La Città Giardino Aniene: l'impianto di Gustavo Giovannoni e il contributo degli altri architetti

INGLESE:To conclude the work of reorganizing the written documentary material, that is conserved in the Studies Centre of the Architecture History (Rome in Petroselli street), the survey highlights the planning contribution of Gustavo Giovannoni for the Aniene Garden-City in Rome that was realized between the 1919 and the 1928. At the beginning Giovannoni's positions about the urban setting for the garden quarter are considered analyzing the various relations and the unedited writings that now are ordered again and accessible to studiers. On the other hand planning drawings and outlines, that concern both the complete block and the Tazio bridge (on the Aniene for the connection to the Nomentana street) and the long planning process of the Church of Guardian Angels, that is the perceptive and compositional hearth of the central square (now Sempione square). The process of consolidation of architectural spaces and decorative elements of the definitive disposition of the church is remarkable and significant and it constantly refers to the baroque architectural language, in particular it's possible to find references to Guarino Guarini. In the definition of this solution there aren't references to medieval and renassence tradition (the second one is particularly evident in the disposition as a great aedicule of the facade).The numerous graphics that are attached are detailed and cronologically contextualized because they are related to the written documents.

A conclusione del lavoro di riordino del materiale documentario scritto, conservato presso il Centro di Studi per la Storia dell’Architettura (Roma – sede in via Petroselli), il contributo mette in luce l’apporto progettuale di Gustavo Giovannoni per la Città-Giardino Aniene a Roma, realizzato tra il 1919 ed il 1928. In apertura si considerano le posizioni giovannoniane sull’impianto urbano da realizzare per il quartiere giardino, analizzando le numerose relazioni e scritti inediti, ora riordinati ed accessibili agli studiosi. In secondo luogo si analizzano i disegni di progetto e schizzi, relativi sia all’intero impianto, che al ponte Tazio (da realizzare sull’Aniene in connessione con la direttrice viaria della via Nomentana), che quelli relativi al lungo iter progettuale della chiesa degli Angeli Custodi, cuore percettivo e compositivo della piazza centrale (ora piazza Sempione). Notevole e significativo è il processo di consolidamento degli spazi architettonici e degli elementi decorativi della soluzione definitiva della chiesa, dosata e risolta in un richiamo costante al linguaggio architettonico dell’età barocca, in particolare sono espliciti riferimenti a Guarino Guarini. Nel percorso di definizione della soluzione costruita non sono assenti riferimenti alla tradizione medievale e rinascimentale, quest’ultima evidente specialmente nell’impianto ad edicola gigante della facciata. I numerosi grafici che si allegano vengono puntualmente analizzati e contestualizzati cronologicamente, in quanto messi in relazione agli altrettanto numerosi documenti scritti. INGLESE:To conclude the work of reorganizing the written documentary material, that is conserved in the Studies Centre of the Architecture History (Rome in Petroselli street), the survey highlights the planning contribution of Gustavo Giovannoni for the Aniene Garden-City in Rome that was realized between the 1919 and the 1928. At the beginning Giovannoni's positions about the urban setting for the garden quarter are considered analyzing the various relations and the unedited writings that now are ordered again and accessible to studiers. On the other hand planning drawings and outlines, that concern both the complete block and the Tazio bridge (on the Aniene for the connection to the Nomentana street) and the long planning process of the Church of Guardian Angels, that is the perceptive and compositional hearth of the central square (now Sempione square). The process of consolidation of architectural spaces and decorative elements of the definitive disposition of the church is remarkable and significant and it constantly refers to the baroque architectural language, in particular it's possible to find references to Guarino Guarini. In the definition of this solution there aren't references to medieval and renassence tradition (the second one is particularly evident in the disposition as a great aedicule of the facade).The numerous graphics that are attached are detailed and cronologically contextualized because they are related to the written documents.