Abstract After the Second World War, neorealism was fundamental as a spatial register of the time while simultaneously contributing to the creation of a visual culture at a key moment in Italian history. Although the term has been adopted ad hoc in architecture, transfers between neorealism and architecture are still not fully understood and significant grey areas remain. Against this backdrop, recent studies have suggested approaching neorealism not from the standpoint of the disciplinary autonomy of architecture, but from its active and bidirectional link with other forms of artistic expression, approached through the cultural climate of the time in Italy. Within the field of architectural theory, a significant number of works that have been linked to neorealism belong to new neighbourhoods that were developed through state social housing programmes. For this reason, this article uses the INA-Casa programme as a lens for examining neorealism’s penetration in architecture, based on the hypothesis that this programme’s written regulations were inflected by the neorealist environment during its first settennio (1949–56). It sets out to consider if and how a neorealist making existed in architecture by analysing the first two INA-Casa design manuals, which are seen here as an example of a rule book for the theory of architecture.

中文翻译：

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个性化建筑：新现实主义通过 INA-Casa 计划对意大利建筑的贡献（1949-56）

摘要 第二次世界大战后，新现实主义作为时代的空间记录成为基础，同时在意大利历史的关键时刻为视觉文化的创造做出了贡献。尽管该术语已在建筑中临时采用，但新现实主义与建筑之间的转换仍未得到充分理解，并且仍然存在重要的灰色地带。在这种背景下，最近的研究表明，不是从建筑学科自治的角度来处理新现实主义，而是从它与其他艺术表现形式的积极双向联系，通过意大利当时的文化氛围来处理。在建筑理论领域，大量与新现实主义相关的作品属于通过国家社会住房计划开发的新社区。出于这个原因，本文使用 INA-Casa 计划作为检验新现实主义在建筑中的渗透的镜头，基于该计划的书面规定在其第一次设置（1949-56 年）期间受到新现实主义环境影响的假设。它开始通过分析前两本 INA-Casa 设计手册来考虑新现实主义创作是否以及如何存在于建筑中，这里将它们视为建筑理论规则手册的一个例子。基于这样的假设，即该计划的书面规定在其第一次设置期间（1949-56 年）受到新现实主义环境的影响。它开始通过分析前两本 INA-Casa 设计手册来考虑新现实主义创作是否以及如何存在于建筑中，这里将它们视为建筑理论规则手册的一个例子。基于这样的假设，即该计划的书面规定在其第一次设置期间（1949-56 年）受到新现实主义环境的影响。它开始通过分析前两本 INA-Casa 设计手册来考虑新现实主义创作是否以及如何存在于建筑中，这里将它们视为建筑理论规则手册的一个例子。