Giuseppe Terragni


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Terragni, Giuseppe

 

Born Feb. 1, 1904, in Meda, Lombardy; died May 25,1943, in Como. Italian architect.

Terragni was influenced by A. Sant’Elia. Together with A. Libera and others, in 1926 he founded the Gruppo 7, which advanced the acceptance of the architecture of rationalism throughout Italy. His major works include the Novecomum apartment building (1929), the Casa del Popolo (1932), and a kindergarten (1936), all in Como. In these buildings, Terragni organically integrated interior space and the surrounding environment, combining blank wall surfaces with open frameworks of reinforced concrete. He skillfully incorporated elements of traditional Mediterranean architecture into his works, for example, by using a courtyard-atrium as the center of an architectural composition.

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Un ejemplo de este proceso de dependencia y posterior liberacion con el pasado es el que pudo haber tenido Peter Eisenman al observar la obra de Giuseppe Terragni.
En este contexto se enmarcaba una decidida autocritica dirigida a un razionalismo italiano que no habia nacido, segun el autor, de ninguna exigencia profunda: la mediterraneidad en la Casa del Fascio de Como de Giuseppe Terragni, se reduciria a "recalcar las formas que algunos arquitectos romanos habian retomado, a su vez, de Adolf Loos" (37).
No less striking, for both aesthetic and ideological reasons, is the Sant'Elia armchair designed by Giuseppe Terragni for the boardroom of his 1932-36 Casa del Fascio in Como, a building meant to epitomize another offshoot of Fascist design, modernist rationalism.
Takehiko Nagakura's rendering of the interior of the unbuilt Danteum by Giuseppe Terragni and Pietro Lingeri, a still from one of Nagakura's short films about mythical structures.
It is hardly news that some modern architectural adventures have been associated with undemocratic or even totalitarian historical moments--think of an architect like Giuseppe Terragni, who served Italy's Fascist regime.
In Kindergarten Antonio Sant'Elia, 1932, 1997, Claerbout integrates two different media--a black-and-white image of a playground designed by Giuseppe Terragni is digitally merged with film footage of trees moving subtly in the breeze--to convey the layering of historical time with fleeting human events.
Peter Eisenman, finally, despite having collaborated with Derrida for a garden within Tschumi's park, exhibited in his design for the University of Frankfurt's Biocenter as much reliance on the multiple grids of his earlier experiments with the architecture of Giuseppe Terragni as on any philosophical borrowings.