L'Aquila: A lesson in Italy's failure to rebuild after the 2009 earthquake.

Post-earthquake reconstruction?  Six years later, this is L'Aquila.

The most recent devastating earthquake in Italy hit in the Marche province on October 26, followed by aftershocks. An August 24 quake not far away killed almost 300 people. 

Prime Minister Matteo Renzi is promising complete restoration.  We are - sadly - skeptical.  As a poignant piece of evidence, we give you L'Aquila, where a 2009 earthquake in this large, historic center in the Abruzzo region that neighbors Marche, resulted in 309 deaths.

We had been in L'Aquila many years ago.  This classic medieval city, capital of the Abruzzo province, is less than 75 miles from Rome, but 75 miles that can seem like centuries, and that took several days to cover in Margaret Fuller's time.  The city sits at the foot of the Gran Sasso mountains we intended to (and did) climb; they reach over 10,000 feet, the highest Italian mountains south of the Alps.

Last year, 6 years after the quake, we decided to see what had been accomplished after the earthquake.  We had heard of the slowness of the rebuilding, mafia involvement, scandals, and the like.  But nothing prepared us for the ghost town L'Aquila still was - 6 years later.  The photo above of one street is, unfortunately, typical of most of the streets of L'Aquila. Buildings shored up, at best, but unreconstructed and uninhabitable.

A closer view of the cracking produced by the 2009 earthquake.

Here one can see efforts to protect the older, classic building windows and doors.
Again, this is the best the 'reconstruction' seems to offer.

Businesses stopped in their tracks.  And not re-opened, of course.  This was a
unisex hair salon.

We'll get back to the destruction.  But we must take a couple sentences to describe the highly unusual setting in which - without planning on our part - we found L'Aquila in May 2015: it was the annual national 3-day "raduno" or "adunata" - a gathering of the Italian Army's Alpini units - gatherings that attract several hundred thousand men and a few women.  And this year, in an attempt to bring life and attention to the devastated city, they were meeting in L'Aquila, even though there were only a handful of rooms available to them in the city itself.  Many took 1-2 hour long train rides into L'Aquila daily; others set up tents and slept in vans. 

The Alpini were formed as a northern mountain unit of the Italian army.  One finds Alpini almost everywhere in Italy these days.  They still are a significant branch of the army.  And, since my family is from the north (15 km south of the Swiss border), all the men belonged to the Alpini (see a photo of my great-grandfather below).  The Alpini would recognize L'Aquila, and its location in the Gran Sasso, as part of the mountain regions that Alpini love.

Our first shot of the Alpini, recognizable by a black feather in their caps
(officers get a white feather) was of them being tourists.  Here they are at L'Aquila's
famed 13th century "Fountain of the 99 Spouts" (Fontana delle 99 Cannelle)

The poster for the 2015 Adunata.  Note the emphasis on the mountains and the black feathers.

Here's how the Alpini managed their gathering in L'Aquila - they brought in their own pop-up restaurants and beer tents;
this one set up right next to the scaffolded building.

The Alpini gathered in St. Peter's Square at their 1929 adunata.
One of the empty L'Aquila buildings had a small exhibit of prior Alpini "adunate,"
which is where we found this, among many other photos and artifacts.

The Alpini here were singing a traditional song.  To the left is the hotel in
 which we stayed many years ago.  This is in a newer part of the city, 
where there was less devastation because of better building practices.
  The Gran Sasso can be seen in back.

Back to the destruction.  

The sign scrawled on this wall says "L'Aquila  will be arise (be reborn) from the Mafia."

It's not clear these buildings will be rebuilt.

The blocked-off streets are in the "red zone," where one cannot even walk.

This banner in the main square says:
"One finds a red zone everywhere and the issue is a national one."

Outside an obviously newer but poorly built "Students' House," photos
of some of the more than 100 "angels" who died there in the earthquake.
 Arrests followed the collapse of the building.

Housing built for displaced residents - but not near any work.  From the train,
we saw these on the outskirts of Paganica, about 15 km from L'Aquila.  

A view of L'Aquila from a distance.  The cranes are there, but where are the workers and the work?  Snow-capped (in May)
Gran Sasso in the distance.

Elizabeth Povoledo wrote about L'Aquila in the New York Times a few weeks ago. Remarkably, her photos don't look any different from ours of 2015.

There were a few signs of hope.

A bar on the central square, run by the Fratelli Nuria, was open. It was
 not simply an Alpini pop-up. Signs announced it as the first business
 to reopen after the quake. The family also made its own, excellent torrone  
(which we bought and ate). You can see a couple Alpini among the patrons.

This surprising restored house, with a woman watering her plants, was the lone
exception we saw.

Our hotel receptionist rode with us on the train from L'Aquila to Paganica where many people were housed (photo above).  She told us that 6 years later her house was not habitable but that she had to continue paying her mortgage, and continue living in Paganica, about 15 km away.   We wrote last December about a church, built into rock, in Paganica.

And below is Giovanni Mambretti, my Italian grandmother's father, standing at left, with his Alpini.

We hope to visit L'Aquila again, and that we will see significant progress the next time.  Should you wish to visit L'Aquila, our hotel was ideal.  It was in a newer building, below the city (you do have to walk up and down hills a lot in L'Aquila), and in 2015 it was fully open, including the excellent restaurant serving Abruzzi specialties.  It's the Hotel "99 Cannelle", because it's across the street from that famous fountain.

Dianne

Riccardo Morandi's Metronio Market

Over the past century, Rome has produced two generations of great architects.  One, serving Mussolini’s Fascist regime, or simply practicing in that era, applied the techniques and vision of rationalism or, somewhat later, monumentalism, to the public and private buildings of the period.  Among the rationalists one would have to include Luigi Moretti, author of the 1933 Casa del gioventú, in Trastevere, and Adalberto Libera and Mario De Renzi,collaborators on the Aventino post office (1933) on via Marmorata.  The monumentalists had their heyday at EUR, the massive development south of the city, where the chief architect was Marcello Piacentini. 

The second generation of great architects is the current one, composed of “starchitects” from Italy and elsewhere, who build one big project and then go on to do the same in some other city.  They include Richard Meier, out of the rationalist tradition, and his controversial housing for the Ara Pacis; Renzo Piano, who combined fantasy and functionalism in his Parco della Musica; Zaha Hadid, something of a monumental rationalist in herMAXXI art museum in the quartiere of Flaminio; and Massimiliano Fuksas and Santiago Calatrava, though neither has finished his Rome masterwork, and Calatrava’s swimming pool languishes in the weeds of Tor Vergata. (For more links to RST posts on these architects, see links at the end of this post.)

In between these generations there isn’t much, at least not much that stands out.  Although many buildings were constructed in Rome in the postwar “boom,” most of them were apartment buildings on the city’s outskirts, many of them handsome and some outstanding in a simple, functional way, but too much a part of the suburban fabric to stand out, or for their architects to be recognized for outstanding achievement. (And, Dianne chimes in, some of them not handsome or outstanding.)

There are exceptions, and we were reminded of one of them, a curious-looking market with an attached parking garage, when we read of plans—controversial plans, in turns out—to tear the complex down.  The structure is on via Magna Grecia on the northeast edge of the San Giovanni neighborhood, due passi from San Giovanni in Laterano, which is on the other side of the wall.  We stopped to have a look. 

The building is roughly triangular in shape, with the two longest sides adorned by protruding, fan-like windows. 

The stunning part, though, is the parking garage, or rather the access to it, up a prominent circular ramp—not so different, really, from what Frank Lloyd Wright accomplished on the interior of his Guggenheim gallery in New York City.  The Guggenheim opened in 1959, the Rome market in 1957. 

Inside, light from the window baffles suffuses the interior but is insufficient to overcome the forlorn atmosphere of the place.  A good portion at one end is unoccupied, and the vendors that do exist—selling meats, fish, vegetables, and housewares—have few customers. 

Faced with the possibility of demolition, the 25 remaining vendors have organized with a group called the “Urban experience” (the name is in English) to propose that the Metronio market, as it’s called, be adapted to some new uses, including shops that feature organic products and working artisans.   Among those trying to save the market, there is a sense that the building, and particularly the parking ramp, is of architectural significance.  There is disagreement, however, on whether saving it would require significant and expensive structural work to bring the edifice up to safety and hygienic standards, or only “conservative” restoration.

The man behind the Metronio market was Riccardo Morandi (1902-1989), a civil engineer (rather than architect) with a deep scholarly and practical knowledge of reinforced concrete (cement armato), an inexpensive building material with important structural qualities widely used in the post-1945 Italian reconstruction.  Morandi’s best known work is the General Rafael Urdaneta Bridge (above), an 8 km structure with 70 cable-stayed spans crossing Lake Maracaibo in Venezuela. He also participated in the postwar reconstruction of Florence, where he built a bridge over the Arno in the mid-1950s. 

Morandi's Cinema Maestoso, dear to our
 hearts becauser we saw the Whitney Houston/
Kevin Costner film "Guardia del Corpo" ("The
Bodyguard") in Italian, with our 2 sons, here
in 1993.  Who needed to understand the plot?
Houston's singing was the heart of the film.

Aside from the Metronio market, Morandi’s Rome projects include a Tevere bridge (known as “Il Grillo”)[1949/50]; a small palazzo on via Martelli (1950); the Cinema Maestoso (and the building above it) on via Appia Nuova (1954-57; a viaduct over a bend in the Tevere in Magliana ((1963-1967); a portion of the Fiumicino airport (perhaps the Alitalia terminal); and the Hotel Ergife (with B.M. Cesarano), on the via Aurelia (1975-1978).   Morandi also taught bridge design at the University of Florence and the University of Rome. 

Bill

Additional links to RST's posts on the architects mentioned in this post:

On Rome's new "bridge to nowhere":

http://romethesecondtime.blogspot.it/2011/09/ponte-della-musica-romes-new-bridge-to.html

On Hadid winning the Sterling Prize:

http://romethesecondtime.blogspot.it/2010/10/news-flash-hadid-wins-sterling-prize.html

On EUR buildings:

http://romethesecondtime.blogspot.it/2009/11/rst-top-40-35-gino-severini-mural-at.html

On Foro Italico, nee' Foro Mussolini:

http://romethesecondtime.blogspot.it/2011/05/rst-top-40-5-foro-mussoliniforo-italico.html

On more of De Renzi's work: in the Trionfale quarter, and public housing in the Mussolini era.

Generally on 21st century architecture in Rome: 

http://romethesecondtime.blogspot.it/2010/07/planning-romes-future-modern-art-or.html

Piano's work is mentioned in the "Starchitects" post, as well as the one on the "bridge to nowhere."

For Meier's work, see also the post on the tunnel under the Ara Pacis and his magnificent Tor Tre Teste church in the suburbs of Rome.

Trionfale: A Rome "Suburb"

A Courtyard in one of Trionfale's Fascist-Era Public Housing Projects

Rome the Second Time is partly a book about Rome's suburbs.  But that doesn't mean we're sending you to Rome's equivalent of Westchester.  Our Rome suburbs are outside the Center, to be sure, so they weren't built in the Renaissance.  But they are close to the Center, and they feel like Rome: today's Rome, and the Rome of the 20th century.

Some time ago we spent the afternoon in the Rome suburb of Trionfale (Triumphant/Triumphal, the name apparently derived from the city's historic attraction to triumphal arches).  Romans would refer to the area as Trionfale or Quartiere Trionfale. It's in Prati. 

We can't give you a precise geographical definition for Trionfale.  But the center of the quartiere is just to the east of Piazzale degli Eroi ("Large Piazza of the Heroes" - a pretty awful traffic circle, says Dianne), along and a few blocks north and south of via Andrea Doria, which runs into the piazza.

If you're staying near the Vatican, you're in luck, because Trionfale begins just a few blocks north of the north wall of the Vatican.  If you're taking the subway, get off at Cipro Musei Vaticani and walk north to Piazza degli Eroi.

Cinema Doria

Standing in Piazza degli Eroi and looking toward the northeast, in front of you is one of the quartiere's finest pieces of architecture: a massive public housing project that spans the pre-Fascist and Fascist (1922- ) eras.  Constructed for the ICP (Istituto Case Popolari/Institute for Public Housing), it was designed by architects Innocenzo Costantini and Innocenzo Sabbatini and built between 1919 and 1926.  The building combines modern elements with medieval ornamentation; the gargoyles are impressive.  You'll have to take our word for all this because, remarkably, we don't have a photo to show you.  On the via Andrea Dorea side you'll find a movie theater, the Cinema Doria, richly decorated though now in a degraded state. 

Just to the east and north is a complex of public housing buildings with a variety of architectural features, including ornate iron work, glass-enclosed stairways, and--especially--public spaces designed to shelter the residents of the buildings from the chaos and dangers of the street and to provide a common exterior space where residents of the undoubtedly small (and balcony-less) apartments could sit in the open area and meet their neighbors.  We recommend a leisurely stroll through these areas.  See photo at top. 

Casa Impiegati del Governatorato

Across via A. Doria and about three blocks east at via A. Doria 1-27 is a thoughtfully designed, late-1920s building by one of Rome's best-known architects, Mario De Renzi.  Its formal name is the Casa Impiegati del Governatorato--literally House of Governership Employees.  It's three wings allow for lots of natural light.  Perhaps the most interesting feature are the rounded windows, especially on the side on the second floor but also running up the front, referencing similar forms that had recently (at the time) been excavated at ancient Roman port of Ostia Antica.  Nearby, on the same side of the street, is another building with medieval touches.

The new Trionfale Market--or the Hyatt?

Our last stop is the Trionfale Market, not far to the east on via A. Doria.  Rome planners have been busy in recent years replacing the city's older markets with new ones that are better lit, more sanitary, and perhaps better organized (see Bill's earlier post on this push by the city government).   But in this case we're not fans of progress.  The new market is too big and too impersonal and designed in a derivative, post-modern style that lacks character and fails to find peace with the surrounding community.  We don't know what the neighborhood's residents think, but only 91 people have signed up for the market's Facebook page. 

Bill

RST Top 40. #18: Case Popolari/Mussolini's Public Housing

Officially and emotionally, the Fascist regime (1922-1943) emphasized the virtues of rural life and made an effort to keep Italians in the small villages and on the farm. Practically, it proved impossible to prevent country people from coming to the city to live, and especially to Rome, whose population grew from about 700,000 to more than 1,4oo,000 during Fascism. At the same time, Mussolini's government was tearing down large areas of the inner city, mostly to showcase the city's ancient Roman heritage and bring glory to the regime. Migration and "sventramento" (tearing down) put enormous pressure on the Fascists to provide housing, somewhere, for the new arrivals, the displaced, and thousands of new government employees. As a result, Fascist-built housing is everywhere in Rome--everywhere, that is, outside the Centro: in Flaminio, around Piazza Bologna, in Appio Latino, in Garbatella, and in Monteverde Nuovo--and, of course, in a dozen or more "borgate," the more far-flung suburbs where thousands of Rome's workers and their families were housed.

Public housing in Garbatella is featured in the first walk in our latest book, Modern Rome: 4 Great Walks for the Curious Traveler.  More on the book is at the end of this post.

Our focus here is on one particular kind of public housing: Case Popolari (literally popular houses), built for the working class. One of our favorites, an intimate project on Piazza Pontida (see photo top), is on the first Piazza Bologna itinerary in Rome the Second Time. Another worth visiting, and more accessible because it is not gated, is in Flaminia, off viale del Vignola, just off Piazza Melozzo da Forli in Piazza Perin del Vaga.
Buiilt between 1924 and 1926, this complex was designed by Mario De Renzi, one of the architects of the more famous via Marmorata post office and a regular contributor to the rationalist element of the Fascist aesthetic. The sculpture in the photo is located in Piazza Perin del Vaga.

But if you're RST Top 40 "bagging" (like hikers bag high peaks), you'll have to head for Monteverde Nuovo, specifically Piazza di Donna Olimpia, at the intersection of via Ozanam and via di Donna Olimpia. The #8 tram on viale Transtevere will get you most of the way: get off at Piazza San Giovanni di Dio, walk left to via Ozanam and down the hill. (RST Top 40 daily double: the market in Piazza San Giovanni di Dio, followed by the Case Popolari in Piazza di Donna Olimpia).

This public housing complex was completed in 1938 (Mussolini and other dignitaries were present at the opening), and it's in a different spirit and aesthetic from the projects noted above. Beginning in the 1930s, and accelerating when Italy pursued its colonial fantasies in North Africa and then alliance with Germany, Fascist architecture pursued a "monumental" aesthetic--tall, massive, imposing.
This is a good example. The project included several buildings of 8 stories (referred to then as "grattaciele": skyscrapers), intended to house some three hundred families--or about 1200 people. Today the project is perhaps best known as one of the 1950s haunts of poet, novelist and filmmaker Pier Paolo Pasolini, who was fascinated by (and wrote about) the culture of the working-class boys who lived in the complex and who for a time lived with his mother just up the street,
in an apartment at #86 on via Fonteiana 86, the extension of via Ozanam (there's a plaque in the lobby, but no, you can't claim it as another notch on your RST Top 40 belt). We've written about Pasolini's links to Monteverde in posts of October 10 and October 16, 2009. The photo of Pasolini at right appears to have been taken behind the Piazza di Donna Olimpia projects.

No one will mind if you go in the entrance to the main building (which is obvious) and have a look. The stairway is cool, and so is the interior courtyard and its view of the curved back of the building.

Bill

As noted, "case popolari" are featured in our new print AND eBook,  Modern Rome: 4 Great Walks for the Curious Traveler.  Modern Rome features tours of the "garden" suburb of Garbatella; the 20th-century suburb of EUR, designed by the Fascists; the 21st-century music and art center of Flaminio, along with Mussolini's Foro Italico, also the site of the 1960 summer Olympics; and a stairways walk in Trastevere.

This 4-walk book is available in all print and eBook formats The eBook is $1.99 through amazon.com and all other eBook sellers.  See the various formats at smashwords.com. 

Modern Rome: 4 Great Walks for the Curious Traveler now is also available in print, at amazon.com, Barnes and Noble, independent bookstores, and other retailers; retail price $5.99.

RST Top 40. #34: a Fascist Era Post Office

Two of Rome's masterpieces of architectural geometry are located within a stone's throw, across the street from each other in via Marmorata, at the intersection of the Aventino and Testaccio districts. One is the ancient Piramide Cestia (the Cestia Piramid). The other is the neighborhood post office, a modernist gem designed by architects Adalberto Libera and Mario De Renzi and opened to acclaim in 1935, with Mussolini presiding (see photo above). Architectural scholars Mirella Duca and Filippo Muraia describe the building's elegant interior as "one of the most original spaces constructed in Rome in the 1930s." The via Marmorata post office is on Itinerary 4 in Rome the Second Time.

Libera was only 30 years old when he began working on the project, though he was already well known as a founder of the Movimento Italiano per L'Architettura Razionale (Italian Movement for Rationalist Architecture) and feted for his facade for the monumental Exhibition of the Fascist Revolution (photo at right), which opened in 1932 in the Palazzo delle Esposizioni, also a collaborative effort with De Renzi.

Though apparently not a zealous Fascist, Libera's close links with Fascist Party officials allowed him to compete for the regime's choice commissions, including the Palazzo dei Congressi, which he designed for the EUR complex. One of Libera's last works, accomplished with several other architects, was the Olympic Village (see photo at right), which housed athletes competing in the 1960 Rome games (including boxer Cassius Clay, who was seen taking photos of the complex). It is located in the Flaminio district, not far from Parco della Musica.

De Renzi's first commission, for the enormous 1931 Palazzo Federici apartment complex on via Aprile XXI, near Piazza Bologna, has also become one of his best known; it was the setting for Ettore Scola's 1977 film Una Giornata Particolare (A Special Day), starring Marcello Mastroianni and Sophia Loren in a drama set in Fascist Rome in 1938. The building is on Itinerary 8 in Rome the Second Time.

Bill