Famous especially for his career as an urban planner, Plinio Marconi showed from his young age a particular interest in architecture and its history. A few months after his attendance at the famous meeting "Capri conference for landscape beauty" (held in 1922), Marconi undertook a careful iconographic study of the architecture of the “Isle of the Sirens” as well as of the Amalfi coast. His drawings represented that spontaneous, anonymous, vernacular architecture, already appreciated since Schinkel's time and taken up by the Viennese Joseph Hoffmann at the end of the nineteenth century. The architect-engineer aimed to highlight not only the importance of the environmental and choral value of architecture, but also the volumetric compositions, the luminous contrasts, the rational choices of the building materials, the absence of superfluous decorative elements, thus emphasizing the indissoluble link with the solutions adopted by modern European architecture. The paper analyzes the Marconi’s historical approach and his forward thinking interpretation of the "nameless" Mediterranean architecture.
Capri and modern architecture in Plinio Marconi's drawing
Simona Talenti
2020-01-01
Abstract
Famous especially for his career as an urban planner, Plinio Marconi showed from his young age a particular interest in architecture and its history. A few months after his attendance at the famous meeting "Capri conference for landscape beauty" (held in 1922), Marconi undertook a careful iconographic study of the architecture of the “Isle of the Sirens” as well as of the Amalfi coast. His drawings represented that spontaneous, anonymous, vernacular architecture, already appreciated since Schinkel's time and taken up by the Viennese Joseph Hoffmann at the end of the nineteenth century. The architect-engineer aimed to highlight not only the importance of the environmental and choral value of architecture, but also the volumetric compositions, the luminous contrasts, the rational choices of the building materials, the absence of superfluous decorative elements, thus emphasizing the indissoluble link with the solutions adopted by modern European architecture. The paper analyzes the Marconi’s historical approach and his forward thinking interpretation of the "nameless" Mediterranean architecture.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
