The reflections presented in the following pages are based on an analysis of ten works by Angelo Mangiarotti built from 1961 to 1979.1 In selecting these architectural works, no consideration has been given to the first part of Mangiarotti’s activity conducted with Bruno Morassutti, from whom Mangiarotti separated in 1960. Their partnership led to the creation of works that left a profound mark on the architectural landscape of the postwar period, such as the Residential buildings in Via Quadronno and Via Gavirate in Milan and the Church of Mater Misericordiae at Baranzate. Since Mangiarotti’s contribution cannot be separated in these works from Morassutti’s, we have chosen to focus on the second phase of his production, in which many of the themes previously dealt with were taken up again and reinterpreted in personal ways. 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.
フランツ・グラフ、フランチェスカ・アルバーニ 組み立て方法 10のバリエーション/ Assembling to Build: Ten Variations on a Theme
F. Albani;
2019-01-01
Abstract
The reflections presented in the following pages are based on an analysis of ten works by Angelo Mangiarotti built from 1961 to 1979.1 In selecting these architectural works, no consideration has been given to the first part of Mangiarotti’s activity conducted with Bruno Morassutti, from whom Mangiarotti separated in 1960. Their partnership led to the creation of works that left a profound mark on the architectural landscape of the postwar period, such as the Residential buildings in Via Quadronno and Via Gavirate in Milan and the Church of Mater Misericordiae at Baranzate. Since Mangiarotti’s contribution cannot be separated in these works from Morassutti’s, we have chosen to focus on the second phase of his production, in which many of the themes previously dealt with were taken up again and reinterpreted in personal ways. 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.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
