Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva

Cinzia Gavello

doi:doi:10.11648/j.ajad.20190403.11

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Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva

Cinzia Gavello

Published in American Journal of Art and Design (Volume 4, Issue 3)

Received: 23 August 2019 Accepted: 9 September 2019 Published: 21 September 2019

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Abstract

In the last twenty years Alberto Sartoris has been the subject of numerous celebrative publications: despite this critical fortune, catalogs of exhibitions and essays dedicated to him are mostly referred to specific episodes of his career, the aspects of his relationship with the architecture of the theater has always remained in the background, in spite of this very rich bibliographic production. The aim of this research is therefore to add a further piece to the complex artistic-theoretical activity of such a multifaceted person, analyzing Sartoris' contribution to architecture of the theatre through the analysis of his main projects and his theoretical contribution to design. His eclectic personality allowed him to successfully apply in many disciplines, so as to be recognized as one of the most important precursors of rational architecture in Italy and abroad. Sartoris' “lyrical rationality” is also clearly visible in his experimental avant-garde theatre project of 1929 whereby he can coherently deal with theatre themes, favoring a rational stage performance, with the involvement of large masses of spectators, a trend typical of architecture in the first half of the twentieth century.

Published in	American Journal of Art and Design (Volume 4, Issue 3)
DOI	10.11648/j.ajad.20190403.11
Page(s)	22-30
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2019. Published by Science Publishing Group

Keywords

Alberto Sartoris, Axonometries, Riccardo Gualino, Geneva Avant-garde Theatre, Gli Elementi Dell’Architettura Funzionale, Rationalism

References

[1]	A. Baudin (ed.), Photographie et architecture moderne. La collection Alberto Sartoris. Lausanne: Presses polytechniques et universitaires romandes PPUR, 2003; A. Baudin (ed.), Photography, Modern Architecture and Design. The Alberto Sartoris Collection, Objects from the Vitra Design Museum. Lausanne: Presses polytechniques et universitaires romandes PPUR, 2005; A. Baudin, Le monde d’Alberto Sartoris dans le miroir se ses archives. Lausanne: Presses polytechniques et universitaires romandes PPUR, 2017.
[2]	J. Gubler and A. Abriani, Alberto Sartoris: dall’autobiografia alla critica. Milan: Electa, 1990.
[3]	M. Pozzetto, “Alberto Sartoris. Laurea h. c. a Losanna,” Studi Piemontesi 1 (March 1976): 108.
[4]	A. Sartoris, Gli elementi dell’architettura funzionale. Sintesi panoramica dell’architettura moderna. Milan: Ulrico Hoepli, 1932. Afterwards, the title of Sartoris’ book will be shortened to Gli elementi.
[5]	C. Leprette, L’itinéraire magique d’Alberto Sartoris. Florence: Alinea, 2005.
[6]	Fillìa, “Architettura futurista,” Futurismo, November 6, 1932.
[7]	See, Folder 0172.04.0027, Théâtre Gualino, à Turin, Culture et vie sociale, Archives de la construction moderne, École Polytechnique Fédérale de Lausanne (thereafter Acm-EPFL).
[8]	L. Pianzola, Alberto Sartoris, da Torino all’Europa. Milan: Alberto Greco Editore, 1990.
[9]	M. Pozzetto, “Alberto Sartoris e il teatrino privato di casa Gualino,” Studi Piemontesi 3, November 1974: 331-4.
[10]	See, Folder 0172.04.0043, 1929-1930, Projet de théâtre pour Genève, Acm-EPFL.
[11]	“At this Congress, thirty architects from different nations took part. The result was a fruitful contact between architects, who until then had been working in the same direction, without having had the opportunity to meet and coordinate their efforts. It’s useless to insist here on the importance that the realization of such a Congress may have for the International Cinematographer. At a time when, in most countries, Commercial Cinema executives are imposing their hegemony, most often without concern for the artistic and human value of their productions, independent filmmakers can only have any chance of continuing their efforts by joining forces and coordinating their action”. Typewritten letter, without sender and without date, to Sartoris, folder AS.03.027.03, Acm-EPFL.
[12]	Letter from Sartoris to Hélène de Mandrot, 24 April 1929, folder 0172.01.0039 GA05, Acm-EPFL.
[13]	A. Sartoris, Tempo dell’Architettura. Tempo dell’arte. Cronache degli Anni Venti e Trenta. Rome: Fondazione Adriano Olivetti, 1990, 95.
[14]	C. Gavello, “Alberto Sartoris e la pratica del disegno come forma di espressione,” Il Disegno di Architettura 43, July 2018, 39-43.
[15]	A. Cuomo, Alberto Sartoris. L’architettura italiana fra tragedia e forma. Rome: Edizioni Kappa, 1978, 36.
[16]	R. Giolli, Alberto Sartoris, Collezione Architetti Nuovi, n. 3, Milan: Edizioni di Campo Grafico, 1936; A. Sartoris, Carignano nuova, la città nella città. Milan: Edizioni Sapiens, 1994.
[17]	P. M. Bardi, Alberto Sartoris. Esposizioni delle assonometrie dell’architetto Alberto Sartoris, exhibition catalog. Rome: Galleria del Milione, 1932.
[18]	C. Gavello, “Alberto Sartoris: Gli elementi dell’architettura funzionale. Il libro come strumento per la costruzione della fama (1926-1992)” (Ph.D. diss., Politecnico di Torino, July 2016).
[19]	A. Sartoris, Gli elementi, op. cit., 52.
[20]	A. Martini, “Teatri e teatri d’opera in Italia fra le due guerre mondiali. Modelli, protagonisti, progetti,” in Architettura dell’Eclettismo. Il teatro dell’Ottocento e del primo Novecento. Architettura, tecniche teatrali e pubblico, L. Mozzoni and S. Santini (eds.), Naples: Liguori editore, 2010, 321-79.
[21]	D. Pastore, “Alberto Sartoris e il ‘900/1998,” Simultaneità 4 (1999), 32.
[22]	C. Gavello, “Le vie dell’architettura e della città. Alberto Sartoris e l’attualità del Razionalismo,” in Spazio, Tempo Utopia. Scritti e progetti per Sewing a small town 2015-2016, A. Bologna (ed.), Milan: FrancoAngeli, 2017, 119-36.

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Cinzia Gavello. (2019). Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva. American Journal of Art and Design, 4(3), 22-30. https://doi.org/10.11648/j.ajad.20190403.11

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ACS Style

Cinzia Gavello. Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva. Am. J. Art Des. 2019, 4(3), 22-30. doi: 10.11648/j.ajad.20190403.11

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AMA Style

Cinzia Gavello. Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva. Am J Art Des. 2019;4(3):22-30. doi: 10.11648/j.ajad.20190403.11

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@article{10.11648/j.ajad.20190403.11,
  author = {Cinzia Gavello},
  title = {Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva},
  journal = {American Journal of Art and Design},
  volume = {4},
  number = {3},
  pages = {22-30},
  doi = {10.11648/j.ajad.20190403.11},
  url = {https://doi.org/10.11648/j.ajad.20190403.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20190403.11},
  abstract = {In the last twenty years Alberto Sartoris has been the subject of numerous celebrative publications: despite this critical fortune, catalogs of exhibitions and essays dedicated to him are mostly referred to specific episodes of his career, the aspects of his relationship with the architecture of the theater has always remained in the background, in spite of this very rich bibliographic production. The aim of this research is therefore to add a further piece to the complex artistic-theoretical activity of such a multifaceted person, analyzing Sartoris' contribution to architecture of the theatre through the analysis of his main projects and his theoretical contribution to design. His eclectic personality allowed him to successfully apply in many disciplines, so as to be recognized as one of the most important precursors of rational architecture in Italy and abroad. Sartoris' “lyrical rationality” is also clearly visible in his experimental avant-garde theatre project of 1929 whereby he can coherently deal with theatre themes, favoring a rational stage performance, with the involvement of large masses of spectators, a trend typical of architecture in the first half of the twentieth century.},
 year = {2019}
}

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TY  - JOUR
T1  - Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva
AU  - Cinzia Gavello
Y1  - 2019/09/21
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JO  - American Journal of Art and Design
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AB  - In the last twenty years Alberto Sartoris has been the subject of numerous celebrative publications: despite this critical fortune, catalogs of exhibitions and essays dedicated to him are mostly referred to specific episodes of his career, the aspects of his relationship with the architecture of the theater has always remained in the background, in spite of this very rich bibliographic production. The aim of this research is therefore to add a further piece to the complex artistic-theoretical activity of such a multifaceted person, analyzing Sartoris' contribution to architecture of the theatre through the analysis of his main projects and his theoretical contribution to design. His eclectic personality allowed him to successfully apply in many disciplines, so as to be recognized as one of the most important precursors of rational architecture in Italy and abroad. Sartoris' “lyrical rationality” is also clearly visible in his experimental avant-garde theatre project of 1929 whereby he can coherently deal with theatre themes, favoring a rational stage performance, with the involvement of large masses of spectators, a trend typical of architecture in the first half of the twentieth century.
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Author Information

Cinzia Gavello

Department of Architecture and Design (DAD), Politecnico di Torino, Turin, Italy

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APA Style

Cinzia Gavello. (2019). Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva. American Journal of Art and Design, 4(3), 22-30. https://doi.org/10.11648/j.ajad.20190403.11

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ACS Style

Cinzia Gavello. Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva. Am. J. Art Des. 2019, 4(3), 22-30. doi: 10.11648/j.ajad.20190403.11

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AMA Style

Cinzia Gavello. Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva. Am J Art Des. 2019;4(3):22-30. doi: 10.11648/j.ajad.20190403.11

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@article{10.11648/j.ajad.20190403.11,
  author = {Cinzia Gavello},
  title = {Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva},
  journal = {American Journal of Art and Design},
  volume = {4},
  number = {3},
  pages = {22-30},
  doi = {10.11648/j.ajad.20190403.11},
  url = {https://doi.org/10.11648/j.ajad.20190403.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20190403.11},
  abstract = {In the last twenty years Alberto Sartoris has been the subject of numerous celebrative publications: despite this critical fortune, catalogs of exhibitions and essays dedicated to him are mostly referred to specific episodes of his career, the aspects of his relationship with the architecture of the theater has always remained in the background, in spite of this very rich bibliographic production. The aim of this research is therefore to add a further piece to the complex artistic-theoretical activity of such a multifaceted person, analyzing Sartoris' contribution to architecture of the theatre through the analysis of his main projects and his theoretical contribution to design. His eclectic personality allowed him to successfully apply in many disciplines, so as to be recognized as one of the most important precursors of rational architecture in Italy and abroad. Sartoris' “lyrical rationality” is also clearly visible in his experimental avant-garde theatre project of 1929 whereby he can coherently deal with theatre themes, favoring a rational stage performance, with the involvement of large masses of spectators, a trend typical of architecture in the first half of the twentieth century.},
 year = {2019}
}

Copy | Download

TY  - JOUR
T1  - Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva
AU  - Cinzia Gavello
Y1  - 2019/09/21
PY  - 2019
N1  - https://doi.org/10.11648/j.ajad.20190403.11
DO  - 10.11648/j.ajad.20190403.11
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 22
EP  - 30
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20190403.11
AB  - In the last twenty years Alberto Sartoris has been the subject of numerous celebrative publications: despite this critical fortune, catalogs of exhibitions and essays dedicated to him are mostly referred to specific episodes of his career, the aspects of his relationship with the architecture of the theater has always remained in the background, in spite of this very rich bibliographic production. The aim of this research is therefore to add a further piece to the complex artistic-theoretical activity of such a multifaceted person, analyzing Sartoris' contribution to architecture of the theatre through the analysis of his main projects and his theoretical contribution to design. His eclectic personality allowed him to successfully apply in many disciplines, so as to be recognized as one of the most important precursors of rational architecture in Italy and abroad. Sartoris' “lyrical rationality” is also clearly visible in his experimental avant-garde theatre project of 1929 whereby he can coherently deal with theatre themes, favoring a rational stage performance, with the involvement of large masses of spectators, a trend typical of architecture in the first half of the twentieth century.
VL  - 4
IS  - 3
ER  -

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