Littérature scientifique sur le sujet « Giuseppe Terragni »

Giuseppe Terragni and Pietro Lingeri’s Danteum project has been the subject of numerous studies and investigations. Moreover, in recent years, digital reconstructions of the building have been made which significantly contributed to the understanding of the project and to the knowledge of the design process, as well as to Pietro Lingeri’s role in it. This essay consists of two parts: the first, by Emanuela Ferretti, investigates the context in which the project took shape, with particular regard to the Italian scenario of 1938-1939; the second, by Attilio Terragni, highlights – with the sensibility of the architect-designer – some of the characteristics of the Danteum project and is accompanied by reconstructive drawings of the building, made by the same author on the basis of original drawings by Giuseppe Terragni, preserved in the Terragni Archive in Como.

La ‘disarmante' costituzione dell'asilo determina un momento particolare nell'orizzonte dell'opera di Giuseppe Terragni. Sul piano del rapporto con il suo tempo e dell'analisi del significato dello spazio architettonico č interessante rilevare come, da parte delle diverse e piů importanti letture critiche, questa costruzione si ponesse quale termine di paragone rispetto al resto del suo lavoro; tutte letture fortemente supportate dal dato emotivo sia nel caso di quella coeva che di quella seguente, per via della contrastata, ambigua, diciamo difficilmente decifrabile relazione tra l'autore, le correnti artistiche e culturali nazionali ed europee ed il regime fascista. Comunque sia, per questa piccola costruzione, parlare dell'architettura, dell'oggetto e dello spazio senza contemplare l'orizzonte emotivo quale materia originaria e poi interpretativa, rende incompleta la narrazione.

In recent decades, architectural historians, preservationists, and the general public have shown a growing interest in Fascist-era buildings. Many of the most high-profile examples are those associated with the monumental excesses of the regime. However, new attention has also been focused on more modest buildings that are significant examples of interwar Italian modernism or Rationalism, including former party headquarters (case del fascio). Taking as primary examples works by Giuseppe Terragni, the architect most often associated with Rationalism, as well by Luigi Carlo Danieri and Luigi Vietti, whose interwar contributions to Italian modernism have been less often the focus of scholarly attention, this article traces the postwar histories of case del fascio with the aim of better understanding the ways in which architecture and politics intersect and some of the consequences of this for the contemporary Italian architectural landscape.

<p><strong>Abstract.</strong> This essay presents a proposal concerning the residential buildings of Giuseppe Terragni in the urban area of Como, based on the research activity which has been ongoing in the last few years and the related experiences which have been elaborated up to now to manage, represent and communicate the studies carried out. A new method of integration between research, communication and enhancement is presented with the aim to obtain a synthetic and immersive representation. Two case studies, in particular, are presented: the building for apartments Novocomum and “Case Popolari” in Via Anzani. The paper describes the methodology used, and its purpose, to create a virtual tour of the atrium of Novocomum and common areas of Case Popolari which allows the user to visit the spaces moving inside high definition full spherical immersive images and to consult punctual information referring to heterogeneous historical documents, providing a useful tool in order to study these architectures and contributing to the knowledge and enhancement of this architectural heritage.</p>

Ce travail a essayé de rencontrer une architecture et un processus de conception architecturale en conjuguant les techniques de l'historien et celles de l'architecte. Les dispositifs spatiaux et constructifs de l'architecture de Giuseppe Terragni ont été décrits par les mots et par le dessin, réactivés par la dialectique d'Alberti sur le mur et la colonne dans le De re aedificatoria et par la pensée corbuséenne de l'espace à la fin des années vingt. Ces "objets théoriques" permettent de penser la spécificité des formes spatiales de Terragni à l'aune de deux traditions réinventées et de mieux saisir la manière dont chaque édifice ne s'installe pas dans le paysage, mais installe le paysage alentour dans son intériorité, n'invente pas les formes constituantes de l'espace, mais invente l'espace "en tant que tel" et sa "vérité constructive" en fonction de ce qu'il est
This work as tried to confront an architectural object with a process of architectural design by combining the techniques of the historian and those of the architecte. The spatial and constructive forms of Giuseppe Terragni's architecture have been describe in words and in drawings which have been analysed in the light of Alberti's dialectic on the column and the wall in his De re aedificatoria and the thinking of Le Corbusier concerning space at the end of the 1920's. These theoretical elements enable us better to analyse the specificity of Giuseppe Terragni's spatial forms in relation to two renewed traditions, and better to understand the way that each edifice does not fit into the given landscape but rather establishes the landscape within the edifice, and the way that each edifice does not create the components of space, but creates space "as such", inventing its "own constructive truth" in accordance with what it his

[EN] It's important to know the political and social life to Giuseppe Terragni. He wanted to express the new artist and political order. He takes part in controversial design and in his public life. His work has been, until recently, a critical for his links with fascism the mussolini. His brother, the fascist mayor of Como, and Margherita Sargatti, Mussolini's lover, they make possible orders of Terragni. He was a high moral, sensitive artist and fascist. He was the most important on Italian modern architecture. The Terragni's life is connected to Como. The study - laboratory from The Terragni brothers in Via Independeza 23, is a place to meet and discuss for the group of artist and intellectual to Como, such as Mariano Radice, Marcello Nizzoli, Manlino Rho and Carlos Badiali. Also Pietro Lingeri, the best friend to Terragni. All of them will be on his professional life. First, the thesis investigates relations between theoretical principles and projects methods, delving in architecture, using the Casa del Fascio and the Danteum. He made architectonic analysis, centered initial objectives, without forgetting any other stimulus. This analysis made with planes and schemes, are graphics documents that help to understand the work to Giuseppe Terragni. The data obtained with the analysis, is sorted in comparative tables that explaining the matters sought. The Casa del Fascio and the Danteum identify with the policy of the fascist revolution, basing its link in abstraction. Research shows a direct relationship between architectural ideas of Terragni and theoretical principles of the Fascist revolution, without them, his work wouldn't exist. The thesis presents the direct relation between political activism and the resulting architecture. The formalist absence between the two buildings increases their representative role. Both projects belong to the world of meaning. These meanings are complex and multiple readings, are very prone to erroneous or contradictory interpretations, endorsing importance of the importance of the work of Terragni. Second, research, using the Novocomum and the Parvulario Sant'Elia, looks for proyectual genesis of the two, start with the first drawing, solutions to problems are compared and try to extract the ideas of both. It's pay close attention to the times when the architect pass from one idea to another and also to understand some of the reasons that cause these changes. This thesis shows that despite their differences, there is a resemblance between the Novocomum and the Parvulario Sant'Elia. Both were built. The Novocomum is the first built in the writings of Gruppo 7. The Parvulario is where Terragni built most elements of his vocabulary with very unique synthesis. Probably the two buildings are the least politically contextualized and the opposite happens in the Casa del Fascio and Danteum, which are a purely architectural analysis.
[ES] Es difícil aproximarse a la figura de Giuseppe Terragni sin tener en cuenta el marco político- social que lo envolvía. En su voluntad de expresar un nuevo orden artístico y político, intervino en las polémicas estéticas y en la vida pública con idéntica pasión. Su obra ha sido, hasta hace bien poco, fuente permanente de incomodidad crítica por sus vínculos, sentidos en profundidad, con el fascismo mussoliniano. Su hermano, el alcalde fascista de Como y Margherita Sarfatti, amante de Mussolini, marcan sus encargos profesionales. Hombre de elevada moral, artista sensible y ardiente fascista, es uno de los protagonistas más importantes de la arquitectura moderna italiana. La vida de Terragni está ligada a Como. El estudio- laboratorio de los hermanos Terragni en Vía Indipendenza 23, es un lugar de encuentro y discusión para el grupo de artistas e intelectuales de Como, entre los que se encuentran Mario Radice, Marcello Nizzoli, Manlio Rho y Carlos Badiali. También estará Pietro Lingeri, querido amigo y colega. Todos quedarán unidos a Terragni de una manera u otra a lo largo de toda su vida profesional. La tesis, en primer lugar, investiga en profundidad las relaciones entre principios teóricos y métodos proyectuales, ahondando en el papel de la arquitectura como representación, utilizando para ello la Casa del Fascio y el Danteum. Realiza análisis arquitectónicos de las mismas, centrados en los objetivos iniciales, pero sin obviar cualquier otro estimulo. Estos análisis, realizados mediante elaboraciones de planos y esquemas, constituyen documentos gráficos que aportan un mayor entendimiento de la obra de Giuseppe Terragni. Los datos obtenidos de dichos análisis, se ordenan en cuadros comparativos, que permiten poner de manifiesto aquellas cuestiones buscadas. La Casa del Fascio y el Danteum, identifican claramente la política de transparencia de la revolución fascista, basando su nexo de unión en la abstracción. La investigación demuestra la relación directa entre los conceptos arquitectónicos usados por Terragni y los principios teóricos que sustentaban su creencia en la revolución fascista y sin los cuales, su obra no existiría. La tesis no elude, en modo alguno, esta cuestión, sino más bien al contrario, plantea de la misma, uno de sus objetivos, poniendo luz e investigando la correlación, que en este caso es directa, entre la militancia política e ideológica y la arquitectura resultante. La inexistencia de formalismo alguno en ambos edificios aumenta su papel representativo, recorriendo ampliamente el trabajo esta cuestión, significándola como un elemento proyectual clave. Ambos proyectos pertenecen al mundo de los significados. Significados complejos y de lecturas múltiples, muy dados a interpretaciones erroneas o contradictorias, que subscriben la importancia de la obra de Terragni. En segundo lugar, la investigación, utilizando el Novocomun y el Parvulario Sant'Elia, busca las génesis proyectuales de ambos, partiendo del primer borrador, comparando soluciones a problemas específicos e intentando extraer las ideas en ellos contenidas. Se trata de poner especial atención en aquellos momentos en que el arquitecto pasa de una idea a otra y de entender y manifestar algunas de las razones que producen estos cambios. Esta tesis manifiesta que a pesar de sus diferencias, la proximidad entre el Novocomun y el Parvulario Sant'Elia, resultaevidente. Ambos son manifiestos construidos. El Novocomun es la primera síntesis construida de los escritos del Gruppo 7. Es en el Parvulario Sant'Elia, donde Terragni construye la mayoría de elementos que, constituyen el vocabulario fundamental del movimiento moderno, enriqueciéndolo con aportaciones personales muy singulares. Son, probablemente ambos, dos de los edificios menos contextualizados a nivel político y, por ello y, en contraposición con la Casa del Fascio y el Danteum, los que permiten un análisis más puramente arquitectónico
[CAT] És difícil aproximar-se a la figura de Giuseppe Terragni sense tindre en compte el marc politicosocial que ho embolicava. En la seua voluntat d'expressar un nou orde artístic i polític, va intervindre en les polèmiques estètiques i en la vida pública amb idèntica passió. La seua obra ha sigut, fins fa ben poc, font permanent d'incomoditat crítica pels seus vincles, sentits en profunditat, amb el feixisme mussoliniano. El seu germà, l'alcalde feixista de Como i Margherita Sarfatti, amant de Mussolini, marquen els seus encàrrecs professionals. Home de llevada moral, artista sensible i ardent feixista, és un dels protagonistes més importants de l'arquitectura moderna italiana. La vida de Terragni està lligada a Como. L'estudi-laboratori dels germans Terragni en Via Independenzia 23, és un lloc de trobada i discussió per al grup d'artistes i intel·lectuals de Como, entre els que es troba Mario Radice, Marcello Nizzoli, Manlio Rho i Carlos Badiali. També estarà Pietro Lingeri, benvolgut amic i col·lega. Tots quedaran units a Terragni d'una manera o una altra al llarg de tota la seua vida professional. La tesi, en primer lloc, investiga en primer lloc les relacions entre principis teòrics i mètodes projectuals, aprofundint en el paper de l'arquitectura com a representació, utilitzant per a això la Casa del Fascio i el Danteum. Realitza anàlisis arquitectòniques de les mateixes, centrats en els objectius inicials, però sense obviar qualsevol altre estímul. Estes anàlisis, realitzats per mitjà d'elaboracions de plans i esquemes, constituïxen documents gràfics que aporten un major enteniment de l'obra de Giuseppe Terragni. Les dades obtingudes de dit anàlisi, s'ordenen en quadros comparatius, que permeten posar de manifest aquelles qüestions buscades. Les Casa del Fascio i el Danteum, identifiquen clarament la política de transparència de la revolució feixista, basant el seu nexe d'unió en l'abstracció. La investigació, demostra la relació directa entre conceptes arquitectònics usats per Terragni i els principis teòrics que sustentaven la seua creença en la revolució feixista i sense els quals, la seua obra no existiría. La tesi no eludix, de cap manera, esta qüestió, sinó més aïna al contrari, planteja de la mateixa, un dels seus objectius, posant llum i investigant la correlació, que en aquest cas és directa, entre la militància política i ideològica i l'arquitectura resultant. La inexistència de cap formalisme en ambdós edificis augmenta el seu paper representatiu, recorrent àmpliament el treball esta qüestió, significant-la com un element clau. Ambdós projectes pertanyen al món dels significats. Significats complexos i lectures múltiples, molt donats a interpretacions errònies o contradictòries, que subscriuen la importància de l'obra de Terragni. En segon lloc, la investigació, utilitzant el Novocomun i el Parvulario Sant'Elia, busca les gènesis projectuals d'ambdós, partint el primer esborrany, comparant solucions a problemes específics i intentant extraure les idees en ells contingudes. Es tracta de posar especial atenció en aquells moments en què l'arquitecte passa d'una idea a una altra i d'entendre i manifestar algunes de les raons que produïxen estos canvis. Esta tesi manifesta que a pesar de les seues diferències, la proximitat entre el Novocomun i el Parvulario Sant'Elia, resultaevident. Ambdós són manifestos construïts. El Novocomun és la primera síntesi construïda dels escrits del Gruppo 7. És el Parvulario Sant'Elia, on Terragni construïx la majoria d'elements que, constituïxen el vocabulari fonamental del moviment modern enriquint-ho amb aportacions molt singulars. Són, probablement ambdós, dos dels edificis menys contextualitzats a nivell polític i, per això i, en contraposició a la Casa del Fascio i al Danteum, la qual cosa permeten una anàlisi més purament arquitectònic.
Acosta Llera, FJ. (2015). Las ideas y los instrumentos específicos del proyecto arquitéctónico. Giuseppe Terragni frente a la ortodoxia del Movimiento Moderno [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/54119
TESIS

The architectural practice of Giuseppe Terragni (1904-1943) takes place during the twentieth century modern social movements, as architecture and urban form follow a major shift in the political conditions, in Italy and beyond. This dissertation is a demonstration of the quest for the rational in the architectural practice of Giuseppe Terragni. Furthermore, it sorts out the role of Terragni's practice in the dichotomous relationships between city and architecture as well as state and project. Initially, it is the obligation of this dissertation to address questions of principles, in order to build a plenum for the relationship between the city and architecture. It traces movements through translation and transformation of architectural impression, in form and type, and its meta in concinnity, in terms of legacy, legitimacy, and the rational in idea. THESIS. The implicit rational in architecture exists in hierarchical order that allows for it to form unity of the whole that any of its constituents cannot form individually. It should be the architect's duty to fully reconcile all the elements in action – for and against form – in architecture, and demonstrate that the resultant is not a mere compromise but a necessary optimal condition. Therefore, I start with a stance in which I attempt to show how Giuseppe Terragni, in his ratiocinium, explicates the implicit rational in architecture, against the sea of protean political conditions. Giuseppe Terragni can be understood in his convictions which we may be able to sort out through his words, works, and deeds. In his pursuit of the rational Giuseppe Terragni offers a clue to the time and actions taking place, as if he were to remind us of the Homeric song about the deeds of men with convictions under their destiny and their ironic tragicomedy. Terragni's Danteum is the one instance where destiny seems closer to fulfillment. Dante Alighieri's dream of the glorious empire seems to materialize in the signs of the monarchy and its savior – Mussolini. Since the fascist movement concerns itself with questions of legitimacy that in lineage shifts between histories of origins and middles, the shifting in language plays an important role in the sorting out of factum and verum. Languages that enter into this play shift laterally mainly between Greek, Latin, and Italian. And, at times Dardanian and Proto-Albanian, both Illyrian dialects, enter the play. METHOD. Many aspects of this inquiry demand specific research methods as shown through the general and specific instances of man's activity as work which results in that which is made (factum) and the pursuit of that which is true (verum). Therefore, method in the sense of search for the way concerning purpose in what is made is conducted through istoria and historiography. Meanwhile, the search for truth, as it does not concern itself with the same scope as factum, requires philosophy as means towards knowledge, to sort out questions regarding truth. This dissertation follows certain Italian philosophers as guides in the pursuit. Not the least among them is Giambattista Vico who proposes that universal laws of development of men and society can be traced through the union between verum and factum. So, verum and factum become characters of the same play. Philology, love for reason, as a subspecies of philosophy, is a means toward knowledge in unraveling of the layers of the rational in the making. Additionally, in this inquiry, I employ analogies, diagrams, ideograms, and images, which demonstrate the quest for the rational in the architectural practice of Giuseppe Terragni.
Doctor of Philosophy
The architectural practice of Giuseppe Terragni (1904-1943) takes place during the twentieth century modern social movements, as architecture and urban form follow a major shift in the political conditions, in Italy and beyond. This dissertation is a demonstration of the quest for the rational in the architectural practice of Giuseppe Terragni. Furthermore, it sorts out the role of Terragni's practice in the dichotomous relationships between city and architecture as well as state and project. Initially, it is the obligation of this dissertation to address questions of principles, in order to build a plenum for the relationship between the city and architecture. It traces movements through translation and transformation of architectural impression, in form and type, and its meta in concinnity, in terms of legacy, legitimacy, and the rational in idea. THESIS. The implicit rational in architecture exists in hierarchical order that allows for it to form unity of the whole that any of its constituents cannot form individually. It should be the architect's duty to fully reconcile all the elements in action – for and against form – in architecture, and demonstrate that the resultant is not a mere compromise but a necessary optimal condition. Therefore, I start with a stance in which I attempt to show how Giuseppe Terragni, in his ratiocinium, explicates the implicit rational in architecture, against the sea of protean political conditions. Giuseppe Terragni can be understood in his convictions which we may be able to sort out through his words, works, and deeds. In his pursuit of the rational Giuseppe Terragni offers a clue to the time and actions taking place, as if he were to remind us of the Homeric song about the deeds of men with convictions under their destiny and their ironic tragicomedy. Terragni's Danteum is the one instance where destiny seems closer to fulfillment. Dante Alighieri's dream of the glorious empire seems to materialize in the signs of the monarchy and its savior – Mussolini. Since the fascist movement concerns itself with questions of legitimacy that in lineage shifts between histories of origins and middles, the shifting in language plays an important role in the sorting out of factum and verum. Languages that enter into this play shift laterally mainly between Greek, Latin, and Italian. And, at times Dardanian and Proto-Albanian, both Illyrian dialects, enter the play. METHOD. Many aspects of this inquiry demand specific research methods as shown through the general and specific instances of man's activity as work which results in that which is made (factum) and the pursuit of that which is true (verum). Therefore, method in the sense of search for the way concerning purpose in what is made is conducted through istoria and historiography. Meanwhile, the search for truth, as it does not concern itself with the same scope as factum, requires philosophy as means towards knowledge, to sort out questions regarding truth. This dissertation follows certain Italian philosophers as guides in the pursuit. Not the least among them is Giambattista Vico who proposes that universal laws of development of men and society can be traced through the union between verum and factum. So, verum and factum become characters of the same play. Philology, love for reason, as a subspecies of philosophy, is a means toward knowledge in unraveling of the layers of the rational in the making. Additionally, in this inquiry, I employ analogies, diagrams, ideograms, and images, which demonstrate the quest for the rational in the architectural practice of Giuseppe Terragni.

La tesi affronta il tema dell’astrazione in architettura attraverso un approfondimento dell’opera di Giuseppe Terragni. Essa si apre con una interrogazione su senso e significato del concetto di astrazione in architettura, a partire anche dalle differenze che necessariamente separano la ricerca di un’astraente essenzialità nell’arte del costruire dal suo più noto analogon costituito dalla pittura cosiddetta astratta. Proprio la formulazione di tale problema e la sua analisi sostengono e giustificano l’argomentazione della tesi, volta a dimostrare come Terragni “costruisca” le forme secondo una sua peculiare idea di astrazione - un concetto che acquisì realtà e teoresi già nel periodo illuministico - rimanendo tuttavia sempre all’interno dell’albertiana definizione della res aedificatoria nei termini di una sintesi di lineamenta e structura. Si utilizza, infatti, il termine astrazione nella sua accezione illuministico-hegeliana di processo attivo che, partendo dal concreto e dal reale, conduce necessariamente ad una sintesi concettuale, vale a dire ad una separazione degli aspetti contingenti o accidentali da quelli essenziali e necessari, per delineare (all’interno dell’opera dell’architetto comasco) le tappe di un percorso verso l’essenza, verso la “forma assoluta” di un’architettura moderna e, al tempo stesso, “universale”. L’impostazione metodologica della ricerca è vicina al metodo progettuale, fatto di rimandi, di sovrapposizioni contenutistiche e semantiche. All’interno della ricerca sono pertanto numerosi i riferimenti alla filosofia, alla letteratura ed all’arte: dai “grandi viennesi del linguaggio” (Ludwig Wittgenstein, Hugo von Hofmannsthal, Karl Kraus) a Friedrich Hegel e Benedetto Croce; dai ready mades di Marcel Duchamp alla pittura di Kazimir Malevič, Vasilij Kandinsky, Giorgio de Chirico e Carlo Carrà, fino alla scultura di Fausto Melotti. Ma anche all’esperienza di altri maestri come Adolf Loos e Mies van der Rohe, volti a chiarire i caratteri e le specificità dell’astrazione in architettura.

A presente dissertação aborda um dos mais urgentes e fascinantes temasda Arquitectura Moderna - a problemática da arquitectura escolar.As primeiras ideias e refexões associadas à infância remontam ao séc.XVIII, mas é na viragem do séc. XIX para o séc. XX que se denota umamudança paradigmática na maneira como se pensa sobre as crianças.Todavia, o período verdadeiramente revolucionário que se faz sentir no fnalda Primeira Guerra Mundial, evidencia a crescente importância da educaçãopública. O tema da infância passa a representar umas das grandes inquietudesdo Movimento Moderno - uma tomada de consciência, em relação àsexigências particulares das crianças - marcado por novos desenvolvimentosna psicologia infantil e na aplicação de novos métodos de ensino.Em prol da melhoria da qualidade de vida e saúde da população infantil,tornou-se, portanto, essencial uma educação cuidada e um ambiente saudávelpara combater o clima instável do pós-guerra. No seguimento desta ideia, surgeo conceito de arquitectura escolar open-air, que se expressa por via de inovaçõespedagógicas e espaciais, ou seja, através de edifícios com preocupaçõeshigienistas e naturalistas, marcadas por uma espacialidade aberta e pela máximaexposição solar, em resposta a um surto de doenças derivadas da guerra.Um dos exemplos mais notáveis de edifício escolar open-air, e que seráo objecto de estudo desta dissertação, é o Asilo de Sant'Elia, desenhadopelo arquitecto Giuseppe Terragni, entre os anos 1932 e 1936, na cidade deComo, Itália. Neste sentido, esta dissertação propõe uma análise, refexão einterpretação do caso de estudo escolhido, dentro do seu contexto histórico esocial, tendo em conta a vida e obra do arquitecto, considerando a relevânciae a infuência de temas-chave como a infância e a arquitectura escolar.
Tis dissertation addresses one of the most fascinating subjects of ModernArchitecture - the school architecture.Te frst ideas and refections related to childhood back to the centuryXVIII, but it was the turn of the century XIX to the century XX that revealeda paradigm shif in the way we think about children. However, the trulyrevolutionary period was the end of World War I which highlighted theimportance of the public education.Te subject childhood became one of the biggest concerns of the ModernMovement rasing awareness in relation to the children's needs based on thenew developments in child psychology and new teaching methods. In orderto improve the quality of life and health of the child population, it becametherefore essential a careful education and a healthy environment to combatthe unstable climate of the post-war.In this context it arrised the concept of open-air school architecture,with teaching and spatial innovations, namely through the construction ofbuildings with hygienists and naturalistic concerns, characterized by an openspatiality and maximum sun exposure to minimize the risks associated withthe outbreak of diseases derived from the war.One of the most notable examples of open-air school building, which willbe the object of study of this thesis is the Asilo Sant'Elia, designed by architectGiuseppe Terragni, during the years 1932 and 1936 in the city of Como, Italy.Tis thesis proposes an analysis, refection and interpretation of the chosencase study, within its historical and social context, taking in consideration thelife and work of the architect and the relevance and infuence of key subjectssuch as childhood and school architecture.

A presente dissertação aborda um dos mais urgentes e fascinantes temasda Arquitectura Moderna - a problemática da arquitectura escolar.As primeiras ideias e refexões associadas à infância remontam ao séc.XVIII, mas é na viragem do séc. XIX para o séc. XX que se denota umamudança paradigmática na maneira como se pensa sobre as crianças.Todavia, o período verdadeiramente revolucionário que se faz sentir no fnalda Primeira Guerra Mundial, evidencia a crescente importância da educaçãopública. O tema da infância passa a representar umas das grandes inquietudesdo Movimento Moderno - uma tomada de consciência, em relação àsexigências particulares das crianças - marcado por novos desenvolvimentosna psicologia infantil e na aplicação de novos métodos de ensino.Em prol da melhoria da qualidade de vida e saúde da população infantil,tornou-se, portanto, essencial uma educação cuidada e um ambiente saudávelpara combater o clima instável do pós-guerra. No seguimento desta ideia, surgeo conceito de arquitectura escolar open-air, que se expressa por via de inovaçõespedagógicas e espaciais, ou seja, através de edifícios com preocupaçõeshigienistas e naturalistas, marcadas por uma espacialidade aberta e pela máximaexposição solar, em resposta a um surto de doenças derivadas da guerra.Um dos exemplos mais notáveis de edifício escolar open-air, e que seráo objecto de estudo desta dissertação, é o Asilo de Sant'Elia, desenhadopelo arquitecto Giuseppe Terragni, entre os anos 1932 e 1936, na cidade deComo, Itália. Neste sentido, esta dissertação propõe uma análise, refexão einterpretação do caso de estudo escolhido, dentro do seu contexto histórico esocial, tendo em conta a vida e obra do arquitecto, considerando a relevânciae a infuência de temas-chave como a infância e a arquitectura escolar.
Tis dissertation addresses one of the most fascinating subjects of ModernArchitecture - the school architecture.Te frst ideas and refections related to childhood back to the centuryXVIII, but it was the turn of the century XIX to the century XX that revealeda paradigm shif in the way we think about children. However, the trulyrevolutionary period was the end of World War I which highlighted theimportance of the public education.Te subject childhood became one of the biggest concerns of the ModernMovement rasing awareness in relation to the children's needs based on thenew developments in child psychology and new teaching methods. In orderto improve the quality of life and health of the child population, it becametherefore essential a careful education and a healthy environment to combatthe unstable climate of the post-war.In this context it arrised the concept of open-air school architecture,with teaching and spatial innovations, namely through the construction ofbuildings with hygienists and naturalistic concerns, characterized by an openspatiality and maximum sun exposure to minimize the risks associated withthe outbreak of diseases derived from the war.One of the most notable examples of open-air school building, which willbe the object of study of this thesis is the Asilo Sant'Elia, designed by architectGiuseppe Terragni, during the years 1932 and 1936 in the city of Como, Italy.Tis thesis proposes an analysis, refection and interpretation of the chosencase study, within its historical and social context, taking in consideration thelife and work of the architect and the relevance and infuence of key subjectssuch as childhood and school architecture.