THE IMPORTANCE OF PHOTOGRAPHY IN THE DELIVERY OF THE FASCIST PROPAGANDA WITHIN RATIONALIST ARCHITECT by Simone Bezzi

THE IMPORTANCE OF PHOTOGRAPHY IN THE DELIVERY OF THE FASCIST PROPAGANDA WITHIN RATIONALIST ARCHITECTURE IN THE CASA DEL FASCIO SIMONE BEZZI Y3 PHOTOGRAPHY OF ARCHITECTURE

Introduction

I will be investigating the use of photography within the political and propagandistic spectrum of rationalist architecture in Italy during the Fascist era. Through analysing the Casa del Fascio in Como, one of Giuseppe Terragni’s best work, also known as Palazzo Terragni, I will be comparing the styles and methods of photography executed by photographers of the period, Marcello Nizzoli, Mario Radice and Ico Parisi and how they have used photography to convey specific messages and feelings of the architecture to communicate with the viewers. I believe that architecture has a level of innocence and that architect’s views of lifestyle may influence the design of the architecture but not so much that it prevents the architecture to be converted for a different use. Photography may have caused the Casa del Fascio in being viewed in a negative light by some, so I would like to see how contemporary photographers viewed Terragni’s work and if they any specific intentions while photographing the Casa Terragni. I will be approaching the work of Paolo Rosselli and Enrico Cano, two well established Italian photographers and so, will be able to know weather my point can be proven.

Rationalist architecture is a style created in Italy during the 1900s that uses simplified shapes with clear references from the renaissance style. This style started emerging with new architects with innovative ideas that still had respect and enough knowledge of the renaissance architecture but wanted to initiate a fresh start after the first world war. All decorative features were removed and replaced with simple geometric shapes, which encouraged the architecture to focus more on its main functionalities. Although this wasn’t very appreciated initially by the local public, Rationalist Architecture was becoming an attractive option for the Italian Fascist leader, Benito Mussolini, as a way to create a new era of Italy which reflected his vision of reviving the Roman Empire into a modern and futuristic era. Several Architects were employed to construct Mussolini’s vision, with Giuseppe Terragni as one of the most respected and notable. He was a rationalist architect well known for creating the most famous residential and fascist buildings including the Novocum in Milan and the Casa the fascio in Como, which also became the main headquarter of the party. The ‘Case Fascio’ were branches created by Mussolini’s regime as headquarters were local Fascist members would meet. This building has a simple shape but very complicated structure which can be seen from the columns on the façade to the roof, going inside the building structure. Although, infrastructure was one of the most important factors in the campaign, Mussolini needed a way to promote and evidence the new and futuristic Italy in a photographic form to be used specifically for its propaganda. Several well-known photographers and artists were recruited and each of them conveyed similar messages with their own styles and focus which will be discussed through the writing.

Picture of the Casa del Fascio by Ico Parisi

CHAPTER 1

MARCELLO NIZZOLI

Marcello Nizzoli represented an important factor to the political image of the Casa del Fascio. He was a rationalist painter and designer that became well known for creating montages for the Casa del fascio in Como. Influenced by Futurist artist Fortunato Depero, Nizzoli became very successful at designing “fashion accessories such as handbag and shawls and posters advertisements for Campari and Martini”. This gave him enough experience to design the façade of the Casa del Fascio, due to the fact that designing marketing advertisements was the necessary skill to designing a strong propagandic poster for the fascist party. He created a selection of montages that were then able to be printed and permanently added to the façade of the building. The right side of the building’s façade was an area dedicated on displaying propagandic displays for the public to witness and this was aimed to be achieved thorough experimental montages to then be shown and discussed with other designers and leaders before being set up.

Nizzoli proposed two similar montages that represented local citizens. They both showed a larger picture of Mussolini’s portrait along with other representative in smaller pictures below. This is to highlight the hierarchy of both the party and the state, with Mussolini as the highest status in the country. This reaffirms the Autocratic impression of Mussolini’s politics.

Fig 1 - First Iteration of Photomontage of the Casa del Fascio by Marcello Nizzoli- 1936

The montage also shows a cut out of the Mussolini’s soldiers entering and exiting the building. it uses perspective by having the people entering the building smaller and in a bigger group while a slightly bigger scale for the soldier coming out. This informs the viewers of the movement and the flow of people that travel in and out of the building. The use of the forced perspective with the soldiers going in, gives us the impression that the building is very visited and that it can accommodate a large amount of people and that it is also a very busy and active place of work as also explained by Terragni, “This physical proximity to the people, presupposes that the public can comfortably approach the building housing the directors and the commanders of this advanced society”(Rifkind, 2006, p. 3). In addition to this, the designer highlights the area in front of the entrance to give importance to the people going in. This may have been used due to the fact that the picture is in black and white, with the interior only showing black, which would otherwise seem unwelcoming. The picture Is set on black and white with a quite strong contract of the shades. It has a white façade a black interior. This high contrast gives a feel of the structure and geometrical threedimensional shapes that has been sort of hidden by the positioning of the shot in which the picture has been taken, which makes it look quite flat and two dimensional. The picture is taken from the centre which emphasises the rigid shapes and line that has been used in the design of the rationalist building. This may have also been used as an easier canvas to create Nizzoli’s designs for the façade. It also gives us the chance to analyse the building clearly by witnessing its structures with the columns and open terrace.

Fig 2 - Second Iteration of Photomontage of the Casa del Fascio by Marcello Nizzoli - 1937

Although, this montage represented the main purpose of the party, it did not give enough emphasis on the power and the autocracy that Mussolini would have had on the people. 9

Fig 3 - Display of Casa del Fascio by Mussolini poster by Marcello Nizzoli and Nazi/italian flags.

Nizzoli realised façade, actually ended up with a different sort of message displayed. It has a much larger picture of Mussolini displayed at more than half of the surface in the right side of the building. This is quite different compared to the initial montages because of the much more dramatic change that has been created within the montage, “The panels were nostalgic rather than radical” (D. Ghirardo, 1980, p. 7)(D. Ghirardo, 1980). The large picture of Mussolini is very intimidating from an opposition point of view as it clearly communicates that the dictator will be the only one leading. This is also more effective compared to the previous designed montages as it clearly defines the fascist power. It has a similar style of to the communist posters with a painted and glorified look with an outer glow around him to make him more highlighted in the picture. This gives Mussolini a Spotlight impression of being the main person and a strong and confident leader shown through his expression in the Large poster. Another difference with the previous montage is that It only show him and no other member of the party, which underlined the fact that Mussolini had a strong leadership on top of the state with an absolute control. Marcello Nizzoli decided to that the photograph was to be taken at a lower angle and taken from the right side of the piazza to stay closer to Mussolini’s picture to show him in the perspective before anything to give this intimidating message and to emphasise his importance on the state. The use of the Italian and Nazi flag shows us a contrast of both fraternity and an even stronger intimidation towards the people, due to having a strong relation with a nation with even more extreme views. The picture shows a quite populated setting both closer to the building and close to the camera. This gives scale of the façade and a feeling being under Mussolini but at the same time it also promotes the fact that “the public can comfortably approach the building. Although the background of the building is surrounded by the high hills it is still overpowered by the architecture both with shapes and colour contrast and in the message. Despite the extreme message that is displayed in the picture, it can be argued that the montages and the banners made added an enthusiastic character to the architecture which may have otherwise been a lot plainer. This is interpreted by Diane Ghirardo, an architecture professor at the university of California that noted that “the photomontage proposed [….] Present a striking contrast to the otherwise reserved and unadorned structure”. This strong but more current view of the professor demonstrates that also rationalist architecture was quite futurist, it still missed the affectionate decorative style that is heavily seen in the traditional Italian architecture.

Fig 4 - Photograph by NIzzoli of Mussolini’s soldiers listening to a broadcast from Mussolini, declaring that Addis Ababa had been seized - 5 May 1936

This is one of the most important photographic evidence that has been taken by Nizzoli. It is displaying a large portrait picture with the Casa del Fascio on top of the picture and a large gathering of people. A large proportion of the picture is populated by the ‘Black shirts’, Mussolini most trusted soldiers, “listening to a broadcast from Mussolini, declaring that the Ethiopian Capital, Addis Ababa had been seized on 5 May 1936”(Rifkind, 2006, p. 2). This describes exactly what Terragni had wished his architecture of the Casa del fascio, “ to study possible access to this vast space by flanked rows of fascist and the public for big assemblies, thus eliminating any break in continuity between indoors and outdoors so that a leader can speak to his followers assembled inside and still be heard by the masses gathered in the piazza .Thus Mussolini’s concept of fascism as a glass house into which everyone can gives rise to this interpretation…. No obstacles, no barriers, nothing between the political leader and his people”(Rifkind, 2006, p. 3). The aim of the picture may have given the Italian people a sense of pride, with Mussolini actually accomplishing his well emphasised plans of reviving the Roman empire, so making Italy a much stronger nation. The positioning of the picture sort of reassures the message that it is done for the people. The way the architecture is situated at the end proportionally smaller in the picture compared to the large mass of people kind of gives a maternal feeling of providing what’s promised for its kids. This may also be intimidating for someone with opposite views because it gives us the feeling of discomfort due to the fact that strong views and possibly racism is being popularised with the fascist soldiers being extremely proud and faithful people. Fig 5 - Front door of the building

Picture of Mario Radice by Ico Parisi

CHAPTER 2

MARIO RADICE

Mario Radice was a well-known artist sculptor and photographer, during this period and was well known for his artworks depicting Mussolini fascism. He was one of the first artist to stop figurative art and begin abstract art that portrayed geometric shapes with selections of colours that was visually satisfying. He as very passionate about architect and in fact worked on several project for Terragni which meant that he was very suited for the role as an artist and photographer.

Fig 6 - Picture by Mario Radice of the “Segretario” room.

The picture portrays vibrant colours from the wall painting made by Radice himself, with the geometric abstract style. This gives the picture a positive atmosphere to the “Segretario” room along with the green chairs and tables. This contrasts the quite frightening look crated by the illustration of Mussolini positioned in the centre wall of the room. The style used gave an opportunity for Mussolini’s illustration to be portrayed and take part with the colours and art that is displayed. The fact that the picture is in colours gives paints a much different picture than if it was photographed in colour and not black and white. This is because if the picture was in black and white it may have given a much more terrifying atmosphere of the interior of the room. The use of perspective in the picture gives an effect of a very large room with the table seemingly looking very stretched. This gives an emphasis of the three dimensionalities of the space, which is an important factor as it gives the impression that the room that the room is quite wide and spacious. This is also important as it promotes the architect’s design of the space. Mario Radice gives an importance to the composition in the room to give the viewer an understanding of the use of the room. It has 12 green chairs perfectly positioned next to each other on both sides of the table with one chair on the other side of the table, assumingly placed for any hosts. However, there is no chair placed in front of Mussolini’s display, which gives the viewer a feeling of a strong authority and control as if meetings could always be overlooked the leader of the party, “ his erect presided in uniform over meetings of the Segretario room”(Rifkind, 2006, p. 4), which could also be very convincing due to the fact that the table is placed right in front of the display. In contrast, the composition can also be a very effective way to sell a special quality to an audience as it looks extremely clean and tidy with the modern designs of the furniture. The angle in which the picture is taken gives the audience a more understanding about the room and its position in the building. It is taken at a lower angle to clearly show the whole room, ceiling and windows. It allows us not only to observe the room but also what is outside of it, showing all the walls outside with the interior balconies. This reassures Terragni’s and Mussolini’s aim of the “honesty” with how the architecture is being used by the people, which is often unusual as meeting rooms, especially of federal use are often kept confidential, usually covered with blinds. The image also takes advantage from the glass walls and large windows for the good use of natural lighting into the room. It creates positive atmosphere in the room with the sunlight and also helps the photographer get strong and crisp picture, showing a great detail of the textures, materials, and colours. It also allows the structures to reflect around the space, including the floor in front of the window and on the shiny glass surface of the meeting table. The reflections promote the abstract shapes and structure that Terragni and Radice designed in the building. Overall, the photograph has a range of factors with different strength that promotes the room. Starting from the display of Mussolini with an overpowering presence upon the room, which shows how Radice was able to understand Mussolini’s and Terragni’s demands on what had to be displayed. But at the same time, it creates an accompanied less crude vibe from his style of art.

This is another space decorated by Radice called Sala per Adunace, situated in the main space in the centre of the building. It has montages displayed of glass plates that present illustrations of Mussolini and fascist messages to “establish his symbolic presence”(D. Y. Ghirardo, 1980). It is displaying a strong source of natural lighting from the glass doors that to keep the interior “honest” and visible from the outside. It Reflects on the floor, which gives an emphasis of the smoothness and shininess of the flooring. This gives a sense of cleanliness and being well kept. This picture also gives a great selection of the geometries in the building. Starting from the displays at the front with the displays to the shiny tiles on the walls, the thin columns and the rectangular balcony ring and the glass tile blocks on the first floor. It goes along Terragni’s and Radices’ artistic styles of geometrical and abstract shapes, making the architecture in itself an art piece in whatever side and angle a person views it from.

Fig 7 - Picture by Mario Radice of the Sala Audance

The symmetry that has been captured of this picture creates a very clean and visually satisfying look, making it look like one of radices art pieces themselves. The symmetric position gives a very satisfying viewing affect to the picture taken as it grabs your attention towards the form of the architecture.

Fig 208 - Picture by Mario Radice of the Sala Audance with Blackshirts standing next to the portrait of Mussolini by Radice

This interesting photograph has been taken from the same location but with a completely different format. It gives the viewer a closer look on Mussolini’s display and its message of “ORDINE, AUTORITA, GIUSTIZIA”. The message displayed means “order authority justice” and it refers to the motto created of the fascist campaign that gave a clear aim, which was to govern a country with a single mindset. The message sort of carries on in the building today in a contradicting way as the building is now used as a police station. It shows a number of young ‘black shirts’ lined up next to the display, seemingly ready to march. It promotes and gives a sense of opportunity catered towards the younger generation of the time due to the age range of soldiers that has been display, giving it a strong hope for change. This was a way that Mussolini used to create a strong foundation and support within its citizens, by encouraging any kind of opportunities for them to grow their success in exchange for the strong support. This may have also been seen with the Terragni, as a young architect who supported fascism after being provided with the opportunity to realize its designs. Before taking the picture, Radice wanted to make sure that the content displayed followed the same aspect and this was done by positioning the solders in a straight row and make them look towards the same direction that Mussolini is looking towards from its portrait. This composition drives the message behind the picture, and it guides the viewer to see and understand its meaning quickly and clearly. The composition gives off the feeling of the “order, authority, justice”, due to the strict positioning and serious faces that the soldiers have. It is a quite dramatic and imponent, especially for someone with likely opposite views as it communicates to those that there will be no other way that that if opposed, they will be dealt with consequences. This often happened during the fascist period where similarly to Nazi Germany, the black soldiers would take protestors and civilians with opposite views in jail or even killed, so the picture gave a very clear message. On the other hand, it could have also represented strength and pride of a country that was finally leaving its problematic past and start a confident new era of modernity and imperialism.

Light and contrast is also an important factor that contributed in the message of the picture. Contrast is often used to create clear edges and distinction between landscape or objects within the picture. This has been used by Radice to emphasise the darks and lights within the black and white picture to create a dramatic and appearance in the picture. It can be noticed that the Radice contrasted the soldiers with stronger shadows, from the architecture and Mussolini’s well-lit displays. This may have been done to create a distinction between the two and that the Casa del Fascio, as Mussolini’s head quarter, oversaw everyone including the soldiers that had to serve for the party. This has been done so that the view attention is first approached towards Mussolini and the architecture to then move on to the rest of the composition, which was very effective. In addition, it illustrates the message “ORDINE” in black and “AUTORITA, GIUSTIZIA” in white, which could make the viewer wonder why or if there is a different meaning behind it, while maybe giving more importance to the “Authority” and “justice”. The photographer utilized a low angle to take the picture of the composition, which forces the audience to look up in the picture even those its two dimensional. A low angle picture is often used to shows what’s displayed in the picture as monumental and strong to highlight the sort of majesty and heroness of what it is aimed to convey in the picture. This method has been very effective for what the picture aimed to portray, as it makes the viewer feel terrified, as we imagine being in that period. To whom may feel contrary it may give a feeling of oppression and of silence, with fear of potentially being received by the “Black shirts” if spoken up against the dictatorship. Another technique that Radice used in the picture was forced perspective. This technique is often used to create illusional effects that give us the impression that something is either bigger or smaller than usual. This can be evidenced in the ‘black shirts’ soldiers, all standing perfectly next to each other, where the first one covers nearly the whole picture while the last one becomes very small. This make the surrounding look further than it actually is but also gives this monumental impression in the picture due to the drastic change in size of the soldiers. This method was effective in showing the 3 dimensionalities of the space as it may have seemed a lot smaller if there weren’t this many soldiers in the composition.

This photograph is a lot different from the others as it is focused on showing the qualities of the architecture more than its fascist meaning. It shows a close picture of part of an interior wall that has been decorated with Radices’ work. It shows glossy back porcelain tile, part of the concrete column painted in white and two of his geometric pieces attached between the two columns. The photographer has been able to use the angle and positioning of the camera to promote the quality of the tile. It allows the lighting, facing towards the photographer to shine through the black tiles in the walls. This shows off the tiles’ bevelled shape and sort of gives a painted effect to the image, which promotes the idea of the whole building and walls “translated into one real overlapping geometric shapes embossed in different thicknesses”(Casero, 2010), which also makes it look like art pieces. It gives a very satisfying look of the feel of the material gives the viewer the temptation of touching the wall. The angle in which the picture is taken also shows the attachment of the two geometric pieces. This sort of gives an effect of an exploded drawing which also adds on to the architectural and artistic feel of the building. This gives the viewer a chance to see the in a different way as it focuses more of smaller structural details of the artists own work. Overall, Radice has been able to successfully promote fascist ideologies by using several techniques which we as viewers may not realises in first glance, while also indorsing Terragni’s architectural details as well as Radices’ own work. He has shown a great level of skill and detail in each picture, which, although for upsetting reasons, make us very interested in the methodology on each photograph. The picture without imagery can be quite refreshing as it gives the chance to actually appreciate the details of the architecture.

Fig 9 - Picture by Mario Radice taken inthe Salone delle adunate of rational piece designed by Radice

Picture of the Piazza del Popolo by Ico Parisi

CHAPTER 3

ICO Parisi

Ico Parisi was a modernist Italian designer that revolutionised Italian furniture designs. Originally from Palermo, he spent most of his life in Como where his father moved to become an art teacher. He followed the creative path which lead if to graduate “in construction in 1934” (Casati, no date), due to his interest in the modern industrial constructions of the time. His interests made him a great candidate as an apprentice in the Casa del Fascio with Terragni, were he also showed a great level of “passion for photography”(Chiara Lecce, no date). These lead the architect Terragni to give Parisi the opportunity to create a series of photographs of the building “from particular angles that interpret the architectural spirit of the Casa del Fascio”(Chiara Lecce, no date), to be then displayed in the “Quadrante” Magazine, that displayed all the works of the rationalist architecture. This was an incredible opportunity for the young designer, and this has been shown in the fascinating pictures photographed in the process.

Fig 10 - Picture of the Uffico del Segretario Generale by Ico Parisi

Parisi took a variety of picture of different areas within and outside the Casa del Fascio. The photographer took different interesting pictures of Mussolini’s office that showed very professional pictures that focused more on the ambience of the room than of its fascist purpose compared to Nizzoli and Radice. This first picture shows the “Uffico del Segretario Generale”, where Mussolini or other executives would have had meetings with each other. First thing noticed is the large portrait of Mussolini with other patriotic displays next to it and a quote by the Leader saying, “This is the era in which we need to feel the pride to live and fight”. This was likely created by Radice as one of several symbolic displays. Mussolini’s portrait, compared to the pictures in the other rooms is dressed in a suit, which makes it look more suited for an office and presidential environment compared to the other portrait such us in the exterior façade and the ‘Sala audace’ where he is dressed much more bold and heroic with military clothing, which also tells us that it is an office. Regardless of his attire the dictator’s display still gives a very intimidating looking, giving the effect that his looking right at whoever is viewing it. As a viewer we may feel as if it may have been a quite daunting experience to be there and discuss things among others, while also feeling observed and judged by his portrait. The quote on the right side of the portrait is a quote taken from a speech given to the ‘Black shirts’, which are displayed in a landscape view of the crowds gathered in front of the Casa del fascio. This could have been used as a reminder for those discussing in the room to “feel pride” for the country and to act to ensure “Order, Authority, Justice”. The position in which Parisi took the picture also gave an impact to how the picture is portrayed by the viewer. The photograph has been taken from a low angle, forcing the viewer to look up to Mussolini. This has been used by the other photographers as it emphasises dominance, with the dictator being above everything else in the room. Ico Parisi made sure that the room was arranged accordingly to the office environment. It has a chair behind the desk more the main executive and two chairs in front of the desk which makes it clear that it is an office mainly for small and much private meetings compared to the “Segretario” room. The chairs are positioned in a way which makes it so that there has just been a meeting, with both chairs angled toward the chair in the front centre and the right chair position further behind compared to the one on the left, to show the movement of someone moving back to get up, shake hands and leave. This composition allows the viewer to imagine the use and movement within the room, making the picture more interesting to observe. In addition to this, the fact that the chairs are also placed in front of Mussolini’s portrait shows strength and intimidation toward whoever sat at front which makes it seem like the intimidation subconsciously enforced honest communication between the representative.

He also photographed a different variation of the ‘Uffico del Segretario Generale’. It has been photographed supposedly while sitting on the front chair of the office looking towards the Duomo of Como. The positioning in which the photograph is taken allows the viewer to feel the closest experience to sitting in the office. This is a lot different from the previous picture as it gives us the chance of focusing on the building instead of the wall display positioned behind the photographer in the moment that the picture is taken. The composition is very minimal, with simply a typewriter and dial telephone on the office shiny desk. The simplicity of this set up allows the viewer to concentrate on the details and naturals elements in the picture. Front the desk itself we are able to see the reflection of all components in the photograph due to its shiny and smooth surface. Thanks to this we are able to see the reflection of the telephone as well as of the window frame, which gives a continuation affect. The most interesting reflection comes of the Cathedral, which symmetrically reflects onto the table making it a very satisfying look, making the image look abstract and artistic. The photograph also points out Terragni’s esteem to the relationship between rationalist and renaissance architecture, “Reflection in his desk draws the older building into the Casa del Fascio, echoing the importance of historical precedent in Rationalist discourse"(Rifkind, 2006, p. 8). The use of the windows also demonstrates to the viewer what Terragni and Mussolini meant by a “transparent building” by showing to the public that the building was “honest”, while in fact having the main offices facing the cathedral as an way to say that it will not lie and will always confess everything as a traditioned used in the Catholic faith. Fig 11 - Picture of the Uffico del Segretario Generale taken towards the window by Ico Parisi

Parisi took a number of pictures which displayed specific qualities of the structure of the Casa del Fascio. They gave less importance to Mussolini’s ideologies and focused on the materiality’s, textures and the local landscape. This is a photograph taken from the centre of the building towards the back. It shows part of the top floor on an exterior corridor leading to the entrance of the left side of the building. The exterior corridor has been constructed with the same white concrete pillar that surrounds the whole exterior of the building. The simple square geometry of the pillars creates a very interesting contrast from the simple smooth façade, allowing the architecture to have some abstract element into it very important for the rational style that Terragni wanted to achieve. In also shows part of the exterior corridor being roofed to where the entrance door in positioned, while the rest isn’t and so takes advantage from the great source of natural lighting. The strong lighting gives the picture a positive ambience with the white exterior walls being exposed to the light while also being shadowed by the columnal structures. Ico Parisi used the position of the camera towards the peak of the hill where the ‘Locanda Milano’ hotel is positioned. This allows us to view the wonderful panorama that can be seen in Como while also making the viewer wonder if the photograph was more aimed to show the beauty of the landscape more than the structure.

Fig 12 - Picture taken from the southern part of the building showing an exterior balcony/ corridor to the other side of the building , by Ico Parisi.

This is another interesting image showing the second floor of the building, directed towards the ‘Segretario’ room. Aside from the Secretary room, the picture is able to frame the concrete columns and beams going across the ceiling, the black tiles in between the second and the first floor bordered with the concrete grid and the glass roofing standing above the concrete beams. The lowered concrete beams open up to a courtyard glass roof, which has characteristics similar to those of Renaissance palaces. The ‘Corte Coperta’, ‘roofed court’ was a feature that Terragni was developing, which enable light to penetrate through the building while also making it seem like it is covered in small tiles. The light is continuous but shaped, determined by the frame and the glass panels. This ensured that the building was well lit during the day, which was something that Terragni had intended for. By adding a tiled shaped glass roof, they were able to show a great manufacturing skill for that period, while also having an interesting impact on the shadows that were create along with the beams, generating a sort of virtual architecture. This picture had been taken from the same level as the meeting room, which gives the viewer a chance to see the building being by the leaders. The fact that the picture was taken from the same level makes the view very curious to see what is happening. This was much different from the kind of patriotic pictures taken from a low angle, which aimed to show impudence, while this was taken from the same level which may have been used to represent the “honesty” of the Fascist party and the building.

Fig 13 - Picture taken from the interior on the second floor by Ico Parisi

Ico Parisi had also taken a different style of picture which resembled in him being a beginner in the field by having a quite informal style of photography, which made it much more personal to him, while also as an evidence to the viewer today of the excitement and innocence that these young photographers and designers had during that period. These two pictures taken pictures of the side of the building have been taken in a very peculiar way. The angles is purposely but completely off, seemingly leaning towards one side, making it seem like it was taken by accident. In the first picture is taken quite closely to the building while also is leaning towards the right. This gives us a close look on the qualities of the concrete with its natural patterns and junctions lines between the columns, floor and beam, while also showing the glass tiles framed with concrete. By finally using a strong contrast in this picture the photographer is able in increase the quality of the image, allowing us to identify some of the textures in the buildings, which makes us want to touch. It also separates the exterior from the interior through the dark tones casted by the shadows created by the concrete. The interesting aspect about the positioning of the image is that it gives a small glance of the top of the cathedral. This creates the contrast between the very detail renaissance architecture and the simple rationalist style, while also making the viewer curious about it by placing it right at the bottom. It shows the respect and the interest that the photographer had towards both styles.

Fig 14 - exterior was picture by Ico Parisi

Opposite from the other picture, this leaned towards the left and managed to keep the same level of contrast. The contrast in this image is able to build a strong character of the photograph, giving it a quite mysterious and scary look to it. A banner has been placed on the façade to show pride and to promote the party with an Italian flag standing in the larger side of the building and a message saying, “The house of faith”. This may have been taken to record it as evidence as one of the many banners used during fascism. While most other banners very more dramatic, this gives us a different view of the building, in a way that makes it seem like a place of worship and trust towards the party.

Fig 15 - exterior was picture by Ico Parisi

There are also picture that Parisi took of different meetings with the other designers and other general things that he saw while working as an apprentice. These pictures show the sincerity and curiosity that this young designer had, which make us want to follow and know of his experience by looking at all those pictures. It also makes us wonder if the experience, skills, and knowledge gained would have been different if all these great young designers and photographers grew during the current period and how would it have changed their work.

Fig 16 - Terragni discussing with other designers in the Piazza photographed by Ico Parisi

Fig 17 - Biulder working on the site, photographed by Ico Parisi

Fig 18 - Terragni discussing with other designers in the main hallway wholeways photographed by Ico Parisi

Fig 19 - Terragni discussing with Radice and other three designers,in front of the exit photographed by Ico Parisi

Fig 20 - Terragni discussing with other designers in the Secretary Room photographed by Ico Parisi

Top view of the Casa del Fascio photographed by Paolo Rosselli 36

CHAPTER 4 In order to understand what impact Fascism had on the Casa del Fascio I am also going to analyse more contemporary photographic interpretation on the edifice. I will analyse two well established photographers that had the chance of photographing the architecture at the beginning of the 21st century (2004-2005), as well as having the privilege of interviewing them.

PAOLO ROSSELLI

Paolo Rosselli is an Italian Architectural photographer based in Milano that was introduced to Ugo Mulas, a portrait photographer, while studying architecture at University. This encounter led him to take a journey in India in the pursuit of photographing “Hindu temples” and “profiles of Indian cities”. Since then Rosselli decided to focus on European contemporary Architecture,” towards masters of modern architecture as Giuseppe Terragni, and the direction of the past, renaissance architecture in Italy.”(Paolo Rosselli, no date). Paolo said that he “was not influenced by nothing, neither from fascism or by seeing Terragni as someone influenced by fascism” and this is an important statement that has and will define his and most other photographers the new century.

Fig 21 - Casa del Fascio at night-time with a projected photo of Terragni

This first image demonstrates a variety of photographic techniques and focus. It shows the old Casa del Fascio at night-time with a projected photo of the architect himself on the right side of the building. This contrasts the type of photograph that Nizzoli had taken of his montages, as it celebrates the architect who designed this building and not for what it was intended for. It is a celebration of a young, bold that was in a way innocent for what he often built for. Paolo Rosselli mentioned in the interview that “Terragni was a very happy individual, who was able to express himself very well and that is what I wanted to demonstrate in my photographs”. It shows how photographers have been able to look through the Architect’s ambition and ideas to tolerate his Fascist past and admire him as shown by the picture showing four people standing in front of the building to observe the projection, as a way to show describe this statement to whom see the photograph. He had also done that by taking the picture further away from the piazza to picture the whole building, which contrasted the type of low angle photos that photographers during the Fascist period did to create the intimidating impression. Although a different time the architect may have still appreciated the photographic styles that modern photographers would have had. This also relates back to the architecture and how it can be innocent and “does not link with politics”. The building is now named Casa Terragni and its used as a police station, which demonstrates that although its called Fascist architecture it is simply modern structure with local materials which has just “simply appears to coincide with Fascism”.

On the other hand the use of this architecture can be seen as negligent from someone viewing it from abroad, as stated from an article by the New Yorker saying, “So why is that, as the United states has engaged in a contentious process of dismantling monument to its confederate past, and France has rid itself of all street names after the Nazi leader Marshall Petain, Italy has allowed its Fascist Monuments to survive unquestioned?”(Ruth Ben. 2017). The example used in this reference where from a nature of discrimination and offensive nature displayed in form of statues and writing that could directly have a symbolic and patriotic link of a negative nature and that they cannot be viewed in any other way. Statues and symbols related to Mussolini and Fascism have in fact been removed from the Casa del fascio and all parts of Italy, which gave a chance for the architecture to flourish in the future societies with its rationalist style. The picture has been taken during the night with a slow shutter speed which allowed for the artificial lighting in the building to really show up in the building, creating a very beautiful contrast and clear distinction with the white structure and the Dark sky. The strong sources of artificial lighting is able to penetrate through the building which highlighted the wide use of windows in the building. This created such effect that made the building feel memorable, sort of like a candle being lit for the person who designed the building, making it feel quite emotional for the viewer. The camera setting was also able to expose the movement in the picture with from the cars travelling past, creating a satisfying contrast to the people standing still.

Fig 4222 - Interior ceiling of Casa del Fascio photographed by Paolo Rosselli

Paolo had also taken interesting interior picture showing the ceiling of the building. It shows the concrete beams going across, the black tiles on the left side, the concrete columns going across and the window frame from which separates the photographer and the other side. It is a striking image full of reflections, created by the glass window in front of the photographer. The image has so many reflections of all elements in the architecture, as well as the photographer himself, that makes the viewer intrigued while also confused at which side the image should by looked at or whether the image is the right way around. It forces the viewer to stare at the image for a while just to understand how the image works while also demonstrating Terragni’s ideas of having a “virtual architecture” created by the geometries of the structure and by the lighting. Paolo Rosselli had said that “architecture is associated with the language of colours and movements of architects”. From the pictures he had successfully demonstrated this through the range of opaque colours used in the picture such as yellows, white, black and light green, which can be very refreshing to look at compared to the black and white pictures. The perspective used in the image was also very intriguing. He had positioned the camera in between the two beams and once combined with the reflection, had created a sort of perspective portal that lead straight into the centre. It also makes us look towards the middle where a thin rectangular window is positioned, where the perspective ends. Rosselli clearly demonstrates his “personal style of photographing architecture” and makes him very unique from the others. It also makes us forget about the past history of the building in the same way that Rosselli did, “after five minutes of entering you forget of everything”, which makes us appreciate and understand the building a lot better. He had also said that “he was a very complicated Architect [….]. You have to familiarise to his way of being”, which is very important in order to understand his work.

ADDITIONAL PICTURES FROM PAOLO ROSSELLI

Eastern side of the exterior wall photographed from outside by Enrico Cano

CHAPTER 5

Enrico Cano

Enrico Cano is another architectural photographer, based in Milan, who have been involved in taking picture for several Italian architects like Renzo Piano and Mario Botta. He has been interested in various types of architecture from all over the world, with modern elements to their design. Enrico Cano had started the conversation by saying that “Every time I photograph a building, I try to get into the architecture, the project, etc … and highlight its characteristics, but above all I look for the side in which the beauty of this work is best expressed”. He expressed this to highlight he also was “influenced by nothing” as Paolo Rosselli said and that he looked at the Casa del Fascio like any other Modern building in a physical manner.

This first image is a picture of the staircase, which situated on the eastern part of the building. it shows a curvy handrail, three levels of staircases, shiny walls and flooring of the same material and the glass façade. The Picture has been taken from the middle to make us focus on the curvy handrail travelling through all the floors in a very elegant manner. Enrico said that he wanted to “enhance his brilliance and his artistic soul” and although this breaks from the very geometric nature of the building and demonstrates the versatility of Terragni’s concepts. The positioning also meant that he was facing the lighting though the windows, which can sometimes have a negative affect on the quality of the picture, but in this case it was used in his advantage to expose the “virtual architecture” that was reflected on the smooth and shiny walls and flooring. As it can be seen from the top left and the right part of the picture, the exterior walls and windows seem to be carrying on thought the shiny walls, which makes it very satisfying to view.

Fig 23 - Stair case photographed by Enrico Cano

This is a closeup picture of a manual window opening system designed by Terragni which had been opened to inform its use and function. Although this may not be a popular picture for some, I believe that it represents and shows exactly how Enrico Cano aimed to focus, “on the lines, on the volumes, on the beauty of these works”. Along with the other photographs of the main architecture, this can be very refreshing to view this, as it makes us appreciate the shapes and forms of the smallest details in the building that you would only notice by visiting the place and not by looking at the main photographs of the Casa del Fascio. The picture shows some character by evidencing the aging of the rusty edges of the metal frame. In view of Terragni’s concept of “honesty”, it could be interpreted in that way by displaying details of the building that will likely not promote the building to the public but in contrast, represent it as historic. It can be noticed that by the shape of the metal, that it was carefully designed with a simple but curvy shape that is often seen in renaissance architecture. It represents the respect that rationalist architect Terragni, towards older Italian architecture, which goes to show that he may have been a “sensitive, idealistic and brilliant person”. Enrico said that his aim was to “enhance his brilliance and his artistic soul”, which highlights the fact that contemporary photographers are very much interested in the architecture and designer’s ambitions to replicate the enthusiasm through photographing the building.

Fig 24 - Window opening system in the Casa del Fascio, photographed by Enrico Cano

ADDITIONAL PICTURES FROM ENRICO CANO

CONCLUSION

Nizzoli has been a very important member of Terragni’s team. He created very bold and patriotic photomontages that were then displayed on the Façade for everyone to witness. His experience as an architect and graphic designer for marketing, was very evident in the designing of propagandistic posters. this allowed him to create very effective photographs as he knew exactly what photographical elements, he had to manipulate to reach the Italian population and so promote Fascism. The picture with the large poster on Mussolini along with the Italian and Nazi flags was visually a very extreme and bold for whoever viewed it in a opposite light. However, it can also be argued that it actually contributed to the “reserved and unadorned structure” and described by Ghirardo. Nevertheless, Photography has been manipulated to promote a dictatorship very effectively, as also noticed from the large crowds that gathered up to honour Mussolini. It is also a similar case for Mario Radice, he had photographed parts of his own work placed in the interior of the building. He managed to manipulate the pictures by having a strong combination of angles, contrasts and composition to create the most affective ambience for each photograph. Even with the colour picture of the Segretario room he managed to convey both rationalist and Fascist though his geometric shapes Fascist symbolism and specific arrangements of the furniture. However, the last picture shown demonstrates that by just focusing on his works and Terragni’s, gives the viewer a chance to focus more on the art and design portrayed in the picture. Through Ico Parisi, I was able to evidence and understand how photography was important and exciting for such young apprentice who was still discovering his own passion and new skills. He was able to achieve very interesting and meaningful pictures with a both formal and informal style of photographing the Casa del Fascio. Between the photograph of the ‘Uffico del Segretario Generale’ and of the peculiarly rotated exterior pictures there was a huge difference in the style and formality of the work but also showed that he was experimenting, with both aims that he told directed to and that he wanted to do. Ico Parisi, compared to Nizzoli and Radice did not design symbolic components in the building, which meant that he was less constrained in the way he recorded pictures, while the other photographers had a clear objective of photographing what they had created in a way expressed their views most effectively.

In current century photographer have maintained the interest in the architecture while not having the same Paolo Rosselli made me realise how innocent a building can be regarding of what it was used for. Regarding the young designers like Terragni and even Ico Parisi, as fully fascist may have not been the best way to understand their work, but by observing their skills and ambitions to fully understand their work. Paolo said that “All architects had adhered to Fascism simply because of the opportunities and because it guaranteed an opening towards a modern architecture”. By seeing it this way it lets us acknowledge the past by also readapting the architecture for our current priorities. Overall, through Enrico Cano I was able to understand and realise that the architects aims and concepts that were used to influence the designed the building, can in fact be appropriated and interpreted into a different and more contemporary meaning. It was through the analysis of the picture on the window opening system that I realised that the Terragni’s aim to have an “honest” architecture can be interpreted in a different manner that focused on the current structural qualities of the building and not necessary to impose it on people. He has been able to prove that he was able to “enhance his brilliance and his artistic soul”, by only focusing on the architecture and what styles he could create with it though photography.

Dhiane Ghirardi had said “Other methods of argument are more adroit, if less direct. One ignores the fascism of the architect altogether, claming that a building can be studied apart from its historical setting”(D. Y. Ghirardo, 1980, p. 3). I will conclude by agreeing with this statement. Photography has impacted of the way the Casa del Fascio has been viewed through the several manipulations that have dressed the façade and interior of the building. The Fascist photographers have created quite disturbing and intimidation pictures that have symbolised the architecture as a very cold place to be in, which caused its controversies for still being kept alive today. However, I also agree with Paolo Rosselli that they were brilliant designer and that they “had adhered to Fascism simply because of the opportunities” so as a modern photographer it is important to acknowledge history buy also “start with a tabula rasa” to focus on the details and the innocence of the architecture, which can then be displayed in a different light, because “photography is a personal discussion and not something to impose on a group of people”.

BIBLIOGRAFY

Casati (no date) ‘d055ed3d82c6e5f4febe4439f9f3e19e48af9c51 @ www.casatigallery.com’. Available at: https://www.casatigallery.com/designers/ico-parisi/. Casero, C. (2010) ‘Cristina Casero La Casa del Fascio di Como e la sue “ decorazioni ”. Uno strumento di comunicazione del potere’, I, pp. 118–134. Available at: https://core.ac.uk/download/pdf/41181477.pdf. Chiara Lecce (no date) ‘327750038_The_Italian_design_history_from_a_different_perspective_the_case_of_Ico_Parisi @ www.researchgate.net’. Available at: https://www.researchgate.net/publication/327750038_The_Italian_design_history_from_a_different_ perspective_the_case_of_Ico_Parisi. Ghirardo, D. (1980) ‘Politics of a Masterpiece: The Vicenda of the Decoration of the Facade of the Casa del Fascio, Como, 1936-39’, The Art Bulletin, 62(3), p. 466. doi: 10.2307/3050031. Ghirardo, D. Y. (1980) ‘Italian Architects and Fascist Politics: An Evaluation of the Rationalist’s Role in Regime Building’, Journal of the Society of Architectural Historians, 39(2), pp. 109–127. doi: 10.2307/989580. Paolo Rosselli (no date) ‘1c6aadc5a769388a034958779a05c1a75084cf4a @ paolorosselli.com’. Available at: https://paolorosselli.com/contacts/. Rifkind, D. (2006) ‘Furnishing the Fascist interior: Giuseppe Terragni, Mario Radice and the Casa del Fascio’, Architectural Research Quarterly, 10(2), pp. 157–170. doi: 10.1017/S1359135506000236. Codex, P., 2020. Casa Del Fascio (Ex), Piazza Del Popolo, 4 - Como (CO) – Architetture – Lombardia Beni Culturali. [online] Lombardiabeniculturali.it. Available at: http://www.lombardiabeniculturali.it/architetture/schede/3m080-00039/?view=ricerca&offset=4 Docenti.unina.it. 2020. [online] Available at: <https://www.docenti.unina.it/webdocenti-be/allegati/materiale-didattico/546641>. Domusweb.it. 2020. Architettura E Cinema A Como. [online] Available at: <https://www.domusweb.it/it/architettura/2001/07/30/architettura-e-cinema-a-como.html>. Edixxon.com. 2020. Mario Radice - Opere - "A.N.F.", 1945, Olio Su Tela, Cm 50X35..... [online] Available at: <http://www.edixxon.com/radice/07_opere/1121.html>. Klatmagazine. 2020. Paolo Rosselli “I Can’T Manage Without Writers”. [online] Available at: <https://www.klatmagazine.com/en/photography-en/paolo-rosselli/61232>. Maarc.it. 2020. CASA DEL FASCIO, GIUSEPPE TERRAGNI, COMO, MAARC, ARCHITETTURA, RAZIONALISMO, ASTRATTISMO. [online] Available at: <http://www.maarc.it/opera/casa-del-fascio>. Rifkind, D., 2006. Furnishing the Fascist interior: Giuseppe Terragni, Mario Radice and the Casa del Fascio. Architectural Research Quarterly, 10(2), pp.157-170. Schumacher, T. and Terragni, G., n.d. Surface & Symbol. Sportelli, V., 2020. La Casa Del Fascio Di Lissone: Progetto Di Restauro Di Un’Architettura Di Giuseppe Terragni. [online] Issuu. Available at: <https://issuu.com/valentina_sportelli/docs/tesi_terragni_2016>. Enricocano.com. 2020. Enrico Cano Fotografo | ARCHITETTURA | Giuseppe Terragni. [online] Available at: <http://www.enricocano.com/artista.php?dest=ARCHITETTURA&curr=Giuseppe%20Terragni> https://issuu.com/valentina_sportelli/docs/tesi_terragni_2016

PHOTOGRAPHIC BIBLIOGRAFY

Core.ac.uk. 2021. [online] Available at: <https://core.ac.uk/download/pdf/41181477.pdf> [Accessed 2021]. Edilportale. 2021. Il CIAC Di Foligno Ospita Il Razionalismo Di Giuseppe Terragni. [online] Available at: <https://www.edilportale.com/news/2012/10/eventi/il-ciac-di-foligno-ospita-il-razionalismo-di-giuseppe-terragni_29599_32.html>. Edixxon.com. 2021. Mario Radice - Opere - 1933-1936. Casa Del Fascio Di Como. Salone Delle Adunate, Al.... [online] Available at: <http://www.edixxon.com/radice/07_opere/1015.html>. Enricocano.com. 2021. Enrico Cano Fotografo | ARCHITETTURA | Giuseppe Terragni | GT-Como. [online] Available at: <http://www.enricocano.com/galleria.php?dest=ARCHITETTURA&curr=Giuseppe%20Terragni&prog=GT-Como&anno=2012#i26>. JULIA RITSON. 2021. House Of Fascism. [online] Available at: <https://juliaritson.com/2012/01/12/house-of-fascism/>. n.d. Parisi, Ico. [online] Available at: <http://www.lombardiabeniculturali.it/fotografie/ricerca/?current=2&autore=parisi%2C+ico&intestazione=fascio&luogo=&annop=0&annoa=0&genere=0&soggetto=0&provincia=&istituto=&fondo=0#>. profile, V., 2021. Impressive Fascist Architecture In Como, Italy. [online] Melbourneblogger.blogspot.com. Available at: <http://melbourneblogger.blogspot.com/2019/07/impressive-fascist-architecture-in-como.html>. Raveggi, L., 2021. MARIO RADICE: Pittura In Dialogo Con L’Architettura. [online] MultiploDAutore. Available at: <https://multiplodautore.com/2018/03/15/mario-radice-un-pittore-che-ha-dialogato-con-larchitettura/>. Rosselli, P., 2021. Casa Del Fascio, Como – PAOLO ROSSELLI. [online] Paolorosselli.com. Available at: <https://paolorosselli.com/casa-del-fascio-como/>. RUDY/GODINEZ. 2021. RUDY/GODINEZ. [online] Available at: <https://rudygodinez.tumblr.com/post/77701642186/giuseppe-terragni-casa-del-fascio-1932-1936>.

Conversation with Contemporary Photographers I would like to thank Paolo Rosselli and Enrico Cano for being so interested in my topic and to allow me to understand their views on the Casa del Fascio as Photographers on this centrury. Conversation with Paolo Rosselli (Skype)

Conversation with Enrico Cano (Email)

Did you have an intention while photographing the Casa del fascio?

Hello Simone,

I did not have an intention, I just wanted to photograph it and that’s it. Just very detailed, according to my personal style of photographing architecture. Terragni was a very happy individual, who was able to express himself very well and that is what I wanted to demonstrate in my photographs. Although he was a very complicated Architect, it is very easy once you understand him. You have to familiarise to his way of being.

I am a photographer specializing in architectural photography. Every time I photograph a building, I try to get into the architecture, the project ... .. highlight its characteristics, but above all I look for the side in which the beauty of this work is best expressed. In particular, by photographing Terragni, who as an architect was well ahead of his time, I tried to enhance his genius, his artistic soul. I never really thought, while photographing, about the years in which these architectures took light. Although this reflection I find extremely interesting, but then I was focused on the lines on the volumes on the beauty of these works. The life of architect Terragni, yes, has always intrigued me and I believe he was a sensitive, idealistic and brilliant person; his early death highlights the collapse of his ideals in the face of a system (the fascist and the Nazi one) that had actually taken advantage of the philosophy of futurism, and of rationalism in architecture, only in an instrumental way; then getting completely lost in genocides in the most gratuitous violence that unfortunately we all know marked the generations of that time and beyond.

Did you have any expectations before entering the building? Well my expectations is that they are very famous and legendary structures. After five minutes of entering you forget of everything. I was not influenced by nothing, neither from fascism or by seeing Terragni as someone influenced by fascism, I did not care about any of them. I start with a tabula rasa. Photography is a personal discussion and not something to impose on a group of people. Do you believe that the architecture can still portray a fascist meaning? The architecture has nothing to do with it. Fascism, unlike Nazism, allowed architects to be free, apart from those of expressed contrary opinions. All architects had adhered to Fascism simply because of the opportunities and because it guaranteed an opening towards a modern architecture, due to the fact that it was trying to demonstrate that it had contemporary ideologies of the time. The architecture does not link with politics, architecture is associated with the language of colours and movements of architects. But in the moment, it simply appears to coincide with Fascism, which was totally casual. Marcello Piacentini was the only architect that I would classify as a close minded, fascist, that always referred to the past.

SIMONE BEZZI Y3 PHOTOGRAPHY OF ARCHITECTURE