Hong Kong City Hall, 2013. Photo by author.
WHITE CUBES FOR TOMORROW’S PEOPLE:
GOVERNANCE AND AUTHORITY BETWEEN
THE BENEVOLENT AND THE MALEVOLENT
Text by Mika SAVELA
The Public Good and Bad
become part of the equation. If the build-
through two modern public buildings,
Throughout the ancient and modern
ings and their chosen style indeed sym-
built in different parts of the world at dif-
times, public buildings have been not
bolize stately power, the aesthetic or spa-
ferent times, yet touching the both ends
only containers of official functions, but
tial experiences related to them become
of the spectrum of power.
symbols of the societies they are seeking
also politically charged. How could archi-
The Como Cube
to serve. In this symbolism, there exists a
tecture, then, be neutrally evaluated – or
In the case of Casa del Fascio, its even-
strange but clear dichotomy of benevo-
should its viewing in some way include
tual building in a smallish Northern Ital-
lence and malevolence, in which the ar-
the connotations of good and evil, ruler
ian town of Como, was related to the
chitecture of such buildings has been
and the subjects, the authority of a design
emergence of the National Fascist Party
seen either belonging to an evil and of-
and the receptiveness of the audience?
(Partito Nazionale Fascista). During the
ten totalitarian state, or alternatively to a
The comparison of Giuseppe Terragni’s
strengthening rule of the PNF in the
socially just and democratic one. But, in
Casa del Fascio in Como, completed in
1920s, the party headquarters as ‘Houses
terms of architectural expression, this di-
1936 and the Hong Kong City Hall of 1962
of Fascism’ became meeting places in lo-
vision becomes more problematic when
by architects Ronald Phillips and Alan
cal towns and cities, ultimately replacing
ideas such as modernism or colonialism
Fitch, offers insight into these questions
old city halls in importance and gaining
Casa del Fascio, ground-level plan. Public accessibility exaggerated by numerous doors and Upper right. the main facade. Photo by Gert von Basseviz, 1992, Bildarchiv Foto Marburg (www.
double-height atrium. Source: Sophie Paviol, L’Invention d’un espace (Gollion: Infolio éditions, bildindex.de).
2006), 35. Originally printed in the journal Quadrante, no. 35, 1936, p. 39.
Below. View from the atrium towards the square and the cathedral. From Giorgio Ciucci (ed.)
Upper left. The frontal planes of Casa del Fascio in Peter Eisenmann’s axonometric analysis . Giuseppe Terragni : Opera completa. (Milano: Mondadori Electa, 1996), 261.
From P. Eisenman, G. Terragni, et al, Giuseppe Terragni: transformations, decompositions, critiques (New York: Monacelli Press, 2003), 96.
a more symbolic meaning. New Casas
Fascist party activities (Kirk, 2005, 97). This
Europe. CIAM was established in 1928,
de Fascio brought newspapers and radio
almost feverish and ceremonial aim for
Le Corbusier’s early writings had been
speeches of Mussolini to the Italian coun-
spatial complexity trough simplicity and
freshly published and Italian magazines
tryside, representing a modern progress
rationalism, has been well noted by Peter
Casa Bella and Domus had been founded
and a sense of futurism that the previous
Eisenman in his extensive studies of Ter-
(Paviol, 2009, 171). Surrounded by such
government hadn’t been able to provide.
ragni’s building (Eisenman, 2003).
groundbreaking activities and possibili-
In Como, as the city mayor’s architect
Prior to the planning of Casa del Fascio,
ties in Italy alone, Terragni’s practice drew
brother Giuseppe Terragni was chosen as
Terragni had in 1927 opened an architec-
influences and developed small projects
the designer of the new Casa. As an en-
tural practice in Como with his brother
ranging from modernist tomb monu-
thusiastic believer in the principle ideals of
after having graduated from the Politec-
ments to glassware boutiques. In the eyes
Fascism Terragni drafted plans for what he
nico in Milan in 1926. The office became
of the local fascist party, he fast became a
described as a ‘temple’ of the movement,
involved with smaller works and exhibi-
trusted Como-based designer, capable of
speaking already of the fortifying sym-
tions before Terragni’s military service the
producing the new kind of designs simul-
bolism and aspirations towards an ideo-
following year. At the time, several archi-
taneously embraced by the fascist leaders
logical eternity for the physical sites of the
tectural influences were happening inside
in Rome and other larger cities. The proj-
The site plan, showing the piazza in front of the Casa del A photomontage of the planned square with Casa del Fascio on the far right. Terragni’s vision included several modernist buildings
Fascio (b) and the relationship with the cathedral. From along the large ceremonial field, capable of holding 100,000 people meetings. From Giorgio Ciucci (ed.) Giuseppe Terragni : Opera
Giorgio Ciucci (ed.) Giuseppe Terragni : Opera completa. completa. (Milano: Mondadori Electa, 1996), 259.
(Milano: Mondadori Electa, 1996), 259.
ect for Casa del Fascio marked Terragni’s
plot inspired Terragni to study a Renais-
proportioned double façade in front the
short 13-year career’s most established
sance city-palace like typology, instantly
building mass with balconies and loggias,
and later well-known project, followed by
elevating the planned building as a match
created complexity in a building what
a series of modernist buildings in Como
in terms of historical counterparts. In his
otherwise consisted of clarity and simplic-
and ultimately, his subsequent participa-
plans, four clearly articulated rectangu-
ity.
tion and death during the Second World
lar facades framed a four-story building
The aims for a noble building, dedicated
War in 1943 at the age of 39.
curled around a double-height central
to the fascist cause and open for every cit-
Terragni’s great dedication to the Casa del
atrium. Carefully furnished offices and
izen was also celebrated in Terragni’s de-
Fascio becomes visible already in its site.
meeting rooms were fitted into a clear
sign with a luxurious materiality. A com-
Though the actual site was donated to the
grid of the floor plan and the separating
bination of marble, travertine, glass and
party by the city, it was Terragni’s brother
glass tile walls and glass railings along
metal created an impressive and elevated
who as a mayor of the city was able to
with skylights created a special sense of
atmosphere of a public building that sup-
introduce such a prominent location op-
translucency, reminiscent of Mussolini’s
posedly celebrated people it was built for,
posite an existing cathedral. This symbolic
famous words describing fascism as a
but at the same time institutionalized the
juxtaposition and the square-like urban
glass house. (Kirk, 2005, 97). A precisely
spatial and visual experience of fascism
“et nous attendons de l’opinion (puis de l’Autorité), le sursaut de clairvoyance: bon sens, sagesse, amour… Watercolor of the the meeting rooms with specifically designed steel tube furniture.
le sursaut des qualités des hommes, et non plus le stupre de la folie humaine”
From Giorgio Ciucci (ed.) Giuseppe Terragni : Opera completa. (Milano: Mondadori
[and we expect the opinion (and the Authority), the start of foresight: common sense, wisdom, love … the Electa, 1996), 261.
start of the real qualities of men, rather than the debauchery their folly] From Le Corbusier’s essay on the
occasion of his “Pavillon des temps nouveaux” in the Exposition Internationale “Art et technique” in Paris
1937. Beinecke Library Digital Collections.
into a minimalist, elegant architectural ex-
ing with artist Marcello Nizzoli, Terragni
tionalism, the Italian modernism like all of
pression. While the fascist ideals were sup-
then proposed the use of photography
the modern movement, were also expres-
posedly about the people and society, its
and projections in the plain wall area of
sions of authority. Most interestingly, the
buildings were polished and utopian. Ter-
the main elevation, thus decisively relying
totalitarian ethos of modernism was pres-
ragni described his design as transparent
on non-ornaments but still fulfilling the
ent in many of Le Corbusier’s writings, in
and public, devoid of private zones (Ibid.,
requests of certain imagery of insignia by
some of which he envisioned the neces-
98) but to member of the general public,
the PNF. Ultimately, his design became a
sity for an ‘Authorité’, as a way to enforce
the building must have also appeared like
device in speaking to vast audiences, an
the changes to the physical environment
the Renaissance palaces it was influenced
aesthetic construction aimed at propagat-
on the society. While rational and func-
by. However, while to Terragni himself
ing the idea of modern progress brought
tional, modernism was also about dicta-
the manifestation of fascism’s pure ide-
by the fascist movement, convincing also
tion, control and visual clarity through
als in his building seemed entirely clear,
the political figures of the movement.
discrimination. It included the dictatorial
the party officials were also in doubt on
Seen in this light, the architectural ‘beauty’
and undemocratic quality embedded in
the lack of ornamentation or signs of the
of Casa de Fascio in Como becomes more
modern architecture and design. While
building’s purpose on its exteriors. Team-
vulnerable to the observer. Dubbed as ra-
the search for newness in societies and
Ron Phillips’s early cartoon-like schematic drawing of the main program of the City Hall showing the original direct access to waterfront on the newly reclaimed shoreline. Later land reclamation and development around the site have changed the accessibility to the
complex. From 現代香港的起跑點:大會堂五十年的故事, Chow Fan Fu, Where modern Hong Kong Began : the City Hall and Its 50-Year
Story (Hong Kong: City Hall of Hong Kong,2012), 26.
Window divisions creating an intricate pattern in the City
Hall’s facade drawings. From 現代香港的起跑點:大會堂五
十年的故事, Chow Fan Fu, Where modern Hong Kong Began : the City Hall and Its 50-Year Story (Hong Kong: City
Hall of Hong Kong,2012), 22-23.
their physical environments was seen as
government buildings were built in the
ing a local designer with adequate skill
a noble and benevolent ideal, the totality
style of 19th century examples. The first
and one that would steer away from the
of modernist design was at the same time
city hall from 1869 had been demolished
classical ‘ornate mediocrity’ of the previ-
relying on the authority of the society that
in 1933 as an act of modernizing efforts.
ous public buildings (Legco, 1952). First
would enable and supervise the transfor-
But only in 1947, after recovering from
sketches of the town hall were shown in
mation from old to new.
the Japanese occupation and the time of
1953, but were deemed insufficient. In
Becoming Modern in Hong Kong
war, a completely new city hall building
the two following years, British architects
The shiny, white and elegant city hall of
became a topic for discussion of a speci-
Ronald Phillips and Alan Fitch separately
Hong Kong seems at first sight to be light
fied government committee (1982, 11).
relocated to Hong Kong to seek new op-
years away from Fascist Italy. Its purpose
The aesthetical and material needs for
portunities and were immediately em-
and role as a public building are mostly
the undertaking of a new city hall were
ployed by the Public Works Department.
seen as merely benevolent. But its archi-
specifically discussed by the Hong Kong
Subsequently, the two were given the
tecture too serves an agenda. After the
Legislative Council in 1952. According to
task of designing the new City Hall (Zhou,
Second World War, Hong Kong was rap-
the meeting records, the speakers in the
2012), despite the original requests of the
idly modernizing as most of its colonial
council insisted on the necessity of hav-
Legislative Council’s members.
Scale model of the City Hall, showing High Block, Lower Block and geometric layout of the Memorial Garden, as well as and City Hall from Interior Court. Photo from Docomomo Hong Kong
the connecting canopies and walkways. Photo by from user Liapoeofa @ Wikimedia Commons.
(http://www.docomomo.hk/site/city-hall/). Originally printed in the
Hong Kong and Far East Builder, April 1962.
From the very first plans by Phillips and
however, planned with parallelogram and
Ron Philips, at the time of his appoint-
Fitch, the City Hall design consisted of an
hexagon shaped tiles and the memorial
ment, was a young architect and Fitch had
administrative and public services tower,
shrine in the middle was planned as a reg-
more experience in the war than actual
an enclosed courtyard garden with a me-
ular dodecagon, a cylinder with 12 edges.
architectural practice. Yet, for Hong Kong
morial shrine and fountains and a contin-
Black-painted brick walls contrasted the
both newly arrived designers represented
uous row of cube-like performance halls
white tower and canopies, whereas the
something fresh in terms of style, as well
and supporting facilities, as well as govern-
main theater volume was to be covered
as design thinking and influences, and
ment meeting spaces. The complex was
in large granite tiles, laid out with small
thus proved fitting to the task at hand.
connected with continuous horizontal
gaps in the pattern. The choices created
Philips’ aesthetic ambitions were influ-
canopy, doubling also as walking bridge
a clear modern impression while leaving
enced by the International Style, and the
with stairs rising from the courtyard. The
also room for materiality and finer details.
Bauhaus-inspired architecture of many
facades of the different parts were treat-
The design was thus an effort in finding a
public buildings in Britain and elsewhere
ed with orthogonal divisions, made clear
careful balance between a somewhat elit-
in Europe and Scandinavia, and consisted
especially in the elevation drawings. The
ist design elegance and the democratic
of a mixture of everyday considerations
surface pavement of the courtyard was,
accessibility of a city hall.
and
elegant
‘monumentalist’
efforts.
Granite tiles and ornamental gaps on the Low- Stairs and concrete tiles at the memorial gar- Lady MacLehose, wife of Hong Kong governor Murray MacLehose (1971-1982), cutting the City
er Block facade (2013). Photo by author.
den (2013). Photo by author.
Hall’s birthday cake in 1982, with the City Hall symbolizing achievements of Hong Kong’s colonial status. From Hong Kong City Hall, 1962-1982 : twenty years in retrospect = 香港大會堂,
1962-1982 : 回顧二十年 (Hong Kong: Hong Kong Government,1982)
However, by 1960 as the construction of
The original purpose of the new City Hall
the City Hall included a large cultural pro-
the City Hall began, the style of the origi-
was to stand in clear contrast with the
gram ranging from performing arts to art
nal plans represented already something
old public buildings of Hong Kong. The
exhibitions and the audience for these
from the past. In 1982, twenty years after
City Hall 20th anniversary chronicle men-
events consisted mostly of colonial British
the opening, the City Hall was a strangely
tions the shift from a colonial building
and Western residents. A public need for
young example of an old-school modern-
style (1982): ‘Gone were the great colon-
the modern architecture did not exist to
ist building from the 1950s thinking. Nev-
nades and sweeping arches… Instead,
justify its commission as a modern object.
ertheless, it was described as ‘simple but
there rose a clean, almost starkly utilitar-
The program of concert halls, ballrooms,
clean-cut’ and the 12-storey high tower
ian building.’ Notably, the City Hall was
restaurants, theater, art galleries, exhibi-
‘allowing good natural lighting’, resound-
built on reclaimed land, creating also an
tion halls and a museum made the project
ing of the modernist ethos (1982). A later
entirely new landscape in the Hong Kong
distant from the local Chinese culture or
‘swankier’ and more fashionable design
Island shoreline. However, the somewhat
audiences, not being presented or mak-
style of the 1960s became more visible in
political aspiration of using the City Hall as
ing appearances in similar stages, spaces
the City Hall’s interiors, seen in carpeting,
a means of lifting Hong Kong to a modern
or social circles. The marriage registry
stone, metal and glass details.
era was not shared by the masses. Instead,
and a library were the only truly socially
The main facade and one of the street elevations. Photo by Gert von Basseviz, 1992, Bildarchiv Foto Marburg (www. The back facade of the Casa del Fascio with a view to the cathedral in a
bildindex.de).
commorative Italian 0,85€ stamp dedicated to Giuseppe Terragni, launched
in 2004 and showing the passing of time changing the architecture’s original ideology into modernist heritage.
inclusive aspects of public engagement
into a Western and colonial stylistic tradi-
ideals and its potential spatial manifesta-
among the original program.
tions of public buildings and how then in
tions, whereas the expatriate British archi-
Architecture Between Ideas
ultimately modernist architecture, in its
tects would primarily aim for a stylistically
Traditionally, democracy and freedom as
attempt to create environments for future
modern impression and only to a lesser
architectural manifestations are perhaps
societies called again a historically Medi-
degree, a passionately devised temple for
related to the popular imagery based on
terranean building typologies of white
the service of a modern post-war society.
the ruinous interpretations of the ancient
minimal cubicles with an authoritative
After all, Hong Kong as a colony and a city
public buildings of Greek and Roman
manifesto. While the Casa del Fascio rep-
without a mayor, could in this thinking
civilizations. In the light of today’s knowl-
resented an ideal product of rational fu-
only reflect a greater European society
edge, these concepts are however proven
turism, it still worked with a very Mediter-
even in its own modernity. If a crowd of
to be debatable as alongside the freedom,
ranean and classical set of materials and
100,000 people were expected to come
existed also feudal systems and slavery.
spaces. The greatest difference between
and hear Mussolini’s speeches from the
Indeed, there exists a complicated para-
Terragni, Philips and Fitch was that Terrag-
balconies of the Casa del Fascio, no such
dox in how the images of a polis, a Greek
ni at the time of the project, demonstrat-
active and grand political tone was imag-
capital city or a Roman forum, translated
ed a true pre-war-era belief to the fascist
ined to occur in front of the City Hall.
Projection on the wall of Casa del Fascio in 2012 on the occasion of a Giuseppe Terragni exhibition orgnaized by the modern art museum CIAC Foligno, reminiscent of the original photomontages
by Marcello Nizzoli. (http://www.dietrolanotizia.eu/?p=12435)
And if the Casa del Fascio was a build-
to become palaces for people and the
chapters of history.
ing of the moment, born in the heat of
societies they claim to address. Both seek
However, in the discourse of benevo-
the surrounding ideologies and the core
architectural and design quality beyond
lence and malevolence in architecture,
events of European modernism, the Hong
the everyday experience to heighten their
the dimension of time becomes a ma-
Kong City Hall is perhaps a late arrival in
status as public buildings. And finally both
jor factor. With time built environment
a provincial division of modernist build-
buildings are devised as settings of a new
becomes the scene of events and his-
ings. Undoubtedly, the City Hall loses in a
chapter in time. On the somewhat nega-
tory, and thus, also part of the collective
comparison of certain finesse of materials
tive side of history, both also appear as at-
memory of people and places. Enhanced
and design complexity, but yet in terms of
tempts in creating displays or ideological
by the distance from the actual historical
its original scale, it represents a coherent
facades for political systems that haven’t
events and ideals and often by efforts in
effort in modernizing a city. Interestingly,
endured time and that have also included
restoration and conservation, even mod-
despite the approximately 20-year differ-
oppression and exploitation of power. In
ernist buildings have the tendency of be-
ence in their conception, both buildings
this aspect, their architecture is not as in-
coming icons. Thus, with time the Hong
can be studied as architecture of ulti-
nocent as it seems and their valorizations
Kong City Hall became the city’s foremost
mately modernist ambitions. Both seek
through militarized and heroic-claimed
platform of contemporary culture, slowly
Comparison of the City Hall’s original interiors in the colonial era and in 2012, with a replaced Today the once towering City Hall is dwarfed by skyscrapers in the central Hong Kong. The origiHong Kong insignia. Though actively in use, the current interior spaces have become cluttered nal parking facilities with concrete brick mesh walls belong to the building era of the City Hall
with promotional material, in contrast with the stark original design. From 現代香港的起跑點: complex around the Edinburgh Place. Photo by author.
大會堂五十年的故事, Chow Fan Fu, Where modern Hong Kong Began : the City Hall and Its 50Year Story (Hong Kong: City Hall of Hong Kong,2012).
taking a place as a more wide-reaching
called fourth dimension, has also opened
In Hong Kong, since the 1997 hand-over
public place. Similartly, the Casa del Fascio
up a critique of the later days of the both
from Great Britain to China, the City Hall
ultimately started to lose its stigma as a
buildings’ ideological pasts and their lat-
has seen changes in its up-keeping, and
fascist building and becoming a jewelry-
er use. In Italy, building conservation of
though it operates as a vibrant and still
like object of architectural prowess. It has
modern architecture has become a ma-
living part of Hong Kong’s cultural life, in
even become a subject of a commemora-
jor thematic issue with relatively many of
terms of its interiors and the aesthetics,
tive stamp in 2004. Some of the nostalgia
the modern era declared masterpieces
the original modernist spirit is occasional-
gathered around the Casa del Fascio and
actually present in the country. A rather
ly blurred under seasonal decorations and
Hong Kong City Hall also relate to their
finely kept and restored Casa del Fascio
promotional material. For Hong Kong, the
dwarfed existence in today’s landscape,
today partly operates as a museum of the
City Hall survives as one of its few modern
where the former is today remains tucked
financial police (Guardia di Financa), sur-
architectural highlights, and its position
away behind a highway and the latter is
viving as a monument largely because of
as such is not challenged. However, deci-
barely visible amidst the skyscrapers.
its intricate design rather than its histori-
sions of how the aesthetic of modern in-
The Critique of Time
cal past. Thus, the Cada del Fascio is not
tentions are kept and preserved, remains
The passage of time, the occasionally so-
entirely a living building albeit a dead one.
an issue of critical consideration and un-
Alan Fitch and Ron Phillips in 1962 in front of the newly finished
City Hall. At the time the architects Phillips was only 34 years
old. Both continued to practice in Hong Kong for years. From
現代香港的起跑點:大會堂五十年的故事, Chow Fan Fu, Where
modern Hong Kong Began : the City Hall and Its 50-Year Story
(Hong Kong: City Hall of Hong Kong,2012), 212.
derstanding of what values design repre-
by the architects. But, it should also be
sents, and how their thoughtful portrayal
recognized that at the same time its ex-
in the current day can best be achieved.
istence and its the core architectural set-
As an afterthought, it remains interesting
ting often remains foreign to its current
to follow how buildings heavily related to
users. In this development, understand-
certain historical trajectories such as Casa
ing of the history of architecture and edu-
del Fascio or the Hong Kong City Hall, are
cation of such information proves to be
capable of producing new interpretations
invaluable. While as a design export, the
and also breaking apart their original set-
City Hall will forever remain a chapter in
ting. Certainly, the City Hall today is not
Hong Kong’s colonial modernism, its cur-
anymore a reclusive chapter of a colonial
rent worthiness is also a feature in its own
past, but a scene for local cultural life as
right. Whether or not architecture arises
well. Furthermore, on weekends, its pub-
from ‘good’ or ‘evil’, the realities of its cur-
lic spaces are overtaken by crowds of do-
rent existence are ultimately more domi-
mestic workers – something unforeseen
nant in its critique in today.
Refrences
Chow, F. F. (2012) Where modern Hong
Kong Began: the City Hall and Its
50-Year Story. Hong Kong: City Hall
of Hong Kong.
Hong Kong City Hall, 1962-1982 : Twenty
Years in Retrospect (1982) Hong
Kong: Hong Kong Government.
Ciucci, G. (ed.) (1996) Giuseppe Terragni
: Opera completa. Milano: Mondadori Electa.
Paviol, S. (2006) L’Invention d’un espace
Gollion: Infolio éditions.
Kirk, T. (2005) Volume 2, The architecture
of modern Italy: Vision of Utopia,
1900-present. New York: Princeton
Architectural Press.
Saggio, A. (2005) Giuseppe Terragni : vita e
opere, 3rd ed. Rome: Editori Laterza.