Academic literature on the topic 'Palazzo della Farnesina (Rome, Italy)'

The “Palazzo della Civiltà Italiana” is a monumental building characterized by a reinforced concrete structure composed of parallel (cast in situ) portal frames and composite (reinforced concrete + hollow bricks floors which spans between adjacent portals: a common construction technique in Italy. The floors being characterised by a large span of about 10.0 meters. The construction took place between 1939 and 1943, most likely according to the Italian building code published in 1939. The authors have coordinated a comprehensive experimental campaign aimed at (a) the identification of the characteristics of the structural materials and members, and (b) the identification of eventual damages. Based upon the experimental results a number of analytical and numerical investigations have been developed in order to assess the structural reliability of the “Palazzo” which up to date still is remains in its “original” configuration, as no substantial intervention of structural retrofit or rehabilitation have been implemented so far. These analysis allowed to identify two major reliability issues: (i) the load bearing capacities of the floors do not allow the intended use, and (ii) the seismic vulnerability of the building does not satisfy the reliability standards required by current codes. On the basis of all data acquired and investigations performed, a simple (non invasive) structural retrofit solution capable of bringing the “Palazzo” to the level of structural safety required by current codes is identified.

The Augustan Exhibition ofRomanità, held in Rome's Palazzo delle Esposizioni between 1937 and 1938, exemplifies the aestheticisation, ritualisation and sacralisation of politics during the Fascist era in Italy. This article conducts a multi-layered spatial analysis of the exhibition that considers space as passively experienced, as an agent to re-map memory, as a mediator between intention and reception and as having both physical and mental characteristics. The relative sizes of the spaces, their sequence and their axial placement within the Palazzo's plan were the most powerful forces that conveyed the exhibition's overall political and social aims. TheMostra Augustea della Romanità(MAR) is here analysed as a form of historical representation with a specific narrative which is played out within an orchestrated space in order to create and reinforce a (Fascist) political identity. The idea of Rome took on material aspects through a kind of ‘recognition effect’ for the visitor by presentingRomanitàas a collective mirror in which to view an image of their own social visage. Thus an active connection would, according to the organisers, be forged between a Roman past and a Fascist present, and its two leaders and creators, Augustus and Mussolini, as well as between the individual and society. TheMARalso demonstrates the prevalence of the cult of Il Duce in Fascist society and its importance for maintaining high levels of consent. With its focus on a particular view of the ancient world, theMARwas an ephemeral event that acted as teleological justification for the advent and supposed permanence of Fascism, which at the same time presented itself as a unique archaeological, scientific and educational document of the Roman world.