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From Italian Monuments to the Fallen of World War I to Fascist War Memorials
Get PDFThis paper describes the different ways of commemorating the fallen of World War I in Italy between 1918 and
1940. From the collection of examples emerges that there was no homogeneity in the forms of remembrance
during these two decades. Rather, we find both a continuous renewal and overlapping of different kinds of
commemorative forms. Right after the end of World War I, a spread of spontaneous local monuments is
discernible, though the many small war cemeteries rising near the former battlefield areas were already
beginning to be perceived as a problem. Shortly before World War II, the construction of huge ossuaries and,
later, war memorials was fostered by the Fascist Regime which availed itself of the fallen for ideological and
political purposes. Between these two extremes, also other forms of commemoration such as parks or avenues
of remembrance were realized. This paper tries not to force coincidences between history and the history of
architecture; nevertheless, it understands monuments, parks and avenues of remembrance, ossuaries, and war
memorials as a kind of seismograph sensitive to the period’s shifts and jolts, and to Fascist policies in particular
The Life of the Line. A sketch by Paulo Mendes da Rocha for the Museu de Arte Contemporânea da Universidade de São Paulo
Get PDFEn oposición a la tendencia de considerar el dibujo arquitectónico como una simple fuente de información sobre el proyecto, o limitarse a contemplar su eventual belleza, este ensayo pretende analizar un boceto en su especificidad. Para hacer este tipo de experimento, el texto utiliza uno de los muchos bocetos realizados por Paulo Mendes da Rocha durante la preparación del proyecto para el Museo de Arte Contemporáneo de la Universidad de Sao Paulo (1974-1975). El objetivo no es aislar artificialmente un dibujo entre los muchos otros que le dan una autonomía que no le es propia, sino adoptar un nuevo punto de vista, a través del análisis de un diseño dentro del universo de diseño específico del arquitecto brasileño.
Against the tendency to consider the drawing in architecture as a simple source of information about the project, or simply to contemplate its potential beauty, this essay aims to analyse one it in its specificity. To carry out this experiment, the text uses one of the many sketches made by Paulo Mendes da Rocha during the preparation of the project for the Museum of Contemporary Art from University of São Paulo (1974-1975). The aim is not to artificially isolate one drawing among the many, giving it an autonomy that it does not possess, but to adopt a new point of view on the universe of the Brazilian architec
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