Mediterranean Architecture vs Modernism
On the map of the Mediterranean, Sicily is where Europe sits closest to Africa. A wide strait lies between this Italian island and Tunisia, which makes one wonder how much these two cultures have influenced one another. However, most of the Tunisian population speaks French, not Italian, and the Maghreb does not mean much to the Sicilians. It is not easy to find two cultures around the world that are so close and yet in such stark contrast. Common language is the architecture where ultural borders made by the sea.
It is possible to find common architectural elements in every land touched by the Mediterranean Sea.
With its own unique traditions, architecture,vibrancy and morals, the island off the southernmost tip of the boot seems almost like an antithesis of Italy. Tunisia is a couple of hours from most destinati-ons in Europe, and yet it doesn’t really fit the African image with both its exoticism and Roman remains. Both of these cultures are delightful combinations that not only herald small surprises but also display similarities in terms of architectural textures. And the reason is that they share a common denominator, the Mediterranean.
One can find architectural commonalities in every piece of land bordering the Mediterranean, not just in these two contrasting cultures. And these elements are the result of sensibility, a shared paradigm.
Three periods have played a defining role in the modern history of civil architecture in Mediterranean countries: the necessary designs between the two wars, the thirty-year golden age, and the late century. Through these periods we see a path from pure Mediterranean to archaic styles and then to realism. A vast region can be studied from this viewpoint. There are countless examples of iconic civil architecture reflecting this process. From Villa Baizeau in Cartagena designed by Le Corbusier and Jeanneret to Villa Oro, a Cozenza and Rudolfsky designs in Naples, there are so many landmarks in the history of modern architecture that one can easily compile a tourist guide for those focused solely on 20th century Mediterranean architecture. And it is because these gems are scattered across the Mediterranean in Dolce Vita-like centers of attraction that everyone wishes to one day visit Ibiza, Majorca, Hyères, Cassis, Antibes, Capri and Cerba.
A few basic concepts play a definitive role in the analysis of modernist architectural attitudes, manifested in the dominant texture along the Mediterranean shores, combining traditional civil architecture, predominantly white and underlined with indigo. The anthropological and conjunctural influences emerging from locality as well as classic universal aesthetics form a key perspective. Modern lines are built upon this foundation while the pure and archaic textures of the past are also preserved. One could say that modernism has not disrupted the Mediterranean architecture. A radical detachment, like some other disciplines saw particularly in the 1930s, is replaced by regional realism. In short, the design revolution has handled this region delicately and almost ensured that it stays aligned with the cosmos. And the result can be summarized in two simple words: breathtaking and tranquil.