Modern Architecture and the Mediterranean: Vernacular by Jean-Francois Lejeune, Michelangelo Sabatino

By Jean-Francois Lejeune, Michelangelo Sabatino

Bringing to gentle the debt twentieth-century modernist architects owe to the vernacular construction traditions of the Mediterranean zone, this ebook considers architectural perform and discourse from the Twenties to the Eighties. The essays the following situate Mediterranean modernism on the subject of suggestions comparable to regionalism, nationalism, internationalism, severe regionalism, and postmodernism - an alternate background of the fashionable structure and urbanism of a severe interval within the 20th century.

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Il razionalismo e l’architet­ tura in Italia durante il Fascismo, Venezia, Biennale di Venezia, 1976, pp. 21–28; Benedetto Gravagnuolo, “Colloquio con Luigi Cosenza,” in Modo 60, June–July 1983. 3 Carlo Belli, “Lettera a Silvia Danesi,” p. 25. 4 See Manfredo Tafuri, “Les ‘muses inquiétantes’ ou le destin d’une génération de ‘maîtres’”, in L’archi­ tecture d’aujourd’hui, 181, 1975. 1 (Far left) Karl Friedrich Schinkel. Farmhouse in Capri, 1804. Source: © Bildarchiv Preußischer Kulturbesitz/ Art Resource, Inv.

Winckelmann, Let­ tere italiane, Milano, Feltrinelli, 1961, and Cesare De Seta, op. ; Peter H. Werner, Pompeji und die Wand­ dekoration der Goethezeit, München, Fink, 1970; Massimiliano Pavan, Anti­ chità classica e pensiero moderno, Firenze, La nuova Italia, 1977. 11 Charles de Montesquieu, Viaggio in Italia, Bari, Laterza, 1971. See Cesare De Seta, L’Italia del Grand Tour da Montaigne a Goethe, Napoli, Electa, 1992; Andrew Wilton, The Lure of Italy in the Eighteenth Century, London, Tate Gallery, 1996.

All of Greece is in the shape of a shell,” observed Alberto Savinio. 51 De Chirico wrote in Valori Plastici (plate 9): In the construction of the city, in the architectural forms of the houses, of the piazzas, of the gardens, of the public walkways, of the doorways, of the THE MYTH OF THE MEDITERRANEAN train stations, etc. . are the primary fundamentals of a great metaphysical aesthetic. 52 In the 1930s the studies of the golden section, the “cubic laws,” and other neo­ Pythagorean canons on proportionality became the latent trait d’union between the Italian pictorial and architectonic experiments.

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