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Barracks of the Guard of Finance, formerly Casa del Fascio, 1932-1936 (photography)
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Barracks of the Guard of Finance, formerly Casa del Fascio, 1932-1936 (photography)
LRI4687336 Barracks of the Guard of Finance, formerly Casa del Fascio, 1932-1936 (photography) by Terragni, Giuseppe (1904-43); Como, Lombardy, Italy; (add.info.: Fascist architecture: barracks of the Guard of Finance, formerly Casa del Fascio (seat of the fascist party) created by architect Giuseppe Terragni (1904-1943) 1932-1936 Como, Italy); Luisa Ricciarini
Media ID 27987556
© Luisa Ricciarini / Bridgeman Images
Fascism Years 1930 Years 30 Years Thirty C European Economic Community C European Union Exterior View
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EDITORS COMMENTS
This photograph captures the imposing Barracks of the Guard of Finance, formerly known as Casa del Fascio, in Como, Lombardy, Italy. Designed by renowned architect Giuseppe Terragni between 1932 and 1936, this architectural masterpiece showcases the essence of fascist architecture. Once serving as the seat of the fascist party during those tumultuous years in Italian history, this building stands tall with its strong lines and symmetrical composition. The photographer, Luisa Ricciarini, skillfully captures its exterior view from a unique perspective that highlights its grandeur. The image transports us back to the early twentieth century when fascism was at its peak in Italy. It serves as a reminder of how art and architecture were used to propagate political ideologies during that time. The Italian flag proudly waving atop the building symbolizes nationalistic fervor that characterized this era. Ricciarini's photography beautifully captures every intricate detail of Terragni's creation - from the clean geometric shapes to the play between light and shadow on its façade. This photograph is not just a documentation of an architectural marvel but also an artistic representation that evokes emotions and prompts contemplation about our past. As we gaze upon this print today, it allows us to reflect on history while appreciating both the technical brilliance behind Terragni's design and Ricciarini's ability to capture its essence through her lens.
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