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The partners were Gianluigi Banfi(1910-1945), Lodovico Barbiano di Belgiojoso (1909-2004), Enrico Peressutti (1908-1976), and Ernesto Nathan Rogers(1909-1968). From each member's family name, came the acronym "BBPR". The BBPR studio was formed in Milan in 1932 in a climate described by Ciucci as “oscillating between differing and contrasting positions.” Their contribution to the development of Rationalism is evident not only in their architecture but in their involvement with MIAR and the journal Quadrante born as a rival to Casabella. Their work held general appeal and was also appreciated and promoted by Edoardo Persico and Giuseppe Pagano at Casabella. Along with the editor Valentino Bompiani, the BBPR group is credited for the original idea for the Italian Civilisation building. The selection of the Guerrini-La Padula-Romano project was fraught with polemics since it is argued that their eulogy to the most Roman of architectural motif - the arch - is what won them first prize, a prize which some say deservedly belonged to the Milanese architects. Their adherence to Fascism was short-lived and they soon became members of the resistance: Banfi and Belgioioso were imprisoned at the Mathausen concentration camp where Banfi died and Rogers, being of Jewish descent, was forced into exile in Switzerland.
1933 Pavia master plan 1934 Entry in Palazzo Littorio competition (with Luigi Figini, Gino Pollini and Arturo Danusso), selected for second round 1937 Italian Shipping Pavilion at Paris International Exposition; Heliotherapy Colony, Legnano; Entry in second round of Palazzo Littorio competition (with Luigi Figini, Gino Pollini and Arturo Danusso); Entry in Italian Civilisation Building competition, E42, second prize 1938 E42 Post Office 1946 Monument to victims in German concentration camps, Milan 1951 American Pavilion, Milan Triennale 1958 Torre Velasca, Milan
The firm came to notice after WWII with the abstract design for the Monument to the Victims of Nazi Concentration Camps, erected within the Cimitero Monumentale di Milano.
The tower responds to its prominent location near the Milan Cathedral in the city's historic centre.
The firm were subsequently employed to create new interior spaces and exhibition designs for the museums housed within Milan's Castello Sforzesco which had been severely damaged by allied bombing in 1943.
- Giorgio Ciucci, Gli architetti e il fascismo, 69; Enrico Guidoni, “L’E42, città della rappresentazione”, 20; Di Luciano ed., Enciclopedia dell'architettura, 92-3; Dizionario Enciclopedico dell'Architettura e Urbanistica, volume 1, 304-5
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