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Un villaggio ideale del lavoro, un piccolo feudo dove il castello del padrone era simbolo sia dell’autorità che della benevolenza, verso i lavoratori e le loro famiglie.
Il Villaggio Crespi d'Adda, Patrimonio Unesco, è ancora oggi un paese abitato
in maggioranza dai discendenti dei lavoratori dell'opificio tessile.
Il paesaggio che ospita Crespi d'Adda è davvero singolare: il villaggio è inserito in una sorta di culla, un bassopiano dalla forma triangolare che è delimitato da due fiumi confluenti e da un dislivello del terreno, una lunga costa che lo cinge da nord.
I due fiumi sono l'Adda e il Brembo, che formano una penisola chiamata "Isola Bergamasca", alla cui estremità si trova appunto il villaggio; mentre lungo la citata costa correva anticamente il "Fosso Bergamasco", linea di confine tra il territorio del Ducato di Milano e quello della Repubblica di Venezia.
L'isolamento geografico è poi accentuato dal fatto che il villaggio è collegato all'esterno soltanto in direzione Nord. Oggi queste caratteristiche geografiche e il grado di emarginazione che esse hanno implicato ci aiutano a capire come Crespi d'Adda si sia potuta conservare in modo così straordinario, nascosta ed estranea allo sviluppo caotico dell'area circostante.
Un villaggio ideale del lavoro, un piccolo feudo dove il castello del padrone era simbolo sia dell’autorità che della benevolenza, verso i lavoratori e le loro famiglie.
Il Villaggio Crespi d'Adda, Patrimonio Unesco, è ancora oggi un paese abitato in maggioranza dai discendenti dei lavoratori dell'opificio tessile.
http://www.villaggiocrespi.it
On August 3, 1769, father Juan Crespi, member of a Spanish expedition of exploration into persent-day California, noted in his diary that they came to 'a large vineyard of wild grapes and an infinity of rose bushes'. A land of plenty - that is what Beverly Hills is today, of course - it had been in a very different way many centuries before. The Tongva - later called the Gabriellinos after the mission station of San Gabriel that made them into Christians - in their Takic Uto-Aztecan language had called this place The Gathering of Waters, later translated by the Mexican Spaniards as El Rodeo de las Aguas. Settlement came within half a century when the Mexican governor of California in 1838 gave this land to one Maria Rita Valdez Villa, the stalwart Afro-Latino widow of a Spanish colonial soldier. She established a prosperous ranch here, and set in motion a development of which the rest, as we say, is history.
In need of fresh air in the face of urban development, the town fathers of Beverly Hills decided to create a park along Santa Monica Boulevard. It was inaugurated in 1911 and today sports wonderful roses, cactus gardens, a lily pond, fine gravel walking paths; running a length of about two miles it gives nice green breathing to anyone on foot (rather fewer in LA than one might expect).
In the late 1920s it was decided to erect a fountain at the intersection of Santa Monica and Wilshire Boulevards. Partly funded by the active Beverly Hills Women's Club, its architect was Ralph Carlin Flewelling (1894-1975) and the sculptor/artist was Robert Merrell Gage (1892-1981). Although an entrepreneur and very successful archictect, Flewelling hailed from intellectual, philosophical stock; his father Ralph Tyler Flewelling (1871-1960) was a foremost 'personalist' philosopher. In many ways 'personalism' was a typically American philosophy. Gage, too, was solidly entrenched in the American tradition; his teacher was Gutzom Borglum, the sculptor - of wonderful name! - of Mount Rushmore. Gage's themes are typically 'strong' American (e.g. pioneer history, such as that of the Capitol buidling of Kansas).
These two men collaborated on this marvellous 'historical' fountain of which the centrepiece is a praying Tongva, perhaps giving thanks for fertility and abundance. It is said that the model for him was Gradin Newsom, who was himself part Cherokee. The fountain has the name "The Electric Fountain" because of its wonderful, changing illuminations every 8 minutes or so.
It is very worthwhile to linger at this pleasant place: there is a nice frieze illustrating Californian history from colonial to modern times; there are exquisite terra-cotta tiles in the American 'art deco' mode, showing 'strong' Americans. As Michelin would say: worth a detour!
Il s'agit d'un village ouvrier destiné à loger les travailleurs de l' industrie textile cotonnière , construit par Cristoforo Benigno Crespi à partir de 1877 puis transmis à son fils Silvio . Grâce à l'état de conservation exceptionnel de son patrimoine historique et architectural, il a été inscrit au patrimoine mondial de l' UNESCO en 1995.
Le nom Crespi d'Adda provient de la famille homonyme d'Arsizio de Busto, qui a fondé le village en 1877.
Le nom Crespi d'Adda provient de la famille homonyme d'Arsizio de Busto, qui a fondé le village en 1877.
Ce village naissant était doté de toutes les commodités nécessaires : outre les maisons destinées aux familles des ouvriers (avec jardins et potagers) et les villas des cadres (construites ultérieurement), il comprenait une église (une réplique à plus petite échelle du sanctuaire Santa Maria di Piazza de Busto Arsizio), une école , un cimetière , un hôpital situé juste en face de l'usine, un terrain de sport, un théâtre , une caserne de pompiers et d'autres équipements collectifs.
This is a workers’ village built to house employees of the cotton textile industry, constructed by Cristoforo Benigno Crespi from 1877 onwards and later passed on to his son Silvio. Thanks to the exceptional state of preservation of its historical and architectural heritage, it was inscribed on the UNESCO World Heritage List in 1995.
The name Crespi d’Adda derives from the family of the same name from Arsizio di Busto, who founded the village in 1877.
The name Crespi d’Adda derives from the family of the same name from Arsizio di Busto, who founded the village in 1877.
This fledgling village was equipped with all the necessary amenities: in addition to the houses for workers’ families (with gardens and vegetable plots) and the managers’ villas (built later), it included a church (a smaller-scale replica of the Santa Maria di Piazza sanctuary in Busto Arsizio), a school, a cemetery, a hospital situated directly opposite the factory, a sports ground, a theatre, a fire station and other community facilities.
The Crespi Lacrosse team is walking around their home track on February 14th to raise money and awareness for breast cancer. My boyfriend Blake Gaytan who is on the team told me about their cause and I really think what they are doing is an amazing thing. I along with the Lacrosse team as well as many other participants am going to also walk for this cause. Since I know that all of you cannot be there to walk with us I would really love if you could visit the following website to get more information and pledge.
PLEASE GO TO
In preparation for painting, the artist draws in white chalk on the canvas, which shows a sculptor – perhaps Pygmalion -at work. Also shown are a compass and column base, reference to architecture. Music is evoked by the harp and lute behind her. The subject of Crespi’s work – artistic creativity – is manifest in the paint itself: the free touch is a sign of his inventiveness. And rather that polish away spontaneity, the work is boldy finished, Crespi also changed his mind as he worked; as the paint has aged, these changes are not visible.
Fabbrica e villaggio di Crespi d'Adda furono realizzati a cavallo tra Otto e Novecento dalla famiglia di industriali cotonieri Crespi, quando in Italia nasceva l'industria moderna.
Era questa l'epoca dei grandi capitani d'industria illuminati, al tempo stesso padroni e filantropi, ispirati a una dottrina sociale che li vedeva impegnati a tutelare la vita dei propri operai dentro e fuori la fabbrica, colmando in tal modo i ritardi della legislazione sociale dello Stato stesso.
L'idea era di dare a tutti i dipendenti una villetta, con orto e giardino, e di fornire tutti i servizi necessari alla vita della comunità: chiesa, scuola, ospedale, dopolavoro, teatro, bagni pubblici... Nato nel 1878 sulla riva dell'Adda, in provincia di Bergamo, anche questo esperimento paternalista ebbe inesorabilmente termine - alla fine degli anni Venti - con la fuoriuscita dei suoi protagonisti e a causa dei mutamenti avvenuti nel XX secolo.
Oggi il villaggio di Crespi ospita una comunità in gran parte discendente degli operai che vi hanno vissuto o lavorato; e la fabbrica stessa è rimasta in funzione fino al 2003, sempre nel settore tessile cotoniero.