Master Files 2023

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

M03 . DESIGN

CITY . WATER . INTENSITY

01

DWELLING (WITH)IN THE LIMIT

ORTOPHOTOMAP | scale 1:2500 MASTERPLAN | scale 1:2500

1. alignments

2. elevations rhythm

3. urban voids pattern

4. visual connection

DIAGRAM FOR MASTERPLAN 0

80

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

M03 . DESIGN

CITY . WATER . INTENSITY

02

DWELLING (WITH)IN THE LIMIT

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

M03 . DESIGN

CITY . WATER . INTENSITY

03

DWELLING (WITH)IN THE LIMIT

1

11

2 3 10 4

9

5

6

LOCATION PLAN | scale 1:500 1. hairdresser 2. laundry 3. tobacco shop 4. diner 5. clothes shop 6. infopoint 7. co-working space 8. free exhibition room 9. minimarket 10. library 11. toy library

VOLUMETRIC PLAN | scale 1:1000

COLLAGE | URBAN SKYLINE

1. building vertical guidelines

2. building orizzontal guidelines

3. existing public space guidelines

4. new urban connection

5. new square with frame towards the river

DIAGRAM | DESIGN PROCESS 0

80

ENVIRONMENTAL SECTIONS | scale 1:500

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

7

8

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

M03 . DESIGN

CITY . WATER . INTENSITY

04

DWELLING (WITH)IN THE LIMIT

GROUND FLOOR PLAN | scale 1:200

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

M03 . DESIGN

CITY . WATER . INTENSITY

05

DWELLING (WITH)IN THE LIMIT

TYPE FLOOR PLAN | scale 1:200

beams

partitions for vertical distribution pavimentation

pillars

green

facade rhythm

main paths

public environments entrances

secondary paths

private environments entrances

water DIAGRAM | PUBLIC SPACE 0

80

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

DIAGRAM | CIRCULATION 0

40

DIAGRAM | BUILDING ACCESSES 0

40

DIAGRAM | STRUCTURE | scale 1:500

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

AXONOMETRY | TYPE FLOOR PARTITIONS | scale 1:200

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

M03 . DESIGN

CITY . WATER . INTENSITY

06

DWELLING (WITH)IN THE LIMIT

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

CITY . WATER . INTENSITY DWELLING (WITH)IN THE LIMIT

SOUTH ELEVATION | scale 1:200

EAST ELEVATION | scale 1:200

TOP FLOOR PLAN | scale 1:200

The predominant average hourly wind direction in Lisbon varies throughout the year.

The wind is most often from the north for 11 months, from January 3 to December 9, with a peak percentage of 74% on July 24. The wind is most often from the east for 3.6 weeks, from December 9 to January 3, with a peak percentage of 29% on January 1. source: weatherspark.com NORTH ELEVATION | scale 1:200 Since the project area is located near the river, the average wind speed is higher, so the project thought how to deal with this.

DIAGRAM | WIND

WEST ELEVATION | scale 1:200 7 AM

10 AM

2 AM

5 AM

DIAGRAM | SHADOWS

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

M03 . DESIGN

07

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

CITY . WATER . INTENSITY DWELLING (WITH)IN THE LIMIT

M03 . DESIGN

08

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

CITY . WATER . INTENSITY DWELLING (WITH)IN THE LIMIT

A

B’

B A’

SECTION A-A’ | scale 1:200

SECTION B-B’ | scale 1:200

DETAIL | POOL | scale 1:20 1. ceramic cladding 2. tile glue 3. cement mortar 4. double layer waterproofing film for swimming pools 5. insulating layer of bentonite 6. polypropylene sheet 7. reinforced concrete floor 8. thermo-acoustic insulation in glass wool 9. bituminous sheath 10. false ceiling for systems 11. lighting system 12. piping system for draining and collecting water

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

M03 . DESIGN

09

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

CITY . WATER . INTENSITY DWELLING (WITH)IN THE LIMIT

M03 . DESIGN

10

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

M03 . ANALYSIS

CITY . WATER . INTENSITY

01

DWELLING (WITH)IN THE LIMIT

TERRITORY ANALYSIS | TOPOGRAPHY | scale 1:7000

TERRITORY ANALYSIS | URBAN FABRIC | scale 1:7000

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

CAIS DO SODRE

CHIADO

BAIXA

ALFAMA

It is a completely renovated neighborhood with new commercial and cultural spaces. In the past it was originally a landing place for sailors who sought the pleasures of the mainland after having been to the sea. Therefore, over time it has become an industrial area dominated and rich in different fabrics. They have changed their function over time and due to its continuous innovation there are currently several cultural and academic places for young people.

Sandwiched between the Barrio Alto and the Baixa, the Chiado district is one of the historic areas of Lisbon. Numerous avenues branch off from the homonymous Largo do Chiado square, where there are several historical monuments including Convento do Carmo and the Church of São Roque. The urban fabric follows the gradient creating many lift points (elevadores) and miradouros.

The Baixa district, rebuilt after the 1755 earthquake, therefore follows the Pombaline style with a new plot of orthogonal streets, which arises in a “mediated” relationship with the pre-existing context. It is defined by a development of the building orthogonal to the river and by another parallel that opens towards the river, establishing a relationship of immediate continuity with it.

Alfama is the oldest and most charming district of Lisbon; a charming maze of cobbled lanes and traditional buildings that stretches over craggy hills from the banks of the Tagus to the Castelo de São Jorge. Historically Alfama was located outside the castle walls; it was a neighborhood where only extremely poor people lived. As Lisbon developed and transformed into a major maritime city, the neighborhood remained humble, a hard and deprived area inhabited by sailors and longshoremen.

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

ADHC | POLIMI | 2022-2023 | PAULO DAVID _ BARBARA BOGONI _ CAMILLO MAGNI

M03 . ANALYSIS

CITY . WATER . INTENSITY

02

DWELLING (WITH)IN THE LIMIT

2

4

1

5

6

3

URBAN ANALYSIS | CAIS DO SODRE | scale 1:2000

1 IADE - Creative University

The area has an advantageous location near the sea and one of the most important railway stations in the city, Cais de Sodre which distributes the metro, the tram and the ferry.

2 Dom Luís office building, gym and plaza

Today it is a nightlife/live place, full of commercial establishments, academic institutions, cultural institutions and offices.

GROUP 01 | CIBOTTO MARINA_CORRADINI CHIARA_LI HAOXING_PEREA PEDRO PABLO

In the survey we noticed that it is a recently redeveloped area with new commercial and cultural attractions.

3 Urban voids in front of Tejo river

The project area is located in the district of Cais do Sodre.

4 Museu das Comunicações

5 EDP Headquarters and public plaza

6 Cais do Sodré station

57 12 PAVILION FLOATING PAVILION

BIRD’S EYE VIEW

MASTERPLAN 1:400

The shape of the pavilion is composed in different blocks, organised according to the painting of the italian master Manlio Rho. In his painting he characterized all the shapes with different color and sizes. In the floating pavilion for the city of Como the design follows the same rule and work also with the context going to disposed the single block according to specific point of view, especially on the rationalist part of the city, on the historical parto of Comom on the other side of the lake and on the city of Cernobbio.

Also the roof follows the same rule of different shape in chaotic order.

Composizione 57 12, Manlio Rho

ELEMENT OF PAVILION BUILDING REFERENCES VILLA AMILA / Pietro Lingeri / 1927

The Italian Powerboat Association of Como Lake organized, since the 1920, sports events on Como Lake. For the importance that it was acquiring, the architect Pietro Lingeri who was member of the Association, he thought to a project concerning the new headquarters.

The site chosen for the construction of the building, purchased in 1931, is located in Tremezzo close to the lake and bordering the mouth of the river Bolvedro. The architecture is inspired by that of a ship whose structure is designed to ensure maximum functionality, such as the semicircular terrace that juts out into the lake, which was conceived as the preferred viewing spot for speedboat races

PISCINE LECA DE PALMEIRA / Alvaro Siza / 1966

CERNOBBIO

PROJECT AREA

The geometry of the new church, with a rectangular plan, retains the memory of the previous building.

The parish premises and the rectory are articulated around a central patio. The liturgical hall has a double height and is surrounded by volumes of lower height: the presbytery, the working chapel, the side nave, the penitentiary and the baptistery. The project was developed following criteria of environmental sustainability and the structures are made of X-LAM wood. The interior and exterior of the building have also been the subject of careful lighting design.

iona

list

and

exis

ting

Com

o

View of the lake

Rat

CHIESA DI VARIGNANO / Tamassociati / 2019

ANALYSIS OF THE SITE 1:15000

Historical Como

The shape of the pavilion is composed in different blocks, organised according to the painting of the italian master Manlio Rho. In his painting he characterized all the shapes with different color and sizes. In the floating pavilion for the city of Como the design follows the same rule and work also with the context going to disposed the single block according to specific point of view, especially on the rationalist part of the city, on the historical parto of Comom on the other side of the lake and on the city of Cernobbio.

Also the roof follows the same rule of different shape in chaotic order.

COMO

iona

list

axis

Historical axis

THE GOLDEN RATIO RATIONALIST REFERENCE

Rat

VIERENDEEL BEAM STRUCTURAL REFERENCE

SPACES AND LIGHT ELEMENT OF THE PROJECT

TRANSITION SPACES SPACES TO STAY

IC ARCHITECTURAL DESIGN AND HISTORY Chiara Baglione, Matteo Moscatelli Giorgia Concato, Fabio Marino, Simone Milani

EXHIBITION SPACE SERVICES

GROUP 5

ARCHITECTURAL DESIGN

Edoardo Sartori, Abuhay Yared Dessalegn, Pedro Pablo Perea, Nicolàs Serrano Serrano, Liu Wanxin

57 12 PAVILION

P.01

FIRST FLOOR 1:100

SECTION A-A’ 1:100

B’

B’

GROUND FLOOR 1:100

8

10

SECTION B-B’ 1:100

A

7

6

A’

A

A’

5 9

4

WEST ELEVATION 1:100

1 3

3 2

B

B

SOUTH ELEVATION 1:100

LEGENDA 1-ENTRANCE 2-TICKET OFFICE 3-VERTICAL DISTRIBUTION 4-STORE 5-BATHROOM 6-BOOKSHOP 7-KITCHEN 8-BAR 9-EXHPOSITION SPACE 10-TERRACE

IC ARCHITECTURAL DESIGN AND HISTORY Chiara Baglione, Matteo Moscatelli Giorgia Concato, Fabio Marino, Simone Milani

GROUP 5

ARCHITECTURAL DESIGN

Edoardo Sartori, Abuhay Yared Dessalegn, Pedro Pablo Perea, Nicolàs Serrano Serrano, Liu Wanxin

57 12 PAVILION

P.02

AXONOMETRY EXPLOSION PROJECT’S LAYERS

STRUCTURE OF THE FLOATING PAVILION DETAIL OF THE PROJECT

ROOF PLAN

FIRST PLAN

GROUND PLAN

VIEW FROM THE ENTRANCE OF THE PAVILION

IC ARCHITECTURAL DESIGN AND HISTORY Chiara Baglione, Matteo Moscatelli Giorgia Concato, Fabio Marino, Simone Milani

VIEW OF THE GROUND FLOOR

VIEW FROM THE LAKE OF THE BAR SPACE

VIEW OF THE MAQUETTE

GROUP 5

ARCHITECTURAL DESIGN

Edoardo Sartori, Abuhay Yared Dessalegn, Pedro Pablo Perea, Nicolàs Serrano Serrano, Liu Wanxin

57 12 PAVILION

P.03

HARMONY IN FORM:

COPOSITIONAL SCHEME

TRACING THE BAUHAUS INFLUENCE ON PRE-WWII ITALIAN DESIGN

3

EXPOSITION PLAN

4

EXHIBITION TOUR

2

1. THE COLUMBUS FURNITURE A. 34E, MARCEL BREUER, 1933.

B. 1FA, ERCOLE FACCIOLI, 1933.

C. 195PA, GIUSEPPE PAGANO, 1934.

D. SELF SPRUNG CHAIR, GIUSEPPE TERRAGNI, 1936.

1

b

2. THE DESIGN EXHIBITIONS E. GERMAN SECTION, WERKBUND PARIS, 1930.

F. CASA DI UN ARTISTA SUL LAGO, V TRIENNALE DI MILANO, GRUPPO COMO 1933.

G. SALA DI ATESSA PER LO STUDIO DI UN MEDICO, BOTTONI & PUCCI, VI TRIENNALE DI MILANO, 1936.

STEEL SUSPENSION CABLES FROSTED TRANSLUCENT ACRYLIC BACKDROP

3. THE STORES, PRODUCT DISPLAY H. OLIVETTI VITRINE, XANTY SCHAWINSKY, 1935.

I. OLIVETTI VITRINE, SINISGALLY & PINTORI, 1938.

J. LAGOMARSINO STORE, BIANCHETTI & PEA, 1942.

K. LAGOMARSINO STORE, BI VANCHETTI & PEA, 1942.

ORIGINAL STEEL TUBE FURNITURE 34E

4. THE GRAPHIC TIMELINE L. VARIOUS ARTISTS AND DATES

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

COLOR TINTED ACRYLIC INFO PANEL

Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.

ESC 1:50

f

STEEL SUSPENSION CABLES YLIC BACKDROP

SUSPENDED EXHIBITION PANEL ORIGINAL PICTURES

STEEL TUBE CHAIRS PAINTED WHITE

BASE PLATFORM ESC 1:50 EXPOSITION PLAN

i

FREESTANDING EXHIBITION PANEL

b

HIGHLY ACCURATE STOREFRONT REPRODUCTION

j

c

e i

a

BASE PLATFORM

g

d

ESC 1:50

k h

REFERENCES

f

L L’

L

4 CONCRETE WALL

ESC 1:100

1

ORIGINAL BOOKS/MAGAZINES

3

2

ADHESIVE VINIL PRINT ORIGINAL POSTERS

LONGITUDINAL ELEVATIONS ESC 1:50 ARCHITECTURE WITHOUT ARCHITECTS DAMIÁN ORTEGA, 2010. LOCATIONS VARIABLE

TUTTO PONTI. GIO PONTI ARCHI - DESIGNER MUSÉE DES ARTS DÉCORATIFS, 19.10.2018 - 5.05.2019.

4. GRAPHIC TIMELINE "PAINTING PHOTOGRAPHY AND FILM" 1925

BY LAZLO MOHOLY-NAGY

CASABELLA NO.1 JANUARY 1928 DIRECTED BY GUIDO MARANGONI

DOMUS NO.1 JANUARY 1928 DIRECTED BY GIO PONTI

CASABELLA NO.19 JULY 1929 DIRECTED BY GUIDO MARANGONI

L ’UFFICIO MODERNO, LA PUBBLICITÀ V;–8 7 JULY –AUGUST 1930.

COVER BY BRUNO MUNARI

DIE NEUE LINIE JG.I; 1 SEPTEMBER 1929 COVER BY LAZLO MOHOLY-NAGY

LIDEL XI; 11 15 NOVEMBER 1930 COVER BY BRUNO MUNARI

L ’UFFICIO MODERNO N.8 AGOSTO 1932 COVER BY BRUNO MUNARI

L ’UFFICIO MODERNO N.11 NOVEMBRE 1932 COVER BY BRUNO MUNARI

ATMOSFERA 1933 ARTE MODERNA COVER BY BRUNO MURANI

ATMOSFERA 1933 DOPO LA GUERRA VIEN LA PACE COVER BY BRUNO MURANI

ATMOSFERA 1933 TENDENZE DELL' ARCHITETTURA COVER BY BRUNO MURANI

ATMOSFERA 1933 SEX APPEAL COVER BY BRUNO MURANI

ATMOSFERA 1933 GINEVRA COVER BY BRUNO MURANI

L’ALA D’ITALIA XIII; 1 JANUARY 1934 COVER BY BRUNO MURANI

LA RIVISTA ILLUSTRATA DEL POPOLO D ’ITALIA, XII; 3 MARCH 1934 COVER BY BRUNO MURANI

DIE NEUE LINIE JG.VI; 2 OCTOBER 1934 COVER BY H. BAYER L’ALA D’ITALIA XIV; 1 JANUARY 1935 COVER BY BRUNO MURANI

L’UFFICIO MODERNO X; 5 MAY 1935 COVER BY BRUNO MURANI

LE FORZE IGNOTE DELL'ANIMA 1936 COVER BY BRUNO MURANI

LA LETTURA XXXVII; 4 APRIL 1937 COVER BY BRUNO MURANI

LA LETTURA XXXVII; 10 OCTOBER 1937 COVER BY BRUNO MURANI

DIE NEUE LINIE JG.IX; 5 JANUARI 1938 COVER BY H. BAYER

LA LETTURA XXXVII; 11 NOVEMBER 1937 COVER BY BRUNO MURANI

LA LETTURA XXXVIII; 6 JUNE 1938 COVER BY BRUNO MURANI

NATURA XI; 11 NOVEMBER 1938 COVER BY BRUNO MURANI

GRAZIA NO.1 NOVEMBER 1938 COVER BY BRUNO MURANI

FASCIST PERIOD

GRAZIA NO.11 JANUARY 1939 COVER BY BRUNO MURANI

GRAZIA NO.42 AUGUST 1939 COVER BY BRUNO MURANI

GRAZIA NO.137 JUNE 1941 COVER BY BRUNO MURANI

GRAZIA NO.60 DECEMBER 1939 COVER BY BRUNO MURANI

NATURA XV; 3–4 MARCH/APRIL 1942 COVER BY BRUNO MURANI

LE MACCHINE DI MUNARI. TORINO: EINAUDI 1942

BY BRUNO MUNARI

1919 FASCIST MANIFESTO

OF DOMUS 1928 FOUNDATION XVI BIENNALE DI VENEZIA

"THE MANIFESTO OF THE ITALIAN FASCES OF COMBAT" COMMONLY KNOWN AS THE FASCIST MANIFESTO, WAS THE INITIAL DECLARATION OF THE POLITICAL STANCE OF THE FASCI ITALIANI DI COMBATTIMENTO ("ITALIAN FASCES OF COMBAT")，THE MOVEMENT FOUNDED IN MILAN BY BENITO MUSSOLINI IN 1919 AND AN EARLY EXPONENT OF FASCISM.THE MANIFESTO WAS AUTHORED BY NATIONAL SYNDICALIST ALCESTE DE AMBRIS AND THE FUTURIST POET FILIPPO MARINETTI. THE MANIFESTO IS DIVIDED INTO FOUR SECTIONS, DESCRIBING THE MOVEMENT'S OBJECTIVES IN POLITICAL, SOCIAL, MILITARY AND FINANCIAL FIELDS.

WHILE DE FINETTI DEFINED THE AUSTERE EXTREME OF MUZIO’S GROUP, THE DECORATIVE RICHNESS OF THE CLASSICAL HERITAGE WAS EXPLORED BY GIO PONTI. FINISHING HIS DEGREE AT THE POLITECNICO AFTER THE WAR, PONTI SOON BECAME THE ARTISTIC DIRECTOR OF RICHARD GINORI’S CERAMICS PRODUCTION LINE, WHICH BROUGHT CLASSICAL ORDER INTO MANY ITALIAN HOMES. IN A CLEAR POLEMIC AGAINST STRICT FUNCTIONALISM, PONTI OPINED THAT HOUSES WERE NOT MACHINES FOR LIVING, AS LE CORBUSIER CALLED THEM, BUT SANCTUARIES OF STYLISH BEAUTY AND REFINED COMFORT THAT PROVIDED “THE SETTING FOR ITALIAN LIFE.” “LA CASA ALL’ITALIANA” WAS THE TITLE OF PONTI’S EDITORIAL IN THE INAUGURAL ISSUE OF HIS DESIGN MAGAZINE, DOMUS, IN 1928. ITS LATINATE NAME REFLECTS THE CLASSICAL BASIS OF PONTI’S BRAND OF MODERNISM. IN THE PAGES OF THIS INFLUENTIAL AND LONG-LIVED DESIGN JOURNAL, PONTI AND HIS NEOCLASSICIST COLLEAGUES EXPLORED BUILDING TYPES IN RELATION TO THE SPECIAL CULTURAL AND CLIMATIC CONDITIONS OF ITALIAN IDENTITY. THE INCIPIENT MOVEMENT GARNERED A CERTAIN LEVEL OF SUCCESS AND RECOGNITION WHEN PONTI BUILT THE MAIN PAVILION FOR THE VENICE BIENNALE IN 1928.

1929 BARCELONA INTERNATIONAL EXPOSITION

1930 IVDI TRIENNALE MONZA

THE 1929 BARCELONA INTERNATIONAL EXPOSITION WAS THE SECOND WORLD FAIR TO BE HELD IN BARCELONA. THE PREVIOUS 1888 BARCELONA UNIVERSAL EXPOSITION HAD LED TO A GREAT ADVANCE IN THE CITY'S ECONOMIC, ARCHITECTURAL AND TECHNOLOGICAL GROWTH AND DEVELOPMENT. A NEW EXPOSITION WAS PROPOSED TO HIGHLIGHT THE CITY'S FURTHER TECHNOLOGICAL PROGRESS AND INCREASE AWARENESS ABROAD OF MODERN CATALAN INDUSTRY. THE PAVILIONS INCLUDE GERMAN PAVILION BY MIES VAN DER ROHE, THE QUINTESSENTIAL PIECE OF 20TH-CENTURY ARCHITECTURE. ITALIAN PAVILION WAS DESIGNED BY PIERO PORTALUPPI. IN THE SHAPE OF A U, IT HAS A RENAISSANCE CLASSICAL STYLE AND A MONUMENTAL ATMOSPHERE. THE FAÇADE HAD SOME COLUMNS WITH THE EAGLE OF THE ROMAN EMPIRE, A FRIEZE WITH THE COUNTRY'S NAME AND A FRONTON FINISHED OFF WITH A STATUE OF MINERVA.

1933 VDITRIENNALE MILANO

DELLA 1932 MOSTRA RIVOLUZIONE FASCISTA ARCHITECTURE PLAYS AN IMPORTANT ROLE WITH THE CONSTRUCTION OF THREE LIFE-SIZE MODELS OF HOUSES IN THE PARK: THE CASA PER LE VACANZE (HOLIDAY HOUSE)

BY EMILIO LANCIA AND GIO PONTI, THE CASA DEL DOPOLAVORISTA (HOUSE OF THE DOPOLAVORISTA)

BY LUISA LOVARINI AND THE CASA ELETTRICA DEL GRUPPO 7 (ELECTRIC HOUSE OF GROUP 7), FINANCED BY THE EDISON COMPANY AND CONSIDERED A SYMBOL OF ITALIAN RATIONALISM.

THE EXHIBITION OF THE FASCIST REVOLUTION (MOSTRA DELLA RIVOLUZIONE FASCISTA) WAS AN ART EXHIBITION HELD IN ROME AT THE PALAZZO DELLE ESPOSIZIONI FROM 1932 TO 1934. IT WAS OPENED BY BENITO MUSSOLINI ON 28 OCTOBER 1932 AND WAS THE LONGEST-LASTING EXHIBITION EVER MOUNTED

BY THE FASCIST REGIME. NEARLY FOUR MILLION PEOPLE ATTENDED THE EXHIBITION IN ITS TWO YEARS. INTENDED TO COMMEMORATE THE REVOLUTIONARIES WHO HAD TAKEN PART IN THE RISE TO POWER OF ITALIAN FASCISM, THE EXHIBITION WAS SUPPOSED TO BE, IN MUSSOLINI'S OWN WORDS, "AN OFFERING OF FAITH WHICH THE OLD COMRADES HAND DOWN TO THE NEW ONES SO THAT, ENLIGHTENED BY OUR MARTYRS AND HEROES, THEY MAY CONTINUE THE HEAVY TASK. THROUGH PIACENTINI’S AGENCY, THE AVANT-GARDE MOVEMENT WAS GIVEN ITS FIRST BIG BREAK: THE INVITATION TO DESIGN THE FACE OF FASCISM AT THE MOSTRA DELLA RIVOLUZIONE FASCISTA.

THROUGHOUT THE 1930S THERE WAS ALWAYS ROOM FOR THE MODERN DESIGN.THE TRIENNALE, TRANSFERRED IN 1933 FROM MONZA TO A PERMANENT PAVILION IN MILAN BUILT BY MUZIO, REMAINED AN INFLUENTIAL DOMAIN FOR THE DEVELOPMENT OF A VIABLE LANGUAGE OF RATIONALIST ARCHITECTURE. THE 5TH TRIENNALE OPENED IN MAY 1933 IN THE NEW MILANESE PREMISES OF THE PALAZZO DELL'ARTE, DESIGNED BY GIOVANNI MUZIO. ARCHITECTURE IS THE PROTAGONIST WITH AN EXHIBITION DEDICATED TO MODERN EUROPEAN ARCHITECTURE AND ITALIAN RATIONALISM, RECOGNISED BY THE REGIME AS THE COUNTRY'S TECHNICAL AND CULTURAL AVANT-GARDE. THE EXHIBITION OF DECORATIVE ARTS SEES THE PARTICIPATION, WITH WALL PAINTINGS, MOSAICS AND PLASTIC WORKS, OF MAJOR ITALIAN ARTISTS INCLUDING MASSIMO CAMPIGLI, CARLO CARRÀ, FELICE CASORATI, GIORGIO DE CHIRICO AND ACHILLE FUNI, COORDINATED BY MARIO SIRONI. THE FIRST MILAN TRIENNALE MARKED THE BEGINNING OF A FORTUNATE RELATIONSHIP WITH SEMPIONE PARK, WHERE FORTY TEMPORARY CONSTRUCTIONS OF AN EXPERIMENTAL NATURE WERE CREATED, DESIGNED BY FAMOUS ITALIAN ARCHITECTS INCLUDING FIGINI AND POLLINI, GIUSEPPE TERRAGNI, PIERO PORTALUPPI, PIETRO LINGERI, THE B.B.P.R. GROUP AND PIERO BOTTONI.

WERKBUND EXHIBITION BAUHAUS PARIS 1930

BAUHAUS 1919-1928 MASTER CHECKLIST, MOMA

1934 ITALIAN AERONAUTICAL EXHIBITION

CASA DI UN ARTISTA SUL LAGO GRUPPO COMO V TRIENNALE MILANO, 1933

34E, MARCEL BREUER 1FA, ERCOLE FACCIOL 1933

TROOPS 1935 ITALIAN SEIZED ETHIOPIA

THE ITALIAN AERONAUTIC EXPOSITION WAS INTENDED TO RECONSTRUCT THE HISTORY OF THE NATIONAL AERONAUTICS AND AVIATION FROM ITS ORIGINS TO 1934 AT THE IV TRIENNALE IN MILAN. THE EXHIBITION WAS DIVIDED INTO TWO PARTS: ONE DEDICATED TO THOSE VISITORS, WHO HAVE NEVER FLOWN BEFORE AND COULD ONLY IMAGINE WHAT THE FLIGHT IS LIKE, AND THE OTHER ONE DEDICATED TO THE ITALIAN AERONAUTS. A LARGE NUMBER OF ITALIAN ARCHITECTS TOOK PART IN THE MEMORABLE MOSTRA DELL'AERONAUTICA IN MILAN, ORGANIZED BY PAGANO AND FELICE AT THE PALAZZO DELL ARTE SITE OF THE TRIENNALE. GIO PONTI DESIGNED THE LIGHTER-THAN-AIR ROOM: NOTHING STANDING ON THE GROUND, WALLS LINED WITH SILVERED CANVAS FOR AIRSHIPS, HANGING MODELS. THE SALA DELLE MEDAGLIE D’ORO DESIGNED BY MARCELLO NIZZOLI AND EDOARDO PERSICO AND THE SALA DELL’AERODINAMICA BY ALBINI SHOWED A SINGULAR AFFINITY, TO BE OBSERVED IN THE INTERTWINING OF THE OBJECTS FLOATING IN SPACE (I.E. INSCRIPTIONS, PHOTOGRAPHIC PANELS AND MODELS) AND THE REGULAR GEOMETRY OF THE SUPPORTING FRAMES, IN METAL OR WHITE PAINTED WOOD, FORMING A RHYTHMICAL PACE AT DIFFERENT HEIGHTS.

1936 VIDI TRIENNALE MILANO

THE SECOND ITALO-ETHIOPIAN WAR, ALSO REFERRED TO AS THE SECOND ITALO-ABYSSINIAN WAR, WAS A WAR OF AGGRESSION WHICH WAS FOUGHT BETWEEN ITALY AND ETHIOPIA FROM OCTOBER 1935 TO FEBRUARY 1937. IT IS SEEN AS AN EXAMPLE OF THE EXPANSIONIST POLICY THAT CHARACTERIZED THE AXIS POWERS AND THE INEFFECTIVENESS OF THE LEAGUE OF NATIONS BEFORE THE OUTBREAK OF THE SECOND WORLD WAR. IN OCTOBER 1935, ITALIAN TROOPS SEIZED ETHIOPIA, AND THE FASCIST REGIME TRIUMPHANTLY PROCLAIMED ITS AMBITION TO REBUILD THE ANCIENT ROMAN EMPIRE.THE INITIAL REVOLUTIONARY CHARACTER OF THE FASCIST MOVEMENT GAVE WAY TO A MORE RESOLUTE, CONSERVATIVE TREND COMMENSURATE WITH THE ASPIRATION OF AN IMPERIAL GUIDING FORCE. ITALY'S MILITARY VICTORY OVERSHADOWED CONCERNS ABOUT THE ECONOMY. MUSSOLINI WAS AT THE HEIGHT OF HIS POPULARITY IN MAY 1936 WITH THE PROCLAMATION OF THE ITALIAN EMPIRE.

195PA GIUSEPPE PAGANO 1933

THE PROGRAMME OF THE EDITION, DEFINED BY EDOARDO PERSICO AND GIUSEPPE PAGANO, SEES THE LINK BETWEEN THE FASCIST REGIME AND MODERNIST ARCHITECTURE CONSOLIDATED. PAGANO DESIGNED THE OUTDOOR PAVILION, DESTROYED BY BOMBING DURING THE SECOND WORLD WAR, AND A GLASS-CONCRETE TOWER THAT SERVES AS THE ENTRANCE TO THE EXHIBITION. PARCO SEMPIONE HOSTS AN OPEN-AIR CINEMA-THEATRE AND THE FOUNTAIN BY MARIO RADICE AND CESARE CATTANEO. FOREIGN PRESENCES ARE VALUABLE WITH THE FRENCH SECTION CURATED BY LE CORBUSIER, THE FINNISH SECTION BY ALVAR AALTO AND THE SWISS SECTION BY MAX BILL. THE PRIDE OF THIS EDITION ARE THE INTERNATIONAL URBAN PLANNING EXHIBITION, THE EXHIBITION OF BUILDING SYSTEMS AND THE EXHIBITION OF ANCIENT GOLDSMITHS WITH AN INSTALLATION BY FRANCO ALBINI. THE DYNAMIC RELATIONSHIP BETWEEN ANCIENT SYMBOLISM AND MODERN FORM WAS PURSUED IN NUMEROUS INSTALLATIONS AT SUCCESSIVE TRIENNIALS, SUCH AS THE 1936 SALA D’ONORE DESIGNED BY EDOARDO PERSICO, MARCELLO NIZZOLI, AND GIANCARLO PALANTI WITH THE SCULPTOR LUCIO FONTANA. ALTHOUGH EPHEMERAL, THESE INSTALLATIONS WERE SIGNIFICANT IN THEIR PROPAGATION OF IMAGES THAT RECONCILED THE ANCIENT AND THE MODERN.

SALA DI ATTESA PER LO STUDIO DI UM MEDICO BOTTONI, PUCCI VI TRIENNALE MILANO 1936

OLIVETTI VITRINA

BY XANTY SCHAWINSKY 1935

EXPO 1937 WORLD 1937 PARIS

1938 ITALIAN RACIAL LAWS

THE EXPOSITION INTERNATIONALE DES ARTS ET TECHNIQUES DANS LA VIE MODERNE (INTERNATIONAL EXPOSITION OF ART AND TECHNOLOGY IN MODERN LIFE) WAS HELD FROM 25 MAY TO 25 NOVEMBER 1937 IN PARIS, FRANCE. MARCELLO PIACENTINI WAS GIVEN THE JOB OF DESIGNING THE ITALIAN PAVILION EXTERIOR. HE USED A MODERN REINFORCED CONCRETE FRAME COMBINED WITH TRADITIONAL ELEMENTS SUCH AS COLONNADES, TERRACES, COURTS AND GALLERIES, THE TOWER FORM, CLASSICAL RHYTHMS AND THE USE OF MEDITERRANEAN MARBLE AND STUCCO. THE PAVILION WAS NESTLED UNDER THE EIFFEL TOWER LOOKING OUT OVER THE SEINE TO THE MAIN PART OF THE EXPOSITION SITE. GIUSEPPE PAGANO WAS RESPONSIBLE FOR THE OVERALL CO-ORDINATION OF THE EXHIBITS. THE ROOM WAS A CELEBRATION OF ALL THOSE ASPECTS OF FASCIST SOCIETY THAT PAGANO WHOLEHEARTEDLY BELIEVED IN: SOCIAL HARMONY, GOVERNMENT INPUT TO GENERATE INDUSTRIAL INNOVATION AND SUPPORT FOR ARTISTS, PROFESSIONALS AND CRAFTSMEN AS WELL AS WORKERS.

THE ITALIAN RACIAL LAWS WERE A SERIES OF LAWS WHICH WERE PROMULGATED BY THE MUSSOLINI GOVERNMENT IN FASCIST ITALY (1922–1943) FROM 1938 TO 1943 IN ORDER TO ENFORCE RACIAL DISCRIMINATION AND SEGREGATION IN THE KINGDOM OF ITALY. THE MAIN VICTIMS OF THE RACIAL LAWS WERE ITALIAN JEWS AND THE NATIVE AFRICAN INHABITANTS OF THE ITALIAN COLONIAL EMPIRE (1923–1947). THE RACIAL LAWS DENIED ROGERS AND DISSUADED HIS COLLEAGUES, BEFORE THAT THE UNCOMPROMISING B.B.P.R. GROUP WILLINGLY SERVED THE REGIME WITH THEIR MODERNIST WORKS. IN THE AFTERMATH OF MUSSOLINI'S FALL FROM POWER, THE BADOGLIO GOVERNMENT SUPPRESSED THE LAWS. THEY REMAINED ENFORCED AND WERE MADE MORE SEVERE IN THE TERRITORIES RULED BY THE ITALIAN SOCIAL REPUBLIC (1943–1945) UNTIL THE END OF THE SECOND WORLD WAR.

SANT'ELIA CHAIR GIUSEPPE TERRAGNI 1936

L’

TEMPO NO.151 APRIL 1942 COVER BY BRUNO MURANI

WORLD WAR II PERIOD

POST-WAR PERIOD

NEW YORK 1939 1939 WORLD'S FAIR

ENTRY 1940 ITALY'S INTO WORLD WAR II

THE 1939–1940 NEW YORK WORLD'S FAIR WAS THE FIRST EXPOSITION TO BE BASED ON THE FUTURE, WITH AN OPENING SLOGAN OF "DAWN OF A NEW DAY", AND IT ALLOWED ALL VISITORS TO TAKE A LOOK AT "THE WORLD OF TOMORROW".

THE ITALIAN PAVILION AIMED TO FUSE ANCIENT ROMAN SPLENDOR WITH MODERN STYLES, AND A 200-FOOT (61 M) HIGH WATERFALL DEDICATED TO GUGLIELMO MARCONI, THE INVENTOR OF THE RADIO DEFINED THE PAVILION'S FACADE. THE PAVILION OCCUPIED 100,000 SQUARE FEET OF SPACE ON PLOT GJ-1 AT PRESIDENTIAL ROW NORTH AND CONTINENTAL AVENUE AND COST MORE THAN $3 MILLION. ITALY PAID FOR THE RIGHT TO USE ANOTHER TEN THOUSAND FEET OF SPACE IN THE FAIR'S HALL OF NATIONS. MAZZONI DESIGNED THE STAZIONE TERMINI IN ROME AND MODEL OF THE STATION PROJECT WAS SENT TO THE NEW YORK WORLD’S FAIR OF 1939.

/ ESPOSIZIONE 1942 E42 UNIVERSALE DI ROMA

ON 1 SEPTEMBER 1939, FOLLOWING THE GERMAN ATTACK ON POLAND, THE HEAD OF GOVERNMENT BENITO MUSSOLINI, DESPITE AN ALLIANCE PACT WITH GERMANY, DECLARED ITALY'S NON-BELLIGERENCE. ITALY'S ENTRY INTO WORLD WAR II TOOK PLACE WITH A SERIES OF FORMAL AND DIPLOMATIC ACTS ONLY AFTER NINE MONTHS, ON 10 JUNE 1940, AND WAS ANNOUNCED BY MUSSOLINI HIMSELF IN A FAMOUS SPEECH FROM THE BALCONY OF PALAZZO VENEZIA. DURING THE NINE MONTHS OF OPERATIONAL UNCERTAINTY, THE DUCE, IMPRESSED BY THE DAZZLING GERMAN VICTORIES, BUT AWARE OF ITALY'S SERIOUS MILITARY UNPREPAREDNESS, REMAINED IN DOUBT FOR A LONG TIME BETWEEN DIFFERENT, SOMETIMES CONFLICTING ALTERNATIVES, OSCILLATING BETWEEN LOYALTY TO HIS FRIENDSHIP WITH ADOLF HITLER, THE IMPULSE TO REPUDIATE HIS SUFFOCATING ALLIANCE, THE DESIRE FOR TACTICAL AND STRATEGIC INDEPENDENCE, THE DESIRE FOR EASY VICTORIES ON THE BATTLEFIELD AND THE YEARNING TO BE THE NEEDLE OF THE SCALES IN THE CHESSBOARD OF EUROPEAN DIPLOMACY.

OLIVETTI VITRINA

BY SINISGALLI, PINTORI 1938

1945

THE LAST GREAT FASCIST INITIATIVE IN ARCHITECTURE AND URBAN PLANNING CONCENTRATED ON A WORLD’S FAIR FOR 1941, THIRTY YEARS AFTER ROME’S FIRST HOSTING. THE EXPOSITION OF 1942, OR “E42,” WAS DESIGNED TO AVOID THE USUAL COMMERCIAL FEATURES AND FOCUS ON ELEVATED SPIRITUAL ISSUES SUCH AS THE PROGRESS OF HUMANITY.“THE OLYMPICS OF IVILIZATION, YESTERDAY, TODAY AND TOMORROW” WAS THE THEME ADOPTED BY THE EXPOSITION’S GENERAL COMMISSIONER,VITTORIO CINI. MARCELLO PIACENTINI WAS COMMISSIONED BY CINI IN 1936 TO LAY OUT E42.

LAGOMARSINO AT APUANIA

BY BIANCHETTI, PEA 1942

LAGOMARSINO AT SALERNO

BY BIANCHETTI, PEA 1942-43

L COMPLETE

ESC 1:100 SUSPENDED GRID ACRYLIC PANEL

ORIGINAL POSTERS/ISSUES ADVERTISING BROCHURE COLUMBUS RATIONAL FURNITURE IN TUBING AND DRAW-PIECES OF STEEL AND LIGHTWEIGHT ALLOYS

COLUMBUS ARCHIVE 1933

ADVERTISING BROCHURE FOR COLUMBUS RATIONAL FURNITURE IN STEEL TUBING, FRONT PAGE

TWO INTERIORS USING STEEL FURNITURE AT THE VI TRIENNALE DI MILANO

JEALOUSY

PER IL QUINTO DI SECONDO

COLUMBUS ARCHIVE

COLUMBUS ARCHIVE

LAZLO MOHOLYNAGY

BRUNO MUNARI

1934

1936

1932

1925

SCHIZZI PROGETTUALI PER MOSTRA DEI COLORANTI ACNA NEL PADIGLIONE MONTECATINI FIERA CAMPIONARIA DI MILANO MANIFESTO PER KARDEX R. MURATORE

BIANCHETTI & NIZZOLI 1938

1940

OLIVETTI PORTATILE

VIAGGIO NELLO SPAZIO

XANTI SCHAWINSKY

BRUNO MUNARI

1935

1932 ADVERTISING PLATES FROM PROGRAMMA ALMANACCO DELL’ITALIA VELOCE MILAN: EDIZIONI METROPOLI IN THE NAME OF THE LAW 1930 LAZLO MOHOLY-NAGY 1927

SCHIZZO PROGETTUALE PER LA MOSTRA DEL TESSILE ARTIFICIALE BIANCHETTI E NIZZOLI 1937 MANIFESTI PUBBLICITARI

LAGOMARSINO

POSTER ADVERTISING MEN’S CLOTHS

ANNI ‘40.

ALEXANDER SCHAWINSKY 1928

POSTER ADVERTISING HATS

ALEXANDER SCHAWINSKY 1928

POSTER DESIGN: MARINETTI/SIMULTANINA /TOURNÉE TEATRO FUTURISTA

VI TRIENNALE DI MILANO COMUNITÀ E CONTINUITÀ 1936

BRUNO MUNARI 1931

V TRIENNALE DI MILANO STILE E CIVILTÀ 1933

MAKING AFRICA A CONTINENT OF CONTEMPORARY DESIGN VITRA DESIGN MUSEUM, 14.03 - 13.09.2015

VENICE FOG: RECENT INVESTIGATIONS LARRY BELL, HAUSER & WIRTH ZÜRICH, 19.01 - 3.09.2018

ESC 1:100

L’ COMPLETE

IC ARCHITECTURAL DESIGN AND HISTORY Chiara Baglione, Matteo Moscatelli Giorgia Concato, Fabio Marino, Simone Milani

ESC 1:50

GROUP 5

EXHIBITION DESIGN

Edoardo Sartori, Abuhay Yared Dessalegn, Pedro Pablo Perea, Nicolàs Serrano Serrano, Liu Wanxin

57 12 PAVILION

P.04

HARMONY IN FORM: TRACING THE BAUHAUS INFLUENCE ON PRE-WWII ITALIAN DESIGN THE TIMELINE

"PAINTING PHOTOGRAPHY AND FILM" 1925

BY LAZLO MOHOLY-NAGY

CASABELLA NO.1 JANUARY 1928 DIRECTED BY GUIDO MARANGONI

DOMUS NO.1 JANUARY 1928 DIRECTED BY GIO PONTI

CASABELLA NO.19 JULY 1929 DIRECTED BY GUIDO MARANGONI

L ’UFFICIO MODERNO, LA PUBBLICITÀ V;–8 7 JULY –AUGUST 1930.

COVER BY BRUNO MUNARI

DIE NEUE LINIE JG.I; 1 SEPTEMBER 1929 COVER BY LAZLO MOHOLY-NAGY

LIDEL XI; 11 15 NOVEMBER 1930 COVER BY BRUNO MUNARI

L ’UFFICIO MODERNO N.8 AGOSTO 1932 COVER BY BRUNO MUNARI

L ’UFFICIO MODERNO N.11 NOVEMBRE 1932 COVER BY BRUNO MUNARI

ATMOSFERA 1933 ARTE MODERNA COVER BY BRUNO MURANI

ATMOSFERA 1933 DOPO LA GUERRA VIEN LA PACE COVER BY BRUNO MURANI

ATMOSFERA 1933 TENDENZE DELL' ARCHITETTURA COVER BY BRUNO MURANI

ATMOSFERA 1933 SEX APPEAL COVER BY BRUNO MURANI

L’ALA D’ITALIA XIII; 1 JANUARY 1934 COVER BY BRUNO MURANI

ATMOSFERA 1933 GINEVRA COVER BY BRUNO MURANI

LA RIVISTA ILLUSTRATA DEL POPOLO D ’ITALIA, XII; 3 MARCH 1934 COVER BY BRUNO MURANI

DIE NEUE LINIE JG.VI; 2 OCTOBER 1934 COVER BY H. BAYER L’ALA D’ITALIA XIV; 1 JANUARY 1935 COVER BY BRUNO MURANI

LA LETTURA XXXVII; 4 APRIL 1937 COVER BY BRUNO MURANI

LE FORZE IGNOTE DELL'ANIMA 1936 COVER BY BRUNO MURANI

L’UFFICIO MODERNO X; 5 MAY 1935 COVER BY BRUNO MURANI

LA LETTURA XXXVII; 10 OCTOBER 1937 COVER BY BRUNO MURANI

LA LETTURA XXXVII; 11 NOVEMBER 1937 COVER BY BRUNO MURANI

DIE NEUE LINIE JG.IX; 5 JANUARI 1938 COVER BY H. BAYER

LA LETTURA XXXVIII; 6 JUNE 1938 COVER BY BRUNO MURANI

NATURA XI; 11 NOVEMBER 1938 COVER BY BRUNO MURANI

GRAZIA NO.1 NOVEMBER 1938 COVER BY BRUNO MURANI

FASCIST PERIOD

1919

GRAZIA NO.11 JANUARY 1939 COVER BY BRUNO MURANI

GRAZIA NO.42 AUGUST 1939 COVER BY BRUNO MURANI

GRAZIA NO.137 JUNE 1941 COVER BY BRUNO MURANI

GRAZIA NO.60 DECEMBER 1939 COVER BY BRUNO MURANI

LE MACCHINE DI MUNARI. TORINO: EINAUDI 1942

BY BRUNO MUNARI

NATURA XV; 3–4 MARCH/APRIL 1942 COVER BY BRUNO MURANI

TEMPO NO.151 APRIL 1942 COVER BY BRUNO MURANI

WORLD WAR II PERIOD

1928

FASCIST MANIFESTO "THE MANIFESTO OF THE ITALIAN FASCES OF COMBAT" COMMONLY KNOWN AS THE FASCIST MANIFESTO, WAS THE INITIAL DECLARATION OF THE POLITICAL STANCE OF THE FASCI ITALIANI DI COMBATTIMENTO ("ITALIAN FASCES OF COMBAT")，THE MOVEMENT FOUNDED IN MILAN BY BENITO MUSSOLINI IN 1919 AND AN EARLY EXPONENT OF FASCISM.THE MANIFESTO WAS AUTHORED BY NATIONAL SYNDICALIST ALCESTE DE AMBRIS AND THE FUTURIST POET FILIPPO MARINETTI. THE MANIFESTO IS DIVIDED INTO FOUR SECTIONS, DESCRIBING THE MOVEMENT'S OBJECTIVES IN POLITICAL, SOCIAL, MILITARY AND FINANCIAL FIELDS.

FOUNDATION OF DOMUS XVI BIENNALE DI VENEZIA WHILE DE FINETTI DEFINED THE AUSTERE EXTREME OF MUZIO’S GROUP, THE DECORATIVE RICHNESS OF THE CLASSICAL HERITAGE WAS EXPLORED BY GIO PONTI. FINISHING HIS DEGREE AT THE POLITECNICO AFTER THE WAR, PONTI SOON BECAME THE ARTISTIC DIRECTOR OF RICHARD GINORI’S CERAMICS PRODUCTION LINE, WHICH BROUGHT CLASSICAL ORDER INTO MANY ITALIAN HOMES. IN A CLEAR POLEMIC AGAINST STRICT FUNCTIONALISM, PONTI OPINED THAT HOUSES WERE NOT MACHINES FOR LIVING, AS LE CORBUSIER CALLED THEM, BUT SANCTUARIES OF STYLISH BEAUTY AND REFINED COMFORT THAT PROVIDED “THE SETTING FOR ITALIAN LIFE.” “LA CASA ALL’ITALIANA” WAS THE TITLE OF PONTI’S EDITORIAL IN THE INAUGURAL ISSUE OF HIS DESIGN MAGAZINE, DOMUS, IN 1928. ITS LATINATE NAME REFLECTS THE CLASSICAL BASIS OF PONTI’S BRAND OF MODERNISM. IN THE PAGES OF THIS INFLUENTIAL AND LONG-LIVED DESIGN JOURNAL, PONTI AND HIS NEOCLASSICIST COLLEAGUES EXPLORED BUILDING TYPES IN RELATION TO THE SPECIAL CULTURAL AND CLIMATIC CONDITIONS OF ITALIAN IDENTITY. THE INCIPIENT MOVEMENT GARNERED A CERTAIN LEVEL OF SUCCESS AND RECOGNITION WHEN PONTI BUILT THE MAIN PAVILION FOR THE VENICE BIENNALE IN 1928.

1929

BARCELONA INTERNATIONAL EXPOSITION

1930

1932

IV TRIENNALE DI MONZA

THE 1929 BARCELONA INTERNATIONAL EXPOSITION WAS THE SECOND WORLD FAIR TO BE HELD IN BARCELONA. THE PREVIOUS 1888 BARCELONA UNIVERSAL EXPOSITION HAD LED TO A GREAT ADVANCE IN THE CITY'S ECONOMIC, ARCHITECTURAL AND TECHNOLOGICAL GROWTH AND DEVELOPMENT. A NEW EXPOSITION WAS PROPOSED TO HIGHLIGHT THE CITY'S FURTHER TECHNOLOGICAL PROGRESS AND INCREASE AWARENESS ABROAD OF MODERN CATALAN INDUSTRY. THE PAVILIONS INCLUDE GERMAN PAVILION BY MIES VAN DER ROHE, THE QUINTESSENTIAL PIECE OF 20TH-CENTURY ARCHITECTURE. ITALIAN PAVILION WAS DESIGNED BY PIERO PORTALUPPI. IN THE SHAPE OF A U, IT HAS A RENAISSANCE CLASSICAL STYLE AND A MONUMENTAL ATMOSPHERE. THE FAÇADE HAD SOME COLUMNS WITH THE EAGLE OF THE ROMAN EMPIRE, A FRIEZE WITH THE COUNTRY'S NAME AND A FRONTON FINISHED OFF WITH A STATUE OF MINERVA.

1933

MOSTRA DELLA RIVOLUZIONE FASCISTA

ARCHITECTURE PLAYS AN IMPORTANT ROLE WITH THE CONSTRUCTION OF THREE LIFE-SIZE MODELS OF HOUSES IN THE PARK: THE CASA PER LE VACANZE (HOLIDAY HOUSE)

BY EMILIO LANCIA AND GIO PONTI, THE CASA DEL DOPOLAVORISTA (HOUSE OF THE DOPOLAVORISTA)

BY LUISA LOVARINI AND THE CASA ELETTRICA DEL GRUPPO 7 (ELECTRIC HOUSE OF GROUP 7), FINANCED BY THE EDISON COMPANY AND CONSIDERED A SYMBOL OF ITALIAN RATIONALISM.

THE EXHIBITION OF THE FASCIST REVOLUTION (MOSTRA DELLA RIVOLUZIONE FASCISTA) WAS AN ART EXHIBITION HELD IN ROME AT THE PALAZZO DELLE ESPOSIZIONI FROM 1932 TO 1934. IT WAS OPENED BY BENITO MUSSOLINI ON 28 OCTOBER 1932 AND WAS THE LONGEST-LASTING EXHIBITION EVER MOUNTED

BY THE FASCIST REGIME. NEARLY FOUR MILLION PEOPLE ATTENDED THE EXHIBITION IN ITS TWO YEARS. INTENDED TO COMMEMORATE THE REVOLUTIONARIES WHO HAD TAKEN PART IN THE RISE TO POWER OF ITALIAN FASCISM, THE EXHIBITION WAS SUPPOSED TO BE, IN MUSSOLINI'S OWN WORDS, "AN OFFERING OF FAITH WHICH THE OLD COMRADES HAND DOWN TO THE NEW ONES SO THAT, ENLIGHTENED BY OUR MARTYRS AND HEROES, THEY MAY CONTINUE THE HEAVY TASK. THROUGH PIACENTINI’S AGENCY, THE AVANT-GARDE MOVEMENT WAS GIVEN ITS FIRST BIG BREAK: THE INVITATION TO DESIGN THE FACE OF FASCISM AT THE MOSTRA DELLA RIVOLUZIONE FASCISTA.

WERKBUND EXHIBITION BAUHAUS PARIS 1930

BAUHAUS 1919-1928 MASTER CHECKLIST, MOMA

V TRIENNALE DI MILANO

CASA DI UN ARTISTA SUL LAGO GRUPPO COMO V TRIENNALE MILANO, 1933

1933 VDITRIENNALE MILANO

1934

THROUGHOUT THE 1930S THERE WAS ALWAYS ROOM FOR THE MODERN DESIGN.THE TRIENNALE, TRANSFERRED IN 1933 FROM MONZA TO A PERMANENT PAVILION IN MILAN BUILT BY MUZIO, REMAINED AN INFLUENTIAL DOMAIN FOR THE DEVELOPMENT OF A VIABLE LANGUAGE OF RATIONALIST ARCHITECTURE. THE 5TH TRIENNALE OPENED IN MAY 1933 IN THE NEW MILANESE PREMISES OF THE PALAZZO DELL'ARTE, DESIGNED BY GIOVANNI MUZIO. ARCHITECTURE IS THE PROTAGONIST WITH AN EXHIBITION DEDICATED TO MODERN EUROPEAN ARCHITECTURE AND ITALIAN RATIONALISM, RECOGNISED BY THE REGIME AS THE COUNTRY'S TECHNICAL AND CULTURAL AVANT-GARDE. THE EXHIBITION OF DECORATIVE ARTS SEES THE PARTICIPATION, WITH WALL PAINTINGS, MOSAICS AND PLASTIC WORKS, OF MAJOR ITALIAN ARTISTS INCLUDING MASSIMO CAMPIGLI, CARLO CARRÀ, FELICE CASORATI, GIORGIO DE CHIRICO AND ACHILLE FUNI, COORDINATED BY MARIO SIRONI. THE FIRST MILAN TRIENNALE MARKED THE BEGINNING OF A FORTUNATE RELATIONSHIP WITH SEMPIONE PARK, WHERE FORTY TEMPORARY CONSTRUCTIONS OF AN EXPERIMENTAL NATURE WERE CREATED, DESIGNED BY FAMOUS ITALIAN ARCHITECTS INCLUDING FIGINI AND POLLINI, GIUSEPPE TERRAGNI, PIERO PORTALUPPI, PIETRO LINGERI, THE B.B.P.R. GROUP AND PIERO BOTTONI.

ITALIAN AERONAUTICAL EXHIBITION

1935

THE ITALIAN AERONAUTIC EXPOSITION WAS INTENDED TO RECONSTRUCT THE HISTORY OF THE NATIONAL AERONAUTICS AND AVIATION FROM ITS ORIGINS TO 1934 AT THE IV TRIENNALE IN MILAN. THE EXHIBITION WAS DIVIDED INTO TWO PARTS: ONE DEDICATED TO THOSE VISITORS, WHO HAVE NEVER FLOWN BEFORE AND COULD ONLY IMAGINE WHAT THE FLIGHT IS LIKE, AND THE OTHER ONE DEDICATED TO THE ITALIAN AERONAUTS. A LARGE NUMBER OF ITALIAN ARCHITECTS TOOK PART IN THE MEMORABLE MOSTRA DELL'AERONAUTICA IN MILAN, ORGANIZED BY PAGANO AND FELICE AT THE PALAZZO DELL ARTE SITE OF THE TRIENNALE. GIO PONTI DESIGNED THE LIGHTER-THAN-AIR ROOM: NOTHING STANDING ON THE GROUND, WALLS LINED WITH SILVERED CANVAS FOR AIRSHIPS, HANGING MODELS. THE SALA DELLE MEDAGLIE D’ORO DESIGNED BY MARCELLO NIZZOLI AND EDOARDO PERSICO AND THE SALA DELL’AERODINAMICA BY ALBINI SHOWED A SINGULAR AFFINITY, TO BE OBSERVED IN THE INTERTWINING OF THE OBJECTS FLOATING IN SPACE (I.E. INSCRIPTIONS, PHOTOGRAPHIC PANELS AND MODELS) AND THE REGULAR GEOMETRY OF THE SUPPORTING FRAMES, IN METAL OR WHITE PAINTED WOOD, FORMING A RHYTHMICAL PACE AT DIFFERENT HEIGHTS.

195PA GIUSEPPE PAGANO 1933

34E, MARCEL BREUER 1FA, ERCOLE FACCIOL 1933

1936

ITALIAN TROOPS SEIZED ETHIOPIA THE SECOND ITALO-ETHIOPIAN WAR, ALSO REFERRED TO AS THE SECOND ITALO-ABYSSINIAN WAR, WAS A WAR OF AGGRESSION WHICH WAS FOUGHT BETWEEN ITALY AND ETHIOPIA FROM OCTOBER 1935 TO FEBRUARY 1937. IT IS SEEN AS AN EXAMPLE OF THE EXPANSIONIST POLICY THAT CHARACTERIZED THE AXIS POWERS AND THE INEFFECTIVENESS OF THE LEAGUE OF NATIONS BEFORE THE OUTBREAK OF THE SECOND WORLD WAR. IN OCTOBER 1935, ITALIAN TROOPS SEIZED ETHIOPIA, AND THE FASCIST REGIME TRIUMPHANTLY PROCLAIMED ITS AMBITION TO REBUILD THE ANCIENT ROMAN EMPIRE.THE INITIAL REVOLUTIONARY CHARACTER OF THE FASCIST MOVEMENT GAVE WAY TO A MORE RESOLUTE, CONSERVATIVE TREND COMMENSURATE WITH THE ASPIRATION OF AN IMPERIAL GUIDING FORCE. ITALY'S MILITARY VICTORY OVERSHADOWED CONCERNS ABOUT THE ECONOMY. MUSSOLINI WAS AT THE HEIGHT OF HIS POPULARITY IN MAY 1936 WITH THE PROCLAMATION OF THE ITALIAN EMPIRE.

1937

VI TRIENNALE DI MILANO

THE PROGRAMME OF THE EDITION, DEFINED BY EDOARDO PERSICO AND GIUSEPPE PAGANO, SEES THE LINK BETWEEN THE FASCIST REGIME AND MODERNIST ARCHITECTURE CONSOLIDATED. PAGANO DESIGNED THE OUTDOOR PAVILION, DESTROYED BY BOMBING DURING THE SECOND WORLD WAR, AND A GLASS-CONCRETE TOWER THAT SERVES AS THE ENTRANCE TO THE EXHIBITION. PARCO SEMPIONE HOSTS AN OPEN-AIR CINEMA-THEATRE AND THE FOUNTAIN BY MARIO RADICE AND CESARE CATTANEO. FOREIGN PRESENCES ARE VALUABLE WITH THE FRENCH SECTION CURATED BY LE CORBUSIER, THE FINNISH SECTION BY ALVAR AALTO AND THE SWISS SECTION BY MAX BILL. THE PRIDE OF THIS EDITION ARE THE INTERNATIONAL URBAN PLANNING EXHIBITION, THE EXHIBITION OF BUILDING SYSTEMS AND THE EXHIBITION OF ANCIENT GOLDSMITHS WITH AN INSTALLATION BY FRANCO ALBINI. THE DYNAMIC RELATIONSHIP BETWEEN ANCIENT SYMBOLISM AND MODERN FORM WAS PURSUED IN NUMEROUS INSTALLATIONS AT SUCCESSIVE TRIENNIALS, SUCH AS THE 1936 SALA D’ONORE DESIGNED BY EDOARDO PERSICO, MARCELLO NIZZOLI, AND GIANCARLO PALANTI WITH THE SCULPTOR LUCIO FONTANA. ALTHOUGH EPHEMERAL, THESE INSTALLATIONS WERE SIGNIFICANT IN THEIR PROPAGATION OF IMAGES THAT RECONCILED THE ANCIENT AND THE MODERN.

SALA DI ATTESA PER LO STUDIO DI UM MEDICO BOTTONI, PUCCI VI TRIENNALE MILANO 1936

OLIVETTI VITRINA

BY XANTY SCHAWINSKY 1935

1938

WORLD EXPO 1937 PARIS THE EXPOSITION INTERNATIONALE DES ARTS ET TECHNIQUES DANS LA VIE MODERNE (INTERNATIONAL EXPOSITION OF ART AND TECHNOLOGY IN MODERN LIFE) WAS HELD FROM 25 MAY TO 25 NOVEMBER 1937 IN PARIS, FRANCE. MARCELLO PIACENTINI WAS GIVEN THE JOB OF DESIGNING THE ITALIAN PAVILION EXTERIOR. HE USED A MODERN REINFORCED CONCRETE FRAME COMBINED WITH TRADITIONAL ELEMENTS SUCH AS COLONNADES, TERRACES, COURTS AND GALLERIES, THE TOWER FORM, CLASSICAL RHYTHMS AND THE USE OF MEDITERRANEAN MARBLE AND STUCCO. THE PAVILION WAS NESTLED UNDER THE EIFFEL TOWER LOOKING OUT OVER THE SEINE TO THE MAIN PART OF THE EXPOSITION SITE. GIUSEPPE PAGANO WAS RESPONSIBLE FOR THE OVERALL CO-ORDINATION OF THE EXHIBITS. THE ROOM WAS A CELEBRATION OF ALL THOSE ASPECTS OF FASCIST SOCIETY THAT PAGANO WHOLEHEARTEDLY BELIEVED IN: SOCIAL HARMONY, GOVERNMENT INPUT TO GENERATE INDUSTRIAL INNOVATION AND SUPPORT FOR ARTISTS, PROFESSIONALS AND CRAFTSMEN AS WELL AS WORKERS.

SANT'ELIA CHAIR GIUSEPPE TERRAGNI 1936

THE ITALIAN RACIAL LAWS WERE A SERIES OF LAWS WHICH WERE PROMULGATED BY THE MUSSOLINI GOVERNMENT IN FASCIST ITALY (1922–1943) FROM 1938 TO 1943 IN ORDER TO ENFORCE RACIAL DISCRIMINATION AND SEGREGATION IN THE KINGDOM OF ITALY. THE MAIN VICTIMS OF THE RACIAL LAWS WERE ITALIAN JEWS AND THE NATIVE AFRICAN INHABITANTS OF THE ITALIAN COLONIAL EMPIRE (1923–1947). THE RACIAL LAWS DENIED ROGERS AND DISSUADED HIS COLLEAGUES, BEFORE THAT THE UNCOMPROMISING B.B.P.R. GROUP WILLINGLY SERVED THE REGIME WITH THEIR MODERNIST WORKS. IN THE AFTERMATH OF MUSSOLINI'S FALL FROM POWER, THE BADOGLIO GOVERNMENT SUPPRESSED THE LAWS. THEY REMAINED ENFORCED AND WERE MADE MORE SEVERE IN THE TERRITORIES RULED BY THE ITALIAN SOCIAL REPUBLIC (1943–1945) UNTIL THE END OF THE SECOND WORLD WAR.

1940

1942

1945

E42 / ESPOSIZIONE UNIVERSALE DI ROMA

ON 1 SEPTEMBER 1939, FOLLOWING THE GERMAN ATTACK ON POLAND, THE HEAD OF GOVERNMENT BENITO MUSSOLINI, DESPITE AN ALLIANCE PACT WITH GERMANY, DECLARED ITALY'S NON-BELLIGERENCE. ITALY'S ENTRY INTO WORLD WAR II TOOK PLACE WITH A SERIES OF FORMAL AND DIPLOMATIC ACTS ONLY AFTER NINE MONTHS, ON 10 JUNE 1940, AND WAS ANNOUNCED BY MUSSOLINI HIMSELF IN A FAMOUS SPEECH FROM THE BALCONY OF PALAZZO VENEZIA. DURING THE NINE MONTHS OF OPERATIONAL UNCERTAINTY, THE DUCE, IMPRESSED BY THE DAZZLING GERMAN VICTORIES, BUT AWARE OF ITALY'S SERIOUS MILITARY UNPREPAREDNESS, REMAINED IN DOUBT FOR A LONG TIME BETWEEN DIFFERENT, SOMETIMES CONFLICTING ALTERNATIVES, OSCILLATING BETWEEN LOYALTY TO HIS FRIENDSHIP WITH ADOLF HITLER, THE IMPULSE TO REPUDIATE HIS SUFFOCATING ALLIANCE, THE DESIRE FOR TACTICAL AND STRATEGIC INDEPENDENCE, THE DESIRE FOR EASY VICTORIES ON THE BATTLEFIELD AND THE YEARNING TO BE THE NEEDLE OF THE SCALES IN THE CHESSBOARD OF EUROPEAN DIPLOMACY.

THE LAST GREAT FASCIST INITIATIVE IN ARCHITECTURE AND URBAN PLANNING CONCENTRATED ON A WORLD’S FAIR FOR 1941, THIRTY YEARS AFTER ROME’S FIRST HOSTING. THE EXPOSITION OF 1942, OR “E42,” WAS DESIGNED TO AVOID THE USUAL COMMERCIAL FEATURES AND FOCUS ON ELEVATED SPIRITUAL ISSUES SUCH AS THE PROGRESS OF HUMANITY.“THE OLYMPICS OF IVILIZATION, YESTERDAY, TODAY AND TOMORROW” WAS THE THEME ADOPTED BY THE EXPOSITION’S GENERAL COMMISSIONER,VITTORIO CINI. MARCELLO PIACENTINI WAS COMMISSIONED BY CINI IN 1936 TO LAY OUT E42.

LAGOMARSINO AT SALERNO

BY BIANCHETTI, PEA 1942-43

1942 E42/ESPOSIZIONE UNIVERSALE DI ROMA The last great fascist initiative in architecture and urban planning concentrated on a world’s fair for 1941, thirty years after rome’s first hosting.

Pagano designed the outdoor pavilion, destroyed by bombing during the second world war, and a glass-concrete tower that serves as the entrance to the exhibition.

The exposition of 1942, or “e42,” was designed to avoid the usual commercial features and focus on elevated spiritual issues such as the progress of humanity.

Parco Sempione hosts an open-air cinema-theatre and the fountain by Mario Radice and Cesare Cattaneo. foreign presences are valuable with the french section curated by le corbusier, the finnish section by alvar aalto and the swiss section by Max Bill. The pride of this edition are the international urban planning exhibition, the exhibition of building systems and the exhibition of ancient goldsmiths with an installation by franco Albini.

The exhibition of decorative arts sees the participation, with wall paintings, mosaics and plastic works, of major italian artists including Massimo Campigli, Carlo Carrà, Felice Casorati, Giorgio de Chirico and Achille Funi, coordinated by Mario Sironi.

THE 1939–1940 NEW YORK WORLD'S FAIR WAS THE FIRST EXPOSITION TO BE BASED ON THE FUTURE, WITH AN OPENING SLOGAN OF "DAWN OF A NEW DAY", AND IT ALLOWED ALL VISITORS TO TAKE A LOOK AT "THE WORLD OF TOMORROW".

THE ITALIAN PAVILION AIMED TO FUSE ANCIENT ROMAN SPLENDOR WITH MODERN STYLES, AND A 200-FOOT (61 M) HIGH WATERFALL DEDICATED TO GUGLIELMO MARCONI, THE INVENTOR OF THE RADIO DEFINED THE PAVILION'S FACADE. THE PAVILION OCCUPIED 100,000 SQUARE FEET OF SPACE ON PLOT GJ-1 AT PRESIDENTIAL ROW NORTH AND CONTINENTAL AVENUE AND COST MORE THAN $3 MILLION. ITALY PAID FOR THE RIGHT TO USE ANOTHER TEN THOUSAND FEET OF SPACE IN THE FAIR'S HALL OF NATIONS. MAZZONI DESIGNED THE STAZIONE TERMINI IN ROME AND MODEL OF THE STATION PROJECT WAS SENT TO THE NEW YORK WORLD’S FAIR OF 1939.

POST-WAR PERIOD ITALY'S ENTRY INTO WORLD WAR II

LAGOMARSINO AT APUANIA

BY BIANCHETTI, PEA 1942

The programme of the edition, defined by edoardo persico and giuseppe pagano, sees the link between the fascist regime and modernist architecture consolidated.

The 5th triennale opened in may 1933 in the new milanese premises of the palazzo dell’arte, designed by Giovanni Muzio. Architecture is the protagonist with an exhibition dedicated to modern european architecture and italian rationalism, recognised by the regime as the country’s technical and cultural avant-garde.

1939 NEW YORK WORLD'S FAIR

OLIVETTI VITRINA

BY SINISGALLI, PINTORI 1938

1936 VIDI TRIENNALE MILANO Throughout the 1930s there was always room for the modern design. The triennale, transferred in 1933 from Monza to a permanent pavilion in Milan built by Muzio, reained an influential domain for the development of a viable language of rationalist architecture.

1939

ITALIAN RACIAL LAWS

“The olympics of civilization, yesterday, today and tomorrow” was the theme adopted by the exposition’s general commissioner,Vittorio Cini.

Marcello Piacentini was commissioned by cini in 1936 to lay out e42.

The dynamic relationship between ancient symbolism and modern form was pursued in numerous installations at successive triennials, such as the 1936 sala d’onore designed by Edoardo Persico, Marcello Nizzoli, and Giancarlo Palanti with the sculptor Lucio Fontana. although ephemeral, these installations were significant in their propagation of images that reconciled the ancient and the modern.

The first Milan triennale marked the beginning of a fortunate relationship with sempione park, where forty temporary constructions of an experimental nature were created, designed by famous italian architects including Figini and Pollini, Giuseppe Terragni, Piero Portaluppi, Pietro Lingeri, the BBPR group and Piero Bottoni.

THE GRAPHIC GRID

ADVERTISING BROCHURE COLUMBUS RATIONAL FURNITURE IN TUBING AND DRAW-PIECES OF STEEL AND LIGHTWEIGHT ALLOYS

COLUMBUS ARCHIVE 1933

ADVERTISING BROCHURE FOR COLUMBUS RATIONAL FURNITURE IN STEEL TUBING, FRONT PAGE

TWO INTERIORS USING STEEL FURNITURE AT THE VI TRIENNALE DI MILANO

MANIFESTO PER KARDEX

LAZLO MOHOLYNAGY

BRUNO MUNARI 1932

1934

R. MURATORE

JEALOUSY

PER IL QUINTO DI SECONDO

COLUMBUS ARCHIVE

COLUMBUS ARCHIVE

SCHIZZI PROGETTUALI PER MOSTRA DEI COLORANTI ACNA NEL PADIGLIONE MONTECATINI FIERA CAMPIONARIA DI MILANO

OLIVETTI PORTATILE

VIAGGIO NELLO SPAZIO

BIANCHETTI & NIZZOLI

XANTI SCHAWINSKY

BRUNO MUNARI

1935

1932

1940

1925

ADVERTISING PLATES FROM PROGRAMMA ALMANACCO DELL’ITALIA VELOCE IN THE NAME OF THE LAW

MILAN: EDIZIONI METROPOLI

LAZLO MOHOLY-NAGY 1930 1927

SCHIZZO PROGETTUALE PER LA MOSTRA DEL TESSILE ARTIFICIALE BIANCHETTI E NIZZOLI 1937 MANIFESTI PUBBLICITARI

POSTER ADVERTISING MEN’S CLOTHS

LAGOMARSINO

ANNI ‘40.

ALEXANDER SCHAWINSKY 1928

POSTER ADVERTISING HATS

ALEXANDER SCHAWINSKY 1928

POSTER DESIGN: MARINETTI/SIMULTANINA /TOURNÉE TEATRO FUTURISTA

VI TRIENNALE DI MILANO COMUNITÀ E CONTINUITÀ 1936

BRUNO MUNARI 1931

V TRIENNALE DI MILANO STILE E CIVILTÀ 1933

Manifesti pubblicitari. Lagomarsino, Anni 40’

Manifesto per Kardex.

R. muratore, 1940

Schizzi progettuali per mostra dei coloranti acna nel padiglione montecatini.

Fiera Campionaria di Milano Bianchetti & Nizzoli,

IC ARCHITECTURAL DESIGN AND HISTORY Chiara Baglione, Matteo Moscatelli Giorgia Concato, Fabio Marino, Simone Milani

Two interiors using steel furniture at the VI triennale di Milano.

Columbus Archive, 1936

Advertising brochure columbus rational furniture in tubing and draw-pieces of teel and lightweight alloys.

Columbus Archive, 1933

Viaggio Nello Spazio.

Bruno Munari, 1932

Advertising plates from programma almanacco dell’italia veloce.

Milan: Edizioni Metropoli, 1930

GROUP 5

EXHIBITION DESIGN

Edoardo Sartori, Abuhay Yared Dessalegn, Pedro Pablo Perea, Nicolàs Serrano Serrano, Liu Wanxin

57 12 PAVILION

Poster advertising men’s cloths.

Alexander Schawinsky, 1928

In the name of the law.

Lazlo Moholy-Nagy, 1927

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57 12 Pavilion Via Per Cernobbio 21, 20100 Como CO T+34 3101000100 5712pavilion.it Opening hours Orari di apertura Tues-Sat 10-18 oclock Mar-Sab 10-18 Mon closed Lun chiuso Sun 10-20 oclock Dom 10-20 Closed on public holidays Chiuso nei giorni festivi

Admission Ammissione Adults Adulti Reduced ridotto Children (6-18 years) Bambini (6-18 anni) Families Famiglie Groups Gruppi

harmony in form

PAVILION MAP: 3.

The Stores, product display

tracing the bauhaus influence on pre-wwii italian design

2.

The Design exhibitions

Guided Tour Visite Guidate Wed-Sun 14-16 pm Mer-dom 14-16 pm

4.

The Graphic Timeline

1.

The Columbus furniture

To book guided tours for groups and schools please contact Per prenotare visite guidate per gruppi e scuole si prega di contattare tours@5712pavilion.it

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13.09.2023 - 01.02.2024

BACK

FRONT

GROUND FLOOR

FIRST FLOOR

INTERNAL 1

INTERNAL 2

INTRODUCTION:

Harmony in Form is an exhibition dedicated to the breakthroughs in the Italian design influenced by the Bauhaus movement from the second decade of the XX until the ending of World War II. As certainly there’s not only one exact moment in which the Italian design and the Bauhaus movement come together, in the particular case of this exhibition, the key event chosen for starting the tour will be the grant of the manufacturing rights of the tubular steel furniture designed by Marcel Breuer by the Italian company Columbus.

This opened the path for the Italian designers to study closely the works coming from the German school and to make their own original proposals, which would be later presented on the many design exhibitions that would take place all over the country on the following decades.

With this creative boom in all the fields of design in Italy, the big companies make a step forward hiring recognizable figures for imprinting this new modernity into their business, this lead to an incredible array of storefronts that took advantage of new materials, lighting, aesthetics and typography being shared in the expositions.

Advertising played a fundamental role through all these previously discussed events, as it was a channel through which all the products that were being developed at that time were presented to the potential clients with the new innovative tools and campaigns.

German Section, Werkbund Exhibition, Paris 1930. Metal viewing bridge over swimming bath, designed by Walter Gropius with furniture by Marcel Breuer.

German Section, Werkbund Exhibition, Paris 1930. Communal areas of a multi-storey collective apartment block,designed by Walter Gropius with furniture by Marcel Breuer.

Angelo Bianchetti, Cesare Pea, negozio lagomarsino ad ancona, 1942 (da Bianchetti, Pea 1949).

Angelo Bianchetti, Cesare Pea, negozio lagomarsino a Padova 1941 (Fondo angelo Bianchetti, archivio Jan Jacopo Bian- chetti, Canzo).

The advertisement evolution will function as a connecting thread between the 3 first sections of the exposition and supported by a comprehensive timeline of all the events happening in the wider panorama of Italy in the years previous to the second world war.

The exposition will cover until this point and no further. This because the events that followed forced Italy and the whole continent to shift perspective into the reconstruction and after this a new period of economic development. This big stop is very much required to highlight everything that was achieved until these years, that is by no means few.

1. THE COLUMBUS FURNITURE

In this first section of the exhibition, the connection between the German designs by Breuer and the Italian industrial expertise take place through the grant of the production rights from Swiss furniture distribution and production company Wohnbedarf.

Introducing these designs into the Milanese lines of production brought closer the works coming from the Bauhaus and the ones by the Italian designers, which had already started experimenting with these new industrial materials. This observation of the foreign designs encouraged the local architects and designers to experiment in a wider array of ways and to introduce their original design into the Columbus catalogue.

4 Models of the Columbus catalogue were selected for the exposition, 1 designed by Marcel Breuer and 3 original designs by Italian architects and designers.

The first model in display is the 34E chair by Marcel Breuer, particularly selected by the design principles that define this section of the exposition: the continuity of the steel in a closed

loop, the simple leather panels that compose the seat and the backrest of the chair, and the minimalistic reinforcement elements.

The Second model, the 1Fa by Ercole Faccioli, produced in 1933 is selected as a good example of the applied principles of the previously mentioned model into an upholstered self sprung armchair.

34E, Marcel Breuer, 1933.

Columbus archive

Sant’Elia armchair, Giuseppe Terragni, 1936.

Zanotta.

The third model, the 195PA umbrella stand of 1934 was brought as an example of the variety of products in the Columbus catalogue and the very deep involvement of figures as important as Giuseppe Pagano, that worked in that moment as the director of Casabella magazine.

Finally, the last model of this section and of the Columbus steel tube furniture collections is the self sprung armchair designed by Giuseppe Terragni from 1932 to 1936. This armchair with the self support both on the seat and on the backrest put to the test the manufacturing quality of the Milanese factory and the avant-garde designs of figures as important as Terragni himself.

195PA, Giuseppe Pagano, 1934.

Columbus archive

1FA, Ercole Faccioli, 1933.

Columbus archive

2. THE DESIGN EXHIBITIONS The meeting ground for innovation in all the areas of design, the European exhibitions and fairs were the perfect place for the new concepts of modern living to be shown to the public.

The German section of the Werkbund exhibition of Paris, 1930 is the starting point and a great example of how the Bauhaus concept of living was presented to the wide European public. This section, designed by Walter Gropius and the furniture by Marcel Breuer communicated the simple, minimalistic and functional properties that the German school was recognized for.

German Section, Werkbund Exhibition, Paris 1930. Mezzanine gallery, designed by Walter Gropius with furniture by Marcel Breuer.

Cross-frame armchair with elastic suspension and foam padding by Columbus for the Sala di attesa per lo studio di un medico, VI Triennale di Milano, 1936.

vvv V Triennale di Milano 1933.

Designed by Giuseppe Terragni

Casa per un artista sul lago di Como, V Triennale di Milano 1933.

Designed by Giuseppe Terragni

The V Triennale di Milano of 1933, this year taking place in the new building my Muzio took over the Parco Sempione for the exposition of modern living. Terragni designed a full scale project intended for an artist which contained his living quarters and studio. This project, taking care of the orientation, modulation, use of new materials, open, uninterrupted space, double heights and transparency is a very interesting example of the way the rationalists conceived the new ideas of living, all this liked to the intended location of the real project, the Isola Comacina in lake Como.

3 years later, in the VI Triennale of 1936, a much more technical solution to a ordinary problem was presented by Piero Bottoni and Mario Pucci. Something as simple and functional as a waiting room for a doctor’s studio shouldn’t be the place for awkward situations such as being sitting in uncomfortable chairs face to face with ill strangers and then not knowing what door to open when called. A intuitive layout with technologically advanced Columbus armchairs facing all to the same direction, only two doors, modular partitions and a glass block wall with a built in aquarium was the architects’ proposal for this day to day problem.

Sala di attesa per lo studio di un medico , VI Triennale di Milano, 1936.

Piero Bottoni & Mario Pucci

3. THE STORES, PRODUCT DISPLAY The collaboration between widely known brands and recognizable architects and designers was one of the most fruitful partnerships that were seen in the decades of the 30’s and 40’s. Not only the modern architecture and design influenced the design of the factories, headquarters and residences of the workers, as seen in Ivrea with Figini & Pollini, it also laid the road for the creative minds to experiment with all the studies related to materials, lighting and color coming from the Bauhaus workshops being widely published in international expositions.

The result was one of the most varied and creative array of interior design and product displays by the big names in all types of consumer goods industries.

Starting as now is usual from the Bauhaus, maybe the most comprehensive collection of what was being produced and studied in this school of art and design was the MoMa exposition of 1938 titled “Bauhaus: 1919-1928” in which an extensive collection of works came to light to the international press. This event also works as a starting point to make hypotheses of where may have some of the Italian architects taken their inspiration from.

Starting from the applied concept of transparency in a storefront we have the display by Alexander Schawinsky for a Olivetti store in Torino in 1935.

The Swiss designer, alumnus of the Bauhaus himself used this approach as main concept for one of the displays at the store with variability on his mind, in his own words: “Showcase system of three shaped and colored sliding and folding crystals, for different advertising perspectives, with shop backgrounds.”

The second concept worth to me mentioned is the use of hyperbolic paraboloids made with threads for creating translucent volumes for a Olivetti storefront in Galleria Vittorio Emanuele, Milano in1938. The design was executed

by Leonardo Sinisgalli & Giovanni Pintori.

Experiments like this one were performed in the sculpture lab of the Bauhaus as early as 1926.

The installation in the Lagormarsino Apuania store in 1942 by Bianchetti & Pea comprises of a 4x4 white grid within which the machines and pictures are exhibited, thus changing the concept of a simple shelve, to a whole compositional element, protagonist of the store. Solutions like this one were previously explored by Gropius himself in multiple exhibitions in the 30’s and also presented by various Italian architects in the fairs an expositions of their country.

The store in Salerno in 1942 also by Bianchetti & Pea combines the conventional numbers present in the calculators of the store with the bold black and white patterns and work as a contrasting and eye catching backdrop for advertising these products.

Pictures of part of the exposition Bauhaus1919-1928, MoMa, 1938. Taken from the MoMa website.

Olivetti Torino store project, 1935.

by Alexander Schawinsky

Olivetti Torino display, 1935.

by Alexander Schawinsky

Hot water boilers, gas and water exhibition, Berlin, 1928.

by Alexander Schawinsky

Apuania era dominato dalla presenza di una griglia tridimensionale per il display delle macchine calcolatrici, analoga a quella già proposta da Bianchetti e Pea nei progetti per il negozio Olivetti, ispirata all’allestimento creato da Gropius, in collaborazione con Joost Schmidt, per la sezione dei metalli non ferrosi alla mostra Deutsches Volk-Deutsche Arbeit di Berlino del 1934. Nel negozio di Foggia una composizione grafica, formata dall’incrocio di linee chiare e scure verticali e orizzontali e da cerchi concentrici ruotati uno rispetto all’altro, richiamava gli studi geometrici svolti nel corso preliminare di Josef Albers53.

Un’altra possibile fonte di suggestioni e idee – in particolare per le aste colorate a strisce nei negozi di Pisa, di Foggia e di Padova – si può individuare nella sala della Svizzera allestita da Max Bill alla VI Triennale del 1936, un episodio che aveva suscitato all’epoca un notevole interesse54.

Ma si possono cogliere altri rimandi ad allestimenti temporanei, basti pensare ai volumi cilindrici a listelli nel negozio di Ancona che riprendevano la soluzione adottata da Bianchetti e Pea nel padiglione dell’Italviscosa alla fiera di Milano del 1940, o ai pannelli del punto vendita di Biella, giocati sul tema formale della griglia e dei rettangoli, che evocavano composizioni analoghe concepite in più occasioni da Nizzoli.

Non mancavano immagini utilizzate anche nella pubblicità a stampa, come l’ingrandimento del rotolo di carta della addizionatrice svolto sulle pareti e sul soffitto nel negozio di Cremona, o la rosa dei venti in quello di Caserta, mentre in altri casi le figure evocavano il luogo sede del negozio, come il timone utilizzato a Salerno o la stilizzazione di motivi “navali” e “lagunari” adottati nello spazio commerciale di Venezia con risultati piuttosto naïves55. È pur vero che nella prospettiva di progetto a colori, pubblicata sempre da Zveteremich sulle pagine di “Domus”, quell’ambiente appariva più elegante e rarefatto rispetto alla soluzione realizzata. I progettisti – recitava la lunga didascalia – avevano creato una «scenografia», «una sintesi degli elementi più pittoreschi di Venezia», prolungando ed esaltando in modo originale, «come in un teatro acceso e trasfigurato, l’incanto e la quintessenza dello spirito artistico di una città gloriosa», per esporre le macchine Lagomarsino in una «concentrata realtà magica»56.

Nel volume del 1949 Bianchetti e Pea alternavano le immagini dei loro negozi per la Lagomarsino a quelle di alcuni punti vendita progettati da Bernasconi per la Olivetti, forse per proporre un possibile confronto Lagomarsino store, Apuania, 1942-1943.

Exhibition of non-ferrous metals, Berlin traBianchetti la strategia by & Peaadottata dall’azienda di Ivrea – basata sulla creazione di negozi 1934. «eleganti» e «lussuosi» (così 57

by Walter Joost Schmidt in Gropius campo&da loro, in accordo è definito dai due progettisti il punto vendita di Bologna) – e quella messa con il committente, che puntava invece su una comunicazione pubblicitaria più immediata e “popolare”.

Lagomarsino store, Salerno, 1942-1943.

Fig.Bianchetti 6: angelo&Bianchetti, Cesare Pea, negozio lagomarsino by Pea

Olivetti Galleria Vittorio Emanuele display, 1938.

by Leonardo Sinisgalli & Giovanni Pintori.

a Salerno, 1942 (Fondo angelo Bianchetti, archivio Jan Jacopo Bianchetti, Canzo).

Master checklist, Bauhaus 1919-1928,

Fig. 7: angelo Bianchetti, Cesare Pea, negozio lagomarsino ad Moma, 1936. ancona, 1942 (da Bianchetti, Pea 1949).

Master checklist, Bauhaus 1919-1928, Moma, 1936.

28

Storia e Futuro / DOI: 10.30682/sef5522b

4. THE GRAPHIC TIMELINE After this journey through the development of the modernity in the Italian and German architecture and industrial design, its important to take some time to go back and see the bigger picture, before the 30’s and after the 40’s and outside of Italy. Because what gave the country the freedom to embrace this new modernity would also be what brought war.

Advertisement flier, Columbus, 1934.

Columbus historical archive.

V Triennale di Milano Poster, 1933.

Manifesto per Kardex, 1940.

Cover by R. Muratore.

A panoramic view of the history of the country through this two decades and the specific moments in which the breakthroughs, fairs, projects, publications and designs were produced will complete the exhibition tour in a simple but comprehensive way.

Finishing the winding path of the first 3 stages of the exposition, the track straightens into a long corridor, with light at both sides. The timeline, from 1919 to 1945 extends through the concrete wall, on top of it, the publications, art pieces and advertising material is located on top of the year produced.

Looking towards the opposite side, a grid suspended between the floor and ceiling becomes the backdrop for a selection of graphic works that connect the points between all the stages of the exposition.

Advertisement brochure, Columbus, 1934.

Columbus historical archive.

L’Ala d’Italia, January 1934.

Cover by Bruno Munari

Advertisement, Lagormasino, 1940.