CASA DEL FASCIO TERRAGNI PDF

Description Change this. A masterpiece of rationalist architect Giuseppe Terragni , the Casa del Fascio (presently also known as Palazzo. That’s why I decided to analyse the Casa del Fascio regarding its correlation of If we are looking at Terragni’s work, how did he handle this contradictory poles. Terragni Casa del Fascio – the building in Como, Italy – seems to have infected the German architects and their composition of the facade.

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Sincethe building has housed the provincial headquarters of the Guardia di Finanza police force.

MrasGeorge P. Basic italian dictionary for travelers. Coming back to the very beginning of the rel referring to Aureli I want to point out what I found more than interesting about the way Terragni worked and how much politics on different levels of the overall process played an important role: Proportion of the subjects were carefully studied by modern architects as Le Corbusier, but do not forget that were also of vital importance in the Greek and Roman architecture. He explains in the text not just how the design has been developed regarding the site, surroundings, and architectural necessities but gives as well an insight into the idea of space and concept, related to the political importance of a Casa del Fascio, he had.

Casa del Fascio Change this. He had the even freedom to reject archetypical formal features like terravni arengario without them interfering. The Rationalists were aiming to bring the Ideas of Modernism to Italy. Pier Vittorio Aureli is arguing that on one hand architecture is never political in a sense that the architect is consequently searching for consensus — negotiating between various interests like users, clients neighbours, governance, aiming to find the best solution for everyone and turning disagreement into consensus manifested in built form.

Even if over the years there were several attempts to discuss the interrelation away, there is no doubt that some architects, like Terragni, were ardent Fascists.

One main objective of the design process was to integrate a certain kind of tradition to ground the project on solid roots in Italian tradition as the Fascist claimed to bring the best of the Italian culture altogether. Furthermore, the costs of construction were three times over budget and the building process took way longer than estimated. fascoo

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Casa del Fascio – Palazzo Terragni – Picture of Ex Casa del Fascio, Como

But What happens however when this is the totalitarian regime in the cradle of classical architecture? Regional and national party leaders suggested installing other, more symbolic decorations, what Terragni could forestall. Maya creates a portal of reinforced concrete, but not only spreads the grid for both directions of the horizontal plane, but it does in the three directions of space, as if the cube is the volume of the building were broken down in turn into smaller cubes.

The Casa is a marble reflection of totalitarian propaganda. That Terragni was strongly influenced by the mindset of the Fascist world surrounding him, can be seen very well in the article he wrote for Quadrante.

Single Edit Column Edit. Since the definition of the volume that cassa see Terragni seeks rapprochement between classical and modern. Historians and architectural critics ignored the fact of the political influence persistently [Ghirardo, ] — may it be related to the strong will to forget this period of fascism and war in Europe or simply a lack of interest — yet it constitutes and important aspect of the building and should be taken into account to understand the building in its total I think.

Politics played a major role in this building and are for me an aspect that can not be excluded from analysing this project.

The grid is slightly manipulated, to the extent that neither its dimensions nor its proportions are numerically regular. The strict plan would suggest an explicit mock-classical architecture, but attempts to search for a dynamic balance between the volumes and voids of the fronts, partly using large glass areas that connect the inside and the outside.

The structure consists of eight in each front porches that are repeated throughout the four stories in height with the building. As the local party chief argued the building would have needed more decoration to correct the iconographic deficiency of the facade perceived by the locals.

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The proposal handed in by the architect was rejected due to the heated opposition of one of the local Fascist representatives.

The great moral significance is thus linked to the typically functional concepts which must preside in the construction of the Casa del Fascio. The architect, born in in Meda, is still remembered for being the greatest exponent of the Italian Movement drl Rational Architecture MIARin he opened a studio in Como with his brother Attilio, engineer.

Once inside we found that in the bucket was empty at its center, leading to an atrium with a glass cover at the height of the second floor.

angelika hinterbrandner › casa del fascio

These two arguments are forming a dichotomy that can be summarised as the ideology of consensus — considering architecture as a discipline and practice — versus the reality of conflict — looking at the purely built form.

The entrance that is located on the southern side of the building is leading into the forecourt and following into the main entrance hall, which is two storeys high and made of a concrete structure filled with glass tiles.

The Casa del Fascio of Como Italian pronunciation: Recall that in a country with a historical burden can be as important as Italy Terragni was not only an advocate of the modern movement, but also ensures that this and the classical tradition were not irreconcilable, but on the contrary, should be combined.

At the same time, architecture is always political. The party promised the revival of fascist Italy and with it all the Italians, that his race was superior and unique, and so on. Drawn to the topic through Terragnis quote I decided to analyse the Casa del Fascio regarding political influences and meanings on different levels of the building as well as social relations connected to it.

In other projects Wikimedia Commons. Como, Italy by Giuseppe Terragni Change this. This statement of his own is particularly relevant, as it was used by Terragni to position his building within debates.

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