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daniele pisani

Politecnico di Milano, DAStU - Department of Architecture and Urban Studies, Faculty Member

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Daniele Pisani is professor of History of Contemporary Architecture at the Politecnico di Milano. He has a Phd from Università Iuav di Venezia, with a thesis on Italian Renaissance that became his first book. He also has written about Central European Culture and Architecture

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Universidade de São Paulo

Leandro Medrano

Universidade de São Paulo

Camila Gui Rosatti

ana paula koury

Fernando Guillermo Vazquez Ramos

Universidade São Judas Tadeu

rita_ Revista Indexada de Textos Académicos

Fernando Guillermo Vázquez Ramos

Universidade São Judas Tadeu

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Papers by daniele pisani

Due case di Vilanova Artigas / Two houses by Vilanova Artigas

Casabella, 2024

Non-pedigreed architecture 35 Francesco Dal Co Pasquini Tranfa architetti 46 Tre case a Camogli, ... more Non-pedigreed architecture 35 Francesco Dal Co Pasquini Tranfa architetti 46 Tre case a Camogli, Genova Misura, geometria 47 e carattere. L'abitare milanese in Liguria / Measure, geometry and character. The Milanese side of living in Liguria Massimo Curzi Smiljan Radić 58 Edificio residenziale, Santiago de Chile Pequeño (edificio) burgués 59 / Pequeño burgués (building) Smiljan Radić 78-101 Allestimenti italiani / Italian exhibition designs

Inverter e desviar: o Novo Mundo por Paulo Mendes da Rocha

Engramma 84. Lucciole malgrado tutto

0165 From Italian Monuments to the Fallen of World War I to Fascist War Memorials

This paper describes the different ways of commemorating the fallen of World War I in Italy betwe... more This paper describes the different ways of commemorating the fallen of World War I in Italy between 1918 and 1940. From the collection of examples emerges that there was no homogeneity in the forms of remembrance during these two decades. Rather, we find both a continuous renewal and overlapping of different kinds of commemorative forms. Right after the end of World War I, a spread of spontaneous local monuments is discernible, though the many small war cemeteries rising near the former battlefield areas were already beginning to be perceived as a problem. Shortly before World War II, the construction of huge ossuaries and, later, war memorials was fostered by the Fascist Regime which availed itself of the fallen for ideological and political purposes. Between these two extremes, also other forms of commemoration such as parks or avenues of remembrance were realized. This paper tries not to force coincidences between history and the history of architecture; nevertheless, it understa...

Engramma, 2022

When Pietro Maria and Lina Bo Bardi crossed the Atlantic Ocean aboard the liner Almirante Jacegua... more When Pietro Maria and Lina Bo Bardi crossed the Atlantic Ocean aboard the liner Almirante Jaceguay, in 1946, they intended to embark on a long trip to Brazil. However, they ended up moving there altogether. Therefore, their journey became something so different from what was expected that one can barely call it a “journey”. Nevertheless, if a journey is also and above all the daily experience of “otherness”, of seeing things from a decentralized point of view, maybe we should indeed consider the years Lina Bo Bardi spent in Brazil as such. This paper aims to show that Bo Bardi’s uncomfortable but favorable position – as a traveler in a country she loved, where she felt she belonged but was also compelled to see from the outside, through a sort of “anthropological gaze” – is one of the main conditions of her most original ideas and works.

The Hidden Beginnings of a Breakthrough: Lina Bo Bardi's First Steps in Brazil

RIHA Journal, 2022

Italian-born architect Lina Bo Bardi always claimed that she had moved to Brazil in the aftermath... more Italian-born architect Lina Bo Bardi always claimed that she had moved to Brazil in the aftermath of World War II because the freedom ideals of the Italian Resistance had been betrayed. Recent studies argue she was merely accompanying her husband, Pietro Maria Bardi, who was organizing art exhibitions in Rio de Janeiro. However, as documented by the correspondence published here for the first time, Bo Bardi did not embark on the journey to the New World because of the failures of the Italian Resistance or simply as a companion to her husband: she had been charged with the task of ensuring Brazil's participation in the eighth edition of the Triennale di Milano (1947). On the basis of the correspondence documenting this assignment, this essay fills a historiographic gap and, more importantly, aims to radically revise the narrative around the initial phase of Bo Bardi's stay in Brazil, the country she increasingly felt as her own and where she eventually spent her entire life.

Arquitetura, muito arquitetura, arquitetura demais

Carlos Alberto Maciel, Arquitetura como Infraestrutura. Teoria, 2019

Posfácio Arquitetura, muito arquitetura, arquitetura demais Determinar o que é a arquitetura e, s... more Posfácio Arquitetura, muito arquitetura, arquitetura demais Determinar o que é a arquitetura e, sobretudo, o que é que a arquitetura deveria ser: o livro de Carlos Alberto Maciel, como qualquer obra de teoria da arquitetura, pode ser reconduzido à tentativa de cumprir-bem ou mal, de uma forma ou de outra-essa dupla tarefa. Perante isso, o historiador pode reagir de formas diferentes: a menos que se limite a elogiá-la avançando apenas observações marginais, pode, por exemplo, decidir encarar a teoria proposta, criticar seus eventuais pontos fracos e, talvez, chegar a desmontá-la peça por peça. Não é nenhuma destas, contudo, a postura com que gostaria de me confrontar com a proposta de Carlos Alberto. Prefiro deixar ao leitor a tarefa-difícil e, no final das contas, pessoal-de lidar com ela; nestas poucas páginas, me dedico, antes, a refletir sobre algumas das questões mais relevantes colocadas pelo livro. Em certos casos, me parece antes de mais nada necessário levar ao extremo as consequências de alguns dos raciocínios desenvolvidos ao longo do livro. É o caso, em particular, da trajetória da arquitetura do século XX que

La città come la casa, la casa come la città. Breve storia di un topos

Territorio, 2019

Un mancato Tractatus logico-architectonicus? L'architettura della città e Wittgenstein

Territorio, 2022

Ripensare Lina Bo Bardi. Il Museu de Arte de São Paulo dal mito alla storia

Territorio, 2018

Un dialogo mancato. La ricezione dell’architettura brasiliana sulle riviste italiane (1946-1949)

Engramma 188, 2022

The paper aims at investigating the reception of Brazil’s Modern Architecture in the Italian arc... more The paper aims at investigating the reception of Brazil’s Modern Architecture in the Italian architecture magazines between 1946 and 1949. The result of the research is that, with few exceptions, only a limited number of articles were dedicated to Brazil’s Modern Architecture in this period; and most of these articles were focused on professionals that did work in Brazil but that either emigrated from Italy or were of Italian descent. This way, the peculiar traits of most of the current architectural production in Brazil ended up being misunderstood and omitted. The paper also attempts to understand the reasons (which are mostly cultural but also depend on other factors too, like the difficulty in accessing first-hand information) why there was a missed dialogue between the Italian architectural scene and the internationally acclaimed Brazilian one during this period.

Venezia as a model. The case of Paulo Mendes da Rocha

HAULuP_Heritage and Architecture of Urban Landscape under Production_ VENEZIA ARSENALE, 2014

Ganhados ao mar, para quê? Uma entrevista com Paulo Mendes da Rocha sobre o Museu dos Coches

Museu Nacional dos Coches. Lugar, projeto e obra, 2015

O museu na obra de Paulo Mendes da Rocha

Projeto, 2013

O primeiro dado surpreendente, quando consideramos a totalidade dos museus projetados ou realizad... more O primeiro dado surpreendente, quando consideramos a totalidade dos museus projetados ou realizados por Mendes da Rocha, é ele ter recebido o seu primeiro encargo para um museu apenas em 1975, já aos 20 anos de carreira: o MAC, a ser implantado na Cidade Universitária da USP. Antes, teve a oportunidade de projetar apenas (e raramente de construir) espaços expositivos no interior de edifícios de outra natureza. Nesse sentido, vale recordarmos ao menos o projeto da sede da faculdade de filosofia e sociologia da USP (1961) e o edifício Roberto Simonsen, sede da Confederação Nacional da Indústria (CNI) em Brasília (1962). 2 Alguns anos antes do MAC/USP, porém, Mendes da Rocha tinha desenvolvido o projeto do concurso para o Centro Georges Pompidou, em Paris, conhecido como Beaubourg É provável que Paulo Mendes da Rocha seja antes de mais nada conhecido, sobretudo fora do Brasil, como o autor de museus extraordinários, tais como o Mube e a Pinacoteca do Estado de São Paulo. Nas últimas décadas, contudo, ele abordou o tema museu em inúmeras outras circunstâncias. 1 Atualmente, além do Museu dos Coches, em Lisboa, estão sendo realizados o Cais das Artes de Vitória e a Praça dos Museus da Universidade de São Paulo (USP). Talvez valha a pena nos perguntarmos o que significa o museu para o arquiteto, como ele afronta esse tema e de que função ele se reveste.

Oscar Niemeyer: il Palazzo delle Industrie nel Parque Ibirapuera (1952-1954)

Casabella, 2013

Artigas, ou les tourments de l’architecte engagé

Tracés. Revue suisse romande des techniques et cultures du bâti

Paulo Mendes da Rocha: um perfil

Projeto, 2022

Politics of relics: On the celebration of the fallen of the First World War during the interwar period in Italy

Historical Encounters: A journal of historical consciousness, historical cultures, and history education, 2021

This paper explores the way in which the fallen of the First World War were commemorated in Italy... more This paper explores the way in which the fallen of the First World War were commemorated in Italy between 1918 and 1940. At the end of the war, numerous spontaneous local monuments were constructed. At the same time, the many small war cemeteries established near the former battlefield areas began to be perceived as a problem. Shortly before the Second World War, in order to bury all the exhumed bodies, the Fascist Regime constructed huge war memorials (ossari and sacrari). However, this was also a means of taking advantage of the fallen for ideological and political purposes. This paper focuses on the connection between the sacralisation of the battlefields by way of raising ossari and sacrari, on the one hand, and the spread of ‘fragments’ of these battlefields all around the country, on the other. The latter phenomenon has not yet attracted significant interest from researchers. Boulders from the battlefields began to appear in the middle of village, town, and city squares across...

Javier Corvalán - La lieve pesantezza

Casabella, 2014

Il merIdIano dI GreenwIch attraversa ora l'amerIca del sud? 64 mmBB e hereñú+FerronI arquItetos

From Italian Monuments to the Fallen of World War I to Fascist War Memorials

This paper describes the different ways of commemorating the fallen of World War I in Italy betwe... more This paper describes the different ways of commemorating the fallen of World War I in Italy between 1918 and 1940. From the collection of examples emerges that there was no homogeneity in the forms of remembrance during these two decades. Rather, we find both a continuous renewal and overlapping of different kinds of commemorative forms. Right after the end of World War I, a spread of spontaneous local monuments is discernible, though the many small war cemeteries rising near the former battlefield areas were already beginning to be perceived as a problem. Shortly before World War II, the construction of huge ossuaries and, later, war memorials was fostered by the Fascist Regime which availed itself of the fallen for ideological and political purposes. Between these two extremes, also other forms of commemoration such as parks or avenues of remembrance were realized. This paper tries not to force coincidences between history and the history of architecture; nevertheless, it understa...

Due case di Vilanova Artigas / Two houses by Vilanova Artigas

Casabella, 2024

Non-pedigreed architecture 35 Francesco Dal Co Pasquini Tranfa architetti 46 Tre case a Camogli, ... more Non-pedigreed architecture 35 Francesco Dal Co Pasquini Tranfa architetti 46 Tre case a Camogli, Genova Misura, geometria 47 e carattere. L'abitare milanese in Liguria / Measure, geometry and character. The Milanese side of living in Liguria Massimo Curzi Smiljan Radić 58 Edificio residenziale, Santiago de Chile Pequeño (edificio) burgués 59 / Pequeño burgués (building) Smiljan Radić 78-101 Allestimenti italiani / Italian exhibition designs

Inverter e desviar: o Novo Mundo por Paulo Mendes da Rocha

Engramma 84. Lucciole malgrado tutto

0165 From Italian Monuments to the Fallen of World War I to Fascist War Memorials

This paper describes the different ways of commemorating the fallen of World War I in Italy betwe... more This paper describes the different ways of commemorating the fallen of World War I in Italy between 1918 and 1940. From the collection of examples emerges that there was no homogeneity in the forms of remembrance during these two decades. Rather, we find both a continuous renewal and overlapping of different kinds of commemorative forms. Right after the end of World War I, a spread of spontaneous local monuments is discernible, though the many small war cemeteries rising near the former battlefield areas were already beginning to be perceived as a problem. Shortly before World War II, the construction of huge ossuaries and, later, war memorials was fostered by the Fascist Regime which availed itself of the fallen for ideological and political purposes. Between these two extremes, also other forms of commemoration such as parks or avenues of remembrance were realized. This paper tries not to force coincidences between history and the history of architecture; nevertheless, it understa...

Engramma, 2022

When Pietro Maria and Lina Bo Bardi crossed the Atlantic Ocean aboard the liner Almirante Jacegua... more When Pietro Maria and Lina Bo Bardi crossed the Atlantic Ocean aboard the liner Almirante Jaceguay, in 1946, they intended to embark on a long trip to Brazil. However, they ended up moving there altogether. Therefore, their journey became something so different from what was expected that one can barely call it a “journey”. Nevertheless, if a journey is also and above all the daily experience of “otherness”, of seeing things from a decentralized point of view, maybe we should indeed consider the years Lina Bo Bardi spent in Brazil as such. This paper aims to show that Bo Bardi’s uncomfortable but favorable position – as a traveler in a country she loved, where she felt she belonged but was also compelled to see from the outside, through a sort of “anthropological gaze” – is one of the main conditions of her most original ideas and works.

The Hidden Beginnings of a Breakthrough: Lina Bo Bardi's First Steps in Brazil

RIHA Journal, 2022

Italian-born architect Lina Bo Bardi always claimed that she had moved to Brazil in the aftermath... more Italian-born architect Lina Bo Bardi always claimed that she had moved to Brazil in the aftermath of World War II because the freedom ideals of the Italian Resistance had been betrayed. Recent studies argue she was merely accompanying her husband, Pietro Maria Bardi, who was organizing art exhibitions in Rio de Janeiro. However, as documented by the correspondence published here for the first time, Bo Bardi did not embark on the journey to the New World because of the failures of the Italian Resistance or simply as a companion to her husband: she had been charged with the task of ensuring Brazil's participation in the eighth edition of the Triennale di Milano (1947). On the basis of the correspondence documenting this assignment, this essay fills a historiographic gap and, more importantly, aims to radically revise the narrative around the initial phase of Bo Bardi's stay in Brazil, the country she increasingly felt as her own and where she eventually spent her entire life.

Arquitetura, muito arquitetura, arquitetura demais

Carlos Alberto Maciel, Arquitetura como Infraestrutura. Teoria, 2019

Posfácio Arquitetura, muito arquitetura, arquitetura demais Determinar o que é a arquitetura e, s... more Posfácio Arquitetura, muito arquitetura, arquitetura demais Determinar o que é a arquitetura e, sobretudo, o que é que a arquitetura deveria ser: o livro de Carlos Alberto Maciel, como qualquer obra de teoria da arquitetura, pode ser reconduzido à tentativa de cumprir-bem ou mal, de uma forma ou de outra-essa dupla tarefa. Perante isso, o historiador pode reagir de formas diferentes: a menos que se limite a elogiá-la avançando apenas observações marginais, pode, por exemplo, decidir encarar a teoria proposta, criticar seus eventuais pontos fracos e, talvez, chegar a desmontá-la peça por peça. Não é nenhuma destas, contudo, a postura com que gostaria de me confrontar com a proposta de Carlos Alberto. Prefiro deixar ao leitor a tarefa-difícil e, no final das contas, pessoal-de lidar com ela; nestas poucas páginas, me dedico, antes, a refletir sobre algumas das questões mais relevantes colocadas pelo livro. Em certos casos, me parece antes de mais nada necessário levar ao extremo as consequências de alguns dos raciocínios desenvolvidos ao longo do livro. É o caso, em particular, da trajetória da arquitetura do século XX que

La città come la casa, la casa come la città. Breve storia di un topos

Territorio, 2019

Un mancato Tractatus logico-architectonicus? L'architettura della città e Wittgenstein

Territorio, 2022

Ripensare Lina Bo Bardi. Il Museu de Arte de São Paulo dal mito alla storia

Territorio, 2018

Un dialogo mancato. La ricezione dell’architettura brasiliana sulle riviste italiane (1946-1949)

Engramma 188, 2022

The paper aims at investigating the reception of Brazil’s Modern Architecture in the Italian arc... more The paper aims at investigating the reception of Brazil’s Modern Architecture in the Italian architecture magazines between 1946 and 1949. The result of the research is that, with few exceptions, only a limited number of articles were dedicated to Brazil’s Modern Architecture in this period; and most of these articles were focused on professionals that did work in Brazil but that either emigrated from Italy or were of Italian descent. This way, the peculiar traits of most of the current architectural production in Brazil ended up being misunderstood and omitted. The paper also attempts to understand the reasons (which are mostly cultural but also depend on other factors too, like the difficulty in accessing first-hand information) why there was a missed dialogue between the Italian architectural scene and the internationally acclaimed Brazilian one during this period.

Venezia as a model. The case of Paulo Mendes da Rocha

HAULuP_Heritage and Architecture of Urban Landscape under Production_ VENEZIA ARSENALE, 2014

Ganhados ao mar, para quê? Uma entrevista com Paulo Mendes da Rocha sobre o Museu dos Coches

Museu Nacional dos Coches. Lugar, projeto e obra, 2015

O museu na obra de Paulo Mendes da Rocha

Projeto, 2013

O primeiro dado surpreendente, quando consideramos a totalidade dos museus projetados ou realizad... more O primeiro dado surpreendente, quando consideramos a totalidade dos museus projetados ou realizados por Mendes da Rocha, é ele ter recebido o seu primeiro encargo para um museu apenas em 1975, já aos 20 anos de carreira: o MAC, a ser implantado na Cidade Universitária da USP. Antes, teve a oportunidade de projetar apenas (e raramente de construir) espaços expositivos no interior de edifícios de outra natureza. Nesse sentido, vale recordarmos ao menos o projeto da sede da faculdade de filosofia e sociologia da USP (1961) e o edifício Roberto Simonsen, sede da Confederação Nacional da Indústria (CNI) em Brasília (1962). 2 Alguns anos antes do MAC/USP, porém, Mendes da Rocha tinha desenvolvido o projeto do concurso para o Centro Georges Pompidou, em Paris, conhecido como Beaubourg É provável que Paulo Mendes da Rocha seja antes de mais nada conhecido, sobretudo fora do Brasil, como o autor de museus extraordinários, tais como o Mube e a Pinacoteca do Estado de São Paulo. Nas últimas décadas, contudo, ele abordou o tema museu em inúmeras outras circunstâncias. 1 Atualmente, além do Museu dos Coches, em Lisboa, estão sendo realizados o Cais das Artes de Vitória e a Praça dos Museus da Universidade de São Paulo (USP). Talvez valha a pena nos perguntarmos o que significa o museu para o arquiteto, como ele afronta esse tema e de que função ele se reveste.

Oscar Niemeyer: il Palazzo delle Industrie nel Parque Ibirapuera (1952-1954)

Casabella, 2013

Artigas, ou les tourments de l’architecte engagé

Tracés. Revue suisse romande des techniques et cultures du bâti

Paulo Mendes da Rocha: um perfil

Projeto, 2022

Politics of relics: On the celebration of the fallen of the First World War during the interwar period in Italy

Historical Encounters: A journal of historical consciousness, historical cultures, and history education, 2021

This paper explores the way in which the fallen of the First World War were commemorated in Italy... more This paper explores the way in which the fallen of the First World War were commemorated in Italy between 1918 and 1940. At the end of the war, numerous spontaneous local monuments were constructed. At the same time, the many small war cemeteries established near the former battlefield areas began to be perceived as a problem. Shortly before the Second World War, in order to bury all the exhumed bodies, the Fascist Regime constructed huge war memorials (ossari and sacrari). However, this was also a means of taking advantage of the fallen for ideological and political purposes. This paper focuses on the connection between the sacralisation of the battlefields by way of raising ossari and sacrari, on the one hand, and the spread of ‘fragments’ of these battlefields all around the country, on the other. The latter phenomenon has not yet attracted significant interest from researchers. Boulders from the battlefields began to appear in the middle of village, town, and city squares across...

Javier Corvalán - La lieve pesantezza

Casabella, 2014

Il merIdIano dI GreenwIch attraversa ora l'amerIca del sud? 64 mmBB e hereñú+FerronI arquItetos

From Italian Monuments to the Fallen of World War I to Fascist War Memorials

This paper describes the different ways of commemorating the fallen of World War I in Italy betwe... more This paper describes the different ways of commemorating the fallen of World War I in Italy between 1918 and 1940. From the collection of examples emerges that there was no homogeneity in the forms of remembrance during these two decades. Rather, we find both a continuous renewal and overlapping of different kinds of commemorative forms. Right after the end of World War I, a spread of spontaneous local monuments is discernible, though the many small war cemeteries rising near the former battlefield areas were already beginning to be perceived as a problem. Shortly before World War II, the construction of huge ossuaries and, later, war memorials was fostered by the Fascist Regime which availed itself of the fallen for ideological and political purposes. Between these two extremes, also other forms of commemoration such as parks or avenues of remembrance were realized. This paper tries not to force coincidences between history and the history of architecture; nevertheless, it understa...

O Trianon Do MAM ao MASP. Arquitetura e política em São Paulo (1946-1968)

O Trianon Do MAM ao MASP. Arquitetura e política em São Paulo (1946-1968), 2019

Introduzione a São Paulo. Ritratti di città

«Piuttosto un arco trionfale che una porta di città». Agostino di Duccio e la Porta San Pietro a Perugia

Uma Genealogia da Imaginação de Paulo Mendes da Rocha

Uma genealogia da imaginação de Paulo Mendes da Rocha. Lições de Veneza

Este livro procura examinar o fascínio que a cidade de Veneza exerce no pensamento e na obra de P... more Este livro procura examinar o fascínio que a cidade de Veneza exerce no pensamento e na obra de Paulo Mendes da Rocha, um dos mais importantes arquitectos da actualidade. Quem já leu ou ouviu as suas palavras sabe que Mendes da Rocha recorre frequentemente à cidade lacustre para tentar definir a natureza profunda -e os deveres genuínos -da arquitectura. Para o arquitecto, Veneza é um «exemplo» necessário, um «modelo» ou «paradigma» da arquitectura.

From Italian Monuments to the Fallen of World War I to Fascist War Memorials

This paper describes the different ways of commemorating the fallen of World War I in Italy betwe... more This paper describes the different ways of commemorating the fallen of World War I in Italy between 1918 and 1940. From the collection of examples emerges that there was no homogeneity in the forms of remembrance during these two decades. Rather, we find both a continuous renewal and overlapping of different kinds of commemorative forms. Right after the end of World War I, a spread of spontaneous local monuments is discernible, though the many small war cemeteries rising near the former battlefield areas were already beginning to be perceived as a problem. Shortly before World War II, the construction of huge ossuaries and, later, war memorials was fostered by the Fascist Regime which availed itself of the fallen for ideological and political purposes. Between these two extremes, also other forms of commemoration such as parks or avenues of remembrance were realized. This paper tries not to force coincidences between history and the history of architecture; nevertheless, it understands monuments, parks and avenues of remembrance, ossuaries, and war memorials as a kind of seismograph sensitive to the period's shifts and jolts, and to Fascist policies in particular. [1] If there is one thing that characterizes current knowledge regarding different monuments and memorials of World War I in Italy, it is the lack of comprehensive studies and research on the subject. To present date, for instance, there has never been a full census of monuments to the fallen of the Great War, or of commemoration parks or avenues of remembrance; we are therefore not even capable of effectively evaluating the quantitative consistency of such a widespread capillary phenomenon. 1 [2] Evidently, it is rather difficult to speak of a history's legacy, of whose many occurrences only a portion is known, without the certainty to properly assess its geographic distribution, variations or exceptions. In fact, drawing general 1 The number of monuments to the fallen can be estimated between a likely 10,000 to 20,000, and a count of Parks and Avenues of Remembrance should be in the thousands. These are however estimates that are approximate and questionable. A systematic census of monuments and memorials of World War I in Italy, named Progetto Grande Guerra, is currently being undertaken by the Istituto Centrale per il Catalogo e la Documentazione for the first time, but the data collection has not been completed yet.

Engramma n. 84 | Lucciole malgrado tutto [2010]

by daniele pisani and Monica Centanni

La Rivista di Engramma, Oct 2010

Editoriale di Engramma n. 84 (ottobre 2010) a cura di Monica Centanni e Daniele Pisani