Carlo Perogalli
Carlo Perogalli (Milan, June 25, 1921 - Milan, 2005) was an Italian architect, architectural historian and academic.
Carlo Perogalli | |
|---|---|
| Born | 1921 Milan, Italy |
| Died | 2005 Milan, Italy |
| Nationality | Italian |
| Movement | italian rationalism |
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Carlo Perogalli earned his degree in Architecture from Milan Polytechnic in 1946, subsequently serving as Ambrogio Annoni’s assistant in 1947. Transitioning under the mentorship of Gio Ponti, he later established his own studio in Milan alongside designer Attilio Mariani in 1950, engaging in collaborative research until 1958. Gio Ponti, Carlo Perogalli’s associate, was part of the Concrete Art Movement (MAC).
Embodying their conceptual exploration within the “MAC Movimento Arte Concreta”, Perogalli and Mariani notably conceived the structures at Viale Beatrice d’Este 24 (1951-52) and Viale Beatrice d’Este 26 (1955-56) in Milan’s Quadronno District, showcasing their artistic evolution.
Post-completion, Perogalli shifted focus to university teaching, delving into the intricate relationships between architecture and the arts, particularly in the design of Viale Beatrice d’Este. His academic journey included acquiring the university chairs of “Stylistic and Constructive Characters of Monuments” in 1954, “Restoration of Monuments” in 1958, and “History of Architecture” from 1960 to 1991 at the Politecnico di Milano.
Authoring over forty volumes on architecture and restoration, alongside numerous conceptual reflections intertwining design and art, Perogalli’s contributions remain integral to the discourse. Luciano Caramel’s studies on MAC suggest a two-phase periodization: the initial phase (1948-1952) dominated by painting, succeeded by a second phase (1952-1958) marked by the active participation of architects, engineers, and designers.
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Continuing his analysis, the architect discerns a transformative shift from art as a self-contained entity to the object, drawing inspiration from artistic currents spanning Cubism to Concrete Art. This dialogue sparks a tangible interchange of forms between the artistic realm and the products of industry, particularly machines and objects.
In this symbiotic relationship, architecture emerges as a convergence of diverse arts, risking the adoption of painting and sculpture forms. This shared language fosters a communal space, a concrete space, where the boundaries between artistic disciplines blur. Some architects, it appeared, viewed architectural decoration not as a transgression but as an exploration, a divergence from the conventional perception of it as a “crime.”[1] Your rephrasing effectively captures Perogalli’s advocacy for renewal, contesting the supremacy of rationalism-functionalism. His vision sought to introduce a more dialectical design approach, moving beyond the prevailing monopoly and cultivating a novel outlook on the interplay between form and function.
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- 1952, The Abstract House, Viale Beatrice d'Este 24 created with Attilio Mariani and the artist Mario Ballocco.[2]
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- ↑ Carlo Perogalli, Architettura, ambiente, sintesi artistica nella Milano postbellica in Aspetti, problemi, realizzazioni di Milano. Raccolta di scritti in onore di Cesare Chiodi, Giuffré, Milano 1957 p. 413
- ↑ "Mariani e Perogalli, La Casa Astratta". Archived from the original on 2022-08-16. Retrieved 2022-08-27.
Bibliography change
- Carlo Perogalli, Introduzione all’arte totale, Libreria A. Salto, Milano, 1952
- Gli archivi di architettura in Lombardia. Censimento delle fonti, a cura di G.L. Ciagà, edito nel 2003 dal Centro di Alti Studi sulle Arti Visive, con la collaborazione della Soprintendenza archivistica della Lombardia e del Politecnico di Milano.
- Carlo Perogalli, Architettura, ambiente, sintesi artistica nella Milano postbellica in Aspetti, problemi, realizzazioni di Milano. Raccolta di scritti in onore di Cesare Chiodi, Giuffré, Milano 1957
- Graziella Colmuto Zanella, Flavio Conti, Vincenzo Hybsch, La fabbrica, la storia, la critica. Scritti in onore di Carlo Perogalli, Guerini e Associati, Milano, 1993
- A Milano. A. Mariani, C. Perogalli architetti, in "Domus", n° 309, 1955, p. 7
- Gioco coloristico in una costruzione: Attilio Mariani, Carlo Perogalli architetti, in "Edilizia moderna", n° 61, 1957, pp. 77-80
- Roberto Aloi, Nuove architetture a Milano, Hoepli, Milano, 1959
- Architettura da osservare passando, in "Edilizia moderna", n° 50, 1953, pp. 51-56
- Giuliana Gramigna, Sergio Mazza, Milano. Un secolo di architettura milanese dal Cordusio alla Bicocca, Hoepli, Milano, 2001
- Federico Aghemio, Nuove case a Milano: Attilio Mariani, Carlo Perogalli architetti, in "Edilizia moderna", n° 66, 1959, pp. 39- 44
- Gli archivi di architettura in Lombardia. Censimento delle fonti, a cura di G.L. Ciagà, edito nel 2003 dal Centro di Alti Studi sulle Arti Visive, con la collaborazione della Soprintendenza archivistica della Lombardia e del Politecnico di Milano.
- Graziella Colmuto Zanella, Flavio Conti, Vincenzo Hybsch, La fabbrica, la storia, la critica. Scritti in onore di Carlo Perogalli, Guerini e Associati, Milano, 1993
- A Milano. A. Mariani, C. Perogalli architetti, in "Domus", n° 309, 1955, p. 7
- Gioco coloristico in una costruzione: Attilio Mariani, Carlo Perogalli architetti, in "Edilizia moderna", n° 61, 1957, pp. 77-80
- Roberto Aloi, Nuove architetture a Milano, Hoepli, Milano, 1959
- Architettura da osservare passando, in "Edilizia moderna", n° 50, 1953, pp. 51-56
- Giuliana Gramigna, Sergio Mazza, Milano. Un secolo di architettura milanese dal Cordusio alla Bicocca, Hoepli, Milano, 2001
- Federico Aghemio, Nuove case a Milano: Attilio Mariani, Carlo Perogalli architetti, in "Edilizia moderna", n° 66, 1959, pp. 39- 44
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