Conoscenza e tutela del patrimonio architettonico moderno e contemporaneo: esperienze a confronto

42 Attribuendo a ogni opera un posto nella serie, è più agevole definirne la collocazione storica e valutarne la rilevanza artistica, rispetto a uno studio approfondito opera per opera. A seconda che l’osservatore sia fuori o dentro la successione temporale, questa gli appare come una serie esaurita o come una sequenza ancora aperta; quindi, non ancora del tutto storicizzabile. Il giudizio critico su un’architettura ci appare tanto più garantito, quanto più siamo sicuri che la successione delle opere in cui possiamo includere quella che interessa è esaurita. La possibilità di storicizzare una serie di opere individuandone la qualità innovativa o semplicemente testimoniale dovrebbe concorrere ad affrancare la valutazione di un’opera dal fattore tempo, che oggi per settant’anni dalla data di esecuzione inibisce i provvedimenti di tutela per valore ‘intrinseco’. Project Association, and by DO.CO.MO.MO. Italia. For the occasion, the stadium was also placed under constraint. The contents of the constraint report contain detailed references to other works by Nervi for the 1960 Olympics (Palazzetto dello Sport, Corso di Francia Viaduct, and Palazzo dello Sport in EUR), as well as other stadiums by the Valtellinaborn engineer. These juxtapositions of different works – albeit by the same architect – are inspired by the concept of ‘assets in a series’, contemplated for a number of decades in an international setting (Unesco), but not mandatory in national regulations. It is a concept that might be considerably innovative with respect to ordinary protection practice. The possibility of identifying common factors among several works which differ in their realization circumstances and expressive outcomes may then be referred to the concept of the ‘series’, a mathematical figure consisting of a finite set of elements that cannot be further reproduced (in our case, because the architect is deceased, or because the particular cultural climate or the specific productive conditions in which certain architectures came into being have passed, and so on). The term is used in the connotation given it by George Kubler, who distinguishes it from ‘sequence’, a set of elements always open to accepting new ones (Kubler 1976). Some works, which we call paradigmatic, usher in wholly new modes of expression and/or construction, in various ways assumed and interpreted from later ones that thus take on a prevalently emblematic nature. By giving each work a place in the series, it is easier to define its historic placement and assess its artistic relevance than in an in-depth, work-by-work study. Depending on whether the observer is inside or outside the temporal succession, this succession appears as a closed series or as a still-open sequence – and therefore not yet entirely subject to historicization. The more certain we are that the succession of works in which we can include the one of interest has been closed, the more the critical judgment of an architecture appears guaranteed to us. The possibility of historicizing a series of works by identifying its innovative or simply testimonial quality should contribute towards freeing the assessment of a work from the time factor, which today, for seventy years after the execution date, inhibits protection measures for ‘intrinsic’ value. Nella pagina precedente / On the previous page: Pier Luigi Nervi, Viadotto di Corso Francia, 1958-60, Roma, courtesy Pier Luigi Nervi Project Association.