The Architectural Photomontages of Piero Bottoni
Italian architects began to adopt photomontage and collage techniques only at the end of the 1920s. In the decade before the Second World War, these techniques provided architects with a visual key to distinguish themselves from the academies’ canonical representation; to seek an affiliation with th...
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Ministère de la culture
2023-06-01
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| Series: | Les Cahiers de la Recherche Architecturale, Urbaine et Paysagère |
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| Online Access: | https://journals.openedition.org/craup/12941 |
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| author | Fabio Colonnese |
| author_facet | Fabio Colonnese |
| author_sort | Fabio Colonnese |
| collection | DOAJ |
| description | Italian architects began to adopt photomontage and collage techniques only at the end of the 1920s. In the decade before the Second World War, these techniques provided architects with a visual key to distinguish themselves from the academies’ canonical representation; to seek an affiliation with the European avant-gardes; and to be recognisable in architecture competitions. They also constituted a critical tool for investigating and designing. Their peculiar evolution is exemplified in the work of the Milanese architect Piero Bottoni. Passionate about photography and cinema, Bottoni used these techniques for different purposes, not least their latent political and subversive potential, which was already implicit in the work of the artistic avant-gardes. In this sense, the analysis of some of his photomontages, which are today preserved in the Archivio Piero Bottoni (APB) at the Milan Polytechnic, reveals both his intent to introduce an anti-academic, ironic and realistic language, as well as the importance of cinema as an original source for architectural communication. Parallel to colleagues such as Giuseppe Terragni, Figini and Pollini or Ludovico Quaroni, Bottoni explored these techniques in the political context of the fascist regime, which initially promoted any kind of original artistic research; and then gradually converged towards a reactionary, conformist and populist classicism which would isolate creative voices. |
| format | Article |
| id | doaj-art-a888e4dee81f42a5a60ba2fad654d882 |
| institution | Kabale University |
| issn | 2606-7498 |
| language | fra |
| publishDate | 2023-06-01 |
| publisher | Ministère de la culture |
| record_format | Article |
| series | Les Cahiers de la Recherche Architecturale, Urbaine et Paysagère |
| spelling | doaj-art-a888e4dee81f42a5a60ba2fad654d8822025-01-30T11:07:13ZfraMinistère de la cultureLes Cahiers de la Recherche Architecturale, Urbaine et Paysagère2606-74982023-06-011810.4000/craup.12941The Architectural Photomontages of Piero BottoniFabio ColonneseItalian architects began to adopt photomontage and collage techniques only at the end of the 1920s. In the decade before the Second World War, these techniques provided architects with a visual key to distinguish themselves from the academies’ canonical representation; to seek an affiliation with the European avant-gardes; and to be recognisable in architecture competitions. They also constituted a critical tool for investigating and designing. Their peculiar evolution is exemplified in the work of the Milanese architect Piero Bottoni. Passionate about photography and cinema, Bottoni used these techniques for different purposes, not least their latent political and subversive potential, which was already implicit in the work of the artistic avant-gardes. In this sense, the analysis of some of his photomontages, which are today preserved in the Archivio Piero Bottoni (APB) at the Milan Polytechnic, reveals both his intent to introduce an anti-academic, ironic and realistic language, as well as the importance of cinema as an original source for architectural communication. Parallel to colleagues such as Giuseppe Terragni, Figini and Pollini or Ludovico Quaroni, Bottoni explored these techniques in the political context of the fascist regime, which initially promoted any kind of original artistic research; and then gradually converged towards a reactionary, conformist and populist classicism which would isolate creative voices.https://journals.openedition.org/craup/12941Piero BottoniDesign CommunicationCinema and PhotomontageArchitectural CompetitionsCollage in Architectural Design |
| spellingShingle | Fabio Colonnese The Architectural Photomontages of Piero Bottoni Les Cahiers de la Recherche Architecturale, Urbaine et Paysagère Piero Bottoni Design Communication Cinema and Photomontage Architectural Competitions Collage in Architectural Design |
| title | The Architectural Photomontages of Piero Bottoni |
| title_full | The Architectural Photomontages of Piero Bottoni |
| title_fullStr | The Architectural Photomontages of Piero Bottoni |
| title_full_unstemmed | The Architectural Photomontages of Piero Bottoni |
| title_short | The Architectural Photomontages of Piero Bottoni |
| title_sort | architectural photomontages of piero bottoni |
| topic | Piero Bottoni Design Communication Cinema and Photomontage Architectural Competitions Collage in Architectural Design |
| url | https://journals.openedition.org/craup/12941 |
| work_keys_str_mv | AT fabiocolonnese thearchitecturalphotomontagesofpierobottoni AT fabiocolonnese architecturalphotomontagesofpierobottoni |