Virgilio Marchi was an Italian architect, art director, and painter, whose work and influence were deeply intertwined with the Futurist movement. Born on January 21, 1895, in Livorno, Italy, Marchi's career spanned several decades, during which he made significant contributions to architecture, theatre, and film. Marchi's early life and education set the stage for his future endeavors. He studied architecture in Siena and Lucca, where he was exposed to the burgeoning artistic and architectural ideas of the time. His education was complemented by his interactions with members of Nuove Tendenze in Milan, a group that was at the forefront of modernist thought in Italy. In 1920, Marchi wrote his own 'Manifesto of Futurist Architecture,' aligning himself with the values outlined by Antonio Sant’Elia, another prominent figure in the Futurist movement. This manifesto was a declaration of his rejection of the classical past and an embrace of the novelty presented by advancing modes of transport and construction. Marchi's manifesto and his subsequent work reflected a desire to revolutionize architecture and to create spaces that resonated with the dynamism and energy of the modern world. Marchi's architectural work was characterized by its innovative use of space and materials, as well as its theatricality. In 1921, he was commissioned by Anton Giulio Bragaglia to build the new headquarters of his House of Art with an adjoining theatre in Rome. This project allowed Marchi to experiment with the interplay of vaults, pillars, and arches, creating a space that was reminiscent of the escapes and whims of Futurist architecture. The theatre was a testament to Marchi's ability to blend functionality with avant-garde design, featuring a stage built in opening sections and dressing rooms obtained in ancient tunnels. Throughout his career, Marchi worked on numerous theatre and film sets, designing more than fifty films. His work in scenography was marked by a distinctive style that brought the bold and visionary concepts of Futurism to the stage and screen. Some of his notable filmography includes "Territorial Militia" (1935), "The Two Sergeants" (1936), "Condottieri" (1937), and "Umberto D." (1952), a film directed by Vittorio De Sica that is often hailed as a masterpiece of Italian neorealism. Marchi's style evolved over time, reflecting the changing political and economic context of Italy. His later drawings, while still polished and mannered, showed a retreat from the radical ambitions of his earlier work. This shift was evident in his design for the Odeon Cinema (1940), which, when built in 1952, presented a more restrained and compact form compared to the exuberant and sculptural qualities of his early proposals. Despite the challenges of the post-war era, Marchi continued to emphasize the spatial and expressive qualities of his work. His design for the Odeon Cinema's interior was a celebration of circular and sinuous geometries, articulated by ribbons of light that created a captivating atmosphere for cinema-goers. The cinema hall, originally with 2,500 seats, was a subtly organic trapezoid in plan, balanced by a cantilevered and parabolic gallery floor. Marchi's contributions to the Futurist movement extended beyond architecture and film. He was also a painter, known for his sketches and drawings that captured the essence of Futurism. His work was featured in various exhibitions and auctions, reflecting the enduring interest in his artistic vision. Virgilio Marchi passed away on April 30, 1960, in Rome, leaving behind a legacy that continues to be celebrated for its boldness, innovation, and impact on 20th-century art and architecture. His work remains a testament to the power of Futurism and its ability to challenge and inspire new ways of thinking about space, form, and the experience of modernity.

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