APARTMENT HOUSES ON VIA DEL CIRCO MASSIMO

PALAZZINE IN VIA DEL CIRCO MASSIMO

Via del Circo Massimo 1-3

1953 Vincenzo Monaco (1911/69) e Amedeo Luccichenti (1907/63)

The two elegant buildings have substantial differences, although similar at first sight

“Monaco was, along with Luccichenti, one of the most influential and ardent supporters of the opening of the architectural design to the most advanced and experimental trends of modern and contemporary Italian art. (...) During the fifties the Luccichenti and Monaco Studio was one of the leading studios in Rome and in Italy in a new way of doing architecture, where the synergy of the group, the high specialisms, ensuring a quality product and the ability to deal with various aspects of the complex planning matters were able to make a difference: a unique style of work that soon passed over the narrow borders to attract the attention of critics and of the international press” (Paolo Melis - Dizionario Biografico degli Italiani Treccani)

“With the two buildings of Via del Circo Massimo the 'bourgeois rationalism' of Monaco and Luccichenti reached one of its most accomplished expressions. Abandoning the plastic elements in part present in the buildings of Via S. Valentino and Via S. Crescenziano, they tend to develop a language mainly made up of rhythmic and repetitive elements in series” (Piero Ostilio Rossi)

VIA S. VALENTINO APARTMENT HOUSE

PALAZZINA DI VIA S. VALENTINO

Via S. Valentino 16 - Parioli

1948/50 Vincenzo Monaco (1911/69) e Amedeo Luccichenti (1907/63)

Vincenzo Monaco and Amedeo Luccichenti with this building and those they designed later in Via S. Crescenziano and Via del Circo Massimo greatly influenced the style of construction for this type of homes in Rome

“After the war, some Roman professionals, more attentive to the tastes of high and middle class client, formulated, after having stripped it of any ideological content, a refined formal repertoire clearly derived from Rationalism. Vincenzo Monaco and Amedeo Luccichenti are certainly the best interpreters of this attitude. After their successful debut with the now destroyed Villa Petacci on Via Camilluccia, they devoted themselves mainly to private residential construction and worked in particular on the theme of the apartment block, gradually refining the distribution patterns” (Piero Ostilio Rossi)

VIA S. CRESCENZIANO APARTMENT HOUSE

PALAZZINA DI VIA S. CRESCENZIANO

Via S. Crescenziano 40 - Via Salaria

1952 Vincenzo Monaco (1911/69) and Amedeo Luccichenti (1907/63)

Built on a far higher level than Via Salaria running below

Daring balconies protrude significantly from the plane of the façade that looks out on Villa Ada

“The layout of the building is not that of a classical building, but rather that of a two-family home with two apartments per floor and with the body of the stairs projecting outward. In the planimetric configuration it seems evident the reference to the Swiss Pavilion designed by Le Corbusier in 1930 in the University City in Paris as well as very Le Corbusier-like appear the overall formal solution, set on the dialectic between elements in orthogonal geometry and curvilinear ones” (Piero Ostilio Rossi)

HOTEL NH VITTORIO VENETO

HOTEL NH VITTORIO VENETO

Corso d'Italia 1

1968/71 Amedeo Luccichenti (1907/63), Vincenzo Monaco (1911/69) and Edoardo Monaco, Vincenzo's son

"In the feverish atmosphere of reconstruction after World War II, Luccichenti and Monaco were among the professionals who were able to conduct a personal research, realizing the value of buildings and defining the true role models for the building type. Their architectures are generally characterized by façades designed by long horizontal ribbon windows with grids marked by structural regularity of form, with particular attention paid to internal distribution" (Gianluca Ficorilli - Dizionario Biografico degli Italiani Treccani)