Статті в журналах з теми "Piacentini Marcello"

Designed by the architect most closely associated with fascism, Marcello Piacentini, the Palace of Justice was the largest building constructed in Milan in the interwar period. Piacentini intended that the building, with its extensive decorative program, would assert the state’s authority in Milan, the commercial and financial center of Italy and the birthplace of fascism, and serve as a permanent monument to the legal system that structured the fascist state. In Giustizia Fascista: The Representation of Fascist Justice in Marcello Piacentini’s Palace of Justice, Milan, 1932–1940, Lucy M. Maulsby examines the controversy surrounding the decorative program, which ultimately involved government officials at the highest levels, and argues that the building evinces a genuine uncertainty about how to translate fascist policy into a cultural program. The continued use of this building as the setting for the nation’s legal dramas raises questions about how and to what extent these symbols continue to embody the notion of justice in Italian society and culture today.

Abstract The Casa Madre dei Mutilati in Rome is one of the lesser-known works of the architect Marcello Piacentini (1881–1960). Its history is closely linked to the dramatic events of the First World War and to the resulting association of Italian war invalids. The architecture reacts to the self-interpretation of the war invalids as living martyrs and has a meaningful and representative task. In the short period before the consolidation of Mussolini’s fascist regime, a modern style is manifested here, which attempts to combine classicism and avant-garde before the typical abstraction of the thirties. The tradition of Italian architectural history is still present without falling into a monumental formalism.

The large triangular building sandwiched betweenthe Castel Sant’Angelo and the Palazzo di Giustizia in Rome is the Casa Madre dei Mutilati, designed by Marcello Piacentini and built in two phases between 1926 and 1928, and from 1936 to 1939. Its exterior blends in well with its surroundings, suggesting it no longer conjures memories of the Fascist regime, but inside, its decorative plan reveals a series of artworks with polyvalent meanings that were later depoliticised, ‘censored’ and rehabilitated. They throw light on the ‘difficult heritage’ of the Fascist era in a continuum of meaning and memory connected to myths of war and sacrifice.

When urban planners Marcello Piacentini and Antonio Muñoz looked at the Rome they helped create through their participation in the Master Plan of 1931, they saw a metaphor for Fascism's transformation of Rome, a metaphor that captured the ‘effect’ of the Master Plan but not its ‘intention’. The Fascist regime aimed to build a modern capital on the nineteenth-century models of Paris and Vienna, but created instead a modernist city which challenged, on many levels, the neo-classicist rationalism of the previous century's urban planning. This article explores the reasons for such a disjuncture between intention and effect and finds them within Fascist ideology and experience.

Arquitecto dinámico y prolífico, dotado de enorme iniciativa y compleja capacidad organizativa, Marcello Piacentini desarrolló una fecunda carrera profesional tanto en el campo de la proyección arquitectónica como en la gestión de la ciudad a través de sus diferentes cargos públicos de peso en la administración fascista. Su reconocida posición de prestigio, fruto de su inteligencia y experiencia le situaron en unas condiciones más que favorables para emitir juicios de valor sobre el urbanismo, individualizando cada problema concreto y ofreciendo su justa solución. Ejemplificó de modo exclusivo los problemas globales de la ciudad de Roma a través de sus elementos típicos, con gran habilidad profesional y un exhaustivo conocimiento del repertorio estilístico nacional y extranjero, que supo trasladar a los proyectos arquitectónicos individuales de escala urbana.

Este texto foi originalmente preparado para uma palestra sobre a formação do arquiteto Rino Levi na Itália e apresentado numa mesa redonda organizada por Bruno Giovanetti, no contexto da exposição "Arquitetura Italiana em São Paulo" A palestra procurava mostrar a presença simultânea de duas correntes de pensamento no fim dos anos 1920: do racionalismo centrado sobretudo em Milão e em arquitetos como Pérsico, Pagano e Terragni; e no conservadorismo centrado sobretudo em Roma, cuja figura mais emblemática foi Marcello Piacentini. As conotações políticas derivadas das diferentes formas de adesão do fascismo fizeram com que esse período fosse sujeito a interpretações confusas e tendenciosas no segundo após-guerra. Estudos recentes, sobretudo norte-americanos, procuram restabelecer os papéis efetivamente desempenhados pelos vários grupos nesse conturbado período

La dicotomía existente en el contexto italiano respecto a la instrucción de la arquitectura (canalizada hacia la restauración arquitectónica) entre la Scuola di Applicazione per gli Ingegneri y el Istituto di Belle Arti constituyó el germen de las máximas del restauro urbano. Hay que destacar la importancia de dos personalidades clave en este aspecto: Gustavo Giovannoni y Marcello Piacentini (al cual dedicaremos una segunda fase de este artículo). Escritor prolífico, la obra del arquitecto-urbanista-historiador de la arquitectura resultó decisiva para consolidar un método y una disciplina sobre el estudio de la historia de la arquitectura, la urbanística y la restauración de monumentos. El autor condujo su trayectoria didáctica hacia la salvaguardia del patrimonio monumental y la valoración de la figura profesional del arquitecto, cuya formación histórica resultaba determinante e imprescindible en los estudios de Arquitectura.

This paper looks at a multidisciplinary teaching approach for exploring the transformations of Piazza Vittoria in Brescia (Italy) during the fascist era. The approach aims to develop students’ grasp of architectural research and to help them take a comprehensive view in an analysis of historical urban planning. The methodology involved studying literature and records. The teaching and learning strategies included face-to-face lectures and multimedia presentations as well as case studies, mapping and data lab groups, workshops and site visits. The students learned to read sources and to decipher documents through descriptive analysis, drawings and photographs so as to build a dataset including intangible memory. The end product involved two exhibitions designed by the students highlighting the transformation of Piazza Vittoria, enabling them to discover the various urban models from antiquity to the designs of Marcello Piacentini. The research project made it possible to rediscover a social aspect of architectural change that had been forgotten over time.

The article presents a comparative analysis of some key objects of German and Kyiv architecture of the early twentieth century to determine the corresponding trends. Parallels and identities are shown and noted. An analysis of the background and context is given, as well as the author's conclusions of the respective styles. In particular, German Werkbund, international Art Nouveau, Ukrainian architectural Art Nouveau, "New Objectivity", Bauhaus, functionalism, constructivism, post-constructivism, German and Soviet neoclassicism are mentioned. Were analyzed in detail: The Fagus Factory (1910-1911) by Walter Gropius and Adolf Meyer, Centennial Hall (1911-1913) by the Max Berg, the Kyiv district power plant (named after Stalin), (1926–1930) by Mikhailo Parusnikov with the participation of George Goltz and Andrey Burov, Rolit (1932) by Vasul. Krychesky, Ehrentempel (1933–1936) and The Haus der Kunst in Munich (1933 - 1937) by Paul Ludwig Troost, competitive proposals for the construction of the Government Quarter in Kyiv (1934 - 1935) and the hotel within the Government Quarter (1939). Mentioned Esposizione Universale Roma (EUR) by Marcello Piacentini, projects by Albert Speer and others. The article summarizes a series of author's researches devoted to a detailed analysis of international context and parallels of Kyiv architecture which is represented in the background of the consistent artistic transitions (from eclecticism and historical reminiscences to modernism, from Art Nouveau to avant-garde, from constructivism to Soviet neoclassicism and, finally, from Stalinist empire to modernism).

During the late 1920s and 1930s, a group of Italian modernist architects, known as ‘rationalists’, launched an ambitious bid for convincing Mussolini that their brand of architectural modernism was best suited to become the official art of the Fascist state (arte di stato). They produced buildings of exceptional quality and now iconic status in the annals of international architecture, as well as an even more impressive register of ideas, designs, plans, and proposals that have been recognized as visionary works. Yet, by the end of the 1930s, it was the official monumental stile littorio – classical and monumental yet abstracted and stripped-down, infused with modern and traditional ideas, pluralist and ‘willing to seek a third way between opposite sides in disputes’, the style curated so masterfully by Marcello Piacentini – that set the tone of the Fascist state’s official architectural representation. These two contrasted architectural programmes, however, shared much more than what was claimed at the time and has been assumed since. They represented programmatically, ideologically, and aesthetically different expressions of the same profound desire to materialize in space and eternity the Fascist ‘Third Way’ future avant la lettre. In both cases, architecture (and urban planning as the scalable articulation of architecture on an urban, regional, and national territorial level) became the ‘total’ media used to signify and not just express, to shape and not just reproduce or simulate, to actively give before passively receiving meaning. Still, it was the more all-encompassing and legible coordinates of space and time in the ‘rooted’ modernism of the stile littorio that captured and expressed a third-way mediation between universality and singularity and between futural modernity and tradition better than the trenchant, inflexible anti-monumentalism of the rationalists.

Abstract Background: Hormone-receptor (HR)+/HER2- breast cancer (BC) is a biologically heterogeneous disease. Homologous recombination deficiency (HRD) and BRCA mutations have been previously reported to be associated with worse outcomes in HR+/HER2- metastatic BC patients receiving CDK4/6 inhibitors and endocrine therapy. Here, we assess the relation between HRD and RB-loss signatures, intrinsic subtyping, the PAM50-based chemo-endocrine score, and response to chemotherapy-based therapy and endocrine treatment in HR+/HER2- early BC. Methods: GIADA is a multicentric neoadjuvant phase II trial that treated premenopausal patients with Luminal B (LumB)-like BC (HR-positive, HER2-negative, with Ki67>20% and/or histologic Grade 3) with a combination of chemotherapy, immunotherapy and endocrine treatment. Expression of 758 genes on baseline tumor samples from all 43 patients was quantified by nCounter platform. The LETLOB phase II trial randomized postmenopausal women with clinical stage II-IIIA HR+/HER2- BC to neoadjuvant letrozole + lapatinib or letrozole + placebo for 6 months (Guarneri, JCO 2014). Gene-expression data (Affymetrix platform) from pre-treatment frozen core-biopsies was available from 66 out of 92 pts enrolled. Intrinsic subtype was assigned using a research-based PAM50 subtype predictor. A published HRD signature (Peng, Nat Commun 2014) and a signature of RB loss (RBsig), previously reported to potentially predict resistance to CDK4/6 inhibitors in HR+/HER2- BC (Malorni, Oncotarget 2016) were computed. The PAM50 based chemo-endocrine score (CES) was calculated using published definition (Prat, CCR 2017). Higher values of CES indicate increased endocrine sensitivity, while lower values indicate chemosensitivity. Association between genomic signatures was assessed through Pearson’s correlation coefficient. Association of genomic signatures with pCR was assessed through logistic regression and association with PEPI scores was assessed through Kruskal-Wallis test. Results: HRD signature levels were significantly higher in non-luminal (Basal-like and HER2-enriched) tumors as compared to Luminal (A or B) tumors (p>0.001 in the GIADA trial, p=0.021 in the LETLOB trial). Moreover, higher levels of HRD signature were associated with higher levels of RB-loss signature (Pearson correlation 0.355, p=0.020 in the GIADA trial; Pearson correlation 0.942, p< 0.001 in the LETLOB trial), higher levels of Basal-like signature (Pearson correlation 0.502, p< 0.001 in the GIADA trial; Pearson correlation 0.373, p=0.002 in the LETLOB trial) and lower levels of CES (Pearson correlation -0.422, p=0.005 in the GIADA trial; Pearson correlation -0.763, p< 0.001 in the LETLOB trial), indicative of higher chemosensitivity. In the GIADA trial, higher levels of HRD signature (p=0.018) and RBloss signature (p=0.073) and lower levels of CES (p=0.007) were associated with higher pCR rates after chemo, endocrine and immunotherapy. In the LETLOB trial, lower levels of HRD signature (p=0.068) and RBloss signature (p=0.042) and higher levels of CES (p=0.050) were associated with higher sensitivity to endocrine treatment (lower PEPI scores, 0 vs 1-3 vs 4 or more, after neoadjuvant letrozole). Conclusions: In HR+/HER2- early BC, HRD gene signatures, RB-loss gene signatures and non-luminal (especially Basal-like) intrinsic subtyping are associated with each other and associated with higher sensitivity to chemotherapy-based therapy and lower sensitivity to endocrine treatment. These observations might help correctly tailor systemic therapy, including biologic agents, in patients with HR+/HER2- early and advanced BC. Citation Format: Gaia Griguolo, Federica Miglietta, Laia Paré, Daniele G. Generali, Antonio Frassoldati, Antonino Musolino, Simon Spazzapan, Grazia Vernaci, Tommaso Giarratano, Marcello Lo Mele, Giancarlo Bisagni, Federico Piacentini, Enrico Tagliafico, Katia Cagossi, Francesca Schiavi, Claudia Pinato, Aleix Prat, Valentina Guarneri, Maria Vittoria Dieci. Homologous recombination deficiency, RB-loss gene signatures, intrinsic subtype and response to neoadjuvant treatment in HR+/HER2- early breast cancer: a correlative analysis of two phase II trials [abstract]. In: Proceedings of the 2022 San Antonio Breast Cancer Symposium; 2022 Dec 6-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2023;83(5 Suppl):Abstract nr P4-02-13.