In Denmark, the educational journey through Italy for improve knowledge acquisitions became popular in the XV century. It increased mostly in the second half next century common and it became an institutional practice when the Royal Academy was founded in 1754. The following essay aims to focus as the image of Rome has been an important key to reinforced the so called ‘Nordic Classicism’ architectonic movement in Denmark. Precisely, the movement developed in the first decades of XX century mainly in Sweden, Norway, Denmark, and Finland but it had a short life. Despite this, it managed to draw international attention to Scandinavian Architecture at the 1925 World Fair and at the 1930 World Fair held in Stockholm. Furthermore, it was the cultural bridge for Social Functionalism, which developed thanks to the commitment of most Scandinavian architects in urban works, plants, infrastructures, housing for working class, giving rise to an ‘architecture of democracy’, as the Swedish historian Henrik O. Anderson said. Kay Fisker was one of the most important interpreters of that. The following essay regards closely the architecture in Denmark. The first section presents synthetically as the consciousness of the Classicism language took hold and matured. Precisely, it goes back to the Absolutism of Christian IV who aimed to renew the image of his Reign using a more modern as well as magnificent style. Classicism was the right key. The development of Classicism in Denmark was not a homogeneous and without contradictions process. However, at the beginning of the Twentieth century, Denmark achieved a complete identity autonomy thanks to its skill to keep together and blend tradition's topics to the archaeological fields, to the cultural influence of Bertel Thorvaldsen, to Hensen's works to the training stimuli by the Charlotenborg Academy and, above all, Rome's architectures.
Il viaggio d’istruzione in Italia per arricchire le proprie conoscenze si sviluppò in Danimarca nel XV secolo, si intensificò soprattutto nella seconda metà del secolo successivo e diventò una pratica istituzionale quando, nel 1754, fu fondata la “Accademia Reale di ritrattistica, scultura e architettura” (Kongelige Danske Skildre-, Billedhugger- og Bygnings-Academie). Il presente saggio si propone di mettere a fuoco come, in architettura, l'immagine di Roma sia stata una chiave importante per il consolidamento di un nuovo linguaggio espressivo, il cosiddetto ‘Classicismo Nordico’. Sviluppato nei primi decenni del XX secolo principalmente in Svezia, Norvegia, Danimarca e Finlandia, ebbe vita breve; tuttavia, ha avuto la forza di richiamare l'attenzione internazionale sull'architettura dei Paesi nordici già all'Esposizione Universale del 1925 e, poi, all'Esposizione Universale del 1930, tenutasi a Stoccolma. Inoltre, fu il ponte culturale per il Funzionalismo sociale, che maturò grazie all’impegno di gran parte degli architetti scandinavi in opere urbane, impianti, infrastrutture, alloggi per la classe operaia, dando origine, come ha detto lo storico svedese Henrik O. Anderson, ad un'architettura della democrazia. Kay Fisker ne fu uno dei più importanti interpreti. Incentrato sulla Danimarca, il saggio, nella prima sezione, introduce come si sia affermata e maturata la coscienza della lingua classica in tale nazione. Precisamente, si fa risalire all'Assolutismo di Cristiano IV. Questi mirava a rinnovare l'immagine del suo Regno, utilizzando uno stile più moderno e di ‘magnificenza’: il Classicismo era la chiave giusta. Non fu un processo omogeneo e senza contraddizioni, ma all'inizio del Novecento, la Danimarca raggiunse una completa autonomia identitaria grazie alla propria capacità di tenere insieme e fondere i temi della tradizione ai campi archeologici, all'influenza culturale di Bertel Thorvaldsen, alle opere di Hensen, agli stimoli formativi dell'Accademia di Charlottenborg, nonché, all’influenza esercitata dalle architetture di Roma.
Verso il ‘Funzionalismo sociale’. L’idea di Roma nella ricerca architettonica di un ‘Classicismo Nordico’ in Danimarca
elena manzo
2021
Abstract
In Denmark, the educational journey through Italy for improve knowledge acquisitions became popular in the XV century. It increased mostly in the second half next century common and it became an institutional practice when the Royal Academy was founded in 1754. The following essay aims to focus as the image of Rome has been an important key to reinforced the so called ‘Nordic Classicism’ architectonic movement in Denmark. Precisely, the movement developed in the first decades of XX century mainly in Sweden, Norway, Denmark, and Finland but it had a short life. Despite this, it managed to draw international attention to Scandinavian Architecture at the 1925 World Fair and at the 1930 World Fair held in Stockholm. Furthermore, it was the cultural bridge for Social Functionalism, which developed thanks to the commitment of most Scandinavian architects in urban works, plants, infrastructures, housing for working class, giving rise to an ‘architecture of democracy’, as the Swedish historian Henrik O. Anderson said. Kay Fisker was one of the most important interpreters of that. The following essay regards closely the architecture in Denmark. The first section presents synthetically as the consciousness of the Classicism language took hold and matured. Precisely, it goes back to the Absolutism of Christian IV who aimed to renew the image of his Reign using a more modern as well as magnificent style. Classicism was the right key. The development of Classicism in Denmark was not a homogeneous and without contradictions process. However, at the beginning of the Twentieth century, Denmark achieved a complete identity autonomy thanks to its skill to keep together and blend tradition's topics to the archaeological fields, to the cultural influence of Bertel Thorvaldsen, to Hensen's works to the training stimuli by the Charlotenborg Academy and, above all, Rome's architectures.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
