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Marcello Piacentini (8 December 1881 – 19 May 1960) was an Italian urban theorist and one of the main proponents of Italian Fascist architecture.
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Marcello Piacentini (8 December 1881 – 19 May 1960) was an Italian urban theorist and one of the main proponents of Italian Fascist architecture.
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Early career Born in Rome, he was the son of architect Pio Piacentini. He studied architecture at the Regio Istituto di Belle Arti, Rome, from 1901 to 1904 and completed his training with his father, with whom he produced a competition entry design (1903) for the National Central Library, Florence. In 1906 he became a teacher of architectural drawing at the Accademia di Belle Arti in Rome, and in 1912 he was a civil architect at the Scuola di Applicazione degli Ingegneri, also in Rome. Within the prevalent eclecticism of the Roman architectural profession he sought to define his position by designing small-scale, picturesque ensembles that were inspired by Italian vernacular architecture. In this context his competition entries with the engineer Giuseppe Quaroni for the Asylum (1906), Potenza, and a city-centre plan (1906–8) for Bergamo are particularly interesting. The latter plan, which was modified during execution (1911–27), provided the opportunity to experiment with ideas of decentralization and building in relationship to the historic environment, and these experiments subsequently formed the basis of Piacentini’s treatise Sulla conservazione della bellezza di Roma e sullo sviluppo della città moderna. He also worked on a remarkable series of residential buildings in Rome, including small…
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In 1923, with Giovannoni, he was appointed to review the current urban plan for Rome. Slum clearance, the need to improve traffic flow and Mussolini’s desire to restructure Rome led to the radical proposal of La grande Roma (1925), which was quite removed from his earlier ideas. In fact, with its large-scale destruction of historic fabric in the interests of making the monuments of Classical Rome visible from a distance and providing straight processional avenues, it is nearly a volte-face. Upgrading the city’s image from historic confusion to unified classicizing grandeur also informed Piacentini’s piano regolatore for Rome of 1931, which resulted in the creation of the Via dell’Impero (1932; now Via dei Fori Imperiali), the clearing of the area around the Mausoleum of Augustus (1934) and the demolition of the Spina del Borgo quarter (1936; with Attilio Spaccarelli) at St. Peter’s, for the creation of Via della Conciliazione. Outside Rome, Piacentini’s alignment with Mussolini’s view of commemorative architecture was expressed in monuments at Genoa (1923–31) and Bolzano (1926–8), the latter formed of columns carved into fasces. From 1928 to 1932 Piacentini executed the plan for the Piazza della Vittoria, the new centre of Brescia, a ‘forum’ created by the…
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Later career After the fall of the Fascist regime he did not work as architect for several years. Among the few prestigious works he achieved was the Palazzo dello Sport ( 1958–60; with Pier Luigi Nervi) at the EUR site. Piacentini died in Rome in 1960. His architecture was for many decades the target of severe condemnation, but eventually a more sympathetic judgement emerged that asserted the independence of architecture from politics and reassessed his work in this light.
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Duranti, Giovanni (2015). "PIACENTINI, Marcello". Dizionario Biografico degli Italiani (in Italian). Vol. 83: Piacentini–Pio V. Rome: Istituto dell'Enciclopedia Italiana. ISBN 978-88-12-00032-6.
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In 1932 he was appointed by Mussolini to supervise the plans for the Città Universitaria, Rome. In his role as architectural coordinator Piacentini also assumed responsibility in 1936 for the site of the Esposizione Universale of Rome (EUR), to be inaugurated in 1942. From its origins as a simple exhibition site the EUR was increasingly impelled by Piacentini into becoming a new monumental quarter of Rome. Consequently monumentality and permanence became the criteria for the competition contributions by the various artists and architects, who included Rationalists such as Giuseppe Pagano, Giuseppe Terragni and Adalberto Libera. Indeed they were required to forge a ‘Fascist’ style that was simultaneously grandiose, classical, modern and functional. Piacentini oversaw the whole programme, intervening in an increasingly dominant manner, and this led to the end of his friendship with Pagano and to his imposition of penalties on the architects responsible for the individual buildings. His pursuit of the ideal of classicism was based on the view that the exhibition site was to be a permanent symbol of the new Italian Empire and therefore to be fittingly equipped with architectural associations of the ancient empire. The site was only partly completed when the exhibition was postponed in…
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Architectural theories Piacentini devised a "simplified neoclassicism" midway between the neo-classicism of the Novecento Italiano group (Gio Ponti and others) and the rationalism of the Gruppo 7 of Giuseppe Terragni, Adalberto Libera and others. His style became a mainstay of Fascist architecture in Rome, including the new university campus (Università di Roma La Sapienza, 1932) and the E.U.R district, of which he was not only designer, but also High Commissar by will of Benito Mussolini. His most notable contributions include the renovation of Brescia and Livorno, the Museo Nazionale della Magna Grecia in Reggio Calabria, the Milan Courthouse, and the restoration of the Rome Opera House (1928–1958).
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Potenza, Progetto Ophelia (Ophelia Project), 1910 Benghazi, Albergo Italia (Italia Hotel, known beforehand as Grande Albergo Roma) 1913 (along with architect Luigi Piccinato) Messina Courthouse, 1913–1928 Benghazi, Benghazi Central Railway Station, 1916 Acqui Terme, Villa Ottolenghi, 1920, with Federico d’Amato, later Pietro Porcinai completed the villa and the park. Benghazi, Interior of the City Hall, 1925 Benghazi, Berenice Theatre, 1928 Bolzano Victory Monument, 1926–1928 Brescia, Piazza della Vittoria, 1927–1932 Brescia, Torrione INA, 1930–1932 Genoa, Arco della Vittoria, 1931 Milan Courthouse, 1932–1940 Bolzano, Army Headquarters, 1933–1935 Jerusalem, Generali Building, 1934–1935 Reggio Calabria, Museo Nazionale della Magna Grecia, 1932–1941 Rome, church of Sacro Cuore di Cristo Re, 1920–1934 Rome, restore of Teatro dell'Opera di Roma, 1926–1928 Rome, planning for Sapienza University of Rome campus, 1935 Rome, Via della Conciliazione, 1936–1950, with Attilio Spaccarelli Zagreb, Assicurazioni Generali Building, 1937 Rome, planning for EUR district, 1938–1942 Rome, Albergo degli Ambasciatori (Via Veneto), 1925–1932 São Paulo, Matarazzo Building, 1939 São Paulo, Palácio dos Bandeirantes, 1938 Rome, Teatro Sistina (1946–1949) Rome, Cappella universitaria Divina Sapienza (1947–1952) Ferrara, Nuovo Palazzo della Ragione (1954–1956) Rome, Palazzo dello Sport (1960), in collaboration with Pier Luigi Nervi
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Sources Lupano, Mario (1991). Marcello Piacentini. Rome-Bari: Laterza. Pisani, Mario (2004). Architetture di Marcello Piacentini. Le opere maestre. Rome: Clear. Scarrochia, Sandro (1999). Albert Speer e Marcello Piacentini: l'architettura del totalitarismo negli anni trenta. Milan: Skira. De Rose, Arianna S. (1993). Marcello Piacentini: Opere 1903–1926. Modena: Franco Cosimo Panini. Monzo, Luigi (2013). "Trasformismo architettonico – Piacentinis Kirche Sacro Cuore di Cristo Re in Rom im Kontext der kirchenbaulichen Erneuerung im faschistischen Italien". Kunst und Politik. Jahrbuch der Guernica-Gesellschaft (in German). 15: 83–100. Beese, Christine (2016). Marcello Piacentini. Moderner Städtebau in Italien (in German). Berlin: Dietrich Reimer Verlag GmbH. Monzo, Luigi (October 2016). "Review to Beese, Christine: Marcello Piacentini. Moderner Städtebau in Italien, Berlin 2016". Architectura. Zeitschrift für Geschichte der Baukunst (in German). 45 (1): 88–91.