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Franco Albini


The twelfth Triennale event was marked by subtle nostalgia in-between the lines. As if modernism were already beginning to fold inward in self-admiration. There were three absolutely legitimate full-blown commemorations: one on Adriano Olivetti by Egidio Bonfante, Riccardo Musatti and Renzo Zorzi; one on Paolo Venini by Roberto Menghi; and one on Frank Lloyd Wright at the American section, with the collaboration of Carlo Scarpa and Bruno Zevi. Another eight commemorations were impeccable but less evident in their meaningfulness. They were dedicated to the architects Albini, Figini and Pollini, Lingeri, Michelucci, Mollino, Quaroni, Ridolfi and Scarpa, all of whom were then working inside the same debate that glorified them on this occasion. Albini and Pollini were even part of the advisory committee, with others such as De Carli, Gentili Tedeschi, Peressutti and Zanuso, who were eligible to receive the same honour. Gardella, Magistretti and Sambonet, members of the executive technical committee, were in the same condition. In some ways, the nostalgia ascended to the level of revival. This Triennale clarified the position of young architects linked to the neo-Liberty movement. Guido Canella notes the importance of 'endeavouring to find a new name to define a current that goes from Gardella to Magistretti and includes the men from Novara (Gregotti, Meneghetti and Stoppino). The depth brought in by figures such as Caccia Dominioni, Roberto Gabetti and Aimaro Isola, the Castiglioni brothers, Menghi, Raboni and others constituted a stylistic sublimation, or an integration merely on the level of taste. At this Triennale, the current succeeded in garnering the 'benevolence' (…) of men who are otherwise distant from the phenomenon, such as Albini and BPR.' As for the layout of the exhibition route, there was a novel and somewhat disorienting solution: the access to the Triennale was no longer from the front of Muzio's building, but from the park along a route studied by Luigi Caccia Dominioni and Gae Aulenti. It led to an atrium designed by Ettore Sottsass and from there to the main room, totally revised with a centric plan by Peressutti and Rogers. This was the location of the 'Exhibition of antique plates and flatware', offset by the powerful display by Franco Albini, the 'International exhibition of glassware and steel cookware', where pots and pans and domestic tools acquired notable specific weight for being exhibited on long inclined counters that followed the flights of stairs beneath an entire ceiling frescoed by Gianni Dova. The overall pillar of the event was the 'School exhibition' section, so needed and politically correct that it received generalised plaudits. A model of a school building from the UK built in the park created a great stir, a live demonstration of the 'spatial' limits of Italy's education system. We must remember that the Fanfani reform and the school age extended to the middle school were yet to come. While the contextual distinction into three ambits, central, peripheral and rural, might have some kind of significance for the school theme, it seemed less pregnant in the section on the house. Some exhibits were anecdotal, such as 'Rural dwelling' by Gregotti, Meneghetti and Stoppino, and the dwelling for the centre conceived by Gae Aulenti. Others were extraordinary, yet utterly forgotten, such as the suburban dwelling that Pierluigi Spadolini designed with Mario Maioli with a modular system of walls with holes that allowed to hook on most of the fixed furniture. The system gave at once remarkable freedom of movement, and a modern decorative effect. The juxtaposition between those apartments and the 'production islands' was interesting. Just like interior decoration magazines do today, the materials, objects and furniture needed to recreate the presented proposals were included in the display. In the foreign sections, encounters with a new generation of designers were in full swing. Especially favoured by Domus and Italy were Anti Nurmesniemi from Finland and Poul Kjserholm from Denmark.......

【关 键 词】: Franco Albini
【期刊名称】: Domus
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【期刊论文编号】: 109,091,657
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