L’Italia di Le Corbusier


  • 18 October 2012 - 17 February 2013

    Gallery 1
    curated by Marida Talamona

    Architect, sculptor, painter, brilliant thinker of his time, a father of modern town planning and a master of the Modern Movement along: all this is  Le Corbusier, pseudonym of Charles-Edouard Jeanneret-Gris. MAXXI Architettura is devoting to this figure the exhibition Le Corbusier’s Italy curated by Marida Talamona.
    Created in partnership with the Fondation Le Corbusier of Paris, the exhibition benefits from the contributions of an academic committee composed of some of the leading Corbusian experts.

    320 original documents and 300 photographs for an exhibition that, adopting a chronological and thematic format, presents the influence of Italy on the training and the work of the master: from the first trips early in the 20th Century to the unbuilt projects for the Olivetti Electronic Calculation centre at Rho and the hospital in Venice from the 1960s.

    The exhibition features a variety of documents, notes on trips, studies, cultural exchanges and personal aspirations, from sketches of the Italian monuments in carnets de voyage to the 18th century reproduction of the plan of ancient Rome by Pirro Ligorio of which Le Corbusier reproduced a fragment to illustrate his Leçon de Rome, from the correspondence with Pier Luigi Nervi to the six large sheets with drawings sketched during the conference in Milan in the June of 1934 that all document the architect's complex "Italian" education, stimulated by prolonged direct experience and in-depth research in the Bibliothèque Nationale in Paris.

    A wealth of photographic material accompanies the exhibition, providing for an integrated reading of a less well-known Le Corbusier in the dialogue he established with his artistic and architectural contemporaries, restoring the full breadth of his intellectual stature and the exceptional nature of his thinking.


    Tavole schizzate da Le Corbusier durante la conferenza Urbanismo tenuta presso il Circolo filologico milanese, 1934; Courtesy Archivio Piero Bottoni-DPA-Politecnico di Milano

    Partner Fondation Le Corbusier

     


  • 18 October 2012 - 17 February 2013

    Gallery 1
    curated by Marida Talamona

    Six sections feature the study photographs of the ruins of Pomepeii and Rome taken by the architect in 1911, together with many drawings and watercolours realised during the course of the four Italian trips completed between 1907 and 1922: the Tuscan watercolours, the architectural drawings of Pompeii and Villa Adriana, the buildings of the Campo dei Miracoli at Pisa, the Certosa di Galluzzo, the studies of the Belvedere Courtyard in the Vatican and the watercolour views of Venice.


    Le Corbusier a Roma, 1921. Courtesy Fondation Le Corbusie

    Partner Fondation Le Corbusier


  • 18 October 2012 - 17 February 2013

    Gallery 1
    curated by Marida Talamona

    Particular attention has been paid to Le Corbusier the painter, to the episode of the journal L’Esprit Nouveau which he directed together with the Purist painter Amedeé Ozenfant between 1920 and 1925, to his relationships with the Italian periodicals, in particular Valori Plastici, and to the dispute with the painter Gino Severini over the issue of Proportion. His paintings from the Purism period are on show together with works by Carlo Carrà, Giorgio Morandi and Severini.


    Le Corbusier mentre dipinge un murale in casa di Costantino Nivola, East Hampton, ottobre 1950, Courtesy Archivio privato Nivola

    Partner Fondation Le Corbusier


  • 18 October 2012 - 17 February 2013

    Gallery 1
    curated by Marida Talamona

    During this period Le Corbusier established relationships with the young Rationalist architects in Turin, Milan, Rome and Venice. This section presents evidence of Le Corbusier’s cultural and professional exchanges with Piero Bottoni, Luigi Figini, Alberto Sartoris, Gino Pollini and Giuseppe Terragni of whom letters and photographs are on show, and with Guido Fiorini whose drawings of a tensile structure skyscraper that Le Corbusier included in his plan for Algiers are exhibited. This section also features the photographs taken by Bottoni and Pollini aboard the ship that hosted the IV Congress of Modern Architecture in 1933.

    Ample space is devoted to Le Corbusier work in the field of town planning in those years and his desire to put his ideas for the cite radieuse into practice: an autograph dedication in a copy of the second volume of his Complete Works sent to Mussolini testifies to his attempts win the commission for the plan for Pontinia, the third new town founded in the Lazio region.

    The search for clients led him to contact major Italian companies such as FIAT and Olivetti, expressions of an expanding and extremely modern industrial sector. The documentation includes part of the correspondence with Adriano Olivetti and the photographs taken on the roof of the Lingotto in Turin aboard a Fiat Balilla Sport.


    Le Corbusier a bordo di una Balilla sul tetto dello stabilimento FIAT Lingotto, 22 aprile 1934 - Courtesy Fondation Le Corbusier, Parigi

    Partner Fondation Le Corbusier


  • 18 October 2012 - 17 February 2013

    Gallery 1
    curated by Marida Talamona

    In the early 1940s Le Corbusier added sculpture to his his interests in painting and architecture, theorising the necessity for a synthesis of the plastic arts. In 1947 he met Costantino Nivola, with whom he gained personal experience of the sand-casting technique on a Long island beach and made two sculptures in Murano glass, represented in the exhibition by the preparatory drawings.

    Now enjoying international repute, in the post-war years Le Corbusier returned to Italy on a number of occasions: to Bergamo on the occasion of the VII CIAM (1949), to Milan, invited by the Triennale for the conference De Divina Proportione (1951), to Venice for the International Conference of Artists and the CIAM summer school (1952), to Turin (1961) and to Florence where in 1963 the first major Italian exhibition of his work was staged in 1963.

    This exhibition concludes with two extensive sections dealing with the architect’s professional commissions between 1962 and 1965: the Olivetti Electronic Calculation Centre in Rho and the new hospital in Venice, neither of which were built, in part due to Le Corbusier's death in the August of 1965. Significant testimony to the architectural poetic of the later years, these projects are documented through sketches, drawings, a number of original models and a contemporary films in which the old Corbu talks about Venice and his deep admiration for the city ever since his first visit in the autumn of 1907.


    Le Corbusier, Progetto per il Centro Calcolo elettronico Olivetti a Rho. Schema esplicativo, 19 aprile 1962 Courtesy Fondation Le Corbusier

    Partner Fondation Le Corbusier


  • 18 October 2012 - 17 February 2013

    Gallery 1
    curated by Marida Talamona

    The exhibition design by Umberto Rivais a sophisticated tribute to the master by a great Italian architect: the narration is lent rhythm by a sequence of wooden panels delineating a layout that dialogues with both the extraordinary of the Corbusian drawings and MAXXI’s contemporary architecture.


    Photo di Flaminia Nobili

    Partner Fondation Le Corbusier