In 1921, Benito Mussolini founded the National Fascist Party, thus transforming the movement of the Fasci di Combattimento (Italian Fasci of Combat). The term fascio therefore indicated the party itself, the local party organizations, and the offices, called Case del Fascio, distributed in the various Italian cities. The administrative and celebratory functions directly connected to the party were carried out in the Case del Fascio. In the main Italian cities they also performed different services for the people, for example, physical and cultural education, leisure and relaxation. The Casa del Fascio was also called Casa Littoria or even Palazzo Littorio. In fact, as one of its symbols, Fascism used the fascio littorio (a weapon consisting of a bundle of rods carried in Ancient Rome by the lictors), so littorio became a synonym of Fascism.
Published in Chapter:
Enhancing the Cultural Heritage between Visual Technologies and Virtual Restoration: Case Studies to Models for Visual Communication
Elena Ippoliti (Sapienza University of Rome, Italy) and Michele Calvano (Sapienza University of Rome, Italy)
Copyright: © 2017
|Pages: 39
DOI: 10.4018/978-1-5225-0680-5.ch013
Abstract
Enhancement of the cultural heritage is not simply a matter of preserving material objects but comes full circle only when the heritage can be enjoyed and used by the community. This is the rationale behind this paper: the application to exploring projects for the Casa del Fascio (Fascist Party Office) and the building complex of Foro Mussolini in Littoria (now Latina), by the architect Oriolo Frezzotti. Starting with consistent iconographic documentation integrated with bibliographic research and comparison with similar cases, the historical process was retraced and interpreted, reconstructed three-dimensional hypotheses of the figural unity were formulated, and interactive application was created. The application refers to the area of “virtual restoration”, the only possibility for non-material histories and works, a field in which visual technologies can prolong the critical “eye” to which recomposition of the figural combination is entrusted.