By Terry Kirk
This groundbreaking and authoritative two-volume survey is the 1st actually accomplished historical past of recent Italian structure and urbanism to seem in any language. informed in energetic prose, it recounts greater than 250 years of experimentation, creativity, and turmoil that experience formed the panorama of latest Italy.
Volume II: Visions of Utopia, 1900 Present, tracks the improvement of Italy s architectural avant-garde during the upheavals of the 20 th century. starting with the advance of Italian paintings nouveau--"stile liberty"--and relocating via futurism, fascism, rationalism, and directly to the artistic experimentation of the current day, it explores the paintings of such pivotal figures as Raimondo d Aronco, Antonio Sant Elia, Adalberto Libera, Giuseppe Terragni, Pier Luigi Nervi, Gio Ponti, Carlo Scarpa, Aldo Rossi, and Renzo Piano.
The structure of contemporary Italy is exhaustively illustrated with infrequent interval pictures, new images, maps, drawings, and plans. With Colin Rowe's Italian structure of the sixteenth Century, it presents a virtually entire review of the heritage of Italian structure.
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Additional resources for The Architecture of Modern Italy: Volume II: Visions of Utopia, 1900–Present
Example text
The Nuove Tendenze group collapsed at Sant’Elia’s departure and Arata complained that Sant’Elia was prostituting his art to politics. On 11 July 1914, less than three weeks after the Nuove Tendenze exhibition, Sant’Elia’s name appeared on the first Futurist manifesto of architecture. The text of his earlier Messaggio was also reprinted but with significant changes. Arata, not the most impartial observer, was piqued by Sant’Elia’s disloyal slight of his group and dismissed the manifesto as a ridiculous and overly abstract proposal.
His Florentine sources lose their legibility in his transgressive combinations. The castle is at once ridiculously miniature and grotesquely gigantic. Its fifty or so rooms were furnished with the Coppedè firm’s widest historical revisitations. The Castello MacKenzie is paradigmatic of bourgeois excess, comparable to Ludwig II’s Neuschwanstein, Lord Bute’s Cardiff Castle,William Randolph Hearst’s San Simeon. The designer tapped Piranesi’s potential; his rambling interiors writhe with tortuous plays of light, paradoxical structural illusions, and restless surfaces.
The text of his earlier Messaggio was also reprinted but with significant changes. Arata, not the most impartial observer, was piqued by Sant’Elia’s disloyal slight of his group and dismissed the manifesto as a ridiculous and overly abstract proposal. A socialist uprising in the Romagna region was sparked by a Futurist-style agitator named Benito Mussolini. Action in the Balkans prompted Italy to enter the Great War with the idea of expanding national boundaries in the northwest. Marinetti preached the regenerative virtues of war and all the Futurists enlisted.