{"id":3851,"date":"2023-04-26T12:15:14","date_gmt":"2023-04-26T10:15:14","guid":{"rendered":"http:\/\/bollettinodarte.cultura.gov.it\/?page_id=3851"},"modified":"2024-02-26T12:04:10","modified_gmt":"2024-02-26T11:04:10","slug":"3851-2","status":"publish","type":"page","link":"https:\/\/bollettinodarte.cultura.gov.it\/?page_id=3851","title":{"rendered":"L’eco Dei Rioni Lungo Il Litorale Di Ostia. Le Case Popolari Di Camillo Palmerini"},"content":{"rendered":"

Estratto dal volume speciale Ostia. Architettura e citt\u00e0 in cento anni di storia<\/em> (2020)<\/span><\/h2>\n

Il saggio tralascia la consueta lettura dei fenomeni architettonici tesa ad assegnare presunte patenti di modernit\u00e0 e mira viceversa alla loro comprensione, cogliendone scaturigini e istanze. Il complesso abitativo costruito a ridosso delle dune di Ostia Lido dall’architetto romano Camillo Palmerini (1893\u20131967), il pi\u00f9 colto e sofisticato professionista attivo all’interno dell’Istituto per le Case Popolari, testimonia la persistenza della tradizione che rinnovandosi continuamente come una fenice si propaga verso il litorale dell’Urbe. Tradizione, non stanco tradizionalismo, dal momento che non si tratta della pedestre applicazione dei principi del Vignola. Aderendo alle proposizioni del cosiddetto \u201cambientismo\u201d, Palmerini crea un vero e proprio microcosmo potentemente connotato, dove, con spregiudicata disinvoltura, l’eco della tradizione figurativa romana risuona con le influenze del modernismo europeo, le suggestioni del barocco trionfante si fondono con le sperimentazioni condotte Oltralpe. Risplendono qui gli ultimi travolgenti bagliori della figurazione, prima della\u00a0tabula rasa<\/em>\u00a0praticata dalle correnti d’avanguardia; solo un lustro dopo, sull’altro lato della carreggiata stradale, Ignazio Guidi introduce nella Scuola Fratelli Garrone i nuovi termini propugnati dal razionalismo: \u201cserie\u201d,\u00a0\u201criproducibilit\u00e0 tecnica\u201d, \u201cstandard\u201d.
\nViceversa Palmerini \u2014 professore di disegno ed assiduo frequentatore di quell’Associazione Artistica fra i Cultori di Architettura a Roma intenta nello studio appassionato dell’edilizia minore che d\u00e0 corpo al tessuto dei rioni \u2014 si avvale del magistero professionale di abili maestranze artigianali per glorificare la forma, mettendo a punto calligrafici sintagmi, instaurando articolate simmetrie, predisponendo complessi scorci prospettici. Mira ad infondere al complesso residenziale ostiense quel principio di forma urbis<\/em>, che alcune\u00a0sciatte operazioni tardo-ottocentesche avevano accantonato.<\/p>\n

\u00a0<\/em><\/p>\n

The echo of Rome\u2019s city districts along Ostia\u2019s coastline. Camillo Palmerini\u2019s public housing<\/strong><\/div>\n

The paper sets aside the customary method of reading architectural aspects, which tends to rigidly attempt to label the glaringly obvious modernity of a building. Instead it hopes to understand the reasoning behind a structure, where it springs from and the motivation for it. The Roman architect Camillo Palmerini (1893\u20131967) built a seaside complex in Ostia Lido, up against the dunes. He was the best read and sophisticated of the professional architects working within the framework of the\u00a0Istituto per le Case Popolari<\/em>. It\u2019s an example of the persistence of the tradition of untiringly making it new, like a phoenix, spreading its wings towards the City\u2019s coastline. Tradition as opposed to burned out traditionalism, given that it wasn\u2019t a question of an unimaginative application of Vignola\u2019s principles. Sticking to the concepts of so called \u201cenvironmentalism\u201d, Palmerini created an out and out architectural microcosm with its own pronounced characteristics. With a detached flippancy it echoes the Roman figurative tradition, but vibrates with the influence of European modernism, the triumphant swagger of the Baroque blending into the experimentation going on on the other side of the Alps. The last overwhelming brilliance of his architectural figurations lies across the street from an example of what was to come. Within a span of just five years the new approaches of the avant\u2013garde had wiped the slate clean. Ignazio Guidi\u2019s\u00a0Scuola Fratelli Garrone<\/em>, facing Palmerini\u2019s project, is a manifesto for the new, rationalist architecture, where the words \u201cseries\u201d, \u201ctechnical duplicability\u201d and \u201cstandard\u201d rush to the fore.
\nCamillo Palmerini was a professor of graphic arts regularly present at meetings of the\u00a0Associazione Artistica<\/em>, one of the societies of the\u00a0Cultori di Architettura<\/em>\u00a0in Rome. This was an association for architecture enthusiasts intent on studying the \u201clesser\u201d architecture that went to provide the framework of Rome\u2019s districts. Going against the trend, Palmerini relied on the professional mastery of able craftsmen to exalt his compositions, creating detailed structural mixes, articulated symmetries and complicated glimpses of perspective. His aim was to infuse Ostia\u2019s housing with the principle of a forma urbis, an idea that some late nineteenth century shabby developments had laid aside.<\/p>\n","protected":false},"excerpt":{"rendered":"

Estratto dal volume speciale Ostia. Architettura e citt\u00e0 in cento anni di storia (2020) Il saggio tralascia la consueta lettura dei fenomeni architettonici tesa ad assegnare presunte patenti di modernit\u00e0 e mira viceversa alla loro comprensione, cogliendone scaturigini e istanze.<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-3851","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/3851","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3851"}],"version-history":[{"count":9,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/3851\/revisions"}],"predecessor-version":[{"id":12934,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/3851\/revisions\/12934"}],"wp:attachment":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3851"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3851"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3851"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}