The new cities always have a rather rigid scheme and based on the schemes dictated by the party, perhaps the most interesting one is Sabaudia.
Giovannoni proposes the concept of safeguarding the environment in which an ancient monument is placed, underlining the link between the monument and the urban structure, in contrast with the policy of the redeeming that wanted the demolition of the historic centers, with the policy of the "picone risanatore" (as in Genoa in Piazza Dante), a policy that provided for the demolition of the historic center area to be restored, the positioning of the inhabitants of the center in other areas of the city, allocating the area to the service sector, with the construction of the building always in a very courtly tone, very high porches, etc. In the end Giovannoni then adapted to this policy.
In 1931 there was a master plan for Rome by Piacentini, with openings of perspectives in the monumental urban fabric, such as Via della Conciliazione, which leads from the river to San Pietro.
These are also part of the concept of Haussman, also because a small fabric is more difficult to control than a large avenue.
Mussolini's project to create the third Rome, expanding the city towards the Alban mountains and hills (with what is called the Via dell'Impero), but also expanding towards the sea and then towards Ostia, is part of this context. The neighbourhood of Garbatella (then a working-class neighbourhood) and Eur (with very monumental buildings and references to ancient Rome) was built, a neighbourhood that was supposed to be for the exhibition of the 20 years of Fascism, the first step towards creating this linear city between Rome and Ostia.
Very interesting is the Eur district, a floor that had to have precise characteristics, therefore very monumental, references to ancient Rome, oversizing, etc. However, the work is slow and in 42 begins the war and the Germans destroy most of it, now is a very popular area.
The general plan was by Piacentini, Pagano, Piccinato, Rossi and Vietti from 1937, with a large axis cut by other perpendicular axes and there must also have been an arch in pure Libera aluminium.
In this context, the post and telegraph palace, the competition for the palace of Italian civilisation and the congress palace were built; in all the projects we see what is the littorio style, and therefore, as always, monumental, repetitive, large porticoes, re-proposal of the pronaos in a more simplified way.
Giuseppe Terragni (1904-1943), is considered the most sensitive of the rationalist exponents and often works with Lingeri. His first assignment was given to him at the age of 23 in 1927 in Como by a representative of a cooperative (Novocomum), his objective was to conclude a lot built in a corner position; first the project of Terragni is of a traditional type, then during the construction they present a rationalist project.
It is a large building with a C-shaped plan, above all it is interesting to see how it works in the corners, where there is a slippage of the masses, rounding the corner, returning with the glass staircase body, on which he heavily rests the top floor finished at right angles. Among other things, this way of working takes up a Russian work in Moscow typical of Russian constructivism Golosov or the club worker ZuJev (1926), we will see that will be very important clubs workers in Russia, considered of the social condensers, where they are carried out all the activities that can not be carried out within the residence, normally these project have a clear formal identity within the city structure, with the emphasis of the structural fact typical of the way of working of constructivism, with great use of glass.
This building takes the name of Novocomum, which was the cooperative that commissioned Terragni, for the rest in addition to the staircase body at the corner we find the usual characteristics of rationalism, flat roof, white plaster, frames without frames, etc.
Also by Terragni a tribute to St. Elijah with a monument to the fallen (1931-32), we can see a clear resemblance between the drawings of St. Elijah for the new city (especially the power plant) with the monument of Terragni, this shows us the knowledge and influence that has the futurism on rationalism even if it is criticized for its lack of implementation.
The continuation should be... https://zen.yandex.ru/media/id/5d64210be6cb9b00ade0680f/history-of-modern-architecture-part-4-5d9353fa027a1500b1181d6d