Casa Giuliani-Frigerio - G. Terragni 1939-1940

CASA GIULIANI - FRIGERIO TERRAGNI 1939 - 1940

05 HISTORICAL BOOK

ARCHITECTURAL DESIGN STUDIO Chiara Baglione, Matteo Moscatelli Olenka Esther Palomino De la Mata, Gemma Lonardi, Ginvra Rossi

Teachers Collaborators

GROUP 09 Andrea Moi Matteo Pasini Ionut Popovici Andrea Zuberti

942699 942676 942745 942675

CASA GIULIANI - FRIGERIO TERRAGNI 1939 - 1940

«Casa Giuliani-Frigerio è una casa ad appartamenti di grande classe, cordiale e intelligente, di una stupefacente modernità, se confrontata alle infinite palazzine costruite nel dopoguerra, che ha saputo suscitare un notevole interesse internazionale, come confermano gli studi che Peter Eisenman riserverà a questa opera negli anni» »

ALBERTO NOVATI (Novati, Pezzola, Novati 2014)

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INTRODUCTION

THE LOMBARD

CASA

EXPERIMENTS IN

GIULIANI-FRIGERIO

RESIDENTIAL ARCHITECTURE

III.a HISTORY AND RELATIONSHIP WITH THE CLIENT III.b TRASFORMATION OF THE PROJECT III.c FINAL PROJECT III.d RELATION WITH THE CONTEXT III.e FACADES

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V

COMPARISON

BIBLIOGRAPHY

BETWEEN WORKS

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I. INTRODUCTION

Casa Giuliani-Frigerio is the last building built by Terragni in 1939 that, military in Verona, sends to his friend and friend collaborator Luigi Zuccoli sketches and directions for the construction.

The apartments, three for each floor, are at different levels; the disarticulation of the floors is found even in facades that are now outside the classic parallelepiped scheme.

Also the internal organization of the apartments appears to be very fluid, with mobile walls that are intended to suggest a more dynamic use of space.

On the top floor the "villa" is developed on three different levels; the movement of the planes, both vertical and horizontal, and of cuts, both empty and transparent, gives additional degrees of freedom to the system.

Interesting is also the contrast of the floors generated by the balconies, the windows backwards, with protruding bodies that modulate the expressiveness of the elevations.

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II. THE LOMBARD EXPERIMENTS IN RESIDENTIAL ARCHITECTURE

Parts of cities, figures never isolated, always complementary to the context, this is the first characteristic that we can recognize in many residential works, a way in which the new architecture integrates and combines with a particular "urban" character of the city, solid and severe, already formed with the Counter-Reformation, and then consolidated with Piermarini and the subsequent projects of the Ornato Commission in the neoclassical period.

The research conducted on urbanity at the beginning of the 20th century was already a tradition of almost unconscious work, with which architects naturally built the new city, dominating a rich repertoire of compositional instruments, learned in continuity with historical experience and gradually revisited with modern sensibility.

The urban experimentation that the architects of the 1920 and 1930 had to face became an opportunity for reasoning on a larger scale than the single area of pertinence, with a tension that links the constructive detail to the urban form, the tradition of the urban residence with the typological experimentation of modernity.

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Muzio, Ponti, Portaluppi, Lingeri, Cattaneo and Terragni are the main protagonists of this "urban architectural season", but it is the houses that provide us with real lessons in composition and architecture, showing in this segment of time the consolidation of some residential types and their subsequent variation, as well as the slow refinement of the volumetric decomposition, aimed at recovering the ancient morphological variety that the nineteenth-century city of large size had flattened. The rich industrial bourgeoisie, previously more traditionalist, would show itself to be more modern in the "boom" years, and would pursue this task with pride, allowing clients, architects, companies and craftsmen to work together.

A new living space seems to have characterized Italian modernity, just think that both his magazines still bear traces of it in the title: "La Casa Bella" and "Domus".

Pierini Isastia 2017, 15-43

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«Nella casa all’italiana all italiana vi è grande distinzione di architettura fra esterno ed interno [ […] ] da noi ll’architettura architettura di fuori penetra nell’interno, nell interno, e non tralascia di usare né la pietra né gli intonaci né l’affresco; affresco; essa […] ] regola e ordina in spaziose misure gli ambienti per la nostra vita. […] [ ] La casa all’italiana all italiana è di fuori e di dentro senza complicazioni.

Giunge ad essere ricca con i modi della grandezza, non con quelli soli della preziosità.»

Gio Ponti 1933, (cit in), Cavadini 2005, 18

1. Palazzo and Torre Rasini by Gio Ponti 1932-1935 in Milan 2. Ca' Brutta by Giovanni Muzio 1919-1922 in Milan

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3. Casa d'appartamenti Conti by Piero Portaluppi 1933-1935 in Milan

The editor of the latter has continued to publish for decades the most advanced experiments and the most elegant houses, relaunching the idea of "Italian-style home" magazine through the taste of modernity.

It is also worth mentioning the diffusion role played by the manuals on modern dwellings, such as the one by Alberto Sartoris entitled "Introduction to modern architecture" or the one by Enrico Griffini, "Rational construction of the house", in which the analyses conducted on the space of living were marked both by surveys on the distributive characteristics of new dwellings, on the relationships between individual environments, on the role of new technologies and on the transformations of the ways of use, and by a strong formal will, a unitary research that held together architecture, furnishing, art and figuration.

Important attitudes that can be found in the design are to hide the complexity of the housing behind a single façade, often very uniform, which is controlled by a classical or logical order; or to use the volumetric spatiality of the housing to model the entire volume.

Pierini Isastia 2017, 15-43

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«Oggi l'artista e l'architetto hanno, come non mai, raggiunto una posizione di responsabilità importantissima.

Rinnovando l'arte e l'arte del costruire, si rinnova lo spirito civile. Realizzando la casa moderna, si definisce in certo quale modo l'uomo moderno. moderno.»

Sartoris

1932, (cit in), Cavadini 2005, 20

4. Sartoris, Cover of “Introduzione all' Architettura Moderna”, Milano 1944. Photo from (Cavadini 2005, Casa Cattaneo a Cernobbio) 5. Griffini, Covero of “La Costruzione Razionale della Casa”, Milano 1932. Photo from (Cavadini 2005, Casa Cattaneo a Cernobbio) 6. Ponti, Cover of “La casa all’italiana”, Milano 1933. Photo from (Cavadini 2005, Casa Cattaneo a Cernobbio) 7. Pagano, Exhibition cover of “All’insegna della casa moderna”, Milano 1931. Photo from (Cavadini 2005, Casa Cattaneo a Cernobbio)

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III. CASA GIULIANIGIULIANI FRIGERIO

8. View of the south facade. Photo from (Novati 2014) 9. View of the north-east facade. Photo from (Novati 2014) 10. View of the south-east. Photo from (Saggio 1995)

«Questa architettura resta a testimonianza di una esasperazione, o se si vuole una maturazione, di alcuni temi compositivi trattati in precedenza da Terragni, come la compartecipazione quasi pittorica "astrattista" del razionalismo comasco, modalità già riscontrabile, per alcuni versi, anche nella Casa del Fascio, dove le facciate, anche lì completamente diverse l’una l una dall’altra, dall altra, sono rese più libere e dinamiche.»

Novati, Pezzola, (cit in), Novati 2014

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The Giuliani-Frigerio House was the last building constructed by Terragni and paradoxically it seems to mark the beginning of what would certainly have been a new phase of design experimentation if the events of war had not tragically interrupted the course.

In a creative activity that took place in a period of only fifteen years, very intense, between 1926 and 1940, it is possible to retrace, through the story that accompanies the drafting of this project, a decisive phase of his artistic and personal life.

By the end of the 1930s, the season of great hopes for young rationalist architects had already come to an end.

Terragni, stubbornly committed to his personal compositional and formal research, was called to arms in 1939 and did not return to Como until 1943, after the tragic experience of the Russian campaign.

He left a few months after the start of the construction, Terragni followed the progress of the works through a daily correspondence with his friend and collaborator Zuccoli.

Saggio 1995, 9-33

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The exceptionality of the intervention is also underlined by Giorgio Ciucci and Alessandra Coppa when they say:

ÂŤParadossalmente, casa Giuliani Frigerio, segna l'inizio di quella che sarebbe dovuta essere una nuova fase di sperimentazione progettuale, interrotta bruscamente dagli eventi bellici. [...]

Infatti l'edificio appare particolare e l'innovazione tipologica sperimentata per l'alloggio centrale è senza dubbio un approfondimento rispetto agli studi effettuati sul Novocomum e sulle cinque case milanesi. Terragni 1996, 584-593

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III.a HISTORY AND RELATIONSHIP WITH THE CLIENT

At the beginning of 1939 Terragni was commissioned with the project for the construction of an apartment house overlooking Via Malta (now Via Rosselli) in Como. The building was to be built in an area of new urbanization with an upper middle-class residential character that Terragni knew very well, since in 1927-1929 he had carried out his first project there, the Novocomum.

It was Terragni himself who conducted the negotiations for the purchase of the land with the real estate company Novocomum, the same one that twelve years earlier, in the person of Cavalier Mambretti, had commissioned him to design the "Transatlantic".

At the beginning of March, the land was identified within the allotment, on the border with Via Malta, Via Sinigaglia and Via Prato Pasqueè (now Via Campo Garibaldi). The size and price of the plot were fixed and the twenty-five-year exemption from taxes was ascertained, since it was a land use plan area.

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Already in a letter, dated March 8, Terragni updated Mrs. Giuliani on the negotiations for the land and on the progress of the design:

«Spero che Ella si persuaderà che non spreco tempo ma che le difficoltà da risolvere in uno studio accurato in quanto Ella mi ha indicato non sono poche. [...]

Dai disegni Ella vedrà che le piante sono assai migliorate il progetto si può ora considerare risolto. Domani inizio il computo metrico e il preventivo di costo.»

Giuseppe Terragni 1939, (cit. in), Terragni 1996, 584-593

11. Portrait of the architect Giuseppe Terragni. Photo from (Saggio 1995, 6)

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It should be remembered that the decree of November 1937 sanctioned the limitation of the use of iron and the prohibition of the load-bearing structure in reinforced concrete in residential buildings up to five floors. In September 1939 a subsequent decree extended the ban on the use of reinforced concrete and iron to all public and private buildings, also prohibiting the use of iron for fixtures, gates, fences and ancillary works in general.

Terragni therefore took care to highlight at the end of his report that

«tale tipo di parete portante sfruttante al massimo le caratteristiche di resistenza del materiale consente il raggiungimento di un fine autarchico con l’eliminazione eliminazione dell’impiego dell impiego del ferro nelle strutture e un impiego minimo di materiali.»

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G. Terragni's report, (cit. in), Terragni 1996, 584-593

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On 13 April the project obtained the approval of the ornamental commission and on the 20th of the same month the building permit was issued with the requirement that the bow-window along via Prato Pasqueè should be raised to a height of not less than 2.50 m from the street level or that the building along the street itself should be set back. But above all, the full and complete responsibility of the designer was indicated with regard to Ciucci 1996

«la sicurezza statica delle particolari strutture costituenti le intelaiature sulle due facciate nord e sud sfruttanti al massimo le caratteristiche di resistenza del materiale.»

G. Terragni's report 1939, (cit. in), Terragni 1996, 584-593

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In a letter dated October 18, 1940 to Mrs. Giuliani, Terragni listed the changes made to the initial project:

Per il raffronto col preventivo inziale va tenuto conto dell’aumentato dell aumentato volume del fabbricato, aumento deciso di comune accordo e che riguarda lo sbalzo a Nord, oltre alla maggiore area occupata dagli uffici su via Malta. Malta 12. Digitalisation of an advertising poster for the "Autarchia dell'Acciaio". Realized by Dirty Work

G. Terragni's letter 1939, (cit in), Terragni 1996, 584-593

13. View of the building site during the reinforcement phase of the pillars of the south facade. Photo from (Terragni 1996, 593) 14. View of the south-east. Photo from (Saggio 1995)

At the beginning of April 1939, after close negotiations, Mrs. Giuliani had signed the last estimate with an imperative order that it should not be exceeded in any way. The time limits for the completion and delivery of the works were also specified: villa and top floor for September 29th, the remaining part for December 29th, 1939.

From that date on, a series of problems related to costs and delivery times began, which became more acute when, a few months after the start of the construction site, Terragni was called to arms and thus forced to follow the work from the various stages of his military training.

In June 1940 the building was still not fully completed.

According to a letter from Zuccoli to Terragni, the work was almost completed, only having to complete the fences.

However, the actual completion of the work had to wait until September 30.

Terragni 1996, 584-593

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III.b TRASFORMATION OF THE PROJECT

From the first drawings, Terragni arranged three apartments on each floor, creating a half-storey offset between the two apartments to the north and the third to the south: access to the latter was provided from the intermediate landing by means of a gallery.

In the central part of the west facade, this gallery appeared as a solid band surmounted by a ribbon window and overhanging an opening in length to allow air to enter the central accommodation.

15. Ground plan. Photo from (Terragni 1996, 589) 16. Floor plan type. Photo from (Terragni 1996, 589) 17. North facade. Photo from (Terragni 1996, 588) 18. South facade. Photo from (Terragni 1996, 588) 19. West facade. Photo from (Terragni 1996, 588) 20, 21, 22. Planimetric transformation of Casa Giuliani-Frigerio. Photo from (Eisenman 2004)

The apartment floor was a surrounded by different levels.

on the top real villa, terraces on

In a first series of drawings on a scale of 1:200, undated but that we can date back to those early months of 1939, Terragni worked on the definition of the distribution system of housing and paths within a volume still substantially all closed in the initial parallelepiped.

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The tripartite building, transversely divided by four parallel load-bearing walls, was schematically organized from the beginning on the combinations of a square and a half square. In plan and in section, the combination identified the aggregation of two lodgings on the floor with respect to the third staggered, while the corresponding layouts of the plans of the mezzanine floor and the villa on the top floor tended to be square.

A second series of drawings, on the same staircase, presents important variations of the plan: one of the internal load-bearing walls was split so as to contain the staircase body and the overall dimensions, 23.50 x 16.50 m., were redefined; the accommodation, enlarged and reworked by the client, without however affecting the certainty of the initial solution clearly set from the section.

The plan, however, is still contained in the rectangular perimeter, now 17.00 x 24.00 m., although already characterized by the design of overhangs on the facade.

Terragni 1996, 584-593

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«La struttura verticale è costituita da muri in calcestruzzo di uno spessore calcolato in base ai carichi portanti […] ] i muri stessi, anziché essere continui e massicci, sono pensati a pilastroni della larghezza media di circa due metri. Le strutture orizzontali saranno costituite da solai misti di calcestruzzo armato e laterizi a forte camera d’aria aria continui sui muri portanti e capaci di formare le parti a sbalzo delle balconate. balconate.»

G. Terragni 1939, (cit. in), Terragni 1996, 584-593

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After the presentation to the Town Hall, the project was again reworked volumetrically, with a continuous articulation of excavations and overhangs.

I n particular, along Via Malta Terragni created a decisive articulation of the plan of the facade, projecting not only the frame of the balconies but also part of the body of the building. The result was a particularly complex front, where the limit of the construction was freed from the mesh of the pillars.

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Three bays were overhanging with the balconies, three others were set back in the loggia, the last to the west closed the front with a compact full-height blade.

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On the internal side the cubic volumes of the kitchens were overhung one by one on the facade, while to the west the body of the living room of the apartment to the north was extended until it resumed the main thread of the facade.

Terragni 1996, 584-593 Eisenman 2004

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III.c FINAL PROJECT

The last series of drawings, were the executives for the construction site while the villa and the garden roof, sketched in pencil, remained the elements still in development.

The mezzanine floor was redesigned; the entrances were now accessed through a smaller porch to enlarge the offices, the elevator was again at the side of the stairwell, but exactly half a flight, equidistant from the two levels of the accommodation. On Via Sinigaglia the structural mesh of the facade was regularized in eight bays, the last one to the west, mirroring the treatment of the south facade, was made up of a full blade up to the level of the terrace of the villa.

The structure of the facade pillars, now internal, was conformed according to an alternating rhythm of elongated and short steps in order to combine structural and spatial needs, grouping the living and service rooms by bands. On the villa floor, on the other hand, the retreat of the body of the building left in evidence the structural frame, underlined also by the development in height and crowned by the strong horizontal element.

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The layout of the accommodation, three for each floor, follows an unusual pattern: the floors are placed at different levels and the disarticulation can also be read in the facade, through projections and breakthroughs.

The overhanging balconies in a modular way create floors as opposed to the backward windows.

The internal organization of the apartments also appears fluid and free, with mobile walls for a more dynamic use of space.

The staggered layout of the floors allows the corridor that gives access to the south apartment to intersect with the central apartment, ensuring air and ventilation from the overhangs.

The section between the corridor and the kitchen on the upper level, with the double ribbon at different depths, is an absolute masterpiece.

Two lodgings are located on the same level, while a third one, served by an external gallery, is placed at a later level.

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23. Plan with distribution of local. Photo from (Schumacher 1991, 264) 24, 25. Definitive plans of the ground-floor, the type floor, the fourth floor "villa" and the roofing. Photo from (Eisenman 2004)

Terragni 1996, 584-593 Eisenman 2004

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III.d RELATION WITH THE CONTEXT

«Raggelato nella sua assoluta dimensione metafisica, l’oggetto oggetto di Terragni è casualmente posato sul terreno: frammento di un interregno concettuale, esso accentua il non avere un luogo.

Le stesse relazioni con la città divengono al proposito dei punti di sospensione. Il contesto esiste, ad esso l’architettura architettura di Terragni non vuole né può aggiungere o togliere nulla.

Certo, la nuova presenza modifica il contesto; ma l‘assolutezza assolutezza del suo ritrarsi in una segnicità attonita, obbliga quel contesto ad essere ciò che è.»

Alberto Pireddu 2013, (cit in), Pireddu 2013

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Although the design of the Giuliani-Frigerio rental house was not realized within the Milanese urbanity, its contribution to the evolution of the architectural debate regarding the design of the facades and the relationship they establish with both internal and external space is such that it cannot be ignored.

The importance of this project is testified by the interest that critics have shown in it since its creation.

At the beginning of 1939, when Giuseppe Terragni elaborated the first design hypotheses, the context appears consolidated. In fact, the road layout of the whole area between Viale Fratelli Rosselli and the lake, historically called "Prato Pasqueè", had already been planned within the P.R.G. of 1919, then realized.

In addition, the general plan shows two elements with which the project of Casa Giuliani-Frigerio has a direct relationship, namely Viale Fratelli Rosselli, an artery connecting the walled city with the villages located to the north-west, and the building curtain to the south of the

south of the consisting of Institute and built to

same street, the Raschi the buildings the west.

The road network envisaged in the 1919 plan was partly modified during the 1920s.

These changes, which did not concern the articulation but the proportion between the space dedicated to the roads and the space delimited by them, are the consequence of the decision taken by the Municipality to allocate a large part of the "Prato Pasqueè" area to the construction of the Giuseppe Sinigaglia football stadium, built in 1927.

In the same years, the whole area was affected by several projects: the Voltiano Temple designed by the architect Frigerio in 1927; the Monument to the Fallen and the buildings dedicated to hosting the rowing clubs, whose realization was accompanied by the arrangement of the lake and public gardens.

Moreover, between 1927-1928, Giuseppe Terragni himself designed the Novocomum, inside a lot between Via Sinigaglia and Viale Fratelli Rosselli.

Schumacher 1991, 263-276

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The second aspect linked to the context, whose importance is such that it has influenced many of the design choices, is orientation. From the moment Terragni decided to go along with the directions of the lot, thus taking up its rectangular shape, he deliberately chose to confront the design of a building whose longitudinal and transversal axes do not deviate from the north-south, east-west directions.

This aspect appears to be predominant in the design of the faรงades, especially the north and south ones.

The different approaches used during the definition of the north and south facades express a certain sensitivity of the designer towards issues such as environmental comfort and hygiene of the interior.

Moreover, as far as the definition of the north and south facades is concerned, it is fundamental to analyse the spatial articulation of the fourth floor and to deduce the reasons that contributed to its definition.

Schumacher 1991, 263-276 Terragni 1996, 584-593

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30 26. View of the west front, corner view and rear facade. Photo from (Schumacher 1991, 274) 27. View from south-west of Casa Giuliani-Frigerio. Photo from (Schumacher 1991, 263) 28. North facade. Photo from (Schumacher 1991, 270)

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29. Aerial view of Casa Giuliani-Frigerio in relation to the urban context, the Novocomum and the Stadio Sinigaglia. Photo from (Artioli, Borellini 1996, 133) 30. Urban front reconstruction of via Borgonuovo.

III.e FACADES

Terragni's facades are the most striking aspect of the building; the elegant complexity attracted the attention of many scholars, such as Banham, who described the exterior of the building as "an exercise in carefree elegance that follows the style of the Schroder house in Rietveld, with its windblown sunshades and balcony frames".

As in the Casa del Fascio, each faรงade provides new information about the interior of the building or its relationship to the urban context. The front on Via Malta is the most visible and repetitive and has the air of a loggia.

The facades are clad in "spaccatello" precious marble, a new wall covering in which vertical strips, applied with the system of mosaic tiles, give the body a corrugated and reflective appearance.

Terragni decides to position the distribution (stairwell and corridor) to the east and use the west faรงade entirely for the interior. In this way, the designer can allocate larger openings and balconies to the rooms.

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The top floor is intended for a single dwelling, which occupies only part of the total floor area. Terragni decides to leave the southern portion free, to be used as a large belvedere terrace. On the north side, the vertical closing walls are retracted with respect to the faรงade, so as to create a second terrace.

The intention is to offer the possibility to overlook the lake. This choice is consistent with the desire to propose on the faรงade, the tripartite scheme recognizable in all elevations of Casa Giuliani Frigerio.

The view towards the lake determines the staggering of plan between the apartments facing south and those facing north. In fact, this staggering is precisely in search of a greater height of the northern front.

The east faรงade is undoubtedly the most airtight and the least urban. Its prerogative derives from the awareness that the area east of Casa Giuliani Frigerio would be affected by future construction. It clearly shows all the designer's choices regarding the internal articulation.

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Schumacher 1991, 263-276

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When Terragni decides to move backwards on the top floor, it is necessary to question how to figuratively close the facade drawings.

The solution he adopted consists in using a fold of the frame.

If in the north facade it is the facade plan, on which the supporting structure lies, that creates a fold facing north and towards the lake, in the south facade the fold concept is applied to the only completely opaque band located in the west.

These folds are projected towards and streets, towards the urban space. In this case too, Giuseppe Terragni's compositional choices seem consistent with a design approach that gives great importance to the context.

The south facade is undoubtedly the most open.

From the reading of the standard plan of Casa Giuliani Frigerio it is evident that Terragni's will to use as much air light as possible for each room facing south.

G. Terragni 1939, (cit. in), Terragni 1996, 584-593

31, 32. View on Viale Rosselli and detail of the main front. Photo from (Schumacher 1991, 267)

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33, 34, 35. Evolutions of the facades of Casa Giuliani-Frigerio from the first projects to the executive project. Photo from (Eisenman 2004) 36. Detail of the south-east corner with metal frames. Photo from (Novati 2014)

35 37. Detail of the main facade with balcony.

Photo from (Schumacher 1991, 267) 38. Detail of the south-east corner with metal frames. Photo from (Novati 2014) 39. View of the south facade. Photo from (Novati 2014) 40. Detail of the south-east corner with metal frames. Photo from (Novati 2014) 41. Detail of the north-west corner overlooking the top floor. Photo from (Schumacher 1991, 275)

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The west facade denounces many of the choices made by Terragni during the elaboration of the project.

First of all, the distribution of the apartments and the height offset between the apartment facing south and the others.

It is precisely the desire to declare these characteristics that leads to the definition of a west facade that can be divided into two blocks.

The first block, more permeable, is characterized by the presence of large openings and balconies. It corresponds, in plan, to two of the three apartments of the standard floor, as well as the size of the apartment on the fourth floor.

The second block is more closed.

It consists of an opaque vertical closing wall, in which ribbon windows have been inserted on each floor. In plan, this block corresponds to the apartment facing south.

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Finally, Terragni decides to move back the top floor with respect to the faรงade line, so as to create a walkway that also gives the possibility to have a view to the west, on the road and such as to enjoy the view of the mountains.

Schumacher 1991, 263-276 Terragni 1996, 584-593

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IV. COMPARISON BETWEEN WORKS

«Questo motivo Terragni riprende il tema dell’avancorpo dell avancorpo centrale delle case d’appartamenti appartamenti di Milano e lo sposta, imprimendo all’insieme all insieme lo stesso dinamismo evidente nel Danteum, nell’asilo nell asilo Sant’Elia, Sant Elia, nella casa del floricoltore e nella Villa Bianca. [...]

La scansione che ne deriva segue il ritmo A-A-B, oltre che il consueto A-B-A: il tema “due due in tre tre” tipico di Terragni, presente nel Danteum, nella facciata anteriore della Casa del Fascio e nella casa sul lago per un artista, ricompare anche in questa sua ultima grande opera.»

P. Eisenman 2004, (cit. in), Eisenman 2004

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IV.a COMPOSITIONAL RHYTHMS ON THE FACADE

CASA DEL FASCIO COMO, 1936 GIUSEPPE TERRAGNI

CASA D D'AFFITTO AFFITTO GIULIANI-FRIGERIO COMO, 1940 GIUSEPPE TERRAGNI LUCIANO ZUCCOLI

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IV.b VOLUMETRIC ADDITIONS AND SUBTRACTIONS

CASA D'AFFITTO D AFFITTO CATTANEO CERNOBBIO, COMO, 1936 CESARE CATTANEO

CASA D'AFFITTO D AFFITTO GIULIANI-FRIGERIO COMO, 1940 GIUSEPPE TERRAGNI LUCIANO ZUCCOLI

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IV.c USE OF RAISED FRAME

CASA RIETVELD SCHRODER UTRECHT, 1924 GERRIT RIETVELD

CASA D'AFFITTO D AFFITTO GIULIANI-FRIGERIO COMO, 1940 GIUSEPPE TERRAGNI LUCIANO ZUCCOLI

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IV. IV.d THE IMPORTANCE OF THE GARDEN TERRACE

CASA AL VILLAGGIO DEI GIORNALISTI MILANO, 1935 LUIGI FIGINI

CASA D'AFFITTO D AFFITTO GIULIANI-FRIGERIO COMO, 1940 GIUSEPPE TERRAGNI LUCIANO ZUCCOLI

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V. BIBLIOGRAPHY Schumacher 1991 Thomas L. Schumacher, Giuseppe Terragni 1904-1943, Electa, Milano, 1992

Saggio 1995 Antonino Saggio, Giuseppe Terragni: Vita e opere (presentazione di Francesco Tentori, fotografie di Dennis Marsica), Editori Laterza, 1995

Terragni 1996 El. Terragni [El. T.] , Casa d'affitto Giuliani-Frigerio a Como, in Giorgio Ciucci (a cura di) Giuseppe Terragni: Opera completa (Documenti di architettura), Electa, Milano, 1997

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