The Gates of Rome: The Postwar Era

Some of these gates are best seen--and photographed--at night. 

A window barred--but elegantly, c. 1910

From the point of view of crimes against the body, Rome is a safe city, with very low numbers of assaults, rapes and murders.  Property crime--things like thefts on the bus, breaking and entering with intent to steal the television set--is more frequent.  Romans--and Italians generally--are understandably anxious about property crimes and eager to protect their homes from invasion.  Hence Romans prefer the upper floors of apartment buildings, where they feel--and are--less vulnerable, and those who must live on the ground or first floor commonly install bars on windows. 

Fenced in, completely

Some have been known to fence in an entire terrace or balcony (right).  Portieri--the guys who sit in little rooms ready to jump out and prevent you from snooping around in that lovely interior courtyard--are less common than they once were, but they're still at work here and there, and they still serve as a deterrent to crime in many buildings.   If a thief does manage to get to your front door, he must deal with multiple sets of multiple-bolt locks on an order that even a hardened New Yorker would have trouble imagining.  Opening one of these doors with the keys requires not only a good memory--for which key fits which lock,  which of the locks, if any, is a fake, which lock to unlock first, how many turns to make--but also a non-arthritic wrist and some time to waste. 



A fanciful gate, in Coppede'

This concern for home safety has one benefit (well, maybe more than one): the iron gates that guard many buildings--the first line of defense, especially in the absence of a portiere--are works of art.  Some are centuries old, veritable masterpieces of the Italian renaissance.  Others, as in the Coppede' neighborhood in the quartiere of Trieste, evoke the medieval sensibilities of Gino Coppede', the architect who built the area, or offer a touch of the "liberty"/art nouveau style that was in vogue in the decades before and after 1900. (The Coppede' neighborhood came in at #20 on RST's Top 40.)

Then there are the modern gates of the between-the-wars Fascist period, with their strong vertical and/or horizontal lines.  No nonsense. 










Here's another, from the 1920s, with touches of the medieval: that spear to the right, the grate-like general appearance.  Nestled in the center, the modernist letters CP (Case Popolari/Public Housing).  This gate is in the planned community of Garbatella (RST's #16 on its Top 40), south of the center. 







And after the war?  Nothing worth looking at, right?  Wrong.  We (and that really means Bill, that master of the perverse perspective) have been enjoying the gates and doors of the 1950s and 1960s.  Yikes!  At least that's when we think they were made; they don't come with dates. 

Angles, colored glass, lovely shadows.  Note the floor.  This
gate is "busier" than most.  You can see it in Piazza Vescovio.

They're easy to recognize: they're "modern" in the sense that they (usually) aren't busy with detail, and they don't resemble Victorian wallpaper.  But the designers of these postwar examples have moved on just a bit from the stark lines favored in the Fascist era.  Lines are bending (photo at top).  New angles.  Playfulness.  One senses a search--not always successful, we admit--for something beyond the stark order of modernism.









Playful, yet bold and powerful.  Straight out of the 1950s, and strong and masculine.  In postwar, modern Garbatella, not far from the Metro. 

Sensational.  Gorgeous.  You could be in Miami Beach.  But it's Monteverde. 

We found this gem in the quartiere of Trieste, while walking to our
apartment from Piazza Bologna.  Wasted on a parking lot, but dazzling.
We're thinking Buckminster Fuller's Geodesic Dome. 

There's Fuller with his dome. 

Bill






 

Giò Ponti: Revived in Rome

Ponti in his famous armchair - at home, living "ala Ponti"

Italian design can be art at its best, and found in unlikely places.  RST’s recent foray to the western suburbia of Rome’s via Aurelia brought us to a fascinating and stylish, if small, show of Italian architect Giò Ponti’s interior design.  The setting is the interior design retail shop of Frattali, which is selling modern versions of Ponti’s furnishings.  Frattali’s store – an unlikely modern building in an otherwise undistinguished, even unattractive stretch of via Aurelia (one of the ancient consular roads, one must remind oneself).  

Frattali store on via Aureli

Frattali also currently has on display placards in Italian and English explaining some of the highlights of Ponti’s architectural career – which spanned from the 1920s to the 1970s (he died in 1979).  We recommend a visit before the “show” is scheduled to close on June 9 (info on how to get there at the end of this post). 



armchair - you can buy it too (Montecatini desk
chairs in background)

Titled  “vivere alla Ponti” – or “living alla Ponti”-- the exhibit also is subtitled “Houses inhabited by Giò Ponti.  Experiments in domestic life and architectures for working and living.”  Ponti started including interiors in his buildings early on.  But it was only 2 years ago that remakes of his furniture designs went on the market, with the imprimatur of his heirs:  a stylish, large armchair/poltronia [1953 (that doesn’t look all that useful) from his family home, a metal chair [1935] from one of his most famous buildings, the Montecatini headquarters in Milan, bookcases, dressers, rugs, and coffee tables (see photos here). 

coffee table, rug, cabinet - all ala Ponti

The placards suggest that Ponti was pathbreaking in applying his design skills to the whole building – inside and out.  We note Frank Lloyd Wright was firm in that concept before Ponti.  We also see striking similarities between Ponti’s style and the Los Angeles interiors currently on display at the Los Angeles County Museum of Art’s Pacific Design exhibit (1930-1965), part of the large, current, all-LA “Pacific Standard Time” 60+ location exhibition) that, interestingly, overlaps almost all of Ponti's era.

The re-make of the desk chair comes from the
 Montecatini office building designed in the late
1930s.

We expressed some surprise in a chat with one of the store workers about Ponti’s lack of recognition in the U.S.  She pointed out that he was one of the first Italian designers to produce for export.  If so, we say, keep it up!  As regular readers of RST know, we are fans of Ponti, having already done a post on his Fascist-era, rationalist (we would say) 1934 Mathematics Building at La Sapienza (the main university) in Rome.

Ponti was Milanese, and the greatest concentration of his buildings is in Milan.  He designed buildings internationally, from Caracas to Denver (the Denver Art Museum).  There is one more building in Rome, the Grand Hotel Parco dei Principi, nestled at the top of Villa Borghese.  That is on our to-do list.  We have read its interiors have been redesigned in what we would call faux Mediterranean, or as the hotel's website trumpets it, "a facelift inspired by the sumptuous and elaborate style of the patrician villas of Rome’s late-17th-century nobility" - all the rage, as we know from Los Angeles tear-downs as well.  As a result, many of Ponti’s original interior furnishings are on sale on the Web.  No accounting for taste. 

 A lavishly designed catalog for Frattali’s current show begins with a short essay “To re-make or not to re-make, that is the question.”  We’ll let RST readers ponder that one.  We know where we come out.

Dianne

Directions:  Frattali is at via Aurelia, 678.  If you drive, they have their own parking garage – just get onto the feeder road a few blocks before.  For public transport, note via Aurelia, 678 is a little over one mile (1.4 km) from Piazza Cornelia.  If you get yourself to the piazza (it’s a Metro A stop, or various buses go there), you can walk, or take the 246 bus, that runs about every 15 - 30 minutes (not on Sundays) 4 stops.