Rationalism in Lombardy

Architectural Design - Politecnico di Milano AUIC School

Heritage Preservation Fundamentals Course, a.y. 2021-2022
Exercise 02: Vulnerable Cultural Heritage
Celli Maddalena
Guven Tulu
Pilia Emanuele
Ürper Mohammed Taha
In the Picture:
Former Casa del Fascio, Como, Lombardy
Index
1. Motivation: 2-5
2. Identification: 6-13
2.1 Territorial Framework: 8-9
2.2 Historical Evolution: 10-11
2.3 Main Features: 12-13
3. Vulnerabilities: 14-17
4. Potentialities: 18-21
5. Past Interventions: 22-25
6. Design strategies: 26-31 Giuseppe Terragni, Former Casa del Fascio, Como, Lombardy (1932 - 1936)

6.1 Sustainability: 30
6.2 Repeatability and Heritage: 31
Final Pictures: 32-33
(References and Credits: 34-35)

Franco Albini, Villa Pestarini, Milan, Lombardy (1934-1938, 1949)

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 In the Picture:
Palazzo della Civiltà Italiana or “Square Colosseum”, Rome

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01. Motivation 3

Notes:
1. Guardia di Finanza is the Italian police corp that
deals with financial crimes and smuggling, income
and expenses control, along with public security
and other relatively-minor duties
2. Fondazione Franco Albini is directed by Albini’s
descendants who gave us chance to see private
documents, papers, drawings and digitalized
content of projects
Giuseppe Terragni, Former Casa del Fascio, Como (1938)
Franco Albini, Villa Pestarini, Milan (1939)
4
01. Motivation
Historically and socially speaking, the essentiality and linearity, it is in fact a paral-
two decades before turning to a Democratic lelepiped with many geometric surfaces made
Republic, the Kingdom of Italy saw an era of with materials such as Botticino marble, glass,
incredible cruelty and inhumanity. On the other and clearly elegant white-plastered concrete
hand, this years opened to a crucial role, often which create a continuous pattern of parallel
left-apart, in history of architecture: the Ratio- and perpendicular lines, full and empty parts,
nalism. giving a vintage chiaroscuro rhythm.
It is extremely important to understand Casa del Fascio is also considered rel-
how Rationalist architecture gave Italy an im- evant because it has been naturally prevented
portant role in European Modernism, how from ageing and is kept in the same state as it
“starchitecture” evolved in the country with its was when it was the headquarters of the Como
Vitruvian monumetality and Latin ratio, and branch of the Italian Fascist party.
how the style can detach from the controversial To analyze the whole picture, the histor-
government it got financied by. Neo-Rationalist ical context of Rationalism, along with political,
architects of international fame already proved social and cultural backgrounds, will be taken
useful this detachment from the past autocracy, into consideration.
such Gio Ponti or Aldo Rossi, both alumni at the
Politecnico di Milano. • Is it part of the Cultural Heritage accord-
ing to the local Protection Law?
1.1 Casa del Fascio, Como, G. Terragni, 1936 Yes, it is part of the Cultural Heritage af-
ter years of issues.
• Why is the selected heritage considered In 1945, the building was forcibly occu-
relevant? pied by the Provincial Federations of the Na-
Giuseppe Terragni’s masterpiece is a tional Liberation Committee Parties, after the
great example of modern architecture in Como, liberation of Como from the Fascists. Soon
Lombardy, and definitely it deserves attention. It after, the city of Como claimed its ownership,
is a major piece of starchitecture: the view from and, through the law/Legge No. 159 (27th July
Via Alessandro Manzoni, despite the uncom- 1944), it was stated that the property of the
fortable and enormous quantity of vehicles, in- Fascist Party had been handed to the Italian
cluding the train, is an amazing and underrated government, which expressed its willingness to
feature. The building is nowadays recognized purchase it.
by experts worldwide as a true cornerstone of Unfortunately, after a series of unsuc-
“Italian Modernism”, indeed, Rationalism. In its cessful negotiations, in 1956, it was put up for
auction. Architect Bruno Zevi and others pro-
tested, fearing that it would be demolished or
wrecked, and this became a matter of national
importance. The Ministry for Cultural Heritage
blocked the auction based on its important
artistic and architectural character. In 1957, it
was assigned to the Command of the VI Le-
gion of the Guardia di Finanza1, thanks to the
intervention of the architect’s brother, Senator
Attilio Terragni. In 1959, a further ministerial de-
cree was issued to protect the context of the
Como Cathedral and the surrounding buildings,
among them the Casa del Fascio.
In 1963, the Guardia di Finanza request-
ed an authorisation to add three rooms on the
terrace on the building’s north side. Although
authorizations was granted, this was fortunate-
ly never implemented. Only five years later, the
project for the fourth floor was submitted once
again, but was rejected, after protests from
many academics.
The actual restoration came only in the
1990s, when some urgent repairs were per-
formed by Alberto Artioli of the Ministry, who
also published an extremely important mono-
graph about the building, Giuseppe Terragni, la
Casa del Fascio di Como: Guida critica all’edifi-
cio (‘Critic guide of the building’ 1989). The res-
toration work involved the external marble sur-
faces, some bathrooms, a few concrete-framed
glass block surfaces, and other relatively-minor
issues. Unfortunately, as it might happen in non-
well-planned restorationsof Modernist architec-
tural heritage, the works brought up major new
issues around the restoration of modern, which
were often not recognized as works of art.
• Why is the selected heritage considered
vulnerable?
As seen in the previous paragraphs, be-
cause of the history and the relative reception
of the Former Casa del Fascio, since the end
of the Second World War to the current plans
for its restoration and reuse as a study centre
and a museum of the WW2. Also, the chang-
es in legislative, political, and cultural contexts
cause complex relationships among the bodies
in charge of the preservation and management
of public heritage.
Casa del Fascio in Como has become
one of the most conspicuous emblems of the
unpleasant relationship with the Fascist era.
1.2 Villa Pestarini, Milan, F. Albini, 1939
• Why is the selected heritage considered
relevant?
Villa Pestarini is a Rationalist single-fam-
ily house inaugurated in 1939 and it is an un-
derrated and poorly-known piece of Italian his-
tory of architecture. It was a gem from the start,
and a gem it has remained for over 80 years,
practically unaltered and intact thanks to a sin-
gle but well-performed change of ownership in
over three-fourths of a century. The Rational-
ist house has, since its inauguration, been en-
joyed by 5 generations. The transformation of
the building did not affect in a bad way its pres-
ervation (beside some issues we will analyze
in the next chapters), and this makes an unfor-
tunately forgotten building a hidden treasure of
20th century architecture and conservation
• Is it part of the Cultural Heritage accord-
ing to the local Protection Law?
Unfortunately, it is not considered part
of the Cultural Heritage, but is overseen by the
FAI (Fondo Ambiente Italiano), whose head-
quarters host several original drawings and dig-
italized documents2.
• Why is the selected heritage considered
vulnerable?
Villa Pestarini is located in a semi-aban-
doned neighborhood: La Maddalena, Piazzale
Tripoli and Giardino Yitzhak Rabin are proba-
bly the areas of the context Albini analyzed to
establish ingtriguing views and alignments, but
today the road and trees are disposed in a ran-
dom and uncontrolled way, against the princi-
ples of a “urban forestation”, typical of the 21st
century sustainable approach. The lighting is
very scarse and it can be noticed by the pres-
ence of graffiti ruining the suggestive rustica-
tion at the base of the building: such a non-pre-
served environment, leads to the forgetting of
an important piece of heritage such Villa Pe-
starini, even if the architectural preservation is
conducted well for years.
5
 In the Picture:
Bird’s eye-view picture of Como and Como Lake, Lombardy, Italy

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02. Identification 7
 2.1 Territorial Framework
2.1.1 Lombardy in the 19th - 20th centuries In 1919, Milan saw the birth of the move- 2.1.3 Fascism and Architecture
In 1859, after the 2nd Independence ment that gave life to Fascism. Always here, The first thing we should highlight is that
War, Lombardy became part of the Regno di in 1922, Benito Mussolini awaited information Rationalism wasn’t born to be linked to Fascism
Sardegna and in 1861 Italy unification was de- on the outcome of the Marcia su Roma (It. lit.: but Mussolini saw in Modernism a great media
clared. The 20th century in Lombardy opens “March on Rome”. Not far from Milan, on the of propaganda to the point that we can specif-
up with the assassination of King Umberto I in Garda Lake, in Salò, the pro-German govern- ically talk about a so-called Littorio Style (Stile
Monza, exactly in 1900. ment was installed in 1943: the Italian Social Littorio), a particular variant of Rationalism, or,
Republic (RSI, Repubblica Sociale Italiana or better, a Modernist-like Italian avant-garde.
2.1.2 The rise of the Fascist Party in Italy Repubblica di Salò). Architecture has an important role while
After WW1 that saw Lombardry directly If Milan was the place where Fascism talking about influences on masses and re-
involved on its territory as the front crossed the officially started, we can say it was also where gimes: people live it day by day, it gives work
entire eastern Alpine area between Brescia and it actually finds its end: on April 29th, 1945, in to the building sector and it is a way to show
Sondrio, we can see the great importance that Piazzale Loreto, the corpse of the dictator was progress and power.
the region and Milan had in the rise of Fascism. exhibited in front of all the citizens. In Rationalism, Mussolini saw a style

Fig. 2.1.1 Fig. 2.1.2 Fig. 2.1.3

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 Picture captions:
2.1.1:
that was at the same time modern and classi- Inspired by the European Modernism, Pollini
cal, linking new technologies - such the use of and the other members of the group publish on 2.1.2:
reinforced concrete - and Vitruvian principles, the Rassegna Italiana magazine the principles
transforming traditional shapes in something of the new Rationalist architecture. If Futurism 2.1.3:
more appealing to the tendence of the time. is the 1920s celebration of industry, technology
The reminiscence of Antique Roman and revolution, Rationalism is the celebration of
world is a way to emphasize “Italianity”, stressed
the structural grandeur of Italian architects, en-
by the fact that mostly Italian architects were gineers, and builders, following the memory of
2.1.4:
employed for the various projects around Italy Vitruvius. Since 1928, the group will follow the
(not even Le Corbusier was selected). guidelines by the MIAR (Italian Movement for
Rationalist Architecture), with clear references 2.1.5:
2.1.4 Gruppo 7 - the birth of Rationalism to Walter Gropius’s Bauhaus school (1919-
In 1926, Gruppo 7 was formed to make 1933) and Le Corbusier’s treatise Vers une Ar-
of Rationalist Architecture the symbol of Italy. chitecture (1923).
Fig. 2.1.4 Fig. 2.1.5
The Kingdom of Sardinia, the Kingdom of the
Two Sicilies, Granducate of Tuscany and the
other independent states in the Italic territory
(map of 1859, two years before the unification)
Location of Giuseppe Terragni’s Former Casa
del Fascio in the city of Como, Lombardy (map
dating around the end of the 1930s)
Today’s locations of the Case del Fascio (It. lit.:
“Former Houses of the Fascist Party”) through
out the whole country of Italy. Several of these
buildings survive today with new activities and
in medium-good conditions
Como, digital perspective sketch of the view of
the Former Casa del Fascio (1932-36) from Via
Alessandro Manzoni
Location in the city of Milan of Villa Pestarini by
Franco Albini, Via Mogadiscio, La Maddalena
neighborhood, 1934-1939
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 2.2 Historical Evolution
2.2.1 Casa del Fascio, Como
In 1928, it was thought Como was the
place to have one of the most important Case
del Fascio. Many of these buildings were al-
ready present in several Italian cities, as head-
quarters of the Fascist Party and symbol of its
power. Different project were proposed, even
more traditional than the final one. The works
were carried out by Giuseppe Terragni between
1933 and 1936. It remained like this until 1945
when the building was occupated by the CLN
(Comitato di Liberazione Nazionale).
In the 1950s, there where some contro-
versies on the propriety of the building as the
Comune di Como wanted to purchase it, and
in 1956, on the newspaper La Provincia, it was
published a banner saying that it was going to
Fig. 2.2.1
Fig. 2.2.1 Fig. 2.2.2
10
be sold on auction. This would have been dra-
matically dangerous for its conservation. Some
people wanted it also demolished. To avoid the
sale, the Superintendence for Monuments is-
sued a restriction in a 1956 pursuant to Law
no. 633 (1941) on the protection of copyright,
diminishing the recognition of the artistic char-
acter of Casa del Fascio.
In 1957, the building was assigned to
the Command of the VI Legion of the Guardia
di Finanza. In 1959, a ministerial decree was
issued which indirectly protected Casa del Fas-
cio as building near the Duomo. Moreover, as
the law states, a building have to be at least 50
years old to be directly protected.
Therefore, after 1986, lots of events were
made, but, still today, the building still hosts the
Fig. 2.2.3
 Picture captions:
2.2.1: Legendary architect Giuseppe Terragni (Meda,
1904 - Como, 1943, picture of 1942). He spent
his whole life translating the society of the time
Guardia di Finanza, even if in February 2017 ly was provided of the new floor, clearly visi- into Rationalist Architecture, but tragically due
a petition was launched proposing its recovery ble from the façade giving a different appeal, to an instant thrombosis
for cultural purposes, establishing a museum. with the rooftop and independent entrance. The 2.2.2: Frontispiece of the issue of March 1929 of the
Rassegna Italiana magazine, considered the
original house was put on rent and the Pestarini manifesto of Rationalist Architecture. Director
2.2.2 Villa Pestarini, Milan family lived in the new upper apartment. Tomaso Sillani
In 1938, Franco Albini designed a villa in At the beginning of the 1980s, the whole 2.2.3: Giuseppe Terragni, Former Casa del Fascio,
Rationalist style, known as Villa Pestarini, near- building was put for sale, with an advertisment Como, Lombardy (1932-1936, picture of 2018)
by Piazzale Tripoli: in this area, in the south- on Corriere della Sera. It had soon been bought 2.2.4: Franco Albini, Villa Pestarini - drawing of the
original project, Milan (1934-38)
west part of the city the zoning plan allowed by Modesta Sbaragli Ferretti, a professor that 2.2.5: Franco Albini, Villa Pestarini (original project of
only single-family houses at the time. wanted to bring the villa to its initial appeal and late 1938, elevations from Via Mogadiscio, on
The original house only had 2 floors, and, so got in touch with the architecture studio of the top, and Viale Misurata, on the bottom)
10 years after its construction, the Pestarinis Albini’s descendants and thanks to architect 2.2.6: Rationalist architects Franco Albini (Robbiate,
asked to the architect to add an additional floor Franca Helg, she made the villa restore. 1905 - Milan, 1977) and Franca Helg (Milan,
1920 - Milan, 1989) started to work together,
to have an independent apartment. Albini didn’t The woman still lives in Villa Pestarini in the fields of architecture and design, in 1952.
like the idea, that was against his initial design where she grew her large family. In an inter- In 1957, they built the famous Rinascente
of the villa, but at the end he accomplished the view, she points out how Franco Albini impres- building in Rome, marking a major detachment
will of the family. In 1949, the house eventual- sively merged functionalism and aesthetics. from their early Rationalist works

Fig. 2.2.4 Fig. 2.2.5 Fig. 2.2.6

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 2.3 Main Features
References outside of Lombardy

2.3.1 The quintessence of Rationalism for better ventilation and decreasing of loads.
Between the end of the 19th century The use of glass directly in the façade is often
and the early 20th, several new styles arose avoided, as they were symbol of fragileness,
throughout Europe. Among these, Italy saw the weakness. At the same time, lodges are wide-
development of the so-called Rationalist archi- ly employed as voids alternating to the solid
tectural style, an avant-garde that reconsidered façade. Also, to diminish the impact of open-
the aesthetics without ornamentation. ings in the façade, evident lintels might be im-
The goal of Rationalist architects was plemented such in the Palazzo di Giustizia, in
Fig. 2.3.1 not to adorn the building, but to show how its Milan, giving to the construction a light and non-
structure is its real quintessence, following Vit- weighty aspect of great construction audacity.
ruvius in his De Architectura Libri X (15 BC) . To
achieve this, they integrated concrete masonry 2.3.4 Concinnitas and functionalism
systems with other industrial innovations rhyth- The decorative elements disappear in
micized by geometrical shapes and techniques favor of the straight and nude form: they would
such alternations of solid-void. be causes of possible distraction. There is an
obsessive worry about proportion and symme-
2.3.2 Advantages of concrete try, but in a combination with asymmetry. Due
First of all, it permits pre-manufactured to this contrast, the indoor spaces are based
series, a moderated cost, easy adaption, it is
incombustible and almost non-corrosive, with
a few issues possibly experienceable in case
of a reinforced concrete structure. Moreover, it
offers the possibility of a building skeleton, also
Fig. 2.3.2
combined with other materials, such as glass,
Picture captions: bricks, vetrocemento and so on.
2.3.1: Gio Ponti, Scuola di Matematica, Rome (1934)
2.3.2: Giovanni Guerrini, Ernesto La Padula, Mario
Romano, Palazzo della Civiltà e del Lavoro,
2.3.3 Supporting elements
“Square Colosseum”, Rome (1938) Thick piers were involved in the interi-
2.3.3: Marcello Piacentini, Palazzo di Giustizia, Milan ors to permit the enclosure of wide and versa-
(1938) tile tspaces. Pillars and columns are usually
2.3.4: Giusepppe Terragni, Former Casa del Fascio,
pre-fabricated in steel or in reinforced concrete,
Como (1932-35), highlighting its lodges
2.3.5: Pietro Lingeri and Giuseppe Terragni, Casa
rarely with simple concrete or concrete blocks.
Rustici, Milan (1933) The walls are therefore reduced to a light skin Fig. 2.3.3
12
on the free plan (piano libero) with internal par-tial towers, but also administrative infra-
titions that can also curve, change direction, structures, police headquarters, theatres,
adapting to the different functions. On the other concert halls, arenas, and so on.
hand, in the exterior, the non-projecting lodges Giuseppe Terragni’s Former Casa del
and balconies respect strict geometrical pat- Fascio in Como, Lombardy, still shows today
terns based on the Vitruvian principles. that aim in giving a building a superimposing
position looking to open public spaces, a sort
2.3.5 Urban planning, society and Futurism of “urban façade”. This phenomenon is expe-
There is a great interest about town plan- rienceable in Piazzale Tripoli, in Milan, with
ning since one of the main aims, parallely to the hidden Villa Pestarini by architect Franco
Modernist ideals, is to accomodate people with Albini: despite all the trees, the thing that, argu-
the new leaving standards arisen from the 21st ably, leaves the visitor astonished is the myste-
century enthusiasm: new urban formulas from rious, almost gloomy character of this building.
Europe influence Rationalism, such as the gar- This urban-imposing behavior is enhanced by
den city idea or Le Corbusier’s Ville Radieuse the geometricity, celebrating the structure and
in Paris. progress of materials (flat concrete surface and
Therefore, the most representa- glass blocks above all), parallely to Futurism in
tive buildings are social houses, residen- painting.

Fig. 2.3.4
13
Fig. 2.3.5
 In the Picture:
Giuseppe Terragni, Palazzo Terragni, Casa del Popolo or Casa del Fascio, Lissone, Lombardy (1938-40)

14
03. Vulnerabilities 15
 03. Vulnerabilities
3.1.1 Advent of concrete Lombardy and it is known, indeed, mostly for protected thanks to the important values given
The glorious coming of the concrete its Lake Como. It would be possible to come by local jurisdictions. The building is used for
masonry system is not all rosy. Concrete across with heavy rainfall during the year. many puposes including municipal agencies for
structures often show deterioration caused by Considering the geopolitical situation, rainfall 50 years between 1936 and 1986. Since this
temperature, soil condition. chemical-physical would come through the down slopes to lake. year, the building is officially recognized as a
issues, and so on. These factors make of This could affect the landslides and create heritage site, becoming a starchitecture piece
Italian (and European) XX century buildings an a flood in the zone. Almost every year, some not only for Como citizens and Italians, but
important point in conservation matters. buildings are damaged due to heavy rains. In across the whole globe.
fact, they create strong storms, which could
3.1.2 Plaster issues arrive from the region of Emilia Romagna. Casa 3.2.3 Possible thermal issues
Plastered façades could present del Fascio is located only 400 m away from the Casa del Fascio has large windows and
challenges in a preservation discussion: plaster lake and only 2 meters higher than water level thin walls which give opportunity for significant
is a porous material, likely to absorb several in. In a near future, it is not directly in danger, thermal loss, hence it gains a thermal radiation.
substances, not only water, but mostly dirt, according to local protection organizations, but All these microclimate data would be related
cleaning liquids, and polluted air. the situation is constantly monitored. to humidity and thermal transmittance. Based
Humidity also can cause major on the site investigations, winter would be less
detachments of the plaster as it is slightly 3.2.2 Law Protection Restrictions dangerous due to the heating system is able to
soluble in water. Not even to mention the danger Casa del Fascio is although well- cope with the thermal conditions of the building.
of wood rotting due to moistured air. Although,
one of the worst cases would be the partial
corrosion of possible steel supoorting structures
in a reinforced concrete masonry system,
even if characterizes more late-Rationalism
and Neo-Rationalism, rather than Italian
architecture in the late 1920s and early 1930s.

3.2.1 Storms, floods and landslides in Como

Como is located in a lacustrine region
which is particularly vulnerable to major water
rises, storm surges and also natural disasters
such as floods, landslides, earthquakes, with a
high risk of damaging tangible heritage.
Como is located in the north side of Fig. 3.1.1 Fig. 3.1.2
16
3.2.4 Urban situation of Casa del Fascio
The square in front of Casa del Fascio
is called Piazza del Popolo, an important
connection point both for cars and public
transport. The railway gives a shake all the
time to this piazza that can be felt considerably
while walking around the square. This vibration
do not interfere with the structure of the
building, according to local protection, but,
even if very slowly, might damage part of the
urban landscape and are uncomfortable to
pedestrians enjoying their walks.
The street in the front is Via Alessandro
Manzoni, one of the main street to reach the
shore. The two car lanes are separated by the
railway in the midddle, strongly polluting the
surrounding air, but, as mentioned in the first
paragraph, it could also affect the plaster.
Fig. 3.1.3
3.2.5 Spaces and abandonment
Saying Casa del Fascio is abandoned
would be a huge mistake, it is rather a bad
employment of the spaces. Despite being
restored, it has never been converted to a
permanent exhibition center or any other socio-
cultural role. The real vulnerability lies in the
possibility of leaving the spaces unused.
3.3.1 Villa Pestarini re-development
Franco Albini’s hidden masterpiece of
Villa Pestarini was converted to a condominium,
then hosting different flats. A secondary
entrance was added in the back of the building
(northwest side of the building), but the portico
needs the support of scaffoldings.
Another major problem in the readaption
of the villa is the traffic condition in the
Fig. 3.1.5
neighborhood: the air pollution caused by the
several vehicles crossing Piazzale Tripoli,
Via Mogadiscio and Viale Misurata everyday
damage the plaster of the façade in Albini’s
building.
3.3.2 Humidity and vandalization
Also, humidity visibly affected parts
of the soffit, both inside and outside. The
raised ground floor technique, the design of
the basement and the particular rustication in
the southeast side of the building (looking on
Piazzale Tripoli), aim to avoid this problem and
moisture issues. The tiles of the rustication
unfortunately were also subject of graffiti
vandalization, also because of the weak
controls in La Maddalena neighborhood and
the scarse lighting in Piazzale Tripoli.
Picture captions:
3.1.1: Picture from July 2021, huge landslides caused
several restricted residential areas and
buildings in the city of Como to be evacuated by
the citizens
3.1.2: The huge car lanes in front of Casa del Fascio,
Fascio,
Via Alessandro Manzoni,
Manzoni, prioritize vehicular
circulation, and not a comfortbale view for
visitors from the streer
3.1.3: Franco Albini’s Villa Pestarini, Milan,
southeastern façade on Piazzale Tripoli,
Tripoli, detail
picture of the elevated ground floor rustication,
visibly vandalized by graffiti
graffiti,, unpleasant
aesthetic damage
3.1.4: Villa Pestarini is, right now, sompletely covered
by trees in the view axis from Giardino Yitzhak
Rabin,, the most crowded area by pedestrians
Rabin
17
 In the Picture:
Aerial view of Como and Como Lake, Lombardy, Italy

18
04. Potentialities 19
 04. Potentialities
04. The “Italian Modernism”
Too often, we commit the mistake of
restricting Rationalism to mere “Fascist archi-
tecture”. From a historical point of view, it is
not wrong to use one term instead of the other
one, but Rationalism goes much further from
being the style of the worst era in Italian histo-
ry. Rationalism is the advent of Modernism to
Italy, the advent of the principles of symmetry,
monumentality, austerity, without the consid-
ered-superflous decorations seen in other phi-
lo-classical revivals (Renaissance, Baroque).
Preserving Rationalist architecture in smart
and innovating ways means to show how Italy
overcame this terrible period, perceiving a huge
goal in history of architecture, in its geometrici-
ty, monumentality under the Vitruvian ratio.
Fig. 4.1.1
20
4.1 Casa del Fascio, Como
4.1.1 Views
Terragni’s Casa del Fascio is by far the
best-known project in Rationalist style. The
view from the back of the Duomo of Como, Via
Manzoni, is majestic, but people should be pri-
oritized in the area, not huge car lanes.
4.1.2 Adaption of new activities
In conservation of architectural heritage,
it is often controversial to assign new activities
to a given building, but to attract people and let
the culture survive, it is necessary to reuse the
spaces with new goals. With wide and versatile
interiors, it would not be against the purpose of
the building itself to open to the public. Right
now, only temporary exhibitions are opened to
Fig. 4.1.2
the visitors, while the ground floor is still occu-
pied, as said, by Guarda di Finanza. Exhbitions
in Como would have huge advantages due to
enormous crowds Como Lake gathers yearly.
4.2 Villa Pestarini, Milan
4.2.1 Abandonment
While Terragni’s Casa del Fascio in
Como, beside the left-apart potentialities we
just analyzed, is a landmark of huge importance
in the whole country, Villa Pestarini is a wonder-
ful yet abandoned and segregated early work
by architect Franco Albini, mentor of a young
Renzo Piano. Situated in Milan, more precisely
in the area of Piazzale Tripoli in the neighbor-
hood of La Maddalena, undoubtely it does not
deserve this current situation.
Fig. 4.1.3
 4.2.2 Not a mere residential building
The most complex aspect in conservat-
ing Villa Pestarini is its being an urban villa.
We, as normal pedestrians exploring the city,
tend not to look façades that are not decorated
or not of incredible heights. But Villa Pestari-
ni has got hidden features visible from the ex-
terior, then available to people. The imposing
elevation on Via Mogadiscio, in front of the
elementary school, is characterized by simple
but aligned openings, very pleasant to the eye
if spotted. But the sight can also be caught by
the ground-level rustication or the vetrocemen-
to screen, that creates that sense of mystery
of what is happening in the inside, but in a key
that does not interfere with the residents’ priva-
cy, a fundamental feature in “urban façades” of
Fig. 4.2.1
single-family houses, that also creates a sense
of enclosure for the pedestrian in the street.
4.2.3 Privacy in the alignments
As one of the pillars in Rationalist ideol-
ogy, geometry and geometricity play a crucial
role in the design. Being a residential urban
villa, and not a public building, geometry is ex-
ploited to research a sense of privacy, hiding
completely the interiors. The best example is
the entrance door, perpendicular to the gate
and elevated by a little flight of steps, intention-
ally not in line with a person possibly walking
down the street, who might instinctively look
inside the house. Also the glass blocks give
a feeling of curiosity but without violating the
privacy of the residents. Also a little mosaic is
Fig. 4.2.2
found parallel to the entrance gate, welcoming
whoever is crossing the boundary: these little
artistic details enhance the building character.
4.2.4 Surroundings and green
Piazzale Tripoli, Viale Caterina da Forlì
and Giardino Yitzhak Rabin are great green
spaces, but they are not in wondeful condition.
According to the residents of the neighborhood,
the area is not adequately controlled, especially
by night. It is very rare to see it crowded by kids
despite the nearby elementary school and the
kindergarten. Their parents prefer to bring their
children in the BPM Park. If exploited in a smart
way, such a big space could complete the en-
vironment the villa deserves. People should be
invited, not scared or unwelcome.
Picture captions:
4.1.1: Ground floor entrance of Casa del Fascio,
Fascio,
Como. Suggestive light games in the interior,
right now only open to the Guardia di Finanza
agents
4.1.2: Breathtaking view of the Duomo of Como, the
cathedral of the city, from the terrace of the
Casa del Fascio. The terrace is, unfortunately,
not accessible to the public, therefore wasting
such a majestic view
4.1.3: The incredible crowd during the art exhibition
Ragione e Sentimento (2019) at the Casa del
Fascio in Como
4.2.1: Villa Pestarini,
Pestarini, Milan, as of today. Detail of the
suggestive urban façade with its vetrocemento
semitransparent screen
4.2.2: Giardino Yitzhak Rabin is much frequented
during the day, unfortunately not at night
21
 In the Picture:
2018, restoration works at Casa della Memoria or Former Casa del Fascio, Empoli, Tuscany

22
05. Past Interventions 23
 05. Past Interventions
5.1 Past interventions of Casa del Fascio
Only one year later after its inauguration
of 1936, there were some replacements to solve
minor issues in the building. Unfortunately, there
had been some interventions undocumented
due to a lack of well-timed recognition of
its monumental value. That is why these
interventions were carried out by non-
specialized labor. One of the main interventions
was made in 1990: financed by the national
government, the restoration aimed to give new
importance to the underused interiors.
5.1.1 Criteria of Adoption
Weather changes, extreme conditions
during the seasons, and air pollution threatens
the cultural heritage always and everywhere.
Fig. 5.1.1
24
Temperature variation, relative humidity,
and wind are significant factors for physical
damage here, but the situation is constantly
monitored by local protection jurisdictions.
Correct construction techniques were
not probably known well in the 1930s, for this
reason, the installation without expansion joints
caused damage to the façade and glass blocks.
5.1.2 Materials for intervention
In 1937, the roof of the Salone delle
Adunate was covered by ondolux to improve
water tightness: in this way, it could be more
likely to prevent the building from water.
External materials were carefully
replaced well by following the details of
Terragni’s project. So that, traditional materials
can still be chosen to complete the building.
The external atrium walls were replaced by
concrete and stoneware (initially composed of
ocher glass-ceramic tiles and glass blocks).
Casa del Fascio only implies two
different materials for the window frames:
wood and metal. The wooden frames account
10 differentiated typologies. The metal windows
are replaced in the perimetral and external
atrium walls.
5.1.3 New Functions
Since 1957, it hosts the Como corp
of Guardia di Finanza. But besides some,
although important, exhibitions, the building
stays underused.
5.1.4 Results Achieved
The relation between solids, voids
and choice of materials is one of the main
characteristics of the building: preservation did
not change the structure nor this rhythmical
pattern. With constant and well-planned
interventions, the appearance of the building
has been stayed almost the same for 80 years.
5.2 Past Interventions of Villa Pestarini
Villa Pestarini was designed and built
during the 1930s: lifestyle and techniques
changed a lot since then. The villa was thought
as a single-family house in the countryside.
Already after only a decade the Pestarini family
had different needs and ideas.
5.2.1 Adding of the second floor/sopralzo
The Pestarinis asked to the architect to
add a second floor, built by Albini against his will
as this would have changed a lot the distribution
of volumes he designed in first place. The works
were brought out, a new secondary entrance
was built as well as the garage. The family
moved to the sopralzo and the original part of
the how was put on rent, first to an American
family and then to Modesta Sbaragli Ferretti.
5.2.2 Needs of the new times (1980s)
In the early 1980s, the house itself
doesn’t answer anymore to the needs of new
times, but Mrs Sbaragli Ferretti is aware of
the quality and history of the space she had
been living in. In fact (Albini died in 1977) she the staircase. 5.2.4 Maintenance, awareness and results
contacted Franca Helg, associated since 1952 Eventually, black for the full-height wing Mrs Modesta Sbaragli Ferretti now lives by
with Albini and his studio, to conduct restoration in pear wood like the handrail. her own but she is still very aware and passionate
works. Albini’s studio is carried on by his son of the magic architecture she is living in.
his nephew still today, and they cover a crucial 5.2.4 Reversibility Besides these main interventions, other
role in preservation processes at the villa. Modesta Sbaragli Ferretti has always minor ones were needed during the time and
wanted to restore the original state and still do. The air pollution ruins visibly the plaster
5.2.3 Colors and materials fortunately everything has been preserved. as well as the humidity and the vandalism and
For Villa Pestarini, Franco Albini thought She did only two modifications, making them so it needs constant maintenance. Right now
a neutral, white envelope with bold chromatic so that they are reversible, like she does for the behind the house, in the secondary entrance
touches. The pink glass screen of the main works of art. To make the most of the house, from Via Mogadiscio, were just removed
entrance returns to the side elements of the she transforms the dining room into the study metal scaffoldings as Albini’s studio architects
staircase and to the shutter boxes inside. - shortening the living room by one room and were doing the thermal insulation coating
A special ocher yellow is used instead pulling up a light plasterboard wall. and changing the window frames. The aim of
for the same caissons but on the outside and In addition, she transformed the study restoration will always be to keep the splendor
for the fixtures, both inside and out. behind the fireplace, which opens onto the and the heritage of the now-urban villa, doing
Green acts as a trait d’union and is living room, into a kitchen of adequate size for some interventions making it still livable so not
chosen for gates, shutters, vertical elements of her large family. to lose its function.

Picture captions:
5.1.1: Giuseppe Terragni’s Former Casa del Fascio
(1932-1936), during the celebrations of the 80th
anniversary of the building inauguration (2016,
during Christmas time, reason why we see
these playful lights projected on the façade)
5.2.1 Franco Albini’s Villa Pestarini (1938) right after
its completion (picture of the end of 1930s; in
those years, La Maddalena was still a country-
side neighborhood with Giardino Yitzhak Rabin
in Piazzale Tripoli was not provided yet with its
several trees)
5.2.2 Digital sketch of Franco Albini’s Villa Pestarini
(1934-1938, sopralzo added in 1949), view from
southwest as of today (the blue is used to
distinguish the second floor from the original
project made up only by ground floor and first
floor; moreover, also in blue, human proportions
Fig. 5.2.1 Fig. 5.2.2 are highlighted)
25
 In the Picture:
Our working table

26
06. Design Strategies 27
 06. Design Strategies
6.0.1 Situation in Como
Nowadays if you go to Como you won’t
be able to visit Casa del Fascio unless you
previously ask for the permission to Guardia
Provinciale di Finanza. It isn’t always been this
way. In the past, until 4 years ago when there
were guided tour inside, including visits around
Como including other rationalism heritages
around the city. They also stopped with
exhibitions: on 25 January 2019 it took place
“Ragione e sentimento”.
Since 2013, it has been proposed
to include Casa del Fascio in the UNESCO
cultural heritage but the trail was never brought
to its end. In the same inconclusively way,
since 2017 it has been launched a petition
to transform the building in a museum by
Fig. 6.0.1
28
MADEinMAARC (Museo Virtuale Astrattismo
e Architettura Razionalista Como). This project
actually don’t include just Casa del Fascio but
it is way more ambitious: to include also some
adjacent building in the square and think about
the city as “città museo”, for this reasons there
have been asked 5 million euros to Rome and,
additionally, 1 million each following year.
During the last years, the only events
that took place about the building have been the
projection of pictures on the facade for different
events: the last one was a photo-exhibitions of
photographer Lorenza Ceruti from Como.
In our opinion, we should start from
events like this one, trying to find a way to
integrate the architecture with the community,
to lay the foundations for bigger and more
Fig. 6.0.2
ambitious projects. Most important thing the
building should be open again to the public and
to exhibitions as key point of Como and Italian
heritage.
Moreover, the Lake of Como gathers
almost 2 millions of visitors evey year: we
have such a wonderful piece of our history of
architecture, and the tourists deserve to know
about it. Therefore, also group visits could
be organized, discounts for the clients in the
various hotels, and so on.
An idea to gather more people to the
square in front of the building, could be a pergola
village such the one proposed for Palazzo
Terragni in Lissone: the project by Studio
Moscatelli, Studio Arosio and architect Alessio
Brambilla won the competition in January 2020.
Fig. 6.0.3
6.0.2 Situation at Villa Pestarini
Walking by Villa Pestarini the majority
of people won’t even notice it or even say that
it’s “ugly”. Its story risks to be forgotten and not
appreciated as it should be. In order to enhance
it we propose to put information on a plaque
or panel with a description of the building and
its history, explaining its importance. Like we
actually see already in several monuments,
also in Milan. From the opposite corner of the
street it would be interesting to put a plexiglass
panel with, in transparency, the old appeal of
the villa, maybe without the additional last floor
that Albini did not want at all, but was convinced
by the owners of the building.
The FAI (Fondo Ambiente Italiano) deals
with several typologies of heritage, acquiring
Fig. 6.0.4
monuments or other artefacts, restoring and
managing them. Furthermore it promotes
special days, festivals and events during the
year in which volunteers prepare explicative
tours both to tourist or to residents who are
curious about the history of some specific
buildings, valorizing it and allowing people
to visite the inside of the houses, thanks to
residents collaboration, usually admirers of
architecture.
Fortunately, maybe, we did not encounter
collapse accidents in Villa Pestarini, but in the
back of the building - which now is a secondary
entrance - scaffoldings have been adopted. For
sure, this is helpful to prevent or slow down
the process of collapse due to compression. It
would be helpful also to reconstruct this little
6.0.5
porch, now, differently from Albini’s first idea,
the building is not a single-family villa, but a
condominium with four apartments.
Related to this, it may be a compelling
idea to have tours around Milan following the
fil rouge of Rationalism in Milan, giving a more
complete and general idea about this extremely
important avant-garde, one of the most
important in world history of architecture. We all
like the Liberty style in Milan, but Rationalism
is, arguably, as important as the Liberty style
in history of architecture. An apparently more-
resistant structural approach, in a Vitruvian key
that deals more with compression rather than
tension, does not mean it is less elegant. Maybe
less-striking at first sight, but still elegant and
monumental.
Picture captions:
6.0.1 Ragione e Sentimento, abstractist exchibition
in Casa del Fascio, Como, 2019
6.0.2 The incredible number of tourists on the shore
of Lake Como: they gather every day of the
year, but in summertime especially (2M yearly)
6.0.3 Rendering of the urban requalification project
by Studio Moscatelli, Studio Arosio and Alessio
Brambilla in Lissone, Lombardy: it won the
competition in January 2020
6.0.4 Metal scaffoldings that were adopted in the
secondary entrance portico in Villa Pestarini.
Right now they are removed temporarily
6.0.5 The possibility of integrating a plexiglass panel
to show how Villa Pestarini looked back in the
years 1938-1949, before the addition of the
second floor (sopralzo) against the architect’s
initial will
29
 6.1 Sustainability
6.1.1 Conservation and sustainability
Enhancing these architectures for their
cultural importance means telling people a part
of their history, making them aware of how the
environment they walk by every day is like an
open book.
The solutions that we propose should
be as much sustainable as possible, allow-
ing the promotion of the cultural heritage in
the cheapest way possible avoiding radical
changes, in order to be compelling both for the
municipalities and the people. Our idea is to
start from people to involve people: volunteers,
guided tours and events that don’t expect big
and high-priced interventions besides the ones
of maintenance or restoration.
30
6.1.2 Financial sustainability
The cost of plaque, indications and de-
scriptions to put in loco is derisory. Organizing
tour and guided visits involve the presence of
employed staff of course means an expense
of money, to be added to those of the main-
tenance cost. In part this money is covered
by a potential ticket for the visitors (including
reduction or free tickets for certain categories
or on specific days), in part it main come from
national resources or private donations.
Financial helps from national or local
governments should be well-planned and
proportioned to the possibilities of the deci-
sion-makers. Moreover, we should not forget
about the impact it will have on tourism.
Conservation strategies
6.1.3 Green enhances the experience
In the case of Villa Pestarini, it would be
interesting to reconsider the vast green space
of Piazzale Tripoli and Giardino Rabin, in a
way visitors and kids leaving the school would
feel comfortable. This would imply an enhanc-
ing of the focus on pedestrian circulation, in
line with Albini’s building, without prioritizing
the vehicles that deeply harm the environment.
Even if in a completely different context,
the EUR gardens in front of Palazzo della Civ-
iltà in Rome are constantly preserved replicat-
ing the idea a micro-environment in a polluted
urban landscape, similarly to several Italian
cities characterized by Rationalist monumental
architecture.
6.2 Repeatability and heritage
6.2.1 A scientific approach 6.2.2 Repeatability and the trap of style
Preservation, conservation and resto- Restorers, being usually architects,
ration are similar but different words. They in- often fall in the trap of the style. Repeatability
dicate a complex field of art and architecture - does not mean style. Repeatability means to
we can say to simplify - that is not guided by a identify analogies, common features, hidden
specific theory: each element to be preserved, or striking, to solve an issue, to preserve an
conserved and/or restored is going to have its element to enhance an experience.
own peculiar treatment. A readaption of a square in front of an
We would like to approach this com- old, underrated public building sensibilize the
plex process in a scientific way, on the steps people walking around there, making them
anticipated by Luca Beltrami and Gustavo interested, directly or indirectly, in the building.
Giovannoni, “scientifically” investigating the A panel with the original project is a little
background of our matter of study, taking prec- addition, applicable to any heritage. But the
edents as example, and establishing methods message is strong: it shows what the architect
to be applied in future works of preservation, wanted, the possible austerity or the glitz,the
conservation and/or restoration. different context there was at the time, etc.
HERITAGE
ANALOGY BACKGROUND
REPEATABILITY
MISTAKE
STYLE
6.2.3 Heritage
But to protect as specific group of build-
ings, avant-garde, a defined architectural heri-
tage, similar features can be used, for specific
points, a similar approach. Or something to
protect the identity of a period, style or similar.
A campaign, a guide can be useful to
Rationalist architecture to be detached, at the
right point, from Fascism. Starting from Casa
del Fascio (which is probably the most im-
portant Rationalist architecture, but still needs
more appeal), a program for the importance of
the Modernist enthusiasm that characterized
Rationalism in the wholecountry as showed in
the territorial framework map (Fig. 2.1.3).
Monumenti Aperti, a cultural program
born in Cagliari in 1997, already had a similar
idea in Como. Moreover, Guida alla Città di
Varese (Eugenio Guglielmi, 2021), is a guide-
book that describes several projects in the city
of Varese, Lombardy, in the period in between
the two world wars, distinguishing them from
private and public, putting the interested loca-
tion in a position of more important city.
Our goal is similar, we want to let the
reader discover how the Rationalist architec-
ture is not a neighborhood of the metropolis of
Modernism: it is a city, the urbs with the same
enthusiasm of progress, technology, structure,
but guided by the Italic Vitruvian ratio, that
goes further from the Former Casa del Fascio,
further from Como, further from Lombardy.
What do heritages make us heirs of?
31
 In the Picture on page 33:
Marcello Piacentini, Palazzo di Giustizia, Milan (1938)

30
In the Picture on page 33:
Palazzo dell’Arengario - Museo del Novecento, Milan (1936 - 1956)

33
 References Characters:
Albini, Franco (Robbiate, 1905 - Milan, 1977) 01, 1.2, 02, 2.2.2,
Picture credits:
Cover page: latina24ore.it
2.3.5, 3.3.1, 4.2.1, 5.2, 6.0.2 Back cover page: artribune.com
and Artioli, Alberto (Roma, 1950 - alive) 1.1 01. Cover: imalpensanti.it
Beltrami, Luca (Milan, 1854 - Rome, 1933) 6.2.1 01. Motivation: comocity.it and domusweb.it
Credits Brambilla, Alessio (Lissone, alive) 6.0.1
Ceruti, Lorenza (Como, 1968 - alive) 6.0.1
2.1.1 associazione-legittimista-italica.blogspot.com/
2.1.2 newarchitecturesapienza.wordpress.com
Giovannoni, Gustavo (Rome, 1873 - Rome, 1947) 6.2.1 2.1.3, 4 Google.com
Gropius, Walter (Berlin, 1883 - Boston, 1969) 2.1.4 2.2.1 altafortedizioni.it
Guerrini, Giovanni (Imola, 1887 - Rome, 1972) 2.3 2.2.2, 3, 2.3.1 wikipedia.org
Helg, Franca (Milan, 1920 - Milan, 1989) 2.2, 5.2.2 2.2.4 blog.urbanfile.org
La Padula, Ernesto (Pisticci, MT, 1902 - Rome, 1968) 2.3 2.2.5 Fondazione Franco Albini, Milan
Le Corbusier (Switzerland, 1887 - Roquebrune, Fr., 1965) 2.1.4, 2.3.5 2.2.6 sanlorenzoargento.it
Lingeri, Pietro (Tremezzo, CO, 1894 - Tremezzina, CO, 1968) 2.3 2.3.2 artesvelata.it
Mussolini, Benito (Predappio, FC, 1883 - Giulino, CO, 1945) 2.1.2, 2.1.3 2.3.3 https://www.ca.milano.giustizia.it/
Piacentini, Marcello (Rome, 1881 - Rome, 1960) 2.3, 6.1 2.3.5 perimetro.eu
Piano, Renzo (Genoa, 1937 - alive) 4.2.1 03. Cover: maarc.it
Pollini, Gino (Rovereto, TN, 1903 - Milan, 1991) 2.1.4 04. Cover: planetware.com
Ponti, Gio (Milan, 1891 - Milan, 1979) 01, 2.3 4.1.1 https://www.gdf.gov.it/
Romano, Mario (XX century) 2.3 4.1.2 mauriziomontagna.com
Rossi, Aldo (Milan, 1931 - Milan, 1997) 01, 2.3 4.1.3 comozero.it, Matteo Congregallo ph.
Sbaragli Ferretti, Modesta (XX century) 2.2.2, 5.2 05. Cover: https://www.gonews.it/
Sillani, Tomaso (Otricoli, TR, 1888 - Rome, 1961) 2.2 5.1.1 https://www.quicomo.it/eventi/cultura/
Terragni, Attilio (Milan, 1896 - Milan, 1958) 01 6.0.1 ciaocomo.it
Terragni, Giuseppe (Meda, MB, 1904 - Milan, 1943) 01, 1.1, 02, 2.1, 6.0.2 https://www.corrieredicomo.it
2.2.1, 2.3, 2.3.5, 03, 4.1.1, 5.1.2 6.0.3 https://www.arketipomagazine.it/
Umberto I of Savoy and Italy (Turin, 1844 - Monza, 1900) 2.1.1
Vitruvius Pollio, Marcus (80 - 15 AD c.a.) 01, 2.1.3, 2.3.1, 04
Zevi, Bruno (Rome, 1918 - Rome, 2000) 1.1

Authors:
Celli, Maddalena (966618)
Guven, Tulu (967437)
Pilia, Emanuele (966570)
Urper, Mohammed Taha (967873)
34
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https://monumentiaperti.com/it/comuni-della-xxv-edizione/como/

Other mentions and references:

All the pictures, images and sketches that were not mentioned in the “Picture Credits” column were taken
by the authors over the past two months.
We have to mention a special thanks to Fondazione Franco Albini in Milan, who gave us the opportunity
of asking important questions to experts, consulting scans of original drawings, aged pictures and other important
digitalized content regarding the very first projects and all the restoration works of Franco Albini’s Villa Pestarini,
Milan (1934 - 1938, 1949).
Also, we need to mention the help of a Guardia di Finanza member E. Pontillo, who gave us general infor-
mation about the corp and the role of the headquarters in Como.

35
Rationalism in Lombardy