Luigi Moretti was undoubtedly one of the greatest Italian architects of the 1900s. His fortune began during the Fascist twenty years, when he designed several buildings for the Balilla National Opera, including the Bitonto house, an unrealized building of limited dimensions, to which historiography has dedicated few insights, perhaps referring it as a secondary experience in the career of the Roman architect. But is it really so? Could the town, a minor center (rich in history and traditions) in the province of Southern Italy, have influenced the design choices? How? Can we talk about a clear project of space? Can any comparison with the other Balilla houses built in larger cities provide us with a key to understanding? Is it therefore correct, for Bitonto, to speak of a "minor" Moretti? An attempt will be made to formulate an answer to these questions by carrying out a critical redesign starting from the original project graphics, with the ultimate aim of understanding their underlying logic.
|Numero di pagine||19|
|Stato di pubblicazione||Published - 2020|