Casa del Fascio - G. Terragni 1932-1936 by Matteo Pasini

CASA DEL FASCIO TERRAGNI 1932 - 1936

01 HISTORICAL BOOK

ARCHITECTURAL DESIGN STUDIO Chiara Baglione, Matteo Moscatelli Olenka Esther Palomino De la Mata, Gemma Lonardi, Ginvra Rossi

Teachers Collaborators

GROUP 09 Andrea Moi Matteo Pasini Ionut Popovici Andrea Zuberti

942699 942676 942745 942675

CASA DEL FASCIO TERRAGNI 1932 - 1936

«Ecco

il concetto mussoliniano che il fascismo è una casa di vetro in cui tutti possono guardare.»

Giuseppe Terragni (Quadrante, Terragni, 1935-1936)

INTRODUCTION

BIRTH AND EVOLUTION OF CASE DEL FASCIO

II.a TYPOLOGY

III CASA DEL FASCIO OF COMO

III.a HISTORY OF THE BUILDING III.b FIRST PROJECTS III.c RELATIONSHIP WITH THE CLIENT III.d RELATIONSHIP WITH THE SQUARE III.e CHARACTERISTIC OF THE BUILDING III.f THE FACADES III.g INTERIORS AND MATERIALS III.h DECORATIONS

COMPARISON

BIBLIOGRAPHY

BETWEEN WORKS AND INTRODUCTION OF THEMES

I. INTRODUCTION

The Casa del Fascio of Como, built between 1932 and 1936, is generally considered the masterpiece of Giuseppe Terragni and the building symbol of the season of Italian Rationalism. Although lagging behind other European countries, Terragni, who a little earlier had paved the way for modern architecture in Italy with the Novocomum, shows that he has developed a poetic that is autonomous with respect to the teaching of masters such as Le Corbusier. The Casa del Fascio was the first "political" architecture of Giuseppe Terragni, a new theme, in which moral, political and propagandistic factors are also involved, which translate into elements of enrichment such as the use of valuable coating materials and durability (Botticino marble), greater freedom in the study of the proportions of the rooms, a perfect organization of the systems and finally a more celebratory and monumental character. From here, the successive federal headquarters of the party followed these indications, mostly to relate the value of the building to that of the area in which it was built, very often in central areas of the city.

II. BIRTH AND EVOLUTION OF "CASE DEL FASCIO"

The national fascist party, between 1922 and the beginning of the second world war, distributed over the whole national territory more than eleven thousand Case del Fascio.

ÂŤLe case del Fascio rappresentavano il nucleo di riferimento fisico e ideologico del potere:l'edificio doveva risultare come una basilica dell'antichitĂ in cui gli affari politici, religiosi e sociali trovavano il naturale luogo di discussione.Âť Artioli 1989, 12

The Case del Fascio generally arose for local initiatives under the direct impulse of all those squadrists who, seeing their revolutionary activity institutionalized, were able to uncover their illegal "covi", exercising the definitive celebration of the power achieved.

From 1922 onwards, the transfer from the "covi" to the Case del Fascio did not take place in mass, but was proportional both to the growth of memberships and to the party's desire to create a totalitarian relationship between state and individual. The need to provide and create new services created the need to find larger and more dignified premises. Precisely for this reason, joint-stock companies were set up to collect the funds necessary for the transfer. In 1933, the youth group of the Fascio of Bologna, with the newspaper "L'Assalto", announced a competition of ideas reserved for students of the faculties of architecture to define the characters of the houses of the typical bundle. The jury, composed of Arata, Aschieri, Legnani, Bardi and Pagano awarded the students of Milan, Peressutti and Rogers, for the House for small centers and Belgioioso and Banfi for the House in intermediate centers, with rationalist solutions, to which Pagano himself it gave ample prominence to the issue of "Casabella" of June 1932.

Mangione 2003, 40-60

In the Case del Fascio of big cities, such as the one in Bologna, it was possible to imagine a high number of services, if only for the size and prestige of the building used. These functions will vary depending on the place and social class of the users. The activities that take place inside the Case del Fascio can be subdivided substantially into three groups: the first for offices and the celebration of the party; the second to leisure and refreshment; the third to physical and cultural education. Mangione 2003, 40-60

1. Competition for Typical Fascist party headquarters, 1932, Photo from (Flavio Mangione, Le case del fascio in Italia e nelle terre d'oltremare) 2. Casa del Fascio di S. Lazzaro (Bologna), 1931 Photo from (Flavio Mangione, Le case del fascio in Italia e nelle terre d'oltremare) 3. M. Loreti, Casa del Fascio (Varese), 1932 Photo from (Flavio Mangione, Le case del fascio in Italia e nelle terre d'oltremare) 4. ÂŤL'AssaltoÂť, 13 gen.1923, 2, p.4-19 mag.1923, 20, p.4-28 mag.1923, 21, p.2-16 giu. 1923, 24, p.4-16 ago. 1923, 33, p.4. Photo from (Flavio Mangione, Le case del fascio in Italia e nelle terre d'oltremare)

II.a TYPOLOGY

In the first Case del Fascio the Italian architects of the 1920s took care of the façade elements with ‘bugnati’ and pilasters, almost always present. We can also note a certain lack of interest in the internal distribution of the rooms, which can be found in the rigidity of the plants and sections. This construction method will remain until the early 1930s, when competitions for the Case del Fascio were dominated by Renaissance-style projects.

5. La Casa del Fascio di Borgo Panigale, 1933 Photo from (Flavio Mangione, Le case del fascio in Italia e nelle terre d'oltremare) 6. La Casa del Fascio a Predappio, 1934 Photo from (Flavio Mangione, Le case del fascio in Italia e nelle terre d'oltremare) 7. La Casa del Fascio di Lissone, 1938 Photo from (Michele Ugolini, Giuseppe Terragni. La casa del fascio di Lissone) 8. Il Palazzo Littorio di Montevarchi, Photo from (Flavio Mangione, Le case del fascio in Italia e nelle terre d'oltremare) 9. Contest project "Casa del Fascio di Piacenza", 1941 Photo from (Flavio Mangione, Le case del fascio in Italia e nelle terre d'oltremare)

In the competition for the Prato site, for example, the result of competing projects was a rigorously symmetrical composition, with the central body in evidence, up-to-date or recessed; all punctuated by arches, tympanums and columns. In most of these projects, the Case del Fascio did not have the tower (conceptually replaced by the central body), which will subsequently appear with the competition for the Case del Fascio "tipo" of 1932. 6

New buildings were planned for the construction of the first Case del Fascio, while for the others existing buildings were reused, both in large cities and in small towns. In an urban context of medium-large dimensions, the Casa del Fascio had above all a function of representation, with the offices of the hierarchs, the governing bodies and associations in general. In the Gruppi Rionali, or in medium-small sized contexts, which appeared to be in closer contact with the citizens, there was a greater attention to welfare and recreational activities. Finally, as far as rural areas were concerned, the number of activities and places of recreation was minimal, as was the presence of "political activities", while in the workers' areas, on the contrary, the party paid particular attention to the after-work organization.

Mangione 2003, 40-60 8

III. CASA DEL FASCIO OF COMO

The Casa del Fascio of Como established the most emblematic outcome of Italian Rationalism, a modernist movement founded in 1926 by a group of young architects, Group 7. They attempted to blend the abstract language of modernity with classical ideals. The Casa del Fascio can also be defined as a glass house, a structure that Mussolini had indicated as a representation of fascist ideology. This building, considered Pier Maria Bardi,

«Il Il più bel risultato delle lunghe appassionate lotte per inaugurare in Italia la buona stagione dell'architettura del tempo di Mussolini.» Mussolini. Bardi 1935, (cit in), Mangione 2003, 48 10

organized a unique case within the large party headquarters.

10. Cover of "Quadrante" n°35/36, Documentario sulla Casa del Fascio di Como

11. Casa del Fascio. Salone delle Adunate, Cerimonia ufficiale (Foto d'epoca, Archivio storico del Comune di Como) 12. One of the traditionalist projects designed between 1928 and 1932. Facades, scan from Sergio Poretti, La Casa del fascio di Como 13. First project of 1928. Grounf floor plan, scan from Sergio Poretti, La Casa del fascio di Como 14. Casa del Fascio. The entrance window. (Foto d'epoca, Archivio storico del Comune di Como)

III.a HISTORY OF THE BUILDING

The idea of realizing a building for a Casa del Fascio was mainly prompted by the Como political leadership. Already in 1928 the task was entrusted to Terragni. A first project for the building was designed between June and July that year. However, the study has always been evaluated through a single design: the axonometry published in 1969. The House already presented some of the characters that will be found in the final project. The numerous original drawings in the Terragni archive which, even if not dated, can be traced back to this intermediate phase, include: a series of plants referable to a solution with a more compact courtyard than the previous one, different variants of the elevations, some axonometries. Overall, these studies are distinguished by the revival of architectural elements that are conspicuously related to tradition, such as the tripartite division of the basement, central and attic body, the roof covering and the accentuation of the central party on the façade.

The organism was set on a central courtyard, with rooms arranged on three sides and a covered passageway on the fourth; the distribution system was characterized by the entrance sequence, atrium, courtyard, with a main staircase on the right. This first solution already referred to the urban typology of the Palace. On the back of a copy of the axonometry, Terragni noted:

«Progetto del 1928 per la Casa del Fascio di Como. Contemporaneo alla costruzione del Novocomum è sulla stessa linea di modernità. Può contribuire alla conoscenza e illustrazione di quel periodo squadrista dell'architettura che va dal 1926 al 1931, anno dell'esposizione di Bardi e polemica nazionale sul razionalismo.» Terragni 1928, (cit in), Poretti, 1998, 11

The architect follows the same method used for the Novocomum, where, to accelerate the bureaucratic times, he had "rigged" the officially announced project. The program has stopped for a few years, but the idea was always present even if the services needed to take off the project were missing. However, the project site was prepared and donated by the municipality with an area of 700 square meters; considered insufficient by the architect, after several complaints he obtained in a portion of land for a total of 1101 square meters: a square of about 33 m per side. Artioli 1989, 20-30

15. One of the traditionalist projects designed between 1928 and 1932. Plan, Photo from (Sergio Poretti, La Casa del fascio di Como)

16. One of the traditionalist projects designed between 1928 and 1932. Facades, Photo from (Sergio Poretti, La Casa del fascio di Como) 17. First project of 1928. Grounf floor plan, Photo from (Sergio Poretti, La Casa del fascio di Como) 18. First project of 1928. Axonometry, Photo from (Sergio Poretti, La Casa del fascio di Como)

The same Terragni, in an article that appeared in the magazine "Quadrante" states:

In December 1932 the project was published and definitively approved by the Federal Secretary.

ÂŤThe theme is new;

The new project stood on an area characterized by the presence of "a natural emergency", the Brunate Mountain, and a historic one, the Duomo, raising many doubts about the ability to coexist with these pre-existing buildings.

any reference to representative buildings is absolutely impossible; it is necessary to create new bases and not forget that fascism is an absolutely original event. The first discovery is that the pre-established area is significantly insufficient (about 700 square meters). An increase of the surface is obtained after the difficult treatment with the Municipality, resulting in a square shape with sides of 35.25 m and 33.15 m.Âť Terragni 1936, 5

Finally, there were other obstacles, posed by the municipal administration, which created bureaucratic delays in granting approval, and from the Superintendence of Monuments, which had control over the area of respect for the Duomo. After obtaining the Roman approval and completing the administrative formalities linked to the contract, the construction work began in July 1933. Artioli 1989, 20-30

III.d FIRST PROJECTS

29. 1:50 scale project submitted jointly for the building permit, 1933, Raised floor plan. Photo from (Rassegna, Giuseppe Terragni 1904-1943) 30. 1:50 scale project submitted jointly for the building permit, 1933, First floor plan. Photo from (Rassegna, Giuseppe Terragni 1904-1943) 31. 1:50 scale project submitted jointly for the building permit, 1933, Second floor plan. Photo from (Rassegna, Giuseppe Terragni 1904-1943) 32. 1:50 scale project submitted jointly for the building permit, 1933, Third floor plan. Photo from (Rassegna, Giuseppe Terragni 1904-1943)

Analyzing the first drawings of the front facades of the Casa del Fascio we can see a greater articulation in the relationship with the definitive scheme, providing us with a layout of the building transformation process. We can distinguish 4 different versions or stages by dividing them into schemes 1A, 1B, 1C, 1D.

«Il Il cemento armato sovverte poi la scala dei valori estetici, dandoci così la nuova estetica delle grandi aperture, dei pilastri dritti e sottili, della stratificazione orizzontale e degli elementi a sbalzo.» sbalzo. Terragni 1928, (cit in), Poretti, 12

LAYOUT 1A Traditional architectural scheme. Tripartite structure. Type of building. Strong vertical symmetry. Base in ashlar with ashlars on the sides of the entrance. Low sloping roof.

LAYOUT 1B Tripartite structure. Vertical jutting volume with balconies. The other volumetric block is attached to the side faรงade with horizontal bands. First idea of tower. Project reference: Palladian villa (Villa Badoer). Classic transformed frontispiece, applied to a single building.

LAYOUT 1C Less obvious tripartite structure. Side entrance on Via Pessina. Balcony on the side facade.

LAYOUT 1D

Photo from Peter Eisenman, Giuseppe Terragni: trasformazioni, scomposizioni, 2004

Abnormal scheme. Presence of reticulated windows. Presence of ribbon windows on a side facade. Windows of different sizes with embossing at the base. Base in ashlar.

III.b RELATIONSHIP WITH THE CLIENT 19

The idea of creating a building to be assigned to Casa del fascio was urged by the political leadership of Como from the moment of the seizure of power; as already mentioned, in 1928 the Political Federation had entrusted the task to the Terragni. One aspect to be stressed is that the Community of Como was the main source of financing. It was the start of fundraising that helped to unblock the story. The initial basis was the “tangent per person” of a lira decided by all the Podestà of the province on the recommendation of the Prefect Domenico Milani in June 1932. Poretti 1998 Artioli 1989

19. Official ceremony at the Casa del Fascio in Como (Foto d'epoca, Archivio storico del Comune di Como) 20. Casa del Fascio. The perforated monolith, in marble, of Mussolini and the decorations by Mario Radice (Archivio storico del Comune di Como)

«Fin da quando assunsi la Direzione di questa Prefettura, rilevai con rincrescimento come, dopo 10 anni dalla Marcia su Roma, non era stato ancora provveduto alla costruzione della Casa del Fascio, adempimento già lodevolmente assolto in molti altri capoluoghi; reputo che sia giunta ormai l’ora l ora che la Provincia tutta assolva questo dovere verso il Partito;Assicurata l’area area in cui dovrà sorgere ll’edificio, edificio, in posizione centrale e decorosa, ho già ottenuto il concorso, del Consiglio Provinciale, del Comune Capoluogo.

[...]Prego perciò le SS.LL di voler deliberare un contributo di L. 1 per ogni abitante. Se essi ritenessero opportuno rivolgere anche speciale invito a qualche cittadino, perché anch’esso anch esso voglia concorrere, senza costrizione di sorta, alla spesa, sarò assai grato di quest’altra quest altra forma di aiuto, che assicurerà all’erigenda all erigenda Casa del Fascio anche un decoroso arredamento.» Lettera del prefetto Milani al Podestà e Commessiari Prefettizi, 1932, Archivio Comune di Como, Fascicolo Casa del Fascio

To this financing, which on the basis of the initial budget was to secure about one third of the total expenditure, were added the contributions of individual militants, of numerous firms from Como, of various agencies. The voluntary and collective nature of the financing placed the construction of the House of the Beam in the climate of corporatism: thus were established the premises for the series of well-defined analogies that, especially in the modalities of realization, they will connect the work to the model of the Cathedral.

«An exceptional client for a young architect, the Federal Secretary calls you and gives you a speech of this kind: “II have studied a financial plan that allows me to realize the desire of all the fascists of the city and the province: have the new Decent House of the Beam.

21. View of the main front of the Casa del Fascio in relation to the Theatre. Da Archivio Storico Terragni. 22. On the left, Giuseppe Terragni, while on the right, the brother, Attilio Terragni.

The area has been prepared and donated by the municipality. Within one month the final plan in each particular colliding with the financial needs must be submitted to Rome for the approval of the Secretary of Party. The architectural lines may also be modern, but without the exaggerations that, giving rise to too risky experiments, can compromise the financial plan.Âť Terragni 1936, 2 21

Subsequently, due to the sharp increase in costs, additional funds would have to be found: other subscriptions would have been requested; operators would have contributed: terragni and brother Attilio, The works manager would have renounced the fee; the supply companies would have granted large discounts; the furniture workers in many cases would have made the furnishings free of charge. In addition to the definition of the financial plan and the acquisition of the first funds, no less decisive to start the implementation phase was the donation of the land by the Municipality of Como. The deed of donation was formalized on July 20, 1933, immediately before the works began, but the sale of a first portion of the area owned by the Municipality was decided on September 30, 1932. Poretti 1998

13 21

III.c RELATIONSHIP WITH THE SQUARE 23

For Terragni the historical and modern Como had to integrate without discontinuity: between past and present there were no differences. Theater of this continuity was another Como, also ideal: it was the Como city of fascism, a place where the political value and the urban nature of the House had to resonate. In the presentation of the building not yet completed, on "Quadrante", when the PRG was being developed by the municipality, the surroundings of the House had become a square. The square had to be completed with all the new buildings of fascism: the Government Palace, the House of the Trade Unions, the Militia Barracks, the Corporative Economy Building, located on the edge of the great void behind the apse of the Cathedral destined to pile up up to one hundred thousand people. Poretti 1998

«These days entitled to the Empire, a representative political center.» Terragni 1936, 16

In the way it was proposed by Terragni, the realization of the House thus became the point in which it was developed.

«The fascist city: organic and intelligent centralization of the most typical buildings of the regime in a vast square that is a logical and natural continuation of the historic Piazza del Duomo.» Terragni 1936, 16

24. View from the Brunate's mountain of the Casa del Fascio of Como in relation to the urban context, Photo from (Alberto Artioli, Giuseppe Terragni. La Casa del fascio di Como) 25. View of the facade on Via dei Partigiani in relation to the Duomo of Como, Photo from (Alberto Artioli, Giuseppe Terragni. La Casa del fascio di Como) 26. View of the building during an gathering of the people. The effect of the crowd is amplified with the technique of photomontage. Photo from (Sergio Poretti, La Casa del fascio di Como) 27. View of the main facade in relation to Piazza dell'Impero, Photo from (Alberto Artioli, Giuseppe Terragni. La Casa del fascio di Como) 28. Master plan and extension of the city of Como, 1935-1936, Photo from (Sergio Poretti, La Casa del fascio di Como)

III.e CHARACTERISTIC OF THE BUILDING

The Casa del Fascio of Terragni can also be defined as a glass house, a structure that Mussolini had indicated as a representation of fascist ideology. Modernity in this project can be found in the innovative configurations of the facades: "plastic articulations" that replace the classical pilasters, niches, frames that traditionally enlivened the walls, thus producing a sort of splitting in several layers of the wall.

33. View of the rear facade of the Casa del Fascio of Como, Photo from (Sergio Poretti, La Casa del fascio di Como) 34. View of the main facade of the Casa del Fascio from the Duomo of Como, Photo from (Giorgio Ciucci (a cura di), Giuseppe Terragni: Opera Completa) 35. View of the building site during the construction of the glass-cement wallstowards the internal courtyard. Photo from (Sergio Poretti, La Casa del Fascio di Como) 36. View of the building site during the gathering of the people of the stone cladding. Photo from (Sergio Poretti, La Casa del Fascio di Como)

In the project you can see a longitudinal sequence consisting of a square, atrium and central court and a transversal one with the memorial on the left and the main staircase to the right for access to the other floors. The use of a concrete and glass skylight as a covering for the central atrium is a recurring characterizing element in nineteenth-century public buildings (used in other Case del Fascio, such as Mezzanotte in Milan). Artioli 1989

Moreover, in the Casa del Fascio of Terragni the desire to differentiate from other architectures is evident, not only in the typological choices, but also through the use of new and innovative materials or through the reuse of traditional materials adequate however to the "spirit" of the era. In one of the first design hypotheses, the exterior cladding of the building facades was plastered (today the cladding is in Botticino marble slabs) and with iron frames (now made of wood). These characteristics can also be found in another building, built some years before by Terragni, or Novocomum. Initially designed as a supporting structure in iron; for transport problems of the material and consequent increase in costs, it was decided to have a reinforced concrete frame.

The problem of the foundation soil, consisting of backfill and water-impregnated material (infiltration from lake and mountain drainage) was solved with the implementation of consolidation piling. The foundations with reversed beams, like the rest of the structure, were designed by the engineer Renato Uslenghi. The structural scheme, organized on a simple mesh, allowed ample planimetric freedom (absolutely independent scheme from the perimeter walls and internal partitions), a clear reference to Le Corbusier, â&#x20AC;&#x153;tres genenereuxâ&#x20AC;?: regular skeleton with ample freedom of spacing and recesses (never protruding bodies in the perimeter walls of the building). Artioli 1989

III.f THE FACADES

The facades are based on simple geometric and numerical relationships that define the fundamental elements: floor heights, solid walls, window dimensions (no ordering element but element of rational verification of the composition that finds its logic in the numerical rule). Among the various traces, defined by Terragni as "fundamental or rectification lines", on the faรงade, we find the one built on the diagonal, considered also fundamental by Le Corbusier (ex. Villa in Garches of 1927). The structural cadence of the facades becomes a characterizing element that rhythms seven spans for each side becoming the repeated theme, even if solved in a different way for each prospect. The four facades, clad in Botticino marble, have the same dimensions: rectangles with sides in a 1: 2 ratio (33m x 16.5m). The main faรงade is organized into five spans, the other two instead consisting of solid walls to depict illustrative scenes of the party. The ground floor, slightly raised on three steps, in the central part is closed with a large window.

The balconies of the faรงade (similar to Le Corbusier's brise-soleil), on the top floor, become an "open loggia" defined by the single trilithic structure and closed by a glass wall and alternating glass bricks. The balcony railings, made of tubular metal painted in a rectangular section, frame slabs of hammered glass; on the wall appear shaped windows in the shape of L, organized in two sectors: in the lower part there is a cut of considerable size (more than four meters), in the upper part, two openings of about half length. The rear elevation, on the top floor again the loggia; the characterizing element, instead, is the vertical glazing that cuts the solid wall in order to give natural light to the service stairs; in the central portion the L-type windows are proposed again.

37. View of the side facade on via dei Partigiani. Detail on the use of glass-cement. 38. View of the main facade of the Casa del Fascio from Duomo of Como. 39. View of the side facade on via Pessina. Detail on the type of windows.

On the faรงade, in via Michele Bianchi, the structural rhythms defined by the long glass windows are still visible, while a bay is defined by a slightly recessed glass-brick wall, corresponding to the main staircase. The prospectus presents a variety of windows with the purpose of diversifying the various internal functions: strip for bathrooms, L-shaped for offices and full-wall glass-cement for the staircase. In the prospectus on via Pessina, in the central part the structural scheme that frames the large windows with a glass-concrete base is emphasized. Artioli 1989

III.g THE INTERIORS AND MATERIALS

The interior is enhanced by the use of light, a characterizing and vital element to animate all the spaces of the home; in addition to the skylight roof that makes the "cascade of light" a design element, different solutions are used for the lighting sources: large windows, glazed paths located on the top floor, glazed small windows above the doors and lamps recessed above the windows (re-proposing natural light). The interior is accessible through a glazed entrance preceded by a portico; the vast internal area is functionally divided into two main areas: the entrance hall and the Salone delle Adunate; the first one has a black marble ceiling that had to reproduce an atmosphere of "recollection" and in the opposite wall, the same space is occupied by the main staircase (only cantilevered structure with shelves of two meters stuck on an inclined beam, with steps covered in red fillet stone, while the soffit is covered with black crystal). The stairwell, naturally illuminated through a transparent wall, features a carefully designed parapet consisting of an iron profile handrail, drawing a curve at the ends of the ramp.

The Terragni interior designs everything: walls, doors, handles, skirting boards, floors, finishes, lamps, tables, desks, shelves, chairs. Figurative harmony was established between the object of furniture and the building, as in the “Lariana” chair and in the “Benita” armchair, constructed in metal tubular and wooden or upholstered tops, conceived as prototypes destined for mass production. As in other historical periods where certain materials marked the advancement or the birth of new different architectural styles, even modern architecture is associated with the introduction of new materials mainly used in construction processes, such as iron, glass.

40. View of the main staircase. 41. Interior view of the atrium and the Salone delle Adunate. 42. Interior view of the Salone delle Adunate and the glass-cement skylight. 43. Interior view with glass-cement wall.

Thus, we are witnessing the emergence of a new era, characterized at the outset, more than by new forms, by the use of materials, interrupting the technological habit that has remained constant in the building up to that time. In the 1920s and 1930s there was a notable spread of reinforced concrete and iron constructions and with advanced industrial processes, other types of materials began to spread, not always sufficiently tested and therefore not very resistant to the test of time, but that they were suitable in satisfying some aesthetic requirements and some ideological and cultural demands, taking into consideration that at that time the new generations of architects were based on functionalism, rationalism, mechanism and the denial of decoration in favor of utility (venustas becomes utilitas). 46 44. View of the service staircase.

Artioli 1989 45. View of the main staircase: the ramp is covered at the top with white Carrara marble and at the bottom with black opaline glass; the walls are covered with red fillet Trani stone. 46. Side view of the service staircase.

47. Internal view of the loggia. 48. Outside view from the loggia on the piazza dell'Impero. 49. View of the outside wall on the glass-cement loggia and with ribbon windows. 50. Internal view of the Salone delle Adunate from the internal gallery.

III.h THE DECORATIONS

The political function of the building implied the development within it of the cult of fascist ideology and of an educational action of the masses; this had to happen through very specific liturgies that required an adequate iconographic apparatus. The iconography of fascism seemed inadequate to the architecture of Terragni, and the story of the decorations was at the center of the ongoing debate on modern figurative art and on its role in relation to fascism. The design of the interior decorations, and that of the decoration of the facade, met punctually with the first developments of the astrattismo tendency. Italian astrattismo was distinguished by the will to recover the classical Mediterranean order and to represent the ideal of the order of fascism. For the realization of the internal decorations in February 1936 the assignment to Mario Radice was formalized. Poretti 1998

Render made by Mario Manzi and Antonio Spataro

If as a painter Terragni remained tied to the figurative twentieth century, both architecture, and the very "Casa" in particular constituted the most stimulating model for Italian abstract art. In addition to the interiors, there was the hypothesis of enriching the full part of the front with an advanced decoration from the first studies of the final project. The decoration was conceived as a plastic-graphic "addition" with a celebratory and educational purpose. Terragni decided to turn to Marcello Nizzoli, an experienced graphic designer and designer. For the "Casa", he had designed a "photomosaic", a composition of enamelled metal plaques depicting, in addition to the Duce, significant scenes of fascist history. 52

53 Poretti 1998

51. Decoration realized by Mario Radice inside the Sala del Direttorio. 52. Photomontage of the main facade with decoration designed by Marcello Nizzoli and never applied, Photo from (Alberto Artioli, Giuseppe Terragni. La Casa del fascio di Como) 53. View of the Sala del Direttorio with the wall decorating by Mario Radice, Photo from (Alberto Artioli, Giuseppe Terragni. La Casa del fascio di Como)

IV. COMPARISON BETWEEN WORKS AND INTRODUCTION OF THEMES

In the project of the Casa del Fascio some preliminary sketches indicate the attempt to approach the vertical line, introducing the theme of the tower. This theme was addressed by Terragni in another Casa del Fascio, that of Lissone, where the composition is based from the beginning on the relationship between the vertical line and the horizontal one. The sketches of Comoâ&#x20AC;&#x2122;s project present an entirely glazed tower that tries, through its own lightness and transparency, to connect in contrast to the compact volume of the building.

Perhaps the most important theme found in Terragni projects is, however, that of the structural grid. Developed up to the extreme consequences in its possible articulations, but above all developed with a precision of sign such to become meter of measurement, order and reference of the whole planimetric system. This theme, through its programmatic value, makes possible the development, comparison and explication of the other signs. In the Casa del Fascio of Como you can notice how the pillars transpire at times to tell the internal organization of the closed volume; while in the one to Lissone the pillars, like vertical lines, pierce the floors of the floors, measure the distances between the facade planes, rhythm the internal partitions and size the spaces. In the Santâ&#x20AC;&#x2122;Elia asylum, however, they are shown in abstract structural articulations. Ugolini 1994

IV.a MODERNITY AND TRADITION

PALAZZO DELLE POSTE IN VIA MARMORATA, ROMA 1933 ADALBERTO LIBERA, MARIO DE RENZI

CASA DEL FASCIO, COMO 1936 GIUSEPPE TERRAGNI

IV.b MODULARITY AND GRID

SCUOLA DELLA MASSAIA VESNA BRNO 1930 BOHUSLAV FUCHS

CASA DEL FASCIO, COMO 1936 GIUSEPPE TERRAGNI

IV.c TYPOLOGICAL VARIATION

CASA DEL FASCIO LISSONE 1938 GIUSEPPE TERRAGNI

CASA DEL FASCIO, COMO 1936

GIUSEPPE TERRAGNI

IV.d THE CONTROVERSY ABOUT CASA DEL FASCIO

P.M. Bardi on "Meridiano di Roma" published on December 20th "Le fonti della fantasia", a brief response to Ojetti in which the origin of the pavilion in Paris of Piacentini, Pagano, Valle is traced back to the Casa del Fascio di Como in Terragni. The geometric reduction of the facade of the pavilion is superimposed, rotated by 90°, on the scheme of the Terragni facade. According to Bardi, a vigorous imagination is needed to establish a link between the design and the pavilion and that of Settizonio, and he states:

«a noi non interessa nulla che un edificio contemporaneo assomigli ad uno antico per pavoneggiarsi di tradizione» and if you really look for the origin of the pavilion you can find it in the Casa del Fascio in Como.

On 6 January 1937 an anonymous article was published in "La Sera" in Milan, it was later confirmed that Sartoris and Terragni suspected it was Vincenzo Costantini, head of the press office of the Triennale, entitled Confronti utili: chi plagia? Terragni is accused of referring to the design of the Casa del fascio to two existing architectures: Haesler's Kassel old people's home in Kassel (1932) and the housewife's school in "Vesna" in Brno di Fuchs (1930). The article is very short, but the three perspective views are the most significant part. The author wonders if it is noble to belittle a universally recognized artist (Piacentini) and he is sorry to have to drag an architect into the controversy against whom he would not have wanted to make any notes. He does not intend to name names, but believes that the reader will be able to judge whether the Paris pavilion resembles the house in Como or whether it was not taken from the Kassel hospice and the Brno school. Marina Sommella Grossi, (cit in), Ciucci 1996, 173-193

a. Page of the "Meridiano di Roma" of December 20, 1936 with the article by P.M. Bardi. Photo from (Ciucci 1996, 175)

b. Page of "La Sera" of January 6, 1937 with the article Confronti utili:chi plagia? Photo from (Ciucci 1996, 179)

V. BIBLIOGRAPHY Ferrario 1982 Ferrario L., Pastore D., Giuseppe Terragni. La Casa del Fascio, Istituto Mides 1982

Poretti 1998 Sergio Poretti, La Casa Fascio di Como, Carocci editore, Roma 1998

Gregotti 1982 Vittorio Gregotti, Giuseppe Terragni 1904/1943, Rassegna, n.11, Cesarenani Editrice, 1982

Mangione 2003 Flavio Mangione, Le case del fascio in Italia e nelle terre dâ&#x20AC;&#x2122;oltremare, Ministero Beni Att. Culturali, Roma 2003

Artioli 1989 Alberto Artioli, Giuseppe Terragni. La Casa del Fascio di Como, BetaGamma, Viterbo 1989 Ugolini 1994 Michele Ugolini, Giuseppe Terragni. La Casa del Fascio di Lissone, Alinea, Firenze 1994 architettura (Momenti di moderna, 14) Ciucci 1996 Giorgio Ciucci (a cura di), Giuseppe Terragni: Opera Completa (Documenti di Architettura), Electa, Milano 1997

del

Eisenman 2004 Peter Eisenman, Giuseppe Terragni: trasformazioni, scomposizioni, critiche, Quodlibet, Macerata 2004 Agostino 2016 Laura Agostino, Casa del Fascio, Maggioli, Santarcangelo di Romagna 2016 (Politecnica)