Carlo Perogalli

From Wikiquote
Jump to navigation Jump to search

Carlo Perogalli (Padua, 1921 - Belluno, 2005), Italian architect, designer and academic.

Quotes of Carlo Perogalli[edit]

  • The synthesis of the arts [...] is also notable for the strong chromatic component: the facade of the building, The Abstract House (Viale Beatrice d'Este, Milan), has a white marble cladding and blue ceramic tiles . The decoration is expressed both in the free composition and in the choice of colors on the facade.
    • Quote of Perogalli, in [1], Ordine Architetti Milano, Casa Astratta, Viale Beatrice d'Este 24, Claudio Camponogara, Elisabetta Dulbecco
  • Among the intentions that the architects set themselves in the years following the war, which coincided with the resumption of building activity, there was that of re-examining (with the hidden intention of refuting it) the known intransigence of the most rigid functionalism against decoration in architecture . In fact, it seemed to some architects that the decoration was not really, or was not at all, the crime mentioned above.
    • Quote of Carlo Perogalli, in [2], Ordine Architetti Milano, Arte e Architettura, Viale Beatrice d'Este 24, Claudio Camponogara Elisabetta Dulbecco
  • In the The Abstract House (Viale Beatrice d'Este, Milan) the synthesis of the arts [...] is also notable for the strong chromatic component: the facade of the building has a cladding in white marble and blue ceramic tiles. The decoration is expressed both in the free composition and in the choice of colors on the facade.
    • Quote of Carlo Perogalli, in Giuliana Ricci, Guardare l’architettura. Passato e presente negli scritti di Carlo Perogalli, un architetto moderno, Unicopli, Milano 2002 p.52
  • It is not very difficult for us to imagine a world where ugly and bad taste have been defeated and replaced by refined industrial production and a high, widespread culture ... What better "realism" than to constructively face the truly "concrete" reality of things, so as to elevate them - not their ugly appearance or their abstraction - to the level of a work of art? Industrial mass production puts man in the possibility of producing objects that are all beautiful and perfect. The artistic evolution, freed from the slavery of imitation ... can now reach a direct intervention on things ... There will be no more copies, representations, interpretations or anything else that can be done later and externally, but the qualified artist will create the 'object itself, all the objects that the industry will produce, that we will use, all of which will be beautiful
    • Quote of Carlo Perogalli, in Carlo Perogalli, Introduzione all’arte totale, Libreria A. Salto, Milano 1952, p.63-64
  • The center of the "Architecture and Visual Arts" debate is Milan, a city where meetings, conferences, associations, magazines and exhibitions were organized that had placed the theme of the "synthesis of the arts" on the agenda; city, moreover which represented the place where the greatest achievements had been. Although it is to be suspected that what has been achieved so far in this direction may only represent a series of experiments, which have the defects that they always accompany, albeit together with the charm which is also an undeniable prerogative.
    • Quote of Carlo Perogalli, in Conference on “Architecture and Visual Arts”, Rome, March 22, 1958
  • Today it is not possible to limit oneself to paintings and sculptures, that is, to so-called pure art [...] painting should instead address itself not towards the single piece as an end in itself, as it was in the past, but rather towards an original already conceived to be reproduced. The technical achievements of some recent and perfect mechanical reproduction systems offer enormous possibilities in this sense.
    • Quote of Carlo Perogalli, in Carlo Perogalli, Introduzione all’arte totale, Libreria A. Salto, Milano 1952, p.57

Quotes about Carlo Perogalli[edit]

  • [...] based only on the realization and objectification of the artist's intuitions, rendered into concrete images of form-color, far from any symbolic meaning, from any formal abstraction, and aimed at grasping only those rhythms, those cadences, those agreements, of which the world is rich [...] .
    • Quote of Gillo Dorfles, in Gillo Dorfles, Ultime tendenze nell’arte d’oggi, Feltrinelli, Milano, 1961.
  • it then opens up an immense depth that erases the walls, chases away contingent presences, performs the miracle of unspeakable space. I ignore the miracles of faith, but I often experience that of unspeakable space, the fulfillment of plastic emotion ... the passage of time and the evolution of events lead architecture, sculpture and painting inevitably towards a synthesis (Le Corbusier)
    • Quote of Le Corbusier, in Le Corbusier, Lo Spazio indicibile in Rosa Tamborrino, Le Corbusier, scritti, Einaudi, Torino 2003, p.246
  • Perogalli e Mariani, nel realizzare anche l’adiacente edificio al n.26, che fa da testata all’isolato, risolvono in modo diverso il tema … imponendo a Viale Beatrice d’Este un ductus pittorico che va dalla marziale scacchiera di quest’ultimo alla celestiale “fuga” del primo, ma anche un dittico concettuale che dota entrambi gli edifici della medesima matrice pieno-vuoto, trasformando l’avenue in galleria d’arte, in un museo en plein air.
    • Perogalli and Mariani, in also creating the adjacent building at no. 26, which acts as the head of the block, resolve the theme in a different way... imposing on Viale Beatrice d'Este a pictorial ductus that goes from the martial chessboard of the latter to the celestial "escape" of the former, but also a conceptual diptych that endows both buildings with the same full-void matrix, transforming the avenue into a gallery of art, in an open air museum.
  • One day we wandering down viale Beatrice d’Este … the Casa Astratta, with the Mondrian-like game of blue majolica titleand white marble. Almost a Montale-style epiphany, theblue show itself only in pieces, above, between cornices and functional quality become poetry. Perogalli and Mariani choose the pathway of emotion, making the gift of a dream … The geometric-chromatic impact of the ”Casa Astratra” represent on the finest compositional solutions of the Movimento d’Arte Concreta stemming from an idea of Rho and Dorfles, with Perogalli as one of its exponents…transforming the theory of production in to synesthesia of color, space, light and movement.

See also[edit]

External links[edit]

Wikipedia has an article about: