ALDO ROSSI Theory of Architecture
Submitted by: Noora Fairooz-1180100766 Shamil Afreen-1180100786
CONTENT
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.
About Philosophy Neo-Rationalism Post-Modernist Repetition and Fixation Influence from Artist History through Monuments Theory Works Product Design Exhibits Architecture
Aldo Rossi ❖ ❖ ❖ ❖ ❖
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Aldo Rossi is one of the most influential architects during the period 1972- 1988. He achieved international recognition in three distinct areas, Theory Drawing Architecture His career as a theorist began to take shape during the years Aldo Rossi worked for an Italian magazine ‘Casabella-Continuità’ In 1990, he won the The Pritzker Prize. He published the book, ‘The Architecture of the City’, which was translated in several languages and is still a most referred Urban design book. As a master draftsman, steeped in the tradition of Italian art and architecture, Rossi's sketches and renderings of buildings have often achieved international recognition long before being built
Name Born Died Awards Buildings
Aldo Rossi 3 May 1931, Milan, Italy. 4 September 1997, Milan, Italy Pritzker Prize Monte Amiata Complex, Teatro Carlo Felice, Teatro La Fenice, Bonnefanten Museum.
Philosophy
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Neo-Rationalism Postmodernist Repetition and Fixation Influence from Artist History through Monuments
Neo-Rationalism ❖ ❖
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Rossi argued that the a city must be studied and valued as something constructed over time. Of particular interest are the urban artefacts that withstand the passage of time. (Despite the modern movement polemics against monuments). This post-modern approach is known as ‘Neo-Rationalism’. Rationalism- a belief or theory that, opinions and actions should be based on reason and knowledge rather than on religious or emotional believes.
Postmodernist ❖
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Rossi was also classified simply as a Postmodernist, because he rejected aspects of modernism and utilised aspects of historical styles. Aldo Rossi's unfinished San Cataldo Cemetery in Modena, Italy, is considered one of the first and most important Postmodern buildings.
❖ Rossi once declared that "I cannot be Postmodern, as I have never been Modern," yet his cemetery for Modena displays the strong colouring, bold form and historically referential detailing that became synonymous with the movement.
Repetition and Fixation ❖
The primary elements of architecture are repeated again and again in his work as Aldo Rossi engages in a determined search for essential forms based on what Aldo Rossi refers to as "repetition and fixation."
Influence from Artist ❖
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Inspired by the urban landscapes of Italian painters Mario Sironi and Giorgio Morandi, Aldo Rossi produces haunting images in which his buildings and others in the city shrink. This design shows how the city responds to the city, slightly exaggerated in proportion. Some of his designs were heavily inspired by the works of de Chirico.
Aldo Rossi's Et Cardman, Hoshau, Milan
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❖ Paintings of de Chirico and Mario Sironi
History through Monuments ❖ ❖
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In his writings, Rossi criticized the lack of understanding of the city in current architectural practice. He argued that a city must be studied and valued as something constructed over time; of particular interest are urban artifacts that withstand the passage of time. Rossi held that the city remembers its past (our "collective memory"), and that we use that memory through monuments; that is, monuments give structure to the city. Inspired by the persistence of Europe's ancient cities, Rossi strove to create similar structures immune to obsolescence.
Cemetery of San Cataldo
Theory ❖ ❖ ❖ ❖
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Rossi’s design theory evolved from a wide range of influences: from architect and theorist Adolf Loos, to early Italian modernism, to surrealist painter Giorgio de Chirico. His book, L’architettura della città (The Architecture of the City), is to this day considered a pioneering work in urban theory. The book argues that architects should be sensitive to urban/cultural context, making use of historical design precedent rather than trying to reinvent typologies. Rossi held that the city remembers its past through monuments. This position is called neo rationalist, since it updates the ideas of the Italian rational architects of the 1920s and ’30s, who also favored a limited range of building types. In his book, A Scientific Autobiography, he describes an auto accident that occurred in 1971 as being a turning point in his life, ending his youth, and inspiring a project for the San Cataldo Cemetery at Modena. It was while he was recuperating in a hospital that he began thinking of cities as great encampments of the living, and cemeteries as cities of the dead.
❖ Product Design Conico La Conica La Cupola
Works
❖ Exhibits
Venice Biennale Architettura
❖ Architecture
San Cataldo Cemetery, Modena, Italy Bonnefanten Museum Teatro del Mondo -Venice Italy Hotel II Palazzo, Fukuoka, Japan Art Gallery Fukuoka Monument in Piazetta Manzoni Ca’ di cozzi
Product Design Conico Aldo Rossi, as a designer, who is the author of product design and a number of mass-production. His product designer work starts in 1980 when he decides to participate in the project of “Alessi”, “Tea & Coffee Piazza”. After the competition he becomes interested in product design and starts working on a coffee maker series. Aldo’s individual building style exposes well in his la-conic and micro-architectural forms.
Conico
His most famous works are Conico and La Conica (1983), conical metal teapot and coffee maker, which is kind of continuation of the “Alessi” project. These are Ross first mass-produced products that became eighties one of the top design symbol.
La Conica
La Cupola La Cupola(1988)also one of the coffeemaker series, in this case, Rossi gets very close to the requirements and taste of the society. This coffee maker is made from aluminum and to keep the temperature it has a thick aluminum base.La Cupola is designed to make Italian mocha.
Exhibits Venice Biennale Architettura Aldo Rossi was selected by the then Venice Biennale Architettura (Venice Architecture Biennale) president Paolo Portoghesi to direct the Venice Architecture Biennale on two different occasions. For the 1985 exhibition, Rossi invited established and emerging architects from all over the world to participate in Progetto Venezia (Venice Project), to explore interventions and reinventions of different sections of Venice. For the 1986 exhibition, Rossi focused on exploring the work of dutch architect Hendrik Petrus Berlage (Amsterdam, 1865-1934), and in particular Berlage proposal to look at the buildings in the context of their history and how contemporary architecture should keep with the past. These were topics that Rossi himself had focused as a main concern in his books The Architecture of the City and A Scientific Autobiography.
Architecture San Cataldo Cemetery, Modena, Italy ❖ ❖ ❖ ❖ ❖
It came at a time when architects were questioning the tenets of the Modern Movement. Unadorned exterior, insistent static volumes and chilly uniformity of negative space is a visual reticence that is solemn, yes, but also eerie and discomforting The cemetery is the very embodiment of this notion of collective memory, and Rossi here creates a haunting and enigmatic city of the dead. Rossi envisioned for the “city of the dead”- a free standing red ossuary at the entrance in form of a cube; positioned between the two repositories . It was envisioned to form a series of repositories like the bone structure in a human.
Bonnefanten Museum A design derived overlapping/ similar to his coffee pot designs ❖ ❖ ❖
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A three-dimensional incarnation of a de Chirico One of five buildings clustered on a triangular parcel intersected by two new streets on the Monte Amiata site. Designed an elongated slab with a continuous outer corridor, or ballatoio—a building form popularized in the 1920s and one “as recognizable to Italians as townhouses are to the English.” Result was a nearly 200 meter block of two- and three-story flats raised on thin rectangular piers enclosing a public arcade.
Teatro del Mondo -Venice Italy ❖ ❖ ❖
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Built earthly on the edge of the water, it is a light floating octagon theatre. Its structure expresses the solid certainty of inert matter, against the fluid, watery agitation of life around. Determined to survive in memory the way its masonry withstands time, and it hides its timeless monumentality behind a causal conjunction of schematic pieces bordering on the picturesque in the coloristic cube of the seaside tavern. The mineral impassivity of its geometry is what freezes its forms in a still landscape. Design also shows recessed windows with cornices. Flat roof with conical tower tops Cast in rough cement and composed of the parts of an ancient coffin, its roof-shaped lid having slid off and come to rest on a stump of a column and a thin access.
Hotel Il Palazzo, Fukuoka, Japan ❖ ❖ ❖ ❖ ❖
Built in 1987 in Japan Built in Post-Modern style in an urban context Comprises mainly of brick masonry with expressed steel lintels Reinterpretation of classical orders again with cornices and recessed windows. Flat roof, Squarish plan and red in color (like the Ossuary in San Cataldo).
Art Gallery Fukuoka, 1989, Japan ❖ ❖ ❖ ❖ ❖
It was built in 1989. The walls are clad with corrugated metal, which contrasts the two 26 ft tall doric columns. Behind this grand portico is the stucco facade, framed by two brick fin walls. Inside are two floors of open display space. It is built to stand for only three years. A semi circular roof also seen in his earlier works like Bonnefanten Museum and cultural centre in Milan.
Monument in Piazetta Manzoni, 1988, Italy ❖ ❖ ❖
A triangular source of water added as a feature in many of his buildings Flat roof Use of tiles
Ca’ di cozzi, Verona, Italy ❖ ❖ ❖
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This was his last architectural project. The whole area measures 67,00 mc. He was asked to create a district with shops, offices and apartments. This project has been based on three main elements: the green open space of the hills, the hierarchy among residences and offices, and finally the reference to, not the copying of, Venetian Architecture The idea is that the entire district is constructed with local materials. Semi circular and triangular roof top Use of cornices and columned portico Recessed windows
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