The post-earthquake reconstruction of Messina in 1908 was a varied exercise in new architecture and unique construc- tion techniques. A symbolic building is Palazzo Magaudda or Mallandrino-Coppedè, dating back to the 1920s, which except for partial elevation had never been restored still showing signs of bombing during World War II and fascist slogans on its facades. Its location between the Duomo and the new rationalist Palazzata on the harbour are also sig- nificant. The building is made of artificial stone in cement amalgam with Messina grit. The construction site was a journey into the past exploring methods, techniques, illustrating compositional layers, thicknesses, tools for scratching, engraving, bush hammering, grit to create refractions, red bricks for chromatic detachment, telling of mythological and apotropaic stories, narration of skills that intersect painted plaster and graffiti with arabesque tiles, lace-like parapets and capitals intertwined with history and spirituality
L’isolato 314 di Messina. Il restauro appena completato della graniglia messinese / Vicari Aversa, Clara; Catania Cucchiara, Rosaria; Fazia, Celestina. - In: RESTAURO ARCHEOLOGICO. - ISSN 1724-9686. - vol. II, special issue:1-2025(2025), pp. 112-117.
L’isolato 314 di Messina. Il restauro appena completato della graniglia messinese
Vicari Aversa, Clara;Fazia, Celestina
2025-01-01
Abstract
The post-earthquake reconstruction of Messina in 1908 was a varied exercise in new architecture and unique construc- tion techniques. A symbolic building is Palazzo Magaudda or Mallandrino-Coppedè, dating back to the 1920s, which except for partial elevation had never been restored still showing signs of bombing during World War II and fascist slogans on its facades. Its location between the Duomo and the new rationalist Palazzata on the harbour are also sig- nificant. The building is made of artificial stone in cement amalgam with Messina grit. The construction site was a journey into the past exploring methods, techniques, illustrating compositional layers, thicknesses, tools for scratching, engraving, bush hammering, grit to create refractions, red bricks for chromatic detachment, telling of mythological and apotropaic stories, narration of skills that intersect painted plaster and graffiti with arabesque tiles, lace-like parapets and capitals intertwined with history and spiritualityI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.


