L'alcova d'acciaio e "La 74"

An affinity and a distance
Umberto Cavenago si muove in un territorio di costante sperimentazione e innovazione, dove la sua pratica artistica diventa un laboratorio dinamico di idee e forme. In un dialogo sottile e complesso con il Futurismo marinettiano, senza mai conformarsi rigidamente a esso, esplora le passioni attraverso una lente contemporanea e radicale. Le sue opere, pur richiamando l’energia e la visione futurista, affermano una propria autonomia, rivelandosi come espressioni uniche e distintive, lontane da ogni conformismo artistico.
Cavenago naviga tra passato e presente con una sensibilità artistica che, pur rimanendo affascinata dalle suggestioni del Futurismo, si muove liberamente al di fuori delle sue rigide categorizzazioni. La sua opera rappresenta una continua esplorazione e reinvenzione, dove la tecnologia e le influenze storiche si coniugano per dare vita a un’arte che è tanto innovativa quanto riflessiva.
 

Umberto Cavenago with La 74 in his studio
Photo © Alessandro Zambianchi, Milan
The novel 'The Steel Alcove' of 1921
Filippo Tommaso Marinetti, a fervent supporter of modernity and Futurism, did not limit himself to celebrating the technological and wartime revolution of his era through his art and poetics. During the First World War, Marinetti found a tangible symbol of his avant-garde vision in the Lancia Ansaldo 1Z, an armoured car that became for him a concrete extension of the mechanical power and energy of the conflict.
Marinetti, enlisted as a volunteer on the Italian front, used the Lancia Ansaldo 1Z not only as a means of transport and mobility, but as an emblem of the fusion of man and machine. This armoured vehicle, with its advanced technology and imposing structure, represented for the poet an icon of modernity and Futurist dynamism, embodying the ideal of speed, power and innovation that the movement extolled.
Marinetti's relationship with the armoured car finds deep reflection in his novel 'The Steel Alcove ' (1921), where the war experience is narrated through the lens of this war machine. In the novel, the armoured car becomes not only a means of combat, but also a symbolic protagonist reflecting the Futurist vision of war as a great mechanical adventure. Marinetti describes the machine as an extension of the modern hero, capable of expressing and amplifying the power of the new technological era.
'The Alcove of Steel' is a work that transcends the simple account of war, becoming a literary manifesto of the Futurist celebration of modernity. Through vivid, immersive prose, Marinetti transforms the Lancia Ansaldo 1Z into a symbol of the fusion of man and machine, and war into a form of purification and regeneration through technology.
In this context, Marinetti not only uses the armoured car as a practical means, but elevates it to an icon of modernity and progress, celebrating its ability to defy convention and redefine the experience of war. The novel and the vehicle intertwine in a narrative that expresses the Futurist vision of war as a radically new and transformative experience, giving the Lancia Ansaldo 1Z a central role in the poetics and practice of Futurism.
'The Steel Alcove' is a novel written by Filippo Tommaso Marinetti and published in 1921.
The original cover of 'L'alcova d'acciaio' was censored. Designed by Ivo Pannaggi, a Futurist artist and collaborator of Marinetti, the cover showed a bold and provocative image, characteristic of the Futurist style.
The censored cover portrayed a nude female figure and the shape of the Lancia Ansaldo 1Z automaton, a clear symbol of the fusion of eroticism and technology. This design reflected the Futurist fascination with innovation and mechanical energy, but was considered excessively scandalous and provocative for the tastes of the time.
Censorship was motivated by concerns about nudity and the combination of sexual elements with the war and technological context. The image was seen as inappropriate and disturbing, so it was changed to avoid public controversy and to resist the moral pressures of the time. The next cover was less daring and stripped the image of its erotic aspect, making it more acceptable to the public.
The censorship of the cover reflects the tension between the Futurist avant-garde and the social and moral conventions of the time. The removal of the provocative element underlines the contrast between Marinetti's radical vision and the prevailing cultural norms, highlighting the conflict between artistic innovation and public acceptance.
The number 74
In the novel 'The Alcove of Steel' by Filippo Tommaso Marinetti, the number 74 refers to a specific armoured car, a war machine that is an integral part of the narrative.
The number 74 is used in the novel as a precise identification of one of the armoured cars featured in the story. Marinetti, with his interest in modernity and technology, uses this number to give a sense of realism and precision to the vehicle, which is a central element in the action and plot of the book.
In the real historical context, armoured car numbers were used to uniquely identify vehicles within military units. In "The Alcove of Steel," the number 74 could recall a specific reference to a real existing model or vehicle, helping to ground the novel in the historical reality of the First World War.
Lancia Ansaldo 1Z
The Lancia Ansaldo 1Z was designed from 1915, during the early years of the war. Ansaldo, a major Italian metallurgical and mechanical company, was mainly responsible for the armament and armouring, while Lancia, a car manufacturer founded by Vincenzo Lancia, supplied the chassis and mechanics.
Prototype of the Lancia Ansaldo 1Z self-propelled gunship
© Lancia Historical Archive, Turin
Technical specifications
  • Chassis and engine: Based on the robust Lancia 1Z truck chassis, the military version used a four-cylinder Lancia engine, which provided sufficient power to move the heavy armoured vehicle. The vehicle could reach a top speed of around 70 km/h on paved roads, which was considerable for the time.
  • Armour plating: The armoured car was clad in 6 to 8 mm thick steel plates, sufficient to provide protection against small arms fire and artillery shrapnel, while maintaining a weight that allowed the vehicle good mobility.
  • Original armament: The original armament of the Lancia Ansaldo 1Z consisted of three French St. Etienne Model 1907 8 mm machine guns , positioned in a central revolving turret and two side guns mounted in a fixed position on the front and rear of the vehicle. This set-up allowed for 360-degree fire coverage, making the Lancia 1Z particularly effective in infantry support and patrol operations.
© Archivio Storico Ansaldo, Genova
Operational use and subsequent changes
The Lancia Ansaldo 1Z was mainly employed on the Italian front, where it was used for reconnaissance, the safe transport of troops and support for offensive operations. Although its performance on the road was satisfactory, the vehicle encountered difficulties on the rugged terrain of the Alpine front, where mobility was limited by ground conditions.
After the first experiences in battle, some modifications were made to the Lancia 1Z. These included the introduction of Fiat-Revelli Mod. 1914 6.5 mm machine guns to replace the St. Etienne, which were less reliable. These changes culminated in the Lancia 1ZMvariant , which featured improvements in armour and armament.
The Lancia Ansaldo 1Z and its later variants remained in service even after the First World War, proving their usefulness in different war contexts, including Italian colonial Africa.
Pietro Corni, an engineer by training, was responsible for the design and technical development of the Lancia Ansaldo 1Z. His experience and expertise in automotive and military engineering were crucial to the integration of the vehicle's mechanical and protective features. Corni worked to ensure that the armoured car was at the forefront of technology and operational efficiency, combining mobility requirements with armed protection.
L'Ansaldo
The Ansaldo factories started in 1853, when Giovanni Ansaldo bought the Taylor & Prandi company, which was in liquidation in Sampierdarena.
In 1886, the shipyard was moved to Sestri Ponente, where it was upgraded to the point where it could build 10 ships at once.
During the First World War, Ansaldo opened new factories and adapted existing ones to meet wartime requirements. Thus, the company was able to supply the country with 10,000 weapons, millions of bullets and many aircraft.
The production of the auto-gun
During the First World War, Ansaldo produced two series of armoured cars. The first series was produced in 1915, while the second was made in 1917. In total, around 150 examples of these armoured vehicles were built.
In the first series, the armament included a 6.5 mm Maxim machine gun mounted in the upper turret and two more machine guns in the lower turret. These vehicles were based on a Lancia chassis, equipped with an inline four-cylinder engine with a displacement of 4,940 cc and an output of 70 horsepower. The engine, which operated at 2,200 rpm, was equipped with a magnet ignition and a cardan transmission with a dry clutch and 4-speed plus reverse gear.
This chassis, modified for military use, was initially named '1ZM' and later 'Special Chassis for Self-Tracking'. The vehicle had a water-cooled front engine, right-hand drive, and leaf spring suspension. The rear wheels were driven and double-wheeled, with bead tyres. The total weight of the vehicle was approximately 1,600 kg and all parts of the engine and chassis were protected by 6 mm thick chrome-nickel steel armour.
The workers in the Ansaldo plant in Sampierdarena
© Ansaldo Historical Archive
Armament
In 1917, with the second series, Ansaldo made significant changes. The armour plating was made of molybdenum plates, due to the difficulties in procuring chrome-nickel. The engine was protected by an armoured bonnet, fitted with fins for air passage and a folded front plate to direct air towards the radiator. The engine, weighing 170 kg, was fixed to the chassis side members.
The body of the vehicle formed the main body; two entrance doors provided access to the vehicle. In addition, a large front door, three windows on each side and one at the rear provided good visibility. The cylindrical, 100-litre petrol tank was located in the centre of the cab, protected by 5 mm metal sheets. Above the tank was a wooden seat and two side seats, as well as an accessory box. The revolving turret, mounted on the body, was supported by a double set of balls, one for support and one for guidance. During travel, the turret was locked by a pawl, but could be rotated when the vehicle was in action.
Initially, the armament of the armoured car included three 8 mm St. Etienne Model 1907 machine guns, all armoured and equipped with belts for a total of 15,000 rounds, as well as 24 metal magazines, each with 600 rounds. The crew also had at their disposal four Chauchat machine guns, each with 1,200 rounds, which could be used through the windows or the upper turret hatch. Also mounted in front of the bonnet were two irons designed to cut through reticulates.
In 1928, the armament of the armoured car was upgraded and included three Fiat Mod. 14 machine guns, a Mod. 14 machine gun tripod, internally mounted water boxes, three machine gun canisters and 240 magazines with 50 rounds, for a total of 12,000 rounds.
The interior of the vehicle and the machine gun mounted on the revolving turret.
© Ansaldo Historical Archive
"La 74" di Cavenago
In La 74, Umberto Cavenago transcends the warlike function and futurist fervour of the Lancia Ansaldo armoured car, offering us a radically different and deeply meditative vision. In a gesture of skilful deconstruction, Cavenago does not merely replicate the form of the armoured vehicle, but reinvents its essence in a minimalist, conceptual and symbolic key.
Inside this steel structure, which evokes the rigour and solidity of the original, the artist inserts two bunks, transforming the vehicle from an instrument of war into a space for reflection and shelter. Far from its offensive function, Cavenago's piece becomes a metaphor for peaceful and intimate introspection, rooted in the themes explored in Filippo Tommaso Marinetti's novel, "The Steel Alcove".
Cavenago, with this operation, not only evokes but reworks the concept of "machine" through a lens of sensitivity and reflection, subtracting armament and installing an environment of contemplation. This act of subtraction and transformation not only rejects the culture of war, but brings to light a more personal and contemplative dimension, emblematically distant from its original warlike function.


The interior of La 74 (Suiite.161, exhibition), in 2015 at the Ex Albergo di virtù (NH Collection in Piazza Carlina) in Turin