PALACE OF THE PRESS

PALAZZO DELLA STAMPA

Lungotevere de' Cenci 8

1959 Leo Calini (1903/85) and Eugenio Montuori (1907/82)

“An extraordinary example of integration of the new architecture in the consolidated fabric of the city center. The preexisting historical buildings represented by the ghetto, and the environmental requirements, determined by the presence of the Tiber, suggested the designers to adopt a different strategy to solve the two opposing fronts the building” (Giorgio Muratore)

RINASCENTE PALACE ON PIAZZA FIUME

PALAZZO DELLA RINASCENTE DI PIAZZA FIUME

Piazza Fiume/angolo Corso Italia

1957/61 Franco Albini (1905/77) and Franca Helg (1920/89)

It is the only architectural work of Franco Albini in Rome

“Even in this building, where the architectural language is enriched by the results of a more refined technological research, one can read the relationship between modernity and tradition that is a constant theme in the reflective work of Franco Albini. La Rinascente is built within the context of the city of Rome absorbing a series of suggestions of its environment and its colors, and referring to the historical tradition of the Renaissance palaces and of the nearby Aurelian Walls” (Annette Tosto)

ZACCARDI APARTMENT HOUSE

PALAZZINA ZACCARDI

Via G.B. De Rossi 12 - Nomentano

1950/54 Mario Ridolfi (1904/84) and Wolfgang Frankl (1907/94)

It is characterized by glass surfaces articulated with alternating projections and recesses of great visual impact

“The building reflects the architect's personal evolution going from a more strictly rationalist position to a language that has a higher plastic intensity and greater wealth of decorative accents” (Giorgio Muratore)

“First accomplished result of the work of revising the rationalist vocabulary that Ridolfi was developing in the early postwar years. It was a work based on the belief that it was important to make the language of modern architecture more akin to the common way of people and therefore it was necessary to make it richer and less abstract (...). Peculiar is the introduction of a coverage 'in the hood' with coated glass mosaic that binds together the two volumes of the building. It was this solution, as well as the shape of the balconies, the design of the fixtures and railings, in later years to become a linguistic element widely present in contemporary production. Ridolfi's works were in fact often used as a catalog of forms to choose from, rather than a methodological reference” (Piero Ostilio Rossi)