design of Bosco Verticale were essential to the success of such an extraordinary building.

68

“In the broadest sense the Vertical Forest was created as a ‘home for trees inhabited by people’”

69

The Architect’s Philosophy: Behind every building there is an architect; and behind every architect there is a human being. Each architect has been grown and shaped by the events of their entire life. Similar to the events that shape the design of a building, a person’s life is likewise influenced. Not only do these events lead to the pursuit of a life as an architect, but they also fuel the development of their personal philosophy. It can be argued that an architect does not need to follow a personal philosophy in order to be deemed an architect, however those true to their passion are heavily influenced by one. A prime example of this is the Italian architect Stefano Boeri.

Stefano Boeri, the architect responsible for the revolutionary design of Bosco Verticale, made a clear definition of the seven influences for the resulting design of his building. Many of these influences were linked back to the social and cultural events of his youth.1 During his early education, issues of social inequality were more predominant than the environmental issues that are focused on in today’s society. Environmental topics were only of concern to the privileged and wealthy while the middle and lower class were fighting for rights to education as well as the rise of “imperialism”.2 In the 1960s and ‘70s the dawn of free speech arose. Culture shifted from a quiet family-oriented past to a movement celebrated by diversity, equality and most predominantly, protesting.3 The rise of the artist during this era was therefore a driving force in a cultural awakening. With an ability to speak freely, many artists around the world began movements on a variety of topics. Although Boeri emphasises the lack of interest shown by post war Italy to the ecological demonstrations of a select few artists, he does admit the surprise he encounters as a present day advocate of these very issues he previously deemed unworthy.4

Figure 2 Stefano Boeri Architetti project team member discusses concept and development of Bosco Verticale 1.

2.

3.

4.

Boeri, 2015. A Vertical Forest Boeri, 2015. A Vertical Forest Baranski, 2001 Boeri, 2015. A Vertical Forest

70

From a critical stand point, the early life of

artist holding an oak in the middle of the streets of Milan

Stefano Boeri can be classified as one arisen

identifying the relevance of a city built around the trees.8

from a wealthy family. During the 60s and 70s

Other artists of this era were singer Adriano Celentano who

in Italy, only the wealthy had the opportunity to

linked back his famous song “A 30 Stories-High Tree” to the

pursue a university education.

Since Boeri has

idea of a tree that grew in the middle of a city and brought

his master’s degree in architecture, he therefore

back life to a population suffocated by concrete walls.9

would be placed in a group of socially elite. Within

Meanwhile, the childhood novel The Baron in the Trees

a group such as this, topics discussed freely

written by Italo Calvino was a favorite of the architect’s and

among members would be related more closely

painted a picture of a Little Baron who chose to live off

to topics not connected to the issues of wealth

the ground in the forests above.10 Images such as these,

distribution. Rather, the opportunity to propose the

create subconscious memories which surface at later

designation of recreational spaces, the integration

times. Stefano Boeri’s obsession with trees is a distinct

of art and culture into everyday life or find means

circumstance of his early life. Vague memories of sounds,

of connecting the population with the environment

events and literature encouraged in a social group of the

While exposed to this type of

elite shaped Boeri as a young man into developing a unique

culture, Boeri himself mentions the influence

perspective about the interaction of the ecology in the

of several artists to the future concept of Bosco

urban context. This eventually enabled him to develop his

Verticale. One of these artists was Friedensreich

personal philosophy as an architect and pursue a typology

Hundertwasser, an Austrian involved in the

which focuses on the very topics ensued in his youth.

in urban settings.

6

5

ecological movement of the ‘60s and 70s’ which promoted the integration of civilization and nature as one.

7

Boeri reminisces of an image of the

Figure 3 Diagram of Balcony Design 5. Anonymous, Radical America 6. Boeri, 2015. Architect’s Journal 7. Hundertwasser, 2004 8. Boeri, 2015. A Vertical Forest 9. Boeri, 2015. A Vertical Forest 10. Boeri, 2015. A Vertical Forest

71

History and Circumstance:

Outside of the realm of the individual person,

Council of Europe.11 A total of 27 percent of all

the realization of a project will also depend on its

registered architects in Europe are Italian which

broader surroundings. Ranging from the context of the

numbers an incredible 153 thousand people from

neighbourhood to as broad as the entire world, many “isms”

the country surrounded by sea.12 Coming from

will play an essential role to the ability to recreate a vision.

a country rich in history and architecture, the

Among the many socio and economic events leading to

possibility of further development and growth is

the circumstances created, history plays a crucial role.

limited.13 However, one city offers an abundance

History is written to predict the future. However, in the case

of opportunity in the field of architecture: Milan.

of Milano in Italy, history gave the architect an opportunity.

Italy produces the highest amount of architects per capita according to a study done in 2014 by the Architect’s

11. Mirza & Nancy Research, 2015 12. Mirza & Nancy Research, 2015 13. Boeri, 2015. Architect’s Journal

72

Figure 5 Destruction in the streets of Milan during WW2

73

Command introducing night raids of highly populated cities.14

city, the new structures being erected in the post

The intensification of bombings and attacks

war debris were deemed revolutionary on the

became a belief to winning the war. On the night of August

European skyline. Such buildings constructed at

8th, 1943, the bombing of Milano commenced. The

the beginning of this era were the Gio Ponti’s Pirelli

following nights continued to bring more destruction to

Tower and BPPR’s Torre Velasca identifying the

the quiet city in Northern Province of Italy.15 The Duomo,

significance of the city as a European forerunner.18

Castello Sforzesco, Church of Santa Maria della Grazie,

In the former industrial area of Milano known as

Palazzo Reale, Galleria Vittorio Emanuele II and Teatro

Porta Nuova, the most recent redevelopment is

alla Scala were some of the many monumental buildings

under way around the site of Cesar Pelli’s Unicredit

destroyed in these attacks to the city.16 As the dust settled

Tower built in 2012.19 Stefano Boeri was hired to

and the debris was cleared after the end of the war, an

develop one of the three sites in the Porta Nuova

important decision was to be made in the reconstruction

area. Taking a very different approach to the land

of the former capital.

then the pre-existing Unicredit Tower, Boeri opted out to create a smooth transition into the natural

After World War Two, the Americans aided the

site.20 Rather than blocking the view for inhabitants

European Allied countries with over 13 billion dollars

living in the surrounding site with a glass tower,

geared towards the redevelopment and reconstruction

Boeri created a botanical garden running up his

of the damaged land and economy. This initiaive became

design.21 However, without the possibility of free

known as the Marshall Plan.17 In the wave of a new

land in one of the most architecturally dense cities

trend in Europe for modernity, the decisions leading to

in Europe, Boeri would not have been able to see

the reconstruction of the city were versed around this

the realization of his vision.

concept. With the multitude of vacant land within the

Figure 6 Masterplan rendering of Porta Nuova

14. Pavoni, n.d.

15. Pavoni, n.d.

16. Pavoni, n.d.

17. Foner, 1991 11. Mirza & Nancy Research, 2015 18. Micheli, 2014 12. Mirza & Nancy Research, 2015 19. Hines, n.d.

13. Boeri, 2015. Architect’s Journal 20. Boeri, 2015. A Vertical Forest 21. Boeri, 2015. A Vertical Forest

74

Money: Ideas are plenty. Concepts, visions and philosophies flow freely. Passion and architecture run parallel especially in a country populated with architects. With the highest number of architects per capita in the world, Italy is the hub of the architectural industry.22 Showcasing a vivid history and even greater involvement in the topic, Italy is a forerunner in architectural interest.

Although the presence of free land is typically a condition that needs to be satisfied for new development, financial matters also play an essential role. In a world dominated by money, architects may experience difficulty in receiving ample financial stability to pursue their personal philosophy. In the case of Bosco Verticale, the client enabled Stefano Boeri to grow and develop the project in close proximity to his vision. Without this support, the architect would have had difficulty in completing such a new and innovative structure in the core of an extravagant city.

With the events of the past war clearing up the structures in the old city, Milano pushed initiatives to develop a new masterplan for the vacant city.23 Milan has always been the dominating city in Italy due to its geographic location. Sitting in the North, Milan was the perfect military base during its earlier civilization and later became a central hub from trade within the European continent.24 Although the destruction of the war had its toll on the beautiful country, the Italian Economic Miracle presented the funds to which the vacant land could be transformed in a modern innovative way.25 With the potential in mind, the investor Hines Italia invested two billion Euro into the redevelopment of the Porta Nuova region.26 The investment group held several competitions for the many sites, buildings and masterplans involved in the area. They especially promoted the entry of architects under the age of 40 to support the further growth of the industry.27 In one of the wealthiest cities in the world known for its lavish lifestyle and high end boutiques, the redevelopment of the mixed used neighborhood in Milano was an incredibly fortunate opportunity a young firm such as Stefano Boeri Architetti could collaborate on. The modernist style of the new city and the new technologies were focused on in the decisions leading to the final roster or architects and designers. With the comfort of financial stability in creating a neighborhood like no other, Hines brought on very difficult and expensive projects with the potential for less financial gain then a safe alternative. Boeri explains, “I owe a great deal to the courage of my clients, not just for the significant investment in this quest and exploration for new ideas and solutions, but also the sharing of risks involved in creating the prototype of a new dimension of architecture� (Boeri, pg 12). Without this mentality from the investor, the realization of Bosco Verticale would have fallen short to the over budgeted research and development costs of the innovative concept.

22.

23.

24.

25.

26.

27.

75

Mirza & Nancy Research, 2015 Hines, n.d.

Baranski, 2001 Anonymous, Radical America Giacomello, 2015 Hines, n.d.

Figure 7 Views of Bosco Verticale from streets of Milan

76

Figure 8 Drawing of Bosco Verticale balconies

77

families are more than just the parents or siblings

Italian Culture:

and friends are lifelong.30 Therefore, in a critical The quintessential success of the concept of Bosco

eye, the concept of these flourishing balconies

Verticale lies in its location. Without a certain type of

and interconnected lives are only thought of in

cultural norm, the realm of the structure would be far from

Italian culture. Likely a result of the upbringing of

successful. The life of the building lies in the lush terraces

Stefano Boeri, the act of sharing and interacting

surrounding the perimeter of the towers. While balconies

seems natural and more importantly: comfortable.

open up at two to three stories to allow tall trees to flourish,

In the context of the American city, the result of

they also promote an interaction between residents.

The

such being would be much different. The North

interwoven plants that stretch from one apartment to the

American culture can be characterized as one

next give each private apartment a sense of connection

focused around money rather than leisure. Instead,

with their neighbors. Within the branches and vines that

Americans will prefer to spend time in seclusion

create these connections, the architect romanticizes the

after full days of work in crowded offices and busy

moments in time shaped by these conditions. He writes

roads. Therefore with the circumstance of coming

stories which he imagines would take place between

home to a populated balcony of nosey neighbors,

these spaces. An injured bird nursed back to health

a person would be more likely to sacrifice the joys

or a lonely man invited for a balcony event hosted by a

of the natural garden to sit in solitude.

group of beautiful women.

29

28

The idea of forming close

relationships amongst neighbors through architecture is in a sense a poetic concept. The beauty of the idea seems essentially Italian in nature. Formed around a culture where

Figure 9 Bosco Verticale balconies 28. Boeri, 2015. A Verticale Forest 29. Boeri, 2015. A Verticale Forest 30. Baranski, 2001

78

Rather than publishing a book to discuss the process for the design and realization of the Milano Towers, Boeri indicates that the published book is a manual to the vertical forest. Within the book, he emphasises the construction on Bosco Verticale as a successful experiment to lead to the development of an entire city alike.31 The philosophy of the architect is clearly outlined as the key driver in the publication. Boeri indicates that the sole reason for the construction of his two towers was as an experiment to the broader concept. In this way, the architect is similar to many revolutionary thinkers before his time. Frank Lloyd Wright and Le Corbusier are some of these famous thinkers who have come before with ideals of the perfect city and have been proved wrong. Understanding the cultural boundaries of developing one prototype of a city was an issue which would be encountered by Stefano Boeri. Living in one country his whole life has limited his perception of an architecture beyond the borders of Italy.

Figure 10 Concept of the future city by Stefano Boeri

31. Boeri, 2015. A Verticale Forest

79

Research and Development: A concept is simply an idea until it is further developed and tested into a feasible manifestation of the original. Although the concept may be strong in theory, without a critical look in a real-world setting, it cannot be made possible into a physical form. In the case of Bosco Verticale, a critical look at the limitations of the concept were necessary in the process of design. Along with the confirmation of the possibly of creating the two towers, many of the undefined specifications of the highly technical project were defined during the research and development process.

Figure 11 Render versus reality of Bosco Verticale

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Figure 12 Construction workers placing the trees into the tower planters

The vertical garden running up the sides of

other plants, adaptability, water and sun needs were also

the balconies in Bosco Verticale are evidently the

some of the qualities taken into consideration.34 Working

most significant element of the design by Stefano

together with a variety of specialists, the map of vegetation

Boeri.

Therefore, when developing the concept,

was developed by Stefano Boeri to perform as optimal

the design of this element was to remain static by

ability while remaining consistent and lush throughout.35

any means necessary. An incredible amount of

Along with the number of hired specialists on the topic of

resources were fuelled into this project in order

botanies, structural engineers had an important role in the

to enable the realization of this element. Botanists

project as well. Plants were tested for wind resistance in

played a special role in the development of the

high wind areas with a number of safety factors first at a

Due to the temperate

1:100 scale and then in a testing facility in California.36 With

climate of the Northern Italian province, the range

heavy loads of soil and trees to be cantilevered off the

of plant life appropriate for the location was

ends of the balconies, every structural member had to be

immense. However, specification of every tree,

carefully calculated. Safety measures were put into place

bush and flower were catalogued for information

to ensure no plants would fall onto pedestrians below.

on structural stability to the elements, foliage

Cables wrapped around trunks and latched into slabs

cover, and color in different seasons. Use with

above, steel cages around larger plants and horizontal

32

plant life on this building.

33

32. Boeri, 2015. A Verticale Forest 33. Giacomello, 2015 34. Boeri, 2015. A Vertical Forest 35. Boeri, 2015. A Vertical Forest 36. Boeri, 2015. A Vertical Forest

81

bracing were necessary in the shallow planters on the

residents.42 It can be seen that the obsession with

cantilevered balconies.37

High strength concrete with

trees previously noted by Boeri breached into the

post tensioned rods developed by Arup Italia were also

architect’s mentality about architecture. Losing the

integrated to support the vertical forest.

Simple panels

ability to identify the human as the main inhibitor

on the balconies and walls were used to maximize the

of architecture, Stefano Boeri gave priority to the

emphasis on the lush greenery.

vegetation.

38

39

The amount of attention paid solely to the result of the balconies was a criticism frequently faced by the architect.

Due to the rising cost and time given to the exterior facade of the two towers, interior planning was done by a separate firm by the name Dolce Vita Homes.40 In a sense, this was going against the coherency typically desired in new architectural projects. By focusing on one element, Stefano lost the ability to step back and realize the blazing truth: Architecture is the creation of spaces for people. Instead, Boeri’s main focus was on the plants and animals. In the book “Bosco Verticale”, Stefano Boeri identifies an interesting perspective of his two Milano towers, “In the broadest sense the Vertical Forest was created as a ‘home for trees inhabited by people’” (Boeri, pg 77). The end result of the project consists of an astounding exterior façade. 711 trees, 1’600 birds and insects, 5’000 shrubs, 15’000 perennials but only 480 humans inhabit this site.41 Gardeners attend to the balconies for maintenance on a cost provided by the tenants, but ownership of the planters are not given to the

Steel cable twisted around trunk to prevent loose branches from falling during high wind conditons

Steel blanket strapped to concrete planter Horizontal rods to prevent tilting

Figure 13 Diagram of safety features on trees 37. Boeri, 2015. A Verticale Forest 38. Boeri, 2015. A Verticale Forest 39. Boeri, 2015. A Vertical Forest 40. Boeri, 2015. Architect’s Journal 41. Boeri, 2015. A Vertical Forest 42. Boeri, 2015. A Vertical Forest

82

Conclusion: While gazing upon a project as beautiful and

bombings of the allies onto the Northern Italian Province,

innovative as Bosco Verticale, the factors which

the redevelopment of the rubble into a modernist city was

lead the architect through the design process and

made possible. Through competitions run by a financially

influenced the result are sometimes mitigated. The

stable developer, a group of young talent was assembled

poetry of the concept seems simple in its sense

for the master plan of the Porta Nuova neighborhood.

but is linked back to a long branch of circumstantial

Stefano Boeri was given the opportunity to develop his

factors throughout a long time in history. Only

vision of green architecture: a vertical forest. This personal

through the precise alignment of these various

philosophy was a figment of his earlier life. Influenced by a

events, factors and opportunities, does a building

number of ecological activists during the 1960s and ‘70s

become an architectural masterpiece. In the case of

which were of popular discussion amongst the upper class,

Bosco Verticale, without this perfect alignment, the

Stefano Boeri brought these topics with him throughout his

philosophy of Stefano Boeri would not have been

life as an architect. The obsession with trees from his youth

possible. Through the imagination of such a vivid

in combination to the unique situations present in the

concept for the future city, the architect received

modern day city of Milan enabled the architect to fulfill a life

an opportunity of a lifetime. The past destruction

sized mock-up of his personal vision for the future of cities.

of Milan during the Second World War gave way

It does not happen often that an architect receives this

for a redefinition of an Italian city. As a country

opportunity in their lifetime. To fulfill a passion of recreating

nourished with an abundance of talent and money

a vision is the lifelong goal of any. The completion of Bosco

in the field of architecture the only missing factor

Verticale is in itself a feat of great achievement through the

had been the presence of free land. Through the

talents a large group of people, opportunity, childhood influence and most importantly perseverance towards a result. Such a creation was as much luck for Boeri as it was talent.

83

BIBLIOGRAPHY

• Anonymous. Selected articles from Radical America, Vol. 5, #5, (Sep-Oct., 1971). Vol. 7, #2 (Mar-Apr., 1973). Vol. 10, #4, (1977).

• Barański, Z. G., & West, R. J. (2001). The Cambridge Companion to Modern Italian Culture. Cambridge University Press.

• Boeri, S. (2015). Building Study Bosco Verticale Stefano Boeri Architetti. Architects’ Journal, 241(8), 30-43.

• Boeri, S. (2015). A Vertical Forest: Instruction booklet for the prototype of a forest city. Italy: Esperia s.r.l., Lavis.

• Boeri, S. (2014). Trees in the Sky: A vertical Forest in Milan [Video]. TEDxTalks.

• Edsel, R. M. (2013). Saving Italy: The race to rescue a nation’s treasures from the Nazis (First ed.) W.W. Norton & Company.

• Foner, E. (1991). Marshall Plan. Retrieved October 14, 2016, from http://www.history.com/topics/world-war-ii/marshallplan • Giacomello, Elena. (2015). A New Urban Forest Rises in Milan. CTBUH Journal. Issue 1. pp. 12-18.

• Hines. (n.d.) Brochure Porta Nuova. Hines. [Brochure] • Hundertwasser, Friedensreich. (2004). In Encyclopedia of World Biography (2nd ed., Vol. 8, pp. 36-37). Detroit: Gale.

• Martino, J. (2013, March 24). Milan’s Awesome Vertical Forest. Retrieved August 23, 2016, from http://www.collectiveevolution.com/2013/03/24/milans-awesome-vertical-forest/ • Micheli, S. (2014). Fascism, architecture, and the claiming of modern Milan, 1922-1943. Fabrications: The Journal of the Society of Architectural Historians, Australia and New Zealand, 24(2), 294-297.

• Mirza & Nancy Research. (2015). The Architectural Profession in Europe 2014. Architects’ Council of Europe. pp. 1-103.

• Pavoni, R. (n.d.). Bombing and reconstruction – Storie Milanesi. Retrieved August 23, 2016, from http://www.storiemilanesi. org/en/insight/i-bombardamenti-ricostruzione/

Cover Photo: Krawczyk, Magdalena. Bosco Verticale. 2016. Digital photo. Milan, Italy.

Figure 1: Krawczyk, Magdalena. Concept of Bosco Verticale. 2016. Water color and ink. Milan, Italy.

Figure 2: Krawczyk, Magdalena. Stefano Boeri Archtetti Lecture. 2016. Digital photo. Milan, Italy.

Figure 3: Krawczyk, Magdalena. Design of Bosco Verticale Balcony. 2016. Mixed media. Milan, Italy.

Figure 4: Boeri, S. Flying Gardeners of Bosco Verticale. 2015. A Vertical Forest: Instruction booklet for the prototype of a forest city. Italy: Esperia s.r.l., Lavis.

Figure 5: Image from: Edsel, R. M. (2013). Saving italy: The race to rescue a nation’s treasures from the Nazis (First ed.) W.W. Norton & Company.

Figure 6: Lucien LaGrande Architects. 2015. Render of Porta Nuova from: http://www.lucienlagrange.com/portfolio/project/ porta-nuova-isola Figure 7: Krawczyk, Magdalena. Bosco Verticale Seen from the Streets of Milan. 2016. Digital Photo. Milan, Italy.

Figure 8: Krawczyk, Magdalena. Trees of Bosco Verticale. 2016. Ink and color. Milan, Italy.

Figure 9: BOSCO VERTICALE wins the International Highrise Award 2014. (n.d.). Retrieved October 14, 2016, from http://www. international-highrise-award.com/en/IHA_2014/prize_winner.html Figure 10: Boeri, S. Flying Concept of the Future City. 2015. A Vertical Forest: Instruction booklet for the prototype of a forest city. Italy: Esperia s.r.l., Lavis.

Figure 11: Onniboni, Luca. 2015. Image from: http://archiobjects.org/vertical-forest-in-milan-boeri-studio/ Figure 12: Garfalo, Marco. 2013. Photos for Boeri Studio. Image from: http://architizer.com/blog/green-architects-takes-bigleap-with-milans-vertical-forest/ Figure 13: Krawczyk, Magdalena. Tree Safety Measures. 2016. Sketch. Milan, Italy.

84

Kultour - 2016

85

Italy Architect

Baukuh Architects

Project

Casa della Memoria

Author

Sana Kadri

Date of completion

2015

Casa della Memoria roughly translates to House of Memory, a memory? How does the architecture of a building evoke an experience of openness, understanding and acceptance? The architectural philosophy in regards to the physical manifestation of the building.

Italy faced great peril in recent history with an unstable political environment under the fascist regime and unpredictable economy.

Possagno Venice

political, cultural and economic conditions of Milan affected Baukuh’s

Verona

yet how does one house something as fleeting and abstract as

Frankfurt Milan Como Cernobbio Bergamo

Introduction to Building And Context

After the Second World War Milan, the capital had many significant parts destroyed. The cities had a choice of either rebuilding what stood there before or forget its past and create new architecture.

It has faced the challenge of redefining itself post world war. The combination of both was chosen, some of the historical structures were rebuilt and new architecture emerged as well. This resulted in an honest reflection of the Milanese people; it respected the historical significance but also reflected the current context of the city.

Porta Nouva which is the main business district of Milan has been undergoing a renewal project since 2000. “The integration 86

of residential apartments, office spaces, retail stores and cultural centers , equipped to the highest technological and energy-saving standards, make Porta Nouva a multifunctional and eco-sustainable urban project unique in Italy” (Capitanucci, 2015, p.56). These highly refined projects have received attention

“The humble building holds its own, emitting a sense of confidence and solidarity.”

on the world stage. Redevelopment of the Porta Nouva region includes three projects comprising of Brera, Isola and Repubblica. (Capitanucci, 2015, p.56) Casa della Memoria resides in the Isola project.

The Porta Isola Project includes pedestrian circuits and connections to other urban areas of Porta Nouva. The most recognized buildings in the complex are the towers of Bosco verticale. The complex is dedicated to its residents, with specifically devoted spaces to “social and cultural activities.” (Capitanucci, 2015, p.72) On the quiet street of Confalonieri in the Porta Nouva district, sits Casa della Memoria. The humble building holds its own, emitting a sense of confidence and solidarity. A simple box is enveloped in a brick façade, showcasing mosaic portraits of civilians who faced unimaginable circumstances in the recent history of Milan’s fascist and post war periods. There is no ornamentation other than the somber mosaics which adorn all sides of the building. Yet, its modest figure can

87

be read as a monumental building, housing something substantial.

Historical Context And its Affect on the Architecture of Milan Prior of the fascist period, the city of Milan was in a favourable position as it was an access point to the rest of Europe (Maulsby, 2014, p. 12). This geographical position allowed Milan to interact with its European counterparts and essentially be the gate to the rest of Italy.

At the turn of the century, Milan was booming and its urban context represented its success. Milan was elevating itself to the standard of other great European cities with its grand plazas and civic spaces. Fascism was born in Milan, and was brought to power by Mussolini who preyed on the lower to middle class for support as tensions were high from the lack of adequate living conditions. This was due to the fact that Milan had experienced population growth at a rampant rate at the beginning on the 20th century. (Maulsby, 2014, p. 17) During the Fascist regime, the master plan of the city reflected a dislike towards dense populations (as it was thought to bring disease, stress on housing and an unsanitary environment). Albertini Mussolini, the brother of Benito Mussolini, devised a master plan for the city of Milan. This included sprawling, which resulted in a displacement of the lower working class as major parts of the city were in the process of being demolished (Maulsby, 2014, p. 33).

After the war, the city needed to decide how it would construct itself. Would it rebuild what it had before or would it take a modernist approach, forgetting the past? The city took an approach which celebrated antiquity in a modernist fashion. Rather than sticking to what had already been done, it made an acceptance to the natural evolution of design. (Caruso & Thomas, 2015, p. 15-16) Mistakes were made as historic buildings destroyed during the war were demolished for a “form of architecture [which was] anonymous, provincial, always based on the latest innovations

88

and technology and taste – rendering them

This perspective allows for the projects of

outdated before they were even completed”

Baukuh to formulate in a manner which meets the

(Caruso & Thomas, 2015, p.25). Milan suffered from

needs of the client without the extravagance of the

a time of instability and uncertainty of its role in its

architect’s personal preferences.

nation.

“To be modern means simply perceive to

There was mistrust in the government’s

contemporary history within the order of all history,

adequacy and political leaders which lead to a

and therefore to have a sense of responsibility

period of doubt in the nation. There was strong

for one’s own acts, not from within a barricaded

patriotism within states, rather than the nation as

enclosure of egotistic display, but as a form of

a whole (Padoa-Schioppa, 2001, p. 17). With inner

collaboration.” (Caruso & Thomas, 2015, p. 21)

turmoil within the nation, Italy struggled to pull together as a country.

In contrast, an arrogant display of pride can shamelessly be seen in Rem Koolhaus’ Prada Foundation. Rather than embodying Prada’s ideals

Architects Ideology and Comparison to Other Buildings Baukuh’s philosophy of architecture includes

a complex, celebrating his own achievements rather than Prada’s.

the following: “Designs are independent of personal

Baukuh architects took responsibility for

taste…Working without a hierarchical structure or

what they owe to the people of Milan. With careful

a stylistic dogma, baukuh produces architecture

study of Milan’s social and political culture, Baukuh

out of a rational and explicit design process. This

convey a design that reflects the ideals of the

process is based on a critical understanding of the

people of Milan.

architecture of the past.” (Baukuh Portfolio, n.d.).

89

and values, Koolhaus took the opportunity to erect

“A n ex p e r i e nc e of p lay f ulne s s... f ull of i nt r i g ue a nd d i s c ove r y ”

The Physical Manifestation and Critique of Building Program

Walk Through

The purpose of Casa della Memoria is to house the five

The experience of Casa della Memoria

associations of Milan which were involved in the rebellion

begins when approaching it. The mosaic portraits

against the fascist regime and German occupation. These

and scenes on the façade are clearly visible but as

include, “the National Association of Former Deportees,

you get closer the pictures start to disintegrate and

the National Association of Italian Partisans, the National

the colours of the mosaic blend with the brick. Just

Association of Terrorism’s Victims, the Association Piazza

as easily as you saw the portraits, they are gone.

Fontana 12 December 1969 and the National Institute of

What remains is a visually heavy building with a few

Studies on the Italian Resistance Movement” (Baukuh

scattered windows. The main entrance lies on the

& Stefano Graziani, n.d).. The building serves more than

south side, there is no grandeur or ornamentation,

merely an office space. It is a space for dialogue about the

rather just an inset entrance which features a low

past and present, social, and cultural issues which face

ceiling and small sheltered space. When entering

Milan. It is a space to remember history in an unbiased

the building the assumption of the

manner.

The vagueness in program adds to the strength of this building allowing for the user to gain control of how the space should be used. The building can be moulded to user needs, and can be changed as needed.

90

heaviness continuing inside is eradicated.

The lightness of the space brings relief and sense of serenity. Everything is left exposed, there is nothing to hide, allowing levels of trust in the user. A brutalistic approach reveals exposed concrete, an open floor plan and an eye-catching wide yellow staircase in a spacious atrium. An experience of playfulness is felt while progressing up the staircase. The journey is similar to being in a children’s playground, full of discovery and intrigue. While on the staircase, the archives on the southern wall tease the public with glimpses of the inside, although not physically being able to enter them.

“When the concept of the maison de l’homme was first formulated, it was thought sufficient to regard it merely as implying a house for all – but it is now about to become a house for each individual. Assimilating this new meaning cannot fail to affect outward appearances, since forms as such are modelled directly onto the physical representation.” (Caruso & Thomas, 2015, p. 20).

This concept directly relates to Casa della Memoria, as it looks to touch all people on a personal level. The building acts as a frame holding the painting of present day Milan. The rigid structure remains as a static frame, while the inner content is fluid and ever changing.

Form and Materiality The simple rectangular box is organized through a grid system which houses the archives on the southern wall, the while northern wall accommodates bathrooms and storage. The program dedicates office space on three floors for the five associations. These spaces exist on an open floor plan with glass barriers and shared spaces to lower costs, while allowing for collaborative activities within the associations.

(Baukuh & Stefano Graziani, n.d) Its simplicity in form is attributed to its

91

extremely tight budget of 1400 euros per square meter.

Maximising the floor space with minimal surface area of its

Critique

envelope, lowered construction costs, as well as lowering

The building’s humble physique and task

the running costs of heating and cooling the building

of containing intangible content becomes an

with minimal windows. This approach was preferred

archetype of everything a building should be.

as it corresponded with Porta Nouva’s aspirations for

The simplicity of design, enabling the user to

sustainability.

have the choice of how a building is used and the

The materials used in the building follow with the

ability for it to accommodate future needs is what

same theme of economic efficiency. Brick was selected

makes Casa della Memoria such a monumental

because it is durable and also part of Milanese tradition.

building for the city of Milan and the architectural

The exposed rough concrete shows the texture of the

profession. With great emphasis being placed on

wooden frame work. The texture adds dimensionality in an

sustainability, having a building which has aimed

economical way. This meant the architects were forced to

for multiple purposes means it is not a temporary

get creative with their materials. An element of playfulness

solution to today’s problems rather a solution to

is felt when looking at the intricate brick work, through

future challenges Milan faces.

playful patterns and hidden weeping holes on the façade.

Although the architects of Baukuh claim the colour of the staircase was selected at random, the emotional qualities of the colour bring out a playfulness and warmth.

The gray interior contrasted by yellow brings a warm glow into the build. If another colour was used it would not evoke the same experience

Scanned by CamScanner

Scanned by CamScanner

92

The exposed concrete and utilities (ducts,

its exterior. This is contrasted by its soft and playful interior

plumbing and water pipes) all attribute to an

spaces. It holds the memories of the Milanese people

unfinished

unfinished

through physical documentation of their experiences but

building means that “work” needs to be done.

more importantly evokes and intrigues past memories. By

There are always issues and concerns in society

having a house of memory, it gives power back to the people.

and an open discussion offers a process of moving

The architecture of the building includes rudimentary

forward.

elements which are non-luxurious, allowing for feelings of

finished

building.

The

It is also intriguing to come to a space where

acceptance. There are no “restricted” areas of the building

the user is the point of interest, rather than a

(other than the private archives); the architecture does not

piece of art. This act gives the power back to the

conceal anything, everything is in plain view. This leads to

Milanese people. A museum that contains art gives

gaining levels of trust and understanding.

art importance and makes a statement of it holding

The physical form of the building is a representation

value. The blatant act of housing ordinary peoples

of an abstract idea. Thus a two-fold meaning of significance

experiences’ gives them value and gives them a

occurs where the representation of the Milanese society is

sense of power which they have lacked.

built into a concrete form. This translation from an intangible idea to physical form brings forwards the art of architecture.

Conclusion

It reveals not only the abstract idea but is embedded with the architects own values and beliefs.

Casa della Memoria is a monumental building which holds a confident, almost defiant attitude on

93

BIBLIOGRAPHY • Baukuh Portfolio. (n.d.). Retrieved from Baukuh.eu/sites/default/files/baukuh_CV_2016_02_03.pdf • Baukuh, Stefano Graziani • House of Memory. (n.d.). Retrieved August 20, 2016, from https://divisare.com/projects/291545baukuh-stefano-graziani-house-of-memory • Capitanucci, M. V. (2015). Milan: Architecture: The city and Expo.

• Caruso, A., & Thomas, H. (2015). Asnago Vender and the construction of modern Milan. Zurich: Gta Verlag.

• House of Memory / baukuh. (2015). Retrieved March 14, 2016, from http://www.archdaily.com/639402/house-ofmemory-baukuh/ • Maulsby, L. M. (2014). Fascism, architecture, and the claiming of modern Milan, 1922-1943. University of Toronto Press.

• Padoa-Schioppa, T. (2001). Italy and Europe: A Fruitful Interaction. Daedalus, 130(2), 13-44.

• The House of Memory. (n.d.). Retrieved March 19, 2016, from http://www.domusweb.it/en/news/2015/04/24/the_ house_of_memory.html •

Sketches and Photos

• Unless otherwise stated, all sketches and photos are taken by Sana Kadri (2016) in Milan, Italy

94

Kultour - 2016

95

Italy Architect

OMA

Project

Fondazione Prada

Author

Parandis Abdi

Date of completion

2008- ongoing

Frankfurt Milan Como Cernobbio Bergamo Verona Possagno Venice

Milan, also known as the city of design, attracts designers and architects from around the world as it encourages new techniques, materials and designs.1 Just as it attracted Rem Koolhaas, the leading Dutch architect of the Office for Metropolitan Architecture, to design the Fondazione Prada or the Prada Foundation. This Foundation was commissioned by the foundation’s president, Muiccia Prada.2 Although the foundation started in 1993, it did not have a permanent venue until 2010 when one in Venice was opened to widen the foundation’s cultural perspective.3 As Prada wanted to explore the contemporary society through different points of view including literature, cinema and philosophy, she saw the need to expand the foundation’s permanent exhibition spaces and hence building another larger foundation in the southern part of Milan’s industrial site- Largo Isarco.4 The site was originally an abandoned industrial site when Prada bought it in the 1980’s. In 2008, Prada decided to build a contemporary art space, known as the “city of culture”, rather than a museum since its unique design sets it far beyond the label “museum”.5 As stated by Prada herself, the “Fondazione Prada will not be a museum, but rather the continuation of an intellectual process founded on extensive research.”6 The 19,000-square-metre Industrial complex, previously a Gin Distillery which produced the brandy Cavallino Rosso, has buildings dating back to the 1910’s.7 These buildings belong to one of the initial “Milanese spirits manufacturing companies” called “Società Italiana Spiriti”, which Koolhaas decided to keep for the old historic aesthetic.8 He preserved the original conditions of seven buildings, including warehouses, brewing silos, worker’s residences and laboratories, and added three very distinct and contrasting buildings to the complex that shout Koolhaas in terms of design.9

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Picture taken from inside the podium, showcasing the cinema and the tower in the background. Juxtaposed materials are used to enhance the spatial environment.

“co-existence of contemporary architecture with the regeneration of an historic area”

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The old and new materials meet making it hard for one to tell which structure is new and which is old, as it is very interconnected.

The complex has an abundance of characteristics that mark it as a Rem Koolhaas building rather than a Prada building. Although these very distinct qualities fit into Prada’s style portfolio, they are direct reflections of Koolhaas’ theories and previous buildings. According to Koolhaas, the most important aim of the Prada Foundation project was to create a diverse set of spaces for displaying art.10 However, because combining an industrial site with art was such a cliché, he had to introduce multiple “spatial variables” to increase complexity and create an unstable and open programmable space so that art and architecture can “benefit from each other’s challenges”.11 This goal provides a space where the eye is continuously engaged throughout the complex as it has different sight lines throughout resulting from the different height buildings and materials. This aim also caused the project to take on the theme of the “co-existence of contemporary architecture with the regeneration of an historic area” uniquely and represent the evolvement of the Milanese industrial development that is still ongoing to the present day.12 The Prada Foundation is neither a new project nor a preserved one, it brings the two conditions together which are naturally kept separate so they can coexist in a permanent matter.13 This offers the fragments to speak their own language without overpowering each other.14 The foundation demonstrates that “art makes no specific demands on architecture” and allows for the both feared and needed contrasts to happen including new vs. old, horizontal vs. vertical, narrow vs. wide, open vs. closed and white vs. black.15 This range of oppositions is what makes up the complex.

Koolhaas kept the old buildings because he believes that one should not destroy what can easily be reused; however he did not stop in giving it life and making it uniquely his style by adding the three new structures. His plan consisted of adding an auditorium, a tower and the podium, to the existing historic structure to further increase the range of its accommodations and unusually “diverse spatial environments”.16 These additions are meant to house exhibitions from the permanent collection and also temporary works curated to match the artists desire.17 In addition to these buildings Koolhaas opened Luna Rossa’s and Prada’s archives to establish an ever-evolving creativeness and “intellectual effort” within the historic buildings.18 In the process of adding these three structures, one of the initial renovations, done by OMA, was to liberate the courtyard to provide open-air use.19 This led to demolishing one of the two free standing structures within the courtyard, which was flat and square yet did not offer any attractive possibilities to the foundation and consequently keeping the other structure which was more connected to the great hall and vertical.20 The kept structure was already divided into three chapels which allow for individual installations.

Drawing showing the floor as metal collides with wood and cement. The material contrast is also shown to continue the theme throughout, even the floors.

Drawing showing the entrance to the ticket station where multiple and

materials,

textures

can

colours, be

seen

contrastingly placed adjacent to each other, including concrete, aluminum

foam,

gold

and

even a polycarbonate which is translucent.

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The auditorium or cinema is a multimedia auditorium space which was added around the same location as the free standing square flat structure was demolished.21 To broaden the range of the Prada foundation’s activities, the added auditorium offers a space to host theatre performances, different festivals, lectures and seminars on different themes including art, literature, architecture, global media, cinema and philosophy.22 It acts as a completely “autonomous cell” within the complex covered in mirrors all around.23 The structures large bi- fold doors allow for direct connection with the courtyard, as Koolhaas’s idea was to leave the courtyard open.24 In its interior, convertible seating can transform the space into a flat floor in order to allow the space to be extremely multipurpose for different kinds of digital exhibitions or shows.25 The tower, another added structure, is a nine story building used for permanent exhibition space where, on every floor, the ceiling to floor height increases by a meter “so that it will have a very varied effect on the artistic content”.26 Unlike any other building which usually has its tallest floor as the first, the tower does the opposite. It proposes

Picture showing part of the cinema and the neighbouring buildings. The podium and “haunted house” is reflected and seen from the mirrors covering the cinema.

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diverse architectural conditions which can be used differently by curators and artists. Offering different spatial environments including enclosed vs. open, aggressive vs. neutral, dark vs. light, and high vs. low.27 As stated by the architect, art will be perceived differently in various heights and differently on the first floor as from the tenth floor.28 Regardless of its height which does not blend in with the rest of the complex, the material which is white concrete also stands out from the rest of the historic buildings covered in grey concrete and are contrastingly short. This building is still under construction and will open to the public at a later date. The tower, although called a generic name, is nothing like the towers ever seen before.

The third added building, called the podium, was also made for the sole purpose of exhibiting temporary artworks and consists of two very different settings.29 The first floor is made entirely of glass and no columns, while the second floor is clad entirely with aluminum foam, providing two different spatial environments.30 The aluminum foam material which also has a bubbly feeling to it, is a very original material used by Koolhaas to get the contrast needed next to his smooth gold structure, called the haunted house.

The inside and also the outside of the structure is clad with the same material. This type of aluminum foam is only produced by a Canadian company and

Picture showing the inside of the podium reflecting its contrasting surroundings through the glass façade.

such large sheets were never made until the Prada Foundation needed one.31 This sort of material is very uncommon in architecture and is used usually in the military for bomb blast absorption, yet here shown as a shiny textured skin. The aluminum foam makes the exterior look impossibly lightweight and the exposed beam underneath help with this imaginative weightlessness.32 Another building where the Koolhaas touch can be seen is the The ‘Haunted House’, a place for permanent exhibition where each floor has a different spatial feeling because of the way it is planned.33 This building is an existing one which Koolhaas covered with 24-karat gold leaf entirely, to not only contrast the podium adjacent to it with its silver foam, but also to provide alternating environments because of the materials quality.34 This building material allows for different experiences during the day and in different climates as it produces varying colored shadows and highlights throughout.35 The change of light on the structure leaves a very noticeable transformation on the complex and its surrounding as the gold consumes its nearby environment. Koolhaas clarifies that the material choice was a last-minute addition to “give value to a seemingly mundane and simple element”.36 During this process, Koolhaas realized that using four kilograms of gold happened to be cheaper than paint and marble.37 The haunted house was the building where the sill of the brewery had previously produced the spirits, hence the creative name of the building, which Prada named herself.38 The only permanent exhibitions within the entire complex are situated in the Haunted House, including the works of Robert Gober and Luis Bourgeois, and in the basement of the Cinema called Processo grottesco or Grotesque Process.39 The new buildings were needed within the complex to provide the desirable contrast and give a sense of suspense to the Prada foundation.

the gold was to simply “give value to a seemingly mundane and simple element”

Pictures taken of the haunted house at different times during the day.

The whole complex comes together circulating around a massive courtyard. The Great Hall, a row of historic houses on the west of the complex, and its basement will be used as a hybrid storage space which at times could be partially open to the public.40 The freestanding historic building, better known as the Installation building, is connected to an exterior balcony and is used as installation space.41 Besides exhibition spaces and archives, the complex also offers a museumstore, bookstore, restaurant and café which are not considered as part of the parameter of the complex and rather are part of the city.42 The spatial and materialistic qualities found within the museum are very common in Koolhaas’ works. Translucent double layer polycarbonate, a material used in the exterior and also the interior of the of the entrance, was also a material used on the façade of the Garage Museum of Contemporary Art in Russia completed on the same year as the foundation.43 The polycarbonate walls that flush against the wooden floor, travertine floors which collide with brushed aluminum, the metal stairs as if molded into the concrete wall and metal mesh arising from poured resin, handrails drilled into walls as if formed from one block of metal, all characteristics which are also found in OMA’s past buildings including the Dutch embassy in Berlin (2003) and Kunsthal in Rotterdam (1992).44 The 100

extreme attention to detail reminisces one of Koolhaas’ key characteristics found in all his buildings. “This level of craft enriches spatial sequence as it unfolds across the site, keeping your attention primed for what might appear around the next corner”.45 As Koolhaas decided to keep the industrial buildings, he had to follow up with the change of local code which took place and had to be reinforced for renovations. The Italian law for earthquakes changed in 2009, so they added the necessary structures to carry the seismic loads.46 The added colors which change as the buildings change, ranging from white to orange to black are all Koolhaas’ doing, as the architect always wanted to achieve a level of surprise for the viewer no matter what he was designing. For Koolhaas, architecture was always about creating sequences which led to a wow factor or “suspense” as he compares it with screenwriting and insists that they are very similar.47 This sense of relating architecture to screenplay is because Koolhaas’s grandfather was a writer and his father was an architect, so he decided to become both: a writer who builds and an architect who writes.48 Koolhaas is known to create extremely theatrical or cinematic architecture.49 The Prada foundation offers varying spatial constellations of an almost expressionistic nature.50 Its almost like a movie which constantly goes from action to cut and because he always wants

Pictures highlighting some of the details throughout the complex.

to shock visitors with the suspense, he leaves things that are not normally found together.51 Things like the unfinished looking fire stairs with construction plastic still left on, the building covered in gold, the structures of the buildings seen from the exterior in bold colors, and the light looking aluminum foam material with exposed beams or even the tall tower which would normally not be expected in such a short complex.

There is always something to shock visitors as they move through the spaces and this form of shock value can also be seen in his other buildings such as the Seattle library. It can be easily compared to the Foundation as it has large diagonal columns crossing in the middle of spaces, very similar to Foundation’s added building. Particularly, very similar to the tower of Foundation where the diagonal supporting column comes outside of the building and onto the floor, making it very obvious from the outside of complex with a white contrasting aesthetic.52 The diagonal support in the library also is partially finished and partially exposed fire- proof insulation which shows that the architect is very particular with what is finished and what is not.53 As also seen on the second floor of the podium, the beams are exposed underneath a very light looking structure to add to the unfinished look of the emergency stairs with construction plastic still on them. As a critic once said, you don’t normally leave a Koolhaas building without any bruises because of its constant shocks to create suspense.54 His writing skills did not stop there as he grouped his theories and studies into books.

Top picture on the left shows the Seattle Library’s partially finished diagonal column and the top picture on the right shows the diagonal column in the podium. The bottom picture shows underneath the podium were the unfinished looking stairs are shown together with the exposed beam holding the second floor of the structure.

Citation of left picture: http://photos1.blogger.com/blogger/2494/2586/1600/ seattle%20library%20exposed%20beam.jpg

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One of this most influential books, which influenced most his works, is the Delirious New York written in 1978.55 This book, in which he explores New York in a surrealist way, highlights his manifesto and unconsciously reveals what the secret behind his buildings are. In the book he explains Newyork’s reality with irrationally and surrealism.56 Together with his wife, they search for the other New York and the unconscious ideas that made Manhattan.57 It shows modernism through the American model rather than the European one.58 It analyzes the urbanity that was produced from this alternative model and how different it was from Europe’s.59 The grid pattern vs. the star pattern used for city for example shows how Europeans look at manifesto’s but don’t realize anything, while in New York, they had no plan yet there was a lot of realization.60 The grid pattern shows how buildings are just erect within squares and not have a hierarchy from the other as they all look and are located similarly.61 Yet, inside the building is what sets it apart form each other. Architecture in New York isn’t defined by the exterior necessarily or the shape of the building and is more about the activities that take place within each building.62 Most buildings in Manhattan are precisely separated and organized to maximize the use and atmosphere inside, however all look very similar.63 This realization is applied to the Prada Foundation in many ways.

Although the foundation looks like a historic Milanese industry from some points, as one moves around the compound, the tower, the podium and the Haunted House, sets it apart from any other historic building. The tower for instance, has a common name but is not organized as a common tower; however it is organized to fulfil the spatial integrity, which in this case is creating different views and heights to perceive art. The spatial interior and exterior qualities of the spaces also vary as one moves in, out and around the complex; this proves the extensive attention given to interior organization just as the buildings in Manhattan. He achieves the grid pattern meaning that no building is given extra attention, yet the eye doesn’t stop as to what to look at when entering the the complex, The Prada foundation’s very aim is to create a separate reputation and a distinct place

for exhibition which cannot be compared to other museums. So, perhaps locating it in the middle of nowhere in the outskirts of Milan besides the railway of Milano porta Romano in a post-industrial zone is exactly what sets it apart, quite literally, from the metropolitan.

Eachbuilding within the foundation also has a specific name and purpose which is mostly to display art, but since it is contemporary art, the spaces are also very versatile as they will be holding and curating different scaled work and differently colored work. Therefore, the project respects the idea of historic events and language intertwining with one another and keeps a free environment for all kinds of art.64 The curators can easily fill the space with walls of any color or size, since the exhibition spaces are mostly neutral and one does not feel the transition between the exposed industrial concrete to the new glass, gold and aluminum foam.65 Koolhaas achieves both the manifesto of the Europeans together with the realization of the New Yorkers and this is why he creates an interesting and differing spatial qualities together with interesting and differing aesthetics which can both be felt within and around the Prada Foundation.

“Fondazione Prada will not be a museum, but rather the continuation of an intellectual process founded on extensive research.”

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Drawing showing the intersection of two contrasting materials, gold and aluminum foam.

Another one of Koolhaas’ theories, which appears in the Prada Foundation, is one of his earlier studies in London called Voluntary Prisoners of Architecture or Exodus where he studied to make a clean division hierarchy in the urban area and create a zone in the middle.66 His study stated that the inhabitants around the zone see it as hierarchy which they would want to enter and the area outside the zone becomes a wasteland, yet people within the zone are extremely happy.67 This theme of separation and exclusion is also seen in the complex and it became a common theme with Koolhaas after the study.68

The Prada foundation’s very aim is to create a separate reputation and a distinct

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place for exhibition which cannot be compared to other museums. So, perhaps locating it in the middle of nowhere in the outskirts of Milan besides the railway of Milano porta Romano in a post-industrial zone is exactly what sets it apart, quite literally, from the metropolitan. So the foundation becomes its own city and context, far from any other brands, history and distractions. So that the modern art can be viewed without any distractions far from the contemporary world. By locating it so, he unconsciously or consciously creates a sacred zone which is closed to the public, leaving one open entrance, a storefront shop and café for interaction with the outside world.

Making this place divided from the outside world will intrigue more people into wanting to visit the inside of the complex. As looking at the zone from the outside or better said from the ruin, it will attract more people specially after seeing the gold covered building and the tall nine story tower. Just as his study proves, he creates a zone in the middle of a wasteland to increase the status of the guarded region.

The cultural context does not extend so far as for Koolhaas “Bigness is no longer part of any urban tissue... Its subtext is fuck context.”69 He only tried to bring his own ideas into the secured context within the complex and did not try to connect his design to its neighbouring context. To Koolhaas context wasn’t an obstacle to overcome when it came to big projects and the Prada Foundation is considered substantially big based on his other projects.70 This makes sense as the foundation lacks any sort of connection to its immediate surroundings and is built in the middle of nowhere.

The location of this complex in the outskirts of Milan is also a result of the bombing which happened in 1943 and made Milan a city of recovery.71 This resulted in taking the whole city under severe reconstruction and renovation yet recovering the modern Milan.

The period after the postwar, helped Milan become recreated in an era of knowledgeable renaissance and “great works of reconstruction”.72 After the second world war, the freedom of expression hit the city which helped it generate a new general

master plan.73 Within the first decade after the war, Milanese architecture developed its own modern characteristic as the local medium.74 Together with this strong image which the metropolitan had, it sustained all its energy to reconstruct and renovate with the help of some of the best intellects to represent “originality and entrepreneurial talent, developing a hub of creativity”.75 After the bombing many former industries, including distilleries, were laid empty and “offered a space for conservation”.76 “In this context of regeneration, a positive, efficient and creative mind-set soon became part of the city’s culture.”77 The post-industrial sites were the most offered sites for renovation, since a lot of the industries went out of work because of the competition from the far east.78 Just as the brandy Cavallino Rosso gin distillery which also went out of business and its large 19,000- square-metre complex abandoned.79 During the 1980’s around 6 million square meters of abandoned industrial buildings close to railways were abandoned, therefor given for major renovation or even reconstruction.80 This is when Prada bought the complex, either to renovate or reconstruct. Milan’s architecture and town planning will never be what makes Milan the city of design but rather it’s city interiors and private spaces are what will keep Milan vibrant.81

Drawing showing the complex from the outside neighbourhood where the golden structure stands out from the surrounding Italian landscapes.

The Prada foundation’s interior spaces are meant to represent itself as a “polymorphous territory for the energetic unleashing of all languages” and bring down the boundaries between all sorts of art, from art to architecture, cinema, design, music, philosophy and theatre, as stated by Celant, the director of the foundation.82 However, since 1995, the Prada Foundation has strived to create a “force field” filled with artistic languages which emit energies that pass directly through walls and come together in an urban context attaining a “national and ultimately global resonance”, the Milan foundation has succeeded in achieving that essence.83 The foundation is an environment for wild and open creativity where historic to contemporary architecture implications can allow the integration of diversified artistic expressions of different mediums.84 These qualities set the architecture apart from conventional museums which are made to only communicate a single language, and for these very reasons Prada refuses to call this a museum.85 I initially by looking at just pictures thought that it was a space were Prada’s design spoke the loudest, yet after visiting the foundation in person I started to think the exact opposite and that Koolhaas’ architecture is what makes this complex a great experience.

The spaces might just look expensive and chic in pictures, but in person it is a whole different experience which cannot be seen from pictures but felt within the atmosphere and with the architecture surrounding you.

When you feel, touch or even see the space, it can not be traded with anything else.

“Bigness is no longer part of any urban tissue... Its subtext is fuck context.”

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is like a frame without the painting, nice but without any depth. Just as the new buildings will be without the old ones, suspenseful but without a plot.

At the end of the day, can we say that Prada has opened the first contemporary ‘museum’? Or does Milan, Italy’s most modern city, still not possess a contemporary art ‘museum’?

“polymorphous territory for the energetic unleashing of all languages”

Drawing showing one of the interior entrances where the inside outside relationship is shown as part of the gold is seen contrasting the concrete.

Throughout the design, Koolhaas stays loyal to his goal to create different spatial environments were one does not realize transitioning between the old and the new. The complex definitely shocks the viewer and leads eyes from one building to another.

The bold moves within the architecture also help with communicating more than one language and succeed at making the architecture a form of art which easily interacts with the contemporary art within it. Not being a fan of contemporary art, I would have to say that the building’s interior would be dysfunctional and plain if the pointless art was not installed within it. Although the new exterior can easily coexist with the historic one and can achieve the significant spatial feeling, yet the inside needs the art to survive or else the building 105

Endnotes 1 Bolognesi, C., & Piazza, M. (2007). Design city Milan. Chichester: J. Wiley & Sons.

2 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte. 3 Ibid.

4 Rock, M., Kim, S. J., & Prada, M. (2009). Prada. Milan: Progetto Prada Arte.

5 Henderson, N. T. (2015, November 2).

6 Ibid.

7 Fondazione Prada. (n.d.).

8 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte. 9 Ibid.

10 OMA’s Fondazione Prada art centre opens in Milan. (2015, May 03).

11 Ibid.

12 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte. 13 Fondazione Prada. (n.d.).

14 Ibid.

15 Rock, M., Kim, S. J., & Prada, M. (2009). Prada. Milan: Progetto Prada Arte.

16 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte. 17 Ibid.

18 Ibid.

19 Rock, M., Kim, S. J., & Prada, M. (2009). Prada. Milan: Progetto Prada Arte.

20 Ibid.

21 Fondazione Prada. (n.d.).

22 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte. 23 Fondazione Prada. (n.d.).

24 Ibid.

25 Ibid.

26 OMA’s Fondazione Prada art centre opens in Milan. (2015, May 03).

27 Rock, M., Kim, S. J., & Prada, M. (2009). Prada. Milan: Progetto Prada Arte.

28 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte. 29 Fondazione Prada. (n.d.).

30 Ibid.

31 Ibid.

32 Wainwright, O. (2015, May 06).

33 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte. 34 Ibid.

35 Fondazione Prada. (n.d.).

36 OMA’s Fondazione Prada art centre opens in Milan. (2015, May 03).

37 Ibid.

38 Fondazione Prada. (n.d.).

39 Ibid.

40 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte. 41 Ibid.

42 Rock, M., Kim, S. J., & Prada, M. (2009). Prada. Milan: Progetto Prada Arte.

43 Garage Museum of Contemporary Art. (n.d.).

44 Wainwright, O. (2015, May 06). 45 Ibid.

46 Rock, M., Kim, S. J., & Prada, M. (2009). Prada. Milan: Progetto Prada Arte. 47 Gargiani, R. (2008). Rem Koolhaas/OMA: The construction of merveilles.

48 Ibid.

49 Heidingsfelder, M., Tesch, M., & Heidingsfelder Tesch (Firm). (2010).

Rem Koolhaas: A kind of architect.

50 Ibid. 51 Ibid.

52 Seattle Central Library. (n.d.).

53 Ibid.

54 Heidingsfelder, M., Tesch, M., & Heidingsfelder Tesch (Firm). (2010).

Rem Koolhaas: A kind of architect.

55 Ibid.

56 Koolhaas, R., Mau, B., Sigler, J., Werlemann, H., & Office for Metropolitan Architecture.Small, medium, large, extra-large: Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau (2nd ed.).

57 Ibid.

58 Koolhaas, R. (1994). Delirious New York: A retroactive manifesto for Manhattan. New York: Monacelli Press.

59 Ibid.

60 Ibid.

61 Koolhaas, R., Mau, B., Sigler, J., Werlemann, H., & Office for Metropolitan Architecture.Small, medium, large, extra-large: Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau (2nd ed.).

62 Gargiani, R. (2008). Rem Koolhaas/OMA: The construction of merveilles.

63 Koolhaas, R. (1994). Delirious New York: A retroactive manifesto for Manhattan. New York: Monacelli Press.

64 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte.

65 Ibid.

66 Gargiani, R. (2008). Rem Koolhaas/OMA: The construction of merveilles.

67 Heidingsfelder, M., Tesch, M., & Heidingsfelder Tesch (Firm). (2010).

Rem Koolhaas: A kind of architect.

68 Ibid.

69 Koolhaas, R., Mau, B., Sigler, J., Werlemann, H., & Office for Metropolitan Architecture.Small, medium, large, extra-large: Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau (2nd ed.).

70 Heidingsfelder, M., Tesch, M., & Heidingsfelder Tesch (Firm). (2010).

Rem Koolhaas: A kind of architect.

71 Bolognesi, C., & Piazza, M. (2007). Design city Milan. Chichester: J. Wiley & Sons.

72 Ibid.

73 Ibid.

74 Ibid.

75 Ibid.

76 Ibid.

77 Ibid.

78 Ibid.

79 Ibid.

80 Ibid.

81 Ibid.

82 Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation.

Milan: Progetto Prada Arte. 83 Ibid.

84 Ibid.

85 Ibid.

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BIBLIOGRAPHY

• Bolognesi, C., & Piazza, M. (2007). Design city Milan. Chichester: J. Wiley & Sons.

• Fondazione Prada. (n.d.). Retrieved March 17, 2016, from http://oma.eu/projects/fondazione-prada • Garage Museum of Contemporary Art. (n.d.). Retrieved May 20, 2016, from http://oma.eu/projects/garage-museum-ofcontemporary-art • Gargiani, R. (2008). Rem Koolhaas/OMA: The construction of merveilles. Lausanne, Switzerland: EPFL Press.

• Heidingsfelder, M., Tesch, M., & Heidingsfelder Tesch (Firm). (2010). Rem Koolhaas: A kind of architect. [New York, NY]: Distributed

by New Video Group.

• Henderson, N. T. (2015, November 2). Fondazione Prada. Retrieved May 14, 2016, from http://www.arcspace.com/features/oma/ fondazione-prada/ • Koolhaas, R., & Celant, G. (2008). Unveiling the Prada Foundation. Milan: Progetto Prada Arte.

• Koolhaas, R. (1994). Delirious New York: A retroactive manifesto for Manhattan. New York: Monacelli Press.

• Koolhaas, R., Kwinter, S., & Rice University. School of Architecture. (1996). Rem Koolhaas: Conversations with students (2nd ed.).

Houston, Tex. : New York: Rice University, School of Architecture.

• Koolhaas, R., Mau, B., Sigler, J., Werlemann, H., & Office for Metropolitan Architecture.Small, medium, large, extra-large: Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau (2nd ed.). New York : Monacelli Press, 1998.

• OMA’s Fondazione Prada art centre opens in Milan. (2015, May 03). Retrieved April 5, 2016, from http://www.dezeen. com/2015/05/03/oma-fondazione-prada-art-centre-gold-leaf-cladding-wes anderson-cafe-milan/ • Rock, M., Kim, S. J., & Prada, M. (2009). Prada. Milan: Progetto Prada Arte.

• Seattle Central Library. (n.d.). Retrieved May 20, 2016, from http://oma.eu/projects/seattle-central-library • Wainwright, O. (2015, May 06). Rem Koolhaas crafts a spectacular ‘city of art’ for Prada in Milan. Retrieved May 20, 2016, from https://www.theguardian.com/artanddesign/architecture-design art-for-prada-milan

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blog/2015/may/06/rem-koolhaas-crafts-spectacular-city-of-

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Kultour - 2016

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Italy Architect

Giuseppe Terragni

Project

Casa Del Fascio

Author

Jean Paul Guay

Date of completion

1936

connect and build had begun to change. Due to advancements of the then unprecedented relations between countries and people had given more opportunities in almost every field of life. It allowed completely separate area, unbounded by a culture or location1.

This in turn changed the way that we build, redefining the way

Venice

for materials from one side of the world to be transported to a

Possagno

the industrial age such as both transportation and communication,

Verona

By the start of the 20th century, the world and how people live,

Frankfurt Milan Como Cernobbio Bergamo

The Project of Modernity

architecture was viewed in the past. It was this idea that allowed Modern Architecture to be established, “[linking] the phenomenon of architecture [to] that of the general economic system”2.

People and architects alike began to realize that in order to maximize the benefits of this new age, the idea of architecture and the way of building would have to be shifted.

___________________________ Khan, H.K. (2001). International Style – Modernist Architecture from 1925 to 1965.

Italy: Taschen, 36 2 Khan, H.K. (2001). 13 1

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Through several architectural groups in the mid 1920’s including Gruppo 7, it was brought to light that “the most efficient method of production is that which arises from

“...rising power of Italy’s National Fascist Party (PNF) enabled rationalism to become the most prevalent and important architectural ideas of its era”

rationalization and standardization”3. At the time this was a radical thought, to have each component of a building rationally thought out, designed, and created.

By designing this way, it became cheaper to massproduce thousands of parts quickly and efficiently. In doing so, this modernism was documented and used in many places of the world using similar architectural philosophies, linking the “mass production and prefabrication” to a particular form and style4. ___________________________ Khan, H.K. (2001). International Style – Modernist Architecture from

1925 to 1965. Italy: Taschen, 36 4 Khan, H.K. (2001). 13 3

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Internationalism: By the time this method of designing had been globally recognized, two American architects named HenryRussell Hitchcock and Philip Johnson in 1932 first used the term “internationalist style”5 while curating a show of modern architecture in New York. This term was used to characterize the obvious features and attributes of modern architecture in Europe, referring to the ideology of building and the fabrication of standard components.

They noted that this international style was “connected with form but disconnected from its social content”6.

Incorporating buildings from the 1920’s under the classification, Internationalism became the overlying architectural movement of modern Italy. Internationalism then, is a superimposing generalization of several “isms”, varying in method of approach by the architect or the historical style of which they drew inspiration, all characterized by the link of globalization7. Futurism, expressionism, cubism and functionalism are styles of architecture in the early 20th century that had been studied and practiced. Walter Gropius, Le Corbusier, Oscar Niemeyer, are just some the contributing architects to 20th century modern Europe, all of which have inspired architects that followed8.

It however was in the early 1930’s that the most significant impact on the entire culture of 20th century modern Italy started to take shape. The supporting logical views along with the concurrent rising power of Italy’s National Fascist Party (PNF) enabled rationalism to become the most prevalent and important architectural ideas of its era. ___________________________ Khan, H.K. (2001). International Style – Modernist Architecture from 1925 to 1965. Italy: Taschen, 8 Khan, H.K. (2001). 8 7 Khan, H.K. (2001). 7 8 Bramely, Sarah. N.d. Case Study: Casa Del Fascio.

5

6

114

Fascism: A movement that originally developed in Italy, Fascism stemmed from the desire to overcome the oppression and decay from the first World war, of which Italy had taken a great toll. Post war, Italy’s economy had fell into a deep slump, the threat of a communist revolution was upon them.

In their time of desperation, and when the existing democratic government could not get the country out of financial instability, the public looked to a war veteran that voiced his opinion on the matter9. Benito Mussolini, a once a journalist, made militant and war veteran, expressed his Fascist opinions openly, eventually moving his way to the head chair of Italy in 1922, creating a dictatorship10. His ideas were well respected by other war veterans, using patriotism and nationalism as a motivation to correct the issues of the country.

The idea of both fascism and dictatorship is one the same, to have complete operating power and authority over the ruled country, suppressing opposition of the movement and promoting nationalism11. The notion of a fascist country is one that is always on the offence, presented as powerful and being ready for any conflict by creating and supplying for the military of the country as well as economic instabilities.

___________________________ 1920s Politics. (n.d.). Retrieved August 25, 2016 Fuller, M.. (2015). Fascist Italy: Architectural and Urban Histories. Architectural Histories, 3(1), Art. 5. Retrieved March 13th, 2016 11 The definition of fascism. (n.d.). Retrieved August 25, 2016 9

10

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Rationalism and Fascist Architecture: It was then that the notion of architectural modernity

in which “form is derived by function”16. This was

in the 1930’s became much more about being “concerned

a proper way of ensuring that the building would

with the social agenda as well as form” in order to step

be functional to its program, without the addition

towards a better world to live in . As a term that was very

of unnecessary elements

familiar with the MIAR and the Gruppo 7, the Rationalist

This style was later associated with several

style “called for economically affordable building” , while

aspects of rationalism, with the two terms being

“advocated industrial technologies of standardization and

used interchangeably at certain points in the

prefabrication at all scales”. This went hand in hand with the

1930’s demonstrating that “one can relate the

values of most of the other international style architects,

‘systemization of building into a ‘rational’ and

however there was one aspect that rationalism excelled in.

‘functional’ discourse”17.

12

13

or ornamentation.

The style approached strategies in designing and manifesting projects so that the social and ethical aspects

Futurism

can be demonstrated clearly and concisely . Casting aside

One of the earlier forms of modernity in

several attributes to concurrent styles, Gruppo 7 led by a

Italy, futurism expressed the importance of

fascist supporting Giuseppe Terragni focused primarily on

contemporary life while remaining faithful to the

the rationalization of design and building through social

machine in the up and coming industrial age18. It

and political aspects15. He and other leading architects

was relevant to include the aspects of the up and

of the time were able to achieve this In keeping with the

coming technology in a modernist building, in that

same values that rationalism and internationalism came to

the technology can make the day to day life of

be known for.

people easier and more comfortable.

14

Although rationalism had been around previously, Terragni rethought the approach to the issues at hand,

Classicism and Renaissance

conforming them to be utilized for the Fascist designs. The

The grand spaces and balconies of projects

importance of certain qualities of other styles vary from all

from the classical, medieval, and renaissance

periods of age, and range from physical monumentality to

period “provided the perfect stage for displaying

spatial perception;

ideology”19 which was greatly important to the

Functionalism

Fascist party and Mussolini himself. These spaces

The “schematical and technical” qualities of the

allowed for propaganda to be displayed and

functionalist movement were seen to be of significance,

crowds of people to demonstrate their national pride at the rallies. The piazzas and large entrances welcomed the public into a fascist haven, one in which they would be able to see and hear their

“rational architecture was the first to demonstrate the party’s power through aesthetical point of view.”

leader speak.

116

Although fascist–led architecture had existed

Taking ideas from medieval and classical historical models

from the start of Mussolini’s reign, this new form of

and cities, the pontine town encouraged public architecture

rational architecture was the first to demonstrate

to be incorporated within the city, including town halls, and

the party’s power through aesthetical point of view.

casas27. These designs and buildings were to be the focus

This however was not the sole contributor to the

and center of the new government towns, placed in front

rise of the fascist movement, as the culture of

of piazzas and with large entrances, “highly articulated

fascism “had more to do with instrumental reforms

structure located in prominent positions”28. This further

than with the promotion of any single aesthetic

showed the authority of this sort of government over the

agenda” . This meant that although there was a

people in Italy. The historical context being utilized in this

style that was associated with the movement, the

rational architecture of fascism was against many of the

way in which the public saw everything about the

other international styles, who for the most part desired to

political leaders and their campaign was important,

be unattached to the classicism and renaissance of early

becoming a form of “aestheticized politics”. Fascist

Italy.

20

architecture is one that supports the views and

The term of Fascism in relation to architecture at this

methods of the fascist party, demonstrating

point could be related to “appropriation and co-option

power, sturdiness and importance while remaining

of this medieval/renaissance refashioning,” of which was

functional politically, economically and socially .

ideal to back and support large fascist driven corporations

21

Mussolini’s rising government saw that the

such as PNF29. While Fascism and Rationalism although

new architecture was in fact assisting with the

are two separate entities, it can be seen that the push for

culture of fascism, and thus “went about increasing

socially and economically driven rational architecture can

its foothold in Milan through architectural design

be linked to the rise of the political fascist party, and as a

and urban modifications” . It was clear that the

result each supported the other throughout the 1920’s-30’s.

22

fascist party wanted to be presented in a proper manner, representing its power in any way that it can. As a committed fascist and architect23, Giuseppe was commissioned by the PNF to design the first Casa Del Fascio for the Party to be constructed in Como24. This up and coming fascist ideal of architecture “was constructed from bottom up” showing that leaders of the state, professors, regional architects, all ensured that the project towards fascism was within a particular ideal25.

This project was to be “designed as much by the public [and government] as by the architect”26.

This characteristic led to the Pontine town, a government run and designed town that would allow for the showcasing of the fascist culture and its suppression of the rest of the town.

117

___________________________ Khan, H.K. (2001). International Style – Modernist Architecture from 1925 to 1965. Italy: Taschen, 7 13 Khan, H.K. (2001). 18 14 Khan, H.K. (2001). 18 15 Curl, J. S. (2000). Terragni, Giuseppe.

16 Khan, H.K. (2001). 18 17 Khan, H.K. (2001).

18 Khan, H.K. (2001).

19 Lasansky, D. M. (2004). The Renaissance perfected: Archi tecture, spectacle, and tourism in Fascist Italy, 180 20 Lasansky, D. M. (2004). xxxii 21 Lasansky, D. M. (2004).

22 Fuller, M.. (2015). Fascist Italy: Architectural and Urban Histories.

Architectural Histories, 3(1), Art. 5.

23 Mumford, E. P. (2000). The CIAM discourse on urbanism: 1928-1960. Cambridge, Mass.: MIT Press.

24 Bramely, Sarah. N.d. Case Study: Casa Del Fascio.

25 Lasansky, D. M. (2004). xxxii 26 Lasansky, D. M. (2004). xxxiii 27 Lasansky, D. M. (2004). 198 28 Lasansky, D. M. (2004). 199 29 Lasansky, D. M. (2004). 254 12

118

Giuseppe Terragni: Born in 1904 in Meda, just outside of Milan, Giuseppe Terragni was introduced from a very young age the various styles of architecture and political discourses of northern Italy30. From the age of 13, he was placed in the Technical College of Como, furthering his knowledge later in the Milan Politecnico during the years 1921-1926. Before Terragni even graduated, he had established his standing on the architectural movements in northern Italy, along with most of Europe.

While many architects were fighting the revival of a Neo-classical architectural style, Giuseppe along with several other architectsin-training, founded Gruppo 7, which focused primarily on the rationalization of design and building through social and political aspects31.

After his studies, Terragni and his brother, Attilio started a practice in the border town of Como, as well as joining Congres Internationaux Architectura Moderne, or CIAM in 193332. A believer in the several aspects of the international style and declaring himself a modernist, he agreed with many other the other well known architects of the time, including Le Corbusier, Walter Gropius, and Mies33. This self-described mindset helped Terragni build, create and explore with early Italian rationalism in architecture, eventually becoming the most important Rationalist Architect.

Giuseppe was first recognized on a large scale thanks to his Novocomum Apartment Block in 1928, situated in Como. The project combined innovative materials (reinforced concrete) along

Corbusier-style Beam House, Terragni was approached in 1928 by the Partito Nazionale Fascista (PNF, or National Fascist Party). He was requested to design a Casa del Fascio, otherwise known as a headquarters for the Fascist Party, to be situated in Como.

Using his rationalist view of design, he was able to epitomize the party’s symbolic needs in the design, without sacrificing functionality or history. With multiple commissions through the Partito Nazionale Fascista (PNF, or National Fascist Party), Giuseppe was considered “a committed fascist”35, supporting the political views of Italy and its leader, Mussolini36. The buildings and structures that Terragni designed put forth his desire to show both order, by using structure and rationalization of forms and functional spaces void of ornamentation.

with net volumes, becoming one of the most significant versions of early International Modernism style in Italy. The style exposed him internationally as a prominent architect of the time . In gaining 34

popularity from the apartment block as well as the Le

119

___________________________ Giuseppe Terragni. Incompiuta rivoluzione. (n.d.). Retrieved August 26, 2016 31 Giuseppe Terragni. (n.d.). Retrieved August 26, 2016 32 Terragni, Giuseppe nell’Enciclopedia Treccani. (n.d.). Retrieved

August 26, 2016 33 Bramely, Sarah. N.d. Case Study: Casa Del Fascio.

34 Curl, J. S. (2000). Terragni, Giuseppe. Retrieved August 26, 2016.

35 Frampton, K., & Futagawa, Y. (1983). Modern architecture. New York: Rizzoli.

36 Bramely, Sarah. N.d.

30

MIAR (Italian Movement for Rational Architecture): Organized by Libera and Gruppo 7 in 1928, MIAR was a architectural group promoting rationalism in Modern Italy. In 1930, due to a successful campaign, Manifesto per l’Architettura Razionale (MAR) was founded, to showcase and promote rationalist projects and architects during the rise of fascist Italy. With MAR being realized, all of Italy’s rationalist architects came together to support the style as a semi-official style of the movement. The Fascist Party and its leader, Benito Mussolini, heavily supported both MIAR and MAR37.

CIAM (International Congress of Modern Architecture): The Formation of CIAM in 1928 begun an “international academic dialog in modern architecture”38, systematically deciding that buildings should be linked and integrated to the social and political aspects and issues, as opposed to ancient architectural notions39. Many prominent architects were part of the first congress to help shape the movement, including Victor Bourgois, Ernst May, Le Corbusier and Pierre Jeanerette.

By the years 1929-30, the congress also incorporated its views and ideas towards minimum habitation requirements, with the quality of life being the concern. This secondary movement along with the push towards more studies in high-rise environments was in great relationship to Le Corbusier and his ideas. One of the key concepts that the members of the CIAM stood by was the beneficial aspect of “efficient [methods] of production [that arise] from rationalization and standardization”40. By enabling this as a standard design practice the architects sought to challenge the way of building as well as the way of living in modern Europe. This radical attitude of CIAM intrigued Giuseppe, and he later became an active member of the congress, practicing with the same values both before and after integration.

CIAM viewed the social issues of the public realm as an opportunity to “link the phenomenon of architecture and that of the general economic system”, becoming what would be known as the idea of radical modern architecture41.

___________________________ Curl, J. S. (2000). MIAR. Retrieved August 26, 2016

37

Mumford, E. P. (2000). The CIAM discourse on urbanism: 1928-1960. Cambridge, Mass.: MIT Press.

Khan, H.K. (2001). 36 40 Khan, H.K. (2001). 36-37 41 Frampton, K., & Futagawa, Y. (1983). Forward 38 39

120

Gruppo 7: Created in 1926, Gruppo 7 was a devoted set of youthful architects that aimed to renew the face of existing architectural regimes, soon to become the key standing point for Italian Rationalism42. The group was established buy 7 men, including most notably Giuseppe Terragni, and including Carlo Enrico Rava and Ubaldo Castagnoli.

Approximately a year later, Roman modernist Adalberto Libero was admitted into the group, helping push the rationalist movement alongside Terragni and other colleagues. The group sought their way to achieve a combination of the classical and renaissance period paired with the architectonic logic seen from the emergence of the industrial factories43.

The functional rational space paired with the respect for power through form allowed both Giuseppe and the Gruppo 7 to excel in their works while being associated with fascism in Italy. Due to their vision for architecture, many of the characteristics that they had set out to achieve coincided with the demands and values of the political party of the time.

Casa Del Fascio: ___________________________ Enciclopedia Treccani. (n.d.).

Frampton, K., & Futagawa, Y. (1983). 384

42 43

121

With the political state of Italy in the fascist mindset, the beginning of the 1930s “saw the move to create a ‘typical’ design for the case throughout Italy, in line with the codification of fascist political programs”44. Striving to achieve the qualities that the government desired, the rationalists became extremely important in the campaign, emphasizing the political power through strategy . As a 45

Fascist himself, Giuseppe accentuated the cultural and social significance of the movement that took rationalism and the fascism culture itself to a completely different level. Commissioned in 1932 by the Partito Nazionale

“Casa Del Fascio became the most associated architectural icon representing the fascist movement backed by Mussolini.”

Fascist (PNF), Casa Del Fascio became the most associated architectural icon representing the fascist movement backed by Mussolini in modern Italy.

An important quality of a fascist building to consider is largely how the building will be viewed and where it would be situated. The location and stature of the Casa needed to demonstrate pride and strength through design and placement46. Following a predetermined set of rules created by the Fascist government, Casa del Fascio was designed to dominate a large piazza on a main street, across from a cathedral47. These movements stressed the importance of the project, as well as creating public spaces for people to exercise their mindset of national superiority and gather at government rallies. These spaces became “the physical setting of [new propaganda]”48, further solidifying the fascist movement.

In relation to the physical aspects of the building, fascist architecture commonly drew from the likes of many other styles, including the classical renaissance and medieval periods49. This was true in both plan and physical stature, regarding the regularity of the columns and the material that they be finished it. The simple yet effective southwestern entryway facade opens it’s way as the “official face to the city, rendered as a multi-storied colonnade, recalling the colonnades of antiquity and the Renaissance”50, 51.

122

As a perfect half cube, the 16.5 meter tall, 33

As well, the multiple balconies and lookout grid created by

meter wide building maintains form as a powerful

them along with the monumentality of the structure was a

element that both enhances the structural and

reminder of the surveillance that the government had on

political stability of the project, but that also

the people54. The technologies of the 30’s were put to use

denotes the way that the interior is laid out and

in the building, with a 15 door opening to the interior court,

function of it. To the western side of the building

opening all at the same time in military like procession55.

the 4x5 grid pattern of both open and closed

The recessed entryway, housing these steel framed, glass

balconies along with the 3 bays wide entry of the

inset doors set the width and feeling of the interior space.

street facing façade creates a rational pattern

Above, a grid of “lenscrete”56, glass blocks molded into

indicating form and continuity. The “streamlined

concrete allowed light to fill the space. This grid patterned

simplicity”

of the face enters a to-the-point-

can be seen in many aspects of the project, from the

political face to the building, regarding itself as

front façade to the skylights to the partition walls within

commanding and central to the state and city. The

the space, all be emphasized by the structural members

physical monumentality of the Casa Del Fascio

and grid reaching through the space. This pattern placed

was a overlying message to the political power of

throughout the building evokes the idealistic views of the

the PNF, allowing them to further their mission of

fascist party to show power and suppression.

52

a fascist state.

The underlying architectural styles including the

medieval,

classical

and

technological

characteristics of Casa Del Fascio also played a role in the practicality of the building and the spaces within it. It was long known that the government leaders, especially that of the fascists, demanded spaces of the building to be used in multiple ways, such as a balconies for presenting and giving speeches to the crowds. These balconies and blank walls allowed for a “perfect stage for displaying ideology”53, satisfying the government in charge.

123

___________________________ Fuller, M.. (2015).

Fuller, M.. (2015).

46 Frampton, K., & Futagawa, Y. (1983). 384 47 Lasansky, D. M. (2004). 199 48 Ghirardo, D. (2013). Italy - Modern Architectures in History.

Chicago: University of Chicago Press.

49 Lasansky, D. M. (2004). 194-5 50 Schumacher, T. (1991). Surface and symbol : Giuseppe

Terragni and the architecture of Italian

Rationalism. London: Princeton Architectural

Press, 167 51 Bramely, Sarah. N.d.

52 Frampton, K., & Futagawa, Y. (1983). 384 53 Lasansky, D. M. (2004). 180 54 Lasansky, D. M. (2004). 199 55 Frampton, K., & Futagawa, Y. (1983). 384 56 Frampton, K., & Futagawa, Y. (1983).

44

45

Conclusion: At a time where the ideals of modernity were being rationalized and modified, the movement of fascist Italy and its political stands both affected and benefitted through architectural works, specifically of Giuseppe Terragni and his Casa Del Fascio. This work was able to bring a new style of architecture through the use of a socialy and politically aware idea, whilst remaining true to the economic practice of standardization and rational architecture.

Through form, ideals and a push of the modern movement in Italy, Terragni successfully showed that it was possible as well as viable to demonstrate a political party’s power using architecture and its methods of space, design and character. Casa Del Fascio was able to communicate the power and importance of the National Fascist Party of Italy through the various styles of architecture including the classical renaissance period in order to use the values to aid the Fascist movement. Without this project, the Facsist movement would have not have gained the strength and power that it accumulated throughout the 1930’s, potentially resulting in a completely different Italy that is seen today.

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BIBLIOGRAPHY

• Coppa, A., Rosselli, P., Terragni, A. A., Notini, S. A., & Terragni, G. (n.d.). Giuseppe Terragni.

• 1920s Politics. (n.d.). Retrieved August 25, 2016, from http://www.1920-30.com/politics/.

• ArchDaily | Broadcasting Architecture Worldwidethe world’s most visited architecture website. (n.d.). Retrieved August

25, 2016, from http://www.archdaily.com/office/philip-johnson-and-henry-russell-hitchcock.

• Bramely, Sarah. N.d. Case Study: Casa Del Fascio. Retrieved March 13th, 2016 from • https://bramleysarah.files.wordpress.com/2010/12/case-study-casa-del-fascio-final.pdf.

• CURL, J.S. Terragni, Giuseppe. A Dictionary of Architecture and Landscape Architecture. 2000. Retrieved March 17, 2016

from http://www.encyclopedia.com/doc/1O1-TerragniGiuseppe.html.

• Curl, J. S. (2000). Terragni, Giuseppe. Retrieved August 26, 2016, from http://www.encyclopedia.com/doc/1O1- TerragniGiuseppe.html.

• Curl, J. S. (2000). MIAR. Retrieved August 26, 2016, from http://www.encyclopedia.com/doc/1O1-MIAR.html.

• Frampton, K., & Futagawa, Y. (1983). Modern architecture. New York: Rizzoli.

• Fuller, M.. (2015). Fascist Italy: Architectural and Urban Histories. Architectural Histories, 3(1), Art. 5. Retrieved March 13th,

2016 from DOI: http://doi.org/10.5334/ah.ch.

• Ghirardo, D. (2013). Italy - Modern Architectures in History. Chicago: University of Chicago Press.

• Giuseppe Terragni. Incompiuta rivoluzione. (n.d.). Retrieved August 26, 2016, from http://biografieonline.it/biografia.

htm?BioID=1684.

• Giuseppe Terragni. (n.d.). Retrieved August 26, 2016, from https://www.sfmoma.org/artist/Giuseppe_Terragni.

• Great Buildings. (2013). Casa Del Fascio. Retrieved March 13th, 2016 from http://www.greatbuildings.com/buildings/

casa_del_fascio.html.

• Gregotti, V. (1968). New Directions in Italian Architecture. New York: George Braziller Inc. • Khan, H.K. (2001). International Style – Modernist Architecture from 1925 to 1965. Italy: Taschen.

• Lasansky, D. M. (2004). The Renaissance perfected: Architecture, spectacle, and tourism in Fascist Italy. University Park,

Penn.: Pennsylvania State University Press.

• Lindgren, Hugo. (October 12th, 2003). New York Times Books. ARCHITECTURE; A Little Fascist Architecture Goes

a Long Way. Retrieved March 15th, 2016 from http://www.nytimes.com/2003/10/12/books/architecture-a-little-

fascistarchitecture-goes-a-long-way.html?pagewanted=all.

• Mumford, E. P. (2000). The CIAM discourse on urbanism: 1928-1960. Cambridge, Mass.: MIT Press.

• Pagnotta, Brian. (January 3rd, 2013). AD Classics: Casa del Fascio / Giuseppe Terragni. Retrieved March 13th, 2016 from

http://www.archdaily.com/312877/ad-classics-casa-del-fascio-giuseppe-terragni.

• Schumacher, T. (1991). Surface and symbol : Giuseppe Terragni and the architecture of Italian rationalism. London:

Princeton Architectural Press

• Terragni, Giuseppe nell’Enciclopedia Treccani. (n.d.). Retrieved August 26, 2016, from

http://www.treccani.it/enciclopedia/giuseppe-terragni/.

All Photographs: • Jean-Paul Antoine Guay – Copyright 2016, Kultour Trip, Nikon 3100, AF-S Nikkor 18-55mm 1:3.5-5.6

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126

Kultour - 2016

127

Italy Architect

Giuseppe Terragni

Project

Novocomum Apartment Housing

Author

Sahil Saroy

Date of completion

1929

for playing a major role in Italian Rationalist architecture1. His most recognizable works includes the Novocomum apartment building in Como, the Antonio Sant’Elia nursery school in Como and Casa del Fascio which was a Fascists headquarters he built for Mussolini and his party2. Terragni was born on April 18 1904 in Meda, Italy and is the son of Michele Terragni, a builder, and Emilla Giamminola3.

Upon his last year of studying in the math and physics department at the technical institute in Como he met Luigi Zuccoli, who would later become his assistant and help him with many of his works in his career 4. Terragni then graduated from the Milan Polytechnic Superior School of Architecture on November 16 1926; while he was in school he met Pietro Lingeri, another friend who he will was able to get one of his articles published in the Rassegna Italiana Terragni, six other architects were able to get their words published as well and they later formed a group called the Gruppo 76.

Castagnoli, Sebastiano Larco, Carlo Enrico Rava, Luigi Figini constructivism and Deutsche Werkbund works .

Venice

and Gino Pollini . The Gruppo 7 paid close attention to Russian

Possagno

where he wrote about the modern movement in Italy. Along with

Verona

collaborate with in the future years to come 5. Upon graduating he

Frankfurt Milan Como Cernobbio Bergamo

Giuseppe Terragni is a famous Italian architect responsible

The group adhered to a four-part manifesto that was published in the Rassegna Italiana . The first part of the manifesto aimed to create architecture that was strict with rationality and logic, classical proportions and stayed true to history . The second and third parts of the manifesto focused on the disapproval of the poor architectural education and the public’s lack of understanding when it came to architecture in Italy .The fourth part focused on architects holding the responsibility in carrying out a new style to last . The group had many of their works published in well-known architectural journals and have even created some of the most successful pieces of architecture in Italy that contributed to the rationalist movement.

128

The Gruppo 7 is group of Italian architects who came

respectively. The Rome-Berlin Axis Pact had the 2 dictators

together in 1926 in support of modern architecture in Italy

enter an agreement where Hitler could invade Austria as

and created the foundation for Italian Rationalism . The

long as he agreed to leave southern Europe out of it for

group consisted of Giuseppe Terragni, Guido Frette, Ubaldo

Mussolini to build his Italian empire 21. Hitler would then

Castagnoli, Sebastiano Larco, Carlo Enrico Rava, Luigi

go on to break a series of rules created in the Treaty of

Figini and Gino Pollini . The Gruppo 7 paid close attention

Versailles which would ultimately lead to the start of World

to Russian constructivism and Deutsche Werkbund works

War 2 22.

7

8

. The group adhered to a four-part manifesto that was

For Mussolini, he started off as being the prime minister

published in the Rassegna Italiana . The first part of the

of Italy in 1921 but later became a dictator in 192623. Fascism

manifesto aimed to create architecture that was strict with

is often compared to Nazism due to its totalitarianism and

rationality and logic, classical proportions and stayed true

dictatorship24. In terms of art, fascism brought out different

to history11. The second and third parts of the manifesto

forms of Neo-classicism and although many were opposed

focused on the disapproval of the poor architectural

to it there were some artists that quite enjoyed the new take

education and the public’s lack of understanding when it

on classicism25. Fascism approved of art that had a sense

came to architecture in Italy12.The fourth part focused on

of clarity to it and supported works that were influenced

architects holding the responsibility in carrying out a new

from the Novecento Italiano movement26. Because of the

style to last13. The group had many of their works published

pluralism, Fascism didn’t state its preferences for its art

in well-known architectural journals and have even created

and architecture clearly so this forced professionals to

some of the most successful pieces of architecture in Italy

develop and innovate their own styles like rationalism27.

that contributed to the rationalist movement.

Many architects attempted to meet the ideals of national

9

10

Rationalism involves architecture being designed

art that Mussolini had created but were never successful

in a logical way so that it relates to the structure and

as the ideology was unstable and often contradictory28.

construction of the building14. Rationalism is often mistaken

In short, all art and architecture had to receive the stamp

for being functionalism, while both are very similar in

of approval from Mussolini himself even though he would

nature, rationalism is a balance of the international style

change his mind on his own preferences time and time

and the modern movement

. Often used to describe

again. Terragni, however, was lucky as most of his works

Italian modernism architecture of the 1920s and 1930s,

were acknowledged by the state and he even started

rationalism was style that was adopted and used much

to work more closely with the government by taking on

across Europe throughout the early 20th century .

private commissions as well.

15

16

In

relation to the Gruppo 7, they wanted to keep their national

In 1932 Terragni received a commission to design

heritage alive with rationalism and wanted it to be the

a building for the Fascists party, Casa del Fascio, which

official architectural style of their then fascist country at the

would act as their headquarters, meeting center and

time .

publicity centre.29 The design consisted of multiple small

17

Fascism is a political movement that involves a sole

rooms that look into an inner atrium which was supposed

dictator to rule a state/nation and was created by Benito

to be open at first but later became enclosed yet still

Mussolini in 1919 in Italy . Fascism took place in many

offered natural lighting from above30. Terragni was alsoable

European countries like Spain and Romania as well as some

to take into consideration the use of the space as doors

Latin American countries around the 1930s . Looking back

were battery operated and opened quickly when rallies or

in time when Fascism was created, the political tension

speeches occurred and he also provided a large opened

in Europe was slowly starting to settle after World War 1

space in front of the Casa del Fascio in order to have public

but it would soon pick right back up. The aftermath of the

gatherings31. It wasn’t until after he built the Casa del Fascio

First World War left European countries devastated and

that Terragni received international fame32. During his reign,

damaged both physically and economically, particularly

Mussolini decided that rationalist architecture will help

Germany . During the interwar period dictators like Hitler

represent his ideas on creating a new Italian culture and

and Mussolini came in to power over Germany and Italy

reality after he read the Rapporto sull’architettura33.

18

19

20

129

international fame32. During his reign, Mussolini decided that rationalist architecture will help represent his ideas on creating a new Italian culture and reality after he read the Rapporto sull’architettura33.

Also in 1932, Giuseppe Terragni and other artists participated in the Mostra della rivoluzione fascista which was an art event that was meant to showcase the openmindedness of the Fascist revolution and its desire to change34. Terragni exhibited some artworks in the event which only allowed artists who were approved by the state or whose works demonstrated a sense of national identity .

35

Figure 1- Diagrammatic site plan of the Novocomum and the adjacent structure coming together to form a courtyard.

Throughout his architectural career of designing buildings, entering in competitions and exhibitions, Terragni would

at the corners; he even adopted the idea of rounding the

often showcase some of his paintings in events . In fact,

corners and having the upper floors protrude over the

Terragni had a strong passion for painting that he had to

lower floors45.

36

choose between a career as an architect or a painter37.

The land between the site of the Novocomum and

Looking back on Terragni’s works, the Casa del Fascio

the lakeside was previously used for industrial buildings

may have brought him internationals fame but it was his first

but was newly developed by the city for housing and

building, the Novocomum, that helped his name get out to

sports use46. After the construction of the Novocomum,

public due to its controversy and overall successful design.

structures like the Monument ai Caduti, the Stadio

The Novocomum Apartment House was constructed from

Giuseppe Sinigaglia and the Balilla headquarters were

1927 to 1929 and designed by Terragni at the age of twenty

built in the newly developed area47. The lake of Como has

three38. The Novocomum is a five-story apartment building

a particular connection to the building as the elevation that

with smooth walls and punched horizontal windows that

faces it is symmetrical in nature and the glass cylinders at

alternate in a rhythmic fashion . It is recognized as being

the corners of the building offer the residents views out

the first major building of the Italian rationalist period in

to the lake and mountains48. Even though the building is

Como 40.

littered with windows on all facades to tie a connection to

39

The idea behind the Novocomum was to create a

the site around it, there are some units in the Novocomum

single block with an inner courtyard that would be formed

that don’t have any street frontage at all and offer a more

due to the adjacent structure that was already present.

private atmosphere49.

The design Terragni used is one that is fairly common

The Novocomum is often referred to as the Ocean

in order to increase cubical volume of a building for the

Liner and this is partially due to the fact that it is located

inhabitants . The plan of the building is U-shaped with two

near a lake. The other reason behind the title ‘Ocean Liner’

“teeth” that intrude into the inner courtyard to provide more

is because the Novocomum was developed at the same

interior space .

time as Pietro Lingeri’s A.M.I.L.A Motorboat Club which is

41

42

Although the building is considered to be one of

located on Lake Como and was completed in 192850. Both

the most modern buildings constructed in Italy, the inner

buildings express a nautical like quality to them as they

organization resembles that of a common bourgeois Italian

appear to be large ships that have docked onto the shore51.

apartment house43. The building is connected to an adjacent

Terragni

created

the

buildings

mass

through

apartment house that was built a few years earlier by

interlocking and overlapping forms and by adding and

architect Caranchini and was also built by the Novocomum

subtracting volumes in order to get his final design .

Corporation . Terragni had to pay close attention to this

Terragni also used colour and materiality in his design to

buildings structure and used the characteristics of the

fight the idea of people associating Rationalism as being

building to influence his design. Similar to Caranchini’s

monochrome .

44

design, Terragni situated his entrances in the center and 130

by Le Corbusier in which there was a central glass cylinder that fit snug in between the main entrance level and the roof terrace level54. This scheme was very similar to Caranchini’s design of the first Novocomum but as the design process went on the similarity began to fade55. Terragni feared that a building this modern might not be accepted from the community of Como so he drew up an elevation for the city’s approval56. The elevation that was sent to the city was referred to as the Novocento Novocomum and depicted a classical design where arched windows and pediments Figure 2 – Sketch of the north-east corner of the Novocomum. The cantilever of the top storey imitates the bow of a ship.

were going to be used57. This task was carried out by Terragni’s assistant, Zuccoli, who states he was doubtful of the city’s approval but in the end received it58.

The Novocomum is often referred to as the

The design later changed from the January 1928

Ocean Liner and this is partially due to the fact that

scheme to its final version in 1929 when the cantilevered

it is located near a lake. The other reason behind

volume of the second floor was added and a recess of the

the title ‘Ocean Liner’ is because the Novocomum

upper balconies was made more apparent59. This direction

was developed at the same time as Pietro Lingeri’s

of the design was influenced by Le Corbusier’s Villa at

A.M.I.L.A Motorboat Club which is located on Lake

Garches and was done to bring a sense of importance to

Como and was completed in 1928 . Both buildings

the front façade60. This play on the push and pull of the

express a nautical like quality to them as they

building at the corners makes the Novocomum that more

appear to be large ships that have docked onto

interesting instead of just having a glass cylinder in the

the shore .

corners of the building. Not only does the second floor

50

51

Terragni created the buildings mass through

cantilever provide more internal space but it also aids in

interlocking and overlapping forms and by adding

unifying the entire building as it appears to be tying back

and subtracting volumes in order to get his final

the corners to the mass of the structure itself.

design . Terragni also used colour and materiality

Due to the sheer size of the Novocomum, it was

in his design to fight the idea of people associating

constructed under scaffolding which helped protect the

Rationalism as being monochrome .

building as well as hide it61. Once the Novocomum was

52

53

Despite the fact that the Novocomum was

unveiled to the public in 1929 there were a lot of mixed

highly praised by architects and architectural

responses but a majority of them were upset. The reason

journals, the building caused quite a bit of

for the mixed and upset views on the building was because

commotion when it was first unveiled. In January of

Terragni did not include any of the detailed façade

1928 the design of the Novocomum was inspired

decorations that were presented on the elevation that he

Figure 3-Elevation of the Novocento Novocomum that was submitted in January 1928 for city approval.

131

Novocomum when it was first built (disregarding

and his assistant sent in for the city’s approval62. being

the marble cladding that was added onto the

published in which some argued that Terragni should

façade later) and he provides his windows with

complete the building to the standards he proposed in

very simple and sleek window sills. Caranchini’s

the elevation the year before while others thought the

design however, not only has a soft brick patter on

Novocomum was complete as it is . Due to the massive

its façade but has window frames which are very

uproar by the community of Como, the city government

ornamental. This contrast can be best seen when

had selected three architects; Piero Portaluppi, Giovanni

looking at the east and west elevation of the block.

Multiple

newspapers

and

letters

were

63

Greppi and Luigi Perrone to examine the building . All 64

three architects came to a unanimous agreement that the building is the best example of Italian construction and that nothing needed to be done to it65. Today the original colours of the Novocomum have been restored and the façade now has a marble cladding66.

Even though there is a visual difference between the two buildings the geometry and lines of both are actually quite similar. Looking at the east façade of the Novocomum where the two buildings meet, it can be seen that Terragni still paid close attention to his pre-existing structure. The floor of the balconies which show that this a five story building line up with important horizontal lines in the façade of Caranchini’s building. This could have Terragni ways to try to showcase the number of stories in the adjacent building as the number of floors isn’t quite clearly understood in Caranchini’s design.

Terragni used simple rectangular and square windows in his design of the Novocomum which is normal when it comes to rationalist architecture. But when these simple shapes are placed next to Caranchini’s existing building there are many differences that the eye catches.

Figure 5 (top left)-North façade of the Novocomum.

Figure 6 (top right)-Shows the restoration of the orange paint Terragni used for the Novocomum.

For one, Terragni did not decorate the exterior walls of the

Figure 7-Shows the marble cladding that was recently added onto the façade.

Figure 4-Sketch of the Novocomum showcasing how the second floor cantilever holds the mass of the building together.

Figure 8-East façade of the Novocomum displaying how Terragni brought out the different levels in his design and Caranchini’s.

132

Figure 9 (above)- Sketch showing the strong contrast between the Novocomum and Caranchini’s design.

Figure 10 (right)-Sketch outlining the different ways Terragni treated windows and views at the corners of the Novocomum.

Continuing on the topic of windows, the way

short lived but included members of the Gruppo 7 and

Terragni treats his windows at the corners of the

the Movimento dell’ Architettura Razionale (MAR)71.

Novocomum is very interesting. The fifth story that caps

The group had to disband in 1931 due to internal

the cylinder has a rectangular window that wraps the

conflicts and the different opinions members had on

corner of the building, to keep the consistency of the

government projects72. Some members still manage to

window arrangement. The third and fourth floor offer a

practice architecture in the rationalist style but mainly

panoramic view at the corner of the building due to the

focused on competitions and exhibitions73.

glass cylinder. The second floor that seems to wrap

Near the late 1930’s Terragni was collaborating

around the entire building offers a combination of the

with architects like Alberto Sartoris on housing for

floors above it; the window wraps around the curve of

workers and with Rino Valdameri, a Milanese lawyer

the building and also provides a wide field of view for

and director, on the Danteum; both projects however

the residents to enjoy.

never saw completion74. From 1939-1941 Terragni

Without a doubt the 1930’s was when Giuseppe

worked on the Casa Giuliani-Frigerio in Como but it

was the most productive in his architectural career

was his assistant Zuccoli who saw the completion

and also the time when he started entering the

of the project and not Terragni due to the fact that in

International Style . In 1927 Terragni started his own

September of 1939 Terragni was called up to join the

practice with his brother Attilio and entered a series

army75. Despite being called up to serve in the war,

of competitions and exhibitions before starting on his

Terragni was still sending Zuccoli notes and drawings

first building, the Novocomum . In 1928 Giuseppe was

from his Military camp so that he could help complete

invited to Stuttgart where his group and other Italian

the Casa Giuliani-Frigerio . Terragni started off in Balkans

avant-garde architects were asked to showcase their

in 1940 but a year later he was moved to Russia where

work for the Werkbund Exhibition. In this competition

he was a captain in the artillery . During the Battle of

Terragni presented the Novocomum as it was still

Stalingrad however he suffered a nervous breakdown

under construction . With the success that came in

which led to him being hospitalized and then later

the Werkbund exhibition at Stutgart for the Gruppo

brought back to Italy in January 194378. There are some

7 and other rationalist architects, the style grew with

speculations that he might have committed suicide

members who created the Movimento Italiano per

but his death was officially recorded as an embolism79.

67

68

69

l’Architettura Razionale (MIAR) in 193070. The MIAR was 133

It is amazing to see how far the architectural

of practicality to them. This is not to say that all modern

culture has come from. With Terragni, He designed

architecture is bad, but rather that it is losing its sense

and built his first building a year after graduating from

of what architecture really is and becoming more

his studies and at the mere age of twenty three. Today

concerned about the financial aspect of architecture

architecture students have to go through numerous

than design. Even with its mixed reviews when it was

years in post-secondary education, acquire multiple

first unveiled to the public, the Novocomum is still

certifications,

accumulate

considered to be a successful building to most. The

hours of practice in the field, and much more just to

Novocomum’s success could have to do with how

become a licensed architect. Most new architects

ergonomic the design is, the careful consideration

won’t even get their first project until they are in their

of the site, the application of an architectural style

thirties when almost a century ago architects were

throughout the entire building, etc. but something that

designing churches and houses right out of school.

wasn’t lost in the building was its essence and intent

One thing that has remained the same throughout

which can be clearly understood. With all this said and

time is the fact that people have always had their

done, Terragni may have lived a very short life but the

opinions on buildings and whether or not they should

amount of buildings he created, works he published

be demolished or celebrated. Take the ‘star-chitects’ of

and legacy he left behind will continue to inspire the

today and some of their buildings, yes the form or use

architectural culture and will never be forgotten.

pass

various

exams,

of materials may be interesting but most of the time these buildings don’t follow the code or lack a sense

134

ENDNOTES • 1 Schumacher, T. L. (n.d.). Terragni, Giuseppe. Retrieved

• 26 ibid

July 20, 2016, from http://www.oxfordartonline.com/

• 27 ibid

subscriber/article/grove/art/T083937

• 28 Kirk, T. (2005). The architecture of modern Italy (Vol. 2). New

• 2 Terragni, A., Libeskind, D., & Rosselli, P. (2004).

York: Princeton Architectural Press.

The Terragni Atlas: Built architecture. Milan: Skira

• 29 Schumacher, T. L. (n.d.). Terragni, Giuseppe. Retrieved July

Editore.

20, 2016, from http://www.oxfordartonline.com/subscriber/

• 3 Coppa, A., Rosselli, P., Terragni, A. A., Notini, S. A., &

article/grove/art/T083937

Terragni, G. (2013). Giuseppe Terragni. Pero, MI: 24 ORE

• 30 ibid

Cultura

• 31 ibid

• 4 ibid

• 32 Coppa, A., Rosselli, P., Terragni, A. A., Notini, S. A., & Terragni,

• 5 ibid

G. (2013). Giuseppe Terragni. Pero, MI: 24 ORE Cultura

• 6 Schumacher, T. L. (n.d.). Terragni, Giuseppe. Retrieved

• 33 Irace, F. (n.d.). Fascism. Retrieved July 21, 2016, from

July 20, 2016, from http://www.oxfordartonline.com/

http://www.oxfordartonline.com/subscriber/article/grove/art/

subscriber/article/grove/art/T083937

T027618

• 7 Andreotti, L. (n.d.). Gruppo 7. Retrieved July 20, 2016,

• 34 ibid

from

• 35 ibid

http://www.oxfordartonline.com/subscriber/

article/grove/art/T035219

• 36 Coppa, A., Rosselli, P., Terragni, A. A., Notini, S. A., & Terragni,

• 8 ibid

G. (2013). Giuseppe Terragni. Pero, MI: 24 ORE Cultura

• 9 Terragni, A., Libeskind, D., & Rosselli, P. (2004).

• 37 Schumacher, T. L. (n.d.). Terragni, Giuseppe. Retrieved July

The Terragni Atlas: Built architecture. Milan: Skira

20, 2016, from http://www.oxfordartonline.com/subscriber/

Editore.

article/grove/art/T083937

• 10 Andreotti, L. (n.d.). Gruppo 7. Retrieved July

• 38 Schumacher, T. L. (1991). Surface & symbol: Giuseppe

20,

Terragni and the architecture of Italian rationalism. New York:

2016,

from

http://www.oxfordartonline.com/

subscriber/article/grove/art/T035219

Princeton Architectural Press.

• 11 Ibid

• 39 Kirk, T. (2005). The architecture of modern Italy (Vol. 2). New

• 12 ibid

York: Princeton Architectural Press.

• 13 ibid

• 40 Schumacher, T. L. (1991). Surface & symbol: Giuseppe

• 14Musgrove, J. (n.d.). Rationalism (ii). Retrieved

Terragni and the architecture of Italian rationalism. New York:

July 20, 2016, from http://www.oxfordartonline.com/

Princeton Architectural Press.

subscriber/article/grove/art/T070845

• 41 Coppa, A., Rosselli, P., Terragni, A. A., Notini, S. A., & Terragni,

• 15 ibid

G. (2013). Giuseppe Terragni. Pero, MI: 24 ORE Cultura

• 16 ibid

• 42 Schumacher, T. L. (1991). Surface & symbol: Giuseppe

• 17 ibid

Terragni and the architecture of Italian rationalism. New York:

• 18 Irace, F. (n.d.). Fascism. Retrieved July 21, 2016,

Princeton Architectural Press.

from

• 43 ibid

http://www.oxfordartonline.com/subscriber/

article/grove/art/T027618

• 44 ibid

• 19 ibid

• 45 ibid

• 20 Trueman, C. N. (n.d.). The Treaty of Versailles –

• 46 ibid

History Learning Site. Retrieved July 22, 2016, from

• 47 ibid

http://www.historylearningsite.co.uk/modern-world-

• 48 Kirk, T. (2005). The architecture of modern Italy (Vol. 2). New

history-1918-to-1980/the-treaty-of-versailles/

York: Princeton Architectural Press.

• 21 The Rome-berlin Axis. (n.d.). Retrieved July

• 49 ibid

22,

• 50 Schumacher, T. L. (1991). Surface & symbol: Giuseppe

2016,

from

http://www.pacificwar.org.au/

historicalbackground/HitlerfindsAlly.html

Terragni and the architecture of Italian rationalism. New York:

• 22 ibid

Princeton Architectural Press.

• 23 Irace, F. (n.d.). Fascism. Retrieved July 21, 2016,

• 51 ibid

from

• 52 Coppa, A., Rosselli, P., Terragni, A. A., Notini, S. A., & Terragni,

http://www.oxfordartonline.com/subscriber/

article/grove/art/T027618

135

G. (2013). Giuseppe Terragni. Pero, MI: 24 ORE Cultura

BIBLIOGRAPHY

• 54 Schumacher, T. L. (1991). Surface & symbol: Giuseppe Terragni and the architecture of Italian rationalism.

New

York:

Princeton

Architectural

• Andreotti, L. (n.d.). Gruppo 7. Retrieved July 20, 2016, from http://www.

Press.

oxfordartonline.com/subscriber/article/grove/art/T035219

• 55 ibid

• Coppa, A., Rosselli, P., Terragni, A. A., Notini, S. A., & Terragni, G.

• 56 ibid

(2013). Giuseppe Terragni. Pero, MI: 24 ORE Cultura

• 57 ibid

• Irace, F. (n.d.). Fascism. Retrieved July 21, 2016, from http://www.

• 58 ibid

oxfordartonline.com/subscriber/article/grove/art/T027618

• 59 ibid

• Kirk, T. (2005). The architecture of modern Italy (Vol. 2). New York:

• 60 ibid

Princeton Architectural Press.

• 61 ibid

• Musgrove, J. (n.d.). Rationalism (ii). Retrieved July 20, 2016, from

• 62 ibid

http://www.oxfordartonline.com/subscriber/article/grove/art/

• 63 ibid

T070845

• 64 ibid

• Rivolta, M. B. (n.d.). MIAR. Retrieved July 21, 2016, from http://www.

• 65 ibid

oxfordartonline.com/subscriber/article/grove/art/T057671

• 66Coppa, A., Rosselli, P., Terragni, A. A., Notini, S.

• Schumacher, T. L. (1991). Surface & symbol: Giuseppe Terragni and

A., & Terragni, G. (2013). Giuseppe Terragni. Pero, MI: 24

the architecture of Italian rationalism. New York: Princeton Architectural

ORE Cultura

Press.

• 67 ibid

• Schumacher, T. L. (n.d.). Terragni, Giuseppe. Retrieved July 20, 2016,

• 68 ibid

from http://www.oxfordartonline.com/subscriber/article/grove/art/

• 69 Schumacher, T. L. (n.d.). Terragni, Giuseppe.

T083937

Retrieved

• Terragni, A., Libeskind, D., & Rosselli, P. (2004). The Terragni Atlas:

July

20,

2016,

from

http://www.

oxfordartonline.com/subscriber/article/grove/art/

Built architecture. Milan: Skira Editore.

T083937

• The Rome-berlin Axis. (n.d.). Retrieved July 22, 2016, from http://

• 70 Musgrove, J. (n.d.). Rationalism (ii). Retrieved

w w w.pacif icwar.org.au/historicalbackground/Hitler f indsAlly.

July 20, 2016, from http://www.oxfordartonline.com/

html

subscriber/article/grove/art/T070845

• Trueman, C. N. (n.d.). The Treaty of Versailles – History Learning Site.

• 71 Rivolta, M. B. (n.d.). MIAR. Retrieved July 21, 2016,

Retrieved July 22, 2016, from http://www.historylearningsite.co.uk/

from

modern-world-history-1918-to-1980/the-treaty-of-versailles/

http://www.oxfordartonline.com/subscriber/

article/grove/art/T057671

• Figure 3: Schumacher, T. L. (1991). Surface & symbol: Giuseppe

• 72 ibid

Terragni and the architecture of Italian rationalism (pp. 77). New York:

• 73 ibid

Princeton Architectural Press. Retrieved August 5, 2016.

• 74 Schumacher, T. L. (n.d.). Terragni, Giuseppe.

Retrieved

July

20,

2016,

from

http://www.

oxfordartonline.com/subscriber/article/grove/art/ T083937 • 75 ibid

136

Kultour - 2016

137

Italy Architect

Guiseppe Terragni

Project

Asilo sant Elia

Author

Laura Natalia Herrera

Date of completion

1936–37

Frankfurt Milan Como Cernobbio Bergamo Verona Possagno Venice

The creation of the modern Italy we know today has been the result of many powerful influences that quickly molded Italy’s politics and society. This essay explores those powers and their interlaced relationships. Early modernism explores the transition period between classicism to modernism.

Futurism and fascism are distilled in order to understand their influence in politics as well as in the Italian culture. And lastly, Giuseppe Terragni is observed and analyzed through the comprehensive architectural investigation of Asilo Sant’Elia, a kindergarten built in interwar period.

Early Modernism To talk about Italy as a collection of cultures and civilizations we can talk about the Roman Empire, the feudal City States, the Enlightenment Era, and Dante, the father of the Italian language. To talk about Italy as a unified country, we cannot go further back than 1860. Up until that time, Italy was constantly divided and restructured by a variety of external

138

forces1. Forces which delayed the unification that would contribute to the evolution of the significantly, compared to the rest of Europe. country as a whole. As a result, the majority of After the Risorgimento, or the Unification Italians lived in poor and rural areas that forced movement, in the 19 century Italy was a nation many of them to immigrate to the Americas in only by name. From 1861 - 1884 Italy was under the search of a better future3.

Architecture and culture during the 1900’s constant struggle, of foreign domination, and lack of unifying culture, language and public-guided brought many changes and transitions to Italy’s agenda in politics and economics1. Foreign economy and culture. In 1902, the International powers commanded the north and south of Italy Exhibition of decorative arts in Turin had the while the center remained under the power of objective of breaking from the traditional styles. the church. The political system was focused on This was expressed in their manifesto: “nothing producing a patriotic and colonial nation 1. While will be accepted but original work showing a only a small portion of the population (educated decided effort at the renovation of form,” and Romans and Tuscans) spoke Italian, the rest of the “Reproduction of historical styles will be rigorously population spoke a number of different regional excluded” 4 .

The typical Italian architecture dialects2.

Under the ruling of the “nothing will be style represented by classicism Savoy monarchy, the focus was accepted but original was coming to an end, and to legitimize the unification of movements with extreme freedom work showing a Italy and create a new capital - decided effort at the such as Art Nouveau, style of Rome. Therefore, the majority of renovation of form” liberty, and futurism were born. monuments and lavish buildings Art Nouveau marked the 9th century Turin exhibition were built in the capital-to-be. debut of international modernism Constructions directed in the early 1900 such in Italy. During this transition time, the movement as the monument to Italy’s death king (II Victoriano), became an instant burst of creativity previously the palace of justice (Il Palazzaccio),the slaughter suppressed by the long period of historic house (Matatorio) and many other buildings that conservation that Italy was under. It demonstrated asserted the underlying pretension associated extreme freedom and alternatives distant to with role of architecture in this monarchy. Most of classical architecture 5 .Most of the architects who the monuments dedicated to the monarchs were practiced in this style did not continue to design of grandiose scale and sumptuous materiality in such a way.

Following that was the Style of liberty. It was outplaying the rest of the context3. The role of public building projects in this era was a “symbol aimed for the design of luxury homes, hotels, art of legitimacy,” again to constitute and legitimize galleries and commercial places. Many of the the unification of the nation3. buildings influenced by this movement did not consider structure, rather the planning was fluid, The Italian Prime minister, Francesco Crespi, massing were asymmetrical, and ornament was and other politicians delayed public funding, the excessive and celebrating floral details, along use of democracy and a public-based agenda with the innovative use of materials6.

139

1 Dickie, Jhon, Anna Centro Bull, and Brian Richardson.

Modern Italian Culture.- PG 19 2 Dickie, Jhon, Anna Centro Bull, and Brian Richardson.

Modern Italian Culture.- LANGUAGE 3 Ghirardo, Diane. Italy- Modern Architectures in History P 13-19

4 Kirk, Terry. The Architecture of Modern Italy. Vol. 2: Visions of Utopia, 1900-present. P 15 5 Kirk, Terry. The Architecture of Modern Italy. Vol. 2: Visions of Utopia, 1900-present. P 16 6 Kirk, Terry. The Architecture of Modern Italy. Vol. 2: Visions of Utopia, 1900-present. P 36

Neo-Classicism was a movement that tried to marry historicism and modernity, “it evoked the past in a non-historic way”7 However, it was strongly criticized by many due to its unusual compositions and by others because it was a mixture of art nouveau and the international style 7 .

In the early 1900, Machinery, infrastructure and innovative technologies were taking impulse in cities like Genoa, Turin and Milan. Additions such as highways, apartments, latest building technologies such as elevators were brought to industrialized city and quickly populated the rest of the country8 .Other Industries around Italy also started to flourish, such as the Societa Edison Of Milan (The company under the management of Milan’s first power plant that illuminated the Galleria and la Scala), The Camillo Olivetti typewriter company, and Giovanni al Ghelli car company better known as FIAT9. As more industries were expanding, entire cities and towns became dominated by them. Turin and Genoa became the leading factories for construction and Milan had its textile industry.

The innovative period of Industrialization brought not only changes in the architecture, economics and technologies. It also introduced a culture of youthful admirers that were in search of the new “modern”. All these new developments inspired writers, artists, architects and all types of professionals to search for the new Industrialized Future9

Futurism Futurism was created after the growth of industry and technology, as well as the change of life from manual to automatize. Futurism was founded by Filippo Tommaso Marinetti in 1909 7 Ghirardo, Diane. Italy- Modern Architectures in History P 40 8 Kirk, Terry. The Architecture of Modern Italy. Vol. 2: Visions of Utopia, 1900-present. P 32-33 9 Ghirardo, Diane. Italy- Modern Architectures in History P 38

after the first published manifesto in a Paris newspaper on the 20th of February of the same year10 .Futurism was declared as one of the most conspicuous and iconoclastic movements of modern Italy11 . This movement was initiated with ideals of an ultra- nationalist agenda that later on became an institutionalized patriotism, and eventually, merged into Fascism 11. Futurist’s glorified war as they referred to it as “World’s only hygiene” 11.They ignored the past and traditionalist practices with an aggressive urge to modernize the nation. Futurism had an extreme love for speed and technology. Members were characterized by their furious active drive for progress and a misogynistic view towards women 11.

Yet Futurism had a unique and artistic development.

Their messages and ideals were delivered through an array of different mediums, what they called arte total, encompassing every artistic expression.

They used visual poems, writings, theatrical events, and architectural design drawings 8. All of these forms of expression conveyed speed, energy, and motion with no relation to the historic past of the city. Futurism was the first movement that actively stated a complete transformation of society by encompassing art, politics and culture in their agenda12.

Antonio Sant’elia was a character of high importance in this time. He was the biggest architectural influence of this movement, Modernist architects such as Terragni were inspired throughout his career by his timeless drawings.

His experience in construction, perspective drawing, and architectural composition13 drove him to become an icon of architecture. He was often called “the most indigenous of all young designers, logical yet fantastical”14. His drawings 10 Adamson, Walter L. “Fascinating Futurism: The Historiographical Politics of an Historical Avant-garde 11 Coppa, Alessandra, Paolo Rosselli, Attilio Alberto Terragni, Sylvia Adrian Notini, and Giuseppe Terragni. Giuseppe Terragni 12 Coppa, Alessandra, Paolo Rosselli, Attilio Alberto Terragni, Sylvia Adrian Notini, and Giuseppe Terragni. Giuseppe Terragni PG 96 13 Ghirardo, Diane. Italy- Modern Architectures in History P 45 14 Adamson, Walter L. “Fascinating Futurism: The Historio-

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were clear and futuristic; highlighting speed, high rises and technology driven cities. Futuristic architecture for him had to emerge as new; it did not follow any historic links or tradition. He even argued that family houses should not pass from generation to generation, in this futuristic ideal each generation had to build their own. Futurists viewed the city as a giant machine that can always become more self-sufficient, dynamic and mobile15.

During the first 50 years after the Italian Unification there were many lingering questions that people in power, artists , and the population tried to answer; “What would the unifying architecture, art, and culture of national Italy look like?” Is it possible to create a unifying ‘national’ style that can stitch all the existing styles of architecture from all the regions across the country?

Fascism During the Post-WWI period Italy became harder to govern. Strikes were happening around the country, the government was losing legitimacy, black markets were flourishing, and returning soldiers had neither support nor a place to go. In 1921 the Partito Nazionale Fascista (PNF) (fascist party) was created and by 1922 Benito Mussolini came to power. His delegation seemed to be a call for order after the king appointed him to govern the country. Since the moment he stepped in power the monarchy gave him complete control over the country. Mussolini’s national plan gave the impression that it was the solution for every Italian problem at that moment, from social to political.

His agenda carried ambitious construction and education programs to solve problems like the housing crisis, lack of patriotism after the war, and the percentage of Italian speakers16. Mussolini

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graphical Politics of an Historical Avant-garde.”

15 Coppa, Alessandra, Paolo Rosselli, Attilio Alberto Terragni, Sylvia Adrian Notini, and Giuseppe Terragni. Giuseppe Terragni 16 Ghirardo, Diane. Italy- Modern Architectures in History P

believed that buildings were like books for the illiterate. That if a person were to walk in front of a fascist building he or she would know of the significance and importance in the present and the future. The education program was carefully designed to create novel soldiers of the nation and woman were taught to raise soldiers. The school program was nation and military based.

Language education was implemented by force.

Mussolini forbade the usage or teaching of other dialects in Italy. Many of his accomplished goals were to convert war horrors into national pride, erect monuments to the fallen soldiers in every town, and the use of religious military slogans over the radio such as “obey,” “believe,” and “fight” 16 . His followers, the black shirts, were often young males that shared the same anti-socialist and extreme nationalist ideals. They strongly believed in a collective power.

The fascist party founded one of the highest number of political buildings, almost every town in Italy had at least one building designated for the party (casas del Fascio ) and political use17.

By the 1930’s Italy had converted its economic system to an autarky or self-sufficiency17. By being an autarky, the prices of imports were impossible.

Materials such as iron and steel were out of the picture when it came down to build. As a result the majority of buildings were no taller than 5 storeys. Fascist architecture in this particular time, became a response to the economic restrictions17.

However, Mussolini would have never gotten to revolutionize Italy if it wasn’t for the influence of the futurist movement18. Marinetti, futurist founder, was part of the “black shirts”. He was also one of the first members of the Fascist party (PNF). Eventually, with the help of Marinetti every member of the futurist movement became fascist militants18. Futurism as the most extreme form 69 17 Doordan, Dennis P. “The Political Content in Italian Architecture during the Fascist Era.” P 123-125 18 Coppa, Alessandra, Paolo Rosselli, Attilio Alberto Terragni, Sylvia Adrian Notini, and Giuseppe Terragni. Giuseppe Terragni.

Image 1_plan

of modernism in both arts and politics helped reinforce the extreme nationalism desired by Mussolini. Every ideal, procedure, and innovation was to their eyes for the common good of nationbuilding18.

Terragni and Rationalism Giuseppe Terragni was an Italian architect, born on April 18 of 1904 in Meda, Italy. He studied architecture in the Milan Polytechnic Superior School of Architecture after graduating from physics and mathematics in 1921. Six years later he and his engineer brother (Attilio) opened their architectural practice in Como. In 1926 Terragni and a number of other graduates created a group that addressed the traditionalist architectural curriculum in the Politecnico di Milano. The Gruppo 7 (Luigi Figini, Gino Pollini, Sebastiano Larco, Ubaldo Castagnoli, Guido Frette and Carlo Enrico Rava, and Terragni) was composed of recently graduated architects that opposed to the referential use of classical and baroque architecture. They published four articles in the magazine Rassegna Italiana considered to be the manifesto of Rationalism19. They declared to be part of a new architecture that was influenced by 19 Terragni, Attilo, Daniel Libeskind, and Paolo Rosselli. The Terragni Atlas: Built Architecture

Image 2_Birds eye view

new construction technologies of the Bauhaus 19.

They renounced the destructive power that the Futurists declared, the extravagance of Neoclassicism, the pretense of Art Nouveau and the individualism of many other art and architectural movements20 . Rationalists were a group based discipline; their focus was on functional requirements derived from logic and rationality, the use of innovative methods and materials, and minimalistic aesthetic values.

Le Corbusier’s functionalist modernism was a strong influence in their work20, as seen in many built projects. Compared to futurists, the Gruppo 7 did not deny traditions; their sense of traditional architecture was largely characterized by the Mediterranean design and the use of white surfaces, regular masses and accent walls, which can be seen in most of Terragni’s work.

The group’s debut was in 1927 in the Monza triennial, where they presented their drawings and models as anonymous, as they reinforced their collective effort20 . Terragni was commissioned to design an apartment building in Como, The Novocomum, and the group’s first chance to build.

This became the first detailed demonstration of the new aesthetic that the rationalist pronounced:

20 Kirk, Terry. The Architecture of Modern Italy. Vol. 2: Visions of Utopia, 1900-present

142

“ a new aesthetic is born, a new way of living, a new way of imagining the habitation , the house, this anti-romantic, anti-decadent, and ti- evanescent house not born of caprice, fashion or wild ideas of the moment but risen from the new aesthetic spiritual needs from the necessities imposed by logic , this architect, this house that stirs today such scandal and protest such alarm and such winder in a shorter time will not be the exception, the anomaly, it will be for everyone “ the house” the house of tomorrow” – casabella- Giuseppe Pagano. 21

Asilo Sant’Elia and Terragni’s style In his 39 years of life, 13 years of career and a small batch of built projects, Terragni developed his architectural style based on modern rationalist aesthetics. However in his earlier projects he clearly references works of Mies, Le Corbusier and Rietveld 22 . The use of modern elements such as pilotis, double height loggias continue along his career however.

During his evolution as a professional he combined this elements in a way that a second generation of the modernist architecture is born 22.

In Asilo sant’elia built in 1934 -1937, Terragni breaks from the rigidity from Casa Del Fascio (a square volume with very rational sense of proportions that are based around the center courtyard). He develops a more “lyrical” rationalism23. This building is characterized by the detailed articulation of the plan (Image 1). The square plan is broken when interior spaces are extruded making a C- shape around the central courtyard (Image 1, 2) . The main teaching spaces are particularly well lit since a collection of windows from floor to ceiling cover partly the northand the majority of the East facades. The teaching spaces are malleable because of the provided moveable wall partitions22.

Image 5_Entry overhang Image 4_Overhang frame Image 3_Glass Canopy

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21

Kirk, Terry. The Architecture of Modern Italy. Vol. 2: Visions of Utopia, 1900-present P- 78 22 Saggio, Antonio. “Five Houses by Giuseppe Terragni.” Journal of Architectural Education (1984 ) 46.1 (1992): 40. Web. 23 Terragni, Attilo, Daniel Libeskind, and Paolo Rosselli. The Terragni Atlas: Built Architecture p 22

Image 6_Light management + architecture, Free standing concrete frame connected to the main mass by sun share systems

Terragni’s unique use and control of light is seen in many design choices. The sun is controlled by overhangs, large canvas canopies and small glass canopies (image 3,4,5) to denote entry (image 3). The facilities were intended for an early childhood education center, a building typology that was not “particularly solidified” at that time24 .

Light management was intertwined with architectural passive approaches as well as spiritual content24 (Image 6). This space had to irradiate and communicate the focus of the riforma gentile, the fascist education reform, at the elementary level22 24 Schumacher, Thomas L. Surface & Symbol: Giuseppe Terragni and the Architecture of Italian Rationalism.

Image 7: Entrance canopy - Exterior View

Terragni’s evolutions of architectural elements are seen in various projects and experiments. In casa per Vacanze he develops the outside staircase and the “unelaborated exterior wall openings and cut-outs” that is later seen in the kindergarten design22 . These two elements frame the main mass and create rhythm and depth when the light interacts with it on the façade. (Image 6) One can see Le Corbusier’s influence, the use of pure volumes, strip windows (image 9) in various parts of the facade’s, open floor plan (image 10) and the pilotis holding up the 2nd floor walkway create a symmetric rhythm. The large scaled frame offset from the main mass is a very particular use of structural elements (image 4). The

Image 8: Entrance canopy - Interior View

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Image 9: Strip windows

Image 10: Open floorplan

exterior walls are not aligned to the structural grid which gives the illusion of hanging walls. There as a rhythmic and ornamental addition but “it defines the suspension of the built form”. The relationship of the compact block and the free elements is of great value in this project. There is a hierarchical presence of the two main elements: the mass and the almost freestanding. These components are: exterior stair, oversized frame, cantilever entry balcony and different canopies. These components seem to be extracted from the main mass where in many cases they connect back to the main mass (Image 6, 8). In sketches 7-8 the entry canopy clearly describes this relationship between the whole and the extrusion. The free standing components are completely expressed.

The beams that make part of the extrusion canopy come from the interior of the building, again to highlight that displacement of masses.

To conclude and Putting politics aside and studying Terragni as the architect he was, he does not have the attention he should in western architectural literature. It is worth to ask if it is because of the politics behind it or because it is almost impossible to relate to him without looking at the historical and political context. His most influential works marked an era of architecture in pre-war northern Italy. Works like Sant’elia 145

monument to the dead of ww1, Novocomum first rationalist work built in Italy, and Casa del fascio, the most famous Italian building of the period.

One cannot single out rationalism from fascism, and fascism from futurism to understand their relationship and Italy’s drastic change. Italy, as stated before, is a construct of many powers that shaped it to be the modern Italy we are familiar with today. A construct that Italy struggled to consolidate until Mussolini came to power. The forces behind this in rapid change were sociopolitical drivers such as early modernism and the rejection to classicism and Futurism’s extreme ideals about change, power, and the future.

Futurism was considered the most extreme form of modernism in both politics and arts; fascism was the vehicle to make this ideals reality.

Rationalism, on the other hand, was the mediator between the humane and reasonable with the fascist/futuristic expectations. This mediator role is seen in Terragni’s architecture, more specifically Asilo sant elia. In an era where kindergartens were not a typology and were instead part of a fascist education system, Terragni designed a building that differed from his controlled rationalist style.

He managed to serve the users as well as his ideals.

Bibliography • Adamson, Walter L. “Fascinating Futurism: The Historiographical Politics of an Historical Avant-garde.” Mod. Italy Modern Italy 13.01 (2008): 69-85. Web. • Conversi, Dr Daniele. “Art, Nationalism and War: Political Futurism in Italy (1909-1944).” Sociology Compass 3.1 (2009): 92-117. Web. • Coppa, Alessandra, Paolo Rosselli, Attilio Alberto Terragni, Sylvia Adrian Notini, and Giuseppe Terragni. Giuseppe Terragni. N.p.: n.p., 2013. Print.

• Dickie, Jhon, Anna Centro Bull, and Brian Richardson. Modern Italian Culture. Philadelphia: Westbrook, 1931. Print.

• Doordan, Dennis P. “The Political Content in Italian Architecture during the Fascist Era.” Art Journal 43.2 (1983): 121.

Web. • Ghirardo, Diane. Italy- Modern Architectures in History. London: Reaktion, 2013. Print.

• Kirk, Terry. The Architecture of Modern Italy. Vol. 2: Visions of Utopia, 1900-present. New York: Princeton Architectural, 2005. Print.

• Saggio, Antonio. “Five Houses by Giuseppe Terragni.” Journal of Architectural Education (1984-) 46.1 (1992): 40. Web. • Schumacher, Thomas L. Surface & Symbol: Giuseppe Terragni and the Architecture of Italian Rationalism. New York: Princeton Architectural, 1991. Print.

• Terragni, Attilo, Daniel Libeskind, and Paolo Rosselli. The Terragni Atlas: Built Architecture. Milan: Skira Editore, 2004.

Print.

Images: Cover photo:

Herrera, Laura. Entry Asilo sant Elia. 2016. Digital Photo. Como, Italy Image 1-2 :

Perri, Paola. Asilo sant Elia. 2016. http://paolaperri.blogspot.ca/2012/04/giuseppe-terragni-asilo-santelia-como. html.

Image 3-5 , 9-10 :

Herrera, Laura. Asilo sant Elia. 2016. Digital Photo. Como, Italy Image6:

Herrera, Laura. Asilo sant Elia. 2016. Ink and pencil. Toronto, Canada

Image traced from a photograph taken from: http://www.3nta.com/designing-learning-environment-humanizing-

architecture/ Image7:

Herrera, Laura. Asilo sant Elia. 2016. Ink drawing. Como, Italy Image8:

Herrera, Laura. Asilo sant Elia. 2016. Mixed media. Toronto, Canada

Image traced from a photograph taken from: http://pranchetadearquiteto.blogspot.ca/2015/01/infantil-asilo-sant-

elia-1936-como.html

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Kultour - 2016

147

Italy Architect

Cesare Cattaneo

Project

Casa Cattaneo

Author

Andrea Plesa

Date of completion

1939

between 1938 and 1939 by Cesare Cattaneo during the high point of Fascist architecture in Italy. Cattaneo, a rationalist architect from characteristics of monumental modernism. By serving the necessity of people with functional and plastic architecture, he made building political and economic position of the country, Cesare Cattaneo not only reflects incredible plasticity in his experimental architecture

Venice

for the middle working class a social norm. Whilst affected by the

Possagno

Como, wanted to give an innovative element to architecture with

Verona

the perfect geometry. Casa Cattaneo Cernobbio was designed

Frankfurt Milan Como Cernobbio Bergamo

An ideal home designed conceptually for man idealizing

but also applied his in depth research which he adapted with great practical and functional consistency.

148

After World War I, Italy was shaken by political disorder, economic depression and dissatisfaction from the little territory obtained from the AustroHungarian Empire. The middle and upper classes became frightened of a leftwing political revolution and looked for a leader for stability. Benito Mussolini was a right-wing, anti-communist leader of the Fascist Party. He became the

“ He used this style of architecture in the hopes of revitalising the country with a cultural rebirth while marking a new era of Italian culture. �

founder of Fascism and leader of Italy from 1922 to 1943. He modernized Italy with an economic policy of state capitalism, but only achieved it by sacrificing the people’s freedoms and lifestyle. When Archduke Franz Ferdinand, heir to the throne of the Austro-Hungary Empire, was assassinated, countries all over the world got involved due to alliances, starting World War I. Italy sided with the Allied Forces, consisting of England, France and Russia, to try and gain territory under Austro-Hungarian control rather than commit to the Central Powers as there would have been no gain.1 As an attempt to unify the country and liberate Italy from Hapsburg control, his intervention solidified and became more conflicted with the socialists opposing him.2 Mussolini accused socialism for failing to recognize that war had brought national identity and loyalty, which he considered to be of greater importance than class distinction.

Mussolini claimed himself a nationalist socialist, pushing the idea that traditional

149

socialism was outdated. He created Fasci Rivoluzionari

style of architecture, architects referred themselves

d’Azione Internazionalista, what is known as Fascism. It

to imperial Rome, bringing a sense of pride and

supported national unity regardless of class; advocating

nationalism back to the country. He used this style of

for the working class by creating a minimum wage and

architecture in the hopes of revitalising the country

improvements in transportation and infrastructure, as

with a cultural rebirth while marking a new era of

well as for the upper class by promising to protect

Italian culture. The architecture during the dictatorship

them.

His ideology enthused both revolutionaries

referred to Ancient Rome, implementing variations

and traditionalists, creating the “Third Way”, resulting

of both curved and rectilinear arches, mosaics and

in neither socialism or communism or capitalism, but

colonnades, a reinvention of the imperial city. Mussolini

a combination of ideas from the extremes. As Prime

intended to create a style reflective of the modern

Minister, his goals included re-starting the economy,

regime, producing a unified and distinguishable theme

increasing productivity, imposing order and restoring

and type of architecture. Incorporated were several

national pride. Mussolini believed in the growth of an

elements including hierarchy, structure and order while

empire, that the expansion of a nation is necessary

also referencing traditional architectural styles. The

for the emergence of life and in balance the sign of

resulting architecture was colossal in scale and effect

depravity. He considered that Fascism was the concept

on the user and conformed to cold, straight lines and

the people of Italy needed to represent the ideals

windows, a style somewhat conceptually scattered

after centuries of so-called deprecation and foreign

as it referenced various eras. Fascist architecture was

servitude. Under Mussolini’s rule he turned the Italian

a tangent to modernist architecture, which became

executive role from a Prime Minister to a dictatorship

popular in the early 20th century, as well as the

from 1922 to 1943. He utilized all forms of media to build

rationalist movement of the 1920s.

3

4

5

his vision of a unified fascist Italy, including architectural identity. When he called for a new modernist fascist

Figures 3 - 5

150

The concept of rationalist architecture was

the industrially inspired Futurist style. The manifesto is the

developed by the ancient Greeks, proposing that

starting point for any definition of the rationalist movement

humans were rational beings with a necessity for

in Italian architecture, containing statements from the

rational architecture. The Greeks built colossal

Gruppo 7 as well as how the style departs from the

temples and structures based on mathematical

related International movement. Le Corbusier described

principles, making them perfectly symmetrical

the manifesto as one of the biggest initiators of rationalist

and ordered. The ancient Romans expanded on

architecture.9 Gruppo 7 rejected the Futurist revolt and its

this ideology, which rational architects of the early

denial of the past, and expressed a desire for order rooted

20th century looked to for inspiration. Vitruvius

in history and tradition. The second part of the Manifesto

had claimed in his work De Architectura that

surveys modern architecture and the general opinion

architecture is a science that can be understood

of its rationality. Le Corbusier is again involved where he

rationally. At its core, rationalism is defined by its

is described as using rationality too strictly, creating a

function as much as it is by form. It has a strict

clinical style about his architecture; concrete offered the

style that can be divided into three eras – the

opportunity for new appearances and building methods.

17th century, the early 20th century and the late

The third part of the Manifesto urges architectural training

20th century. In 1926, the Gruppo 7 published a

and requests that more attention be given to technical

statement in favour of the new style, countering

problems, creating awareness of technological aesthetic.10

revivalism and declining Neo-Gothic, Art Nouveau

Rational architecture was developed and thrived in Italy

and Neo-Baroque movements. Essentially the

from the 1920s to the 1940s.

6

7

8

movement was to be part of EUR (Esposizione Universale Roma), planned for 1942. The war

Cesare Cattaneo, born July 1912 in Como, Italy, was

prevented the construction but by 1935, it was

one of the most important architects during the early 20th

already under way; today a community south

century. A figurehead to the modernist movement and large

of Rome is centred around the constructed

part of the second generation of rationalist architecture,

monumental buildings. Their declared intent was

he produced multiple pieces of theoretical writing as well

to find middle ground between Classicism and

as experimental and exemplary architectural sculptures

Figures 6 - 7

151

and buildings. Distinguished by his critical essays, plastic

Building for the middle class was in ideal

research and drive to balance architecture, expressive

field to create solutions for composition and use

values, design and function, Cattaneo made himself stand

of technology – from delivery to environmental

out to his collaborators and architects of the previous

context and cost to time management, it produces

generation. He developed a passion for “new” architecture

a study of modern solutions. An initial choice was

during the course of his studies at the Polytechnic of Milan.

to create close encounters with existing structures,

After five years of training at the University, graduating in

claiming the use of modern architecture within

1935 at the age of 23, he began to look deeper into the

a city center. Cattaneo wanted his architecture

architecture preceding him. While at the Polytechnic he

to give an innovative element to the place with

came into contact with the group of Como architects,

characteristics which could be considered as

among them soon to be friend, Giuseppe Terragni, Mario

monumental modernism.14 He produced work

Radice and Alberto Sartoris (Terragni also a part of the

based on the creative legacies of the Futurists,

Gruppo 7), all whom had inspired his conception of the

Cubists and Purists, leading him to develop the

new architecture movement as well as his commitment

theory of Poly-dimensionality. Cattaneo established

This rationalism towards

a vision of aesthetic unity, featuring ethical and

architecture thrived in Italy from the 1920s to the 1940s.

social values, influenced by culture and modern

In 1926, the Gruppo 7 was founded by a group of young

science, correlating them to architectural discipline.

architects, Sebastiano Larco, Guido Frette, Carlo Enrico

He considered that throughout ones study of

Rava, Adalberto Libera, Luigi Figini, Gino Pollini, and

architecture a Poly-dimensional consciousness

Giuseppe Terragni, with the intention of finding a balance

is acquired.15 This method requires one to look

between classism and futurism.13 Terragni became more

beyond the lines of a façade, understanding

than just a friend and collaborator to Cattaneo, as a mentor

in plane, in structural concept, the quality of

his buildings were strong influencers for Casare, including

materials and in symbols expressed by the forms

Casa Giulani Frigerio and Casa del Fascio. Together,

of architecture.16 In reality, he tried to theorize the

Cattaneo and Terragni worked and won a competition for a

characteristics of certain concepts relating to the

new urban city plan for Como (soon after rejected), as well

current culture and its elements. Taking on the

as the scheme for Palazzo dei Ricevimenti e dei Congressi

particular theoretical and innovative concept of

for the Universal Exposition of 1942. The current building

multi-dimensionality, it distinguished Cattaneo

existing in Rome portrays a production of Mussolini’s Rome,

in the rationalist architecture of the era.17 He was

pure geometries and monumental structure, a rendition

neither a traditionalist nor much of a futurist, but

of the classical. Terragni’s proposal building showcases

asked himself questions in regards to his work and

Cattaneo’s affiliation as it presents a style further from the

architecture which many of his contemporaries did

fascist style towards the rational. The planned building still

not – what a house and home represent for a man.

portrays monumentality through size and overwhelming

The theme of Poly-dimensionality was evident

presence, but also a sense of transparency with vast

in Cattaneo’s design for Casa Cattaneo, using

portions of glazed facades. The pure geometries and

repetition of frames, horizontal banding, both

linearity of the building suggest a transition to a new style

recessed and projected and extreme linearity.

11

to rationalist architecture.

12

characterized by producing connections with the users.

With the influence of his mentor’s previous projects and working techniques, Cattaneo used what he had learned and accomplished with Terragni and applied it to his design for Casa Cattaneo.

152

In essence, Casa Cattaneo is a breakdown

was reduced by 2.5 meters, resulting in the removal of part

of components repeated to form a hierarchy

of a storey and pulling the stairs and other internal walls

of spaces with a strong sense of transparency.

forward.21 The modification made the building look much

The building itself was created to exemplify

thinner from the side façade. The left side of the building is

the meaning of the ideal home for the time. The

seen coming from Como; it shows more complexity and is

intention was to express multi-dimensionality by a

structured by horizontal partitions and vertical projections

refined way of entering the historical context and

which act as vase holders for plants.22 In its final form, the

creating an independent element linked to the

apartment building has three floors with one apartment

rationalist movement. The house is a formal image

per level, and a double-height shop at grade. Access to

characterized by merging different architectural

the apartments is provided on the right side of the building

elements, structure, details and openings to

where a passage leads to the internal staircase to the

form an example of modern architecture within

north. On the first two floors the living space is devoid of

an urban space. During this period art and

any special functions, it includes an entry, living and dining

architecture conformed to the many social factors;

area, kitchen, three bedrooms and a bathroom, inspired by

they no longer connected to the bond of a class of

living habitats published at the time.

people but were created to serve humanity with a

accessed inside the building on the right side through a

specific purpose. The general tone of the building

revolving door, used in the original design allowing people

was halfway between popular housing – when

to enter without interrupting the design.24

The store can be

the economy reaches its limit and the importance

The construction of Casa Cattaneo in Cernobbio

of a takeover, and luxury construction – when a

began in spring 1939 with great enthusiasm. Society was

solution can be approached without being affected

heavily affected by the social aspect of European living at

The client for this

the time, especially in Italy; to meet the demands of middle-

project was Cesare Cattaneo’s father who had

class life as a compromise to providing for a dictatorship

offered him the land and freedom to build upon it

and the accompanying architectural styles. Starting with

as a graduation present. Casa Cattaneo is located

a very limited budget, it imposed a reduction of the use

on Via Regina perpendicular to Via Geribaldi, both

of metals and the disposal of materials and construction

Cernobbio’s more major boulevards, which leads

methods.25 The use of iron in Casa Cattaneo was an

to the panoramic Piazza Risorgimento, overlooking

important statement as Italian politics in the 1930s, by

Lake Como.

Royal Decree of 1937, reduced the use of iron in reinforced

by a break in financial support.

18

19

In the Spring of 1938, he developed his first

concrete for residential municipalities with fewer than five

drawings for the building consisting of six storeys

storeys.26 Many companies devoted the use of reinforced

above ground; after more study of the location

steel exclusively to civil constructions. But thanks to

and most ideal theme, the project was presented

the implementation of the steel structure anchored into

with five floors above ground. In the early Fall, the

concrete, the method of construction became preferred

project was reviewed by the city of Como and was

to by architects following rationalism from the traditional

finalized with a total of 4 storeys – a ground floor,

system of architecture to result in the desired method of

two living floors and a living roof, which he did not

structure of the modern movement. Cattaneo and the

20

consider a true built floor. Based on relative height

engineers and builders had to minimize both metals and

to the surrounding buildings, the apartment would

foreign materials used in the construction. He was capable

not break the continuity of the area. The building

of omitting this regulation by adjusting where the iron was

stands on a rectangular plot facing Via Regina,

used. The building has a completely reinforced concrete

approximately 15 meters wide and 12 meters deep.

frame, but excludes the stairwell and north facing wall.27

The total depth of the new building after review 153

23

Figure 8

This structural solution allows for the significant parts

In comparison to the two floors above grade, the ground

of the cantilever on the front as well as achieve the struc-

floor is slender as opposed to the mass above it, with hor-

ture required for the roof top terrace. Although there was a

izontal distribution of the parapet across the width of the

forced compromise due to limited cost between the pop-

façade, but by dividing it into two bands, it becomes lighter

ular and luxury building, Cattaneo was capable of produc-

and allows for light to enter the interior space facing the

ing a structure worthy of attention, meeting social commit-

street.32 The top of the parapet protruding through the top

ments with interesting characteristics.28 The architectural

floor hiding the roof garden is also an aid for problems as-

solutions adopted include a reinforced concrete structure,

sociated with sunlight and rainwater. The concrete slabs

façade cladding, acoustic insulation and the types of doors

have channels carved into the edges of the terraces lead-

and windows implemented.

ing to a grate and drain integrated into the slab allowing for

Cattaneo first addressed the façade modification and

runoff water to flow off and out of the building. The store

the relationship between full and void spaces. By creating

and exhibition space at grade overlooking Via Regina be-

both solid and empty parts within the façade, he obtains

comes surrounded by a showcase 5 meters above; be-

a balanced relationship between the two plastic accents.

neath the passage is punctuated by columns, pronouncing

His attention to the proportional relationships of the façade

the intended transparent construction.33

and the complete redevelopment of the horizontal distri-

bution while retaining the principle lattice arrangement of

ements of Casa Cattaneo, having been modified by restric-

pillars was considered in the precise positioning to main-

tions of the back façade and adjustment of interior walls,

tain the integrity of the structural system. He considered

it becomes another innovative part of the building. Catta-

that the position for proportions were all measures which

neo resolved the issue of the structure due to its location

came from the perception of forms, whether or not mea-

in a confined space and its lighting, as it is facing north, by

surable in geometry. The building has a fundamental ele-

creating a double ramp. The risers were left empty so that

ment within its design brought forward from the golden ra-

light would emerge upwards through the spaces below.

tio, thus creating the ideal architecture, a divine proportion.

The structure then becomes light and creates continuity

The building frame measures 11.7 meters, which synchro-

throughout the shaft. Cattaneo’s originality was showcased

nize with the dimensions provided by the golden section.

in the stair; without risers and triangular section, fitted in the

The façade division is obtained by two golden rectangles

projecting wall made of reinforced concrete with granulite

which, by their juxtaposition, determine the guiding lines

incorporated into the case and polished after stripping to

of the ratio. Cattaneo continued to study the continuity of

provide a space of high architectural quality.34

29

30

31

The inner staircase is one of the most successful el-

the façade and referring to the surrounding buildings for volume control.

154

Figure 9 (Top Left), Figure 10 (Top Right), Figure 11 (Above), Figure 12 (Right)

155

The detachment of the ramp, equivalent to the thickness

marble become reflective fragments. The coating also

of the parapet (8 centimetres) as a single partition, forms

serves a practical purpose; the granulite is also a part of the

a floating concrete entity, singular to the stairwell of Casa

support structure, made part of the reinforced concrete, it

Cattaneo.

is disabled from detaching from the building. This solution

The handrail is another creative element, going up

avoids covering the faรงade completely in marble plaques,

continuously and formed by a flat piece of metal painted

a method usually used in rationalistic architecture, result-

black, stands out as a ribbon accompanying the rise of the

ing in additional expenses and maintenance.36 Cattaneo

staircase. Cattaneo managed to produce an effect strong

also studied the best solution for his building against rain-

of homogeneous plasticity in the stairwell, conceptually

water. As an experiment he designed a protruding pro-

considered an autonomous entity, thanks to the continu-

tective structure which he called the Protective Zone.37 It

ity of light coloured material and lack of interruption in the

shields the faรงade against damage caused by atmospher-

steps, vertical wall and parapet. The height of the hand-

ic agents, such as rain, wind and pollutants. To further pro-

rail, lowered to 75 centimetres from the initial 90 was done

tect the building, Cattaneo developed a new type of gutter

due to a sun study conducted, where the support arm of

surrounding the building. This drainage system allowed

the railing cast a shadow onto the ramp below, an unwant-

him to maintain the flat roof of the structure without com-

ed effect. By lowering the rail, the shadow remains under

promising the roof top garden or other terraces. The Pro-

the railing, slightly moving on the top of the ramp from the

tection Zone is built above all vertical surfaces that must

moving sun positions.

be protected, including the terrace frame, the projected

planters and sliding panels.38

35

Covering the faรงade of Casa Cattaneo is a coating,

which expressed by Cattaneo during the building process,

To the architect, the design process does not stop

corresponds conceptually to the buildings architectural

after the building is finalized, but also continues to the inte-

language and overall context. Incorporated into the cast-

rior of the structure, considering the furnishing of the spac-

ing of the reinforced concrete, a coating of white marble

es. Cattaneo was described as the creator of atmospheres

terrazzo, and red and brown cement is mixed with natu-

through interior design to complete his work with respect

ral colours and then polished creating a uniform surface.

for the unity of style while highlighting the importance of

From a distance, the building takes a warm tone white hue

cohesiveness between the design of a structure and its

while the different pigmentations of the white

furnishing.39

Figure 13

156

Cattaneo was fully dedicated to creating a consistent design, resulting in various furnishings according to the strict geometric language of the building, calling upon the rationalism used in his drawings. There were many drawings and sketches found of the second floor and what furniture may be present as he wanted to live within his building after completion. The whole apartment is created in his philosophy of developing housing at an intermediate level between popular housing and luxury building that fully meets all the new criteria needed to be a home for the modern man.

Cesare Cattaneo became one of the most

prominent architects of the rationalist movement through his involvement in social architectural identity in the urban fabric and modernist outlook on the profession and techniques. He contributed to the confirmation of practical architecture in the 20th century by example of his theories found in the Casa Cattaneo, revolving around practicality, longevity and servitude as a staple in the rationalist architecture movement. By putting man and lifestyle before form, the resulting building is a reflection of the time period, social and economic distress and how alternate resources were put to use. Casa Cattaneo remains a current example of rationalist architecture in an overpowering fascist era while a symbol of longevity in its urban fabric. Using influences from previous generations as well as his own development of poly-dimensionality, Cattaneo created a building for the ideal man in need of the ideal home.

Figure 14

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Endnotes 1 Tran, J. (2011). Italian Fascism. Retrieved June 11, 2016, from https:// fascistitaly.wordpress.com/benito-mussolini/ 2 Tran, J. (2011). Italian Fascism. Retrieved June 11, 2016, from https:// fascistitaly.wordpress.com/benito-mussolini/ 3 Tran, J. (2011). Italian Fascism. Retrieved June 11, 2016, from https:// fascistitaly.wordpress.com/benito-mussolini/

Images Figure 1 “Casa Cattaneo.” LombardiaBeniCulturali. Regione Lombardia, 2002. Web. Figure 2 Faber, Marloes. “Casa Cattaneo.” Mimoa: Mi Modern Architecture. MIMOA, 2016. Web.

4 Tran, J. (2011). Italian Fascism. Retrieved June 11, 2016, from https:// fascistitaly.wordpress.com/benito-mussolini/

Figure 3 “Il Vaticano “tradì” Il Fascismo?” ThermometroPolitico. N.p., 2009.

Web.

5 Halsall, P. (1997, August). Benito Mussolini: What is Fascism, 1932.

Retrieved July 23, 2016, from http://sourcebooks.fordham.edu/mod/ mussolini-fascism.asp

Figure 4 Scha, Remko. “Obelisks.” Radical Art. N.p., Oct. 2010. Web. Figure 5 Jodice, Mimmo. “Architecture of Doom.” Tumblr. Tumblr, 2005.

Web.

6 Muscato, C. (2003). Rationalist Architecture. Retrieved July 15, 2016, from http://study.com/academy/lesson/rationalist-architecture.html

Figure 6 “Gruppo 7.” 7 Volte Arte. N.p., n.d. Web.

7 Muscato, C. (2003). Rationalist Architecture. Retrieved July 15, 2016, from http://study.com/academy/lesson/rationalist-architecture.html

Figure 7 Archives pour l’étiquette Giuseppe Terragni. (2012, December 13). Retrieved August 5, 2016, from http://www.archigraphie.eu/?tag=giuseppe-terragni

8 Trabia, C. (2007). Rationalism - Fascist Architecture in Sicily. Retrieved July 23, 2016, from http://www.bestofsicily.com/mag/art229.htm 9 Olivares, J. (2013, September 18). Italy: Futurism and Rationalism. Retrieved June 11, 2016, from https://prezi.com/kawb9lch705k/italy-futurism-and-rationalism/ 10 Olivares, J. (2013, September 18). Italy: Futurism and Rationalism. Retrieved June 11, 2016, from https://prezi.com/kawb9lch705k/italy-futurism-and-rationalism/ 11 The Plastic Rationalism. (2013, January 3). Retrieved August 14, 2016, from http://geniuslociarchitettura.blogspot.ca/2013/01/il-razionalismo-plastico-di-cesare.html 12 The Plastic Rationalism. (2013, January 3). Retrieved August 14, 2016, from http://geniuslociarchitettura.blogspot.ca/2013/01/il-razionalismo-plastico-di-cesare.html 13 Curl, J. (2000). Gruppo 7. Retrieved July 15, 2016, from http://www. encyclopedia.com/doc/1O1-Gruppo.html

Figure 8 Cavadini, Nicoletta. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.). Milan: Silvana Editorale Spa. Figure 9 Cavadini, Nicoletta. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.). Milan: Silvana Editorale Spa. Figure 10 Dunham, Daniel. “Casa D’affitto a Cernobbio.” Flickr. N.p., Apr. 2009. Web. Figure 11 Sketch based on photo taken on site, May 3, 2016 Figure 12 Cavadini, Nicoletta. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.). Milan: Silvana Editorale Spa. Figure 13 Cavadini, Nicoletta. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.). Milan: Silvana Editorale Spa. Figure 14 Cavadini, Nicoletta. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.). Milan: Silvana Editorale Spa.

14 Visentin, C. (2012). CASA CATTANEO. DIVINA PROPORZIONE DELLA FUNZIONE. LA CASA D’AFFITTO SUL LAGO A CERNOBBIO, 1938 - 39. Esempi Di Achitettura, 1-9. Retrieved June 15, 2016, from http:// dspace-unipr.cineca.it/bitstream/1889/1875/1/CATTANEO CERNOBBIO.pdf 15 Cavadini, Nicoletta. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.).

Milan: Silvana Editorale Spa. 16 Cavadini, Nicoletta. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.).

Milan: Silvana Editorale Spa. 17 Croset, P. (2012, November 17). Cesare Cattaneo 1912-1943. Retrieved July 23, 2016, from http://www.arte.it/calendario-arte/roma/mostra-cesare-cattaneo-1912-1943-1768 18 Cavadini, Nicoletta. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.).

Milan: Silvana Editorale Spa. 19 Visentin, C. (2012). CASA CATTANEO. DIVINA PROPORZIONE DELLA FUNZIONE. LA CASA D’AFFITTO SUL LAGO A CERNOBBIO, 1938 - 39. Esempi Di Achitettura, 1-9. Retrieved June 15, 2016, from http:// dspace-unipr.cineca.it/bitstream/1889/1875/1/CATTANEO CERNOBBIO.pdf 20 - 39 Cavadini, Nicoletta. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.). Milan: Silvana Editorale Spa.

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BIBLIOGRAPHY • Casa d’affitto a Cernobbio. (n.d.). Retrieved July 26, 2016, from http://www.cesarecattaneo.it/archivio_item.php?id=68&search=casa cernobbio • Cavadini, N. O. (2008). Casa Cattaneo a Cernobbio (3rd ed.). Milan: Silvana Editorale Spa. • Cesare Cattaneo, Casa d’Affitto, Cernobbio, Italy, 1938. (2016, March 18). Retrieved June 11, 2016, from http://atlasofinteriors. polimi-cooperation.org/2016/03/18/cesare-cattaneo-casa-daffitto-cernobbio-italy-1938/ • Croset, P. (2012, November 17). Cesare Cattaneo 1912-1943. Retrieved July 23, 2016, from http://www.arte.it/calendario-arte/ roma/mostra-cesare-cattaneo-1912-1943-1768 • Curl, J. (2000). Gruppo 7. Retrieved July 15, 2016, from http://www.encyclopedia.com/doc/1O1-Gruppo.html • Eugene K. Keefe at al, Area Handbook for Italy (Washington, D.C.: Foregin Area Studies of the American University, 1977), pp. 2833 • Halsall, P. (1997, August). Benito Mussolini: What is Fascism, 1932. Retrieved July 23, 2016, from http://sourcebooks.fordham.edu/ mod/mussolini-fascism.asp • Muscato, C. (2003). Rationalist Architecture. Retrieved July 15, 2016, from http://study.com/academy/lesson/rationalistarchitecture.html • Nicolini, F. (2015, December 2). CESARE CATTANEO / GENIO E REGOLATEZZA. Retrieved June 15, 2016, from http://www.smellof. design/cesare-cattaneo-genio-e-regolatezza/ • Olivares, J. (2013, September 18). Italy: Futurism and Rationalism. Retrieved June 11, 2016, from https://prezi.com/kawb9lch705k/ italy-futurism-and-rationalism/ • Samuels, L. (2015, July 6). The Socialist Economics of Italian Fascism. Retrieved June 26, 2016, from http://www.econlib.org/ library/Columns/y2015/Samuelsfascism.html • The Fascinating World of Fascist Architecture. (2009). Retrieved June 26, 2016, from http://www.myromeapartment.com/romecity-guide/fascist-architecture/ • The Plastic Rationalism. (2013, January 3). Retrieved August 14, 2016, from http://geniuslociarchitettura.blogspot.ca/2013/01/ilrazionalismo-plastico-di-cesare.html • Trabia, C. (2007). Rationalism - Fascist Architecture in Sicily. Retrieved July 23, 2016, from http://www.bestofsicily.com/mag/ art229.htm • Tran, J. (2011). Italian Fascism. Retrieved June 11, 2016, from https://fascistitaly.wordpress.com/benito-mussolini/ • Visentin, C. (2012). CASA CATTANEO. DIVINA PROPORZIONE DELLA FUNZIONE. LA CASA D’AFFITTO SUL LAGO A CERNOBBIO, 1938 - 39. Esempi Di Achitettura, 1-9. Retrieved June 15, 2016, from http://dspace-unipr.cineca.it/bitstream/1889/1875/1/CATTANEO CERNOBBIO.pdf

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Kultour - 2016

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Italy Architect

Mario Botta

Project

La Chiesa Di Paderno Di Seriate

Author

Arpy Katrjian

Date of completion

2004

Possagno Venice

Context:

Verona

Since the 19th century till modern Italy, Italy has gone through a number of movements. From the Fascist, Modernist, Rationalist movements during World War II to finally to Postmodernist movements; these movements have usually been responses to the ones prior. There’s no doubt that political movements have affected architects directly or indirectly, including Mario Botta and his works.

Frankfurt Milan Como Cernobbio Bergamo

Introduction:

In Italy, from the early nineteenth century onward, it was expected from the architect to create a new architecture that would simultaneously be national and modern. (Etlin,1991) The natural difficulties of balancing the demands of tradition, which was a keeper of national identity, and of modernity, which meant sharing forms and symbols of modern life with other cultures, created tensions that could be resolved only by favoring one value or the other. Nationalism and internationalism, tradition and modernity, classical Latin culture and modern machine civilization, these were the opposing terms of culture that the architects of Italy’s various 164

Figure 1: Perspective Sketch

“I think architecture find its deepest reason for being when it releases its static power to the ground; there is no architecture without gravity, the built work has to be taken in possession by Mother Earth, whom it constitutes an “ all-inone” with.” (Botta, 2013)

165

modern movements attempted to balance in one way or the other” (Etlin,1991) Italian Rationalism thrived from the 1920s to the 1940s. In 1926, a group of young architects, Gruppo 7, which was founded by Sebastiano Larco, Guido Frette, Carlo Enrico Rava, Adalberto Libera, Luigi Figini, Gino Pollini, and Giuseppe Terragni gave light to a movement which were to find a middle ground between the classicism of the Novecento Italiano movement and the industrially inspired architecture of Futurism. (Galardi, 1967) Italian rationalism created an architecture of pure pristmatic forms free of ornamentation and free of stylistic decoration, an architecture intended to reflect the spirit of a new machine civilization. Yet, this architecture, in the hands of its best designers, was fully contextual as well, relating to historical Italian culture, to its city’s heritage, and to the specific features of the site. “Anti historicist but not anti historical, Italian Rationalist architects used abstract geometrical forms to root their buildings in the past. although rationalists tilted the balance between modernity and tradition and between internationalism and nationalism.”

(Etlin,1991)

During this time another branch of modernism was the culture of Fascism, which was arised within architects after Mussolini’s march on Rome of October 1922 and their challenge was to follow this ideology. architecture soon took a fascist, monumental and shape where architects designed monumental and nationalist buildings during the fascist period (Etlin,1991) Fascist architecture is bold, has no ornamentation, is symmetric, powerful, has open plazas that bring people together for demonstration, gathering, mass experiences and has stages that are used to broadcast achievements and objectives by Mussolini. Fascist Italy was built by durable materials like stone or brick to last the fascist time period it is inspired from imperial Rome, Mussolini intended so to create patriotism, nationalism pride and Italian cultural rebirth under fascism. (Etlin,1991) Postmodernism has its origins in the perceived failure of Modern architecture. Its preoccupation with functionalism and economical building meant that ornaments were done away with and the buildings were cloaked in a harsh rational appearance. Many felt the buildings failed to meet the human need for comfort both for body and for the eye, that modernism did not account for the desire for beauty. The problem worsened when some already monotonous apartment blocks degenerated into slums like Pruitt Igoe by Le Corbusier, which was demolished because of its disastrous state. In response, architects sought to reintroduce ornament, color, decoration and human scale to buildings.

Form was no longer to be defined solely by its functional requirements or minimal appearance.

Postmodernism, with its sensitivity to the building’s context, did not exclude the needs of humans from the building. (Jencks,1977)

Figure 2: Elevation of the Chiesa

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About Mario Botta: 1943 was a was an interesting year in Italy as it was the year Mussolini left office and the year Mario Botta was born. Mario Botta is a Swiss architect who first studied at the Art College of Milan and then at the University Institute of Architecture in Venice. Directed by Carlos Scarpa, Botta received his professional degree in 1969. He had the opportunity to meet and work for Le Corbusier and Louis Kahn during his stay in Venice. He opened his own practice in 1970 in Lugano where he design a broad range of building types. along that, he taught courses and gave lectures at many architectural schools across the world.

Mario Botta is responsible for over 300 works of architecture, that average to around 8 projects a year. Today, Botta continues his passion by

167

teaching as a professor at Accademia di architettura in Mendrisio in Switzerland. (Pellandini,Boyer, Botta, 2013) Botta’s designs tend to include a strong sense of geometry, often being based on very simple shapes, yet creating unique volumes of space. (Figure 2) His buildings are often made of brick, yet his use of material is wide, varied, and often unique. (Refer to Figure 3 - a composition of multiple materials used in his Chiesa Di Paderno Di Seriate) His philosophy relates to historical, cultural, and site context.

“The Romanesque fascinates me for its absolute essentiality of contrasting large , full surfaces with openings of light, creating a relation between the man-made product and the cosmic context.....I think architecture find its deepest reason for being when it releases its static power to the ground;

Figure 3: Chiesa’s material pallete

Figure 4: St. Alexander Martyr in Seriate

Figure 5: colonnade

Figure 6: View looking up to the roof

there is no architecture without gravity, the built work has to be taken in possession by Mother Earth, whom it constitutes an “ all-in-one” with.” (Pellandini, Boyer,Botta, 2013) Importance of light and gravity is evident in Mario Botta’s architecture and philosophy. According to Botta, light describes a building’s latitude and orientation, and establishes a building’s relationship with the characteristics of its surroundings. all architecture relates back to the soil. the power of gravity is another element that shapes architectural design. “we should refer not to stone on stone, but stone on soil: all architectures bear within themselves this absolute condition of being part of the earth.”

(Cappellato, Botta , 2004) Botta’s intends to create architecture that leaves a visual memory in rapport with history. He wishes architecture to be rooted in nature and to be shaped by its landscape and culture of its location. which results in each project to be unique. (Cappellato, Botta, 2004) Botta criticized some of the recent works of architecture as they move away from light and gravity, and give less importance to the quality of spaces. The market and economic interests seem more important. “at times, doing is given precedence over thinking.......the true issue of architecture is never aesthetics but ethics” (Cappellato, Botta, 2004).

About The Chiesa: Church and Pastoral Center Giovanni XXIII was a project that Mario Botta started working on since 1994. Construction period was from 2001 - 2004. The complex is located beside the eighteenth century church dedicated to St Alexander martyr in Seriate, Bergamo in Italy (Figure 4). A central rectangular plaza connects all three elements of the site: the new church, the old church and the Pastoral centre. The old church, along the north west side of the rectangle has an unobstructed bell tower, made of stone. The Pastoral centre extends just east of the new church. it’s one storey height provides priest residency and the

south side of the centre is two storeys which houses the oratory, catechism classrooms.

Its colonnade has thick columns that taper to a point. (Figure 5) The new church is almost composed of a square shape with height of facade 23 meters and plan edge is 25 meters..

The Church is built with reinforced concrete and cladded with rough cut Verona stone on the outside front facade is split with depth of a cross that rises from the recessed entrance.

(Figure 1) The geometry has no windows on the outside, however the inside is illuminated with the use of four skylights creating an intimate relationship between the earth, the sky and the divine (Figure 6). Material palette indoors includes horizontal wooden panels that are covered with gold leaf using the same technique used to gold leaf painting frames, industrial metal doors and black painted metal meshes overlapped creating a visual effect defining the entrance (Figure 7&12) . Aisles are minimally designed using wood and metal, open plan with almost no partitions, the inside reflects the outside. The Verona stone is also present on the inside floors, wainscoting and along the liturgical finishing, however, polished and smooth (Figure 8). The presbytery contains two apses also covered in Verona stone and houses the most important wall piece where the sculptor Giuliano Vangi was called in to create a crucifixion scene within the depths of the stone( Figure 11). (Coppa, 2009)

Analysis: Botta is now typically listed among the top Postmodern architects within many resources, although his work can be difficult to categorize.

His work does not invite easy classification, it is modern, but it avoids the smoothness and minimalism of so much late Modernism. His material is masonry, not glass or steel, and he uses it to create buildings that are firm, self168

assured essays in geometry. While not overtly Postmodern, Botta’s work certainly has many Postmodern elements: geometric forms, heavy massing and pre-industrial materials such as brick, wood and stone. That solidity is a reaction against Modernism. Botta himself does not appreciate labels, he prefers them to be testimonies of memory. (Pellandini, Boyer, Botta,2013)

169

concept of a square plan with four skylights that shine on raw materials like wood, concrete, and brick creating a timeless appearance. However, Botta’s interior is noticeably not as gloomy and destructive as Kahn’s. To Botta and Kahn, sunlight from above is an important element in sacred architecture, connecting the ground to the sky.

Botta, is best known for a series of masonry buildings of powerful monumentality that are attractive, bold and filled with formality; if they have any close kinship, it is to the work of Louis Kahn, for whom Botta once worked.

Botta’s Chiesa has similar linearity as of Kahn’s Salk institute and first Unitarian church, that guide the eye towards a focus, whether it is the sea, the sun or a symbol. (Figure 9&10) Moreover the Chiesa is conceptually identical with Kahn’s church as it shares the same

Botta’s design were definitely influenced by the fascist time period, fascist architecture has no rounded edges and is cold, intimidating and forbidding. The architecture at the time used reliefs of emperors of ancient Rome as mere decoration as Mussolini himself claimed to be descendant of those emperors. The Chiesa is inspired from the fascist time period. the square plan, the brick stone concrete and marble materiality. the geometric and symmetric form, the reliefs on the walls. it occupies and gathers people as there is space on the outside where ceremonies tend to happen. (Etlin 1991) Recessed entrances which is an ancient roman tradition,

Figure 7 : mesh

Figure 8: Verona Stone

Figure 9: Mario Botta

Figure 10: Louis Kahn

Figure 11: Crucifixion scene carved in Verona stone

Figure 12: Mario Botta

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internal partitions to bare minimum. (Cappellato, Botta,2004). The Chiesa also has some post modern qualities as the angles were non orthogonal (unlike modernism) and the geometries are less strict.

Postmodernism introduces the comeback of columns but non structural columns that are present in Botta’s Chiesa. Batto’s symmetric and bold chiesa has been calmed and humanized by his angles scale materiality and use of light to create a warm environment. contrasting the form and the square plan on the chieza. His semi circular stage breaks away from the strong rigid fascist style.

Church of the Santo Volto in Turin, Italy, follows the same architectural concept like that of the church in Seriate. it is composed of seven geometric components that radially arrayed to create a centre. (Coppa,2009) Botta claims he respects site and landscape however his forms are fort-like on the landscape where he strictly follows the form of the geometry whether it is a cylinder, cone, cube.

Being strict with those forms, brings back the disastrous consequence of slums, where unimportant and unpleasant areas are created as a result of such strict volumes that are created for no specific reasoning. Botta once worked for Le Corbusier, and there is evidence that some of this great master has influenced on him: the use of colonnades, the geometric forms, the black mullions, and the use of partitions to a minimum. On the other hand, Mario Botta has succeeded in creating spaces that empower the relationship between man and nature, physically and spiritually. There is no doubt that the architectural movements in Italy and inspirational architects that have mentored him also helped him into becoming what he is today.

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BiBLIOGRAPHY • Botta, M., & Cappellato, G. (2004). Mario Botta: Light and gravity: Architecture, 1993-2003. Munich: Prestel.

• Coppa, A. (2009). Mario Botta. Milan: Motta.

• Etlin, R. A. (1991). Modernism in Italian architecture, 1890-1940. Cambridge, Mass: MIT Press.

• Galardi, A. (1967). New Italian architecture. New York: F.A. Praeger.

• Jencks, C. (1977). The language of post-modern architecture. New York: Rizzoli.

• Pellandini, P., Boyer, J., & Botta, M. (2013). Botta: Mario Botta: Architecture and memory. Silvana.

FIGURES

All Sketches and phographs are by Arpy Katrjian except:

Figure 10 (left) : This Is How You Save a Louis Kahn Masterpiece. (2014). Retrieved August 26, 2016, from http://ar

chitizer.com/blog/conserving-modern-architecture-initiative-kahns-salk-institute/

Figure 10 (right) : Fabric Wall Panels, First Unitarian Church of Rochester. (n.d.). Retrieved August 26, 2016, from

http://ndagallery.cooperhewitt.org/gallery/25146933/Fabric-Wall-Panels-First-Unitarian-Church-of-Rochester

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Kultour - 2016

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Italy Architect

Carlo Scarpa

Project

Banca Popolare di Verona

Author

Emily Phagoo

Date of completion

1981

array of images ranging from ancient roman ruins to sleek concrete forms. It is one the few places where within such strict building restrictions, architects have found ways to constantly innovate and improve on design; making a style of their own and contributing to the progressive reputation of Italian design. It is hard to define Italian design, but something sets it apart from the rest. There is still so much variety within its constraints. Local distinctions, found predominantly in cuisine, can also be found in architecture and how

Verona Possagno Venice

Italian architecture has a ring to it, and tends to conjure an

Frankfurt Milan Como Cernobbio Bergamo

Introduction:

the locals choose to portray their own history. There is an apparent narrative to work around when building something new. Once the delicate progression of architectural movements is interrupted by an innovation, it is at that point where one makes his mark, leaving it up to time to choose its next course of action.

Carlo Scarpa, one of Italy’s most precious, has done this is in a graceful way and still managed to leave his mark. He exhibits his hallmark of careful details and vibrant simplicity in all his work, never wavering in his theory throughout his

174

The only exposed facade of the Banca Popolare di Verona, seen from the adjacent parking lot.

career. The Banca Popolare di Verona, nestled in between two 18th century buildings,1 overlooking the quiet Piazza Nogara, is a testament to Scarpa’s style and elegance.

The Banca Popolare di Verona, in the historic district of Verona, holds its

“Scarpa’s lifetime was an ever shifting one, and to design in a divided environment could result in a divided composition.”

own in its modern nobility, among the likes of the Roman Borsari Gate and the Verona Arena. It humbly only showcases one façade, but manages to catch the eye with a refreshing disconnect between the neighbouring repetitions of buildings. Because it is a work by Scarpa, master of details and materials, the one face of the building is all that is needed to foreshadow the interior spaces.

To explore the immortality of Carlo Scarpa’s Banca Popolare, one must examine the many variables that come into play in the existence of an architectural piece, including the historical setting, the immediate context, the architects decisions and inspirations, and how these contribute to a final design. From history of Italy as a nation, zooming into Verona and Venice, all played a role in how the Banca Popolare came to be, in the expression as seen in present day.

Italy starting its new life as a modern nation, under a fascist regime hugely impacted the architecture, among many other things, sparking new waves of trends enforced and supported by the government. The control placed on

175

social, economic, and political development, manifests itself into buildings, made to display the strength and ideas of the regime and those in power. Verona, with its own charm and medieval ambiance, hold a unique story on its own, going through centuries of trials and triumphs to establish its present state as a tourists dream.

Scarpa and his Venetian roots run deep, and to identifying him as a designer, or even in his design of the Banca Popolare, as a product of one city or even country is not a straightforward endeavor. Scarpa’s lifetime was an ever shifting one, and to design in a divided environment could result in a divided composition. In the Banca Popolare di Verona, Scarpa capitalizes on just that, celebrating the joining of buildings honestly and un-masking the fake facades of fascists architecture surrounding it.

Dictating Design: Italian diverse architecture can give credit to a long and eventful past. Constant shifts in power, proved the nations fragility, however is proven in strength by standing the test of time. Italy has always been on top of the trends, a progressive country, who marked each victorious execution of style with great pieces of architecture, industrial design, and fashion. It is these physical marks that put their national story on display, showcasing a plethora of innovations for each movement that arose. Italy has mastered the art of working with the past, and still progress into each contemporary time, all without losing touch of the rich history and never ceasing to invent for the future. They are acutely conscious of the ancient civilization on which their contemporary lives are based and woven around, treating each building and monument with the same amount of respect that it demanded in its prime.2 Aside from ancient roots, Italy as a modern nation is relatively young, formed after a unification

The transition in similar colours, though using different materials, from the Banca Popolare in the foreground and the typical Verona building in the back.

176

in the late 1800’s and the constitution of the

time of totalitarianism and extreme control. Italy is left with

Italian Republic in 1948. The 20th century therefore,

a display of buildings made for greater purposes, whose

is quite an important time in the story of Italy as it is

deceptive facades were used in creating false narratives,

known today. The pivotal moments surround both

Verona being a prime example.

3

World War I and II and the major social, economic, and political changes that come with war. It was

Verona and the Banca Popolare:

felt all over Europe and in Italy primarily as one of the epicenters for this shift in mindset and ideas

Like any town or city, Verona has its own characteristics.

on the role of the government. Benito Mussolini’s

With the meandering roadways and endless housing

Fascist regime reigned from 1922 to 1943, marking

blocks, only interrupted by spectacles such as the Roman

the new nation of Italy for many years, affecting it

ruins, open

much after his time in power. Much like their ally,

Piazzas, and of course the sight of the great

the German Nazi’s, the Italian Fascist movement

Castelvecchio. There is something romantic in its

had a very “schizophrenic” attitude towards the

atmosphere, perhaps knowing it is the backdrop to

aesthetics of material culture. This can be seen

Shakespeare’s Romeo and Juliette. Verona too has a fascist

very evidently in architecture, where on one end

past,13 though by just walking through, it would seem

is the example of the grand Art Deco-esque Ulisse

relatively untouched since the 18th century. This is exactly

Stacchini’s Stazione Centrale in Milan designed

what the fascist regime wanted to portray, and have been

as a statement of Fascist power and, on the other

successful in doing so.14

4

5

end of the spectrum, the timid Modernism of Giuseppe Terragni’s Casa del Fascio in Como.

are woven into family connections and local networks,

Futurism

joined forces with fascism and gained

and lots are guarded by similar politics in addition to

prominence after WW1 due to the growing interest

ensuring the design accommodates any existing historical

in nationalism, modernisation, industrialisation,

structures.15 Carlo Scarpa was commissioned to design the

violence, war, and antidemocratic ideas.8

A

new head office building for the Banca Popolare di Verona

movement called the “Italian avant-garde came

at the end of 1973, which was completed after his death

into being around this time bringing together

by Veronese architect Arrigo Rudi, his collaborator, in 1981.

“modernist aesthetics and material culture of

An existing plan had been approved and later the site was

industrial society”. The shift of attention from art

made available by demolishing two existing buildings,

to politics is critical in Italian Design , and like any

in the central historical district of Verona in between the

major occurrence in the timeline of a place, it can

banks original head office and a residential building.16 The

be detected in the architecture. As Italy was a young

building could not be greater in volume or height than the

and in a divided state, Regions within the country

buildings that were demolished before it, and other than

ensured they maintained their local identities, and

those minor restrictions, Scarpa was given the freedom

to this day exercise that hold.

For this reason,

to design.17 It is not said exactly why the Banca Popolare

designers tended to look to local methods to

Group chose Carlo Scarpa to design their extension, but

realize their projects as to not disrupt the local story

it could be assumed that, after the seeing the successful

and tamper with context.

Architecture was used

restoration of the Castelvecchio he was the right person to

in the grand scheme, like in countless other points

build a progressive yet humble building without disrupting

in history, of those in power to push their ideas, this

the charm in Verona.18 The current President of Banco

7

9

10

11

177

Building in Italy is already a trying task, as contracts

6

12

Popolare, Carlo Fratta Pasini, stated that it represented

the city center, where works were limited to the

a continuum, not only in style, but through function and

restoration of facades and the raising of buildings

history.

Verona was an ideal back drop for Scarpa to

by one or two storeys.24 Many historians have

showcase his skill in removing fakery and honoring the real

argued that since the post-war period, Verona‘s

history of a building in its context.

architecture has continued with its persistence

19

Unbeknownst

to

many,

Verona‘s

urban

and

of traditional practices and Fascist past, with the

architectural fabric were carefully altered in order to serve

prime exception of Carlo Scarpa‘s designs for

ideological, political, and economic aims during the early

Castelvecchio and the Banca Popolare.25

20th Century.20 Due to this, buildings were stripped of their layers of historic facts while new architectural elements were

Scarpa

worked

creatively

with

historic

buildings, holding every detail in high regard.

superimposed on the existing structures made to enhance

In William Morris’ Manifesto he says that in

their Medieval and Renaissance appearance. A new and

the continuity of history, nothing stays the same.26

false historical narrative was created, which expelled

Scarpa understood this, not to lie to the audience,

specific aspects of the city‘s past while emphasizing

and to put the history, all of it, on full display. The

others.

Mussolini’s nationalist and imperialist agenda fit

story of the building is based on fact, as history

well into the cities traditions and played into the vision that

should be, rather than one piece of the actual lived

the local elite had for the future, and false past, of Verona.

23

timeline. Scarpa described his façade design of

They had created a fake façade of history, only highlighting

the Banca Popolare stating, “The new building is

the glory days. This means the city is somewhat artificially

an extension of the old one, but the additions are

historical, making that charm and romance cheap. To the

bigger than the existing building.27 You couldn’t

untrained eye, it goes undetected, the elaborated past now

just copy the original architecture, but you have to

a concrete part of Verona’s history. In the years between

understand it”. 28

21

22

1900 and the end of WWI, urban initiatives where set in

Picture taken from across the site, showing Scarpa’s addition in relation to surrounding buildings

The seam between the old portion and the new; different but non-conflicting

178

and

intermediate area, and upper open gallery offered an

organization, new construction within an urban

updated interpretation of the existing façade.34 This small

scale that befits the historic context.29 Across the

act has brought the two piazzas together, however can only

quiet piazza, now parking lot, the full elevation

be noticed when walking down the street the building sits

can’t be seen from straight on, instead the viewer

on. What has been the greater outcome of this is the fact

has to be adjacent, actually walking closer to the

that the viewer has to go up close to the buildings surface,

building to get the view in its entirety. This strange

leaving just over an arms width distance between the

approach is due to the fact that the small piazza is

building and the eyes. From there the only option is to look

actually divided in two by a building splitting the

across at the notched molding pattern that runs along the

open space directly in front of the Banca Popolare’s

building at eye level, then travel up towards the protruding

entrance. Scarpa’s aim with this façade was to unify

bay windows. There is no escape from studying Scarpa’s

the split piazza, of course never toying with the idea

details up-close. It is then when they can be appreciated,

that the dividing building should be demolished,

and the context around isn’t so significant.

The

bank

required

functionality

as it is a part of the sites character.

30

He said “the

new façade would help unify the two spaces,

A Venetian in Verona:

establishing and embodying the continuity…this is the facades role.”31 This a large but divided

Determining nationality in design start with the

area, became an essential theme of Scarpa’s

designer, place of birth, parents, training as well as their

plan for the building. He wanted to observe and

manufacturers, and suppliers of materials.35 They inform

understand the existing buildings in regards to the

the design of a building just as much, most often more,

extension to come. Scarpa’s façade covered part

than the context the building sits in. Carlo Scarpa draws

of the banks old building and appears as a single

up inspiration from anywhere in art history right up to

plane with an essentially longitudinal line running

the most recent exhibition at the Venice Biennale.36 In

along it.33 The vertical division into the basement,

his hometown of Venice he picked up a lot of skills, even

32

Figure 5 a.b.c respectively. The respectful gap between the old walls and new additions.

179

habits that carry throughout his career.37 Venice at the

inspiration for the columns in the Banca Popolare.45

water’s edge is in constant tension between land and

The upper gallery, as seen from the outside as a

water. This relationship gives a sense of weightlessness

glazed loggia, is tucked just behind the staunch

to the city, feeling like it is floating or hovering millimetres

wall of marble at the base and Cocciopesto

above.

It is this tension and excitement that Scarpa, a

stucco middle.46 It provided a counter point to

Venetian to his core, brings to his work.40 From Venice he

the first two levels, with the small evenly spaced

learned to respect the historic layers, being accustomed

paired columns lifting the roof and lightening the

to the constant re-stuccoing of buildings surfaces after

appearance.47

38

39

being tormented by the deleterious waves.41 The various

He was a craftsman at heart, taking care in

layers contrast with the new neat facades, showing off the

the production of every detail, again remaining

changes and degradation of time.

honest in its use and handling. His relationship

42

Venice is very important to Scarpa’s style, approach,

to the craftsmen as a craftsman himself allowed

and execution of his work, always finding a way into his

him to almost design on the spot. He started as

designs no matter which city. One of the most direct

a glass designer, after qualifying as a draftsman,

relation of his Venetian roots in his design is the series of

he worked with the glass makers on Murano. This

slender paired columns made in Muntz metal seen on the

allowed him to explore colours and textures, seen

upper glazed gallery. This was said to have had a very

evidently in his choices for the interior finishes of

unlikely source. Francesco Zanon, Scarpa’s Venetian metal

the Banca Popolare. As a keen observer of art,

craftsman used for the Banca Popolare, was with Scarpa

Scarpa came across artist Mark Rothko’s vibrant

when the idea of the paired columns struck. They were

and colourful work whose pieces where used to

traveling along the Grand Canal in Venice and spotted a

pick the exact colours of the interior walls of the

pair of 15th century marble columns, going on to use it as

Banca Popolare. Scarpa once again

43

44

Scarpa carries his motif throughout the facade. A neat and intricate molding unlike any on the other surroudning buildings

180

innovating, brought Rothko’s colours to new

and expressed the process in his design.55 The way he sets

heights by layering coloured stucco to create

a small ring of bronze and marks the drill hole that must

a marble like sheen using an ancient Venetian

be made in metal to cut a joint, highlighting every part or

technique called stucco lucido, polished stucco.

the journey to a final form.56 There are no false illusions: he

Rudi even described the polished walls, “the skin

aimed to maintain the purity of each material from its raw

of a nice woman”, and to appreciate Scarpa, one

state to product.

must visit his work with your hands outside your pockets, ready to feel and sense the materials and

Final Thoughts:

textures.

48

The façade, the main face and introduction to the

Beyond the Trends:

Banca Popolare, though successful in many ways, did feel distorted in human scale. What is extremely beneficial in

The styles and movements during Scarpa’s

being placed in a way as to push the viewer closer to the

career changed a lot around him, the world at the

building to see and feel the Sc arpa details such as the

beginning of his life in 1906, looking drastically

railings, cut in the moldings, and choices in finishes, is

different than the end in 1978. The new age and the

also hinders the ability to see more. Certain elements of

time period in which the Banca Popolare was built

the whole pieced are above eye level and out of reach,

wasn’t any less uncertain, though it was built long

leaving a disconnect between the viewer and the building

after the wars had ended. There was a slowdown

as a whole. The human scale appears slightly distorted,

of activity in the 60’s because of economic crisis’

and in some ways closes itself off from the street, which is

following the two world wars, this lead to a

for a building used for public services is at odds the norm.

50

movement called antidesign or radical design.

On a whole, the scheme works well in its environment, very

This movement was against mass production

much comparable to the way Scarpa fuses together, lining

and preferred work that was unique, functional

it with bronze, highlighting the difference rather than trying

and,

to cover it up, acting as if he wasn’t in reality making an

49

temporary.

51

It

opposed

Modernisms

monochromatic color palette, anti-design is all about the exploration of colour and materials,

The composition of the Banca Popolare goes

not paying so much attention to its durability and

beyond simply making an extension of the building. These

permanence like the modernists. Italy was finally

typically tend to result in either twin facades: the new part

free to do their own thing after the war, style not

made to replicate the existing one leaving little evidence of

being dictated by the political agendas and didn’t

its occurrence behind, seen (or disguised) along the streets

have to portray any message against its will.

of Verona. Then the dramatic opposite, where the addition

Italy’s isolation during the fascist regime strongly

contrasts its counterpart so starkly that they might as well

influenced Italian manufacturing, but all the mass

be two different buildings altogether, on entirely different

production and industrial progress seemed to

sites, the Crystal addition to the Royal Ontario Museum

have by-passed Scarpa and it shows in all his work,

being a prime example. In Louis I. Kahn’s poem, he affirms

especially in the Banca Popolare. Scarpa remained

that the work of Carlo Scarpa.

52

53

true to the original craft, marveling at the control he had over the most minuscule of architectural elements. In a sense he doesn’t fit well into a specific movement and appears to be in a class of his own, turning out to be “the exact opposite of his contemporaries”.54 Scarpa celebrate the process, 181

extension and joining the building.

Scarpa marks changes and breaks in material, highlighting the craftsmans and assemlbly process.

evoked “The sense of the wholeness of inseparable element”.57 The Banca’s honest façade is greatly appreciated as a break from the surrounding context. It has a clear separate identity from the ones created and is respected for that. Neither the old bank nor Scarpa’s extension interrupts the aesthetic of the other to achieve actual harmony in its difference.

12

ENDNOTES

1. McCarter, R. Carlo Scarpa (Phaidon Press Limited, 2013), pg. 212 2. Lees-Maffei, G., & Fallan, K. (Eds.). Made in Italy: Rethinking a century of Italian design (London, UK: Bloomsbury, 2014), pg.7 3. Lees-Maffei, G., & Fallan, K., 2014, pg.6 4. Lees-Maffei, G., & Fallan, K., 2014, pg.6 5. Lees-Maffei, G., & Fallan, K., 2014, pg.6 6. Lees-Maffei, G., & Fallan, K., 2014, pg.10 7. An early 20th century movement from Italy, known for dramatic forms with industrial and machine like themes, Lees-Maffei, G., & Fallan, K., 2014, pg.9 8. Lees-Maffei, G., & Fallan, K., 2014, pg.9 9. Lees-Maffei, G., & Fallan, K., 2014, pg.9 10. Lees-Maffei, G., & Fallan, K., 2014, pg.8 11. Lees-Maffei, G., & Fallan, K., 2014, pg.6 12. Lees-Maffei, G., & Fallan, K., 2014, pg.6 13. D’Anniballe Williams, M, Urban space in fascist Verona: Contested grounds for mass spectacle, tourism, and the architectural past (ProQuest Dissertations & Theses Global, 2010) 14. Lees-Maffei, G., & Fallan, K, 2014 pg.7 15. Battistella, G., Šedý, V., Forster, K. W., Abbondandolo, I., & Orsini, L. Carlo Scarpa: Architecture and design (New York: Rizzoli, 2007), pg.256 16. Battistella, G, 2007, pg.256 17. Battistella, G, 2007, pg.256 18. Dalai, L. Carlo Scarpa per la sede della Banca Popolare di Verona (Verona In, March 16, 2016) 19. Dalai, L., 2016 20. D’Anniballe Williams, M, Urban space in fascist Verona: Contested grounds for mass spectacle, tourism, and the architectural past, 32 21. D’Anniballe Williams, M, 2010, pg. 32 22. D’Anniballe Williams, M, 2010, pg. 32 23. D’Anniballe Williams, M, 2010, pg. 32 24. D’Anniballe Williams, M, 2010, pg. 46 25. D’Anniballe Williams, M, 2010, pg.

182

1

26. Murphy, R. Richard Murphy on the work of Carlo Scarpa (Lecture presented at the Sheffeild School of Architecture, Sheffield, England, 2014) 27. McCarter, R, 2013, pg. 214 28. McCarter, R, 2013, pg. 214 29. Battistella, G, 2007, pg.256 30. McCarter, R, 2013, pg. 214 31. Battistella, G, 2007, pg.256 32. Battistella, G, 2007, pg.256 33. Battistella, G, 2007, pg.256 34. Battistella, G, 2007, pg.256 35. Lees-Maffei, G., & Fallan, K. Made in Italy: Rethinking a century of Italian design, pg.5 36. Grigor, M.Carlo Scarpa (UK: Concord Media, 1996) 37. Grigor, M, 1996 38. Grigor, M, 1996 39. Grigor, M, 1996 40. Grigor, M, 1996 41. Grigor, M, 1996 42. Grigor, M, 1996 43. Battistella, G, 2007, pg.256 44. Grigor, M, 1996 45. Grigor, M, 1996 46. McCarter, R, 2013, pg. 215 47. Battistella, G, 2007, pg.256 48. Battistella, G, 2007, pg. 5

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12

49. Battistella, G, 2007, pg. 5 50. Grigor, M, 1996 51. Battistella, G, 2007, pg. 7 52. Grigor, M, 1996 53. Grigor, M, 1996 54. Grigor, M, 1996 55. Grigor, M, 1996 56. Grigor, M, 1996 57. Nesbitt, K. Theorizing a new agenda for architecture: An anthology of architectural theory 1965-1995 (New York: Princenton Architectural Press, 1996)

BIBLIOGRAPHY • Battistella, G., Šedý, V., Forster, K. W., Abbondandolo, I., & Orsini, L. (2007). Carlo Scarpa: Architecture and design (G. Beltramini & I. Zannier, Eds.). New York: Rizzoli.

• Co, F. D. (2009). To construct, to compose: Carlo Scarpa and the Villa Ottolenghi. Amsterdam: SUN. • D’Anniballe Williams, M. (2010). Urban space in fascist Verona: Contested grounds for mass spectacle, tourism, and the architectural past (Order No. 3447308). Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. (858078737). Retrieved from http://ezproxy.lib.ryerson.ca/login?url=http://search.proquest.com/ docview/85807877?accountid=13631 • Dalai, L. (2016, March 16). Carlo Scarpa per la sede della Banca Popolare di Verona. Retrieved August 10, 2016, from http://www.verona-in.it/2016/03/16/carlo-scarpa-per-la-sededella-banca popolare-di-verona/ • Frampton, K., & Cava, J. (1996). Studies in tectonic culture: The poetics of construction in nineteenth and twentieth century architecture. Retrieved July 21, 2016, from https://www.scribd.com/document/72971266/Carlo-Scarpa-and-theAdoration-of-the-Joint-1 • Grigor, M. (Director). (1996). Carlo Scarpa [Video file]. UK: Concord Media. Retrieved July 21, 2016, from https://www. youtube.com/watch?v=9KxXgkEWK1U • Lees-Maffei, G., & Fallan, K. (Eds.). (2014). Made in Italy: Rethinking a century of Italian design. London, UK: Bloomsbury.

• Los, S., Scarpa, C., & Frahm, K. (1994). Carlo Scarpa. Köln: B. Taschen.

• McCarter, R. (2013). Carlo scarpa. Phaidon Press Limited • Murphy, R. (n.d.). Richard Murphy on the work of Carlo Scarpa. Lecture presented at Richard Murphy in Sheffeild School of Architecture, Sheffield, England. Retrieved July 21, 2016, from https://www.youtube.com/watch?v=v_78_KQZiP8 • Nesbitt, K. (1996). Theorizing a new agenda for architecture: An anthology of architectural theory 1965 1995. New York: Princenton Architectural Press • Emily Tishana Phagoo. (2016). Photos taken and drawn. Retrieved May, 2016.

184

Kultour - 2016

185

Italy Architect

Carlo Scarpa

Project

Museo Civico Di Castelvecchio

Author

Amelia Phagoo

Date of completion

1973

Like most, if not all Italian cities, Verona has a rich history

Verona Possagno Venice

embedded in its streets. Although it is guarded by the Porta Borsari, the ancient roman gate and home of the roman arena, there is still a very medieval quality to the whole place. Those two ancient and preserved buildings are mere shadows in the glory of the rubble stone walls. As you follow the peaks of the defense merlons of the city walls, you finally reach the root of this medieval sensation; Castelvecchio. The castle still stands tall and proud as it surely did when it was first born to the powerful Scaligeri family back in the 14th century1.

It was said by Kurt Forster that “for what one discovers always needs to have been there all along but gone unrecognized for what it is�2. This rings true when looking back at the history of Verona and the importance that Castelvecchio has in telling the city’s story. The Castle has endured many centuries of hardship but yet many of those years, had been masked by regimes and the elites to only display its glorious years. Carlo Scarpa, the great Italian architect, made it his mission to unwrap the true history of this building and return to the city, a truly democratic museum that displays a real

Frankfurt Milan Como Cernobbio Bergamo

The Approach:

timeline of Verona, not only through its artifacts, but its architecture as well.

186

Figure 1 The walk toward Castelvecchio

“Architects and intellectuals contribution to fascism reshaped the course of the modernist style in Italy.”

187

The Museo Civico di Castelvecchio’s renovation by Carlo Scarpa is arguably the focal point of Verona.This study offers a discussion of the time leading up to the restorations of Castelvecchio through the years andan analysis of Carlo Scarpa’s theories and philosophical origins that guided the design directions he took when working on the Museo Castelvecchio in modernist Italy. In addition to context and history,this building will be analyzed to display its success as an exhibition space and as a design that restored the true glory and history of Verona.

Before looking into the facts from the long history of Verona, The culture and ideas surrounding Italy in the modernist time period must be considered in order to understand the factors that make modernist architecture what it is in an Italian context. Modernist architecture during a period of 60 years, spanning two world wars and two different regimes; fascism and democracy. Michelangelo Sabatino states: “Italian modernist architecture and urbanism of the twentieth century emerged in a cultural context characterized by distinct and competing regional traditions, unified primarily by a deep-seated agricultural heritage that had since antiquity coexisted with the urban

aspirations of city dwellers”3.

This goes to say that although each city has its own disposition, Italy is presently unified by its pasts’ ability to relate agrarian and urban lifestyles. With the vernacular and classic traditions, 20th century urbanism and architecture in Italy is broadly characterized by its ambivalent relationship with history. However, despite the unbiased and primitive nature of vernacular architecture, rationalist and modernist Italian architects reformed this definition through their design approach according to political regimes from fascist to democratic4 . When looking at the path laid by Italian architects, it is beneficial to look into the idea of “treason”; which is the betrayal of the fair neutrality of primitive and straight forward design with their involvement in politics5 . Architects and intellectuals contribution to fascism reshaped the course of the modernist style in Italy. They desired to simultaneously modernize and go back to their ancient roots to show tradition and power, and this was an opposite reaction to the progress modern

architecture was making elsewhere in the world6 . Where in Adolf Hitler’s Germany, modern artists and architects fled to America and other European cities, in Italy, most of those who identified with left as well as Mussolini’s fascist and nationalist right-wing stayed and practiced after the war7 .

This insertion of politics into architecture is very much demonstrated in the first remodeling of Castelvecchio in the 1920’s through to the 1950’s

by Antonio Avena.

History and Politics leading to Scarpa’s Renovation: There are many political and historical factors leading to the decision to have Carlo Scarpa undertake the renovations. These factors even impacted the way in which he ultimately designed the building.

Figure 2 the intersection of time periods viewed from the courtyard

188

The 13th to 14th century was the peak of Verona’s golden age; When the Scaligeri family ran the city of Verona. Castelvecchio was erected between 1354 and 1357 on the inside perimeter of the city‘s medieval walls. Overlooking the Adige River, it and its escape bridge were originally designed as the Scaligeri family home and as a military stronghold against outside invaders and local rebels8. The building was expressed as two halves; a western living area surrounding an inner courtyard and the Great Court, which was the eastern military zone. After the fall of the Scaligeri rule, the building and the city was overtaken by the Gian Galeazzo Visconti, the duke of Milan9.

The castle experienced numerous interventions throughout the centuries following the medieval period. Under French rule, Castelvecchio was refashioned in 1799, in which they transformed the castle through elevating the existing walls, lowering the corner towers and eliminating the crenellations.

They also altered the Grand Court with the construction of a wall along the river, while an L-shaped barrack was built along the north and east side of the court10.

After the seizing of Verona to the Kingdom of Italy in 1866, Castelvecchio was used mainly as barracks as it became the property of the central government. With the fall and retreat of the French and Austrianthe dominance of fascist restoration efforts in the following year resumed as the new regime seemed to providea favorable opportunity for the remaking of the castle and the rest of Verona’s historical buildings and monuments.

The city’s urban spaces and monuments were carefully edited in order to serve ideological, political, and economic aims11.

Verona was presented as having remained unaffected by the destruction of wars and the passing of time. It was featured as 189

perfectly preserved and intact in its historic medieval state. Little was known that in the background, buildings were stripped of their historical layers while new “stylish” architectural elements were overlaid on existing structures in order to enhance their medieval and Renaissance appearance. A new historical narrative was created, which targeted and destroyed specific aspects of Verona’s past while emphasizing triumphant others12. This was all in the interest of those in power, a retaliation effort against being under Austrian Habsburg rule for some time. They wished to now showcase a time when they stood powerful and independent under the leadership of strong Italian families.

This stripping and masking of buildings is precisely what had happened to Castelvecchio. With the construction of a new industrial canal, came the demolition of “unfit” buildings with great artistic value. Elements such as gothic doors and windows were salvaged to be later re-used in Antonio Avena’s refurbishing of Castelvecchio13. In 1923, a plan for the refashioning of Castelvecchio, drawn by architect Ferninando Forlati under the supervision of Antonio Avena, was approved by elite citizens and local authorities who petitioned for the central government to give the barracks to the city. It was approved

by Mussolini’s government providing that it be a museum funded by the city and only be carried out under their administration14. Avena’s restoration and funding relied heavily on upper- middleclass and noble families. With this in mind, he gave the elite and the nationalist fascists exactly what they had wanted; the ideal medieval and neo-medieval castle.

On the outside, Avena re-elevated the corner towers, re-did the crenellations and battlements, and transformed the Barracks made under French rule.

On the inside, he replaced the existing vaults with ornate coffered ceiling and decorated the walls with frescoes inspired by Renaissance and Baroque motifs.

He also furnished the rooms with pieces from different periods all mixed and matched to his personal taste.

His intentions were to present artifacts as integral furnishings of suitable interiors15. Although criticized

by the preservationists, Antonio Avena‘s restoration of Castelvecchio met with the agreements of the regime as well as the support of Verona‘s aristocracy and upper middle class16.

After the destruction left by world war two, Verona and Castelvecchio was left in the hands of politically involved architects once again. Since Avena himself remained a figurehead in the city’s urban scene and the city was still very politically and socially biased, he was the obvious choice to supervise the reconstruction of the castle’s east wing that got destroyed in a 1945 German bombing. Avena did not address this new pinpoint in the building’s long timeline, and simply made a replica of what he had done in 192617. Thus, Verona found itself in the year 1954 with a significant historical castle used only as an exhibition space that showcased the privileged and the powerful.

In the years that after it, Rationalist and Fascist movements became rejected for its modification of history towards its taste. With this, architecture that addressed certain things; spiritual values or social concerns were sought after, as well as a sort of Italian Identity was being pursuedwithin the modernism style18.Entrusted by the Director of Verona’s Civic Museums, Licisco Magagnato, Carlo Scarpa was

Figure 3 Sketch of old wall practical detail

commissioned to renovate Castelvecchio in 1958.

“He sought to reveal the four distinct periods of the complex: the Commune wall (twelfth century); the Scaligeri fortress (thirteenth and fourteenth centuries); the nineteenth century Napoleonic block; and, lastly, the 1920s work by Avena.”19 Although Scarpa included Avena’s vision for the museum in his timeline, he largely rejected the picturesque masking he had done to the building’s whole history. Thus, Scarpa largely rejected Avena’s historicist vision for Castelvecchio in favor of a more complex solution: He wanted to reveal every piece of history, no matter now recent or how “powerless” the empire seemed to be at that time. Hereworked or added to the historic structure to accommodate carefully planned visual narratives in which light, space, and construction have a dialogue with works of art; through the design of almost all of the built-in objects including lamps, plinths, windows and stairs in all forms and compositions. In the era of standardization, he revelled in craft20.

Figure 4 modern concrete pedestal on which CanGrande Statue sits, with a similar cut to that figure 6

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When looking into the changes Scarpa made in order to fulfil this powerful and thoughtful concept, one must first understand his origins and theories. He came from an artistic and craftsman background in Venice.

His connection to craftsmanship values is very much felt throughout the Castelvecchio museum. He does storytelling through the celebration of the construction process; a way he merged his poetic, artistic nature with his skill in construction and trade details.

Within its Walls Once beyond the towers and protection walls and upon entering the courtyard, a clear distinction between architectural styles and time periods is already seen. There is an intersection between the tall red walls and the white stucco and stone buildings surrounding you. Although they do converge, they do not quite touch. From the vantage point of the courtyard gate, a sliver of space is seen separating the medieval wall from the old French Barracks. Within this space is where Carlo Scarpa’s work is seen. The medieval

statue of CanGrande Della Scala, the legendary warrior-ruler who led the city to prosperity21 is embraced and supported by modern architectural elements that Scarpa had created. His creative process and intent for this building all comes together at this point. It is at this point where all four periods of history meet22 (figure 2).

Scarpa was notorious for making contrasts between materials and their texture. There is always a respectful gap or distinction made between the careful and precise new materials and details, versus the rough and organic of the old building. It could be interpreted as a subtle indication not confuse the time periods. Another theme that was noticed was certain cuts and niches in the walls and details. The practical ones are noticed in the old city walls, yet these same patterns can be seen in the modern additions; perhaps to carry the eye from one point of interest to another (figure 3 and 4). These arrangements and forms of varying textures invites visitors to feel. In the unwritten rulebook of museums where artefacts are highly guarded and fragile, Scarpa’s invitation to touch the old walls and the plinths on which the artefacts stand is considerate to the visitors of an exhibition space. One is then able to become a participant in the museum experience and interact with the space; the

Figure 5 a.b.c respectively. The respectful gap between the old walls and new additions.

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antithesis of the mute observer of the pre-war design Avena had set up23. Mussolini had visitors standing in awe of the treasures discovered by the state; whereas Scarpa’s view on Museum design was dramatically different. His approach to the art and artifacts was very democratic and welcoming.

Also noticed, was the deep steel beam running across the whole ceiling through all the galleries connecting them and navigating you through the museum. (Figure 5c.) On the floor, there is a slight disconnection between modern and old with polished concrete set within a border of stone. It feels like a platform because of a shallow trough that runs along the entire perimeter of the old walls. Now in the exhibition spaces, you can once again see the series of detached elements with his design of modern window mullions overlaid on top of the stolen ornate stolen gothic windows seen from the outside. As pointed out by Maria D’Anniballe Williams: “Externally, the removal of Avena‘s additions appeared more complicated. Unable physically to eliminate the medieval-looking façade, Scarpa was

Figure 6 The second visit with CanGrande for different vantage points

nevertheless determined to reveal its fake nature. As he noted: -At Castelvecchio everything [meaning the entire façade] was fake… I decided to adopt certain vertical values to break up the unnatural symmetry.”

Carlo Scarpa positioned the artifacts in order to maximize lighting and it effect throughout the day, as well as tying them to their story of origin24.

The spaces and layouts were designed around the artifacts’ context or the environment from which they came. This was quite clear in the first exhibition space, where he created a tomb-like niche for only particular objects to be displayed; these objects were discovered in a tomb. The dark cube projects out of the building, allowing for a skylight along the top of it. This contributes to its tomb like effect. With the communication between space and object, you get a sense of not only the history of the artifact, but also get to feel the context of its story. He emphasizes that everything has a history, by hiding nothing and uncovering each objects’ truth. With this, each artifact inspires its own display but a coherence between all elements is still felt through the emphasis of their differences and repetition of materials and textures; the modern materials (such as wood, glass, metals, concrete) are used for new additions and displays, and the old (stone, brick, stucco) is throughout all the walls of the old structure. The environment you see the piece in has a huge impact on how you perceive it. Museum and exhibits often strip artifacts of their spiritual significance; however, through his displays, Scarpa brings back the relevance to the context of the artifact – a thoughtful notion that is often overlooked.

Near the end of the gallery procession, you find yourself back outside looking upon the statue of CanGrande, now from a different vantage point and almost at eye level. It is at this crucial point that you can really see the journey you’ve made since entering the courtyard. A bridge and viewing platform offers a new set of frames; one that invites you to see the statue from different distances, angles, against different light settings and different backgrounds from different eras – a very modern but considerate approach (figure 6).

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Reflection Carlo Scarpa is often praised for only his details, but it is the context in which these details came about that are just as crucial. The bigger picture informed everything down to the smallest details through his design process. It can be said that his success is rooted in the notion that whether zoomed into the detail, or standing back at a distance, the whole story of anything is made known. Scarpa accomplishes the preservation of the old building while still making expressive and coherent and seamless modifications which bring the whole building into a new and timeless age of architecture. He viewed architecture as an evolving fabric woven from the past25. His respect and sensibility towards history did not try to recreate originality, but through the modern vocabulary of form26, give it new life within the style of its time.

The shifting and polarizing tradition of Italian modern architecture with the fascist regimes has not only created its own “design dark age” in Italy’s built heritage, but diluted the ties that grounded Italians to what could have come from their creativity in the 20th century. Despite all odds, fascism lead Verona’s lack of identity and torn urban fabric, into an outbreak of Carlo Scarpa’s originality that defined the history within the great war years, and gave Italian modernism the status it has today.

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12

ENDNOTES

1.(Sabatino, 2010, pg.8) 5. The idea of treason was brought forth by Julien Benda (Sabatino, 2010, pg 8) 6. English architect and historian Alan Colquhoun states this (Sabatino, 2010, pg. 10) 7. (Sabatino, 2010, pg. 11) 8. (D’Anniballe Williams, 2011, pg 66) 9. (Encyclopedia Britannica) 10. (D’Anniballe Williams, 2011, pg. 67) 11. (D’Anniballe Williams, 2011, pg. 67) 12. Giandomenico Romanelli’s interpretation on Verona’s fascination with medieval times (D’Anniballe Williams, 2011, pg. 1) 13. (D’Anniballe Williams, 2011, pg. 28) 14. (D’Anniballe Williams, 2011, pg. 67) 15. (D’Anniballe Williams, 2011, pg. 68) 16. (D’Anniballe Williams, 2011, pg. 69) 17. (D’Anniballe Williams, 2011, pg. 69) 18. (D’Anniballe Williams, 2011, pg. 2) 19. (D’Anniballe Williams, 2011, pg. 122) 20. (Friedman, 1999, pg. 8) 21. (McCarter, 2013, pg. 27) 22. (McCarter, 2013, pg. 27) 23. (D’Anniballe Williams, 2011, pg. 122) 24. (McCarter, 2013, pg. 25) 25. (Friedman, 1999, pg. 8) 26. (Friedman, 1999, pg. 8) 19. (D’Anniballe Williams, 2011, pg. 122) 20. (Friedman, 1999, pg. 8) 21. (McCarter, 2013, pg. 27) 22. (McCarter, 2013, pg. 27) 23. (D’Anniballe Williams, 2011, pg. 122) 24. (McCarter, 2013, pg. 25) 25. (Friedman, 1999, pg. 8) 26. (Friedman, 1999, pg. 8)

BiBLIOGRAPHY • Castex, J. (2008). Architecture of Italy. Greenwood Press.

• Della Scala Family. (n.d.). Retrieved August 20, 2016, from https://www.britannica.com/topic/della-Scala-family • Friedman, M. (1999). Carlo Scarpa: Intervening with History. New York: Canadian Centre For Architecture.

• Gregotti, V. (1968). New directions in Italian architecture. New York: G. Braziller.

• McCarter, R. (2013). Carlo Scarpa. Phaidon Press Limited.

• Thiébaut, Pierre. Old Buildings Looking for New Use: 61 Examples of Regional Architecture between Tradition and Modernity. Stuttgart: Edition Axel Menges, 2007. Print.

• Williams, M. D. (2011, January 31). Urban Space in Fascist Verona: Contested Grounds for Mass Spectacle, Tourism, and the Architectural Past. 1-127. Retrieved from http://d-scholarship.pitt.edu/id/eprint/10256 • Figure 1 - 11. Amelia Tirisha Phagoo. (2016). Photos taken and drawn. Retrieved May, 2016.

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Kultour - 2016

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Italy Architect

Carlo Scarpa

Project

BRION-VEGA CEMETARY

Author

Krystyne Kontos Frankfurt Milan Como Cernobbio Bergamo

Date of completion

1968

Introduction:

the opportunity to create a public and private monument, as well the rrenowned venetian architect,

spent the last ten years of

his life designing and building the brion family tomb. Tucked away before the great Dolomite mountains in Northern Italy, the Brion-Vega cemetery rests as a great monument of architectural achievement. Decades later, the cemetery is still conceived as a sacred space that challenges the cultural and spiritual norms of burial and commemoration. Scarpa was deliberate in developing an architecture that embraces both life and death in its temporality. He begins by questioning the relationship of death’s sense of ‘finality’ and the continuation of life that precedes or seemingly, transcends

Possagno Vicenza Padua Venice

as make a summary meditation of his own work, Carlo Scarpa,

Verona

In one of the most rarest of instances when an artist is given

it. Carlo Scarpa incredicusly exemplifies the true strength in the interplay of conext, history and art, articulately choosing and designing moments within the complex that evoke more than simple inanimate surfaces. In a time that advocated mass production and grandious marvels, Brion-Vega Cemetery remains a social and civic ground, expressing the true intent of architecture and its purpose to utilize the occupant, and create an expeirence beyond what is given.

198

Figure 1 Mosaic underbelly of the Brion tombs featuring a German student to offer expression of symmetry

Internal and external facets of Western culture were influenced by the small but significant, boot-shaped Italy -- an influential country with over hundreds of thousands of years of rich history – with heavy influences of history of the Christian faith, civil institutions (such as the Senate), philosophy, law, art, war, science, social customs and culture.1 With continuous layering of its atmospheric context, it is no

“Scarpa was never an enemy of modernism or an advocate of historicism...it is all in the manner of working within design and craft tradition”

surprise Italy has built such a great influence and rhetoric of power, and continues to do so on a global scale. Mid-twentieth century Italy, at the peak of post-war industrial revolution, began the new republic -- with the economic booms from technological advances, fashion industry revolution, stabilizing cost and currency, the creation of new jobs and industries, and means towards socialism -- entering the golden age of capitalism.2 Frascari remarks that, “Italian society, largely rural and excluded from the benefits of modern economy during the first half of the century, was suddenly flooded with a huge variety of cheap consumer goods, such as automobiles, televisions and washing machines.”3 This rapid and sustained growth was due to the ambitions of numerous Italian businesspeople, the opening of new industries (helped by the discovery of hydrocarbons, made for iron and steel), re-construction and the modernization

___________________________ 1 Dodds, George. “Directing Vision in the Landscapes and Gardens of Carlo Scarpa.”

Journal of Architectural Education 57, no.

3 (2004): 31 2 Kirk, Terry. The Architecture of Modern Italy: Vision of Utopia, 1900-present. New York: Princeton Architectural Press, 2005.

3 Ibid.

4 Olsberg, R. Nicholas, George Ranalli, Jean-François Bédard, Sergio Polano, Alba Di Lieto, and Mildred S. Friedman.

Carlo Scarpa, Architect: Intervening with History. 1999.

199

of most Italian cities (implementation of highways and railways for fast transport), such as Milan, Rome, Turin, and small Northern towns and the aid given to the country (an American care-package of 1.5 billion dollars called the Marshall Plan) after World War II.4 In loo of having to rebuild the foundation and the sensitive city centers (especially in the north where damage was heaviest), the architecture of modern Italy was reduced to speculative interests, which wanted large areas of partially damaged buildings quickly raised and reconfigured to provide larger plots insure a great return on investment. As a result, according to Nicholas Crafts of the

Cambridge Press, Economic growth in Europe since

a worldwide sales network.7 Brionvega went on to

1945, in the 1950s and early 1960s the Italian economy

enlist Italy’s brightest creative minds and designers,

boomed, with record high growth-rates, including 6.4%

including the Castiglioni brothers, Marco Zanuso and

in 1959, 5.8% in 1960, 6.8% in 1961, and 6.1% in 1962.5 As a

Richard Sapper, to deliver the first Italian television set,

result of this economic uprising, beyond Italy’s ancient

and set the stage for the digital age with his compact

marvels and spiritual grounds, it was gaining relevancy

and modular industrial designs.8 On September 12th

for being a country of new opportunity, imploring new

1968, the date set to unveil his company’s new iconic

progressive practices and ideas affiliated with the new

Black 201 Television Set, Guissepe Brion, at the age of

technological future - the space age, atomic age, and

59, died prematurely.9

the industrial revolution.6 Citizens and artists alike were

Onorina Brion continued to uphold the empire,

beginning to redefine their ideas of their “ideal”, looking

and immediately summoned Venetian born Carlo

towards a vision of modernity and expansion.

Scarpa, an architect big in Italy at the time renowned

Among these many successful business contenders,

Guissepe

Brion

emerged,

for adhering a balance of modernity and tradition, who

starting

was capable of designing a place of rest, worthy of

the once unbeatable family run business in 1945,

husband in the village where he grew up and started

that quickly adopted the principles of the futuristic

his empire.10 Yutaka Saitō, author of Carlo Scarpa, states

new world; that of speed, motion, and urgency.

that “Scarpa was never an enemy of modernism or an

The industry was born in the small town of San Vito

advocate of historicism” and suggests that “the lessons

d’Altivole, the centuries-old town situated on flat

of Scarpa for current practice reside in his manner of

industrialized land, surrounded by the Dolomites, and

working within design and craft traditions.... Perhaps the

Brion was one of post-war Italy great started from

most significant aspect of Scarpa’s working method,

nothing success stories. Working alongside his wife

one that many architects today would like to emulate,

Onorina, he transformed a small business producing

is the artistic impulse-the breadth of imagination, the

radio components into an electronics empire with

depth of expression.”11

___________________________ 5 Nolfo, Ennio Di. Power in Europe? II: Great Britain, France, Germany, and Italy, and the Origins of the EEC, 1952-1957. Berlin: W. De Gruyter, 1992.

6 Ibid.

7 Ibid.

8 Sommariva, Elena. “Brionvega. A Brief History of the Black Box.” Domus.it. October 21, 2002.

9 Ibid.

10 Pietropoli, Guido. “Brion Tomb.” Biblioteca Comunale Di Altivole. February 14, 2013.

11 Saitō, Yutaka, Hiroyuki Toyoda, and Nobuaki Furuya. Carlo Scarpa. Tokyo: TOTO Shuppan, 1997.

Figure 2 window connection detail

Figure 3 mosaic madorla intersection of time periods viewed from the courtyard

200

Within this period, the new republican

and its resignation into eternity. Now, faced with a project

government was also led by the Christian

that allowed a slowing of pace (took him ten years), Carlo

Democrat party, opting for laissez-faire private

Scarpa was granted a privately funded, out of post-war

economic development on all levels. Architects

context project to which he could manipulate in any way

anxious to serve the nation and its new democratic

he wanted. “I believe it is mistaken to consider the Brion

society were the first to feel the effects of these

Cemetery the product of a wealthy capitalist. Rather it is

decisions, as they saw their well thought out urban

quite the opposite. Of course I could have just made a

and regional planning efforts overturned by short-

large statue and left the rest lawn, but I enjoyed making

term speculative interests exploiting situations

things.”16 It is often the freedom that is deemed as the true

deemed emergencies -- an era where buildings

power of his cemetery’s inventiveness, giving him the

were becoming commoditized.

independence and freedom that make this project a real

12

13

This idea also

transmitted into the design of cemeteries. In

manifesto of architectural convictions.17

the 19th century, when money was boundless,

The Brion tomb is about 7 kilometers south of Asolo,

especially in the north, the rise of a bourgeois

which lies amid handsome, green country, where the

society developed new ideas and ideals of life

land grows hilly as it rises toward the Alps. It is near Monte

Urban cemeteries were

Grappa, which gives its name to the high-octane liquor and

designed with intentional magnificence. Local or

was also the site of bloody World War I battles.18 From an

village cemeteries follow the European pattern

architectural standpoint, the location is noteworthy because

– well maintained, long pebble-filled alleys,

this is the heart of Palladio county of Vicenza, which is

min garden landscapes that are lined on either

south of Asolo as well as a place Scarpa had resided for

side with tombstones with small but elaborate

several years.19 The region of Veneto is his home, reflective

monuments. Sculpture is everywhere, from faces

in much of his designs when incorporating natural aspects

at the top of pillars to graceful angels looking

in his architecture. In addition, just outside Vicenza, in a

and the after-life.

14 15

mournfully at the earth while ascending to the heavens. Stones on family plots are decorated with fresh flowers and mementos, and include photographs of generations of the departed which are permanently imbedded in the cement and stonework to represent the importance of family

___________________________ 13 Kirk, Terry. The Architecture of Modern Italy: Vision of Utopia, 1900-present. New York: Princeton Architectural Press, 2005.

14 Nancy, Kilpatrick, and Hugues, Leblanc. “Monumental Cemeteries of Northern Italy.” Italy: The Dark Side. 2004.

15 Kirk, Terry. The Architecture of Modern Italy: Vision of Utopia, 1900-present. New York: Princeton Architectural Press, 2005.

16 Dodds, George. “Directing Vision in the Landscapes and Gardens” 17 Stern, Michael A. “Passages in the Garden: An Iconology of the Brion Tomb.” Board of Regents of the University of Wisconsin System 13, no. 1 (1994).

18 Ibid.

19 Cantacuino, Sherban. “’Scarpa, More than Any Other Italian Architect, Has Brought Back Decoration into Architecture’” Architectural Review.

Figure 3 The end; the imitation garden that expresses serenity, only accessible to the nun, usually protected by nun.

201

private hilltop, lies the Villa Rotunda, a design of ethereal

In addition, you one finds transitions via carefully

lightness that epitomizes the seductive proportions that

constructed paths that engage the broader site

Palladio adheres contrasting with the aging Brion-Vega

(peaks to the surrounding context), the internal

cemetery.

program or meaning of each of the specific

20

Upon reaching the site, the journey begins.

At a glance, the space was commissioned as a

elements, and a contrating large scale planning

sacred space, challenging the cultural and spiritual norms

to detail design. Thiis is all brought together in a

of burial as well as a commemoration. The project which

seamlessly into the final product.24 No internal

is a series of built forms wrapped around two sides of the

electrical lighting was used in the buildings,

village cemetery, includes the main tomb, a family vault,

everything done to utilize the natural light of the

a chapel, a cloister and a platform for meditation over a pool of water, that embraces both life and death in its temporality. Each visitor walks a prescribed journey, from chapel, to shrine, to the final farewell, as “if forever following the funeral procession”.21 With his design, he questioned

___________________________ 20 Dodds, George. “Directing Vision in the Landscapes and Gardens of Carlo Scarpa.”

Journal of Architectural Education 57, no. 3 (2004): 38 21 Ibid, 221 Ibid.Cantacuino, Sherban. “’Scarpa, More than Any Other Italian Architect, Has Brought Back Decoration into Architecture’” Architectural Review. January 18, 2016.

23 Cantacuino, Sherban. “’Scarpa, More than Any Other Italian Architect, Has Brought Back Decoration into Architecture’” Architectural Review. January 18, 2016.

24 Carlo Scarpa’s Cemetery for Brionvega Boss | Architecture | Agenda | Phaidon.” Phaidon.

December 2013.

the finality and conclusivity of death, deterring that there is a continuation of life that precedes or even transcends the great end of life. “Drawing on the spiritual references of the ancient Italian Christian perspective overlaid by the cosmic relationship observed in the traditions of Japanese landscape design – where in both instances, there is an acknowledgement of an afterlife beyond one’s earthly passing – he concretizes these ideals into a space that is almost equally dynamic and transcendent”.22 With such grandiose ideas, the original 68 square meter plot within the village cemetery, was later extended to 2,200 square meters, in an L-shaped fashion. To maintain some semblance of sacristy and privacy, he walled the build in and raised the ground level of the gardens by 700mm, but maintained natural ground level for the tombs, creating the appearance that they are in fact partially sunken into the earth, where they begin their new lives.23 This was done in order to to express the polarity and telluric nature of how bodies experience death, mourning, and rebirth.

There is an apparent use of modulation throughout, with various scales and shapes, creating an array of elements, causing a distinction of one space from another.

“I decided all at once that over the pond there had to be a perspective element to break up the view . I am fond of water, perhaps because I am Venetian”

Figure 4 Axonometric projection: 1. Propylaeum, 2. Cloister, 3. Prato, 4. Graves and arcosolium, 5. Cable “fence”, 6. Meditation pavilion, 7.

Family graves, 8. Chapel, 9. Artesian well, 10. Funerary gate, 11. Existing cemetary, 12. Cypress allee

202

203

204

205

206

space. Scarpa’s attention to detail applies itself

the passage of time.26 The treatment of surfaces are

to the careful compositions of apertures within

unfrogivingly exposed to the elements, allowing effects of

the monolithic mass of structure, allowing the

weathering and discolouration, but also the submission to

variations of natural light throughout the day,

natures introduction of finer grains of life that inhabit it.27

and from season to season, the articulation of

This was not a chance encounter, but in fact present in the

volumes to animate and accentuate the intricacies

way in which he had envisaged the aging process within

of the interior spaces. With the interplay of cast

his earliest drawings. in all, the poetry in the expresses,

concrete and the carefully crafted natural stone,

“never-ending circle of life and death that accompanies

the sense of permanence within the built form is

the turning of the seasons, slowly decaying, but at the

intentionally contrasted against the softness of

same time purified by the forces of new life.”28

25

the natural elements introduced and intended to

further

enhance

the

design

throughout

It could be said that water, and not concrete, is the Brion Tomb’s primary material. Water flows in thin streams and collects in wide pools, reflects the sky, reveals shadowy depths, homes large orange fish inhabitants, and supports vibrant clusters of waterlilies.29 The passage of water provides a metaphorical expression in the mourning process, ushering the visitor along a path of cleanisng towards the sunken graves.29 An exotic presence within the surrounding terrain of cornfields and tilled earth, Scarpa’s water garden was surely inspired by his main influence of Venice, which can be extended onto that of the Venetian island of San Michele.30 When San Michele was converted into a cemetery by Napoleonic decree, the island was enlarged into a rectangle and enclosed with walls of uniform height.31 These additions gave the island the appearance of a man-made artefact, floating above the surface of the lagoon.31 The platform of lawn at the heart of Scarpa’s burial complex is similarly raised 26

Olsberg, R. Nicholas, George Ranalli, Jean-François Bédard, Sergio Polano, Alba Di Lieto, and Mildred S. Friedman. Carlo Scarpa, Architect: Intervening with History. 1999.

27 Barry, Bell. “The Brion Cemetery and the Narrative of Redemption.” La Città Nouva, 1999, 38 28 Barry, Bell. “The Brion Cemetery and the Narrative of Redemption.” La Città Nouva, 1999, 40 29 Ibid.

30 Stern, Michael A. “Passages in the Garden: An Iconology of the Brion Tomb.”

Board of Regents of the University of Wisconsin System 13, no. 1 (1994): 39-57. doi:10.3368/lj.13.1.39

“It would be simple to dismiss the architect’s attention to detail as excessive, his methods unrepeatable. But to focus solely on the intricacy of his work is to miss the wood for the trees.

Figure 15 Exterior detail of chapel with pond

207

above the waterline, its massed earth contained by walls

heaven and earth are interacting, as demonstrated

that tilt outwards. This speration makes the juxtaposed

by the intersection of the two halves. In addition,

ideas -- water ripples and flows, clouds shift, plants bloom

the symbol has been historically interpreted as

and wither, and materials gradually patinate and decay --

suggesting doubleness, a paradoxical interplay of

seem like time is truly suspended within the Brion Tomb.

flesh and spirit, masculinity and femininity, base

“I decided all at once that over the pond there had to be

and precious materials, fragility and strength,

a perspective element to break up the view. I am fond

permanence and impermanence,terra firma and

of water, perhaps because I am Venetian.…I designed the

water, earth and heaven, the human eye and divine

watercourse, which wells up at a certain point, and in the

eye.

sunlight I laid out two sarcophagi to contain the bodies of

its entrance as “eyes”, in many of his other works. 39

38

The vesica piscis (the mandorla) placed at

A snippet of the experience includes the

Brion and his wife.”32 The entrance into the enclave introduces many of

doors entering into the temple. They are two

the project’s essential themes: the asymmetry of left and

double doors nested inside each other each with

right, the construction of thematic views, the negotiation

steel frames filled with a lattice of white concrete,

of interrupted passages, the model of Venetian private

hovering just above the floor and the ceiling. They

gardens, the iconography of Venetian Renaissance painting,

sit on a square pivot hinge, contained in a brass

and the movement and orientation of the visitor’s body.

cylinder that runs from the ceiling to the floor.

34

40

The first most clearly visible theme is Scarpa’s reference

Scarpa referred to this set of doors as his “Mondrian

to Venetian Renaissance painting. When visitors approach

doors” because of their simplistic neo-plastic

the entrance they are greeted by a large, open rectangular

quality.41 Upon entering through the doorframe

concrete structure, featured interlocking circles that form a

the paved suare stone floor steps down and

vertically oriented mandorla. Within the concrete circles

the visitor is greeted with a full-height, concrete

are blue and pink mosaic. The mandorla holds several

shaped omega set away from the concrete walls

religious and symbolic meanings and associations and

and ceiling.42 The inner face of the shape is painted

is a common iconographical device found in Christian,

a deep blue color with gold-leafed ziggurat-

Byzantine, and Gothic art and architecture found in Italy.

stepped edging at the top and bottom.43

35

36

A typical painting featuring a mandorla usually highlights

In conclusion, tasked with designing a

either the Virgin Mary and Christ child completely

physical memorial, Scarpa instead created a

surrounded by a mandorla or the body of Christ. This can

space of virtual remembrance and reflection. In

mean a number of different things, in this case alluding that

place of literal commemoration, he conceived

37

of a meandering pathway through a cloistered garden enlivened by his own invented language 31 Dodds, George. “Directing Vision in the Landscapes and Gardens of Carlo Scarpa.” Journal of Architectural Education 57, no. 3 (2004): 37 32 Ramsey, Sarah. “TOMBA BRION-VEGA.” Postwar Concrete Postscript. June 20, 2014.

33 Hass, Nancy. “Italy’s Lost Modernist Master.” The New York Times. March 19, 2016 34 Sterngold, James. “In a Corner of Italy, A Rare, Lonely Tomb.” The New York Times. August 26, 1989.

35 Dodds, George. “Directing Vision in the Landscapes and Gardens of Carlo Scarpa.” Journal of Architectural Education 57, no. 3 (2004): 30 36 37

of ornamentation. Gone the eed for displays of wealth and power, for fields of headstones that permanentlyp express the social and religious status of their occupants. The lonely grave, unseen and uncared for, slowly listing into the dirt.

Instead we might imagine a garden a social and civic space.

208

BiBLIOGRAPHY • Barry, Bell. “The Brion Cemetery and the Narrative of Redemption.” La Città Nouva, 1999, 34- 45.

• Buisi, Carlotta. “TOMBA BRION BY CARLO SCARPA.” Reykjavik Boulevard. 2015. http://www.reykjavikboulevard.com/ tomba-brion-by-carlo-scarpa/.

• Cantacuino, Sherban. “’Scarpa, More than Any Other Italian Architect, Has Brought Back Decoration into Architecture’” Architectural Review. January 18, 2016. http://www.architectural-review.com/archive/scarpa-more-than-any-other-italianarchitect-has-brought-back-decoration-into-architecture/10001203.article.

• “Carlo Scarpa’s Cemetery for Brionvega Boss | Architecture | Agenda | Phaidon.” Phaidon. December 2013. http://de.phaidon.com/agenda/architecture/articles/2013/december/23/carlo-scarpas-cemetery-for-brionvegaboss/.

• Dodds, George. “Directing Vision in the Landscapes and Gardens of Carlo Scarpa.” Journal of Architectural Education 57, no. 3 (2004): 30-38. doi:10.1162/104648804772745238.

• Guido, Guidi. “Tomba Brion, Carlo Scarpa, Photograph by Guido Guidi, 1996 – 1998.” The Milanese. http://www. themilanese.com/?p=3677.

• Hass, Nancy. “Italy’s Lost Modernist Master.” The New York Times. March 19, 2016. http://www.nytimes.com/2016/03/20/ t-magazine/design/carlo-scarpa-italys-modernist- architect.html.

• Kirk, Terry. The Architecture of Modern Italy: Vision of Utopia, 1900-present. New York: Princeton Architectural Press, 2005.

• Stern, Michael A. “Passages in the Garden: An Iconology of the Brion Tomb.” Board of Regents of the University of Wisconsin System 13, no. 1 (1994): 39-57. doi:10.3368/lj.13.1.39.

• Mallgrave, Harry Francis., and David Goodman. An Introduction to Architectural Theory: 1968 to the Present. WileyBlackwell, 2011.

• McCarter, Robert. Carlo Scarpa.London: Phaidon Press Limited, 2013.

• Nancy, Kilpatrick, and Hugues, Leblanc. “Monumental Cemeteries of Northern Italy.” Italy: The Dark Side. 2004. http:// www.sympatico.ca/tapholov/pages/italian_text.html.

• Neustein, David. “The Brion Tomb.” NEUE LUXURY. 2013. http://www.neueluxury.com/issues/issue-5/the-briontomb/.

• Nolfo, Ennio Di. Power in Europe? II: Great Britain, France, Germany, and Italy, and the Origins of the EEC, 1952-1957. Berlin: W. De Gruyter, 1992.

• Olsberg, R. Nicholas, George Ranalli, Jean-François Bédard, Sergio Polano, Alba Di Lieto, and Mildred S. Friedman. Carlo Scarpa, Architect: Intervening with History. 1999.

• Pietropoli, Guido. “Brion Tomb.” Biblioteca Comunale Di Altivole. February 14, 2013. http://www.bibliotecaltivole.it/en/ brion-tomb/81-servizio/107-brion-tomb#references.

• Ramsey, Sarah. “TOMBA BRION-VEGA.” Postwar Concrete Postscript. June 20, 2014. http://www.postwarconcretepostscript. com/2014/06/20/tomba-brion-vega/.

• Scarpa, Carlo, Francesco Dal Co, and Giuseppe Mazzariol. Carlo Scarpa: The Complete Works. New York: Electa/Rizzoli, 1985.

• Scarpa, Carlo, and Francesco Dal Co. Carlo Scarpa, Drawings for the Brion Family Cemetery: 22 October-23 November, 1984, Yale School of Architecture, New Haven, Connecticut. New Haven, CT: School, 1984.

• Sommariva, Elena. “Brionvega. A Brief History of the Black Box.” Domus.it. October 21, 2002. http://www.domusweb.it/ en/design/2002/10/21/brionvega-a-brief-history-of-the-black-box.html.

• Sterngold, James. “In a Corner of Italy, A Rare, Lonely Tomb.” The New York Times. August 26, 1989. http:// www.nytimes.com/1989/08/27/travel/in-a-corner-of-italy-a-rare-lonely- tomb.html?pagewanted=all.

Figure 1 - 24, photos by Krystyne Kontos and fellow classmates

209

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Kultour - 2016

211

Italy Architect

Carlo Scarpa

Project

MUSEO CANOVIANO

Author

Amanda Mota 1957

play of light and shadow, solids and voids,”1 (Richard Meier). A symbol of perfection, of purity and clarity; white is a depiction of elegance. However, in the presence of architecture the word white has the ability to be understood in multiple forms. Carlo Scarpa, a well established, Italian architect from 1940 to 1978, utilizes the colour white to challenge ones eye to the, “subtleties of light, dark and shadow.”2 The balancing of light and dark, void and solid, and volume and mass is the language in which speaks to Scarpa and his work. It is the importance and placement of light that defines architecture.

Possagno Vicenza Padua Venice

“It is against a white surface that one best appreciates the

Verona

Introduction:

Frankfurt Milan Como Cernobbio Bergamo

Date of completion

212

Entrance to Scarpa’s Renovation within the Canova Museum.

A Great Venetian “Shifting intensities of volume, mass, texture and colour are dependent upon the resonances of light, and materiality is achieved alongside the ephemeral and the transparent.�3 These empowering concepts are recognized within the purity of Venetian culture and are present within Carlo Scarpa himself.

Scarpa was a native Venetian born in a 1906 in the city of Venice. His place of birth not only molded the person he inspired to be, but influenced his work greatly by the volume of history and culture illustrated around him. The impact of Venetian culture within his work has expressed a sense of unique craftsmanship and invention while abiding a certain consideration for tradition. By utilizing traditional materials such as, wood, stone and terracotta a Venetian expression is revitalized by Scarpa and introduced into the built world, specifically within The Canova Museum.

Scarpa creates a foundation grasping onto change when responding to the contemporary with the historic, which manifests a balance between the

213

past and the present. His work was not truly acknowledged until after World War II, when he became known for his inspiring renovations of existing buildings. With his great craftsmanship, Scarpa protected the beauty of historic fabric by “retaining the authenticity and integrity of any structure”4 throughout time. He recognized the importance of architectural history and created exquisite work without disrupting the existing forms around him.

Instead, his work powerfully enhanced the contrasting structure by embracing the amalgamation of the old and the new.

Village of Possagno Carlo

Scarpa

challenges

the

combination

of

the

past

and

the

present

throughout

the

complexity of architectural design. One of his many astonishing pieces in which depict this concept

is

the

Canova

Museum

built within

the

hills

of Possagno.

This village

illustrates,

“mountains of stacked bricks and clay shards betraying the ancient local traditions of earthbound craftsmanship”5.

It is a casket embodying tradition and innovation representing pieces of the past, present and future manifesting throughout Italy.

When traveling through this village one can appreciate the composition of neoclassicism, inspired by Baroque and classical revival and contemporary abstract, inspired by innovative design embracing incessant change. The unique and uncommon battle of the old and the new, the neoclassical and the industrial, is demonstrated by both Antonio Canova and Carlo Scarpa respectively through the winding roads of Possagno.

This intriguing fusion is not so much of a battle, but a transformation of architectural history throughout time.

214

Italian sculptor, Antonio Canova, is known

existing building was designed by Francesco Lazzari

to be the son of Possagno for it is where he was

in1836 after the death of Antonio. It extends the full length

born. His harmonious style through principles

of the site resembling a basilica frame while reflecting

of simplicity and symmetry is expressed within

the surrounding context. With the use of coffered vaults

the village by the use of classical volumes and

and clerestory windows, Lazzari’s design represents

geometric forms. As one explores this intricate

Canova and his true passion for the delicate beauty

village a sense of Canova culture reveals itself by

found throughout the neoclassical period. Although this

telling a story of neoclassical history. The Tempio

existing structure is composed in a traditional form, the

Canoviano, completed in 1830 by Abate Sartori,

new addition illustrates architecture changing in time,

is constructed on the very peak of Possagno

creating an uncommon harmony between the classic and

Hill facing a typical Venetian home with white

the modern. This carefully thought out renovation was

stucco and shuttered windows. This camouflaged

designed by Carlo Scarpa from 1955 to 1957.

building, in sea of Veneto traditions, is home to the great works of Canova himself and is known as the famous Canova Museum.

Carlo Scarpa’s extension transitions from the classical volumes and geometric forms to its own norm in a village of tradition. The renovation is deeply sensitive to

Museo Canoviano

the surrounding context, including the existing museum.

“Although in part standing free of the museum, the addition

The Canova Museum is a typical 17th century

is densely packed alongside it and thereby echoes

Venetian building constructed with traditional

the more traditional associative relationships between

materials such as wood, stone and terracotta. This

generations of existing buildings scattered through in the

building was formally used as a studio space for

village.” 6 Scarpa composes complex relationships between

Antonia Canova where he explored and practiced

the existing structure and the modern extension by

sculpting techniques, however, today it is used as

intentionally fabricating the concept of incessant change

an exhibition space to display his exquisite plaster

in his innovative design. The building was revitalized by, “its

casts and sculptural sketches for the public. The

role in the course of change which he made visible”7.

Although Scarpa had a strong understanding of Venetian culture expressed in Italian architecture, he actively demonstrated the importance of innovation in the built world which came forth in his many designs. When approaching exhibition spaces like the Canova Museum, Scarpa “interpreted artefacts themselves as the active agents to be accommodated”8. He examined the existing space carefully and focused on the factors of light, volume and materiality and how these fundamental elements contribute to the, “past life of the artefacts themselves and their role in the story of a surviving building”9. He believed the complexities of light needed to be explored in order to

This illustration is the front entrance to the Canova

reconstruct a space worthy enough to hold masterpieces

Museum, displaying the common Venetian traditions

such as Canova’s plaster casts.

such as the off white stucco and green shuttered windows.

215

a representation of the old and the new blending into one cohesive design reflecting the delicacy of change in architecture.

Scarpa’s addition expresses this contrasting The Three Graces

concept in not only interior spaces, but in the buildings structure and exterior façade. The modern galleries are divided into separate volumes by using strategic architectural techniques one of which is the use of structure. Carlo Scarpa utilizes exposed I-beams to form a transparent independence for each exhibit space. Although

Tomb of Maria Christina of

steel is considered a more modern day approach,

Austria

Scarpa intentionally overlays this material with white paint to, “mimic classical columns”11 bridging the past and the present. He then addresses this same connection with the exterior façade of the

Uncommon Harmony

building by blending a traditional Venetian material such as white stucco with his own interpretation

The addition was constructed in an abnormal L shape

of innovative material such as concrete. From

manner running parallel alongside the existing building.

an exterior perspective the museum became a

This extension contains three volumes, fluctuating in

monument of architectural innovation overtime,

length, width and height, which act as separate gallery

with “rough concrete finishing around the windows

spaces for Canova’s work. The first gallery space located at

and along the roof line, dissimilar surface textures

the entrance of the museum is of paramount importance

imparts the illusion of change”12, in the village of

for it is the, “transitional space between the old and the

Possagno.

new” , the past and the present. This symbolic space tells 10

a story unfolding the disclosed perception of continuous change by carefully embodying an architectural timeline in one single volume. Scarpa addresses this bold transition as a new found architectural language speaking to an uncommon harmony. He designs the space in a sense where the old and the new complement each other, creating a strong architectural statement. Being present in the first gallery one can appreciate the contrasting beauty of two distinct styles of architecture and how each approach balances one another throughout the space. This innovative technique Carlo Scarpa embraces within his design is carefully illustrated along the central wall connecting both the existing building and the new renovation. This dominant wall, being a former exterior

This illustration is the blending of the existing building wall with Canova’s work, which creates a exhibition space within the building structure and displays the combination of the old and the new.

wall of the existing building, is transformed by Scarpa in a calmly manner in order to preserve its historic fabric. It is 216

These drawings illustrate the amalgamation of

Light and Dark

traditional Venetian materials and innovative materials on the exterior facade.

“Scarpa’s work at Possagno continues to be regarded as a landmark demonstration of how a highly complex architectural programme involving both the past and the present can be orchestrated”13. He exploits the perception of classic and modern architecture through the fundamental elements of solid and void, volume and mass, and light and dark throughout Canova’s museum. When exploring Scarpa’s addition, one can recognize the importance of each plaster cast by the precision of light and shadow each piece embraces within the space. Scarpa carefully plays with natural light allowing the sky to, “illuminate the gleaming white volume of gallery,”14 below.

The second gallery, adjacent to the first transitional

Traditional Venetian white stucco

space is configured in a tall cubic manner with four distinct skylights. Although this space was designed in a symmetric frame representing a classical shape, Scarpa intentionally replaces the corners with natural light which eats, “into the purity of this cube”15. Again, this displays the juxtaposition of Neoclassicism and modern architecture and how the two architectural periods relate to one another in one volume. The four ‘fragments of sky’ physically allow the outside world to consume the gallery radiating the room with natural light. “With the sun’s rays moving within this luminous cube, angled shafts of sunlight dance along the walls, touching the dramatically placed portrait bust of the sculpture… the whole is an arena of theatrical magic”16.

Innovative rough concrete

The Impurities of the Cube

217

Conclusion Carlo Scarpa transitions architectural history into a metaphor of innovation through light and shadow. He challenges the study of conservation against restoration by embracing both approaches in his work and exploiting the complexities of light. In doing so, Scarpa has revealed the beauty of Canova’s art, “balancing the last echo of the Ancients and the first symptom of the restless experimentation of the modern age.”17 His architectural expression has, “adapted the past to the present, reversing the customary approach to the renewal of historic architectural monuments enriching our perceptions of what architecture can be”18. For that, Carlo Scarpa is a legacy influencing the past, present and soon to be future.

BiBLIOGRAPHY - “Antonio Canova”, The Dictionary of Art, Vol. XXII, New York: Grove’s Dictionaries, 1996.

- Buzas, S. (2004). Four museums: Carlo Scarpa, Museo Canoviano, Possagno ; Frank O. Gehry, Guggenheim Bilbao Museoa ; Rafael Moneo, the Audrey Jones Beck Building, MFAH ; Heinz Tesar, Sammlung Essl, Klosterneuburg. Stuttgart: Edition Axel Menges.

- Dushkes, L. S. (2012). The architect says: Quotes, quips, and words of wisdom. New York, NY: Princeton Architectural Press.

- Meiss, P. V. (1990). Elements of architecture: From form to place. London: Van Nostrand Reinhold.

Figure 1

Special Exhibition Centered on Three Graces on View in Canova’s Hometown. (n.d.). Retrieved August 25, 2016, from http://www.italymagazine.com/news/special-exhibition-centered-three-graces-viewcanovas-hometown Figure 2:

City of the last Roman Emperors - Italian sculpture and sculptors. (n.d.). Retrieved August 25, 2016, from http:// www.romeartlover.it/Viescult.html

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219

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Kultour - 2016

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Italy Architect

Santiago Calatrava

Project

Ponte della Costituzion

Author

Elizabeth Chong

Date of completion

2008

Verona Possagno

Venice

As a strong and independent individual such as Santiago Calatrava, the architect, engineer and artist has always taken bold steps in his career such as designing the Ponte della Costituzione bridge in Venice, Italy. From his early years, he always had an eye for unique forms of expression. A strong influence long before studying architecture was derived from Le Corbusier, one of the most renowned modern architect who is known for his ambitious concepts and use of concrete.

Taking after Le Corbusier, Calatrava also used concrete within his large portfolio. However it wasn’t just the material that caught his eye, it was the revolutionary philosophies that were carried out and seen all through Le Corbusier’s projects.

The humanistic approach, a design philosophy based on the human anatomy, was something that Le Corbusier was known to address.1 Constantly studying Le Corbusier, Calatrava soon derived his own philosophies that had a strong

Frankfurt Milan Como Cernobbio Bergamo

An Ambitious Idea:

1. Santiago Calatrava. (2016). In Encyclopædia Britannica. Retrieved from https:// www.britannica.com/biography/Santiago-Calatrava

222

“...a new and controversial bridge designed to improve the cities cultural and social state by connecting with the archaic urban planning within Venice.”

223

influence from the human anatomy and everyday social lives, which are essential in successful cities, neighbourhoods and communities today. This can be observed as repetition and physical movement, and are often seen and used to describe his style. Evoking emotion and adding movement is just one way that Calatrava engages the social culture in existing locations. By constantly designing with urban planners and human movement, he allows the public to create a connection with his structures from the expressions that are exerted, which then help integrate his projects into new locations. Often compared to Robert Maillart or Antoni Gaudí who also convey a strong sense of expression, Calatrava has always said that he stands out from everyone else since he is able to smoothly integrate any type of man made and fabricated structure into an existing environment.1 With such unique concepts and philosophies, he has developed a large group of admirers, but with this also comes with a sizable amount of people who disagree. The Ponte della Costituzion in Venice that has recently been built in 2008 has already caused many positive and negative reactions within the city. The Ponte della Costitizione, a new and controversial bridge was designed to improve the cities cultural and social state by connecting with the 1. Jodidio, P. (2007). Calatrava. Köln: Taschen.

archaic urban planning within Venice. It is important to understand that each city is distinct of different social and cultural habits, therefore when adding a large structure to an existing environment it is crucial to recognize these factors. For the Ponte della Costituzione to be a success, the initial step before its design would be to understand the history and the making of Venice. Before even taking a looking at the architecture, it is imperative to grasp how this unique city got to be where it is today. The history of the city, Venice has such an interesting beginning, especially pertaining to the geographical factors that have had an influence on every major structure within the city. Since Venice was created from a lagoon, the foundation of the city is much weaker than most, and therefore influencing the urban design and sociocultural aspects. Comparing the past and the present urban planning would unveil a more thorough understanding of the circulation, unique programming, and how Calatrava has tried to enhance the streetscape.2 By designing the Ponte della Costituzione over the Grand Canal Calatrava has connected the major train station to the bus station in Venice, improving on the flow of high pedestrian traffic. Acknowledging urban planning and knowing how the city functions would help to understand the way people interact with each other as a city or community in Venice. All of these many influences affect the sociocultural aspects of a city including whether this bridge has created a positive or negative reaction to the prevalent culture and history that Venice is so proud of. The Ponte della Costituzione is a modern bridge spanning 79 meters and is designed with the signature hightech style of Santiago Calatrava that has cost the city 11.3-20 million ₏ (around $16.5-30 million CAD), with an additional annual maintenance cost of 1.8 million ₏ (around $2.6 million CAD). Constructing a major bridge over the Grand Canal with such a modern style is one of Calatrava’s most daring pieces of work. According to his philosophies this bridge should integrate and 2. Lawson, B. (2016). Parallel Lines of Thought. (pp. 3-13). Sheffield: University of Sheffield.

224

celebrate the Venetian lifestyle of Islamic and Byzantine influences, but this statement can only be proved over time and after the public has acknowledged and become accustomed with it.1

Many people are not aware of the history of Venice and how it’s unique urban planning have contributed to making this city one of the most sought-after destinations. The Grand Canal and the many waterways might be some of the most recognized features when thinking of this city, but in reality, the Grand Canal did not play an important role in the beginning when buildings were first being constructed and the city was starting to be recorded. Instead, during the 8th century parish churches were one of the first structures to be mapped out. At this time, Crouzet Pavan, the only scholar at that time who had the skills to draw a map located the only 12 churches, which were spread out all over Venice. This map has since proven that there was no

association between the Grand Canal and mapping of buildings during this time.2 Walking was the main means of transportation as people unintentionally started to make paths by foot from walking to and from major neighbourhoods, communities and churches. The winding streets of Venice were not made randomly, and were once efficient paths to travel to and from each landmark. Unlike many cities that were designed carefully by planned grids, Venice started with unmarked paths with only a couple of major walkways. The 12th century was when the pedestrian view of the city became popular and an interest in redefining the community started to grow amongst the population. Organizing land in terms of residential, industrial and public spaces soon defined Venice and the city started to act as a commercial experience. Markets eventually started to pop up in different areas of the city, as well as other communal social events. This organization lead to the unique social and cultural lifestyle that Venice is known for today. It wasn’t until the 1150s when everything changed as the Grand Canal quickly became utilized as the main line of transportation and communication.

Opening many doors and creating potential for the city, Venice soon became the hub for tourists,

1. Ponte della Costituzione – Venice (IT). (2013, August 09). Retrieved March 15, 2016, from https://thefullcalatrava.wordpress.

2. Ammerman, A. J. (2003). Venice before the Grand Canal (Vol. 48). Ann Arbor, MI: University of Michigan Press.

Urban Planning + Social Behaviour:

Ponte della Costituzione Areas with Parish Churches Major Transportation Buildings

An Abstract site plane of Venice

225

A Perspective from the Ponte della Costituzione looking at the bus terminal

Major Foot Paths The Grand Canal

An Abstract site plane of Venice copied from Ammerman, A. J. (2003). Venice before the Grand Canal (Vol. 48). Ann Arbor, MI: University of Michigan Press.

fishermen, laborers and merchants. Becoming more industrialized, the Grand Canal allowed people from all over to come and expand on the new culture and social life.3 Creating bridges was just one way that made walking easier and made going from point A to point B more efficient. It also formed a way to connect different neighbourhoods socially and create central hubs by connecting different districts. The area where the Ponte della Costituzione is located marks an excellent spot in the 21st century, joining the Piazzale Roma bus terminal to the Santa Lucia train station. In this era, transportation has become just as important as the social culture, and has helped to alter the cultural lifestyle. The 21st century, known as the age of technology has had a major effect on most countries all over the world. Even Venetians who still love and adore their old and traditional lifestyle have accepted this new age. By joining a major train station to the bus terminal, it has created a designated area for transportation to and from Venice, while also creating a hub for social gatherings. Connecting both sides of the Grand Canal, Calatrava had envisioned the Ponte della Costituzione to act as an entryway, welcoming visitor and tourists to the city. Adding a bridge in this location has certainly improved on circulation between these two major transportation stations and throughout Venice. Millions of pedestrians use the Ponte della Costituzione everyday and have made 3. Ferraro, J. M. (2012). Venice: History of the Floating City. New York: Cambridge University Press.

it quicker to move around the city. Although Calatrava did not choose where the bridge would be positioned, this bridge has created a positive outcome from its effective location.

Philip Jodidio, an art history major and writer dedicated to architecture, is just one of the many people who look up to Calatrava and has spent a large portion of his time researching this architect. In Jodidio’s book about Santiago Calatrava, he articulates that Calatrava is one of the few architects who are concerned with the public and the existing programming in the area.2 With the intensions of creating a landmark and forming a more developed social community, this bridge has not been designed with the best outcome. Circulation and means of transportation in Venice has been enhanced, but has come with extremely high costs, lack of fulfillment and many malfunctions. The connection between urban planning and social behavior play a large part in understanding the particular culture and environment, and is very important when designing such important spaces.

Lifestyle + Culture: The Venetian culture is undoubtedly recognizable worldwide. Although the picturesque canals and waterways are very iconic, parish churches were the foundation of the lively culture that is seen today. Before utilizing the Grand Canal or the many

“Calatrava had envisioned the Ponte della Costituzione to act as an entryway, welcoming visitor and tourists to the city�

226

waterways, Churches were seen as the main line of communication. They were so significant that they were once where the majority of the population spent most of their leisure time. Either inside or around churches, there were always many events going on that drew in crowds of people.5 The Black Sea and part of the Mediterranean Sea were under the Byzantine influence at this time, and eventually through the many waterways, this civilization soon became a large part of the Venetian culture. Byzantine Constantinople and Islamic Cairo were two of the largest trading partners who have also greatly contributed the iconic Venetian lifestyle. These trading partners had a great influence in not only religion, but also in art and architecture. Saint Marks Basilica in Venice is one of the greatest examples of the Byzantine influence, which are expressed on the ravishing floors and many mosaics seen on the interior and exterior of the building. An Islamic presence is also incorporated and is visible through the dome lanterns and stone or marble trims around windows to amplify levels of importance. These two influences have integrated into the Venetian culture and play a large part in the picturesque lifestyle.1 1. Francesco Zaffarano, Calatrava, the ‘Discord Bridge’ Divides Venice, 2013

Handrail Detail

227

Calatrava did attempt to incorporate these styles into the Ponte della Costituzion, but wasn’t good enough.

Small intricate carvings in the steel can be seen at the ends of the handrails and are seen as a small effort in including the Venetian culture into the structure. This detail on such a large scale assembly is not even seen as satisfactory in embracing these unique traditions or ways of life. Spatial experience is also very important in the Venetian culture. The materials, proportions and history all effect the personal experience of a space and creates a certain correlating essence or identity. It is not all about what is aesthetically pleasing, but it is how different spatial qualities interact with one another and how they change when experiencing a new environment. When comparing the immense and exalting presence of traditional Byzantine architecture and Calatrava’s Ponte della Costituzione, there is a dramatic difference between the two, contrasting in architectural style, as well as spatial experience. It is from this noticeable distinction that has caused uproar by many local Venetians. This sleek and modern bridge does not suit Venice, nor does it have much relevance to the architecture and environment that surrounds it. Not only is it absent of the unique impression that is given through the picturesque traditional Venetian style, but it has also caused many problems since it officially opened in 2008. An example of a minor complication in the

Last-Minute Gondola Placed on Railing of the Ponte della Costituzione

design of the Ponte della Costituzione are the hand made translucent glass steps. For a bridge that was designed to be an entranceway to Venice, Calatrava should have taken in account the many suitcases that would be dragged across the bridge. These hand made steps are very costly and have already been replaced multiple times contributing to the annual maintenance cost of 1.8 million € (around $2.6 million CAD). Aside from that issue, with no ramp in this design, there is a lack of inclusion for the portion of the public who are handicapped. Universal designs should be incorporated in every infrastructure, for any location as inclusion plays a large part in communities, effecting social and cultural aspects. A gondola was later added onto the bridge, using one of the railings as a track, which added on to the pricey annual cost. This gondola was and extra 11.3 million € (around $2 million CAD) to construct, with a additional pricey annual fee and production cost. Naming just a few problems that have occurred, it is clear that Calatrava did not have a full grasp on the Venetian culture, which is reflected through his bridge.6 Romance, religion, art and architecture are the root of the traditional Venetian culture. These subjects have not changed since the first parish churches were built and have been significant to the iconic Venetian symbols and lifestyle worldwide.2 If the root of this culture hasn’t changed in centuries, it is not likely that the Ponte della Costituzione will be accepted in the traditional Venetian culture any time soon.

role in Venice’s picturesque city, but it has also become a part of the city’s cultural appeal.

There is a reason why this city does not have the same aesthetic as the tall, prefabricated cities such as New York or Toronto. To get from 117 small islands to the memorable city that is seen today, architects had to find a way to construct their own sturdy foundation. One of the many techniques that were used to create a strong base was to put many alder wood stakes from native trees and stick them into the compounded silt, deep below the muddy soil in order to establish the foundation. Wood was not a common material seen throughout Venice but it did not rot under water and could withstand strong tides. On top of these stakes lay a horizontal wooded platform of elm and larch to hold a substantial layer of crushed stone and brick. This level would provide

Materiality

Historic Value + Importance of Materials: To understand why waterways are such an important feature to the Venetian lifestyle is to know the landscape and structure of the city. Before any shops or buildings were built, Venice was made up of 117 small islands in the midst of a lagoon. The materials present in Venice today are a reflection of how the city was built. Not only do the materials play a strong

Painted Steel

Handmade Glass

Kirmenjak Stone

“There is a reason why this city does not have the same aesthetic as the tall, prefabricated cities such as New York or Toronto”

2. Culture of Venice. (n.d.). Retrieved 2016, from http://europecities.com/ destinations/italy/cities/venice/culture/

228

8.33m

Steel Structure Cross Section through Deck at Mid-Span

enough strength to hold heavy stone blocks called Kirmenjak. This specific type of material is very effective in keeping out water, which was a main concern to early Venetians.

As one of the most efficient building blocks, this stone was used widely in these early years of Venice.1 It is interesting to note the similarities in the way the city’s architecture appeals to the public today and in the past, as Kirmenjak is still a common material. Contrary to that statement, for someone who has said that he is able to make that smooth transition of placing a man made structure into an existing environment2, it is noteworthy to realize that many Venetians have shown animosity towards the bridge Calatrava has designed.

Even the previous mayor of Venice strongly disagreed with the Ponte della Costituzione and had plans of permanently closing the bridge and turning it into a piece of art, which would result in saving millions of euros each year7. Although Calatrava incorporated Kirmenjak stone, along with hand made glass and steel, the Ponte della Costituzione is still receiving bad press along with many lawsuits mostly relating to the exceptionally high increase in budget and annual maintenance fees. Steel is a major component of the Ponte della Costituzione, however not commonly used as a dominant material in the city. In order for such a distinctive structure to fit in the urban fabric, it is essential to look at more 1. A Look at Venice: Past and Present [Editorial]. (2016). Illumin, 17(2). Retrieved from http://illumin.usc.edu/130/a-look-at-venice-past-and-present/

229

than just the aesthetics. There is a reason why Venice still spends a large amount of money on repairing ancient buildings and why it is hard to identify the new from the old. The culture and social aspect of Venice is so important to the Venetian lifestyle, which pays close attention to very traditional mannerisms. The architectural influences from the Islamic culture and Byzantine style, as well as the importance of the many waterways are just a few of many characteristics that are still currently seen today. Being the first bridge to be built on the Grand Canal since 1858, the Ponte della Costituzione had a lot of anticipation and attention from the press. What Venetians did not expect was the drastic change in traditional architectural style that is adored in Venice. The transition from the predominant and historical Islamic and Byzantine style, to an elegant and modern form is what has created such controversy for the Ponte della Costituzione.2 The many characteristics that make Venice such a desired location comes from deep connections to its culture and social lifestyle that have derived from religious and historic influences. The style of architecture that is so prominent in Venice is known for its aesthetics, but it is throughout history that has formed this influential culture that has been carried out for many years.

2. The Architecture of Venice: Anything but Italian. (2015). Approach Guides.

Retrieved 2016, from http://www.approachguides.com/blog/venice-architecture-byzantine-islamic-influences/

The Attempt: Despite the many cultural differences between the Ponte della Costituzione and the Venetian lifestyle, many tourists come to Venice to see this bridge designed by Santiago Calatrava. His style is seen as very unique, even when compared to current and modern styles. Most of his designs clearly reflect his ambition towards his philosophy, with the exception of the Ponte della Costituzione, where Venetians have stated that it has not lived up to expectations. Even though studying how humans experience different spatial environments is an important standard for him, Calatrava has failed to reflect this concept into his bridge. Although the Ponte della Costituzione has connected to its environment on a social level by creating gathering spaces and joining both sides of the Grand Canal, this does not mean it has successfully integrated itself into the Venetian culture.7 The main element he is missing is evoking emotion. In a city such as Dubai or Beijing where the architectural style is very modern and constantly changing, the Ponte della Costituzione would have been more successful. In contrast, the prominent culture in Venice is much more strict and intentional because of the many traditions that it has preserved and Calatrava’s attempt in using steel has unsuccessfully integrated with the persistent Venetian culture. It is unfortunate that Calatrava could not convey his courageous modern style with the historical Byzantine and Islamic culture that is so important in Venice. Even with its undeniably eyecatching form and polished aesthetic, it was not able to achieve such high recognition as his many other works of art. Although the Ponte della Costituzione did not have the intended outcome that the Venetians desired, his bridge has still helped to improve on the social behavior of the city by adjoining public spaces and creating better pedestrian circulation throughout the city.

BiBLIOGRAPHY

• A Look at Venice: Past and Present [Editorial]. (2016). Illumin, 17(2). Retrieved from http://illumin.usc.edu/130/a-look-atvenice-past-

and-present/

• Ammerman, A. J. (2003). Venice before the Grand Canal (Vol. 48). Ann Arbor, MI: University of Michigan Press.

• Culture of Venice. (n.d.). Retrieved 2016, from http://europe-cities.com/destinations/italy/cities/venice/culture/ • Ferraro, J. M. (2012). Venice: History of the Floating City. New York: Cambridge University Press.

• Lawson, B. (2016). Parallel Lines of Thought. (pp. 3-13). Sheffield: University of Sheffield.

• Jodidio, P. (2007). Calatrava. Köln: Taschen.

• Ponte della Costituzione – Venice (IT). (2013). Retrieved March 15, 2016, from https://thefullcalatrava.wordpress. com/2013/08/09/

ponte-della-costituzione-venice-it/

• Santiago Calatrava. (2016). In Encyclopædia Britannica. Retrieved from https://www.britannica.com/biography/ Santiago- Calatrava • The Architecture of Venice: Anything but Italian. (2015). Approach Guides. Retrieved 2016, from http://www. approachguides.com/

blog/venice-architecture-byzantine-islamic-influences/

• Zaffarano, F. (2013). Calatrava, the “Discord Bridge” Divides Venice. Retrieved March 14, 2016, from http://www. mentelocale.

it/53981-calatrava-ponte-discordia-divide-venezia/

230

Kultour - 2016

231

Italy Architect

Amanda Nalli

Project

San Michele Cemetery

Author

Amanda Nalli

Date of completion

In Progress

The concept of architecture, known for its definitive and structural creations, is ironically, easily swayed by the external and ever changing influences of time. This is commonly seen through significant cultural movements in European history, specifically between the High Middle Ages to the pivotal period of Enlightenment. The transition from medieval architecture to Venetian influential architect, Mauro Codussi.1 Codussi’s original design on the island of San Michele, one of the most seminal buildings in by well-known architect, David Chipperfield.2 Initially a monastery, the island of San Michele evolved into a populated cemetery due to the constant change in authority in the Kingdom of Venice. Over society throughout the various rulers and political movements.

Its journey from monastery to cemetery was made possible by

Venice

the course of 800 years, the church has adapted to the needs of

Possagno

Venice at the time, is an ongoing project, currently under expansion

Verona

Renaissance architecture can be identified in the late 1400’s by the

Frankfurt Milan Como Cernobbio Bergamo

Introduction

instrumental political figure, Napoléon Bonaparte, as his authority in Venice during the French Revolution was crucial to the urbanization of the city in the 19th century.3 During Napoléon’s reign, he changed the face of Venice through not only constructive reforms, but the destruction in the foundations of the prominent religion. Despite the changes in religious rule and policy, the island of San Michele adapted in response to needs of the time rather than succumbing to the similar downfall as its neighbouring churches experienced.

232

As architecture is influenced by its context, the cemetery of San Michele experienced many changes by influential architects such as Mauro Codussi, Giannantonio Selva, and Annibale Forcellini, each of which carry common values and theories throughout their work. Similarly, current architect David Chipperfield, competition entry winner in 1998 held by the Venice City Council, is the next architect to leave a presence and create a new identity on the cemetery island of San Michele. Chipperfield’s extension explores common theories and values, such as the volume, materiality and the manipulation of light, all of which are prominently seen throughout his work. His work also notes the importance of composing within the current context and aims to revive Venetian architectural elements currently absent from the site. As architects repeat and carry their theories throughout other projects, the cemetery of San Michele may also be analyzed in comparison to Chipperfield’s work on the law courts complex in Salerno, Italy. This demonstrates how architecture is not only in regards to the theories and values of an architect, however affected by the overall context of the project’s site.

233

islet of San Michele in 1469, neighbouring islets of

History of Venice 1212-Present

San Cristoforo and Murano. Completed in 1478, this project on San Michele was the catalyst of Codussi’s

The city of Venice, capital of the Veneto region

architectural career, establishing himself as the first

in northern Italy, stretches across 118 small islands in

Venetian Renaissance architect, introducing a new

the Mediterranean Sea.

identity within Venetian architecture.1

1

Its topography consists of

cloisters of islands making it an asset for trade and ports, especially for merchants and fishermen. These

At this time, Europe was undergoing several

secluded and remote islands were also home to

power driven wars specifically the reign of the Ottoman

several types of monastic communities, one of which

rule. Venice posed as an asset to the potential Ottoman

is the church island of San Michele. The first record of

conquests due to its geographical location and wealth

San Michele dates back to 1212 in the heart of the High

in trade, resulting in the first Ottoman-Venetian War

Middle Ages when founded by the Camaldolese Monks

from 1463 to 1479.8 The ongoing power struggle for

as a monastery.4 The island found its name through the

land and control continued for over 200 years, however

popular archangel of the middle ages, Saint Michael,

Venice maintained its independence and its valuable

escort of the dead to heaven. The monks that inhabited

port islands. During these wars, Venice attempted to

the monastery are recorded the most learned monks

gain control over several neighbouring territories to

of the period, recognized for their utmost dedication to

become a larger empire and recognized city-state.9

their beliefs. One of the reputable texts created in this

Parallels can be drawn between the state of the

monastery was that of Fra Mauro, the Mappa Mundi, a

region and its inhabitants as Mauro Codussi conquers

detailed cartographic representation of the earth and

new heights for Venetian architecture, establishing

cosmos of the 15th century.

The monks continued

his name and expanding his practice throughout

to practice through the remainder of the 13th and 14th

northern Italy. Despite the enduring wars, the culture

centuries until famous architect, Mauro Codussi made

of Venice continued to flourish in almost all the arts,

his mark upon San Michele in 1469.

specifically architecture and painting, while the city

5

6

1

itself exerted such an influence over creative masters Mauro

Codussi’s

initial work was

for the

from elsewhere including, Mauro Codussi and Pietro

Camaldolese Order noted at Ravenna, not far from

Lombardo from Bergamo, and Andrea Palladio from

Alberti’s great church for the Malatesta in Rimini. It is

Padua to name a few, whom later settled permanently

thought that Codussi was largely influenced by the

in the kingdom.7

revolutionary work of Leon Batista Alberti, as they

were possible due to the independence that Venice

shared similar theories pertaining to mathematical

maintained following the wars with the Ottoman

philosophies. In addition to Alberti, well known Italian

empire. In the later years of the 18th century, Venice

renaissance sculptor and architect, Pietro Lombardo,

succumbs to the developing powers of French military

known for the creation of many Venetian tombs, was

and political leader, Napoléon Bonaparte.10

7

These advancements in culture

a secondary influence on Codussi’s work. Through the combination of both Alberti and Lombardo’s theories, Codussi created his own style that was distinctively Venetian. Unlike Alberti and Lombardo, Codussi was trained as a master mason allowing him to have an early understanding of structural form and function in his career, thus characterizing his work as unique, compared to that of his contemporaries.7

Upon

completion of his work at Ravenna, the monks sent Codussi to Venice to build their new church on the 234

Napoléon rose to power during the French revolution due to his persistent behaviour and

Napoléon’s influence was greater during his second

dire need for control in France. His power driven

coalition within Venice as his rule was respected and

mentality provoked several wars surrounding

concrete. The Napoléonic era saw many changes, not

the control and ownership of land. Despite his

only politically, however socially and culturally, specifically

already powerful and influential control in France,

pertaining to the architecture in this time period. These

10

Napoléon targeted Venice as his next conquest.

changes in Venice did not occur until after 1806 and once

The abundance of port cities within Venice

Venice was incorporated into Napoléon’s Italian Kingdom.11

made it a sought-after addition to neighbouring

Napoléon’s motives regarding the important changes

countries as it assisted in the increase of trade and

being made to the city’s fabric were to demonstrate a

international relations. Napoléon, a motivated and

sense of newly-imposed foreign control and determination

logical leader, desired Venice as an ally as it would

to modernize a city of its Republican past. Venice, a city of

contribute to his overall reign in Europe. Venice, at

such a complex organic fabric, led Napoléon to simplify

the time, remained independent from bordering

it through the tasks such as filling in canals and widening

regions, as it desired to stay neutral, posing as a

streets, all of which resulted in notable construction and

threat to Napoléon resulting in an outbreak of war

destruction in the city.9 This is specifically demonstrated

over the control of the island. On May 12th 1797,

through the developments of the city’s cemetery at San

Napoléon and his troops gathered in the Palazzo

Michele.

Ducale along with Maggio Consiglio to where the Republic of Venice was voted out of existence.9

Burials in a city liable to flooding, like Venice, posed

After 1,070 years of independence, Venice’s

a threat to the health and safety of the general public,

neutral state was no longer a worry to Napoléon as

as bodies were stored deep beneath churches. There

this territory was now an ally to France, and in 1805

was a dire need for a city cemetery, and with the help of

a treaty was signed between France and Austria,

favoured architect Giannantonio Selva, the ultimate goal

ultimately returning the now names Kingdom of

of urban modernization for the city of Venice was now

Venice to Napoléon.

within reach. At the time, the monastery and church of

11

L: One of the entries into the cemetery designed by Selva, 1807. R: Selva’s elevated walking platform around the tombs.

235

San Michele was occupied by the Camaldolese monks,

modern art developments and the structure of

known for their sanctity, however, they were replaced

the city’s eastern region, which is the location

by the Franciscans, whose role was to be the “watchers

of the exhibition. The Biennale organization not

of the dead” of the newly constructed city cemetery.

In

only focuses on exhibitions and research of art,

November of 1807, Napoléon finally visited Venice and

however through the 20th century it has expanded

the ongoing construction on the grounds of the cemetery

to other sectors such as music, cinema, theatre,

on San Michele, however, it was in his nature to demand

architecture and dance.12

immediate changes to be made and results to be seen

this located in Venice and visited by thousands of

on the cemetery island.

This is specifically seen in the

international people each year, demonstrates the

construction of the city’s cemetery when his demand for

amount of influence Venetian art, architecture and

demolishing the fifteenth-century Church of San Cristoforo

culture has had on individuals through the century

della Pace, located on San Michele’s neighbouring islet

and in the future.

4

10

An organization like

of San Cristoforo, had lapsed due to the lack of sufficient funds. Therefore, in order for his command to be fulfilled, a

The changes in power between the 15th

decree was made available for one hundred thousand lire

and 19th century played a significant role in the

for the completion of the work. Despite Napoléon’s master

political, social and cultural developments in all

plan of modernizing Venice, a great deal of destruction

regions of Europe. Specifically, Venice underwent

occurred in the city, specifically the number of churches

several changes in rule contributing to its variances

reduced from 72 to 30, the closing of several monastic

in structure and land. The art and architecture was

9

houses, and the removal of much artwork to Paris.

influenced by the political transitions to a large

Although Napoléon closed down numerous churches,

extent. The island of San Michele is a key example

Codussi’s church of San Michele steered clear of that, as

of how context impacts the built form. Its transition

it was one of few remaining churches in the Kingdom of

from monastery to cemetery was not possible

Venice, most likely due to the fact that the island contained

without the values of each ruler that controlled the

value, both culturally and politically.

kingdom of Venice. All architects that contributed

10

to San Michele built upon past designs as well Until 1814, Venice remained under the control of

as incorporated their own style. Each contributor

Napoléon, however that year, the kingdom of Venice re-

developed their own theories and values by which

allied with its neighbouring region of Austria.

Austria

they abided by through the design process, thus

acquired Venice and its small islands, allowing Venice to

granting this project a revolutionary foundation to

regain strength both politically and culturally. Changes

be built upon for years to come.

10

were made to the functions of buildings as well as their architecture. San Michele, a prime example, had underwent a geographical alteration as its neighbouring island, San Cristoforo was now connected through a canal therefore expanding the cemetery.1 As well, many changes in the world of art began in Venice following the change in rule, including the return of art pieces that had been taken from Italian regions by Napoléon and returned to Venice.

Furthermore, founded in 1895, the Venice Biennale, an international art exhibition, has had an important impact on the city’s influence in patronizing the progression of 236

Theories and Values of David Chipperfield Architecture is influenced by its context, thus

Codussi focused much of his time on the exterior of

explaining how through months, decades, and

the building, while the interior planning was kept relatively

centuries, it adapts to its present time. The island

simple. Known as the first architect in the Gothic era to

of San Michele is a representation of a building

completely clad a façade in white Istrian stone, Codussi drew

that is constructed according to both its political

from local motifs and the image of Alberti’s façade in Rimini,

and cultural context, due to its constant changes

thus leaving his mark in Venice at the time, and continuing

over the course of 800 years. Originally occupied

to be known for introducing Renaissance architecture to

by the Camalodese monks, their home was the

the city.9 Annibale Forcellini is the next architect to make

island and subsequently, they spent frequent time

an impact on the island of San Michele and introduce a

in the recreational gardens they nurtured. In the

new architectural theory to the island. The expansion of

late 1400s, Mauro Codussi’s addition introduced

1861 under direction of Forcellini included levelling the

a revolutionary and evolutionary Renaissance

island and making it flood-proof, while also adding the

facade consisting of all white stone to the church

high red brick wall seen today.13 Forcellini’s design decision

of San Michele, which was completed in a Gothic

of constructing this solid barrier between the island and

Codussi is one of the most influential

mainland Venice establishes a clear disconnect between

architects that contributed to the overall scheme

the two, as neither views nor proximity to the lively city are

of the San Michele cemetery, meaning that his

exploited, which remains until the introduction of architect

values are of great relevance as they affect the

David Chipperfield to the island. David Chipperfield’s entry

present day built form of Venice. One of Codussi’s

for the competition set in 1998 by the Venice City Council

values repeated throughout his work is the fusion

is based on a proposal to resolve this exact problem faced

between structural form and decorative elements,

by the island of San Michele, ultimately making him the

also evident within his work at the church of San

successful competition entry.2

era.

7

Zaccaria.7

Forcellini’s construction of the high red brick wall in 1861.

237

L: Highlights the use of columns, which construct laneways and the views beyond a single volume. R: Chipperfield’s revival of the courtyard; with greenery to bloom in the future.

In

1984,

located

in

David

Architect David Chipperfield’s extension to the

Chipperfield established David Chipperfield Architects, a

cemetery of San Michele consists of two phases,

practice known in its recent years for its prolific designs

the first being the addition of the crematorium

of cultural and civic buildings. The work of Chipperfield

and facilities such as ossuaries, columbaria and a

demonstrates encouragement of recalling the origins and

plot for burials located on the western edge of the

purposes of architecture.

His work aims to reconnect

island. The second phase of the design consists

individuals with the spaces and forms they move through,

of the construction of a new island separated

the dialogues one has with the building’s context, both

by a canal and connected by two pedestrian

with the infrastructural and the natural, and the sensory

bridges. Not only does Chipperfield aim to create

34

influences controlled by the use of light and materials.

scorci (views), between the cemetery island and

Chipperfield once stated, “We must encourage an

mainland Venice, however, his extension consists

architecture that does not look like built drawings. Volume,

of the revival of Venetian architectural elements

material and light must occupy the very centre of our craft”

currently nonexistent on the island of San Michele,

(Keates, 2000, p.3).

being the campo (courtyards), the calle (lanes) and

14

15

London,

England,

These following theories are present

within Chipperfield’s work as a designer of key public

the canal.13

projects in Europe and America, such as the cemetery of San Michele in Venice, Italy.

238

L: Chipperfield’s design of elevating his construction from the main elevation, similar to that of Selva’s.

R: A detail of the handrail, displays Chipperfield qualities of a linear design and consistency in colour.

The method of ‘composing’ is one of Chipperfield’s key techniques of designing, as it is a system consisting of the organization of volumes that simultaneously resolve the issue of form-making.16 Composing a structure by parts or volumes allows for functional and flexible alternations to be made when in contact with existing buildings, without losing the architectural integrity

of

the

elements

added.16

This

is

demonstrated through Chipperfield’s work on San Michele, as the

the courtyards, lanes and canal are all parts added to the island, in conjunction with the previous buildings.

With the use of stairs, the courtyards and interior lanes are elevated from the main ground surface, in conjunction with the fine handrail details of David Chipperfield. These built forms, each named after one of the four Evangelists, are arranged to create a system of lanes and plazas between the elevated volumes, providing a “tightly-knit, urban feel” (Heathcote, 1999, p.91) to the scheme, unlike the large open gardens extending south of the island.2`

L: The massive wall thickness presents visual depth when walking into the space.

R: A detail that highlights the depth of the wall, as the materiality is seamless throughout this great thickness, which is accommodates tombs.

239

Materiality is a key word in Chipperfield’s vocabulary,

Despite the great contrast between Chipperfield’s

as he refers to materiality as “an opportunity for enriching

volumes and Forcellini’s red brick wall of 1861,

and inspiring us with an additional landscape to what

the new chapel is to be constructed in a colour.2

already exists” (Keates, 2000, p.29). The solid, cubic

The chapel, being the most sacred building on

blocks constructed on Chipperfield’s new landscape of

the extension is to be built of red brick on a white

San Michele contain minimal articulation, and consist of

stone pedestal, connecting it to its surroundings.

random open slits between the basalt blocks, exposing

It may also be noted that Codussi’s use of the

the great thickness of the walls, which accommodate the

revolutionary white Istrian stone on the façade of

tombs, and display views beyond the island. Along with

the church of San Michele may have influenced

the simplicity in form and the façade’s lack of articulation,

Chipperfield’s use of such a material in his design.

2

the white and grey basalt stone, which the wall tombs are built of, reiterate the idea of a voiceless city of the dead.

L: The entrance of light within the volumes and their lanes is very precise and linear.

R: Displays the corner of one of Chipperfield’s volumes, as the entrance of light into the space seems to be intentional.

The manipulation of light is the third, yet most

The cemetery of San Michele, open to the vast expanses

idiomatic, aspect which Chipperfield addresses

of the sun’s rays in the Venetian lagoon, embraces a

This mastery is Chipperfield’s

variety of light, each of which can be identified through

signature verifying his touch, meaning that such a

Chipperfield’s assembly of parts in its extension. As

craft can be identified in a variety of ways, whether

Chipperfield composes the island in parts, he transforms

it’s a dramatic entrance into a room, or more of

a void into a courtyard, and a slit into a vista, both of which

a tangible element that directs an individual’s

require a different type of light.16

as an architect.

15

responses as they move through the building.15

240

L: Light entering of one Chipperfield’s volumes through one of the intentionally designed gaps within the volume, reiterating his intentional manipulation of light within this project. R: The gaps and voids within the chapel display dramatic light, similar to the light within the other volumes on the site. Image retrieved from, Heathcote, E. (1999) Monument Builders: Modern Architecture and Death. Page 90.

The void, central to each volume, is open without

to the existing structures by Codussi in 1469 and Forcellini in

overhead canopies and receives light throughout

1861 in a progressive and revolutionary sense. These past works

the day, allowing for the continual growth of floral,

responded to the time they twenty first century. Chipperfield

meanwhile the slits cut out from the buildings form

seems to make an intentional gesture regarding the design of

display a distinct and intentional entrance of light.

the extension, as he responds to Codussi’s revolutionary chapel

The most dramatic play on light within Chipperfield’s

through the similar use in material for the base of the new chapel.

extension while be seen by the chapel, being the tallest

This possibly suggesting how Codussi’s work of the fifteenth

building to the extension and the only one to be built of

century is the foundation to the dynamic present day cemetery

colour among Chipperfield’s muted volumes. Not only

of San Michele.

does the colour bring attention to the eye, however, its block construction consists of a series of random gaps,

critiquing the current work of Chipperfield. His act of

allowing for light to filter through and display dramatic

‘composing’ functional and flexible parts that are in contact with

patches of light on its interior.

existing buildings is one of the strongest values demonstrated

2

by Chipperfield within this project. Chipperfield responds to

Critical Analysis

the existing structures by Codussi in 1469 and Forcellini in 1861

The values and theories of David Chipperfield

in a progressive and revolutionary sense. These past works

are clearly exhibited within his work at the cemetery

responded to the time they twenty first century. Chipperfield

of San Michele, which identifies this project as one of

seems to make an intentional gesture regarding the design of

the architect’s type. The island of San Michele not only

the extension, as he responds to Codussi’s revolutionary chapel

consists of Chipperfield’s work, however, it has been the

through the similar use in material for the base of the new chapel.

home of built form since the thirteenth century, which

This possibly suggesting how Codussi’s work of the fifteenth

is important to recognize when critiquing the current

century is the foundation to the dynamic present day cemetery

work of Chipperfield. His act of ‘composing’ functional

of San Michele.

and flexible parts that are in contact with existing

Upon visiting the site, it is recognized how the work of

buildings is one of the strongest values demonstrated

Forcellini may have had an influence on Chipperfield’s design,

by Chipperfield within this project. Chipperfield responds

not only through materiality, as the island’s existing brick wall is similar to the future chapel, however the concept of enclosure

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and openness. In the case of Chipperfield’s design, the

cemetery is built primarily of red brick, it is not

tomb walls of the extension, which have written Recinto

uncharacteristic of Chipperfield to introduce a material of

on their exterior- translating to “enclosure”, surround the

a different colour and proportion. The materiality choice

interior flowering courtyards, thus demonstrating the

is effective as the muted colours are symbolic of its

concept of enclosure.

inhabitants, however, since Chipperfield’s intentions were

on the other hand is seen through the addition of a parallel island with expansive gardens on the island’s southern half, toward mainland Venice, which is beyond the minor enclosures. However, it must be noted that Chipperfield’s four “enclosures, also known as courtyards, are not to be identified individually, as the voids within the form display views beyond these enclosures. These gaps, similar to the ones seen in the chapel, allow for light to filter in the courtyards, and for views of San Michele’s past work to be seen beyond the work of Chipperfield. Similar to Chipperfield’s courtyard walls, Forcellini’s wall surrounds the entire cemetery, demonstrating a sense of enclosure, whereas openness is not seen beyond the walls and kept internal as it is displayed through the vast cemetery grounds. It appears as though Chipperfield is producing a strong gesture on the island, as he reiterates the existing in a minor way, however gives his design a new identity on an island filled with architecturally monumental forms.

Chipperfield’s use of stark materials such as the

grey and white basalt stones may also be noted in this

to reconnect the island of the dead with that of the lively, it seems as though he is refraining that from happening by bringing attention to the silence of the island. Nonetheless, the connection between the two materials is visually pleasing and complimenting of one another.

Chipperfield’s theories and values exemplified

through his work at San Michele may also be critiqued in comparison to his work on the law courts complex in Salerno, Italy. Not only do both project have a similar form, however they convey Chipperfield’s intention to “rethink the concept of a monument in the light of contemporary culture and to reaffirm the civic value of works of general significance” (Keates, 2000, p.13).15 The cemetery and law courts are both places of significance within in a city, and affect the general public. Thus, the idea of architecture being a definitive establishment, yet influenced by its context, is reiterated by Chipperfield’s work at both the Salerno law courts complex and the cemetery of San Michele.

critique. Since the existing

L: The elevated roof from the tomb walls is an intentional gesture made my Chipperfield, allowing for only a particular view and light to enter the space. R: Views beyond the interior courtyards and lanes are seen through the gaps in the walls, ultimately creating vistas and connecting the new with the old.

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L: The proportion between Chipperfield’s material on the left and Selva’s material on the right display a clear difference in colour and proportion.

R: Both the old and new construction of Selva and Chipperfield are apparent, thus illustrating how Chipperfield did not ignore the context of the site.

Conclusion The concept of architecture, made up of structural and concrete developments, is easily affected by its context. The context in which a form is built has great significance on the building’s construction, from its inhabitants, to its materials and its final details, all of which eventually develop and change over time. The cemetery of San Michele, originally known as two islands, began as a monastery, and developed over centuries into what it has become today. However, the cultural and political context throughout the centuries had a great contribution, beginning with the presence of the Camaldolese monks and their transformation of the island into a monastery, with the help of architect Mauro Codussi. Codussi was the first recorded architect to have worked on the island, and introduced the revolutionary style of Renaissance Venetian architecture to the city of Venice. The introduction of Napoléon Bonaparte in the late fifteenth century was the largest change the island experienced, as it developed into the city’s cemetery and expanded once the islets of San Michele and San Cristoforo merged and formed the island present today. Throughout time San Michele was introduced to additional influential architects such as Giannantonio Selva, who designed the initial scheme for the cemetery in the early 19th century, and Annibale Forcellini who completed work in the late 19th century. David Chipperfield’s extension to San Michele introduces the revival of Venetian architectural elements, which are executed with the use his values and theories. Chipperfield, being the most current architect to work on a project that contains centuries worth of history, aims to display a new identity for the island. Based on the ever-changing timeline of the cemetery in San Michele, it is logical to conclude that this revolutionary piece of architecture will continue to be influenced from external factors relating to current events in culture, politics and social issues, as well as the theories and values of its architects.

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ENDNOTES 1. Goy, R. J. (2010). Venice: An Architectural Guide. New Haven: Yale University Press.

2. Heathcote, e. (1999). Monument Builders: Modern Architecture and Death. Chichester, West Sussex: Academy Editions.

3. Fletcher, S. (2000). The Longman Companion to Renaissance Europe, 1390-1530. Harlow, England: Longman.

4. San Michele, (1868). The Leisure Hour : A Family Journal of Instruction and Recreation, Jan.1852-Dec.1876, (833), 763-765. Retrieved from http://ezproxy.lib.ryerson.ca/login?url=http://search.proquest.com/docview/3772476?accountid=13631 5. Johnson, R. F. (2000). Feasts of saint michael the archangel in the liturgy of the early anglo-saxon church: Evidence f r o m the eighth and ninth centuries. Leeds Studies in English, 31, 55. Retrieved from http://search.proquest.com.proxy.queensu.ca/ docview/1302296229?accountid=6180 6. Lauritzen, P. (1978). Venice: A thousand years of culture and civilization. New York: Atheneum.

7. Goy, R. J. (2006). Building Renaissance Venice: Patrons, Architects and Builders, c. 1430-1500. New Haven: Yale University Press.

8. Faroqhi, S. (2004). The Ottoman Empire and the world around it. London: I.B. Tauris.

9. Goy, R. J. (1997). Venice: The City and its Architecture. London: Phaidon.

10. Norwich, J. J. (2003). The Paradise of Cities: Venice in the 19th century. New York: Doubleday.

11. Schroeder, P. W. (1994). The Transformation of European Politics 1763-1848. Oxford: Clarendon Press.

12. La Biennale di Venezia - La Biennale di Venezia. (n.d.). Retrieved August 15, 2016, from http://www.labiennale.org/en/biennale/ organization/ 13. Chipperfield, D., Weaver, T., & Frampton, K. (2003). David Chipperfield: Architectural works, 1990-2002. New York: Princeton Architectural Press.

14. Glancey, J. (2010). David Chipperfield wins Royal Gold Medal for architecture. Retrieved August 14, 2016, from https://www.theguardian. com/artanddesign/2010/oct/07/david-chipperfield-royal-gold-medal 15. Chipperfield, D., & Keates, J. (2000). David Chipperfield Architects. London: The British Council.

16. Nys, R., Enciso, A. D., Sadleir, R., Lindberg, S., & Chipperfield, D. (2013). David Chipperfield Architects. Thames & Hudson.

BIBLIOGRAPHY • Chipperfield, D., & Keates, J. (2000). David Chipperfield Architects. London: The British Council.

• Chipperfield, D., Weaver, T., & Frampton, K. (2003). David Chipperfield: Architectural works, 1990-2002. New York: Princeton Architectural Press.

• Faroqhi, S. (2004). The Ottoman Empire and the world around it. London: I.B. Tauris.

• Fletcher, S. (2000). The Longman Companion to Renaissance Europe, 1390-1530. Harlow, England: Longman.

• Glancey, J. (2010). David Chipperfield wins Royal Gold Medal for architecture. Retrieved August 14, 2016, from https:// www. theguardian.com/artanddesign/2010/oct/07/david-chipperfield-royal-gold-medal • Goy, R. J. (2006). Building Renaissance Venice: Patrons, Architects and Builders, c. 1430-1500. New Haven: Yale University Press.

• Goy, R. J. (2010). Venice: An Architectural Guide. New Haven: Yale University Press.

• Goy, R. J. (1997). Venice: The City and its Architecture. London: Phaidon.

• Heathcote, E. (1999). Monument Builders: Modern Architecture and Death. Chichester, West Sussex: Academy Editions.

• Johnson, R. F. (2000). Feasts of saint michael the archangel in the liturgy of the early anglo-saxon church: Evidence from the eighth and ninth centuries. Leeds Studies in English, 31, 55. Retrieved from http://search.proquest.com.proxy. queensu.ca/docview/1302296229?accountid=6180 • La Biennale di Venezia - La Biennale di Venezia. (n.d.). Retrieved August 15, 2016, from http://www.labiennale.org/en/ biennale/organization/ • Lauritzen, P. (1978). Venice: A thousand years of culture and civilization. New York: Atheneum.

• Norwich, J. J. (2003). The Paradise of Cities: Venice in the 19th century. New York: Doubleday.

• Nys, R., Enciso, A. D., Sadleir, R., Lindberg, S., & Chipperfield, D. (2013). David Chipperfield Architects. Thames & Hudson.

• San Michele, (1868). The Leisure Hour : A Family Journal of Instruction and Recreation, Jan.1852-Dec.1876, (883), 763-765. Retrieved from http://ezproxy.lib.ryerson.ca/login?url=http://search.proquest. com/docview/3772476?accountid=13631 • Schroeder, P. W. (1994). The Transformation of European Politics 1763-1848. Oxford: Clarendon Press.

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Italy Architect

Carlo Scarpa

Project

Olivetti Showroom

Author

Elena Hamanova

Date of completion

1957

Verona Possagno

Venice

In 1957 Carlo Scarpa designed a showroom in Venice, Italy known as the Olivetti Showroom or Negozoi Olivetti. This spectacular piece of architecture came to be during the high point of the Post-War industrialization period in Italy which was also the period of Futurism. This design was influenced by many different factors, the rising Fascism in Italy before the war and the optimism of the Futurism period had a large impact on the economic, political and social affairs of all of Europe and its architecture. Scarpa’s style, practice and theories of architecture are clearly seen in this showroom through its concept, functionality and details, and how it relates to the context in which it was built. The showroom may not be one of Scarpa’s biggest works but it definitely has certain elements such as the famous floating staircase that showcase Scarpa’s unique and original style.

Frankfurt Milan Como Cernobbio Bergamo

INTRODUCTION

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Figure 1 - Logo on Front Facade - Photograph

Industralization Period The Olivetti showroom was designed and built between 1957 and 1959 in Venice, Italy. This was during the post war industrialization period when the Marshall Plan came into play and there was a rapid development of industry with the introduction of machinery. The Marshall Plan also known as the European Recovery Program (ERP) was a system meant to help out Western Europe after the Second World War from 1948 to 1951 with American economic aid. It played a major role in economic recovery, modernization and unification of Europe. This plan helped Britain, France, Germany, Italy and a few smaller nations and each countries government was required to set up a national economic plan to ensure cooperation between the countries and their finances and trade flows. This in turn helped the US in the future because it made Europe their main trading partner. Italy’s economy was strong once again and the country was able to regain itself.

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Futurism and Fascism Futurism came to be in the early 1900’s before the war, when a large group of writers and artist were determined to celebrate industrialization. Their goal was to capture the idea of modernity, the sensations and aesthetics of speed, movement and industrial development1. These writers and artist were frustrated with Italy’s declining status and they were hoping that Futurism would allow for the regeneration of a stronger and better Italy. The futurist style started to become confusing when second generation of Futurist artists had strong ties to Fascism during the beginning of the war. Fascism in Italy intended to resolve class conflict through collaboration between classes by promoting a corporatist economic system. Italian Fascism opposed liberalism, Marxist socialism, reactionary conservatism and it believed that for Italy to be successful as a nation it needed to clearly understand the shared past between Italian people and to have a respect for tradition while committing to modernization. This was similar to Carlo Scarpa and his use of traditional methods and design theories, he is both a fascist and modernist architect.

Figure 2 - Side Facade View from Alley - Pen The Olivetti shop is one of the few corner shops and this sketch is from the side entrance looking at the Piazza San Marco. Visible are the archways, colonnades and the varying textures of this façade.

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Risorgimento The 19th century was also the rise of the Italian Unification Movement known as the Risorgimento.

This movement eventually succeeded, it was the unification of many different states into the modern nation of Italy, through a social and political process2. In the beginning of this unification there were many intellectual and social changes taking place in Italy and at this time Austria dominated over many states in the north including Venice and Lombardy. Warfare, struggle and the desire for independence were what shaped the land, food and people of Italy. The southern states of Italy were a lot worse; Mafia organizations were formed because of the neglect and the oppression of wealthy European landlords who exploited local peasants to tend to their lands. The economy in Venice used to be based on maritime commerce, mainly in local products such as salt from the lagoon and fish. In the 1900’s the economy was mostly based on tourism, millions of visitors from all over the world come to see this fantastic city where the main forms of transportation was by foot and gondolas in the canals.

Figure 3 - Front Facade - Pencil

Architecture in Venice The architecture of Venice changed over time but the structure of these buildings barely changed. The three or four storey houses are clad with red brick, stone or ochre-painted stucco walls that give warmth to the town scape3. White marble that was shipped cheaply into Venice from Istrian quarries was used the most as building stones. Exhaust fumes from the ancient industry of one of Venice’s oldest specialties, glassware, from the nearby island of Murano have contributed greatly to the corrosion of Venice’s stonework. Carlo Scarpa’s Olivetti showroom is actually just a small shop in the Piazza San Marco and not a new building since there wasn’t any new construction in Venice.

Because of this Scarpa couldn’t do much to change the exterior facades. Venice has over 400 pointed arch bridges for crossing the canals and they used to be made of the popular white marble, in the 19th century many were replaced by wrought iron structures. There are quite a few different styles of architecture in Venice and they include Byzantine, Gothic, Renaissance, Mannerist, Baroque and most recently, Modern.

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The Architect Carlo Alberto Scarpa was born June 2nd, 1906 in Venice, Italy . His father, Antonio Scarpa was an elementary school teacher and his mother, Emma Novello, was a dressmaker. They move from Venice to Vicenza when he was at the age of two and his mother had opened her own dress shop. Growing up, he helped his mother with dress designs and patterns. At a young age he learned the art of tailoring and from it, the precision and incorporation of different parts to a whole. He observed the way pieces were joined and edges were finished and this spiked his interest in the fine details of everything.

As he grew older his observations of fine details expanded to architecture. He travelled many cities and he developed a strong understanding of architectural styles and the relationship between a building and its setting. There had to be a connection between the building, the site and the setting (history and 4

Figure 4 - Scarpa’s Construction Details - Photographs

Figure 5 - Carlo Scarpa’s Patterns - Pencil

character behind the location). Scarpa drew inspiration from the fragmentary architecture of Venice, he could read buildings, their ruins, and he could rethink the meaning of a historical structure and its cultural significance. He was introduced to architects such as Frank Lloyd Wright and Mies van der Rohe by reading German architecture journals. He was later referred to as the “Frank Lloyd Wright” of Italy5. Scarpa approached architecture in a modern Art Nouveau style instead of a neoclassical one. He wanted to create original work that had not been seen before in the past and he was able to challenge conventional methods of architecture to create his own. The Art Nouveau movement introduced curvilinear lines, asymmetrical shapes and other pattern like characteristics into architecture and buildings. When drawing, Scarpa believe that if he drew something that resembled anything that already exists, it needed to be erased. He was a craftsman who studied architecture but was never a fully qualified architect. From his mother he learned that communication and hands 250

on instruction was crucial in achieving a successful final product. He spent a large amount of his time communicating with the craftsmen that were to execute his designs so that they could execute and create his exact vision. With strong communication, Scarpa revived an artisan culture that seemed to be lost and replaced by all the new and modern methods of construction at that time. He also hired local craftsman to make sure that the culture was kept and reflected in his work and that it related to the surrounding context.

One of his talents in architecture was being able to guide an audience through a space and gently controlling their direction. This is evident in the Olivetti Showroom because the famous stairs are not only functional but are also sculptural. They draw people into the room and to the upstairs mezzanine, a forced circulation that is not noticed due to the elegance of his design. He was also a master of incorporating colour, walls, water, indirect and direct light in his designs and the use of corner windows. Another skill of Scarpa’s was his ability to disassemble the architectural elements of a structure and to reassemble them to give the building a new building, an example of this is his construction of the floating stairs.

Figure 6 - Front View of Stairs - Pen The long, narrow floor plan forces people from the entrance to the stairs, the balconies above also direct you towards the stairs that are both sculptural and functional.

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The site The Olivetti Showroom is located in the Piazza San Marco or St.Marks Square in the central southern part of Venice, Italy. In the past, this square was the threshold to the city, a place where all visitors of the city would enter by ship, stopping before the Grand Canal. Long ago there was a canal that ran through the middle of the square and the ground area on either side was used for growing fruits and vegetables. In 1267 the canal was paved over with bricks and since then the square has been the social, political and religious center of Venice6. This square also has many important buildings such as the St. Mark’s Basilica, the Doge’s Palace, the Procuracies and the Campanile (Tower). It also has three famous cafés; Café Florian, Café Quadri and Café Lavena, that date back to the 1800’s and 1900’s.

Figure 7 - Piazza San Marco - Pencil

Figure 8 - Piazza San Marco - Photograph

The Concept The showroom was designed for Adriano Olivetti, the owner of the Olivetti brand, and he requested a space to display his products; mainly typewriters and calculators.

He was a very wealthy man and could afford for Carlo Scarpa to use any materials that he wished. This gave Scarpa full creative freedom to experiment, design and create the beautiful showroom that still exists today. His concept or idea was that the space would have to reflect the typewriter designer’s elegance while making the tight and narrow space seem more spacious than it really is.

He was challenged with having to work with a really dark, long and narrow space but he was given a very popular location in the Piazza San Marco. He strengthened the structure, abandoned old fittings and included large new windows to allow more light into this dark space. Scarpa transformed the space provided to him from a long, dark alley into an open jewel box7.

Figure 9 - Olivetti Logo - Photograph The logo glows right beside the front entrance to the Olivetti shop, the lights are strategically placed so that they are not seen and a soft glow gives it an elegant look.

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Figure 10 - Axonometric Floor Plan - Pen and Pencil This 3D drawing shows the layout, structure and circulation of the showroom

Figure 11 - Planter - Watercolour This is a watercolour painting of the planter that sits in the half cylinder column that hides the septic tank.

The Showroom Visitors enter the Olivetti shop through a large glass door with the inset Olivetti logo glowing on a wall to the right made with four blocks, three of marble and one of concrete. Scarpa managed to make this narrow and dark space seem light and open by breaking the front corner of the shop and adding in a large window. He was able to incorporate large vertical lights on the wall with an opaque glass cover that continue from the main floor up to the mezzanine level. These lights give the space a natural feeling soft light instead of a direct one and they also connect the mezzanine level above to the space below. At the far end of the main floor there is a large door that Scarpa designed, known as a porta aqua or water door. This door was used for shipping and the floor is sloped here because at high tide, the water can fill from 15-50cm of the room. Beside the large door there is a large semi-circular concrete column with a planter on top that is used to hide the septic tank. The door, similar to the one out front of the showroom, is made from African teakwood and rosewood, the same wood that is used for Venetian boats. It was important for Scarpa to make connections to Venice, another example of this is in the floor tiles. These tiles are called Terrrazzo Vericano, Scarpa uses these glass tiles from Murano to represent the different areas of the room. He uses red tiles for the entrance, yellow tiles for the flooding area at the back by the big door, blue tiles for the side entrance and white tiles for all of the central areas. He arranges these tiles in an offset pattern to represent movement, it is more noticeable when the room floods with water and the light shines on the tiles. He separates the red tiled entrance from the rest of the room by adding in a large black Belgian marble slab covered in water that holds Alberto Viani’s “Nudo al Sole� sculpture to the left of the entrance. In the upstairs mezzanine there 253

Figure 12 - Terrazzo Floor Tiles - Photographs

are two Mies van der Rohe style pieces of furniture right at the top of the stairs, the couch and table.

Scarpa took inspiration from his style and from his attention to details. He also really liked Japanese architecture and patterns and that is where he came up with the wooden patterns for the doors on the main floor and the eye shaped window covers on the mezzanine level. These eye shaped windows look out onto the Piazza San Marco and the shape from the outside matches the neighbouring shops.

On the second level there are two balconies that overlook the main floor. These balconies are made out of a beautiful wood and one side leads to two rooms that are used as offices and the other leads to the windows and has typewriter stands all along the wall. The supports for the typewriters and for the lamps were made of ebony wood and designed to be adjustable, they can be moved around the

Figure 13 - Japanese Style Door Mechanics - Pen

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Figure 14 - Mezzanine Balconies - Pencil

showroom to where they were needed. Scarpa was also known to show breaks and reveals in his architecture, elements didn’t always reach the ground and he liked to showcase how connections were constructed. The space was used as a showroom for many years, in 1997 it closed and was used as a souvenir shop and in 2001 it was restored and re-opened by FAI to display Scarpa’s architectural work. The stands around the showroom that hold up the typewriters also seem to be floating like the marble stairs

Figure 15 - Exterior Corner View - Pen

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The Stairs The main architectural element and emphasis is on the floating marble stairs. Slabs of marble are cantilevered and offset to not only be used as a functional stair but also as a display shelf for the typewriters. Some people even say that the asymmetrical form of the stairs seems to resemble a typewriter. To achieve this floating appearance, the marble slabs are cantilevered on concrete supports on one side and small brass supports are placed between the steps on the other side. The stairs begin with the floating plinth at the bottom, Scarpa wanted to expand on the idea of the staircase being the “inviting step”8. The stairs seem to sit upon this floating podium made up of two “L” profiled marble steps that are exactly the same width. This plinth seems to float above a shimmering mosaic tiled floor that symbolizes water. This two piece plinth is interesting due to its simple asymmetry, the two pieces are exactly the same but one is rotated 180 degrees. Scarpa is known for playing around with simple elements and details to make an overall element more

interesting. The steps are made of rare Aurisina marble, Scarpa uses local materials to connect his work to the context. There are nine different steps out of a total of fourteen separate treads, each one differing in the length of the extruded form. There’s a column that interrupts the stairs but Scarpa respects it by creating order in the steps before they span out and by demonstrating that the structure is an immovable object. He uses Venetian plaster known as stucco luccio and brass details to clad the column. Scarpa took the traditional method of stone staircase construction (a load bearing system of placing one slab on top of the other) and transformed it. Loading bearing concrete blocks support and contrast the marble treads, Scarpa did this to distinguish the different roles. Certain treads extend past the others and act as shelves and display spaces for the typewriters.

Small load bearing cylindrical supports cast from brass sit between the riser-less steps. These stairs are an obvious example of Scarpa’s talent in creating a balance between beauty and physics.

Figure 16 - Side View Stair Construction - Pencil

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Figure 17 - Side View of Stair - Watercolour This watercolour painting shows the contrast in materials. From the grey marble, beige concrete, treddish-brown wood to the blue terrazzo tiles.

CONCLUSION Overall, the Olivetti Showroom by Carlo Scarpa was a huge success because he managed to create an elegant, timeless and original piece of architecture that is still famous and recognized today.

Italy at that time was going through the post war industrialization period and the Marshall Plan and these big changes in the country could have forced Scarpa to design and build in a more efficient and modern manner. Even with having the luxury of an unlimited budget, he was set on following old traditions and using local materials and craftsmen to help create this stunning showroom. Many patterns are repeated in his other works and they are like small signatures or stamps of his work. The most significant part of this showroom is the magical floating staircase made of concrete and marble that is meant to represent a typwriter, it is not only functional but also sculptural.

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BIBLIOGRAPHY Sampson, B. (1999). Carlo scarpa architect: Intervening with history. Canadian centre for architecture. Montreal]. The Canadian Architect, 44(9), 20-23.

Kirk, T. (Ed.). (2005). Architecture of Modern Italy Volume II : Visions of Utopia, 1900-Present. New York, NY, USA: Princeton Architectural Press.

Dunnage, J. (2002). Twentieth-century Italy: A social history. London: Longman.

McCarter, R. (2013). Carlo Scarpa. London: Phaidon Press Limited.

Scarpa, C., Beltramini, G., Zannier, I., Battistella, G., Šedý, V., Forster, K. W., . . . Orsini, L. (2007). Carlo Scarpa: Architecture and design. New York: Rizzoli.

Carlo Scarpa : Architect biography. (n.d.). Retrieved March 16, 2016, from http://architect.architecture.sk/carlo-scarpaarchitect/carlo-scarpa-architect.php Fracalossi, I. (2011, August 24). AD Classics: AD Classics: Olivetti Showroom / Carlo Scarpa. Retrieved March 16, 2016, from http://www.archdaily.com/155074/ad-classics-olivetti-showroom-carlos-scarpa Casden, E. (2015) Italian Futurism: An Introduction, 1. Retrieved June 25, 2016 from https://www.khanacademy.org/ humanities/art-1010/wwi-dada/art-great-war/a/italian-futurism-an-introduction Fraser, D. Carlo Scarpa: Tectonic Design of the Olivetti Staircase. Retrieved June 25, 2016 from https://issuu.com/fmdavie/docs/dru_final_fraserdavie Ancos, Life in Italy During the 19th Century (January 2016). Retrieved June, 25, 2016 from http://www.lifeinitaly.com/history/life-italy-during-19th-century Figures 1-17 by Elena Hamanova

END NOTES 1 Casden, E. Italian Futurism: An Introduction. (2015), 1. https://www.khanacademy.org/humanities/art-1010/wwi-dada/artgreat-war/a/italian-futurism-an-introduction 2

Ancos, Life in Italy During the 19th Century (January 2016), 1. http://www.lifeinitaly.com/history/life-italy-during-19th-century

3

Foot, J. Cessi, R. Venice. Encyclopaedia Britannica. (2016), 5. http://www.britannica.com/place/Venice

Carlo Scarpa : Architect biography.(2016) 1. http://architect.architecture.sk/carlo-scarpa-architect/carlo-scarpa-architect. php 4

Scarpa, C., Beltramini, G., Zannier, I., Battistella, G., Šedý, V., Forster, K. W., . . . Orsini, L. (2007). Carlo Scarpa: Architecture and design. New York: Rizzoli.

5

6

St.Mark’s Square (Piazza San Marco).(2015),1. https://www.zainoo.com/en/italy/veneto/venice/st-marks-square

Fracalossi, I. AD Classics: AD Classics: Olivetti Showroom / Carlo Scarpa. (2011, August 24). http://www.archdaily.com/155074/ ad-classics-olivetti-showroom-carlos-scarpa 7

8

Fraser, D. Carlo Scarpa: Tectonic Design of the Olivetti Staircase. 23. https://issuu.com/fmdavie/docs/dru_final_fraserdavie

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Italy Architect

Carlo Scarpa

Project

Fondazione Querini Stampalia

Author

Noeline Tharshan

Date of completion

1963

design. It determines the style of architecture, appropriate building The work of Carlo Scarpa notes the importance of creating within the context, this is evident in the architecture he produced in Venice.

Due to its location near the Venetian Lagoon, the architecture is architecture in Europe. In addition, as one of the few places in the world where there are strict building restrictions placed upon

Venice

designed with features that make it unique compared to any other

Possagno

material, and the configuration of the overall outcome of the project.

Verona

The context is vital for creating an effective architectural

Frankfurt Milan Como Cernobbio Bergamo

Introduction:

future developments, Venetian architects have managed to create innovative and unique designs that still contribute to improving and progressing the architecture in the city. Carlo Scarpa’s work was a product of the Venetian influences. His designs integrate the architectural language of the Venetian standards while adding his own modern and poetic style. He utilizes typical Venetian material and techniques but with an inventive approach unlike any other architect. This can be seen in one of his most widely appreciated works, his restoration project for the Fondazione Querini Stampalia.

In many ways, the project can be seen as a summary of Scarpa’s work as it draws from

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Figure 1. Venice, the city of islands. his architectural journey and immediate environment. The influences from the history of the city, culture, and experimentation on previous projects led to a successful design for the bridge, ground floor, and courtyard of the Fondazione Querini Stampalia. Despite the harsh restrictions forced on architecture in Venice, Scarpa was able to achieve a successful outcome that follow the standards yet still create a design that is unlike any architecture found in Venice, and even the rest of the architectural world. Thereby creating an architect that became one of the most appreciated Italian craftsman known today. By analyzing these influences, one can formulate a better understanding of the magnificent work Scarpa created for the restoration of the Fondazione Querini Stampalia.

The Context: Venice is architecturally and historically unique. Despite its beauty, it is amazing to see what it has endured.

Although it was brief, the Napoleonic era created important changes to the city’s fabric in the early 1800s.1 This political movement caused the city to be permanently altered, including changes in the physical fabric. After claiming the islands, he wanted to establish the newly-imposed foreign control and rid the city of its Republican past.1 This was done by filing in canals and widening streets, which resulted a great deal of construction and destruction of the city. 1 Although it was never completed, it left the city with great plans of modernization.1 The modernization of Venice was carried out by the Austrians when they gained control of the city after the treaty of Camp Formio was signed between France and Austria, ending the French Revolutionary Wars.1 At this 261

point, the island city had now became one of Italy’s

in a state of near collapse.4 However, in the 1950s, Italy

leading industrial ports, second to Genoa.1 Signs of

was able to restore the economy to its prewar status

this industrial revolution seem to resonant throughout

after the country was given assistance from foreign

the whole city as it caused repercussions on the urban

countries.4 From then on, the Italian economy began

framework and the environmental context.1 Venice has

to experience development again after the 1960s,

grown for the last hundred years due to the needs of

allowing it to sustain independence through its role in

businesses and citizens. This can be seen through the

global trading.4

2

expansion of the city and where businesses are now situated. Many of the mainland companies transferred

In addition, Venice is prone to continual flooding.4

their operations to the edges of the lagoon for better

The city, sometimes referred to as the ‘Floating City’,

access to the railway and ports, others moved near the

consists of over 100 small islands connected by canals

docks. The ports of Venice has also been expanded,

and bridges.4 As a result, much of the city is built on

many canals were extended, infrastructure was built for

small pieces of land and mud flats.4 Due to this, the

the city, a railway bridge was built across the lagoon,

city has prevented automobiles and are active in

and other bridges were built throughout the city, thus

preserving its beautiful historic buildings.4 There is a

creating better mobility within and to the islands.2

concern for the conservation of the city as its water

Given that the city acts as a major sea port, businesses

levels are continuously rising, threatening the land that

were given direct access, ensuring supply of all kinds

the city is built upon.4 Venice is built at the water edge

of raw materials and access to trading globally with

rather than above it, the tension with the water that

merchants. Therefore, this meant architects in Venice

rises had a remarkable affect on the city.4 All buildings

were not limited to the resources found within the city

decay, usually from the top down but in Venice, the

but also had resources coming in from different places

buildings also decay from the bottom up, usually

to the city. This not only affected the materiality palette

much more vigorously due to the water.3 The idea of

of Venice but also the architectural design influence.

deterioration and of change in time is instilled in the

Venice at that time controlled much of the eastern

minds of Venetian architects, including Carlo Scarpa.3

trade of Europe.3 So it is no surprise that eastern

There is also a concern for its preservation of the iconic

oriental influence, particularly from Islamic world, had

architectural style that the city seem to follow as as

found its way into Venice architecture, as well as in

many of the historic buildings were built accordingly

Scarpa’s designs.

to the Venetian Gothic style.3 Yet the city still survives,

2

2

home to some of the most one of a kind architecture Moreover, it endured two World Wars, both

that can only be found in Venice. This includes the

of which caused consequences on that social and

work of Carlo Scarpa, known for his craftsmanship, he

economic status of the country, leading to a steady

is one of Venetia’s notable architects. He belongs to the

fall in industrial activity over time. The country itself

generation of Venetian architects that were affected by

went into economic depression during the postwar

a period of time where political conditions had many

period after World War I which led to the rise of

constraints on architectural expression.3 Building in

Benito Mussolini, who later became premier of Italy in

Venice at the time was no easy task, building contracts

1922. The Fascist dictatorship he established in Italy,

involved family connections and local networks

produced a success in social welfare, employment

and the architecture was also governed by similar

rates, and transportation. Italy was also involved in

politics which also included designs that ensured the

World War II, which created two warring zones in

accommodation of historical structures. Despite such

Italy, the south controlled by the Allies and the north

drawbacks, Scarpa was still able to masterly handle

controlled by the Germans. This war left the country in

forms and put incredible attention to texture and detail

poverty and political division. By 1947, the country was

that were appropriate to the context.

4

4

4

4

4

262

also included designs that ensured the

architecture.3 Venetian Gothic has a freestyle composition,

accommodation of historical structures. Despite

a balance asymmetrical configuration, something Scarpa

such drawbacks, Scarpa was still able to masterly

understood and influenced his work.3 Although there are

handle forms and put incredible attention to texture

planning regulations that restrict the addition of modernism

and detail that were appropriate to the context.

in Venice, Scarpa was able to create modern architecture

3

in the city.7 His architecture is incredibly sensitive to the

The Architect:

culture, context, and the changes of materials caused by time.7 Despite the clear difference found between these

Born in Venice in 1906, Carlo Scarpa began

two styles of architecture, he was able to create designs

his architectural career with an outlook that

that worked for Venice. This is because he had a respect

was derived from his long relationship with the

for the ‘old’ and he took on a distinctive approach which

city. He studied at the Accademia di Belle Arti

allowed him to create without disrupting the Venetian way.7

in Venice, where be began honing his design

He followed particular museum design, part of an Italian

skills. He later proved those skills while working

movement after the war, which was to place the object and

in various glass factories along with master glass

view in a direct conversation.3 By doing this, the architect

experts in Murano.5 The ability to mold glass

has control over what the observer would experience

gave Scarpa the opportunity to experiment with

architect wishes to create. While prewar was about having

detailing; which later can be found reappearing

an impressive hoard of everything to make people feel in

in his future designs. Furthermore, he went on to

awe.3 The movement through Italy following this period

studying and mastering the use of other materials

was a democratic museum, which was to try and limit

as well as devoting himself in the study of various

what was on display and to arrange it in such a way that

construction techniques.

He was also largely

each object was treated individually.3 This helped create

influenced by Frank Lloyd Wright, an important

a journey through a museum in which an individual visitor

follower of making architecture appropriate to

would become a participant instead of a passive observer.3

its context.5 Scarpa mostly worked on museums

All of these movements had repercussions on the designs

and exhibition design projects, all of which were

that Scarpa created in his architecture in Venice but he was

always set in context. He found that context

still able to add his own language – asymmetrical, planar,

meant constraints, which in some ways made

tectonic architecture.8 His work displayed an adoration of

the work simpler.6 He would leave what is original

the joint, the display of development of details of everyday

and improve what needed to be altered. Scarpa’s

objects that he embellished and turned into what seems

design is therefore based on reasoning which he

almost like jewellery.8 Following this logic and style,

refers to as “unavoidable logic,” functionalism and

Scarpa created a design for the restoration of the Querini

rationalism had nothing to do with it.

Stampalia palace.

5

5

5

5

6

6

He believes

that there is a superior logic, which is the control of form.6

The Building:

A vast majority of the architecture found in Venice is Venetian Gothic, a style that is a combination of the Gothic lancet arch with Byzantine and Ottoman influences.3 Due to the success of global trading, it controlled the whole eastern trade of Europe, it is not surprising that all of the eastern oriental influence, particular from the Islamic world, has found its way into Venetian 263

The Fondazione Querini Stampalia is a cultural institution in Venice located next to the square beside Santa Maria Formosa.9 It is a historic building that was founded by Conte Giovanni, a late descendant of the Venetian Querini Stampalia family.9 It includes a library, an archive, living quarters, courtyard, and a museum with a substantial art collection and items

Figure 2. Scarpa’s Brige, the main entrance to the museum.

of furniture.9 Gisueppe Mazzariol, the Director of the Querini-Stampalia Foundation in the early sixties, was both a friend and college at the Architectural Faculty of Venice of Carlo Scarpa.9 When the need for restoring the building arose, Mazzariol asked Scarpa to redesign the ground floor and the courtyard.10 Like in true Scarpa fashion, his design for the restoration was a way of bringing together the old and the new, in a smaller scale compared to his other projects but nonetheless rich in detail.

The Design: Scarpa was a Venetian to his fingertips and it is evident throughout the restoration of the palace because many parts of the design took inspiration from the city. Although he was only asked to restore the ground floor and courtyard, Scarpa also created an additional bridge to the palace.10 It is made of steel, sits on Istrian stone and shaped like a drawn bow.10 This bridge was created to reassert the idea of entry

Figure 3. Handrail with brass end.

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to the palace from the water, which was how most Venetian palaces had been entered.3 The bridge itself is a very beautiful bridge made with the finest details only Scarpa can achieve so successfully. Upon a closer look, one would find that the handrail has a brass end. Scarpa created a niche to highlight that the brass is actually sheet brass.10 If the cut was not made, one would have assumed it may have been a cast of brass put on the end of the timber, instead Scarpa designed it so that one could tell how the rail was constructed by looking at the little cut.10 The connection of the rail to the bridge is a clear example of the adoration of the joint. It transfers the delicacy idea of the handrail to the more sustainable quality of holding a person up.10

A balustrade has two jobs: to stop you from falling against it and also have a delicate tactile quality as you cross it.10 Scarpa’s bridge design was able to execute this tectonically yet poetically. One can also see how the bridge was constructed by viewing it from the canal. The bridge illustrates a dialogue of the early medieval bridges built in Venice by how the geometry of the steps does not suit the geometry of an arch.10 The conversation of the steps ends up being irregular, 5 steps on one side and 4 on the other, paying tribute to the asymmetrical composition of the Venetian Gothic style.10

Figure 4. Perspective of the bridge.

265

Figure 5. Sketch of an elevation of the bridge.

The whole building is a reinterpretation of Venice. Scarpa chose materials that were more appropriate for the water problems that the city suffers and the traditions of the city. When entering through the foyer one would find a marble floor, inspired by the paintings by Albus, which is a traditional thing to do in Venice.10 All Venetian floors have to be either mosaic or Terrazzo because of the dampness and also because of the constant movement caused by the fact that whole of city is built on timber piles, which causes the buildings to move up and down.

Figure 6. Venetian inspired mosaic pattern.

Figure 7. Main foyer.

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Above, one can find stucco lucido, a Venetian material, used for the ceiling.10 The careful placement saves the material from eroding due to the water. The walls are covered in panels, which don’t completely touch each other, demonstrating a clear separation from the original walls.10 This is an example of a theme that can be found within Scarpa’s work; keeping the original but modifying it. Instead of covering everything, he wanted to show what was underneath. He took the water as an inspiration than a problem.10 Upon close observation, one would find that instead of creating a barrier between the palace and the water, he invited the water to flow freely into the building but raised the floors for the rooms that he did not want it to flow into. In some ways the platform acts like a boat with a moat of concrete.This was designed in such a way that when people who visit during the time of the high tide season in Venice, the water would be able to come inside the building.10

This creates an incredible sensory experience for visitors, making them as if they are inside a boat, inside a building, an interesting way to represent Venice. In addition, this creates a catwalk, a path people must follow, directing people the way Scarpa wanted the user to experience his work.

Figure 8. Detail of the wall panels.

Figure 9. The porch.

267

Visitors can also step out of the ‘boat’, and down into another exhibition space.

Examples of Renaissance capital can be found in the archways.10 You can see that Scarpa placed cast concrete with Istrian limestone aggregate around the arch.10 Again he created a cut into the material to demonstrate that it is made out of solid concrete and placed it in such a way that it draws the attention of the eyes to the Renaissance capital and arch.

Figure 10. Plan showing where the water can enter the building.

Figure 11. Renaissance capital and arch.

Figure 12. The pathway, built like a boat.

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When entering the ‘porch’, one will notice the water gate, which has screens created from influences of Islamic architecture.10 The water can enter through the grate doors and flow through a channel along the walls. There is also a staircase from the canal where each step is in a different direction travelling up, and when one steps over and into the platform, in some ways replicates the act of stepping into a gondola or a boat.10 Sitting between the entrance area and the exhibition spaces is an asymmetrically placed pillar, which is actually masking carefully hidden radiators. At the top visitors can see that it is made out of slabs of Istrian limestone and is cut in a specific way, formalizing where the drill hole one would need to create in order to make an internal cut to any material into a square.10 This is an example of Scarpa expressing the idea of joining and then excavating.10 The bottom part of this pillar does the opposite, the joints are lined in gold to show how the material joins together and how the corner is made, elaborating the idea of joining buildings together.10

Figure 14. Islamic inspired gates.

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Figure 13. Steps from the canal to the building.

Figure 15. Close up.

Beyond the direction of the pillar is the exhibition

regular rhythm.

space. Scarpa decided to make the space itself an

At the end of the room, one can find a secret

exhibition. The walls are aligned with travertine with brass,

panel that acts as a stoned door, which reveals

washed aggregate concrete slabs with polished Istrian

another small exhibition space. He demonstrates

limestone in between, and irregularly spaced windows. At

that it is a stone door special cuts. This door

a closer look, one would find that no measurement in this

actually plays tribute to the very famous pivoting

space are the same as its neighbour. This may be because

stone shutters that can be found of the cathedral

Scarpa believed that as the eyes scans along the surface,

in Torcello, also found in Venice.10

10

10

it would be more attracted to an irregular rhythm than a

Figure 16. Travertine and brass.

Figure 18. Hidden stone door.

Figure 17. Exhibition as an exhibition.

Figure 19. Details of the stone door.

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Additionally, he redesigned the staircase leading to to the Querini Stampalia museum by realigning the staircase with slabs of limestone and did it in such a way that visitors can see the original staircase through the niches.10 There are also stucco luciado panels along the walls, and they are cut back in an irregular way.10 So as one walks about the steps, through the corer of the eye, one will be able to see the irregular syncopation created by the cuts.

The garden is similar to a Japanese garden. Like a Japanese garden there are minimal amount of objects and the interest in a Japanese garden is how those objects change their relationship to each other as one strolls through the garden.10 There is also a marble source of the water that only lets a few droplets of through, this is analogous to the rising water levels of Venice.10 The amount of details found in this project alone will keep visitors at the palace for days. There is so much thought that went into every detail that it is impossible to think one man was able to create such a thing.

This would not have been possible in another time, as Scarpa was granted an unlimited budget with no strict deadline. When funds were low, construction would halt until more was granted. Therefore, there was much time given to the ideas that created the ornamentation of the restoration project.

Figure 20. Stairs leading to the Querini Stampalia Museum.

Figure 21. One of the many fountains found in the court yard.

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The Experience: It’s difficult to grasp everything at first glance.

As one enters the building, one would wonder what is this, why is it like this. The building is filled and reverberates with meaning. Understanding and lack of it which makes the work come to life. While walking through this building, one can easily say that Scarpa put careful thought into the forms and details. He makes a lot of little forms and shapes out of everything from the hinges to the handrails, making it hard not to fall in love with its delicacy. His work can sometimes be referred as industrial designs than architecture. Not only does he create wonderful pieces of work but also designs the journey that he believes is the best way to experience his architecture.

The catwalk he designed for restoration is designed like a boat, reminiscent to the city that it is built on.

He used materials and details to create a story about Venice, leaving people who have the opportunity to experience his work in awe by the time they are done touring the renovation, including myself.

Conclusion: Carlo Scarpa’s work merits careful study of decoration in architecture more than any other Italian architect. His work is overall successful because they have a combination of architectural thinking and refined techniques. By living and working in Venice, he grew an appreciation for the materials and textures that create the characteristic of a Venetian building. Its archaic culture had a huge impact on him, along with the contemporary architectural figures in the 20th century. As a result of this sensitivity, many memorable forms and spaces were produced, including his work on the restoration of the Fondazione Querini Stampalia. Many architects take Scarpa’s work as inspiration. Many have tried to imitate his style of work, but none can compare to the work that has been

done by Scarpa himself. He created powerful architecture by demonstrating the application of construction through each joint. By making the joint a technical expression, he was able to create a source of meaning, thus a narrative of how each piece was constructed. Each detail described the composition of material, how it was put together, and the dimensions.

Experiencing a project composed like Scarpa’s was like walking through a jewelry display, each thought is so powerfully produced that the eyes are forced to examined such delicacy.

The decorative style that Scarpa practiced became a model for future architects. He was a visionary, he understood the idea of the continuity of history, that nothing stays the same, and used the construction of metaphor equal to functionality. In doing so, he still managed to adhere to the restrictions of the Venetian building restrictions, yet leave a mark in Venice that is unique to what he created.

Therefore, Scarpa’s restoration project from Fondazione Querini Stampalia is successful.

Illustrations are one thing but his work is a sensory experience. It is about the sound of water, the touch of panels, the luxuriousness of his use of materials which you can not be fully comprehended through pictures from the internet or a book. You have to be there to be able to fully take it all in.

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ENDNOTES 1. Mancuso, F. (n.d.). Venice, An Industrial History. Retrieved June 2, 2016, from http://www.venicethefuture.com/schede/ uk/331?aliusid=331 2. Mancuso, F. (n.d.). Modern Venice. Retrieved June 2, 2016, from http://www.venicethefuture.com/schede/uk/331?aliusid=331 3. Murphy, R. (2014, March 31). The Work of Carlo Scarpa. Retrieved June 22, 2016, from https://www.youtube.com/watch?v=v_78_ KQZiP8 4.Foot, J., Cosgrove, D. E., & Cessi, R. (2015, February 23). Venice - History. Retrieved June 2, 2016, from https://www.britannica. com/place/Venice/History 5. Co, F. D. (n.d.). Carlo Scarpa. Retrieved July 22, 2016, from http://www.studiocleo.com/gallerie/scarpa/scarpapage.html 6. Grigor, M. (2012, February 10). Carlo Scarpa - A Profile. Retrieved July 22, 2016, from https://www.youtube.com/ watch?v=9KxXgkEWK1U 7. Scarpa, C., Beltramini, G., Zannier, I., Battistella, G., Šedý, V., Forster, K. W., Orsini, L. (2007). Carlo Scarpa: Architecture and Design. New York: Rizzoli.

8. Frampton, K., & Cava, J. (2010, March 31). Studies in Tectonic Culture. Retrieved June 22, 2016.

9. Los, S., Scarpa, C., & Frahm, K. (1993). Carlo Scarpa. Köln: B. Taschen.

10. Albertini, B., & Bagnoli, A. (1988). Carlo Scarpa: Architecture In Details. Cambridge, MA: MIT Press.

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BiBLIOGRAPHY • Albertini, B., & Bagnoli, A. (1988). Carlo Scarpa: Architecture In Details. Cambridge, MA: MIT Press.

• Co, F. D. (n.d.). Carlo Scarpa. Retrieved July 22, 2016, from http://www.studiocleo.com/gallerie/scarpa/scarpapage. html • Foot, J., Cosgrove, D. E., & Cessi, R. (2015, February 23). Venice - History. Retrieved June 2, 2016, from https://www. britannica.com/place/Venice/History • Frampton, K., & Cava, J. (2010, March 31). Studies in Tectonic Culture. Retrieved June 22, 2016.

• Grigor, M. (2012, February 10). Carlo Scarpa - A Profile. Retrieved July 22, 2016, from https://www.youtube.com/ watch?v=9KxXgkEWK1U • Los, S., Scarpa, C., & Frahm, K. (1993). Carlo Scarpa. Köln: B. Taschen.

• Mancuso, F. (n.d.). Venice, An Industrial History. Retrieved June 2, 2016, from http://www.venicethefuture.com/schede/ uk/331?aliusid=331 • Mancuso, F. (n.d.). Modern Venice. Retrieved June 2, 2016, from http://www.venicethefuture.com/schede/ uk/331?aliusid=331 • Murphy, R. (2014, March 31). The Work of Carlo Scarpa. Retrieved June 22, 2016, from https://www.youtube.com/ watch?v=v_78_KQZiP8 • Scarpa, C., Beltramini, G., Zannier, I., Battistella, G., Šedý, V., Forster, K. W., . . . Orsini, L. (2007). Carlo Scarpa: Architecture and Design. New York: Rizzoli.

Pictures Figure 6: • Frei, M. (2010, September 28). Fondazione Querini Stampalia [Photograph]. Venice.

Figure 15: • Frankie, M. (2013, November 20). Querini Stampalia [Photograph]. Venice.

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Kultour - 2016 Fig. 1 Pattern inspired by the door of Punta della Dogana

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Italy Architect

Tadao Ando

Project

Punta della Dogana

Author

Sara Baghbani Shemirani

Date of completion

2009

articulate the tale of the city4. Countless layers of history have situation of the islands has caused many challenges for the Venetians throughout the years. However, this quality affected the economics by making possible to trade with Asia and the Middle Venice into an authentic city4. As Goethe masterfully describes “Venice can only be compared to itself�4. The city has been one of

Venice

East. Most significantly, it is the same quality which has transformed

Possagno

come together to create a sublime city2. The unique geographical

Verona

The urban fabric of Venice, its patterns and architecture

Frankfurt Milan Como Cernobbio Bergamo

Introduction:

the most influential cultural centres since the Renaissance. One can submerge in culture by walking in the narrow streets of Venice and observing the original merchant buildings, the Byzantine palaces, the Renaissance churches, galleries and local artists3. In addition, the winter carnival dating back to the 18th century and La Biennale di Venezia are some of the world-famous cultural events which take place annually.

276

Fig. 2 16th century map of Venice, The red circle depicts Dogana Di Mare Source: Photo taken inside the Vatican Museums

From the Byzantine period to the fall of the Republic of Venice, economical and sociocultural elements of the time have impacted the artists and architects’

“How attractive a city is depends on the richness of its accumulated layers of history”2

style of work, by given Venetian characteristics to their works4. One of the contemporary challenges that an architect is faced with, is working with the charm of the city and linking old and new; respecting the past while creating a modern statement. In European cities, especially a city like Venice this challenge can be overwhelming. However, architects like Carlo Scarpa, Santiago Calatrava and Tadao Ando have set great examples of architecture which vividly relate to the context and interact with the visitors. In 2006, Tadao Ando collaborated with the François Pinault foundation to transform an old Sea Customs House -Punta della Dogana- which was abandoned for years to a contemporary art museum housing the Pinault’s collection8. Tadao Ando has successfully worked with juxtaposition of old and new to create a dialogue between the existing features of the building and the new additions.

277

“Art Essential to Humankinds”5: interior and Ando’s task was to convert the Pallazo to The transformation of Punta della Dogana to

a space suitable for contemporary art2. Pinault was

a contemporary art museum was empowered by

familiar with Ando’s work because he had originally

François Pinault’s belief in modern and contemporary

planned to showcase his collection on the Seguin

art . François Pinault is an entrepreneur and art

Island in Paris and had selected Ando to work on the

collector who supports artists and wishes to share his

project5. The necessary urban infrastructure to make

exceptional collection with a wide range of audience5.

the site accessible for the public had not yet been built

He hopes that the art touches peoples’ lives the way

by the municipality and therefore the project in Paris

it touched his . In 2005, he contacted Tadao Ando to

was canceled5. Plazzo Grassi opened to public in 2006

renovate an eighteenth-century building in Venice

with the first exhibition titled “Where are we going?”8.

on the Grand Canal, Pallazo Grassi, and turn it into

Pinault having one of the largest contemporary art

an art museum. The historic preservation guidelines

collections wanted to expand in order to exhibit a

prohibited any major changes to the façade or the

larger portion of the works5.

9

9

Fig. 3 Punta della Dogana on the Dorsoduro Island, adjacent to the Santa Maria della Salute

278

Punta della Dogana had been abandoned for years before 2007 when the Venice city council decided to repurpose the old Customs House8.

This was a perfect opportunity for the foundation

Layers of History:

to add more exhibition spaces. The competition was narrowed down to Zaha Hadid + Guggenheim Foundation and Tadao Ando + Pinault Foundation2.

Finally, the Pinault foundation was chosen. The renovation work by Ando was done in 2009 and the museum’s first exhibition was “Mapping the Studio”8. Both Punta della Dogana and Plazzo Grassi have roots in the history of the city. One belonging to the 15th century and the other to the 18th5. Creating a connection between these historic buildings and contemporary art is very powerful and a formidable task for an architect. As shown in Fig. 4, (from left to right) Plazzo Grassi, Peggy Guggenheim collection, Fondazione Emilio e Annabianca Vedova and Punta della Dogana together create a strong chain of contemporary art exhibition on the Grand Canal. Venice was and still is an ideal location for this extraordinary collection because of its cultural richness. During these past ten years the Pinault foundation museums have curated 19 exhibitions, in total showcasing 1700 works which is only about 40% of the collection .

7

Punta della Dogana or Dogana di Mare (sea customs post), is located on the edge of the Dorsoduro district of Venice where the Grand Canal joins Giudecca and Basin of Saint Mark5. The building was originally a Salt Warehouse during the 15th century and had to fit into the triangular shape of the land1. This building has undergone many renovations during its lifetime1. With the growth of commerce and trades with Asia and the Middle East it became a Customs House because of its prime location8.

Adjacent to the Dogana, as depicted in Fig. 3, is Santa Maria della Salute which was constructed in the late 17th century. It was designed during the Baroque period by the architect Baldassare Longhena5. Around the same time the Dogana was redesigned by Giuiseppe Benoni to become more aesthetically pleasing and coherent with the recent architecture of the area5. The building was used until 1980s.

It was after roughly twenty years of abandonment that the city decided to reuse this historical landmark8. Connecting the new life of the Dogana with its past was one of Ando’s main ideas during the design process1.

Fig. 4 From left to right, Plazzo Grassi, Peggy Guggenheim collection, Fondazione Emilio e Annabianca Vedova and Punta della Dogana together create a strong chain of contemporary art exhibition on the Grand Canal

279

“A Museum That Stimulates the Urban Memory”2 : The unique geographical location of Punta della Dogana has shaped its original triangular plan1. Ando’s main concept for the renovation was revealing as much of the earliest state of the building as possible and initiating a discourse between the old and new1. Restrictions provided by the heritage preservation did not authorize any dramatic changes to the façade and the interior of the building, much like the conditions at the Pallazo Grassi2.

However, it was allowed to take away the interior finishes, partitions and the secondary structure that were added to the building in order to reveal the preliminary timber truss structure and brick masonry [in the style of 15th century Venetian warehouses]1. For the purpose of preserving the Dogana, the brick masonry walls were repaired, damaged structure was fixed, and reinforced1.

At this point the Dogana was a space with high ceilings divided by walls going North-South that created six sections as shown in Fig. 5. Ando placed a “crystal-like” space at the heart of the museum to serve as a central court and more importantly, manifest the contradiction between the old and new1.

Fig. 5 Punta della Dogana’s floor plans.

Source: Ando, T. (2015). Tadao Ando 4 new endeavors. Tokyo: Toto Shuppan

280

Ando says: “The dialogue initiated between the old and new in this space epitomizes the spirit of this architecture.”1 The space is paved with original masegni stone which differs from the troweled concrete floor finish of the rest of the building and bounded by concrete walls that form a square on the plan1.

In addition to creating an interchange between the materials, the central court provides a balance between solid and void. A place for the visitors to slow down, take a sit and reflect on the art while

Fig. 6 The “crystal-like” space at the heart of the museum which serves as a central court

watching the play of light and shadow on the smooth surface of the concrete walls.

The redesign on the façades is solely focused on the openings which “have been made in homage to the Italian master of architecture Carlo Scarpa”5; specifically inspired by the Olivetti Showroom in Piazza San Marco depicted in Fig. 1.

Fig. 7 “new” materials, steel and glass staircase

Fig. 8 “old” materials, brick and timber

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Visitors’ Experience The contrast in the materials, symbolizes the contrast

viewing contemporary art in each space. Interestingly, the

between old and new throughout the building. Glass,

viewer is provided with different opportunities to view the

concrete and steel represent the “new”; the timber truss and

same pieces of art from different angles and heights. An

brick delineate the “old”. This quality is apparent from the

example is the balconies on the second floor which allows

beginning of the visitor’s journey to the end. As one enters

one to see the two main galleries below shown in Fig. 6.

the first awe-inspiring exhibition space, he immediately notices the double-height of the space, repetition of wooden trusses and the soft colors of the brick.

Moreover, while immersed in contemporary art, visitors can catch a glimpse of the beautiful historic Venetian architecture through the windows overlooking

The building has two floors and there are eight exhibition spaces on each floor with similar spatial qualities.

the canal. Connection to the urban fabric and history of the city can be felt in the entire building.

Ando has carefully fabricated an atmosphere fitting for

Fig. 9 timber trusses and brick walls in the first exhibition space.

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Conclusion Punta della Dogana has been a permanent part of the Venetian landscape for many centuries. It was originally a salt warehouse and later on it was redesigned to become a Sea Customs House. In 2009, Tadao Ando and the François Pinault foundation masterfully transformed the Dogana to a home for a magnificent collection of contemporary art8. A key feature of the renovation done by Ando was linking the past with the present, respecting the urban memory and coming up with a scheme which enhances the essence of the old structure while providing an atmosphere suitable for contemporary art in city with a rich culture.

Fig. 10 “minimal details from a contrast with existing elements�1

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Bibliography 1. Ando, Tadao. Tadao Ando 4 New Endeavors. Tokyo: Toto Shuppan, 2015. Print.

2. Andō, Tadao, and Luca Molinari. Tadao Ando: Museums. Milan: Skira, 2009. Print.

3. Foot, John, Roberto Cessi, and Dennis E. Cosgrove. “Venice, Italy.” Encyclopedia Britannica Online.

Britannica.com, 23 Feb. 2015. Web. 14 Oct. 2016.

4. Howard, Deborah, and Sarah Quill. The Architectural History of Venice. New Haven: Yale UP, 2002. Print.

5. Jodidio, Philip. Tadao Ando, Venice: The Pinault Collection at the Palazzo Grassi and the Punta Della Dogana. New York: Skira Rizzoli, 2010. Print.

6. Jodidio, Philip. Ando: Complete Works. Köln: Taschen, 2012. Print.

7. Noce, Vincent. “Pinault Foundation Celebrates Ten Years in Venice.” The Art Newspaper. TheArtNewspaper. com, 19 Apr. 2016. Web. 14 Oct. 2016.

8. “Palazzo Grassi / Punta Della Dogana.” Palazzo Grassi / Punta Della Dogana. N.p., n.d. Web. 23 Aug. 2016.

9. Passariello, Christina. “Collecting Art With François Pinault.” The Wall Street Journal. Wsj.com, 21 May 2013.

Web. 14 Oct. 2016.

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PERSONAL EXPERIENCE

There is no experience more influential and inspiring than that gained from travel. When one

ventures off to foreign lands, they are inherently exposed to an infinite number of changes to their pre accustomed lifestyle and environment. The ways in which people live, work, eat, play and communicate vary largely throughout different areas of the globe. Every country holds their own sets of customs, cultures and practices, which distinguish each nation, and establish their own unique identity. The lessons learned by encountering these dissimilarities make partakers wiser, and allow them to reference a greater breadth of knowledge when drawing connections and forming opinions in day to day life. Specifically, through experience, information is acquired, which can often lead to an advancement of skill. Manifestations of human intelligence and expertise often arise via artistic creations, like visual art, writing or music. Through analysis of these works, one is allowed a perspective of what was happening at the time of its development, and furthermore, the circumstances which may have influenced the artist. Observing architecture is an excellent method of gaining historical insight into a particular location - past occurrences which helped to shape how things appear and function currently. Form, colour palette, building tectonics and materiality, dimensions and proportion, and programme are all elements of an architectural project that can exhibit qualities which reveal important ideas from the past. Historic references interpreted by way of examination of an architecture project - its style, the architect who designed it, the surrounding context which shaped it - make said process a worthwhile means of study.

This past spring, I was granted the opportunity to go on a 10-day excursion to Europe with

several faculty members and students from the Architectural Science program. The purpose of the trip was to study architecture projects ranging a multitude of different styles, designers and periods.

Led by Professor Hui from Toronto and Professor Gies from Frankfurt, our collective group of over 50 passengers traveled by bus throughout Germany, Switzerland and Italy. Each of the twenty-SOMETHING Ryerson students were assigned a building or structure on which to focus their research.

These projects included bridges, apartments, churches and museums. Due to the fact that we were travelling through three separate countries, each with its own distinct culture and history, the types of structures we were seeing were all completely unique. These differences were evident through their varying style, function and form. The building allocated to me, for the period of this international study, was the Museum of Modern Art (or Museum fĂźr Moderne Kunst) in Frankfurt, Germany. Celebrating the 25th anniversary of its completion this year, the museum first opened to the public in 1991 and was designed by Austrian architect, Hans Hollein (Barker, 1999).

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There is really no way to convey in writing the sensation of physically seeing and walking

through a building for the first time, which previously I had only seen via photographs. It was almost surreal to turn down Berliner Street and suddenly have the visions of Hollein’s design come to life before me. Due to the fact that were required to conduct a considerable amount of research about the building before leaving Ryerson, I felt a certain anticipation in the days leading up to viewing the Museum of Modern Art. As hoped, seeing MMK helped me to gain a more thorough comprehension of the surrounding circumstances, ranging between social, political and cultural sources, which influenced how and why the architect of my building of study designed the museum in the manner he did. Certain design choices of Postmodern style that I questioned when viewing photographs of the museum were clarified upon touring the piece, and many details that I had overlooked revealed themselves. Any amount of textbook knowledge I may have gained by using the school library or surfing the internet could not come close to replicating what I gained by stepping inside the museum. This level of heightened understanding and enjoyment of an architectural project, to which I am referring, can only be achieved through first-hand experience. This course was a once-in-a-lifetime opportunity, of which I am so glad I was able to take part. Before we left Canada, ten days daunted my calendar as a seemingly long stretch of time to be away from home. However, once we arrived in Germany on the 27th of April, with each passing day, the hours seemed to go by faster and faster. At first I believed that this feeling was caused by my struggle to adjust to the intense time-zone change, but soon it became clear that it was simply because I was growing accustomed to the heavily weighted schedule of our event timetable. There is no question in my mind that Professor Gies ensured that my fellow Ryerson colleagues and I got the most out of our excursion. Had I gone on a personal trip by myself, or perhaps with friends or family, I would never have been able to see, do, experience and tour even a fraction of what we were exposed to over the course of Kultour. I truly feel as though I was successfully able to engage with the various ideas and concepts exemplified in the projects our group visited in Germany, Switzerland, and Italy.

Tess Hoover 3rd Year Student Architectural Science Ryerson University

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I N S T A G R A M

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