Abstract
To assess architectural drawings should respect precise rules and codes is an obvious consideration, nevertheless, analyzing any projects graphics, we can find drawings with considerable ambiguity of expression. In the climate of the Twenties in Italy, we believe that matter assumes a particular value both for the strong impulse to change that for the difficulty the abandonment of historicist styles and modes. This contribution, relate to analysis of the project winner of the competition for the Quartiere dell’Artigianato of Rome, can represent one between the possible interpretations of the slow decline of the way of thinking and drawing architecture.
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Notes
- 1.
Renzo De Felice establishes two different periods during the twenty years of Fascist rule: the first between 1921 and 1929 coincides with the gradual rise to power and the beginning of the Fascist regime, and a second period between 1929 and 1940 characterised by popular consensus regarding Italy’s entry into war.
- 2.
Members of the commission: Arch. Alberto Calza Bini, the engineer Giuseppe Caffarelli (Governor of Rome), Arch. Marcello Piacentini, the engineer Innocenzo Costantini (Istituto Case Popolari) and Arch. Ghino Venturi (Associazione per i Cultori dell’Architettura).
- 3.
In 1921 Marcello Piacentini and Gustavo Giovannoni founded the magazine Architettura e Arti Decorative published up until 1931.
- 4.
Members of the group: Pietro Aschieri, Luigi Ciarrocchi, Mario De Renzi, Mario Marchi, Costantino Vetriani and Giuseppe Wittinch.
- 5.
In this case, too, nothing came of the competition. As we all know, Mussolini decided that the new area was to be the Foro Italico.
- 6.
This news was reported by the Giornale d’Italia on 27 July 1927.
- 7.
The M.I.A.R. was founded in 1930 and became the official voice of the Italian rationalist movement. In 1931, in opposition to the M.I.A.R. Piacentini founded the R.A.M.I. under the patronage of the Fascist Union of Architects.
- 8.
All the drawings in this essay come from the archives of the Accademia di San Luca in the holding: Aschieri donation, box B, envelope C.
- 9.
A hard carbon pencil.
- 10.
Analysis of the perspective views made it possible to pinpoint the various observation points which, as shown in the plan, are all compatible with the represented areas (except the image with the letter D). The D and E views have a narrow visual cone compared to all the others. As regards the way the drawings were “built”, note the position of the very low horizon line for perspectives A, D and F. Also note the graphic rendering of the architectural masses in images A, D and F achieved by using sev- eral vanishing points based on relative horizon lines; the same method was used for images A and C, but in this case it defines the subordinate elements such as intradoses, mouldings, etc.
References
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Lanfranchi, F. (2018). Design Drawings: Traditionalism and Renewal. Drawings by the Aschieri Group for the Competition for the Arts & Crafts District in Rome in 1926. In: Castaño Perea, E., Echeverria Valiente, E. (eds) Architectural Draughtsmanship. EGA 2016. Springer, Cham. https://doi.org/10.1007/978-3-319-58856-8_93
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