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He studied at the School of Applied Engineering from 1915 to 1919, where he completed a degree in Civil Engineering. Spurred by professors who included Giovannoni, he went on to enrol at the Academy of Fine Arts in Bologna, where he completed a diploma in architecture and was certified to teach Architectural Drawing. He served with the army corps of engineers of Bologna during the First World War and it was then that he produced his first projects, which included a depot for the Bologna railway station. | |||
Hired by the Italian State Railways in 1921, he was first assigned to work in the Special Projects Department in Milan and later in the Projects Division in Bologna, and was finally transferred to Rome in March 1924, to the Projects and Construction division of the State Railways where, up until 1945, he was in charge the design of many railway stations and post offices. Accused of designing “anti-Fascist architecture” or of “not being in harmony with the local architectural environment”, it was difficult for Mazzoni to obtain approval from the various commissions 3 and the consent | |||
of the Minister in charge or of the Head of Government himself for the modern works he was designing. Repeatedly forced to adopt “traditionalist” versions, or else stripped of the duties previously assigned to him, Mazzoni’s autobiographical notes cite bitterly - considering them not only his own defeats but those of the Modern Movement in Italy as well - the events surrounding Venice’s Santa Lucia railway station, designed in 1937 in collaboration with Virginio Vallot, and Rome’s Termini Station, selected in February 1937 but suspended in June of the same year. With the support of several of his superiors, engineer Ferruccio Businari among them, he was, nevertheless, able to carry out the railway stations of Siena, Montecatini Terme, Messina Centrale and Latina; the post offices of Pola, Agrigento, Abetone, Ostia Lido, Sabaudia and Latina; the heating plant of the Florence railway station; and the seaside summer camp at Calambrone. Where they have not been butchered by renovations, these stand as testimony to his deep ties with the Modern Movement and to experiences such as that of the Constructivists or of Berlage, Hoffman, Oud and futurist architects such as Baldessari or Sant’Elia himself. | |||
He officially joined the Futurist Movement in May of 1933, the year of the competition for the Florence railway station, where he took second place, on a par with Sot-Sass, Ferrati and Pascoletti, and of his participation in the Milan Tiennale. He also took part in the competitions in 1923 for a Triumphal Arch to the War Dead in Genoa, where he took second place with De Albertis, Gallelli and Messina, in 1926 for the Palace of Nations in Geneva with Piacentini and Rapisardi, and in 1935 for Venice’s Santa Lucia railway station, where he presented no less than nine projects, and came in fourth. In the year that followed he redrafted the Manifesto of Futurist Aerial Architecture with Marinetti and Somenzi; he co-edited the magazine “Sant’Elia” up until 1934, fully committing himself to the debate over the formation of a “national Fascist practice” and the institution of a State art and architecture, which was opposed in those years by the neo-Futurists, the Novecento and the Rationalists. In 1948 he moved to Colombia, accepting a professorship in Architecture and Urban Design at the National University of Bogotà. There he worked intensely, seeking an architecture linked with that tradition and that environment and verifying the constructive possibilities of colour, one of the architectural themes most censured during his period of service with the State Railways. Returning to Italy in 1963 he settled in Rome. As a result of an eye ailment he was unable to draw any longer but dedicated himself to compiling his personal archives, which he later donated to the City of Rovereto, location of the Depero Museum. | |||
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==Referencias== | |||
* http://www.cesar-eur.it/upload/quaderni/Angiolo%20Mazzoni%20rid.pdf | |||
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