Mangiarotti’s work is wide-ranging and many-faceted. He measured himself with the themes of the bourgeois residence, workplaces and exhibition spaces. Our analysis takes into account only built architectural works, so excluding his projects, numerous and extremely interesting, which still represent a fundamental stage of his research. The reasons are various and different in kind. In the first place, many issues central to Angelo Mangiarotti’s research, such as unification, industrialization and prefabrication, came to full maturity only within the process from design to production of the architectural work. Again, only within this process is it possible to interpret the complex dynamics and the contributions that gave the works their final meanings and characteristics. It is often supposed, perhaps because of Mangiarotti’s character and personal bent, that after his parting from Morassutti he conducted his architectural research single-handed, perhaps at times stubbornly on his own. Actually Mangiarotti surrounded himself in his office with a large and capable team, in addition to working with structural engineers of rare skill, such as Aldo Favini, Giulio Ballio, Giovanni Colombo and Alberto Vintani. Another actor in the process of defining the architecture, whose role has often been left in the margins, but who in fact made a deep impression on events, was the client. There are three keys for reading the subject with which we have decided to address the theme. The first, “Experimentation”, aims to investigate the relation between Mangiarotti’s formal research and the possibilities offered by the use of new and complex structural solutions. The second section, “Gravity,” sums up Mangiarotti’s purpose of combining the theme of prefabrication – which in Italy, for complex reasons, took the form primarily of “prefabrication in reinforced concrete” – with the compositional and architectural limits and potential of the trilithic system. «In the project, the analogy between past and present does not return, but its metaphor», Mangiarotti reminds us. The scheme of the classic trilith consists of a few basic elements with simple, functional forms (pillar, beam, roofing segment) held together by gravity. It is interpreted using different ways and means, but above all on different scales, from the architectural to that of the furniture complement. The third issue addressed is that of “Module”. The theme of the modular coordination of architecture, comprising a greater or lesser number of components whose assembly gives rise to almost endless variations, is present throughout Mangiarotti’s output. In the examples given, the emphasis is placed particularly on the envelope of the buildings and on the implications that its modularity has in relation to the definition of the architecture.

アンジェロ・マンジャロッティ構築のリアリティ/ANGELO MANGIAROTTI T h e Te c t o n i c s o f A s s e m b l y

F. Albani
2019-01-01

Abstract

Mangiarotti’s work is wide-ranging and many-faceted. He measured himself with the themes of the bourgeois residence, workplaces and exhibition spaces. Our analysis takes into account only built architectural works, so excluding his projects, numerous and extremely interesting, which still represent a fundamental stage of his research. The reasons are various and different in kind. In the first place, many issues central to Angelo Mangiarotti’s research, such as unification, industrialization and prefabrication, came to full maturity only within the process from design to production of the architectural work. Again, only within this process is it possible to interpret the complex dynamics and the contributions that gave the works their final meanings and characteristics. It is often supposed, perhaps because of Mangiarotti’s character and personal bent, that after his parting from Morassutti he conducted his architectural research single-handed, perhaps at times stubbornly on his own. Actually Mangiarotti surrounded himself in his office with a large and capable team, in addition to working with structural engineers of rare skill, such as Aldo Favini, Giulio Ballio, Giovanni Colombo and Alberto Vintani. Another actor in the process of defining the architecture, whose role has often been left in the margins, but who in fact made a deep impression on events, was the client. There are three keys for reading the subject with which we have decided to address the theme. The first, “Experimentation”, aims to investigate the relation between Mangiarotti’s formal research and the possibilities offered by the use of new and complex structural solutions. The second section, “Gravity,” sums up Mangiarotti’s purpose of combining the theme of prefabrication – which in Italy, for complex reasons, took the form primarily of “prefabrication in reinforced concrete” – with the compositional and architectural limits and potential of the trilithic system. «In the project, the analogy between past and present does not return, but its metaphor», Mangiarotti reminds us. The scheme of the classic trilith consists of a few basic elements with simple, functional forms (pillar, beam, roofing segment) held together by gravity. It is interpreted using different ways and means, but above all on different scales, from the architectural to that of the furniture complement. The third issue addressed is that of “Module”. The theme of the modular coordination of architecture, comprising a greater or lesser number of components whose assembly gives rise to almost endless variations, is present throughout Mangiarotti’s output. In the examples given, the emphasis is placed particularly on the envelope of the buildings and on the implications that its modularity has in relation to the definition of the architecture.
2019
Opa Press
978-4-908390-08-1
Concrete, post war architecture, conservation, Angelo Mangiarotti
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11311/1127279
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