The politics and enchantments of interpenetration: Albini and Terragni via Benjamin
2007; Taylor & Francis; Volume: 12; Issue: 5 Linguagem: Inglês
10.1080/13602360701722517
ISSN1466-4410
Autores Tópico(s)Italian Literature and Culture
ResumoClick to increase image sizeClick to decrease image size Notes 1. Sigfried Giedion, Building in France, Building in Iron, Building in Ferroconcrete (Santa Monica, the Getty Center for the History of Art and the Humanities, 1995 [1928]), p. 169; Sigfried Giedion, Bauen in Frankreich, bauen in Eisen, bauen in Eisenbeton, (Leipzig & Berlin, Klinkhardt & Bierman, 1928), p. 85. 2. See Francesco Dal Co, ‘Dwelling and the “Places” of Modernity’, in Figures of Architecture and Thought: German Architecture Culture, 1880–1920 (New York, Rizzoli, 1990), pp. 13–81. 3. Georges Teyssot, ‘Soglie e pieghe, Sull’ intérieur e l'interiorità', Casabella LXIV (2000), pp. 26–36. 4. Franco Rella, Limina: Il pensiero e le cose (Milan, Feltrinelli, 1987), p. 18. 5. Emily Braun, Mario Sironi and Italian Modernism: Art and Politics under Fascism (Cambridge, Cambridge University Press, 2000), pp. 153–4. 6. See Jeffery T. Schnapp, ‘Border Crossings: Italian/German Peregrinations of the “Theater of Totality”’, Critical Inquiry, no. 21 (1994), p. 83. 7. See Andrew Hewitt, Fascist Modernism: Aesthetics, Politics, and the Avant-Garde (Stanford, Stanford University Press, 1993), pp. 134–5; Matthew Affron and Mark Antliff, eds, Fascist Visions: Art and Ideology in France and Italy (Princeton, Princeton University Press, 1997); Mark Antliff, ‘Fascism, Modernism, and Modernity’, The Art Bulletin, vol. 84, no. 1 (2002), pp. 148–69. 8. Umberto Boccioni, Pittura e scultura Futurista, Zeno Birolli, ed. (Ascondita, Milan, 2006 [1914]), pp. 111–13. 9. On the concept of interpenetration in Giedion and Benjamin, see Hilde Heynen, Architecture and Modernity. A Critique (Cambridge MA, MIT Press, 1999), pp. 29–43. 10. Building in France, op. cit., p. 90, Bauen in Frankreich, op. cit., p. 6. Giedion also notes: ‘we confront the basic aesthetic experience of today's building: through the delicate iron net suspended in midair, stream things, ships, houses, masts, landscape and harbour. They lose their delimited form: as one descends, they circle into each other and intermingle simultaneously’, pp. 7–8. 11. Ibid., p. 90 12. Ibid., p. 169. 13. Walter Benjamin, The Arcades Project, trs, Howard Eiland, Kevin McLaughlin (Cambridge MA, Belknap Press of Harvard University Press, 1999), p. 423; Walter Benjamin, Gesammelte Schriften (Frankfurt am Main, Suhrkamp, 1982), V (1), Das Passagen-Werk, p. 533 [M3a,3]. 14. For the most comprehensive study of the impact of Giedion's work on Benjamin's theoretical concepts, see Heinz Brüggemann, ‘Walter Benjamin und Sigfried Giedion’, Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte, no. 3 (1996), pp. 443–74. 15. Benjamin, The Arcades Project, op. cit., p. 459; Gesammelte Schriften, op. cit.,V (1), p. 218 [F3, 5] and Gesammelte Schriften, op. cit., V (1), p. 572 [N1a, 1]. 16. See Walter Prigge, ‘Durchdringung’, in, Volker Fischer and Rosemary Höpfner, eds, Ernst May und das Neue Frankfurt (Frankfurt am Main, Deutsches Architektur Museum, 1986), pp. 65–71. 17. Sigfried Giedion, Befreites Wohnen (Frankfurt am Main, Syndikat, 1985 1929), p. 8. 18. See Winfried Menninghaus, Schwellenkunde: Walter Benjamins Passage des Mythos (Frankfurt am Main, Suhrkamp, 1986). 19. Giedion, Building in France, op. cit., p. 99 (trans. modified), cited in The Arcades Project, op. cit., p. 390; Gesammelte Schriften, op. cit.,V (1), p.493 [K1a,5]. 20. Benjamin, The Arcades Project, op. cit., p. 465; Gesammelte Schriften, op. cit., V (1), p. 581 [N4,6]. 21. See Detlef Mertins, ‘The Enticing and Threatening Face of Prehistory: Walter Benjamin and the Utopia of Glass’, Assemblage, no. 29 (1996), pp. 6–23. 22. Benjamin, The Arcades Project, op. cit., p. 546; Gesammelte Schriften, op. cit., V (2), p. 679 [S2,1]. 23. Walter Benjamin, ‘The Return of the Flâneur’, in, Michael W. Jennings et al., eds, Selected Works, 4 vols (Cambridge MA, Belknap Press of Harvard University Press, 1996–2003), vol. 2, p. 1979; Gesammelte Schriften, op. cit., (III) (1972), pp. 196–7. 24. Dennis Sharp, ed., Glass architecture, by Paul Scheerbart, and Alpine architecture, by Bruno Taut (New York, Praeger, 1972), p. 52. 25. Benjamin, ‘Experience and Poverty’, Selected Writings, op. cit., vol. 2, p. 733; Gesammelte Schriften, op. cit., II (1), p. 216. 26. Ibid., p. 734; Gesammelte Schriften, II (1), op. cit., pp. 217–218. 27. Walter Benjamin, ‘Surrealism’, in, Peter Demetz, ed., Reflections: Essays, Aphorisms, Autobiographical Writing (New York, Schocken, 1986), p.180; Gesammelte Schriften, op. cit., IV (1), p. 476. 28. André Breton, Nadja (Paris, Gallimard, 1945), p. 20. 29. ‘… it was necessary to study possible access to this vast space by flanked rows of Fascists and the public for big assemblies, thus eliminating any break in continuity between indoors and outdoors so that a leader can speak to his followers assembled inside and still be heard by the masses gathered in the plaza. Thus Mussolini's concept of fascism as a glass house into which everyone can peer gives rise to this interpretation which is a continuation of the former: no obstacles, no barriers, nothing between the political leader and his people.’ Giuseppe Terragni, ‘La costuzione della Casa del Fascio di Como’, Quadrante, no. 35/36 (1936), p. 6; translation from Thomas Schumacher, Surface and Symbol (New York, Princeton Architectural Press, 1991), p. 143. 30. Massimo Bontempelli, ‘L'architettura come morale e politica’, in L'avventura novecentista (Florence, Vallecchi, 1974), p. 336; originally in Gazetta del Popolo, Turin (September, 1936). 31. Ibid., p. 337. 32. For a discussion of the discrepancy between what is veiled outside and what is made manifest within, see Kurt W. Forster, ‘Architetture come archive e segrete del sapere’, in, Giorgio Ciucci, ed., Giuseppe Terragni, 1904–1943 (Milan, Electa, 2003), pp. 113–25. 33. Benjamin, ‘Experience and Poverty’, op. cit., p. 734; Gesammelte Schriften, op. cit., II (1), p. 217. 34. Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’, in, Hannah Arendt, ed., Illuminations (New York, Schocken, 1968), p. 222; Gesammelte Schriften, op. cit., (1974), I (2), p. 479. 35. Benjamin, ‘On Some Motifs in Baudelaire’, in Illuminations, op. cit., p. 188; Gesammelte Schriften, op. cit., I (2), p. 647. 36. Benjamin, The Arcades Project, op. cit., p. 858; Gesammelte Schriften, op. cit., V (2), p. 1028 [O°,10]. 37. Benjamin, ‘Little History of Photography’, in Selected Works, op. cit., p. 519; Gesammelte Schriften, op. cit., II (2), p. 379. 38. Benjamin, ‘The Work of Art’, op. cit., p. 223; Gesammelte Schriften, op. cit., I (2), p. 479. 39. See Michael Taussig, ‘Physiognomic Aspects of Visual Worlds’, Visual Anthropology Review, vol. 8, no. 1 (1992), p. 16. 40. Benjamin, Illuminations, op. cit., pp. 233–4 ; Gesammelte Schriften, op. cit., I (2), p. 496. 41. See Benoît Goetz, La Dislocation: Architecture et Philosophie (Paris, Les Éditions de la Passion, 2002), p. 68. 42. Benjamin, ‘The Work of Art’, op. cit., p. 236; Gesammelte Schriften, op. cit., I (2), p. 500. 43. Benjamin, ‘Surrealism’, op. cit., p. 192; Gesammelte Schriften, op. cit., II (1), p. 310. 44. See, for example, The Arcades Project, op. cit., p. 546; Gesammelte Schriften, V (2), p. 679 [S2,1]. 45. See Heynen, Architecture and Modernity, op. cit., p. 102. 46. Andrew Benjamin, ‘Time and Task’, in, Andrew Benjamin and Peter Osborne, eds, Walter Benjamin's Philosophy: Destruction and Experience (Manchester, Clinamen, 2000), pp. 212–45. 47. Benjamin, The Arcades Project, op. cit., pp. 391–2; Gesammelte Schriften, op. cit., V (1), pp. 494–495 [K2,3]: cf. The Arcades Project, op. cit., p. 857; Gesammelte Schriften, op. cit., V (2), p. 1027 [O°,5]. 48. Benjamin, ‘Theses on the Philosophy of History’, in Illuminations, op. cit., pp. 261–2; Gesammelte Schriften, op. cit., I (2), p. 701. 49. Massimo Bontempelli, L'avventura novecentista (Florence, Vallecchi, 1974 [1928]), p. 28. 50. Vittorio Gregotti, ‘La mimesi della ragione’, Rassegna, no. 31 (1987), p. 5. 51. Richard Etlin, Modernism in Italian Architecture, 1890–1940 (Cambridge MA, MIT Press, 1991), p. 448. 52. Thomas L. Schumacher, The Danteum: Architecture, Poetics and Politics under Italian Fascism (New York, Princeton Architectural Press, 1993), p. 53. 53. Dante, Convivio (Tractate III, vii), quoted in Schumacher, The Danteum, op. cit., p. 121. 54. Schumacher, The Danteum, op. cit., pp. 121–2. 55. Alberto Cuomo, Terragni ultimo (Naples, Guida editori, 1987, p. 159. 56. Richard Etlin, Modernism in Italian architecture, 1890–1940, op. cit., pp. 531–532. 57. Jeffery T. Schnapp, ‘Un tempio moderno’, in, Giorgio Ciucci, ed., Giuseppe Terragni, 1904–1943, op. cit., p. 279. 58. Terragni, ‘Relazione sul Danteum’, paragraphs 12–13; translated in Schumacher, The Danteum, op. cit., pp. 138–9. 59. Carla Zanini, ‘A proposito di un arredamento esposto alla VII Triennale’, Costruzioni-Casabella, no. 157 (1941), p. 37. 60. Ibid., p. 38. 61. Luigi Figini, L'elemento ‘Verde’ e l'abitazione (Milan, Domus, 1950), p. 27; see also Figini, ‘Una villa. La casa elettrica all'Esposizione di Monza’, Natura, no. 7 (1930), p. 2. 62. Ibid. 63. Ibid., p. 20. 64. Maurizio Fagiolo, ‘L'astrattismo magico di Albini. Strutture del linguagio dalle prime mostre alla Rinascente’, Ottagano, no. 37 (1975), p. 47. 65. G. Pagano, ‘Parliamo un po’ d'esposizioni', reprinted in S. Polano, Mostrare: L'allestimento in Italia dagli anni Venti agli anni Ottanta (Milan, Lybra Immagine, 1988), pp. 543–4. 66. This floor has produced a host of metaphors: see M. Fagiolo, ‘Genesi di un linguaggio. L'astrazione magica di Albini e la “via italiana” al design e delle esposizioni (1930–1945)’, in Franco Albini 1930–1970 (Rizzoli, New York, 1981), p. 42, and Fabrizio Rossi Prodi, Franco Albini (Rome, Officina, 1996), pp. 42–7. 67. Zanini, ‘A proposito’, op. cit., p. 37. 68. Ibid. 69. Alessandro Rocca, Atlante della Triennale (Milan, Triennale di Milano, 1999), pp. 44–5; see also Anty Pansera, Storia e cronaca della Triennale (Milan, Longanesi, 1978), p. 326. 70. Giorgio Agamben, Infancy and History: The Destruction of Experience (London, Verso, 1989), p. 105. 71. Heinrich von Kleist, ‘On the Puppet Theatre’, in, David Constantine, ed. and trs., Selected Writings (London, J.M. Dent, 1997), p. 416. 72. See Massimo Cacciari, Dallo Steinhof: Prospettive viennesi del primo Novecento (Milan, Adelphi, 1980), pp. 122–3. 73. Benjamin, ‘Experience and Poverty’, op. cit., p. 733; Gesammelte Schriften, op. cit., II (1), pp. 215–16. 74. Bontempelli, ‘L’architettura come morale e politica’, op. cit. 75. Le Corbusier, Préface to Alberto Sartoris, Elements de l'architecture fonctionelle (Milan, Hoepli, 1932). 76. Benjamin, ‘Theses on the Philosophy of History’, op. cit., p. 257; Gesammelte Schriften, op. cit., I (2), pp. 697–8. 77. Benjamin, ‘Mickey Mouse’, in Selected Works, op. cit., p. 545; Gesammelte Schriften, op. cit., VI, p. 144. 78. Benjamin, ‘Experience and Poverty’, op. cit., p. 735; Gesammelte Schriften, op. cit., II (1), pp. 218–19.
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