A city made of rooms. Revisiting the interactions between urban planning and building typology in Mario Ridolfi’s projects for Terni

For Peer Review Only A city made of rooms. Revisiting the interactions between urban planning and building typology in Mario Ridolfi’s projects for Terni Journal: Planning Perspectives Manuscript ID RPPE-2018-0109.R1 Manuscript Type: Original Article Keywords: Mario Ridolfi, urban planning, Terni, public space, palazzina URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives For Peer Review Only Mario Ridolfi’s lifelong work in the area around the Corso del Popolo in the city of Terni has merited special attention among researchers because of its sensitiveness towards the historical surroundings, its ability to integrate townplanning and architecture and its capacity to transform the city’s skin and structure. The aim of the paper is to shed light on the origins, design strategies and translation into architecture that informed the approval of the Variante al Piano di Ricostruzione Corso del Popolo, piazza del Popolo e zone adiacenti in 1959. A comparative analysis of mainly unpublished, original sketches dating back to 1932 helps to understand the planning precedents that ultimately led to the decision to open the Corso del Popolo (1984 to 1932), the variations of the specific layout of this urban project from 1932 to its approval in 1959 and the unique application of planning strategies into Ridolfi’s buildings for central Terni. The study reveals the persistence of previous planning ideas that were not proposed but accepted by Ridolfi, the depiction of the ‘squared street’ as a new paradigm of open space, and the intrinsic paradoxes that informed the difficult embedding of the palazzina typology into the fragile urban fabric of the old city centre. Page 1 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only A city made of rooms. Revisiting the interactions between urban planning and building typology in Mario Ridolfi’s projects for Terni Mario Ridolfi’s lifelong work in the area around the Corso del Popolo in the city of Terni has merited special attention among researchers because of its sensitiveness towards the historical surroundings, its ability to integrate town-planning and architecture and its capacity to transform the city’s skin and structure. The aim of the paper is to shed light on the origins, design strategies and translation into architecture that informed the approval of the Variante al Piano di Ricostruzione Corso del Popolo, piazza del Popolo e zone adiacenti in 1959. A comparative analysis of mainly unpublished, original sketches dating back to 1932 helps to understand the planning precedents that ultimately led to the decision to open the Corso del Popolo (1984 to 1932), the variations of the specific layout of this urban project from 1932 to its approval in 1959 and the unique application of planning strategies into Ridolfi’s buildings for central Terni. The study reveals the persistence of previous planning ideas that were not proposed but accepted by Ridolfi, the depiction of the ‘squared street’ as a new paradigm of open space, and the intrinsic paradoxes that informed the difficult embedding of the palazzina typology into the fragile urban fabric of the old city centre. Keywords: Mario Ridolfi; urban planning; Terni; public space; palazzina Introduction From the late 1940s, the architect Mario Ridolfi, often in collaboration with Wolfgang Frankl, left an indelible trace on the city of Terni through his urban plans for the reconstruction and extension of the city and the construction of a considerable number of buildings. The latter were instantly recognizable from their language and were distributed around the city, from the historic centre to the new expansion areas. These works were imitated frequently by local professionals. As Paolo Portoghesi stated: Page 2 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only ‘There are at least a thousand buildings in Terni constructed in the last thirty years that consciously or unconsciously have been erected using the language that the master [Ridolfi] refined from the 1950s. These buildings vary greatly from each other in their quality and formal features, but they all belong to the same family, with constant and easily recognizable physiognomic characteristics’.1 The cumulative outcome of this process is admittedly unique. It would be difficult to find another example of a post-war European city that has been so clearly marked by the continuous work of a single architect over several decades. The example of Terni has been the focus of numerous perspectives and approaches in Italian and Spanish research. Notable are a number of urban history reviews of the sequence of plans that culminated in the Piano Regolatore Generale of Terni,2 the well-illustrated compendia of works and papers published in specialized journals like Controspazio 1974 (1 and 3) and 1979 (5 and 6) and other complete monographs on the issue.3 In-depth studies have been undertaken on many of Mario 1 Portoghesi, ‘Una Città d’autore’, 17. 2 Coppa, ‘Il Piano Regolatore Di Terni’; Coppa, ‘Il Piano Regolatore Di Terni: Parte Seconda’; Fraticelli, ‘Terni: Progetto e Città’; Pirro, Enrico Lattes: L’architetto Ritrovato; Tarquini, La Forma Della Città Industriale. Terni. Il Progetto Delle Parti. 3 Brunetti, Mario Ridolfi; Sánchez and Recuenco, Mario Ridolfi (1904-1984). La Arquitectura de Ridolfi y Frankl; Bellini, Mario Ridolfi; Palmieri, Mario Ridolfi. Guida All’architettura; Nicolini, Mario Ridolfi: Architetto: 1904-2004. Page 3 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Ridolfi’s projects and influences4 and there is an ambitious and interesting explanation of these architectural elements in Terni.5 This paper highlights the value of an outstanding group of projects that emerged in relation to the Variante al Piano di Ricostruzione Corso del Popolo, piazza del Popolo e zone adiacenti, a plan approved on 04/04/1959 by a Decreto del Ministero dei LL. PP (no 260). The hypothesis is that through this plan, M. Ridolfi and W. Frankl integrated town-planning considerations and architecture, with clear sensitiveness towards Terni’s historical district. The Corso del Popolo plan could be considered the largest modernization operation in the centre of Terni and a relevant scenario for testing delicate, innovative collective housing. 4 Palmieri, Mario Ridolfi. Guida All’architettura; Polin, ‘Mario Ridolfi, Volfango Frankl, Domenico Malagricci. Nuovo Palazzo per Uffici Del Comune Di Terni’; Cellini, ‘Su Mario Ridolfi. Geometria e Costruzione Della Pianta Centrale’; Cellini, D’Amato, and Palmieri, Mario Ridolfi: Manuale Delle Tecniche Tradizionali Del Costruire: Il Ciclo Delle Marmore; Cellini and D’Amato, Mario Ridolfi All’Academia Di San Luca; Feduchi, ‘Memoria y Lugar: Una Reflexión Sobre La Actuación de Mario Ridolfi y Wolfgang Frankl En Torno Al Palacio Spada de Terni’; Soto, ‘Forma y Lugar’; Moschini and Rattazzi, Mario Ridolfi. La Poetica Del Dettaglio; Cavallari, Ridolfi e Frankl: Progettare e Costruire. Il Nuovo Palazzo per Uffici Comunali a Terni. 5 Prosperetti, ‘La Apertura Del Corso Del Popolo En Terni: Un ‘Sventramento’ de Mario Ridolfi’; Tarquini, Terni, Città d’autore: Guida Ad Un Percorso Ridolfiano; Tarquini, La Città Di Mario Ridolfi; Portoghesi, ‘Una Città d’autore’, 2005. Page 4 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Through the analysis of mainly unpublished working drawings on this area, this paper aims to complement the literature on the subject by shedding light on the design strategies that led to its recognizable urban layout of setbacks and vibrating alignment, porticoes and outstanding architectural elements. What were the origins, references and evolution of the design strategies used by Mario Ridolfi for the Corso del Popolo from his first entry to the Piano Regolatore competition in 1932 to the version that was approved in 1959? Methodology and structure The arguments and conclusions presented in this paper are based on the interpretation of primary and secondary sources obtained from a systematic review of literature on the topic, consultation of the original manuscripts and graphic documentation available in the Accademia di San Luca archives, the redrawing and comparison of over thirty unpublished drawings in Luciano Marchetti’s Archive (Terni), the recording of interviews with engineers and collaborators on these projects, a review of the documents provided by the Municipality of Terni and a field visit to the area. The primary documentation was arranged in chronological order and then subdivided into three areas of study: general urban planning, the design process for the Piano Particolareggiato del Corso del Popolo and the detailed scope of the architectural design in that area. Corso del Popolo and the foundation of modern Terni Mario Ridolfi’s and Mario Fagiolo’s fountain in Piazza Tacito, Terni, was inaugurated in 1932 and marked the starting point of Mario Ridolfi’s continuous engagement with the new capital of the province until his death in 1984. The fountain’s water movement recalled the Marmore Falls that produced the energy for the steel plants opened in the Page 5 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only mid-eighteenth century. Like other Italian steel producers such as Geneva or Taranto, the city of Terni gradually became a dual city tensioned by the specialized logics of the industrial areas and their deep influence on social demands and urban modernization.6 This could explain why, according to Aldo Tarquini, Terni’s transformation in the mid twentieth century was associated with a deeply rooted industrial culture rather than the political context, such as the fascist regime in 1923.7 In the case of the invention and construction of the Corso del Popolo, these general considerations could be examined by comparing the sequence of unbuilt plans that preceded the final solution built by Mario Ridolfi’s studio. Three key episodes in the history of the general form of Terni can be differentiated here: First episode: retracing Terni’s city centre The first general ideas for the transformation of Terni’s Roman fabric were introduced after the arrival of the railroad in the city between 1865 and 1869.8 This meant that a direct connection to the historical city centre was required through a new straight avenue: Corso Cornelio Tacito. This new north-south avenue cut through the city centre with a relatively moderate width (16 m), enabling good integration with the existing fabric. The street was combined with a transverse avenue (Viale Cesare Battisti/Benedetto Brin) that crossed at the cornerstone of the new main square (Piazza Cornelio Tacito), thus generating a new modern coordinate system. 6 Portelli, Biografia Di Una Città. Storia e Racconto: Terni 1830-1985. 7 Tarquini, La Forma Della Città Industriale. Terni. Il Progetto Delle Parti, 40. 8 Coppa, ‘Il Piano Regolatore Di Terni’, 69–76. Page 6 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Gaetano Possenti’s plan in 1884 (Figure 1(a)) can be interpreted from the perspective of the mid-nineteenth century tradition of urban extension grids and the renewal of old European cities. His project envisaged a new district between Terni’s old core and the station by converging two grid geometries and preserving the existing Fonderia (foundry). A new industrial district was also located to the east of the city. In turn, the old city centre was meant to be drastically renewed by overlaying a new grid system (ca. 120x120 m) and new diagonal streets. The area that later became the Corso del Popolo (see the bold line) was part of a new grid that followed the direction of the former Roman cardus (the Via Roma). Therefore, it was a first attempt to include this less dense area into the general structure of Terni. The plan created by the Commissione Edilizia in 1886, approved in 1887 (Figure 1(b)), was designed to fit the previous plan into the demands of industrial promoters.9 The new plan reshaped the district surrounding Cornelio Tacito’s square and restructured links with the industrial area’s infrastructure to the north and east. The plan also confirmed the hypothesis that the area east of Palazzo Spada, the future Corso del Popolo, ought to be considered a city expansion; a new urban grid. After some minor planning interventions such as the plan led by Cassian Bon in 1911, the post-war plan designed by the engineer Giovanni di Vella and approved in 1919 focused more on the development of Terni’s bourgeois districts (the Quartiere Battisti and Città Giardino). The plan also continued with the idea of a grid extension for the future area of Corso del Popolo and, more importantly, it pursued a major renovation in the Piazza Vittorio Emanuele, including the demolition of the Church of 9 Tarquini, La Forma Della Città Industriale. Terni. Il Progetto Delle Parti, 29. Page 7 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only San Giovanni Decollato and the construction of the new Palazzo delle Poste (1918- 1936) by the architect Cesare Bazzani. After the nomination of Terni as capital of the province in 1927, the engineer Fabrizio Ramaccioni drew up a new plan in 193110 (Figure 1(c)), which developed an ambitious yet extemporaneous image for the city’s extension and modernization. The provisions for the inner city included widening some streets and the idea of a ring road avenue. Although no major transformation were executed in this period, the plans established a way to shape the city by expanding it and addressing its implosion through successive overlapped coordinates: from the cardus-decumanus Roman scheme towards the Piazza Cornelio Tacito and, finally, with the Corso del Popolo as a strategic needle pointing to the heart of the city, establishing a new centre of gravity for development to the south. Second episode: a curved street or a straight sventramento? Terni’s general urban form was under discussion again from 1932 onwards, due to the national competition for the new Piano Regolatore that was organized to determine the future development of the city and its renewal.11 The team lead by Mario Ridolfi together with Gaetano Minnucci, Alfio Susini, Mario Fagiolo and Frenguelli received the ex aequo award (Figure 2(a)). The winning project was by architects Saul Bravetti and Enrico Lattes and engineer Tullio Staderini (Figure 2(b)). It was approved on 4 10 Cristofori, Terni e Bilbao. Città Europee Dell’acciaio; Pirro, Enrico Lattes: L’architetto Ritrovato, 217. 11 Fuselli, ‘Il Concorso Nazionale per Il Piano Regolatore Di Terni’. Page 8 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only between the linearity of Corso Littorio and the new piazza linking the Palazzo Spada with the San Salvatore church (Figure 4(b)). However, a similar strategy can be found in the use of a new square as an ‘interlocking space’28 connecting the Corso with the existing public squares. The final plan approved in 1937 (Figure 4(c)) continued with this scheme but opened a new east-west axis in the configuration of the new square. The configuration of Piazza Vittorio Emanuele became a matter of discussion. Architects such as Cesare Bazzani worked extensively in Terni between 1901 and 1939, and in 1933 worked on the replacement of the existing church of San Giovanni Decollato in Piazza Vittorio Emanuele with the new Palazzo delle Poste.29 The Palazzo was built in 1936. From 1937, Bazzani worked in parallel on the adaptation of the piazza to the new provisions of the Piano Regolatore approved the same year. His design was inspired by Bravetti’s: drawing a gentle curve towards the new Corso del Popolo, thus pushing into second place continuity towards the former cardus and erasing the square that both Ridolfi and Staderini had proposed in their designs (Figure 4(d)). Other relevant projects include one in June 1933 by engineer Angelo Guazzaroni (exaequo in the 1933 competition with an entry entitled ‘Terni Fascista’) or a project by Emanuele Caniggia in 1944.30 In 1985, Carlo Aymonino drew his project ‘Tre piazze a Terni’; a more recent design that is worthy of an in-depth study. Beyond the differences in scope and quality, all the aforementioned designs questioned the role of the spatial link between the new Corso del Popolo and the existing system of piazzas in the potential success of the project. Solving the Corso del 28 Bacon, Design of Cities, 69. 29 Bazzani, Giorgini, and Tocchi, Cesare Bazzani: Un Accademico d’Italia. 30 Emanuele, ‘Il Nuovo Piano Di Ricostruzione’. Page 15 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Popolo was not just a matter of building heights, porticoes or setbacks, but a complex issue based on effective, rich articulation with the existing system of public squares. 1944–1949. Corso del Popolo under the shape of the movement The working drawings that Ridolfi and Frankl produced after the 1944 bombing for the Piano di Ricostruzione comprise a second phase in the development of the final solution for Corso del Popolo (Figure 4 (e-h)). Although no chronological evidence has been found in the order of the sketches, two main arguments can be identified: The first group was mainly guided by the introduction of traffic logic that affected the old fabric. Images such as Figure 4(e) show how, to some extent, the problem of rebuilding the city after the bombing was neither a matter of squares and streets nor a more general discussion about the city’s new coordinate system. Instead, it was focused on facilitating movement flows. As the drawing itself expresses, working with forms of mobility meant the introduction of new urban structures such as ring roads and, more dramatically, the continuity of some important cross streets that irrigated the heart of the city. The modernity of mid-twentieth century sventramenti was related to radius of movement and continuity rather than the perspective of representation and hygiene. As declared in the Relazione of the Piano di Ricostruzione, the Corso del Popolo was thus considered a key strategic link within a more general structure designed for the automobile.31 This approach led to studies such as Figure 4 (e), in which the previous concatenation of linear elements and squares proposed in the 1930s was deliberately blurred into an ambiguous form of wide streets or linear squares. The previous 31 Ridolfi, ‘Relazione. Piano Di Ricostruzione Della Città Di Terni’. Page 16 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only appealing assemblage of spaces and diagonals could now be solved by the continuous form of the movement flow and the subsequent introduction of eroded corners, curvilinear traces of traffic and new roundabouts to channel the streams. Mario Ridolfi’s layout remained in a tense equilibrium between the echoes of Camillo Sitte’s urban design theories32 and echoes of Italian Futurism’s fascination with movement and speed as the source of new urban energy: form should follow the flow. Thus, Corso del Popolo appeared as a wide river of movement in which the existing buildings, such as Palazzo Spada, remained as static cobblestones. In parallel, a second group of drawings (Figures 4(f–g)) explored the dichotomy between the linear Corso del Popolo, embedded in a new urban grid, and the organic assembly of squares around Palazzo Spada. Figure 4(h) correspond to the final version of the Piano di Ricostruzione (1949) and might be considered a long exploration of a mediating form that could help to solve the integration of these two formal orders: flow and pause, linearity and concavity. 1957–1959. Corso del Popolo and the depiction of the ‘squared street’ Following the prescriptions of the Legge Urbanistica Nazionale 1150/1942,33 in March 1955 architects Mario Ridolfi and Alberto Staderini were both commissioned to undertake the new Piano Regolatore Generale (PRG) for Terni; a document that was initially approved in March 1962 and whose application began in October 1967. On 23 May 1956, Staderini declined the offer (see original manuscript CD180-XV at Accademia di San Luca) and was replaced by Giovanni Possenti. 32 Sitte, Der Städtebau Nach Seinen Künstlerischen Grundsätzen. 33 Fantozzi Micali, Piani Di Ricostruzione e Città Storiche: 1945-1955. Page 17 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only According to the correspondence between Ridolfi and the Municipality of Terni, different tempos were used to draw up the PRG: the territorial and municipal planning strategies for Terni and the detailed implementation plans for the Corso del Popolo area. While the two strategies involved a long, hazardous process of redaction and approval34, the implementation plans followed their own parallel path. From the first report on 10 June 1957 entitled Breve relazione dei compilatori del Nuovo Piano Regolatore sulla necessità della salvaguardia delle aree centrali nella città di Terni (CD180-LV) to the document Relazione of the Variante al Piano di Ricostruzione corso del Popolo, piazza del Popolo e zone adiacenti (CD180-LXIX) on 15 September 1957 and the final presentation to the Municipality on December of the same year, intense work was undertaken to produce a definite solution for this degraded part of the city. As stated in the letters sent to the Municipality of Terni on 7 June (CD180-CXXXI) and 14 October 1958 (CXLIII), Mario Ridolfi declared an urgent need to approve this document outside of the regular timing of the PRG. The Variante was finally approved on April 1959 and, in general terms, the experience of Corso del Popolo might be regarded as an executive project35 that was meant to test the town-planning strategies outlined at the PRG (Figure 3(b)). The Corso del Popolo’s plan was incorporated as one of the Piani Particolareggiati that informed the transformation of the city centre at the Piano Regolatore Generale. From another perspective, a new design strategy was envisaged for this final proposal of the Corso del Popolo adopted in 1959 (Figure 4(i) and 5): the previous 34 Cellini and D’Amato, Mario Ridolfi All’Academia Di San Luca. 35 Fraticelli, ‘Terni: Progetto e Città’, 76. Page 18 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only dichotomy between the linear street and the sequence of squares was approached through interaction between both categories. Now the street could be imagined more as a ‘necklaces of squares’ or, as Aldo Tarquini stated, ‘a continuous system of differentiated cells’.36 Mario Ridolfi himself explained in the Relazione manuscript that introduced the Variante al Piano di Ricostruzione Corso del Popolo that, according to the guidelines on the new in-progress Piano Regolatore Generale, the Corso del Popolo would lose its function as a longitudinal traffic artery for the city. Accordingly, it was more appropriate ‘to modify its characteristics (…)from the perspective of aesthetics’. Ridolfi described the new layout as follows: ‘The street has kept the original axis, but it will no longer be shaped by a monotonous succession of porticoed buildings of the same height (five-and-a-half storeys), arranged along the same alignment and only interrupted by a new cross street. Instead, it will adopt a more civic character, it will follow the succession of different episodes, the most important of which is found between Palazzo Spada and the Church of S. Salvatore, and it will end in Piazza del Popolo’.37 It is a street comprised of a rhythm of urban episodes, a street made of a varied yet harmonic composition of new architectures, trying ‘to ease the transition between the existing buildings of Via Roma and that will define the new street’.38 36 Tarquini, Terni, Città d’autore: Guida Ad Un Percorso Ridolfiano, 12. 37 Ridolfi, ‘Relazione. Variante Al Piano Di Ricostruzione Corso Del Popolo. Piazza Del Popolo e Zone Adiacenti’, 2. 38 Ibid. Page 19 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only The building setbacks generated a layout of public space that was the extension of the organic order of piazzas to build a new street, a ‘squared street’, rather than the prolongation of the linearity of the Corso towards the city centre. Unlike a conventional street, the new squared street highlighted the preponderance of corners rather than the skewed vision of plain façades, the sequence of thresholds rather than the continuity of alignments and the force of verticality rather than the horizontal lines. The setbacks of the final masterplan for Corso del Popolo39 might therefore be regarded as a result of an extension of the open space structure of Piazza Vittorio Emanuele and Piazza Solferino, rather than a direct response to the existing pattern of the old fabric. The resulting public space offered an inner paradox by joining both the expression of static urban rooms and movement logic, the intricacies of the traffic flows -the so-called ‘rotazione viaria’ condition mentioned by Mario Coppa40- and the regular geometry of the alignments. However, such a unique layout should not be considered an invention of Mario Ridolfi stricto sensu, but an innovative evolution of previous references. There is a strong connection with the architect Marcello Piacentini, of whom Ridolfi wrote: ‘Marcello Piacentini taught me all about town planning. Piacentini was too much of an architect to do urban planning, he did it like an architect does: as a city sculptor’.41 It is relevant that Marcello Piacentini was not only young Mario Ridolfi’s master, but also part of the jury that awarded his Fontana in Piazza Tacito in 1932.42 The associations 39 Clua, ‘La Arquitectura Del Swing. Sutilezas y Perturbaciones de La Forma Urbana’. 40 Coppa, ‘Il Piano Regolatore Di Terni: Parte Seconda’, 67. 41 Bellini, Mario Ridolfi, 80. 42 Tarquini, La Forma Della Città Industriale. Terni. Il Progetto Delle Parti, 87. Page 20 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only between Corso del Popolo and Piacentini’s work can be seen in some of his projects, such as the decalage of the perimeter of the new Piazza della Vittoria in Brescia (1928– 1932)43 and Piazza Dante in Napoli (1937–41) or in the extensive use of porticoes in the Via Roma Nuova of Torino (1934–1935). Beyond the evident difference in the attributes that inspired and signified Piacentini’s style, Mario Ridolfi’s Corso del Popolo might be considered the application of the same spatial concepts, now influenced by the culture of neorealism44 translated into the conception of urban planning. The Corso del Popolo’s design strategy can also be traced to the extensive production of new housing districts guided by INA Casa from 1949. Among them, the Quartiere Tiburtino, developed by Mario Ridolfi from 1949 to 1954 in collaboration with Ludovico Quaroni, explored the possibilities of an irregular aggregation of housing typologies and the ensuing generation of a varying number of intermediate collective spaces. Skewed geometries, warm colours and materials, inclined roofs and a wide spectrum of typologies were used to achieve a varied, human-scale urban landscape. Other projects by Mario Ridolfi such as the Edifici INA Casa, called ‘case siamesi’ in Terni (1949–1951), explored similar concepts to the Corso del Popolo, such as how to address the regularity of rational, strict repetition of sun-oriented blocks given by the urban layout by including subtle setbacks, diagonals and shifts in the location and geometry of each block to generate varied open spaces. 43 Pacini, ‘La Sistemazione Del Centro Di Brescia Dell’architetto Marcello Piacentini’. 44 Ridolfi, ‘Progettare per Una Città Di Media Grandezza’; Canella, ‘Maestri Razionalisti e Neorealisti Italiani Nell’era Dei Graffiti?’ Page 21 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only The origins of Corso del Popolo’s layout can also be connected to a more general framework of references. German architect Wolfgang Frankl had a strong influence, as he started work in Mario Ridolfi’s office in 1934. As stated by Luciano Marchetti in the interview, he inspired most of the strategic conception of the urban planning and, more specifically, he could have informed Ridolfi about the work of his former collaboration with Luigi Piccinato. Sabaudia’s central square, designed in his Piano Regolatore 1933–1948, might have inspired Corso del Popolo’s vibrating layout and use of porticoes, although differences in density and context should be acknowledged. Wolfgang Frankl also helped introduce Mario Ridolfi to German architectural culture. In 1934, Mario Ridolfi travelled with Dieter Österlen to Germany and Switzerland and was impressed by Bauhaus rationalism and German expressionism.45 He formed a strong friendship with German architect Konrad Wachsmann, a great connoisseur of Tessenow’s research. These references, together with his strong connection to the Accademia Tedesca in Villa Massimo, Roma, might explain the echoes of German urban planning. For instance, the design strategies underlying the Corso del Popolo could be regarded as an echo of the controversy between straight or crooked streets, introduced by Joseph Stübben in 1877 and popularized by Karl Henrici’s comparison with Camillo Sitte’s City Planning According to Aesthetic Principles (1889).46 Echoes of the Civic 45 Bonaccorso, ‘Mario Ridolfi e La Cultura Tedesca: Frequentazioni, Influenze e Progetti Tra Il 1933 e Il 1938’. 46 Boyd Whyte, Modernism and the Spirit of the City, 60; Sonne, Urbanity and Density in 20th Century Urban Design, 121. Page 22 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Art movement influenced by Albert Brinckmann, Werner Hegemann or Gustavo Giovannoni in Italy could also be highlighted.47 Similar design arguments as in Corso del Popolo can be found, for example, in projects such as the Strasse des 18. Oktober in Lepzig, 1916, published in The American Vitruvius.48 In fact, Mario Ridolfi visited that city and was probably inspired by the porticoes and setbacks in the layout of this street between Härtelstrasse and Dimitroffstrasse. Other examples such as Cornelis Van Eesteren’s entry for the competition of Unter den Linden in 1925 or the setbacks included by Erik Gunnar Asplund in his entry for the Götaplatsen’s competition in 1917, Göteborg,49 might not have been familiar to Mario Ridolfi, but they indicate a similar field of interest in concern for the shape of the public space. Following the broader spectrum of design strategies, Corso del Popolo could be linked to the dichotomy shown in 1921 by Le Corbusier between the rue corridor and the rue à redents. The idea of the redents was influenced by the Fröbel game, the boulevard à redants of Eugène Hénard or Auguste Perret or the development of large social utopian housing complexes such as the Phalanstere,50 which gave Le Corbusier a rich spatial variability in the continuous system of streets and façades. In fact, the modern open space envisaged by the master was not meant to be boundless, but an environment limited by the buildings themselves and the vegetation.51 Hence, the redents were a synthetic answer to both the openness of Modernity and the required 47 Sonne, Urbanity and Density in 20th Century Urban Design. 48 Hegemann and Peets, The American Vitruvius: An Architects’ Handbook of Civic Art. 49 Blundell, Gunnar Asplund, 84. 50 González Cubero, ‘Endurance and Transformation in Le Corbusier’s Redent’. 51 Corbusier, Urbanisme, 225. Page 23 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only closeness of human perception.52 As a result, the public space created in-between the bàtiments à redants could be considered ‘a street, square or park all at once’.53 It is not hard to imagine the influence of such a modern paradigm in Ridolfi´s project. The systematic setbacks of the buildings echoed a micro-scaled, purposeful application of the rue à redants’ urban layout. However, the resulting open space was neither a vast and formless ground nor an interstitial place between figures. In the squared street, the open space was interpreted as a figure with its own identity and attributes, dimensioned highly accurately (Figure 5). As in a still life painted by Giorgio Morandi,54 the proximity and articulation between the urban elements, the subtle displacement of the façades and the strategic position of the unrealized project for the Palazzo per Uffizi Comunale produced something beyond a Modern Movement’s juxtaposition of elements or even more than a parataxis.55 The resulting masterplan introduced inflection as a way to create urban coherence and the interplay of tense and interesting distances,56 to produce a higher level of relationships and, therefore, urbanity. 52 González Cubero, ‘Endurance and Transformation in Le Corbusier’s Redent’. 53 Ibid., 72. 54 Feduchi, ‘Mario Ridolfi: El Dibujo y La Renuncia’. 55 Prosperetti, ‘La Apertura Del Corso Del Popolo En Terni: Un ‘Sventramento’ de Mario Ridolfi’. 56 De Solà-Morales, A Matter of Things, 171–73. Page 24 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only typology. The use of palazzina by Ridolfi managed to integrate into the domestic domain a richness akin to that which squared streets had provided in the public realm. The palazzina, as a house comprised of rooms, established this relation between the city’s structure and the housing typology in a conceptual continuity between domestic and urban ideas in Terni’s fragile fabric. The Corso del Popolo reveals specific implementation plans’ ability to shape the forma urbis as a whole and their capacity to reach the detailed scale of the dwelling.71 Conversely, the detailed design of the Fratelli Briganti, Pallotta or Franconi buildings proves the powerful capacity of urban planning to inspire meaningful architecture of the city, albeit by understanding planning not ‘as abstract zoning but as an architecture project developed at an urban scale’.72 The resulting collage of the Piani Particolareggiati designed by Mario Ridolfi and Wolfgang Frankl that followed the Variazione of Corso del Popolo might express a way of addressing the planning of cities through the concatenation of parts (Figure 7). Finally, Mario Ridolfi’s experience of glissement d’échelles in Corso del Popolo might be vindicated as a key episode in a hidden history of the urban planning beneath the epigones of modern functionalism. As clearly defined in the journal Casabella no. 487 (1983) and later confirmed by Manuel de Solà-Morales in the aforementioned article "The second history of the urban project”73, it is of interest to examine this tradition ‘between the architecture of buildings and town planning’, to retrace the confluence between these disciplines, not as a matter of mere further detailing but as a 71 Ercolani, ‘Architettura Di Ridolfi a Terni’, 87. 72 Portoghesi, ‘Presenza Di Ridolfi’, 9. 73 De Solà-Morales, ‘La Segunda Historia Del Proyecto Urbano’. Page 31 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only real interaction between the form of the city and the discussion of its architecture. The relevance of this topic might be justified, for example, by recent research such as Wolfgang Sonne’s work on the twentieth century ‘urbane dense city’74 or Brent D. Bryan’s recent exploration of the theoretical foundation of urban design as the largest of the building arts.75 Therefore, this paper could open up a future line of research on a particular, bottom-up way of shaping the built environment almost as a matter of craftmanship, illustrated by the fertile interaction between architects and their cities. Inspired by preeminent examples such as Palladio in Vicenza or K. F. Schinkel in Berlin, on-going research is designed to explore the scope, design strategies and potential of ‘500-metre’ urban planning. Relevant examples are Gustav Gull in Zürich, Theodor Fischer in Münich, Giovanni Muzio in Milan, Jože Plečnik in Ljubljana, Wilhem Marinus Dudok in Hilversum, Fritz Schumacher in Hamburg, Mario Ridolfi in Terni, GianCarlo de Carlo in Urbino and, more recently, K.R. Schättner in Eichstätt or Luigi Snozzi in Monte Carasso. In all of these examples, similar planning strategies can be found, with ways to move from abstract deductive thinking to approaching planning in cities as a craft-centred, tactile endeavour that can overcoming the constraints of authorship and become the material representation of a society’s memory and culture. Disclosure statement No potential conflict of interest was reported by the authors 74 Sonne, Urbanity and Density in 20th Century Urban Design. 75 Ryan, The Largest Art: A Measured Manifesto for a Plural Urbanism. Page 32 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Geolocation information. 42°33’37.0"N 12°38’49.0"E Terni, Italy Page 33 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Andreani, Francesco. ‘Le Case Franconi in Corso Del Popolo’. In Mario Ridolfi Architetto 1904-2004, edited by Renato Nicolini, 176–86. Milano: Electa, 2005. Andriani, Carmen. ‘Palazzine Romane Di Mario Ridolfi: Dalla Rea Alla Zaccardi, Alterazione Distorsione e Corruzione Della Figura Razionalista’. Rassegna Di Architettura e Urbanistica 89–90 (1996): 122–29. Aristotle, Kallis. The Third Rome, 1922-1943. The Making of the Fascist Capital. New York: Palgrave McMillan, 2014. Bacon, Edmund N. Design of Cities. London: Thames and Hudson, 1978. Bazzani, Cesare, Michele Giorgini, and Valter Tocchi. Cesare Bazzani: Un Accademico d’Italia. Perugia: Electa/Umbri Associati, 1988. Bellini, Federico. Mario Ridolfi. Roma: Laterza, 1993. Blundell, Peter. Gunnar Asplund. New York: Phaidon, 2006. Bonaccorso, Giuseppe. ‘Mario Ridolfi e La Cultura Tedesca: Frequentazioni, Influenze e Progetti Tra Il 1933 e Il 1938’. In Mario Ridolfi Architetto 1904-2004, edited by Renato Nicolini, 107–14. Milano: Electa, 2005. Boyd Whyte, Iain. Modernism and the Spirit of the City. London: Routledge, 2003. Brunetti, F. Mario Ridolfi. Firenze: Alinea, 1985. Canella, Guido. ‘Maestri Razionalisti e Neorealisti Italiani Nell’era Dei Graffiti?’ Hinterland 13–14 (1980): 2–3. Cavallari, Luigi. Ridolfi e Frankl: Progettare e Costruire. Il Nuovo Palazzo per Uffici Comunali a Terni. Pescara: Sala Editori, 2000. Cellini, Francesco. ‘Su Mario Ridolfi. Geometria e Costruzione Della Pianta Centrale’. Lotus International 37 (1983). Cellini, Francesco, and Claudio D’Amato. Le Architetture Di Ridolfi e Frankl. Milano: Electa, 2005. ———. Mario Ridolfi All’Accademia Di San Luca: Edizione Critica Del Corpus Dei Disegni Di Architettura e Dei Documenti Dello Studio Ridolfi e Fondo Ridolfi- Frankl Malagricci (1924-1984) Dell’Archivio Dell’Accademia Nazionale Di San Luca. Roma : Graffiti, 2003. Page 34 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Cellini, Francesco, Claudio D’Amato, and Valerio Palmieri. Mario Ridolfi: Manuale Delle Tecniche Tradizionali Del Costruire: Il Ciclo Delle Marmore. Milano : Electa, 1997. Clua, Álvaro. ‘La Arquitectura Del Swing. Sutilezas y Perturbaciones de La Forma Urbana’. Palimpsesto 9 (2014): 6–7. Comune di Terni. ‘Relazione Summaria Sui Danni Arrecati Alla Città Di Terni Da Azioni Di Guerra e Provvedimenti Adottati e Da Adottare per i Lavori Di Riparazione’. Terni, 1945. Coppa, Mario. ‘Il Piano Regolatore Di Terni: Parte Seconda’. Urbanistica 35 (1962): 59–72. ———. ‘Il Piano Regolatore Di Terni’. Urbanistica 34 (1961): 69–76. Corbusier, Le. Urbanisme. Paris: Crès, 1925. Covino, Renato. ‘Percezione Della Città e Piani Urbanistici’. In La Città Di Mario Ridolfi: Architettura, Urbanistica, Storia, Arte, Cinema, Fotografia, edited by Aldo Tarquini. Roma: De Luca Editori d’Arte, 2005. Cristofori, Cecilia. Terni e Bilbao. Città Europee Dell’acciaio. Milano: Franco Angeli, 2014. De Solà-Morales, Manuel. A Matter of Things. Rotterdam: Nai, 2008. ———. ‘La Segunda Historia Del Proyecto Urbano’. Revista UR 5 (1987): 21–27. Emanuele, Caniggia. ‘Il Nuovo Piano Di Ricostruzione’. L’Umbria Democratica. 19 November 1949. Ercolani, Giampaolo. ‘Architettura Di Ridolfi a Terni’. Controspazio 3 (1974): 84–101. Fantozzi Micali, Osanna. Piani Di Ricostruzione e Città Storiche: 1945-1955. Firenze: Alinea Editrice, 1998. Feduchi, Pedro. ‘Mario Ridolfi: El Dibujo y La Renuncia’. Arquitectura 290 (1992): 110–16. ———. ‘Memoria y Lugar: Una Reflexión Sobre La Actuación de Mario Ridolfi y Wolfgang Frankl En Torno Al Palacio Spada de Terni’. Arquitectura 271–272 (1988): 124–33. Page 35 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Fraticelli, Vanna. ‘Terni: Progetto e Città’. Controspazio 3 (1974): 74–83. Fuselli, Eugenio. ‘Il Concorso Nazionale per Il Piano Regolatore Di Terni’. Architettura, no. 2 (1934): 107–17. González Cubero, Josefina. ‘Endurance and Transformation in Le Corbusier’s Redent’. Journal of Architecture and Urbanism 40, no. 2 (2016): 60–74. doi:10.3846/20297955.2016.1194604. Hegemann, Werner, and Elbert Peets. The American Vitruvius: An Architects’ Handbook of Civic Art. New York: Architectural Book, 1922. Morelli, Comunardo. ‘Opere Di Ricostruzione. Provvedimenti Contingibili Ed Urgenti. Richiesta Di Parere All’Architetto Ridolfi. Relazione Del Sindaco Alla Giunta Nella Seduta Del 24 Novembre 1944’, 1944. Moschini, Francesco, and Luciana Rattazzi, eds. Mario Ridolfi. La Poetica Del Dettaglio. Roma: Kappa, 1997. Nicolini, Renato. Mario Ridolfi: Architetto : 1904-2004. Milano: Electa, 2005. Pacini, Renato. ‘La Sistemazione Del Centro Di Brescia Dell’architetto Marcello Piacentini’. Architettura, no. 12 (1932): 649–73. Palmieri, Valerio. Mario Ridolfi. Guida All’architettura. Verona: Arsenale Editrice, 1997. Pendlebury, John, Erdem Erten, and Peter J. Larkham, eds. Alternative Visions of Post- War Reconstruction. Creating the Modern Townscape. New York: Routledge, 2015. Pirro, Danilo Sergio. Enrico Lattes: L’architetto Ritrovato. Roma: Gangemi Editore, 2013. Pizza, Antonio. ‘La Arquitectura, La Narración, Mario Ridolfi y Sus Huellas’. In Mario Ridolfi (1904-1984). La Arquitectura de Ridolfi y Frankl, edited by Ricardo Sánchez and Lucas Recuenco, 231–40. Madrid: Ministerio de Obras Públicas y Transportes, 1991. Polin, G. ‘Mario Ridolfi, Volfango Frankl, Domenico Malagricci. Nuovo Palazzo per Uffici Del Comune Di Terni’. Casabella 489 (1983). Portelli, Alessandro. Biografia Di Una Città. Storia e Racconto: Terni 1830-1985. Page 36 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Torino: Giulio Einaudi, 1985. Portoghesi, Paolo. ‘Presenza Di Ridolfi’. Controspazio 1 (1974): 6–11. ———. ‘Una Città d’autore’. In Terni Città d’autore: Guida Ad Un Percorso Ridolfiano, edited by Aldo Tarquini. Terni: Comune di Terni, 1996. ———. ‘Una Città d’autore’. In La Città Di Mario Ridolfi: Architettura, Urbanistica, Storia, Arte, Cinema, Fotografia, edited by Aldo Tarquini, 19–21. Roma: De Luca Editori d’Arte, 2005. Prosperetti, Francesco. ‘La Apertura Del Corso Del Popolo En Terni: Un “Sventramento” de Mario Ridolfi’. Arquitecturas Bis 21 (1978). Ridolfi, Mario. ‘Progettare per Una Città Di Media Grandezza’. Hinterland 13–14 (1980): 30–35. ———. ‘Relazione. Piano Di Ricostruzione Della Città Di Terni’. Terni, 1945. ———. ‘Relazione. Variante Al Piano Di Ricostruzione Corso Del Popolo. Piazza Del Popolo e Zone Adiacenti’, 1957. Rowe, Colin, and Fred Koetter. Collage City. Cambridge, Massachusetts: The MIT Press, 1978. Ryan, Brent D. The Largest Art: A Measured Manifesto for a Plural Urbanism. Cambridge: The MIT Press, 2017. Sánchez, Ricardo, and Lucas Recuenco, eds. Mario Ridolfi (1904-1984). La Arquitectura de Ridolfi y Frankl. Madrid: Ministerio de Obras Públicas y Transportes, 1991. Sergison, Jonathan, and Stephen Bates. Papers 3. Luzern: Quart Architektur, 2015. Sitte, Camillo. Der Städtebau Nach Seinen Künstlerischen Grundsätzen, 1889. Sonne, Wolfgang. Urbanity and Density in 20th Century Urban Design. Berlin: DOM Publishers, 2017. Soto, Álvaro. ‘Forma y Lugar’. Arquitectura 271–272 (1988): 134–49. Tarquini, Aldo, ed. La Città Di Mario Ridolfi: Architettura, Urbanistica, Storia, Arte, Cinema, Fotografia. Roma: De Luca Editori d’Arte, 2005. ———. La Forma Della Città Industriale. Terni. Il Progetto Delle Parti. Roma: De Page 37 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Luca Editori d’Arte, 2015. ———. Terni, Città d’autore: Guida Ad Un Percorso Ridolfiano. Terni: Comune di Terni, 1996. Page 38 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Figure 1. Graphic interpretation of three plans for Terni: 1885, 1886 and 1931. Elaborated by the authors. Figure 2. Graphic interpretation of three different solutions for Corso del Popolo's area: entries for the Piano Regolatore's competition in 1932-33 and the Piano di Ricostruzione 1944-49. Elaborated by the authors. Figure 3. Comparison between the damaged area by bombs, the demolitions planned by the Piano Regolatore 1937 and the Piano Regolatore Generale 1968. Elaborated by the authors. Figure 4. Graphic interpretation of the sequence of plans produced for Corso del Popolo from 1933 to 1959 by Mario Ridolfi. Elaborated by the authors. Figure 5. Graphic interpretation of the Variante al Piano di Ricostruzione. Piano Particolareggiato per l’area di Corso del Popolo. In red, the new buildings. In grey, the buildings to be demolished. The project for the Palazzo per Uffici Comunale has been added to this drawing. Elaborated by the authors. Figure 6. General view of Franconi Apartment blocks in Corso del Popolo (ca. 1959). Unpublished drawing archived in the office of Eng. Giuseppe Belli, Terni. 100x75cm. Courtesy of Eng. Giuseppe Belli. Figure 7. Collage of the Piani Particolareggiati designed by Mario Ridolfi and Wolfgang Frankl since 1956. Elaborated by the authors. Page 39 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Andreani, Francesco. ‘Le Case Franconi in Corso Del Popolo’. In Mario Ridolfi Architetto 1904-2004, edited by Renato Nicolini, 176–86. Milano: Electa, 2005. Andriani, Carmen. ‘Palazzine Romane Di Mario Ridolfi: Dalla Rea Alla Zaccardi, Alterazione Distorsione e Corruzione Della Figura Razionalista’. Rassegna Di Architettura e Urbanistica 89–90 (1996): 122–29. Aristotle, Kallis. The Third Rome, 1922-1943. The Making of the Fascist Capital. New York: Palgrave McMillan, 2014. Bacon, Edmund N. Design of Cities. London: Thames and Hudson, 1978. Bazzani, Cesare, Michele Giorgini, and Valter Tocchi. Cesare Bazzani: Un Accademico d’Italia. Perugia: Electa/Umbri Associati, 1988. Bellini, Federico. Mario Ridolfi. Roma: Laterza, 1993. Blundell, Peter. Gunnar Asplund. New York: Phaidon, 2006. Bonaccorso, Giuseppe. ‘Mario Ridolfi e La Cultura Tedesca: Frequentazioni, Influenze e Progetti Tra Il 1933 e Il 1938’. In Mario Ridolfi Architetto 1904-2004, edited by Renato Nicolini, 107–14. Milano: Electa, 2005. Boyd Whyte, Iain. Modernism and the Spirit of the City. London: Routledge, 2003. Brunetti, F. Mario Ridolfi. Firenze: Alinea, 1985. Canella, Guido. ‘Maestri Razionalisti e Neorealisti Italiani Nell’era Dei Graffiti?’ Hinterland 13–14 (1980): 2–3. Cavallari, Luigi. Ridolfi e Frankl: Progettare e Costruire. Il Nuovo Palazzo per Uffici Comunali a Terni. Pescara: Sala Editori, 2000. Cellini, Francesco. ‘Su Mario Ridolfi. Geometria e Costruzione Della Pianta Centrale’. Lotus International 37 (1983). Cellini, Francesco, and Claudio D’Amato. Le Architetture Di Ridolfi e Frankl. Milano: Electa, 2005. ———. Mario Ridolfi All’Accademia Di San Luca: Edizione Critica Del Corpus Dei Disegni Di Architettura e Dei Documenti Dello Studio Ridolfi e Fondo Ridolfi- Frankl Malagricci (1924-1984) Dell’Archivio Dell’Accademia Nazionale Di San Luca. Roma : Graffiti, 2003. Page 40 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Figure 2. Graphic interpretation of three different solutions for Corso del Popolo's area: entries for the Piano Regolatore's competition in 1932-33 and the Piano di Ricostruzione 1944-49. Elaborated by the authors. 420x160mm (300 x 300 DPI) Page 47 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Figure 3. Comparison between the damaged area by bombs, the demolitions planned by the Piano Regolatore 1937 and the Piano Regolatore Generale 1968. Elaborated by the authors. 420x219mm (300 x 300 DPI) Page 48 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Figure 4. Graphic interpretation of the sequence of plans produced for Corso del Popolo from 1933 to 1959 by Mario Ridolfi. Elaborated by the authors. 250x739mm (300 x 300 DPI) Page 49 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Figure 5. Graphic interpretation of the Variante al Piano di Ricostruzione. Piano Particolareggiato per l’area di Corso del Popolo. In red, the new buildings. In grey, the buildings to be demolished. The project for the Palazzo per Uffici Comunale has been added to this drawing. Elaborated by the authors. 600x459mm (300 x 300 DPI) Page 50 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Figure 6. General view of Franconi Apartment blocks in Corso del Popolo (ca. 1959). Unpublished drawing archived in the office of Eng. Giuseppe Belli, Terni. 100x75cm. Courtesy of Eng. Giuseppe Belli. 289x143mm (300 x 300 DPI) Page 51 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 For Peer Review Only Figure 7. Collage of the Piani Particolareggiati designed by Mario Ridolfi and Wolfgang Frankl since 1956. Elaborated by the authors. 228x228mm (300 x 300 DPI) Page 52 of 52 URL: http://mc.manuscriptcentral.com/rppe Planning Perspectives 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60