Malaparte built Villa (1938-40) on Capri on a large rock. Malaparte was a very important writer, his design resembles a sort of ship but inserted in the green, with a staircase that leads to the roof where there is a sort of sunshade, overlooking the sea, as open to the sea is the study of the poet on the second floor, while below there are guest rooms and service rooms. It had a period of degradation then it was restored.
He also built a small villa for the Tirrena company in Ostia (1933) and also took part in the construction of the Olympic village (1957-60) in Rome, in particular the quarter for athletes, (later converted for 1500 families of state employees, because built by the National Institute of State Employees Houses), the cross-shaped plan on pilotis and there are large verti spaces; the connection with the northern part of Rome was to come through the viaduct of Corso Francia di Nervi.
He designed and built the cathedral of Spezia (1956-69), built posthumously by Galeazzi, it is a circular building that draws light from above and the project is organized with the study of the square behind it also circular.
Other of these authors is Moretti (1907-1973), who worked a lot for Fascism, as for the academy of fencing in the Foro Italico (1933-36), which has characteristics of monumentality, very closed building in white marble, organized with two bodies, one with offices and the other with the fencing room (which touch each other for a corner), the most interesting part is that of the room, whose roof has a structure with two trusses that intersect in a window that gives direct light.
We also see Gardella (1905-1999), he designed with Aldo Rossi the Carlo Felice and the faculty of architecture in Genoa; in Venice he built the house on the rafts (1957) overlooking the canal and the Giudecca island, it is a building with a modern layout, but in the perspective it takes up elements of the Venetian environment; considerable attention to the environment and to the suggestions of the building site, typical of his mentality.
In the context of rationalism, he built the anti-tubercular dispensary (1936-38), a parallelepiped building in which he introduced light and colour into the rationalist approach, with red bricks and white plaster. On the ground floor we find the undifferentiated waiting room and all the clinics, while above there is a solarium and the various service areas. He uses materials with pictorial sensitivity to give a note of color, to emphasize the entrance not in a symmetrical position but decentralized with respect to the facade.
Another author, Cattaneo (1912-1943), also works for Olivetti with projects for hotels in 1942 in Ivrea, where he makes a distinction between the hotel of stay, with blade, and the one you stop, horizontal. A particular project is that of a house for the Christian family (1942), there is a sort of Roman insula, it is thought for a renewal of the family nucleus every 50 years and inside the insula can be demolished parts but the perimeter wall of the lot, but the entrance hall and that of the family room must not be changed.
Finally, we come to Daneri (1900-1872), part of Italian rationalism and a great admirer and close follower of Le Corbusier's lines, he built, for example, the house of the beam in Sturla (1938), the upper part of the house very closely resembles the Villa Sovoye, while the part facing the sea has several floors.
He also built the high houses at the mouth of the river in Piazza Rossetti (1934-58) on the basis of the 1932 Genoa master plan, which provided for various areas and in this area he wanted to demolish the shipyards to create an entertainment area with hotels, restaurants, bars, etc. The winning project is not his, but is built as it is considered more modern, in fact they are ascribed to rationalism and the guidelines of the modern movement, particularly the fact that all the buildings are joined on the first floor by a plate above a high porch.
Finally, the Quezzi fort, called Biscione (1956), where he worked with many other architects, also takes up the concept of the Unité d'habitation, with a central gallery that was to house more than common services, was to represent an area of aggregation for the families who lived there.