A platform for research: civil engineering, architecture and urbanism
A platform for research: civil engineering, architecture and urbanism
Collage and Photomontage in 1930s: Piero Bottoni’s Architectural Designs
By the end of 1920s, photomontage was adopted throughout Fascist Italy first as a tool for stylistic and fashion criticism, then as a teaching and exhibition device, and lastly in the practice of architectural visualization. While most of architects used it only as an occasional tool to communicate the entries for the major competitions called by the regime, others such as Giuseppe Terragni and Piero Bottoni adopted photomontage as an innovative tool for their enquiries and critical activity as well as a field of mutual exchange and influence. The former used it as a medium to integrate Fascist values into rationalist architecture, while the latter adopted it to evoke figurative references from the cinema – such as the very idea of the cameo – that were useful to visually negotiate the project space and take distance from the regime at the same time. Despite the importance the Futurism and its photographic works had had in the formation of Fascist ideals, around 1936 photomontage began to be considered as a subversive activity close to communism. This article focuses on the use of photomontage in Bottoni’s design representation – particularly of human figures and other details in perspective views – in connection with both its figurative and political agency.
Collage and Photomontage in 1930s: Piero Bottoni’s Architectural Designs
By the end of 1920s, photomontage was adopted throughout Fascist Italy first as a tool for stylistic and fashion criticism, then as a teaching and exhibition device, and lastly in the practice of architectural visualization. While most of architects used it only as an occasional tool to communicate the entries for the major competitions called by the regime, others such as Giuseppe Terragni and Piero Bottoni adopted photomontage as an innovative tool for their enquiries and critical activity as well as a field of mutual exchange and influence. The former used it as a medium to integrate Fascist values into rationalist architecture, while the latter adopted it to evoke figurative references from the cinema – such as the very idea of the cameo – that were useful to visually negotiate the project space and take distance from the regime at the same time. Despite the importance the Futurism and its photographic works had had in the formation of Fascist ideals, around 1936 photomontage began to be considered as a subversive activity close to communism. This article focuses on the use of photomontage in Bottoni’s design representation – particularly of human figures and other details in perspective views – in connection with both its figurative and political agency.
Collage and Photomontage in 1930s: Piero Bottoni’s Architectural Designs
colonnese, fabio (author) / Colonnese, Fabio
2018-01-01
Article (Journal)
Electronic Resource
English
DDC:
720