RATIONALISMUL ITALIAN

Rationalismul Italian: Gruppo 7

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

Alessandro Bruschetti,
Sintesi fascista 1935
 Palazzo della Civiltà

Colosseo quadrato
EUR
Esposizione Universale Roma.
In 1936 the Italian government
made a successful application for
hosting in Rome the next World
Exhibition which was due in 1941.
The Exhibition was soon
postponed to 1942 to celebrate
the XXth anniversary of the Fascist
regime.
The area chosen for the exhibition
was some three miles south of
the walls, near the river and the
road to Ostia. The architect
Marcello Piacentini was asked to
coordinate the development of a
plan having the objective to
create a new quarter of Rome and Giovanni Guerrini, Ernesto Bruno La Padula y
not only to build the temporary Mario Romano
pavilions required by the Palazzo della Civiltà Italiana
Exhibition. Roma
Sediul partidului Fascist si al lui Benito Musolini din Roma in
1930.
Terza Roma, Palazzo della Civiltà Italiana [Italian Civility Palace] by Guerrini, La Padula,
Romano. Centre, Terza Roma, Palazzo dei Congressi [Congress Palace] by Adalberto Libera
The Palazzo was designed by the
architects Giovanni Guerrini, Ernesto
Bruno La Padula and Mario Romano
and constructed between 1938 and
1943.
TERRAGNI
Casa del Fascio , 1936 Como, Italia
Giuseppe Terragni
Casa del Fascio
1936 Como, Italia
Sangallo, Palazzo Farnese, Casa del Fascio, ground floor
Rome,piano nobile plan plan
Giuseppe Terragni,
Casa del Fascio,
Como, Italy, 1936
Casa Rustici | G. Terragni P. Lingeri | 1937 | Milano
Novocomun,
Giussepe
Terragni, Como,
1927-1929
Giussepe Pagano scria in Casabella despre Novocomun ca fiind o capodopera moderna, e clar
insa ca a evaluat-o doar pe baza exteriorului : " O noua estetica s-a nascut, un nou mod de viata,
un nou mod de imaginare a habitatului. Aceasta casa anti-romantica, anti-decadenta nu s-a
nascut din capriciu ci s-a nascut din nevoile spirituale, din necesitati impuse de logica, acest
arhitect, aceasta casa care starneste azi protest si uimire, intr-un timp scurt va deveni norma, va
fi casa tuturor, casa viitorului".
Asilo infantile Sant'Elia, designed by Giuseppe Terragni1936-37,
Como
Villa di Terragni a Seveso
G. Terragni, Danteum
The Danteum is an unbuilt monument to Dante Alighieri designed by the
modernist architect Giuseppe Terragni at the behest of Benito Mussolini's
Fascist government.
The structure was meant to be built in Rome on the Via dell'Impero. The
intention was to celebrate the famous Italian poet Dante Alighieri, whose
Divine Comedy glorifies Imperial Rome and extols the virtues of a strong
secular government. Though it was not constructed, the design was presented
at the 1942 Exhibition in Rome.
Compositionally, the Danteum is conceived as an allegory of the Divine
Comedy. It consists of a sequence of monumental spaces that parallel the
narrator's journey from the "dark wood" through hell, purgatory, and paradise.
Rather than attempting to illustrate the narrative, however, Terragni focuses on
the text's form and rhyme structure, translating them into the language of
carefully proportioned spaces and unadorned surfaces typical of Italian
Rationalism.
Since the form of the Divine Comedy was itself influenced by the architectural
structure of Byzantine churches, the Danteum is in a sense a translation of a
translation. Because of the complex of literary, artistic, and architectural
meaning associated with the design, the theorist Aarati Kanekar regards it as
examplary of how a spatial structure can express a sophisticated poetic
meaning without an explicit "vocabulary" of architectural symbols.
Dante and His Poem, Michelangelo
1 THE DARK FOREST (Selva Oscura)
2 THE HALL OF HELL (Inferno)
3 THE ROOM IN PURGATORY (Purgator)
4 THE ROOM OF HEAVEN (Paradiso)
5 THE EMPIRE ROOM
6 THE STEPS
The journey begins, as in Dante's poem,
with the crossing of the "Selva Oscura" (1),
represented by a dense network of
columns.
The light filters through the cracks in this
space in the attic, just like in a forest where
the ground comes luca filtered by the leaves
and branches of trees. We must therefore
get into the "forest", avoid the "trees" and
find, as in a labyrinth marked by dense
columns, the entrance to the next room
As the Divine Comedy includes
references to numerology and geometry,
the poem could be seen as a written
allegory of the physical structure of the
afterlife. Terragni, in his turn, took the
text and designed a physical model of
that written allegory, also using
numerology and geometry.
THE DARK FOREST (Selva Oscura)
Adalberto Libera's Villa Malaparte, Capri, 1938
Adalberto Libera's Villa Malaparte,
Capri, 1938
Drawing by Adalberto Libera
Cesare Cattaneo,
Casa d'affitto a
Cernobbio, 1938-
1939