Neorealism was an architectural movement that emerged in Italy after the Second World War, in parallel to other neorealist currents developed in the country in the field of literature, painting and, especially, cinema. This style was a reaction against the academic classicism that had dominated Italian architecture during the fascist dictatorship of Benito Mussolini, and was linked to the rationalism "Rationalism (architecture)") that had been practiced in Europe since the 1920s—also known as the International Style or Modern Movement—. Its main representatives were: Mario Ridolfi"), Ludovico Quaroni, Carlo Aymonino and Giovanni Michelucci.
History
Post-war Italy experienced a turbulent political and social environment, after the defeat in the war, the fall of Mussolini's dictatorship and the transition from monarchy to republic. In the complex environment of political, economic and social reconstruction, architecture faced numerous challenges, both the most immediate ones derived from the war damage to buildings and infrastructure, and the search for a new constructive language away from the monumentalist classicism sponsored by the dictatorship. The gaze was then turned towards rationalism, a modern movement that had already shown great quality during the 1920s and 1930s with the work of various groups such as Gruppo 7 and M.I.A.R. Post-war Italian architects, mostly coming from the resistance to fascism and linked to the left, assumed a leading role in the architectural reconstruction of the country, with a special concern for urban planning and social housing.[1].
In this environment, various stylistic currents within architecture emerged in the second half of the 1940s and 1950s, largely linked to different geographical areas. Neorealism developed especially in Rome, inspired by the new homonymous cinematographic trend that was being developed in the Cinecittà studios by directors such as Roberto Rossellini, Vittorio De Sica, Luchino Visconti and Federico Fellini, mainly. Realistic and popular in style, this architecture was mainly represented by Ludovico Quaroni and Mario Ridolfi"), as well as Carlo Aymonino, Michele Valori"), Federico Gorio"), Giovanni Michelucci and Mario Fiorentino"). At the same time, another current emerged in the Italian capital defined as "post-rationalist" and led by Bruno Zevi, which was grouped in the association APAO (Associazione per l'Architettura Organica), while in other cities in northern Italy such as Milan, Genoa and Turin the so-called Neoliberty style was developed.[1].
spontaneous architecture
Introduction
Neorealism was an architectural movement that emerged in Italy after the Second World War, in parallel to other neorealist currents developed in the country in the field of literature, painting and, especially, cinema. This style was a reaction against the academic classicism that had dominated Italian architecture during the fascist dictatorship of Benito Mussolini, and was linked to the rationalism "Rationalism (architecture)") that had been practiced in Europe since the 1920s—also known as the International Style or Modern Movement—. Its main representatives were: Mario Ridolfi"), Ludovico Quaroni, Carlo Aymonino and Giovanni Michelucci.
History
Post-war Italy experienced a turbulent political and social environment, after the defeat in the war, the fall of Mussolini's dictatorship and the transition from monarchy to republic. In the complex environment of political, economic and social reconstruction, architecture faced numerous challenges, both the most immediate ones derived from the war damage to buildings and infrastructure, and the search for a new constructive language away from the monumentalist classicism sponsored by the dictatorship. The gaze was then turned towards rationalism, a modern movement that had already shown great quality during the 1920s and 1930s with the work of various groups such as Gruppo 7 and M.I.A.R. Post-war Italian architects, mostly coming from the resistance to fascism and linked to the left, assumed a leading role in the architectural reconstruction of the country, with a special concern for urban planning and social housing.[1].
In this environment, various stylistic currents within architecture emerged in the second half of the 1940s and 1950s, largely linked to different geographical areas. Neorealism developed especially in Rome, inspired by the new homonymous cinematographic trend that was being developed in the Cinecittà studios by directors such as Roberto Rossellini, Vittorio De Sica, Luchino Visconti and Federico Fellini, mainly. Realistic and popular in style, this architecture was mainly represented by Ludovico Quaroni and Mario Ridolfi"), as well as Carlo Aymonino, Michele Valori"), Federico Gorio"), Giovanni Michelucci and Mario Fiorentino"). At the same time, another current emerged in the Italian capital defined as "post-rationalist" and led by Bruno Zevi, which was grouped in the association APAO (Associazione per l'Architettura Organica), while in other cities in northern Italy such as Milan, Genoa and Turin the so-called Neoliberty style was developed.[1].
One of the main achievements of neorealism was the construction of the new Roman neighborhood of Tiburtino (1950-1954), promoted by INA-Casa (Istituto Nazionale delle Assicurazioni), with a project led by Mario Ridolfi and Ludovico Quaroni in which various architects participated: Carlo Aymonino, Carlo Chiarini, Mario Fiorentino, Federico Gorio, Maurizio Lanza, Sergio Lenci, Piero Maria Lugli, Carlo Melograni, Giancarlo Menichetti, Giulio Rinaldi and Michele Valori.[2].
Mario Ridolfi was a member of the M.I.A.R. in its beginnings. In addition to being an architect, he was a professor at the Technical Institute of Rome, where he trained an entire generation of architects. In the post-war period his style evolved towards a more spontaneous and rustic-style architecture, with artisanal tradition and a high interest in the subject. He collaborated in the new Tiburtino neighborhood, as well as in several projects in Terni, especially a territorial planning plan (1955-1960), as well as several houses: Staderini and Franconi, 1959-1960; Lina alle Marmore, 1966-1967; De Bonis I, 1971-1974; De Bonis II, 1975-1977; Cresta alle Marmore, 1977-1983.[3].
Ludovico Quaroni, initiated into fascist monumentalism, dedicated himself in the postwar period to reconstruction and social housing programs, such as in the Tiburtino neighborhood. In 1951 he coordinated the architectural project of the La Martella neighborhood in Matera, a clear example of neorealism due to its technological simplicity and poverty of materials. In 1956 he received the Olivetti prize for his projects to reorganize Ivrea "Ivrea (Italy)") (1952) and Rome (1954). Other works of his were: the church of Francavilla al Mare (1948-1959), the church of the Holy Family in Genoa (1956) and the Ravenna Savings Bank (1962-1968). He was also a professor at the University of Rome.[4].
Carlo Aymonino was also an architect and teacher (University Institute of Architecture of Venice, Faculty of Architecture of Rome). Among his first works are the Spine Bianche neighborhood in Matera (1954-1957) and the headquarters of the Chamber of Commerce, Industry and Agriculture of Massa-Carrara (1956-1960). In the 1960s he was a member of the neo-rationalist group Tendenza.[5].
Giovanni Michelucci was a defender of architecture at the service of the community and of the participation of society in the creation of the "new city." His works include: the church of Larderello (1957), the church of the Belvedere neighborhood in Pistoia (1961-1963) and the church of San Juan Bautista on the Highway of the Sun near Florence (1964). He was a professor at several Italian universities.[6].
References
[1] ↑ a b Montaner, 2002, p. 95.
[2] ↑ Benevolo, 2002, p. 852.
[3] ↑ Midant, 2004, p. 773.
[4] ↑ Midant, 2004, p. 755.
[5] ↑ Midant, 2004, p. 77.
[6] ↑ Midant, 2004, p. 622.
One of the main achievements of neorealism was the construction of the new Roman neighborhood of Tiburtino (1950-1954), promoted by INA-Casa (Istituto Nazionale delle Assicurazioni), with a project led by Mario Ridolfi and Ludovico Quaroni in which various architects participated: Carlo Aymonino, Carlo Chiarini, Mario Fiorentino, Federico Gorio, Maurizio Lanza, Sergio Lenci, Piero Maria Lugli, Carlo Melograni, Giancarlo Menichetti, Giulio Rinaldi and Michele Valori.[2].
Mario Ridolfi was a member of the M.I.A.R. in its beginnings. In addition to being an architect, he was a professor at the Technical Institute of Rome, where he trained an entire generation of architects. In the post-war period his style evolved towards a more spontaneous and rustic-style architecture, with artisanal tradition and a high interest in the subject. He collaborated in the new Tiburtino neighborhood, as well as in several projects in Terni, especially a territorial planning plan (1955-1960), as well as several houses: Staderini and Franconi, 1959-1960; Lina alle Marmore, 1966-1967; De Bonis I, 1971-1974; De Bonis II, 1975-1977; Cresta alle Marmore, 1977-1983.[3].
Ludovico Quaroni, initiated into fascist monumentalism, dedicated himself in the postwar period to reconstruction and social housing programs, such as in the Tiburtino neighborhood. In 1951 he coordinated the architectural project of the La Martella neighborhood in Matera, a clear example of neorealism due to its technological simplicity and poverty of materials. In 1956 he received the Olivetti prize for his projects to reorganize Ivrea "Ivrea (Italy)") (1952) and Rome (1954). Other works of his were: the church of Francavilla al Mare (1948-1959), the church of the Holy Family in Genoa (1956) and the Ravenna Savings Bank (1962-1968). He was also a professor at the University of Rome.[4].
Carlo Aymonino was also an architect and teacher (University Institute of Architecture of Venice, Faculty of Architecture of Rome). Among his first works are the Spine Bianche neighborhood in Matera (1954-1957) and the headquarters of the Chamber of Commerce, Industry and Agriculture of Massa-Carrara (1956-1960). In the 1960s he was a member of the neo-rationalist group Tendenza.[5].
Giovanni Michelucci was a defender of architecture at the service of the community and of the participation of society in the creation of the "new city." His works include: the church of Larderello (1957), the church of the Belvedere neighborhood in Pistoia (1961-1963) and the church of San Juan Bautista on the Highway of the Sun near Florence (1964). He was a professor at several Italian universities.[6].