Furnishing the Fascist interior: Giuseppe Terragni, Mario Radice and ...

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arq . vol 10 . no 2 . 2006 history
‘The Asilo Sant’Elia is a glass house
of learning,’ writes Thomas
Schumacher, ‘just as the Casa del
Fascio is a glass house of Fascism.’
The process of instructing
behaviour through furnishings
and architecture was thus
extended to the earliest years of
the Fascist citizen’s life.
Schumacher, Giuseppe Terragni:
Casa del Fascio, Como, Italy, 1932–36;
Asilo Infantile Antonio Sant’Elia, Como,
Italy, 1936–37.
48. An earlier example of an open
spiral kind of self-springing chair
(as opposed to the Breuer/Stamtype
S-curve chairs) was designed
by Gigi Chessa and Umberto Cuzzi
for the Bar Fiorina (Torino,
1931–32). Anty Pansera, ed. Flessibili
Splendori: I mobili in tubolare
metallico. Il caso Columbus (Milan:
Electa, 1998), p. 73.
49. Terragni, p. 157.
50. Terragni, ‘I marmi’, Quadrante,
35/36 (October 1936), p. 52.
51. On the Mostra della Rivoluzione
Fascista, see Marla Stone, ‘Staging
Fascism: The Exhibition of the
Fascist Revolution’, Journal of
Contemporary History, vol. 28 (1993),
pp. 215–43; Richard Etlin,
Modernism in Italian Architecture,
1890–1940 (Cambridge: MIT Press,
1991), pp. 407–17; Giorgio Ciucci,
David Rifkind Furnishing the Fascist interior
‘L’ Autorappresentation del
Fascismo: La Mostra del decennale
della marcia du Roma’, Rassegna di
Architettura 10 (June 1982), pp.
48–55; Diane Ghirardo, ‘Architects,
Exhibitions and the Politics of
Culture in Fascist Italy’, Journal of
Architectural Education 45, 2
(February 1992), 67–75; Libero
Andreotti, ‘The Aesthetics of War:
The Exhibition of the Fascist
Revolution’, Journal of Architectural
Education 45, 2 (February 1992),
76–86; Jeffrey T. Schnapp, ‘Epic
Demonstrations’, in Richard
Golsan, ed., Fascism Aesthetics and
Culture (Hanover, NH: University
Press of New England, 1992). The
exhibition catalogue is Dino
Alfieri and Luigi Freddi, Mostra
della Rivoluzione Fascista: Guida
storica (Rome: Partito Nazionale
Fascista, 1933).
52. Caramel believes that Radice
assisted Terragni and Nizzoli on
their respective installations at the
Mostra della Rivoluzione Fascista,
based on a letter from Nizzoli
conserved in the Radice archives.
Caramel, p. 119.
53. Jeffrey Schnapp discusses the
representation of massed crowds
and their propagandistic
importance in Jeffrey T. Schnapp,
‘The Mass Panorama’,
Modernism/modernity, 9, 2,
pp. 243–81.
54. Schumacher, pp. 172–3.
Illustration credits
arq gratefully acknowledges:
Centro Studi Giuseppe Terragni in
Como and Quadrante, 35/36
(October 1936), 1–18
Dino Alfieri and Luigi Freddi, eds.
Mostra della rivoluzione fascista.
Guida storica (Rome: Partito
Nazionale Fascista, 1933), 19–20
Biography
David Rifkind teaches in the
Department of Architectural History
at the University of Virginia School of
Architecture. He recently completed
his dissertation, Quadrante and the
Politicization of Architectural Discourse in
Fascist Italy, at Columbia University. A
practising architect, he is a graduate
of McGill University’s programme in
architectural history and theory and
the Boston Architectural Center.
Author’s address
David Rifkind
University of Virginia
School of Architecture
Campbell Hall
Charlottesville, VA 22904
USA
rifkind@virginia.edu