Modernism Denied. Recovery and Regeneration of the Cinema -Theatre “Mastrogiacomo” in Gravina in Puglia

At the end of the 1920s, the affirmation of sound and the advent of the rationalist lexicon favoured the evolution of cinema from a traditional typology to a functional typology, heralding avant-garde constructive experiments. This evolution coincides with a simplification process already in place in the architectural language that will result in the gradual disappearance of ornamental elements leaving room for elementary surfaces, increasingly clear and enhanced using new materials. The rationalist code will set, for this type, a new architectural and regulatory standard, reaching almost unchanged to the present day. The designers, called to confront the new typology, will refer extensively to theatrical models, not only because the questions to be solved are similar, but because in most cases the construction of multi-purpose halls continues, in which animated projections will alternate with theatrical performances. The definition of the typological and functional evolution of cinema-theatre is analysed in the case study “Mastrogiacomo” in Gravina in Puglia (Bari), avant-garde cinema-theatre, made by architect Francesco De Martino. Cinema-theatre is part of a series of works that from the beginning of the 1930s will be subject to a constant process of upheaval, involving a substantial transformation of both compositional and technological character. The economic sanctions of 1936 and the autarchic economic model, will involve the introduction of new materials and components within the building, improving the conditions of well-being, safety, and liveability. Through examination of this study, highlights the need to recover and enhance the architecture and technological systems of cinema through a multi-scale approach capable