Casa d

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evda 621 - formal strategies in architecturemeghan coslovich

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Through spatial analysis of the Casa del Fascio in Como, Italy, as designed by Giuseppe Terragni, evidence of the importance of some information over others are present. In simply observing the exterior and interior space, it is clearly presented that the materiality of the space was utilized to communicate uniformity, and does not consider any further information concerning texture, variation or unnecessary decoration. Another set of information that is important in this space is the organization and orientation of the rooms and open areas. At the outset it would seem that the rooms are placed around the exterior of the �oor plates for simplicity and ease of accessibility, but in closer consideration, the rooms are found to be organized in terms of their function and user. Further investigation also yields evidence that the organization of the interior space champions aspects of openness and strong circulation with clear unobstructed views out onto the plazas and urban context, and less-so that of future variation. When comparing the key sets of information that were considered in the design of the space of the Casa del Fascio, a strong parallel can be made to the spirit of the building, and to the cultural and political contexts of the time in which this building was built. The fascist regime operating in Como Italy during this building’s construction can be understood to champion certain sets of information over others as well. For example, although still a characteristic of Italian fascism, race and sex were not as strongly considered in terms of population rule, as they were in Nazi Germany fascism. In addition to this, Italian fascism considered the overall health of the populace and communal action to be of great importance, and were very concerned with capitalist prosperity and the regulation and obedience of the populace to the sovereign, more so than with a social class system (Hoppes et al. , 2011).

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INFORMATION BASED SPATIAL ORGANIZATIONINFORMATION BASED SPATIAL ORGANIZATION

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COMMUNICATION THROUGH MATERIALITY

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As a key feature of fascism in Italy, the regulation of �ows of information, actions and relationships in and amongst the general population were considered crucial to maintaining obedience and control. Control of the mass media and various communication technologies, as well as the creation of spaces that could also serve as communication devices, can be understood as a means by which the fascist regime was able to a�ect the populace in Como Italy in their control of the visual and experiential conception of spaces (McDonough, 2004). As an architectural consequence of these desires and actions of the fascist regime, the material organization of the Casa del Fascio strongly re�ects fascist ideologies, and also acts as a vehicle for their communication. Moreover, the materiality of the space communicates important meanings to the populace at varying levels and to varying degrees; from a one to one level where messages are communicated that directly a�ect the individual pedestrian, all the way up to mass indoctrination and censorship on a large scale, built form can o�er pre-speci�ed readings. Some of the various aspects of fascist ideology that are communi-cated can be identi�ed in the engagement of the population from a level in which there is a false sense of openness and invitation – as demonstrated by the ground �oor level windows of the building that are clear glass and o�er views straight into the interior courtyard, up to the large, uniform white marble surface that was originally designed to feature full scale images and messages in accordance with fascist politics and prominent party leaders. As “social processes and relationships are integral to the function and creation of the city (McDonough, 2004), the importance of the populace accepting desired information and being surrounded by an environment that upholds such information was crucial to fascist control.

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ORDER SUPPORTED BY SPATIAL STRIATION

ACTUAL EXTERIOR

ACTUAL INTERIOR

STRIATION ORDER

STRIATION ORDER

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PATTERN REPEAT

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PATTERN REPEAT

In consideration of the spatial organizations of both the exterior and interior spaces of the Casa del Fascio, the space appears to follow a rhythm of open and closed forms de�ned by the open loggia and solid surfaces. The obvious ordering of the space and relationship between interior and exterior is far more �xed and homogenous than the perceived variability and apparent �exibility that its plan and elevation suggest. Furthermore, closer observation of the space reveals a pattern of de�nite beginnings and ends and di�erentiation between top and bottom - common to textile diagrammatics such as crochet. In this sense, the striated nature of the space is directly “tied to order and to the notion of the sovereign” (Deleuze, G., F.Guttari, 1987), and in its spatiality, further supports fascist ideology and the fascist political model.

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OPENNESS AS SPATIAL LOGIC

As a main logic for the spatial organization of the Casa del Fascio, architect Giuseppe Terragni’s strategy can be clearly understood to utilize varying degrees of openness. From the exterior spatial design to interior, a sense of openness, whether real or perceived, is created and serves to di�erentiate di�erent spatial programs. The exterior facade’s clear rhythym of open and closed spaces, is further articulated through a range of said openness, upon closer consideration. At the main level the openess is real in nature, the glazing is clear and the views extend into the space and, from some vantage points, straight through the space to the exterior space beyond. As the eye moves up the building, the sense of openess changes to a false sense in utilization of spandrel glass, rather than the clear vision class from the level below. Analysis of the interior program of the space shows that prominent party leaders hold o�ces on these secone and third �oor facades, as well as secure meeting rooms. On the top level, the logic of the openness is again altered back to a real sense, as the glazing is removed and the fourth level is open to the environment beyond. In consideration of the interior space, a clear logic of openness is also identi�ed. The interior space, speci�cally on the main level is programatically broken up by spaces of contrasting degrees of openness. In addition to this, usage of various degrees of openness occur volumetrically as well as planametrically, within each �oor space.

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Works Cited

Curtis, W. J. R., (1996) Modern Architecture since 1900. University of Michigan. Phaidon Press, ed.3, p.1-736

Deleuze. G., Guttari. F., (1987) “1440: The Smooth and Striated”. A Thousand Plateaus. University of Minnesota Press. pp. 474-500

Eisenman, P. (1970). “From Object to Relationship: The Casa del Fascio by Terragni”. Casabella. 344. p.38

Ghirardo, Y. D. (1980) Italian Architects and Fascist Politics: An Evaluation of the Rationalist's Role in Regime. Journal of the Society of Architectural Historians, 39, 2, pp.109-127

Hoppes. , Hudock, , Turley, , & Xu (2011). Fascist beliefs and polices and explain how fascist leaders rose to power. Retrieved from http://hallmouat.wikispaces.com/B-4 To summarize Fascist beliefs and polices and explain how Fascist leaders rose to power.

McDonough. T., (2004) “Situationist Space”. Situationist International. pp. 241-265