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On browsing through the book Giorgio Raineri 1927-2012
edited by Gentucca Canella and Paolo Mellano, right away we can see
that it describes the work of an important Italian architect through an
erudite and complex labour of research. Research on an architect,
arguably not sufficiently well-known nor satisfactorily investigated by
the history of architecture – monographic studies of
Raineri’s work being few and far between, not even by those
scholars who dedicated their words to celebrating some important works
by other working architects. An architect who, to borrow the words of
the editor, should be “in all respects revered among those
Italian architects of the late twentieth century who fully matched up
to the architecture of the time”. It comes as no surprise,
then, that the work of this figure is part of the prestigious series
Italian Architects of the Twentieth Century, which was launched in
2018, published by FrancoAngeli, and directed by Gentucca Canella, and
which in recent years has published essays and conference proceedings
on such important masters of Italian architecture as Ernesto N. Rogers,
Guido Canella, Carlo De Carli, and Roberto Gabetti.
This volume offers a compendium of scholars from different generations
and different fields, ranging from design to the history of
architecture, from restoration to occupational studies, who help to
piece together a detailed exploration and comprehensive testimony on
the work and personality of Giorgio Raineri. A wide-ranging discussion
between scholars of different generations in the pages of this volume
which mingles essays by some of the leading lights of Italian
architecture with the reflections of scholars from the Polytechnic
University of Turin and studies by young researchers.
Raineri saw a number of projects brought to fruition, on different
scales, which tackled many aspects of a civil and private nature. He
belonged to the generation born in the second half of the 1920s, and
participated in the construction of Italian architecture of the last
century through works of an undeniably poetic value, working mainly in
the Piedmont area and, remaining somewhat aloof from the academic
environment and teaching, unflaggingly “working on the
preparation of projects” for more than sixty years within the
walls of his Turin studio in Via Sacchi.
The format of the book is significant, it is divided into four separate
sections: a first entitled Giorgio Raineri, his Friends and the Studio
in Via Sacchi which collects the writings of acquaintances who shared
the studio, his life and professional experiences in collaborating with
him, partaking in projects and stories of a life lived. One moving
memory, for example, is that of Aimaro Isola, called to collaborate by
the young Gabetti and Raineri in the competition subsequently won for
the Turin Stock Exchange building who, citing Montale,
Mallarmé and other great bards, remembers Raineri too as a
poet.
A second part follows, entitled Giorgio Raineri: his Thought and Works
consisting of writings by notable architects and scholars who delve
into the life and work of this Piedmontese architect, describing his
works of architecture, the contexts, and his ability to carry through a
project from conception to execution through careful control of the
material. For instance, Vittorio Gregotti remembers when he wrote his
first important essay on Raineri’s work for Rogers’
journal “Casabella”, and then there is Gianni
Contessi, who expands the discourse to take in Piedmontese
architecture, but also many others.
The third part, A New Generation Encounters the Work of Giorgio Raineri
has the merit of broadening the debate by giving voice to young
scholars, asked by the main Italian schools of architecture to study
and investigate Raineri’s work, some of them for the first
time.
Finally, the fourth part collects and republishes in full the essays
which appeared in April 1999 in issue 42 of the journal
“Porti di Magnin”, at the time directed by Carlo
Pellegrino and, when it came to architecture, by Lorenzo Mamino, an
issue devoted entirely to Raineri’s fifty years of
architecture. This chapter anticipates and completes the final part of
the book, made up of materials which bring together, in addition to a
complete bibliography on Raineri, precious reproductions of the main
journals which published his works in the late twentieth century, from
Gio Ponti’s “Domus”, to
“Casabella-Continuità” directed by
Ernesto N. Rogers with important articles written by the very young
Vittorio Gregotti and Aldo Rossi, and also Portoghesi’s
“Controspazio” and Zevi’s
“L’architettura. Cronache e storia”;
significant documentation which makes this volume complete in its
intent to tell, document, and gather together the work of this
Piedmontese architect.
Last but not least, it is worth mentioning the abundant illustrations
which accompany the writings, certainly not a secondary consideration
for a book on architecture, and which make this volume a valuable
critical insight into Raineri’s figure and work capable of
“passing his lesson and original vision of architecture on to
the younger generations”.
To conclude, I would like to touch on the main merit of this research
which, as the series it belongs to shows, draws attention to how
necessary it is to reflect on the knowledge, preservation and
protection of creative architecture of the late twentieth century, too
often prone to unconscionable adaptation, conservation, repurposing or
sometimes even demolition, which compromise and alter the integrity of
the work as a whole, along with its expressive form, language and
figure.
For several years, the editors of this volume have been championing
this line of research by organizing conferences, seminars and public
debates, but above all by writing publications on the subject: see for
example the book published in the same series Il diritto alla tutela.
Architettura d’autore del secondo Novecento by Gentucca
Canella and Paolo Mellano.
Collecting, documenting, and rediscovering the works of a certain
segment of Italian architecture therefore becomes a key point with
regard to an awareness-raising which concerns not only the academic
milieu, but also professional and legislative circles.
This book has the great merit of pointing out that in the works of
these authors (and all those of Raineri demonstrate this), is
concentrated the entire patrimony of Italian architecture,
correspondingly recognized and studied abroad for its
“utility and beauty”, a patrimony rendered such by
meticulous, expert work done within “small professional
studios” and thanks to “enlightened”
clients.
Tommaso Brighenti
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