modernism in Turin refers to the diffusion of this style in the Piedmontese capital, framed in the artistic trend "Modernism (art)") of the belle époque typical of the last years of the century, which concluded with a convergence towards eclecticism in the first two decades of the century.
Modernism spread throughout Italy and particularly in the city of Turin, involving various artistic disciplines, such as applied arts and, above all, architecture. In the specific Turin panorama, the latter showed, in its main works, the influence of the Parisian and Belgian schools, becoming one of the best Italian examples of this current,[1] but not without also experiencing inevitable eclectic incursions "Eclecticism (art)") and art deco.
Due to the success of this stylistic trend and the typology of buildings that were built in the first decades of the century, Turin was defined as one of the "Italian capitals of modernism",[2] so much so that abundant architectural testimonies from that era can still be seen today.[3].
History and historical-artistic context
In Europe, the turn of the century was characterized by an intense renewal of artistic expressions, strongly influenced by technical progress and by the enthusiastic positivist praise of the important advances achieved by science. The evolution of the artistic avant-garde at the end of the century first affected the applied arts: this new style received different names in each geographical area: in the French-speaking area it was called art nouveau, in Germany jugendstil, in Austria sezessionstil, in Great Britain modern style and in Spain modernismo.[4].
In Italy, and particularly in Turin, the new movement was initially called arte nuova, translating the term directly from French. In the varied national panorama this new current, which later also assumed the name stile floreale,[4] never established itself as a true Italian school of reference but managed to establish itself, although with a slight delay compared to the main European countries, experiencing its maximum splendor in the first years of the century. In its first decade, we can speak of the Liberty style, a term that finally predominated in Italy and that came from the famous London stores of Arthur Lasenby Liberty, one of the first to exhibit and disseminate objects and engravings of exotic taste with the sinuous forms typical of this new style.[5].
Review of modernist villas
Introduction
modernism in Turin refers to the diffusion of this style in the Piedmontese capital, framed in the artistic trend "Modernism (art)") of the belle époque typical of the last years of the century, which concluded with a convergence towards eclecticism in the first two decades of the century.
Modernism spread throughout Italy and particularly in the city of Turin, involving various artistic disciplines, such as applied arts and, above all, architecture. In the specific Turin panorama, the latter showed, in its main works, the influence of the Parisian and Belgian schools, becoming one of the best Italian examples of this current,[1] but not without also experiencing inevitable eclectic incursions "Eclecticism (art)") and art deco.
Due to the success of this stylistic trend and the typology of buildings that were built in the first decades of the century, Turin was defined as one of the "Italian capitals of modernism",[2] so much so that abundant architectural testimonies from that era can still be seen today.[3].
History and historical-artistic context
In Europe, the turn of the century was characterized by an intense renewal of artistic expressions, strongly influenced by technical progress and by the enthusiastic positivist praise of the important advances achieved by science. The evolution of the artistic avant-garde at the end of the century first affected the applied arts: this new style received different names in each geographical area: in the French-speaking area it was called art nouveau, in Germany jugendstil, in Austria sezessionstil, in Great Britain modern style and in Spain modernismo.[4].
In Italy, and particularly in Turin, the new movement was initially called arte nuova, translating the term directly from French. In the varied national panorama this new current, which later also assumed the name stile floreale,[4] never established itself as a true Italian school of reference but managed to establish itself, although with a slight delay compared to the main European countries, experiencing its maximum splendor in the first years of the century. In its first decade, we can speak of the Liberty style, a term that finally predominated in Italy and that came from the famous London stores of Arthur Lasenby Liberty, one of the first to exhibit and disseminate objects and engravings of exotic taste with the sinuous forms typical of this new style.[5].
Liberty, therefore, found its greatest success in architecture, leaving posterity one of its most lasting testimonies. At the beginning of the century the upper bourgeoisie, already definitively affirmed as the hegemonic class of Italian society, found in liberty its distinctive element, or the occasion to show its superiority and at the same time underline its separation from the old noble class and its neoclassical and baroque residences,[6] still closely linked to the more conservative eclectic style "Eclecticism (art)") that had predominated during the century.[7] However, its appearance Innovative was not only the contrast to neo-Gothic and eclecticism "Eclecticism (art)"), but also a greater consideration of the applied arts as an element of strength, since liberty relied, thanks to the growing development of technique, on a large-scale production of an art that in its emblematic beauty was accessible to most of the social fabric of the time. Despite this, also in Turin this initial populist vocation of liberty was diluted, the ideal of a "socialism of beauty"[8] soon evolved into a rich triumph of floral motifs, thread-shaped ribs and daring metallic decorations of clear phytomorphic inspiration, at the same time that it became a privilege of the wealthiest social classes. In this context Turin, with a certain advance compared to the rest of Italy, was the Italian city that best knew how to embrace the exuberance of this new style and made it the emblem of the status of the emerging local and foreign industrial bourgeoisie,[N 1] which installed numerous new establishments in the city at the end of the century and beginning of the .[9].
Behind this stylistic current, often considered "frivolous" and perhaps naively optimistic,[10] the added value of technique and industry prevailed, in the same way that "function" prevailed over "form", but modernity soon led to the horrors of the First World War which, not only symbolically, decreed the end of the era of modernism.
Turin between the 19th and 20th centuries: liberty
Contenido
Turín, pese a tener un panorama arquitectónico caracterizado predominantemente por el estilo barroco de las escuelas guariniana y juvarriana que exhiben los numerosos palacios nobiliarios y residencias sabaudas, en el ventenio a caballo entre los siglos y se dejó impregnar por esta nueva corriente estilística. Conocido inicialmente como arte nuova o, según el periodista turinés Emilio Thovez, arte floreale, este nuevo estilo asombró por ser tan «fielmente naturalista y en su esencia profundamente decorativo».[11] Tras las ediciones de la Esposizione Internazionale d'Arte Decorativa Moderna, Turín experimentó una creciente proliferación de este nuevo estilo principalmente en el ámbito arquitectónico, celebrando una especie de «renacimiento de las artes decorativas»,[11][12] valiéndose de las contribuciones de los mejores arquitectos de la época como Raimondo D'Aronco y el turinés Pietro Fenoglio, que se afirmó por su intensa actividad de ingeniero y que hizo del liberty turinés uno de los ejemplos más brillantes y coherentes del variado panorama arquitectónico italiano de la época.[13].
Una contribución significativa al desarrollo de este nuevo estilo procede de la industria que, involucrada en primer plano en el proceso de renovación de la capital piamontesa, desempeñó el papel de cliente privilegiado pero también de interlocutor capaz de ofrecer la técnica y un sólido apoyo en beneficio de los trabajadores necesarios para la plena afirmación de esta nueva corriente. Decisiva, por citar un ejemplo, fue la labor de la Impresa Porcheddu, con sede en Turín,[N 2] que desde 1895 fue la primera constructora que importó y utilizó en exclusiva para Italia el innovador Systéme Hennebique,[14] la primera patente para la construcción de «estructuras y suelos ignífugos» en hormigón armado, presentada por el ingeniero francés François Hennebique.[10].
The universal exhibitions and the arrival of 1902
In this lively cultural climate, the city witnessed the Turin edition of the Universal Exhibition in 1887, which also led, in the wake of late romanticism, to the construction of the Borgo Medievale "Medieval Village (Turin)"), following the impulses of the contemporary neo-Gothic style.
At first, these events met with lukewarm enthusiasm, however, subsequent editions had increasing success, producing the gradual affirmation of liberty. The most ambitious event, which gave a decisive boost to its dissemination, was the Esposizione Internazionale d'Arte Decorativa Moderna which welcomed, in its numerous pavilions of this style, relevant foreign guests such as Peter Behrens, Hendrik Petrus Berlage, Victor Horta, René Lalique, Charles Rennie Mackintosh and Henry van de Velde,[15] in addition to favoring a climate that contributed to the construction of numerous public and private buildings, thus decreeing the definitive consecration of modernism as the new dominant artistic style.[16].
Another contribution came from the publishing sector, which in Turin had the presence of important companies such as Camilla & Bertolero, Crudo & Lattuada, Editrice Libraria F.lli Fiandesio & C. and the oldest of all, Roux e Viarengo, all of them active since the end of the century.[17].
Since 1889, the first had published the newspaper L'architettura pratica, a specialized magazine founded by the architect Andrea Donghi and later directed by his colleague Giuseppe Momo. Calandra"), Leonardo Bistolfi, Giorgio Ceragioli and the writer Enrico Thovez").[4] Other periodicals worthy of mention were Emporium&action=edit&redlink=1 "Emporium (newspaper) (not yet written)"), Architettura Italiana and La Casa Bella, later directed by Gio Ponti and which still exists today as Casabella.[18].
The furniture sector was also an active participant in the flourishing liberty period, an optimal field for applied arts; Although it did not yet constitute an industrial reality, it could count on a competent workforce and represented a highly appreciated artisanal reality. Some exponents worth remembering are the Vetreria Albano&Macario, which among its numerous works created the Terrazza Solferino, and the Mobilificio Torinese F. Cesare Gandolfo, which produced many pieces of furniture for cafes, restaurants and hotels, including the Albergo Rocciamelone in Usseglio, for which it made the complete furniture.[19].
Turin intensely lived through the liberty era which, despite being relatively brief, became an important point of reference for all of Italy,[9] capable of attracting contributions from figures of international relevance such as the Friulian architect Raimondo D'Aronco who, after his recent work in Istanbul, designed the Great Hall for the Turin exhibition of 1902.[20][21] As a consequence of the success of the exhibition, Turin continued to be a terrain fertile for abundant experimentations, although very coherent and sober, carried out by a large group of architects and engineers such as Eugenio Ballatore di Rosana, Giovanni Battista Benazzo, Pietro Betta, Eugenio Bonelli, Paolo Burzio, Carlo Ceppi, Camillo Dolza, Andrea Donghi, Michele Frapolli, Giuseppe Gallo, Giuseppe Gatti, Giovanni Gribodo, Quinto Grupallo, Gottardo Gussoni, Giuseppe Hendel, Giacomo Mattè-Trucco, Eugenio Mollino, Giuseppe Momo, Ludovico Peracchio, Alfredo Premoli, Giovanni Reycend, Annibale Rigotti, Paolo Saccarelli, Annibale Tioli, Giovanni Tirone, Giovanni Vacchetta, Antonio Vandone di Cortemilia, Giuseppe Velati Bellini and Genesio Vivarelli; However, the most prolific character and undisputed protagonist of Turin modernism was, without a doubt, Pietro Fenoglio.[22].
Fenoglio's work
The greatest protagonist of Turin modernism was undoubtedly Pietro Fenoglio, whose prolific activity gave Turin some of the best Italian examples of this new style. He dedicated himself for about thirteen years to the realization of more than three hundred projects including villas and palaces, some of which were concentrated in the area of Corso Francia and adjacent streets, in addition to numerous industrial buildings commissioned by the new Turin ruling class. However, his contribution was not only that of a renowned professional, since he was also called to intervene at the political level, holding the positions of municipal councilor and consultant for the study of the new regulatory plan completed in 1908.[23].
Fenoglio was also one of the organizers of the editions of the international exhibition of 1902 and 1911 but was also active in the editorial field, being among the founders and most important collaborators of the magazine L'architettura Italiana Moderna. At the same time as his intense architectural activity, he became part of the emerging industrial and financial bourgeoisie of Turin, intensifying his influence in the real estate sector. Fenoglio held the position of vice president of the well-known Impresa Porcheddu and of the Società Anonima Cementi del Monferrato, and was a partner of Accomandita Ceirano & C. and CEO of the nascent Banca Commerciale Italiana").[22]
Fenoglio's work is characterized by the wise use of pastel tones, by the wall decorations that alternate vegetal subjects with circular geometric elements and by the extensive use of cornices in lithocement together with the decorative elegance, sometimes daring, of iron and glass, which he chose as privileged materials. Among his best-known works are the Villino Raby") (1901),[N 3] the famous Villa Scott") (1902),[N 4] which shows a rich collection of loggias, turrets, stained glass windows, boínder, and, above all, his best-known work, the Fenoglio-Lafleur House (1902),[N 5] considered "the best example of modernism in Italy».[22][24][25].
Other buildings worth mentioning that reproduce decorative elements from the success of the Fenoglio-Lafleur House are the Rossi-Galateri House (1903) on Via Passalacqua and the Girardi House (1904) on Via Cibrario. Fenoglio's work was relatively brief but abundant and numerous similar buildings can be cited, other "rental houses" for residential use: Casa Rey (1904), Casa Boffa-Costa (1904), Casa Macciotta (1904), Casa Balbis (1905), Casa Ina")[N 6] (1906), Casa Guelpa (1907), until extending outside Piedmont, with the completion of the villa.") of Magno Magni") in Canzo, Province of Como.
Fenoglio's activity also had as its client the nascent world of industry, which found Turin a favorable place to establish the headquarters of new facilities. Among the best known are the Conceria Fiorio (1900), the Stabilimento Boero (1905), the Fonderie Ballada (1906), the Officine Diatto automobile factory (1907), the large building of the first Italian brewery,[23]Bosio & Caratsch"), with the attached patron villa (1907), and, obviously, the Villaggio Leumann.[26].
The other characters of Turin modernism
Despite the mainly baroque connotation of the Guarinian and Juvarrian schools, the architectural heritage of the old Sabauda capital still preserves important modernist testimonies practically intact today and the presence of buildings from that era is still perceptible in some central areas of the capital such as the neighborhoods of the historic center, Crocetta&action=edit&redlink=1 "Crocetta (Turin) (not yet written)"), San Salvario") and the hill"), but with an absolute predominance in the area surrounding the first stretch of Corso Francia, which includes the neighborhoods of Cit Turin and San Donato&action=edit&redlink=1 "San Donato (Turin) (not yet written)").
The emblem of the experiments that, from a still evidently eclectic design so appreciated by Carlo Ceppi"), reveal liberty traits are surely the Palazzo Bellia") (1898)[N 12] and the Palazzo Priotti") (1900).[30] In them Ceppi was able to merge baroque and eclectic elements with an already modernist sinuosity and, in the case of the Palazzo Bellia, he made a large use of boinder, turrets and trefoil arches, making it one of the most characteristic buildings on the central Via Pietro Micca.[31][32].
A student of Carlo Ceppi, the prolific Pietro Fenoglio built his success on his deliberately art nouveau style and his stylistic influence infected numerous other architects, fueling a growing and fruitful competition that made the era of Turin modernism worth remembering.[33][9] The antagonism of the large group of architects who worked in Turin in these years also saw different currents of the same style flourish. For example, the architect Pietro Betta differentiated himself by embracing a style closer to sezessionstil and in his studio young architects such as Domenico Soldiero Morelli and Armando Melis de Villa") were trained, protagonists of the later current of Italian rationalism. Betta's work is distinguished by its more monumental approach, contaminated by classical elements intelligently combined with secessionist elements, the most impressive example of which is offered by the Casa Avezzano (1912) in the neighborhood. Crocetta, whose façade is divided by a sequence of large Corinthian columns supported by bullfighting protomes and "chained" to a series of boínder.[34].
Other clearly secessionist examples are the Casa Bonelli (1904), residence of the architect Bonelli himself,[35] whose facades are characterized by particular window-doors surrounded by a wide circular cornice, which show finely decorated ornaments, and the Casa Mussini, an austere residential building on the foothills, designed by the architect Ferrari in 1914.[36].
Another exponent close to Pietro Betta's design lexicon was the architect Annibale Rigotti who, on the corner of Via Vassalli Eandi and Via Principi d'Acaja, a short distance from Fenoglio's Casa Ina, designed Casa Baravalle (1902), a single-family villa recognizable by its blue walls and characterized by geometric decorations, with extremely sober forms. Here Rigotti, author of some pavilions at the 1902 International Exhibition, seems almost to want to anticipate the rigor that will prevail in the later style.[37].
Daniele Donghi and Camillo Dolza: two engineers at the service of public administration
The era of Turin modernism was also characterized by an abundant construction of public buildings, including schools, offices and public baths. In this sector of the local administration, illustrious exponents emerged, among which the first stands out the engineer Daniele Donghi, previously a professor of technical architecture in Milan and Padua, who for about fifteen years directed the technical office of public works, a position that he left at the same time as the analogous position in the City Council of Padua, finally becoming director of the Milanese subsidiary of the Porcheddu Press of Turin.[45].
Donghi was replaced by the engineer Camillo Dolza, who signed the most important public architecture projects in Turin in the first decades of the century, including the imposing building of the magistrale women's higher institute «V. Monti» on Corso Galileo Ferraris 11 (1900),[N 16] the first municipal baths on Via G. Saccarelli (1901), those on Via O. Morgari (1905), those in Borgo Vanchiglia (1910), the Palazzo Poste e Telegrafi on Via Alfieri (1908) and the new primary school “Santorre di Santarosa” on Via Braccini (1920).[46].
The neo-gothic and the detractors of modernism
Parallel to the sometimes exasperated naturalism of modernism, the neo-Gothic current continued to be the favorite style of the aristocracy and of clients with a more conservative and traditionalist taste; Furthermore, thanks to the strong allegorical connotation of medieval inspiration, it became the preferred style for the realization of religious buildings "Church (building)"), if the only Italian case of a liberty church dedicated to Saint Elisabetta, inside the Villaggio Leumann, is excluded.
One of the greatest detractors of liberty was the Turin poet Guido Gozzano who, ironically, lived and died in a building designed in this new style by Pietro Fenoglio, the Casa Rama on Via Cibrario 65.[11][47] He often expressed words of contempt towards liberty, even defining it as "rubella of good taste,"[48] and comparing it to a passing infatuation with European models. which, according to his thinking, had no relationship with the Italian architectural tradition; On the contrary, in the neo-Gothic he warned of a healthy "return to order" safe from too bold stylistic avant-gardes.[49].
The same idea was shared by the greatest exponents of nobility and finance who, even without resorting to neo-Gothic, preferred a more sober, traditional and conservative neoclassical style for their representative buildings, as happens for example in the eclectic building of Assicurazioni Generali Venezia in Piazza Solferino"), designed by Pietro Fenoglio, who, however, bowed here to the indisputable demands of the client.[49].
In addition to the well-known Borgo Medievale "Medieval Village (Turin)") of the Parco del Valentino, a jewel resulting from a careful study of the local medieval remains coordinated by the Portuguese architect Alfredo d'Andrade"), in the elegant residential neighborhood Cit Turin you can see excellent examples of civil architecture in the works commissioned by Carrera: the Casa della Vittoria")[N 17] (1918-1920) by Gottardo Gussoni, along with Carrera's own residence at Via Giacinto Collegno 44, are the most relevant examples. Also in the same neighborhood, the work of the architect Giuseppe Gallo"), to whom we owe the project of the church dedicated to Jesus the Nazarene located in Piazza Martini, is worthy of mention.[N 18] Other examples of civil buildings in the neo-Gothic style can be seen in the neighboring neighborhood of San Donato&action=edit&redlink=1 "San Donato (Turin) (not yet written)"), such as the group of houses at numbers 3 and 5 of Via Piffetti, famous for its wrought iron elements, characteristic sphinxes and peacock tail-shaped decorations.
Other blocks that exemplify Giuseppe Gallo's neo-Gothic can also be found in the San Salvario area")[N 19] and in the Crocetta neighborhood&action=edit&redlink=1 "Crocetta (Turin) (not yet written)"), where the Casa Lattes (1911) stands out, an imposing example located at the intersection of Via Sacchi and Corso Sommelier. In the Parella neighborhood, for its part, then extreme periphery surrounded by the countryside, the Palazzotto Arduino was built, a rich example of neo-Gothic carried out by the architects Coppedé and Mesturino in 1926, when the architectural avant-garde was already experimenting in the city with the first examples of rationalism such as, for example, the Palazzo Gualino").
The end of liberty, the arrival of art deco and neoliberty
art deco
While the horrors of the First World War decreed, not only symbolically, the end of the carefree era of modernism, in the course of the second decade of the century the theme of "function" prevailed over "form" and art deco was a kind of stylistic synopsis that saw the sinuous audacity of modernism transformed into more rigorous elements that advanced the main features of Italian rationalism; Turin also houses some worthy examples of this new trend.
In addition to some villas in the hilly area, one of the first expressions of art deco architecture appeared on Via Cibrario 62, where the Casa Enrieu by architect Bertola was built: its decorative apparatus, already devoid of floral decorations, is characterized by cornices and undulating motifs alternating with flat surfaces; The same goes for the building located next to it, on the corner with Via Bossi.[50].
Another example of art deco is the building that was built on the corner of Corso Vittorio Emanuele II "Corso Vittorio Emanuele II (Turin)"), built in 1926 according to the project of the engineer Bonadè-Bottino to house the Palazzo del Cinema, then Cinema Corso"), at the time the largest cinema hall in Italy.[N 20] Despite its destruction in a fire on March 9, 1980, Its characteristic chamfered façade "Chamfer (architecture)") crowned by a dome was preserved and the building was destined for a different use, according to the project of the architect Pier Paolo Maggiora"). according to the project of Giuseppe Momo, as the headquarters of the Società Anonima Edile Torinese.[51].
Another Turin architect who established himself for his art deco works was Vittorio Eugenio Ballatore di Rosana. Author of the Motovelodromo Fausto Coppi"), of vague modernist inspiration, and the grandiose Stadium&action=edit&redlink=1 "Stadium (Turin) (not yet written)"), he distinguished himself for the design of the Torri Rivella"), the pair of buildings located at the intersection of Corso Regina Margherita and Corso Regio Parco, the imposing building of the Istituto Elettrotecnico Galileo Ferraris, in the number 42 Corso Massimo d'Azeglio, and a group of buildings next to Piazza Bernini.
• - Art Deco architecture in Turin.
• - Casa Enrieu, one of the first examples of art deco, on Via Cibrario (1914).
• - The Torri Rivella") (1929).
• - Detail of the finish.
• - Detail of the facade.
Neoliberty and the posthumous revaluation of Turin modernism
In the fifties of the century liberty underwent a kind of reinterpretation by some exponents of Turin architecture of the time, among them Roberto Gabetti"), Aimaro Isola"), Sergio Jaretti and Elio Luzi, together with the Milanese studio BBPR, which, due to its reinterpretation of the floral and structural elements, led the critic Paolo Portoghesi to define this phenomenon as neoliberty.[52][53] Jaretti and Luzi's so-called Casa dell'Obelisco is emblematic),[54] where they use, with refined irony, cultured stylistic references that lead to a revision of construction materials, re-proposing the use of lithocement for the decorative elements that characterize the sinuous facades of the building, divided by superimposed horizontal reliefs that recall the modernist morphologies of Gaudí.[55].
Also in the hilly area of Borgo Po"), at the beginning of the 2000s, an eccentric building designed by the architect Alessandro Celli appeared, the Villa Grivet Brancot, a true "false historical". It is a single-family residence characterized by a rich decorative apparatus made up of lithocement, cornices, decorations and wrought iron elements that seem to belong to Fenoglio's repertoire but are in reality the fruit of an attentive contemporary investigation of techniques and materials philologically coherent with the liberty era for its perpetual tribute.[55].
• - Modernism "Modernism (art)").
• - Prima Esposizione Internazionale d'Arte Decorative Moderna.
• - Pietro Fenoglio.
• - Raimondo D'Aronco.
• - Fenoglio-Lafleur House.
• - Modernism in Milan.
• - Modernism in Naples.
• - Wikimedia Commons hosts a multimedia category on Modernism in Turin.
References
[1] ↑ En esos años, Turín, debido a la pérdida de su papel de capital del reino, obtuvo a modo de indemnización la concesión de practicar una política de desgravaciones fiscales para las industrias que pretendieran invertir en su territorio. Estos incentivos fiscales consiguieron atraer rápidamente la presencia de muchos industriales italianos y sobre todo ingleses o suizos como Abegg, Bich, Caffarel, Caratsch, Kind, Krupp, Leumann, Miller, Menier, Metzger, Remmert o Scott, que contribuyeron al «ambiente internacional» y a la futura vocación industrial de la capital piamontesa.
[2] ↑ Su primera sede fue en la Piazza Cavour, posteriormente se trasladó al Corso Valentino 20, hoy Corso Guglielmo Marconi y más tarde estableció sucursales por toda Italia.(Porcheddu, 1911).
[3] ↑ Situado en el Corso Francia 8 y realizado en colaboración con el arquitecto Gottardo Gussoni.
[4] ↑ Situada en la zona montañosa, fue escogida por el director Dario Argento como escenario para la célebre película Profondo Rosso.
[5] ↑ Fue realizada por Fenoglio como «casa-estudio», costumbre bastante extendida en la época: hicieron lo mismo los arquitectos Bonelli, Vandone di Cortemilia y, antes que ellos, el propio Antonelli. Posteriormente, la Casa Fenoglio fue vendida a un acaudalado francés de nombre Lafleur y desde entonces recibe el nombre de Casa Fenoglio-Lafleur.
[6] ↑ Ejemplo de «casa de alquiler» realizada por la compañía aseguradora Ina-Assitalia.
[7] ↑ Pronunciación original: /ˈlɔjman/; Leumann es un apellido de origen alemán y, como tal, el diptongo eu se pronuncia oi. Sin embargo, se ha extendido la pronunciación /ˈlɛuman/, mucho más común en el uso local.
[8] ↑ Desde hace tiempo utilizadas por el Ayuntamiento de Collegno como vivienda social.(Coda, Fraternali y Ostorero, 2017, p. 148-152).
[9] ↑ Todavía utilizada por el Ayuntamiento de Collegno. Se conserva parte del mobiliario original, realizado a medida de niño e inspirado en la didáctica del pedagogo alemán Friedrich Fröbel; el asilo fue dedicado a la memoria de la pequeña Wera Leumann, hija de Napoleone y Amalia Leumann, que falleció prematuramente con tan solo tres años.(Coda, Fraternali y Ostorero, 2017, p. 154-155).
[10] ↑ Fue dedicada a Santa Elisabetta en memoria de Elisabetta Knecthlin, madre de Napoleone Leumann.(Coda, Fraternali y Ostorero, 2017, p. 155).
[11] ↑ El modernismo era considerado un estilo inapropiado para la realización de arquitectura sagrada porque tenía formas demasiado frívolas, a veces sensuales y a menudo evocadoras de un estereotipo de feminidad considerado decadente y lascivo.
[12] ↑ Fue el primer edificio civil turinés que aplicó el Systéme Hennebique para el uso del hormigón armado en los forjados.(Coda, Fraternali y Ostorero, 2017, p. 89).
[13] ↑ El traslado a una nueva sede, una amplia construcción baja con oficinas y laboratorios situada en el Corso Valentino 20 (actualmente Corso Marconi), se produjo en 1903. Aquí la empresa pudo disponer también de un laboratorio para pruebas de carga sobre los productos semielaborados.(Nelva y Signorelli, 1990, p. 21).
[14] ↑ En la posguerra de la Segunda Guerra Mundial se transformó en el actual Cinema Romano.
[15] ↑ Entre sus clientes tuvo particular importancia la familia real y algunas de sus obras fueron adquiridas por Humberto I y por Víctor Manuel III.
[16] ↑ Aunque es fuertemente ecléctico.
[17] ↑ Popularmente conocida también como la casa dei draghi o «casa de los dragones».
[18] ↑ Conocida comúnmente como Piazza Benefica.
[19] ↑ Por ejemplo, el edificio residencial de la Via Nizza 43, en la esquina con la Via Morgari.
[20] ↑ Esta información se deduce de la fotografía de la época.
[21] ↑ Bossaglia, 1997, p. 13.
[22] ↑ Bossaglia, 1997, p. 14.
[23] ↑ Coda, Fraternali y Ostorero, 2017, p. 7-8.
[24] ↑ a b c VV. AA., 1997.
[25] ↑ Rizzo y Sirchia, 2008, p. 26-32.
[26] ↑ Ogliari y Bagnera, 2006, p. 9.
[27] ↑ Speziali, 2015, p. 21.
[28] ↑ Coda, Fraternali y Ostorero, 2017, p. 13-14.
[29] ↑ a b c Nelva y Signorelli, 1990, p. 176-180, 301-303.
[30] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 14.
[31] ↑ a b c Coda, Fraternali y Ostorero, 2017, p. 11.
[32] ↑ VV. AA., 1898, p. 30-32.
[33] ↑ VV. AA., 1980, p. 318.
[34] ↑ Porcheddu, 1911.
[35] ↑ VV. AA., 1902.
[36] ↑ Ogliari y Bagnera, 2006, p. 14.
[37] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 31.
[38] ↑ Coda, Fraternali y Ostorero, 2017, p. 31-32.
[39] ↑ Coda, Fraternali y Ostorero, 2017, p. 20.
[40] ↑ Coda, Fraternali y Ostorero, 2017, p. 78.
[41] ↑ Fahr-Becker, 1999, p. 396.
[42] ↑ a b c Coda, Fraternali y Ostorero, 2017, p. 152-153.
[43] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 151-152.
[44] ↑ Leva Pistoi, 1969, p. 176-180.
[45] ↑ Nelva y Signorelli, 1979, p. 207-208.
[46] ↑ Coda, Fraternali y Ostorero, 2017, p. 144-156.
[47] ↑ Coda, Fraternali y Ostorero, 2017, p. 145-146.
[48] ↑ Coda, Fraternali y Ostorero, 2017, p. 155.
[49] ↑ Coda, Fraternali y Ostorero, 2017, p. 150.
[50] ↑ Coda, Fraternali y Ostorero, 2017, p. 89.
[51] ↑ Scarzella, 1995, p. 6-12.
[52] ↑ a b Coda, Fraternali y Ostorero, 2017.
[53] ↑ a b VV. AA., 1980, p. 320.
[54] ↑ Coda, Fraternali y Ostorero, 2017, p. 105-106.
[55] ↑ Coda, Fraternali y Ostorero, 2017, p. 95.
[56] ↑ Coda, Fraternali y Ostorero, 2017, p. 43.
[57] ↑ Coda, Fraternali y Ostorero, 2017, p. 141.
[58] ↑ Coda, Fraternali y Ostorero, 2017, p. 39.
[59] ↑ Coda, Fraternali y Ostorero, 2017, p. 66-67.
[60] ↑ Coda, Fraternali y Ostorero, 2017, p. 76.
[61] ↑ Caponetti, 2013.
[62] ↑ Coda, Fraternali y Ostorero, 2017, p. 67.
[63] ↑ VV. AA., 1980, p. 319.
[64] ↑ Coda, Fraternali y Ostorero, 2017, p. 212-233.
[65] ↑ Coda, Fraternali y Ostorero, 2017, p. 187.
[66] ↑ Coda, Fraternali y Ostorero, 2017, p. 188.
[67] ↑ Coda, Fraternali y Ostorero, 2017, p. 131.
[68] ↑ Coda, Fraternali y Ostorero, 2017, p. 12.
[69] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 11-12.
[70] ↑ Coda, Fraternali y Ostorero, 2017, p. 130-131.
[71] ↑ VV. AA., 1980, p. 320.
[72] ↑ Coda, Fraternali y Ostorero, 2017, p. 22-23.
[73] ↑ Portoghesi, 1998.
[74] ↑ Zevi, 1979, p. 253-259.
[75] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 23.
Liberty, therefore, found its greatest success in architecture, leaving posterity one of its most lasting testimonies. At the beginning of the century the upper bourgeoisie, already definitively affirmed as the hegemonic class of Italian society, found in liberty its distinctive element, or the occasion to show its superiority and at the same time underline its separation from the old noble class and its neoclassical and baroque residences,[6] still closely linked to the more conservative eclectic style "Eclecticism (art)") that had predominated during the century.[7] However, its appearance Innovative was not only the contrast to neo-Gothic and eclecticism "Eclecticism (art)"), but also a greater consideration of the applied arts as an element of strength, since liberty relied, thanks to the growing development of technique, on a large-scale production of an art that in its emblematic beauty was accessible to most of the social fabric of the time. Despite this, also in Turin this initial populist vocation of liberty was diluted, the ideal of a "socialism of beauty"[8] soon evolved into a rich triumph of floral motifs, thread-shaped ribs and daring metallic decorations of clear phytomorphic inspiration, at the same time that it became a privilege of the wealthiest social classes. In this context Turin, with a certain advance compared to the rest of Italy, was the Italian city that best knew how to embrace the exuberance of this new style and made it the emblem of the status of the emerging local and foreign industrial bourgeoisie,[N 1] which installed numerous new establishments in the city at the end of the century and beginning of the .[9].
Behind this stylistic current, often considered "frivolous" and perhaps naively optimistic,[10] the added value of technique and industry prevailed, in the same way that "function" prevailed over "form", but modernity soon led to the horrors of the First World War which, not only symbolically, decreed the end of the era of modernism.
Turin between the 19th and 20th centuries: liberty
Contenido
Turín, pese a tener un panorama arquitectónico caracterizado predominantemente por el estilo barroco de las escuelas guariniana y juvarriana que exhiben los numerosos palacios nobiliarios y residencias sabaudas, en el ventenio a caballo entre los siglos y se dejó impregnar por esta nueva corriente estilística. Conocido inicialmente como arte nuova o, según el periodista turinés Emilio Thovez, arte floreale, este nuevo estilo asombró por ser tan «fielmente naturalista y en su esencia profundamente decorativo».[11] Tras las ediciones de la Esposizione Internazionale d'Arte Decorativa Moderna, Turín experimentó una creciente proliferación de este nuevo estilo principalmente en el ámbito arquitectónico, celebrando una especie de «renacimiento de las artes decorativas»,[11][12] valiéndose de las contribuciones de los mejores arquitectos de la época como Raimondo D'Aronco y el turinés Pietro Fenoglio, que se afirmó por su intensa actividad de ingeniero y que hizo del liberty turinés uno de los ejemplos más brillantes y coherentes del variado panorama arquitectónico italiano de la época.[13].
Una contribución significativa al desarrollo de este nuevo estilo procede de la industria que, involucrada en primer plano en el proceso de renovación de la capital piamontesa, desempeñó el papel de cliente privilegiado pero también de interlocutor capaz de ofrecer la técnica y un sólido apoyo en beneficio de los trabajadores necesarios para la plena afirmación de esta nueva corriente. Decisiva, por citar un ejemplo, fue la labor de la Impresa Porcheddu, con sede en Turín,[N 2] que desde 1895 fue la primera constructora que importó y utilizó en exclusiva para Italia el innovador Systéme Hennebique,[14] la primera patente para la construcción de «estructuras y suelos ignífugos» en hormigón armado, presentada por el ingeniero francés François Hennebique.[10].
The universal exhibitions and the arrival of 1902
In this lively cultural climate, the city witnessed the Turin edition of the Universal Exhibition in 1887, which also led, in the wake of late romanticism, to the construction of the Borgo Medievale "Medieval Village (Turin)"), following the impulses of the contemporary neo-Gothic style.
At first, these events met with lukewarm enthusiasm, however, subsequent editions had increasing success, producing the gradual affirmation of liberty. The most ambitious event, which gave a decisive boost to its dissemination, was the Esposizione Internazionale d'Arte Decorativa Moderna which welcomed, in its numerous pavilions of this style, relevant foreign guests such as Peter Behrens, Hendrik Petrus Berlage, Victor Horta, René Lalique, Charles Rennie Mackintosh and Henry van de Velde,[15] in addition to favoring a climate that contributed to the construction of numerous public and private buildings, thus decreeing the definitive consecration of modernism as the new dominant artistic style.[16].
Another contribution came from the publishing sector, which in Turin had the presence of important companies such as Camilla & Bertolero, Crudo & Lattuada, Editrice Libraria F.lli Fiandesio & C. and the oldest of all, Roux e Viarengo, all of them active since the end of the century.[17].
Since 1889, the first had published the newspaper L'architettura pratica, a specialized magazine founded by the architect Andrea Donghi and later directed by his colleague Giuseppe Momo. Calandra"), Leonardo Bistolfi, Giorgio Ceragioli and the writer Enrico Thovez").[4] Other periodicals worthy of mention were Emporium&action=edit&redlink=1 "Emporium (newspaper) (not yet written)"), Architettura Italiana and La Casa Bella, later directed by Gio Ponti and which still exists today as Casabella.[18].
The furniture sector was also an active participant in the flourishing liberty period, an optimal field for applied arts; Although it did not yet constitute an industrial reality, it could count on a competent workforce and represented a highly appreciated artisanal reality. Some exponents worth remembering are the Vetreria Albano&Macario, which among its numerous works created the Terrazza Solferino, and the Mobilificio Torinese F. Cesare Gandolfo, which produced many pieces of furniture for cafes, restaurants and hotels, including the Albergo Rocciamelone in Usseglio, for which it made the complete furniture.[19].
Turin intensely lived through the liberty era which, despite being relatively brief, became an important point of reference for all of Italy,[9] capable of attracting contributions from figures of international relevance such as the Friulian architect Raimondo D'Aronco who, after his recent work in Istanbul, designed the Great Hall for the Turin exhibition of 1902.[20][21] As a consequence of the success of the exhibition, Turin continued to be a terrain fertile for abundant experimentations, although very coherent and sober, carried out by a large group of architects and engineers such as Eugenio Ballatore di Rosana, Giovanni Battista Benazzo, Pietro Betta, Eugenio Bonelli, Paolo Burzio, Carlo Ceppi, Camillo Dolza, Andrea Donghi, Michele Frapolli, Giuseppe Gallo, Giuseppe Gatti, Giovanni Gribodo, Quinto Grupallo, Gottardo Gussoni, Giuseppe Hendel, Giacomo Mattè-Trucco, Eugenio Mollino, Giuseppe Momo, Ludovico Peracchio, Alfredo Premoli, Giovanni Reycend, Annibale Rigotti, Paolo Saccarelli, Annibale Tioli, Giovanni Tirone, Giovanni Vacchetta, Antonio Vandone di Cortemilia, Giuseppe Velati Bellini and Genesio Vivarelli; However, the most prolific character and undisputed protagonist of Turin modernism was, without a doubt, Pietro Fenoglio.[22].
Fenoglio's work
The greatest protagonist of Turin modernism was undoubtedly Pietro Fenoglio, whose prolific activity gave Turin some of the best Italian examples of this new style. He dedicated himself for about thirteen years to the realization of more than three hundred projects including villas and palaces, some of which were concentrated in the area of Corso Francia and adjacent streets, in addition to numerous industrial buildings commissioned by the new Turin ruling class. However, his contribution was not only that of a renowned professional, since he was also called to intervene at the political level, holding the positions of municipal councilor and consultant for the study of the new regulatory plan completed in 1908.[23].
Fenoglio was also one of the organizers of the editions of the international exhibition of 1902 and 1911 but was also active in the editorial field, being among the founders and most important collaborators of the magazine L'architettura Italiana Moderna. At the same time as his intense architectural activity, he became part of the emerging industrial and financial bourgeoisie of Turin, intensifying his influence in the real estate sector. Fenoglio held the position of vice president of the well-known Impresa Porcheddu and of the Società Anonima Cementi del Monferrato, and was a partner of Accomandita Ceirano & C. and CEO of the nascent Banca Commerciale Italiana").[22]
Fenoglio's work is characterized by the wise use of pastel tones, by the wall decorations that alternate vegetal subjects with circular geometric elements and by the extensive use of cornices in lithocement together with the decorative elegance, sometimes daring, of iron and glass, which he chose as privileged materials. Among his best-known works are the Villino Raby") (1901),[N 3] the famous Villa Scott") (1902),[N 4] which shows a rich collection of loggias, turrets, stained glass windows, boínder, and, above all, his best-known work, the Fenoglio-Lafleur House (1902),[N 5] considered "the best example of modernism in Italy».[22][24][25].
Other buildings worth mentioning that reproduce decorative elements from the success of the Fenoglio-Lafleur House are the Rossi-Galateri House (1903) on Via Passalacqua and the Girardi House (1904) on Via Cibrario. Fenoglio's work was relatively brief but abundant and numerous similar buildings can be cited, other "rental houses" for residential use: Casa Rey (1904), Casa Boffa-Costa (1904), Casa Macciotta (1904), Casa Balbis (1905), Casa Ina")[N 6] (1906), Casa Guelpa (1907), until extending outside Piedmont, with the completion of the villa.") of Magno Magni") in Canzo, Province of Como.
Fenoglio's activity also had as its client the nascent world of industry, which found Turin a favorable place to establish the headquarters of new facilities. Among the best known are the Conceria Fiorio (1900), the Stabilimento Boero (1905), the Fonderie Ballada (1906), the Officine Diatto automobile factory (1907), the large building of the first Italian brewery,[23]Bosio & Caratsch"), with the attached patron villa (1907), and, obviously, the Villaggio Leumann.[26].
The other characters of Turin modernism
Despite the mainly baroque connotation of the Guarinian and Juvarrian schools, the architectural heritage of the old Sabauda capital still preserves important modernist testimonies practically intact today and the presence of buildings from that era is still perceptible in some central areas of the capital such as the neighborhoods of the historic center, Crocetta&action=edit&redlink=1 "Crocetta (Turin) (not yet written)"), San Salvario") and the hill"), but with an absolute predominance in the area surrounding the first stretch of Corso Francia, which includes the neighborhoods of Cit Turin and San Donato&action=edit&redlink=1 "San Donato (Turin) (not yet written)").
The emblem of the experiments that, from a still evidently eclectic design so appreciated by Carlo Ceppi"), reveal liberty traits are surely the Palazzo Bellia") (1898)[N 12] and the Palazzo Priotti") (1900).[30] In them Ceppi was able to merge baroque and eclectic elements with an already modernist sinuosity and, in the case of the Palazzo Bellia, he made a large use of boinder, turrets and trefoil arches, making it one of the most characteristic buildings on the central Via Pietro Micca.[31][32].
A student of Carlo Ceppi, the prolific Pietro Fenoglio built his success on his deliberately art nouveau style and his stylistic influence infected numerous other architects, fueling a growing and fruitful competition that made the era of Turin modernism worth remembering.[33][9] The antagonism of the large group of architects who worked in Turin in these years also saw different currents of the same style flourish. For example, the architect Pietro Betta differentiated himself by embracing a style closer to sezessionstil and in his studio young architects such as Domenico Soldiero Morelli and Armando Melis de Villa") were trained, protagonists of the later current of Italian rationalism. Betta's work is distinguished by its more monumental approach, contaminated by classical elements intelligently combined with secessionist elements, the most impressive example of which is offered by the Casa Avezzano (1912) in the neighborhood. Crocetta, whose façade is divided by a sequence of large Corinthian columns supported by bullfighting protomes and "chained" to a series of boínder.[34].
Other clearly secessionist examples are the Casa Bonelli (1904), residence of the architect Bonelli himself,[35] whose facades are characterized by particular window-doors surrounded by a wide circular cornice, which show finely decorated ornaments, and the Casa Mussini, an austere residential building on the foothills, designed by the architect Ferrari in 1914.[36].
Another exponent close to Pietro Betta's design lexicon was the architect Annibale Rigotti who, on the corner of Via Vassalli Eandi and Via Principi d'Acaja, a short distance from Fenoglio's Casa Ina, designed Casa Baravalle (1902), a single-family villa recognizable by its blue walls and characterized by geometric decorations, with extremely sober forms. Here Rigotti, author of some pavilions at the 1902 International Exhibition, seems almost to want to anticipate the rigor that will prevail in the later style.[37].
Daniele Donghi and Camillo Dolza: two engineers at the service of public administration
The era of Turin modernism was also characterized by an abundant construction of public buildings, including schools, offices and public baths. In this sector of the local administration, illustrious exponents emerged, among which the first stands out the engineer Daniele Donghi, previously a professor of technical architecture in Milan and Padua, who for about fifteen years directed the technical office of public works, a position that he left at the same time as the analogous position in the City Council of Padua, finally becoming director of the Milanese subsidiary of the Porcheddu Press of Turin.[45].
Donghi was replaced by the engineer Camillo Dolza, who signed the most important public architecture projects in Turin in the first decades of the century, including the imposing building of the magistrale women's higher institute «V. Monti» on Corso Galileo Ferraris 11 (1900),[N 16] the first municipal baths on Via G. Saccarelli (1901), those on Via O. Morgari (1905), those in Borgo Vanchiglia (1910), the Palazzo Poste e Telegrafi on Via Alfieri (1908) and the new primary school “Santorre di Santarosa” on Via Braccini (1920).[46].
The neo-gothic and the detractors of modernism
Parallel to the sometimes exasperated naturalism of modernism, the neo-Gothic current continued to be the favorite style of the aristocracy and of clients with a more conservative and traditionalist taste; Furthermore, thanks to the strong allegorical connotation of medieval inspiration, it became the preferred style for the realization of religious buildings "Church (building)"), if the only Italian case of a liberty church dedicated to Saint Elisabetta, inside the Villaggio Leumann, is excluded.
One of the greatest detractors of liberty was the Turin poet Guido Gozzano who, ironically, lived and died in a building designed in this new style by Pietro Fenoglio, the Casa Rama on Via Cibrario 65.[11][47] He often expressed words of contempt towards liberty, even defining it as "rubella of good taste,"[48] and comparing it to a passing infatuation with European models. which, according to his thinking, had no relationship with the Italian architectural tradition; On the contrary, in the neo-Gothic he warned of a healthy "return to order" safe from too bold stylistic avant-gardes.[49].
The same idea was shared by the greatest exponents of nobility and finance who, even without resorting to neo-Gothic, preferred a more sober, traditional and conservative neoclassical style for their representative buildings, as happens for example in the eclectic building of Assicurazioni Generali Venezia in Piazza Solferino"), designed by Pietro Fenoglio, who, however, bowed here to the indisputable demands of the client.[49].
In addition to the well-known Borgo Medievale "Medieval Village (Turin)") of the Parco del Valentino, a jewel resulting from a careful study of the local medieval remains coordinated by the Portuguese architect Alfredo d'Andrade"), in the elegant residential neighborhood Cit Turin you can see excellent examples of civil architecture in the works commissioned by Carrera: the Casa della Vittoria")[N 17] (1918-1920) by Gottardo Gussoni, along with Carrera's own residence at Via Giacinto Collegno 44, are the most relevant examples. Also in the same neighborhood, the work of the architect Giuseppe Gallo"), to whom we owe the project of the church dedicated to Jesus the Nazarene located in Piazza Martini, is worthy of mention.[N 18] Other examples of civil buildings in the neo-Gothic style can be seen in the neighboring neighborhood of San Donato&action=edit&redlink=1 "San Donato (Turin) (not yet written)"), such as the group of houses at numbers 3 and 5 of Via Piffetti, famous for its wrought iron elements, characteristic sphinxes and peacock tail-shaped decorations.
Other blocks that exemplify Giuseppe Gallo's neo-Gothic can also be found in the San Salvario area")[N 19] and in the Crocetta neighborhood&action=edit&redlink=1 "Crocetta (Turin) (not yet written)"), where the Casa Lattes (1911) stands out, an imposing example located at the intersection of Via Sacchi and Corso Sommelier. In the Parella neighborhood, for its part, then extreme periphery surrounded by the countryside, the Palazzotto Arduino was built, a rich example of neo-Gothic carried out by the architects Coppedé and Mesturino in 1926, when the architectural avant-garde was already experimenting in the city with the first examples of rationalism such as, for example, the Palazzo Gualino").
The end of liberty, the arrival of art deco and neoliberty
art deco
While the horrors of the First World War decreed, not only symbolically, the end of the carefree era of modernism, in the course of the second decade of the century the theme of "function" prevailed over "form" and art deco was a kind of stylistic synopsis that saw the sinuous audacity of modernism transformed into more rigorous elements that advanced the main features of Italian rationalism; Turin also houses some worthy examples of this new trend.
In addition to some villas in the hilly area, one of the first expressions of art deco architecture appeared on Via Cibrario 62, where the Casa Enrieu by architect Bertola was built: its decorative apparatus, already devoid of floral decorations, is characterized by cornices and undulating motifs alternating with flat surfaces; The same goes for the building located next to it, on the corner with Via Bossi.[50].
Another example of art deco is the building that was built on the corner of Corso Vittorio Emanuele II "Corso Vittorio Emanuele II (Turin)"), built in 1926 according to the project of the engineer Bonadè-Bottino to house the Palazzo del Cinema, then Cinema Corso"), at the time the largest cinema hall in Italy.[N 20] Despite its destruction in a fire on March 9, 1980, Its characteristic chamfered façade "Chamfer (architecture)") crowned by a dome was preserved and the building was destined for a different use, according to the project of the architect Pier Paolo Maggiora"). according to the project of Giuseppe Momo, as the headquarters of the Società Anonima Edile Torinese.[51].
Another Turin architect who established himself for his art deco works was Vittorio Eugenio Ballatore di Rosana. Author of the Motovelodromo Fausto Coppi"), of vague modernist inspiration, and the grandiose Stadium&action=edit&redlink=1 "Stadium (Turin) (not yet written)"), he distinguished himself for the design of the Torri Rivella"), the pair of buildings located at the intersection of Corso Regina Margherita and Corso Regio Parco, the imposing building of the Istituto Elettrotecnico Galileo Ferraris, in the number 42 Corso Massimo d'Azeglio, and a group of buildings next to Piazza Bernini.
• - Art Deco architecture in Turin.
• - Casa Enrieu, one of the first examples of art deco, on Via Cibrario (1914).
• - The Torri Rivella") (1929).
• - Detail of the finish.
• - Detail of the facade.
Neoliberty and the posthumous revaluation of Turin modernism
In the fifties of the century liberty underwent a kind of reinterpretation by some exponents of Turin architecture of the time, among them Roberto Gabetti"), Aimaro Isola"), Sergio Jaretti and Elio Luzi, together with the Milanese studio BBPR, which, due to its reinterpretation of the floral and structural elements, led the critic Paolo Portoghesi to define this phenomenon as neoliberty.[52][53] Jaretti and Luzi's so-called Casa dell'Obelisco is emblematic),[54] where they use, with refined irony, cultured stylistic references that lead to a revision of construction materials, re-proposing the use of lithocement for the decorative elements that characterize the sinuous facades of the building, divided by superimposed horizontal reliefs that recall the modernist morphologies of Gaudí.[55].
Also in the hilly area of Borgo Po"), at the beginning of the 2000s, an eccentric building designed by the architect Alessandro Celli appeared, the Villa Grivet Brancot, a true "false historical". It is a single-family residence characterized by a rich decorative apparatus made up of lithocement, cornices, decorations and wrought iron elements that seem to belong to Fenoglio's repertoire but are in reality the fruit of an attentive contemporary investigation of techniques and materials philologically coherent with the liberty era for its perpetual tribute.[55].
• - Modernism "Modernism (art)").
• - Prima Esposizione Internazionale d'Arte Decorative Moderna.
• - Pietro Fenoglio.
• - Raimondo D'Aronco.
• - Fenoglio-Lafleur House.
• - Modernism in Milan.
• - Modernism in Naples.
• - Wikimedia Commons hosts a multimedia category on Modernism in Turin.
References
[1] ↑ En esos años, Turín, debido a la pérdida de su papel de capital del reino, obtuvo a modo de indemnización la concesión de practicar una política de desgravaciones fiscales para las industrias que pretendieran invertir en su territorio. Estos incentivos fiscales consiguieron atraer rápidamente la presencia de muchos industriales italianos y sobre todo ingleses o suizos como Abegg, Bich, Caffarel, Caratsch, Kind, Krupp, Leumann, Miller, Menier, Metzger, Remmert o Scott, que contribuyeron al «ambiente internacional» y a la futura vocación industrial de la capital piamontesa.
[2] ↑ Su primera sede fue en la Piazza Cavour, posteriormente se trasladó al Corso Valentino 20, hoy Corso Guglielmo Marconi y más tarde estableció sucursales por toda Italia.(Porcheddu, 1911).
[3] ↑ Situado en el Corso Francia 8 y realizado en colaboración con el arquitecto Gottardo Gussoni.
[4] ↑ Situada en la zona montañosa, fue escogida por el director Dario Argento como escenario para la célebre película Profondo Rosso.
[5] ↑ Fue realizada por Fenoglio como «casa-estudio», costumbre bastante extendida en la época: hicieron lo mismo los arquitectos Bonelli, Vandone di Cortemilia y, antes que ellos, el propio Antonelli. Posteriormente, la Casa Fenoglio fue vendida a un acaudalado francés de nombre Lafleur y desde entonces recibe el nombre de Casa Fenoglio-Lafleur.
[6] ↑ Ejemplo de «casa de alquiler» realizada por la compañía aseguradora Ina-Assitalia.
[7] ↑ Pronunciación original: /ˈlɔjman/; Leumann es un apellido de origen alemán y, como tal, el diptongo eu se pronuncia oi. Sin embargo, se ha extendido la pronunciación /ˈlɛuman/, mucho más común en el uso local.
[8] ↑ Desde hace tiempo utilizadas por el Ayuntamiento de Collegno como vivienda social.(Coda, Fraternali y Ostorero, 2017, p. 148-152).
[9] ↑ Todavía utilizada por el Ayuntamiento de Collegno. Se conserva parte del mobiliario original, realizado a medida de niño e inspirado en la didáctica del pedagogo alemán Friedrich Fröbel; el asilo fue dedicado a la memoria de la pequeña Wera Leumann, hija de Napoleone y Amalia Leumann, que falleció prematuramente con tan solo tres años.(Coda, Fraternali y Ostorero, 2017, p. 154-155).
[10] ↑ Fue dedicada a Santa Elisabetta en memoria de Elisabetta Knecthlin, madre de Napoleone Leumann.(Coda, Fraternali y Ostorero, 2017, p. 155).
[11] ↑ El modernismo era considerado un estilo inapropiado para la realización de arquitectura sagrada porque tenía formas demasiado frívolas, a veces sensuales y a menudo evocadoras de un estereotipo de feminidad considerado decadente y lascivo.
[12] ↑ Fue el primer edificio civil turinés que aplicó el Systéme Hennebique para el uso del hormigón armado en los forjados.(Coda, Fraternali y Ostorero, 2017, p. 89).
[13] ↑ El traslado a una nueva sede, una amplia construcción baja con oficinas y laboratorios situada en el Corso Valentino 20 (actualmente Corso Marconi), se produjo en 1903. Aquí la empresa pudo disponer también de un laboratorio para pruebas de carga sobre los productos semielaborados.(Nelva y Signorelli, 1990, p. 21).
[14] ↑ En la posguerra de la Segunda Guerra Mundial se transformó en el actual Cinema Romano.
[15] ↑ Entre sus clientes tuvo particular importancia la familia real y algunas de sus obras fueron adquiridas por Humberto I y por Víctor Manuel III.
[16] ↑ Aunque es fuertemente ecléctico.
[17] ↑ Popularmente conocida también como la casa dei draghi o «casa de los dragones».
[18] ↑ Conocida comúnmente como Piazza Benefica.
[19] ↑ Por ejemplo, el edificio residencial de la Via Nizza 43, en la esquina con la Via Morgari.
[20] ↑ Esta información se deduce de la fotografía de la época.
[21] ↑ Bossaglia, 1997, p. 13.
[22] ↑ Bossaglia, 1997, p. 14.
[23] ↑ Coda, Fraternali y Ostorero, 2017, p. 7-8.
[24] ↑ a b c VV. AA., 1997.
[25] ↑ Rizzo y Sirchia, 2008, p. 26-32.
[26] ↑ Ogliari y Bagnera, 2006, p. 9.
[27] ↑ Speziali, 2015, p. 21.
[28] ↑ Coda, Fraternali y Ostorero, 2017, p. 13-14.
[29] ↑ a b c Nelva y Signorelli, 1990, p. 176-180, 301-303.
[30] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 14.
[31] ↑ a b c Coda, Fraternali y Ostorero, 2017, p. 11.
[32] ↑ VV. AA., 1898, p. 30-32.
[33] ↑ VV. AA., 1980, p. 318.
[34] ↑ Porcheddu, 1911.
[35] ↑ VV. AA., 1902.
[36] ↑ Ogliari y Bagnera, 2006, p. 14.
[37] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 31.
[38] ↑ Coda, Fraternali y Ostorero, 2017, p. 31-32.
[39] ↑ Coda, Fraternali y Ostorero, 2017, p. 20.
[40] ↑ Coda, Fraternali y Ostorero, 2017, p. 78.
[41] ↑ Fahr-Becker, 1999, p. 396.
[42] ↑ a b c Coda, Fraternali y Ostorero, 2017, p. 152-153.
[43] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 151-152.
[44] ↑ Leva Pistoi, 1969, p. 176-180.
[45] ↑ Nelva y Signorelli, 1979, p. 207-208.
[46] ↑ Coda, Fraternali y Ostorero, 2017, p. 144-156.
[47] ↑ Coda, Fraternali y Ostorero, 2017, p. 145-146.
[48] ↑ Coda, Fraternali y Ostorero, 2017, p. 155.
[49] ↑ Coda, Fraternali y Ostorero, 2017, p. 150.
[50] ↑ Coda, Fraternali y Ostorero, 2017, p. 89.
[51] ↑ Scarzella, 1995, p. 6-12.
[52] ↑ a b Coda, Fraternali y Ostorero, 2017.
[53] ↑ a b VV. AA., 1980, p. 320.
[54] ↑ Coda, Fraternali y Ostorero, 2017, p. 105-106.
[55] ↑ Coda, Fraternali y Ostorero, 2017, p. 95.
[56] ↑ Coda, Fraternali y Ostorero, 2017, p. 43.
[57] ↑ Coda, Fraternali y Ostorero, 2017, p. 141.
[58] ↑ Coda, Fraternali y Ostorero, 2017, p. 39.
[59] ↑ Coda, Fraternali y Ostorero, 2017, p. 66-67.
[60] ↑ Coda, Fraternali y Ostorero, 2017, p. 76.
[61] ↑ Caponetti, 2013.
[62] ↑ Coda, Fraternali y Ostorero, 2017, p. 67.
[63] ↑ VV. AA., 1980, p. 319.
[64] ↑ Coda, Fraternali y Ostorero, 2017, p. 212-233.
[65] ↑ Coda, Fraternali y Ostorero, 2017, p. 187.
[66] ↑ Coda, Fraternali y Ostorero, 2017, p. 188.
[67] ↑ Coda, Fraternali y Ostorero, 2017, p. 131.
[68] ↑ Coda, Fraternali y Ostorero, 2017, p. 12.
[69] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 11-12.
[70] ↑ Coda, Fraternali y Ostorero, 2017, p. 130-131.
[71] ↑ VV. AA., 1980, p. 320.
[72] ↑ Coda, Fraternali y Ostorero, 2017, p. 22-23.
[73] ↑ Portoghesi, 1998.
[74] ↑ Zevi, 1979, p. 253-259.
[75] ↑ a b Coda, Fraternali y Ostorero, 2017, p. 23.
• - Fenoglio's work.
• - The Fenoglio-Lafleur House.
• - The Girardi House.
• - The “gate of the pomegranates” on Via Argentero 4.
• - Detail of the Villino Raby boinder.
• - The Villa Scott.
Thanks to the experience acquired in the field of industrial establishment design, Fenoglio also took care of the large project of the Villaggio Leumann").[N 7] This was born from the idea of an entrepreneur of Swiss origin, Napoleone Leumann"), who moved the establishment of his textile company from Voghera to Turin, benefiting from the tax incentives offered by the Piedmontese capital after the controversial transfer of the capital first to Florence and then to Rome. The wide supply of specialized labor at reduced costs completed the attraction of capital and partly foreign entrepreneurs such as Abegg, Geisser, Kind, Metzger, Menier, Remmert and Scott contributed to making Turin the new Italian industrial capital. The decision fell on the large plot of land of about 60,000 m² located in the countryside surrounding Collegno, then a small town at the gates of the city. Fundamental in the choice of the site was also the presence of irrigation canals and the proximity of the new railway, which ran along the axis of the current Corso Francia and allowed a quick connection with Turin, nearby Rivoli and also with the Susa Valley and France, through the new Fréjus tunnel.
The complex, designed between 1875 and 1907 by Pietro Fenoglio, is made up of two residential neighborhoods on either side of the textile factory, which ceased its activity in 2007. In total, it originally housed about a thousand people, including workers, employees and their respective families. It still contains fifty-nine single-family houses and blocks divided into one hundred and twenty homes,[N 8] each of them provided from the beginning with attached toilet services and a shared garden on the ground floor. In addition to the cotton factory, the homes, the public baths, the “Wera Leumann” asylum and the school,[N 9] Fenoglio also designed the church of Santa Elisabetta,[N 10] one of the very few in the world, perhaps the only one, designed in the modernist style.[N 11][28].
The urban organization, the architecture of the buildings, the social institutions and the assistance services made the complex an organization that placed a higher quality of life for the workers, both at work and in private life, at the center of its objectives; It thus constituted a well-defined area in which work, family, free time and social institutions were closely connected to each other, forming an evolved and efficient social context. At this same time, analogous examples were also built in Lombardy and Veneto"), but the Villaggio Leumann is perhaps the largest, most complete and functional example, to the point of becoming an interesting testimony of historical, cultural and architectural character.[29].
• - The Villaggio Leumann.
• - One of the homes of the Villaggio Leumann.
• - The church of Villaggio Leumann.
art deco
• - First modernist experimentations in the city.
• - The Palazzo Bellia") by Carlo Ceppi on Via Pietro Micca.
• - The Palazzo Priotti, also by Carlo Ceppi.
• - The Avezzano House of P. Betta.
• - Detail sezessionstil of the Bonelli House on Via Papacino 8.
Starting in 1902, as a result of the success of the exhibitions, liberty spread throughout the city, contributing to its growth. The industrial vocation of the city at this time also attracted a new workforce and the demand for housing grew to the point of expanding the urban fabric. Thanks to the arrival of electrical energy and its growing diffusion, industries proliferated and established new facilities on the outskirts of the city, definitively abandoning the San Donato neighborhood and the hilly area, a forced decision while the driving force was relegated to the hydraulic energy of the mills and hydraulic cylinders that were found in those areas, characterized by strong unevenness.[38].
The San Salvario neighborhood, next to the Parco del Valentino, where the exhibitions of those years were held, was one of the first where new blocks of industrial establishments and residential buildings were built, sometimes modifying the facades of already existing buildings or requesting authorization for project modifications with the aim of constructing buildings with a "contemporary" appearance.[39] In addition to the numerous "rental houses" on the nearby Via Pietro Giuria, Via Saluzzo and Via Madama Cristina, in San Salvario also built the Villa Javelli, the Turinese residence that D'Aronco designed and built for his wife.
The world of industry, as has been said, was also not indifferent to the unprecedented sinuosity of modernism. In addition to the tanneries and breweries planned by Fenoglio in the San Donato area, the new headquarters of the Impresa Porcheddu moved to the San Salvario neighborhood in 1903, very involved in the real estate boom of these decades, which occupied a low-rise building located on Corso Valentino 20, that is, in correspondence with the old FIAT headquarters on Corso Marconi, built in the mid-1930s.[N 13].
The nascent automobile industry also played the role of client of the new modernist buildings. One of the first offices designed according to the dictates of the new trend was that of Accomandita Ceirano & C., the first automobile office in Turin, producer of small vehicles of the brand Welleyes[41] equipped with a combustion engine, of which Fenoglio himself was a partner. This company moved its activity in 1906 to the southern outskirts of the city, in the current Corso Raffaello 17, in a building recognizable by its access doors surrounded by large circular arches of lithocement. the complex that includes the Scuola Allievi and the first factory, whose building is attractively framed by stylized floral motifs in the corners of the lithocement cymacias on the top, which also displays the acronym of the Turin automobile manufacturer.
Also significant is the Galleria dell'Industria Subalpina"), a structure inspired by the typical Parisian passages, although still characterized by an eclectic taste "Eclecticism (art)"), which housed the famous Caffè Romano, [N 14] and where the elegant Caffè Baratti & Milano is located"), remodeled in 1909. Its entrance from the porticos of Piazza Castello shows a rich cornice marble embellished by bronze bas-reliefs and richly crafted interiors, with extensive use of marble inlays and stucco.
• - Modernist architecture for industrial and commercial uses.
• - The building that housed the first offices of Accomandita Ceirano & C., on Corso Raffaello 17.
• - The building that housed the first FIAT establishment on Corso Dante Alighieri 100 (1904-1906), work of Alfredo Premoli").
• - The Galleria dell'Industria Subalpina.
• - The elegant windows of Caffè Baratti & Milano.
In the Crocetta&action=edit&redlink=1 neighborhood "Crocetta (Turin) (not yet written)") you can admire the Maffei House (1905), with railings and wrought iron elements by the Lombard master Alessandro Mazzucotelli"), built according to the project of Antonio Vandone di Cortemilia. Other buildings of his worthy of mention are some palaces on Corso Galileo Ferraris") and Corso Re Umberto, characterized by their phytomorphic decorations and the extensive use of colored glass and wrought iron. Vandone di Cortemilia was also dedicated to commercial premises: among these, we must mention the Caffè Mulassano in the central Piazza Castello, whose small dimensions do not detract, however, from its elegant boiseries and mirrors, the wooden and leather coffered ceiling and the numerous bronze decorations.[43] There are also works by Vandone di Cortemilia in the Monumental Cemetery"), along with other works by L. Bistolfi,[N 15] D. Calandra, G. Casanova, C. Fumagalli, E. Rubino and A. Mazzucotelli.[44].
In the San Donato area, in addition to the attractive Casa Fenoglio, at numbers 10 and 12 Via Piffetti there are two examples dating from 1908 and are the work of Giovanni Gribodo. A short distance away there are other examples of liberty buildings on Via Durandi, Via Cibrario and Via Piffetti, while Giovan Battista Benazzo's Casa Tasca (1903), which displays floral decorations, circular geometric motifs and rich wrought iron decorations for railings and windows.
In the neighboring neighborhood of Cit Turin, along the Via Duchessa Jolanda, there are two buildings designed by Gottardo Gussoni, clear examples of late liberty dating back to 1914. Similarly, the buildings located on the nearby Via Susa also reproduce the same configuration: a central courtyard with a low construction in the background crowned by a crenellated tower, an element that makes Gussoni's liberty a style increasingly permeated by a eclecticism that would later lead to a true neo-Gothic, to the point of becoming one of the Cav's favorite architects. Career.
• - Modernist architecture in the neighborhoods of San Donato and Cit Turin.
• - Detail of the building on Via Pifetti 10.
• - The Tasca House.
• - The door of the Casa Tasca.
• - Various buildings on Via Duchessa Jolanda.
• - Building on Via Palmieri.
• - Fenoglio's work.
• - The Fenoglio-Lafleur House.
• - The Girardi House.
• - The “gate of the pomegranates” on Via Argentero 4.
• - Detail of the Villino Raby boinder.
• - The Villa Scott.
Thanks to the experience acquired in the field of industrial establishment design, Fenoglio also took care of the large project of the Villaggio Leumann").[N 7] This was born from the idea of an entrepreneur of Swiss origin, Napoleone Leumann"), who moved the establishment of his textile company from Voghera to Turin, benefiting from the tax incentives offered by the Piedmontese capital after the controversial transfer of the capital first to Florence and then to Rome. The wide supply of specialized labor at reduced costs completed the attraction of capital and partly foreign entrepreneurs such as Abegg, Geisser, Kind, Metzger, Menier, Remmert and Scott contributed to making Turin the new Italian industrial capital. The decision fell on the large plot of land of about 60,000 m² located in the countryside surrounding Collegno, then a small town at the gates of the city. Fundamental in the choice of the site was also the presence of irrigation canals and the proximity of the new railway, which ran along the axis of the current Corso Francia and allowed a quick connection with Turin, nearby Rivoli and also with the Susa Valley and France, through the new Fréjus tunnel.
The complex, designed between 1875 and 1907 by Pietro Fenoglio, is made up of two residential neighborhoods on either side of the textile factory, which ceased its activity in 2007. In total, it originally housed about a thousand people, including workers, employees and their respective families. It still contains fifty-nine single-family houses and blocks divided into one hundred and twenty homes,[N 8] each of them provided from the beginning with attached toilet services and a shared garden on the ground floor. In addition to the cotton factory, the homes, the public baths, the “Wera Leumann” asylum and the school,[N 9] Fenoglio also designed the church of Santa Elisabetta,[N 10] one of the very few in the world, perhaps the only one, designed in the modernist style.[N 11][28].
The urban organization, the architecture of the buildings, the social institutions and the assistance services made the complex an organization that placed a higher quality of life for the workers, both at work and in private life, at the center of its objectives; It thus constituted a well-defined area in which work, family, free time and social institutions were closely connected to each other, forming an evolved and efficient social context. At this same time, analogous examples were also built in Lombardy and Veneto"), but the Villaggio Leumann is perhaps the largest, most complete and functional example, to the point of becoming an interesting testimony of historical, cultural and architectural character.[29].
• - The Villaggio Leumann.
• - One of the homes of the Villaggio Leumann.
• - The church of Villaggio Leumann.
art deco
• - First modernist experimentations in the city.
• - The Palazzo Bellia") by Carlo Ceppi on Via Pietro Micca.
• - The Palazzo Priotti, also by Carlo Ceppi.
• - The Avezzano House of P. Betta.
• - Detail sezessionstil of the Bonelli House on Via Papacino 8.
Starting in 1902, as a result of the success of the exhibitions, liberty spread throughout the city, contributing to its growth. The industrial vocation of the city at this time also attracted a new workforce and the demand for housing grew to the point of expanding the urban fabric. Thanks to the arrival of electrical energy and its growing diffusion, industries proliferated and established new facilities on the outskirts of the city, definitively abandoning the San Donato neighborhood and the hilly area, a forced decision while the driving force was relegated to the hydraulic energy of the mills and hydraulic cylinders that were found in those areas, characterized by strong unevenness.[38].
The San Salvario neighborhood, next to the Parco del Valentino, where the exhibitions of those years were held, was one of the first where new blocks of industrial establishments and residential buildings were built, sometimes modifying the facades of already existing buildings or requesting authorization for project modifications with the aim of constructing buildings with a "contemporary" appearance.[39] In addition to the numerous "rental houses" on the nearby Via Pietro Giuria, Via Saluzzo and Via Madama Cristina, in San Salvario also built the Villa Javelli, the Turinese residence that D'Aronco designed and built for his wife.
The world of industry, as has been said, was also not indifferent to the unprecedented sinuosity of modernism. In addition to the tanneries and breweries planned by Fenoglio in the San Donato area, the new headquarters of the Impresa Porcheddu moved to the San Salvario neighborhood in 1903, very involved in the real estate boom of these decades, which occupied a low-rise building located on Corso Valentino 20, that is, in correspondence with the old FIAT headquarters on Corso Marconi, built in the mid-1930s.[N 13].
The nascent automobile industry also played the role of client of the new modernist buildings. One of the first offices designed according to the dictates of the new trend was that of Accomandita Ceirano & C., the first automobile office in Turin, producer of small vehicles of the brand Welleyes[41] equipped with a combustion engine, of which Fenoglio himself was a partner. This company moved its activity in 1906 to the southern outskirts of the city, in the current Corso Raffaello 17, in a building recognizable by its access doors surrounded by large circular arches of lithocement. the complex that includes the Scuola Allievi and the first factory, whose building is attractively framed by stylized floral motifs in the corners of the lithocement cymacias on the top, which also displays the acronym of the Turin automobile manufacturer.
Also significant is the Galleria dell'Industria Subalpina"), a structure inspired by the typical Parisian passages, although still characterized by an eclectic taste "Eclecticism (art)"), which housed the famous Caffè Romano, [N 14] and where the elegant Caffè Baratti & Milano is located"), remodeled in 1909. Its entrance from the porticos of Piazza Castello shows a rich cornice marble embellished by bronze bas-reliefs and richly crafted interiors, with extensive use of marble inlays and stucco.
• - Modernist architecture for industrial and commercial uses.
• - The building that housed the first offices of Accomandita Ceirano & C., on Corso Raffaello 17.
• - The building that housed the first FIAT establishment on Corso Dante Alighieri 100 (1904-1906), work of Alfredo Premoli").
• - The Galleria dell'Industria Subalpina.
• - The elegant windows of Caffè Baratti & Milano.
In the Crocetta&action=edit&redlink=1 neighborhood "Crocetta (Turin) (not yet written)") you can admire the Maffei House (1905), with railings and wrought iron elements by the Lombard master Alessandro Mazzucotelli"), built according to the project of Antonio Vandone di Cortemilia. Other buildings of his worthy of mention are some palaces on Corso Galileo Ferraris") and Corso Re Umberto, characterized by their phytomorphic decorations and the extensive use of colored glass and wrought iron. Vandone di Cortemilia was also dedicated to commercial premises: among these, we must mention the Caffè Mulassano in the central Piazza Castello, whose small dimensions do not detract, however, from its elegant boiseries and mirrors, the wooden and leather coffered ceiling and the numerous bronze decorations.[43] There are also works by Vandone di Cortemilia in the Monumental Cemetery"), along with other works by L. Bistolfi,[N 15] D. Calandra, G. Casanova, C. Fumagalli, E. Rubino and A. Mazzucotelli.[44].
In the San Donato area, in addition to the attractive Casa Fenoglio, at numbers 10 and 12 Via Piffetti there are two examples dating from 1908 and are the work of Giovanni Gribodo. A short distance away there are other examples of liberty buildings on Via Durandi, Via Cibrario and Via Piffetti, while Giovan Battista Benazzo's Casa Tasca (1903), which displays floral decorations, circular geometric motifs and rich wrought iron decorations for railings and windows.
In the neighboring neighborhood of Cit Turin, along the Via Duchessa Jolanda, there are two buildings designed by Gottardo Gussoni, clear examples of late liberty dating back to 1914. Similarly, the buildings located on the nearby Via Susa also reproduce the same configuration: a central courtyard with a low construction in the background crowned by a crenellated tower, an element that makes Gussoni's liberty a style increasingly permeated by a eclecticism that would later lead to a true neo-Gothic, to the point of becoming one of the Cav's favorite architects. Career.
• - Modernist architecture in the neighborhoods of San Donato and Cit Turin.