The paper analyses the debate in Sicily on the constructionof the monumental colonnaded porticoes that characterisethe facades of public edifices built on the island from thepost- Unification period to the Fascist regime. The pronaoof the Massimo Theatre in Palermo (from 1875) marks theclimax of a cultural movement, which, for almost a century,was to associate the neo-Greek style with public buildingsand the material of choice of Sicily’s church building traditionin a deterministic manner. Calcarenite was used to build theperistyles of the temples of the archaic and classical age,with imposing, tapered and grooved columns consisting ofoverlapping sections. In the Fascist period, and in the age ofreinforced concrete buildings, the construction of the CourtHouse in Messina (from 1923) became a topic of discussionin the debate at national level. The subsequent use of localmaterials, some of which of more recent extraction andprocessing, together with reinforced concrete, contributedto distorting the “archaeological” style of the initial projectssponsored by local authorities, towards modern and abstractcompositions, as in the case of the construction of the PostOffice Building in Palermo (from 1933), or towards compromisesolutions, as in the case of the Court House in Catania(from 1937). The solutions investigated in any case requiredengineering and technological advances to allow the buildingsto achieve a new monumental scale.
|Numero di pagine||42|
|Stato di pubblicazione||Published - 2020|
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