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List of Illustrationsxiii8.10 INA Parma spiral stair perspective8.11 Isolation of the ornamental concretelattice reveals proportional relationships tothe pattern of windows and vertical brickinfill panels behind it to form a tartan plaid8.12 INA Parma elevation detail: slippageof front façade grid joins windows intotraditionally proportioned units andprovides reading of the façade as a dynamicsurface8.13 Palazzo Tursi elevated courtyard isencountered en route to Palazzo Albinimunicipal office and city council chambers,Genoa8.14 Palazzo Albini section diagram8.15 Stairs from Palazzo Tursi toPalazzo Albini—beginning of pedestrianpromenade to Castelletto Panorama8.16 Palazzo Albini green roof terraceswith view over Palazzo Tursi and the StradaNuova8.17 Palazzo Albini meeting hall with“Lampada Ochetta” custom lighting andframed palace view across the Strada Nuova8.18 Clerestory lighting glazing detailtypical of the office floors throughout thePalazzo Albini8.19 Palazzo Albini handrail detail can becompared to Milan subway handrails andother expressions of levity, continuity andthe use of the line8.20 Palazzo Albini rooftop ascontemplative garden8.21 Green rooftop of Palazzo Albini withthe medieval city of Genoa beyond9 Seeking Order: Urban Plans, PopularHousing and Furniture9.1 Fabio Filzi Housing Quarter on theperiphery of Milan by Albini, Palanti andCamus, 19389.2 Albini’s sketch for Edoardo Persico’sapartment, 19359.3 Recent photograph of Fabio FilziHousing Quarter by author9.4 Albini’s design proposal for efficientdwellings installed at the VI Milan Triennale,19369.5 Unit plans for Fabio Filzi Housing byAlbini, Palanti and Camus, 19389.6 Unit plans for housing projects Ciano,Ponti, and Sauro by Albini, Palanti, andCamus9.7 Ettore Ponte Housing Quarter, 19399.8 Fabio Filzi Housing Quarter stairwellspulled into the public domain9.9 Mangiagalli Housing in Milan byStudio Albini with Ignazio Gardella, 19529.10 Mangiagalli Housing unit plans9.11 Corridor bridges for open circulationat Vialba Housing, Milan9.12 Piccapietra commercial andresidential complex by Studio Albini andEugenio Fuselli, Genoa, 19559.13 Piccapietra covered pedestriansidewalk detail9.14 INA-Casa Cesate neighborhoodoutside Milan by Studio Albini, 1951–549.15 INA-Casa Cesate neighborhoodloggia detail
xivSuspending Modernity: The Architecture of Franco Albini9.16 INA-Casa Cesate neighborhood unitplans9.17 Bookshelves with versatile columnunit in Caterina Marcenaro’s Genoaapartment9.18 “Cicognino” tables by Albini9.19 “Luisa” chair by Albini9.20 Model of Albini’s “Gala” chair showingmotion of seat on rattan frame10 Modernity’s Weight: SuspendingOptimism in Two Final Museums10.1 Façade of the Sant’Agostino Museumon Piazza Sarzano in Genoa10.2 Model of the Sant’Agostino Museumby Knowlton School of Architecturestudents for “Museums and Installations ofFranco Albini” Exhibition, 200610.3 Plan of the Sant’Agostino complexwith Cathedral (Repertory Theater),Museum by Studio Albini, and publicpromenade through the historic triangularcloister10.4 Urban network facing theSant’Agostino Cathedral10.5 Axonomentric of the Sant’Agostinocomplex10.6 Thirteenth-century triangular cloisterat Sant’Agostino10.7 Public stair of Ignazio Gardella’sGenoa School of Architecture (1992) off theStradone Sant’Agostino10.8 Exoskeleton exposed steel structureof the Sant’Agostino Museum façade10.9 Studio Albini’s Sant’AgostinoMuseum section10.10 View into new cloister and sunkenglass light well of the Sant’AgostinoMuseum10.11 Sant’Agostino Museum groundfloor entry level gallery plan10.12 Interior first floor Sant’Agostinogallery10.13 Window façade detail for largeexterior openings aligned with the interiorloggias at Sant’Agostino10.14 Typical Genoese pedestrian scaledalley or crêuza10.15 Sant’Agostino’s interior ramp-staircirculation inspired by the alleys of Genoa10.16 Sant’Agostino’s upper floor gallerywith missing cloister corner column10.17 Sant’Agostino’s first floor gallerywith Modern colonnade echoing thehistoric cloister contained in a display case10.18 Sant’Agostino’s lower lever sunkenglass court acting as a source of daylight10.19 Modern walls inserted intomedieval halls of Verona’s Castelvecchio fornew museum by Scarpa10.20 Glass display cases in the EremitaniMuseum in Padua by Studio Albini10.21 Site plan for the Eremitani Complexof Padua showing the former Romanamphitheater, the Scrovegni Chapel, theCathedral, minor and major cloisters, andthe unbuilt New Pinacoteca by Studio Albini10.22 Missing corner column of theEremitani Museum minor cloister asdesigned by Albini10.23 Centered columns of the EremitaniMuseum minor cloister10.24 Section diagrams comparing StudioAlbini’s New Pinacoteca and Kahn’s KimbellArt Museum
Page 2 and 3: Suspending Modernity:The Architectu
Page 4 and 5: Suspending Modernity:The Architectu
Page 6 and 7: Dedicated to my parents,Mary A. Mac
Page 8 and 9: ContentsList of Illustrations ixPr
Page 10 and 11: List of Illustrations1 Introducing
Page 12 and 13: List of Illustrationsxi4.18 Villa A
Page 16 and 17: List of Illustrationsxv10.25 Exteri
Page 18 and 19: PrefaceIt was a damp, dark day the
Page 20 and 21: Prefacexixin service to ingenuity,
Page 22 and 23: AcknowledgmentsI am indebted to the
Page 24 and 25: 1Introducing Franco AlbiniAn exhibi
Page 26 and 27: Introducing Franco Albini 3Over his
Page 28 and 29: Introducing Franco Albini 5and dyna
Page 30 and 31: Introducing Franco Albini 7Albini w
Page 32 and 33: Introducing Franco Albini 9artworks
Page 34 and 35: 1.5 Studio Albini with Franca Helg
Page 36 and 37: Introducing Franco Albini 13A book
Page 38 and 39: Introducing Franco Albini 15a balan
Page 40 and 41: 2Modernity in the Balance: Italy’
Page 42 and 43: Modernity in the Balance: Italy’s
Page 50 and 51: 2.4 Stadio dei Marmi at Rome’s Fo
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Modernity in the Balance: Italy’s
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3Albini’s Emergence from Designer
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Albini’s Emergence from Designer
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3.9 Plan for “Room for a Man” i
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4The Rationalist House, the Modern
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The Rationalist House, the Modern R
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4.10 Site plan for Villetta Pestari
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5Continuità: CIAM and Neorealism i
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Continuità: CIAM and Neorealism in
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5.2 New Genoa School of Architectur
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5.5 Cortile of the Casa Girasole by
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6The Exhibition and the Museum: Alb
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The Exhibition and the Museum: Albi
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6.8 Palazzo Rosso cortile by Albini
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6.13 Palazzo Rosso spiral stairSour
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6.23 Carlo Scarpa’s Castelvecchio
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7Tradition’s Modern Corollary in
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Tradition’s Modern Corollary in C
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7.8 Cornice and construction detail
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7.10 La Rinascente rear signage alo
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7.11 La Rinascente final plan
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8Strange Siblings: Office Buildings
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Strange Siblings: Office Buildings
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8.5 Palazzo Albini (formerly called
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8.8 Diagram of INA Parma front and
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8.10 INA Parma spiral stair perspec
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8.11 Isolation of the ornamental co
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9Seeking Order: Urban Plans, Popula
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Seeking Order: Urban Plans, Popular
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9.6 Unit plans for housing projects
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9.8 Fabio Filzi Housing Quarter sta
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9.11 Corridor bridges for open circ
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9.14 INA-Casa Cesate neighborhood o
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9.16 INA-Casa Cesate neighborhood u
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10Modernity’s Weight:Suspending O
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Modernity’s Weight: Suspending Op
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10.28 Superimposed section diagrams
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Appendix 1: Albini on TraditionTran
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Appendix 2: Renzo Piano’s “Pezz
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Appendix 2 325In early 2014, Piano
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Indexnumbers in bold refer to illus
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index329Ernesto Rogers, 108, 124, 1
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index331furnished folding pearwood
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index333of contemporary internation
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index335medieval, 106, 152, 158, 23
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index337L’Architecture d’aujord
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index339newspapers, 72Boston Globe,
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index341third and fourth floor plan
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index343region, 25, 41, 188-9, 257-
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index345skylit, 323storage, 106subd
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index347Verona, 132, 175Verona Cast
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