docomomo venezuela I CENTRO de la Ciudad

docomomo venezuela I CENTRO de la Ciudad
docomomo venezuela I CENTRO de la Ciudad
docomomo venezuela I CENTRO de la Ciudad
DoCoMoMo VE I CENTRO de la Ciudad
Instituto Italiano de Cultura de Caracas I Julio 2012
• Exposición
(04, 07-2012). Las ITALIAS de Caracas. 25 paneles con fotografías actuales a
color por arquitectos, artistas y fotógrafos, un audiovisual en blanco y negro
de fotografías antiguas de las arquitecturas modernas de influencia italiana
en la Caracas del siglo veinte, un mosaico de las arquitecturas urbanas anónimas caraqueñas de mediados del siglo veinte,y diversos objetos.
•(07-2012). Conferencia internacional: Sobre la arquitectura moderna
italiana al estero
Sala TAC, Trasnocho Cultural
•(07, 2012). Ciclo: Las ITALIAS de Caracas
Tres conferencias con especialistas en historia de la Arquitectura
(Ponti, Montini, Di Sapio, Filipponi, Gasparini) (tres días).
Sala TAC, Trasnocho Cultural
docomomo venezuela I CENTRO de la Ciudad
Formalismo Lírico: "La Villa Monzeglio de Nigra Montini"
Gregory Vertullo
Moderno 1950s: "Angelo di Sapio y el edificio Atlantic"
Henry Vicente
Moderno 1950s: "Domenico Filippone y la Casa Italia"
Valeria Ragonne
Moderno 1950s: Trópicos de Ponti
Hannia Gómez
Moderno: Graziano Gasparini
Graziano Gasparini
Lugar: Sala TAC, Trasnocho Cultural.
docomomo venezuela I CENTRO de la Ciudad
docomomo venezuela I CENTRO de la Ciudad
docomomo venezuela I CENTRO de la Ciudad
Las ITALIAS de Caracas / Proyecto en la Sala TAC, Trasnocho Cultural
(ámbitos)
1. Las arquitecturas urbanas anónimas (texto en sala + panel de 6 metros con mosaico de
fotografías a color en pequeño formato provenientes del Preinventario Arquitectónico, Utbano
y Ambiental Moderno de Caracas 2005 2007/ Fundación de la Memoria Urbana)
- La Avenida Victoria
- Colinas de Bello Monte
- Los Chaguaramos
- Las Acacias
- Centro Histórico de Chacao
- La Carlota
…
2. Las arquitecturas de influencia italiana en Caracas (fotografías a color + textos montados en
25 paneles de .90 x 1.2 m como la revista DOMUS 1950s, por arquitectos, fotógrafos y artistas
de la fundación CENTTO de la Ciudad)
1. Athos Albertoni: Casa Los Borges + dos proyectos en Florencia
2. Pietro Ceccarelli: Las Tres Gracias
3. Gaetano Chiaromonte: Estatua de la Libertad
4. Hugo Daini: relieves en La Carlota y Los Próceres
docomomo venezuela I CENTRO de la Ciudad
5. Arturo Dazzi: Estatuas de los Precursores
6. Federico Fabiani: El Angel conduce el Alma + cuatro fuentes en el litoral
7. Domenico Filippone: Casa de Italia, edificio de la Lotería, edificios Atlantic y
Malariología
8. Graziano Gasparini: edificio San Carlos, Cine Variedades, Centro
Dermatológico, quinta Paraguaná, quinta Kerolga, edificio IPASME, Capilla El Junko, etc.
9. Antonio Lombardini: Caurimare, urbanización Colinas de Bello Monte + proyectos en
Roma
10, Nigra Montini: Villa Monzeglio, quinta Mi Trío, edificios Aricagua, Trevi y Nicare
11. Riccardo Morandi: Puente Nueva República + 3 proyectos en Caracas
12. Fausto Melotti: Mural cerámico, Villa Planchart
13. Giuseppe Orsi de Mombello: Palacio de Miraflores
14. Gio Ponti: Villa Planchart, Quinta La Barraca, Villa González-Gorrondona y
Quinta Los Capachos
15. Juan Pedro Posani: Iglesia La Asunción
16. Antonio Pinzani: Centro Comercial Chacaíto, CIV, Escuela Técnica y Centro
Comercial El Marqués
17. Giuseppe Pizzo: murales del Hipódromo La Rinconada y bustos
18. Humberto Poletto: Abadía de San José
19. Marco Redini: Basílica de San Pedro
20. Angelo di Sapio: edificio Atlantic
21. Attilio Selva: Estatuas de los Precursores
docomomo venezuela I CENTRO de la Ciudad
22. Adamo Tadolini: Estatua ecuestre de Bolívar en la Plaza Bol;ivar
23. Ennio Tamiazzo: murales en los edificios Dédalo, EICA, Lloraco, Viulma, Roen,
Humboldt, Massa y San Gabriel
24. Italo y Juan Trtivella: edificio Machango y quinta Deyanira
25. Nedo: quinta La Ribereña
3. ITALIAS (audivisual en blanco y negro de fotos del Archivo de la Fundación de la Memoria
Urbana)
- Arquitecturas perdidas
- Dibujos
- Fotos viejas de arquitecturas existentes.
4. Audiovisuales de las ciudades de Italia y retratos de los arquitectos, geómetras, artistas e
ingenieros.
5. Las ITALIAS de Caracas (texto en sala)
6. Nomi (texto en sala + un panel de 5 m con mosaico de fotografías en B & N en pequeño
formato provenientes del Preinventario Arquitectónico, Urbano y Ambiental Moderno de
Caracas 2005 2007/ Fundación de la Memoria Urbana)
7. Panel con 7 apliques murales de la Casa Los Borges: (instalados sobre panel de 4 m)
8. Una gigantografía en B & N de la Villa Monzeglio (3 m)
9. Tres pedestales blancos para objetos de la colección de la Casa ITALIA.
docomomo venezuela I CENTRO de la Ciudad
Exposición
Curaduría
0.00
0.00
0.00
Museografía
10,000.00
1,200.00
11,200.00
Montaje
Dispositivos
museográficos
13,550.00
1,626.00
15,176.00
5500.00
660.00
6160.00
0.00
0.00
0.00
12,500.00
1,500.00
14,000.00
8,390.00
1,006.80
9,396.80
400.00
48.00
448.00
Seguro
0.00
0.00
0.00
Alquiler de equipos
0.00
0.00
0.00
Brindis inauguración
6500.00
780.00
7280.00
Registro fotográfico
2500.00
300.00
2800.00
3000.00
15000.00
360.00
1800.00
3360.00
16800.00
77,340.00
9,280.00
87,620.00
Diseño
12,500.00
1,500.00
13,000.00
Textos
0.00
0.00
0.00
Fotografías
0.00
0.00
0.00
Digitalización o Derechos
0.00
0.00
0.00
Corrección de textos
0.00
0
0.00
34,500.00
4,140.00
38,640.00
Restauración de obras
Diseño paneles
Rotulación
Traslado de piezas
Desmontaje
Impresiones
Sub-Total
Catálogo
Impresión catálogo
Sub-Total
47,000.00
5,640.00
51,640.00
124,340.00
14,920.00
140,260.00
3000.00
360.00
3360.00
Ponente internacional (US$ 1000) 4295.00
515.40
4810.40
24800.00
2976.00
27776.00
3600.00
432.00
4032.00
35695.00
4283.00
39978.00
Total Costos
Conferencias
Ponentes nacionales 5 (BF800)
Pasaje + estadía
Alquiler de equipos
Total costos
Caracas, 1 de diciembre de 2011-08 de mayo de 2012
docomomo venezuela I CENTRO de la Ciudad
docomomo venezuela I CENTRO de la Ciudad
docomomo venezuela I CENTRO de la Ciudad
docomomo venezuela I CENTRO de la Ciudad
docomomo venezuela I CENTRO de la Ciudad
docomomo venezuela I CENTRO de la Ciudad
"Shelter me, oh wonderful land!
I'll be with you worshiping your stones,
Which in the darkness have the faces of new gods."
My Father, the Emigrant. Vicente Gerbasi (1945) .
I. La Città Invisible
Caracas is a modern city-jewel that is highly scenic, because of the features of the natural landscape on which
it developed: a valley flanked by a monumental mountain-park, the Avila, and a ring of urbanized hills.
Of all languages ​that developed in Caracas in the twentieth century, the modern architectures and urbanisms
that best understood the landscaping potential of this extraordinary natural environment were those introduced
by the immigrant Italian population.
Venezuela became by the mid-century the fourth largest Italian colony in the world. Since the 1930s, countless
waves of immigrants from all the regions of Italy arrived at Venezuelan ports in the great Italian liners of that
period. Some times to return to Italy after a while and resume there their lives interrupted by war and poverty, but
most of the time to stay in Venezuela forever.
These are the "Specialists", as they are locally called. A brave crowd of workers who came to rebuild their lives,
and that in doing so, the first thing they rebuilt was their own fragmented city. Fleeing from the political and
economic problems of their homeland, they came to fill the valley and its hills with the architectural and urban
fragments of their memories. The constructive momentum that the country lived due to the oil boom, found in
these fine Italian craftsmen the most effective tool for the transformation of the environment, learning from them,
relying on them ... and also becoming them a bit.
Their vast urban memory and their architectural culture, of light and refined modern designs, marked and
modeled the character and identity of Venezuelan modernity. Cities were transformed. Entire fragments of
Caracas are like pieces of Rome, Genoa, Florence or Naples, avant garde villas overlook into the valley's
vedute; stylish arabesques turn the city corners into places of genius. Caracas piled up images and
nomenclatures of peninsular roots, naming streets and buildings as Messalina, Tiberius, Arno, Julius Caesar, Nero,
Fontana d'Amore; making anonymous tributes to Scarpa, Ridolfi, Piacentini and Libera; hanging rationalist
lyricisms from the cliffs, risking cantilevered gesti di ingenieri. With Master Gio Ponti at the head of the list, the
names of Domenico Fillippone, Nigra Montini, Graziano Gasparini, Antonio Lombardini, Angelo Di Sappio and
many others, with their untold stories, are today being documented by Docomomo Venezuela, facing the.
docomomo venezuela I CENTRO de la Ciudad
urgent challenge of density and growth.
This Italian layer of Caracas Modern Heritage, this città invisible, in its divine hybridizations with local culture,
changed the environmental psychology of the modern city, culturally revealing to the people the scenic
potential of the place, the specificity of sites, and teaching them to make a more urban architecture. Without its
Italias, the Caracas living environment would have never been the same.
III. Luogo
The natural landscape of the capital is spectacularly beautiful, varied and powerful. Hills, river beds, ravines,
shifting views, unexpected panoramas. Towards 1930, when urban development began to grow fast to the east,
the Colonial use of the territory still prevailed on a practically intact landscape. The hills had not yet been built.
Bringing in the ancient Mediterranean landscaping culture was the first urban lesson brought by the Italians,
helping to validate place and the take landscape into account, contributing to the qualitative construction of
the city.
The greatest Caracas residential palace, Miraflores, had been designed c. 1900 by an engineer from Genoa,
Giuseppe Orsi de Mombello. Then the city had its first grand monumental belvedere, overlooking the historic
center. This would only happen again half a century later with the new-coming Italian architects. Gio Ponti said
about this almost unexploited Caraquenian potential in 1954: "Caracas unfurls its main urban shape along a
valley that is bordered by beautiful hills. These are spectacular stands to 'see the city'. The whole city becomes a
spectacle of itself, of unrivaled quality."1
In the 1950s three new Italian palazzi will be built on the hills, to start dominating the whole valley's landscape:
the Quinta Caurimare (Lombardini), the Casa Los Borges (Albertoni) and the Villa Planchart (Ponti), together with
the smaller Villa Capri on the Caraquenian coastline (of unknown author). All of them were topographically
skillful belvederi. Influenced by these villas, the city began to be filled more and more with the strategically
placed topographical episodes of the Architectures of the Look. Something that also occurred in urbanism,
thanks to the lyrical and theatrical topographical planning of Colinas de Bello Monte (Lombardini), inspired in
the winding street grid of the Florentine Fiesole. As Michel Angelo wrote in a sonnet: "By art nature is defeated".
The Latin tradition of mastering the territory through architecture, lived in Caracas a modern renaissance.
IV. Città
Caracas had been enriched since the Colonial times by the legacy of the Laws of the Indies. Patios, squares,
corner sites and monuments were part of its urban memory. But with the arrival of modernity and the impact of
docomomo venezuela I CENTRO de la Ciudad
growth, the new projects forgot gradually the importance of the urban role
of architecture. Therefore, the urban fabric started to become more and
more functional and programmatic, leaving to a second plane the language of the city.
The lesson that Italy teaches to the city makes two key contributions: Urban Architecture (1930s and 1940s), and
Monumentality (1950s). Coinciding in the beginning with the arrival of families coming mostly from the
Mezzogiorno, from Sicily, Campania, Abruzzo, and from Puglia -this is, not from the big cities but from the smaller
towns and villages-, the first buildings that began to appear everywhere had a more urban rather than
academic wisdom.2
These buildings marked cornersites, emphasized entrances, were filled with ornamentation and nomenclature,
lined the streets in the traditional way, raised their cornices to achieve significance, reinforced with their volumes
a given direction, the presence of a square, or were sensitive to nearby remarkable architectures. With their
humble but cultured gestures of civility, they re-educated the city in the art of urban architecture, and keep
doing it until today. The best example of this is the area of ​the Avenida Victoria-Valle Abajo, dominated by the
Basilica de San Pedro (Redini).
In the late 1940s, and from the following decade on, Caracas is already thoroughly imbued with the Italian
urban culture. Venezuelan developers, associated with their architects -Italian or not-, design and build large
urban projects of clear italic affiliation. There, references are more architecturally cultured, and, as much of the
Italian architecture of the time, torn between modernity and tradition. Two places would be linked together by
erecting at the same time, and in the best spirit of the Baroque Rome of Sixtus V (and also in the best spirit of the
Risorgimento), monumental obelisks: the Altamira neighborhood (Roche) and the Sistema de la Nacionalidad
(Malaussena).
In Altamira, a pair of ascendant monumental avenues that branch forming a bidente, reminiscent of the Piazza
del Popolo in Rome, depart northward from a large square, leading the views to the scenic mountain of El Avila.
In the Sistema de la Nacionalidad, instead, a large civil/military urban complex that includes avenues,
promenades and architecture, focuses on the monumental rhetoric of the commemorative axis. A great
monument dedicated to the Venezuelan Independence War heroes, is the heart of the complex. This is where
the resonances of the aesthetics of Rome's EUR are most striking.
IV. Architettura
Along the whole twentieth century, the city was a real architectural quarry, and its modern legacy is remarkable.
docomomo venezuela I CENTRO de la Ciudad
Great architects, beginning with Carlos Raúl Villanueva, were busy
populating the valley with their works. So the architecture lesson from
the Italian emigration was rather an influence within this vast sea of
modernities, an influence that began to be felt more strongly from the 1950s.
In the same manner that the effort of laborious and tireless Italian geometers, artisans and builders re-educated
Caracas in the art of city building, their multiplied and active presence almost in all of the works in town, allowed
the filtering of the influence of Italian modern architecture. Three major events catapulted the spreading of the
word: the construction of the Casa Italia (Filippone) in 1954, of the Villa Planchart in 1957 and of the Venezuelan
Pavilion at the Venice Biennale in 1956 by Carlo Scarpa. Three magnificent buildings that were true lighthouses of
italianness.
Thanks to this influence, architecture became increasingly lighter (Ponti), structures were increasingly creative
and ingenious (Morandi), modernity could also be mannerist or baroque and, above all, lyrical (Montini). The city
learned what expert artiggianato meant when applied to architecture, and witnessed a creative explosion of
floors, railings, doors, windows, fonts, murals and lighting fixtures designs, while construction materials diversified to
meet the peninsular building traditions: glass mosaics, granites, terrazzo, plasters, facings, ceramics and marble.
But, most importantly, the city appropriated and domesticated the ideal of integrating art in architecture and in
public spaces, something which was masterfully introduced by the Ciudad Universitaria de Caracas, but also by
the total work of art that is Villa Planchart. By the Sixties, after three decades of coexistence with its Italias,
Caracas modern architecture had become a dolce stil novo that began to be part of the city's own character.
Now is its heritage.\
V. A Dolce Stil Novo
1. A villa by Athos Albertoni, with wall sconces by Napoleone Martinuzzi and Alfredo Barbini for Vetri di Gino
Cenedese, and mural ceramics by Lucio Fontana: Casa Los Borges.
2. A mural by Harry Bertoia: Old US Embassy Building.
3. Sculptures and friezes by Franco Bianchinni.
4. Sculptures by Pietro Ceccarelli.
5. A sculpture by Gaetano Chiaromonti de Castrogiovanni: Plaza Italia.
6. Five sculptures by Arturo Dazzi: Monumento a Los precursores.
7. An office building by Angelo Di Sappio: Atlantique Building.
docomomo venezuela I CENTRO de la Ciudad
8. A sculpture by Federico Fabbiani: Cementerio General del Sur.
9. The architecture of Domenico Filippone Maggio.
10. An urbanism and a villa by Antonio Lombardini: Colinas de Bello Monte and Villa Caurimare.
11. Two villas by Nigra Montini: Villa Olary and Villa Mi trio.
12. Two bridges by Riccardo Morandi: Puente Nueva República y Puente over the river Tuy.
13. An abbey by Humberto Poletta: San José del Avila.
14. Four villas by Gio Ponti, with a ceramic mural by Fausto Melotti and enamels by Romano Rui: Villa Arreaza,
Villa Matos-Guzmán Blanco, Villa González-Gorrondona and Villa Planchart.
15. A basilica by Marco Redini, with sculptures by Ronaldo: San Pedro.
16. Five sculptures by Attilio Selva: Monumento a Los precursores.
17. Seven mosaic murals by Ennio Tamiazzo.
18. Murals and sculptures by Hugo Daini.
19. The architecture of Graziano Gasparini.
20. The architecture of Juan Pedro Posani.
21. The architecture of Antonio Pinzani.
22. Murals and sculptures by Giuseppe Pizzo.
23. A house and a building by Italo and Juan Trivella: Quinta Deyanira and Machango Building.
24. Two scultptures by Mario Ceroli and Arnaldo Pomodoro: Monument to the Emigrant, and Disco Grande.
25. A house by Nedo.
docomomo venezuela I CENTRO de la Ciudad
Curaduría:
Hannia Gómez
Asistente de la curaduría:
Valeria Ragonne
Producción:
DoCoMoMo Venezuela
Investigación:
DoCoMoMo Venezuela
Fotografía:
Valeria Ragonne
Gregory Vertullo
Graziano Gasparini,
Frank Alcock
Elías González
Sandra Carrillo
Rossella Consolini
Rafael Alfredo Márquez Gil
Montaje:
Víctor Díaz
Diseno gráfico:
Bettina Bottome
Sandra Carrillo
Auspiciado por:
Instituto Italiano de Cultura de Caracas
Embajada de Italia en Venezuela
Patrocinado por:
Sala TAC
Alcaldía Metropolitana de Caracas
DoCoMoMo Vernezuela
docomomo venezuela I CENTRO de la Ciudad