Between Tradition and Autarchy. Materials and Techniques in the Pontine Foundations

At the turn of the 1920s, modern Italian architecture underwent rapid transformation and fervent cultural debate as the new doctrines of the fascist government sought to meet the new demands of the European modern movement. The ideological and propagandistic policy of the autocratic government used architecture as a media, narrative, economic and testimonial element, both to display the Duce’s abilities to citizens and to prevent the economic collapse of the productive system, due to the crisis triggered by the escalation of international hostilities and wars. During the twenty years of dictatorship, technical innovations and the appeal of classicism represented not only a stylistic and ideological choice but also a necessity derived from the regime’s policies, economic constraints and, to a lesser extent, the sanctions imposed on the Italian state between the end of 1935 and July 1936. Some more problems in finding and using materials – such as steel and cement – that arose during the Second World War led to technological attempts and building techniques experiments. Therefore, studying the architecture created during this deeply problematic period in Italian history today means understanding the reasons and causes that encouraged both the revival of traditional materials and the development of innovative construction techniques and materials. The strong ambivalence that links these opposing polarities is one of the distinctive features of Italian architecture of that period, also evident in the design not only of single buildings or hubs in the cities, but also of new centres. The materials and techniques used to build these new towns and villages are the result of choices – in some cases conscious, in others forced by events – made by their designers and builders. Behind the buildings’ patina, the blistering and the signs of decay – even premature ones – lies the history of this cultural transition, and it is from these signs that the restoration project must start.