The Casa del Fascio in Voghera, Italy, stands as a testament to the architectural ambition and political history of the early 20th century. Situated on the site of the former Santa Caterina Monastery, this striking building is a prime example of Italian Rationalist architecture. Designed by engineers Eugenio and Carlo Mollino, it was constructed between 1934 and 1939, initially serving as the headquarters for the National Fascist Party until 1945. Today, it offers visitors a unique glimpse into the past, with its austere design and historical significance.
The Casa del Fascio's story begins in 1934 when the Provincial Fascist Engineers Union of Pavia called for a competition to design a new headquarters for the Fascist Party in Voghera. The winning design, a collaboration between Eugenio Mollino and his son Carlo, was selected for its clear and simple plan. The project, known as Strà Drita, evolved from an earlier design by Eugenio, named Iria. While the original Iria project adhered to a more eclectic late 19th-century style, the final design embraced the Rationalist aesthetic, focusing on functionality and simplicity.
Construction faced numerous challenges, including financial constraints and bureaucratic hurdles. Initially estimated to cost 480,000 lire, the final expenses soared to 725,000 lire by the project's completion in 1938. Despite these difficulties, the building was finished and served various roles during its early years, including housing troops and storing supplies during World War II.
Visitors to the Casa del Fascio can appreciate its architectural ingenuity and historical context. The building's L shaped layout is a hallmark of its design, with two perpendicular wings forming the structure. One wing houses the operational heart of the building along Via Ricotti, while the other contains the Assembly Hall along Via Savonarola. This configuration creates a harmonious balance between the building's solid form and the open courtyard.
The interior spaces are organized across three horizontal planes, converging in an open space that lacks doors or other barriers, emphasizing the Rationalist principle of form following function. This design choice reflects the era's architectural trends, where monumental structures often served as propaganda tools, embodying the state's ideologies through their functionalist approach.
The Casa del Fascio's facades are a study in contrast, with one emphasizing horizontal lines and the other verticality. The Via Ricotti facade features a two-story division, with a portico continuing the colonnade from the adjacent Monument to the Fallen School. The clean, horizontal lines are punctuated by rectangular panels and an overhanging cornice, while the windows are set horizontally, maintaining the theme of linearity. The portico is supported by granite pillars, adding a sense of solidity to the structure.
In contrast, the Via Savonarola facade, part of the Assembly Hall, is dominated by vertical elements. Tall, narrow windows break up the otherwise unadorned wall, each accompanied by full-length glass doors framed by square panels. This facade also features a vertical ribbon window at the central junction, providing light to the internal staircase and further emphasizing the building's vertical aspect.
After the fall of the Fascist regime, the Casa del Fascio underwent several transformations, reflecting Italy's turbulent mid-20th-century history. It briefly housed the People's Tribunal after Voghera's liberation in 1945 and later served various civic functions. By the 1960s, the building had fallen into disrepair, prompting the local government to acquire and restore it for public use. It remained the home of the Revenue Agency until 2020, after which it was left vacant.
Today, the Casa del Fascio stands as a monument to both its architectural significance and the complex history of the era it represents. While currently unused, it continues to draw interest for its design and the stories embedded within its walls. A visit to this historical site offers a compelling journey through time, capturing the essence of a bygone era and the enduring impact of architecture on cultural memory.
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