Aldo Rossi vs Andrea Branzi HTS Week 3 / Architectural Coupling + 1 (Project)
On one hand we have the ages of a positivist, collectivist superman about to be projected into a utopia: a utopia with which architecture would come to an end. On the other we have visions purged of promises and emptied of all content: powers that have to submit to, as the price for self-fullfillment [...] and world salvation. As a result of this [...] process, much architecture today can be understood as a symbolic oppression or an anticipated salvation, in which the power of technique (be it the technique of deception or that of making) has replaced the power of the cosmos and its gods. [Daniel Libeskind]
Architecture must be a separate project from that of the capitalist state. It must be AUTONOMOUS. [ABOVE] House IV, Peter Eisenman is NOT THE PARADIGM but not removed as it still engages with the evolution of modern social structures
Spread made to accompany Tafuri and Piccinato s essay for a Casabella article on the city-territory, 1962
[ABOVE] Italian architecture, represented as a diseased tree, from Domus [RIGHT] Cover page of 1962 article in Casabella by Tafuri and Piccinato
Proposal for a new quarter of Barene di San Giuliano by Ludovico Quaroni in 1959 as city-territory
[ABOVE] 1801 plan of Milan from Rossi s The Architecture of the City [RIGHT] 1966 front cover of Rossi s The Architecture of the City
Il Ponte del Diavolo - Devil s Bridge, Switzerland - was included in the first page of The Architecture of the City
Palazzo della Ragione, Padua (1219, Palace of Reason) - used by Rossi as a paradigm
The city is comprised of URBAN ARTIFACTS. each has a singular place within the city Palazzo della Ragione, Padua (1219, Palace of Reason) - example of an urban artifact THE LOCUS [solus] Originally presented in 1965 in a text for the 19th congress of the National Institute of Urbanism (INU)
The LOCUS SOLUS Influenced by French urban geographers who saw urban space as a field of fragmented sources and at the same time, a totality whse evolution of change had a structure. + has a geographic condition + has a universal structure singular points within an overall framework for the city Max Sorre s Geography The Architecture of the City establishes a new political reading of the city (it is the first analogue)
Analogous City, 1976 by Aldo Rossi - one can view the city as the arena of events (memories) and forms
1966, San Rocco Housing (Rossi) 1969, Gallaratese 2 (Rossi) 1971 San Cataldo Cemetery (Rossi)
1973, Villa and Pavilion (Rossi) 1974, Regional Administrative Centre (Rossi) 1973, Bridge in Bellinzova Switzerland (Rossi)
1975-6, Housing for Lisbon (Rossi) 1984, Espresso maker and kettle (Rossi) The Classical orders
1745-50, piece from Carceri (Piranesi) 1954, floor plan of Ronchamp (Le Corbusier) 1938, floor plan of The Danteum (Terragni)
The Analogous City - the autonomous project of the city is that of a politic, of difference (form and event)
Serves a political function such as that of the Roman forum (here shown in Pompeii) Or that of the Greek Agora (here shown in Athens), that of a place to resolve conflict/difference
The Little Scientific Theatre, 1978 - part of preparation for the Venice Biennale - without an event there is no theatre and no architecture.
The Theatre in Terenzio, 1496 (exterior) The Theatre in Terenzio, 1496 (interior)
Depiction of a floating theatre in Venice during a festival Scamozzi, Villa Bardellini 1594
Drawings for Teatro del Mondo, 1980
Under construction, 1979 After completion, 1980 During the Biennale, 1980
Its ultimate goal is not merely to expose reality but to reveal a new one through a different schema. This schema hinges on the acceptance of the tautological: space itself has become redundant. [...] The theatre reveals to use, collectively, what in the past was only hinted to a singular witness, namely, that the corpus of meaning is caught in-between the object and perception, that architecture manifests itself in the stillness of a moment when its reflection (speculation) in the mirror of interiority gives place to a void between the real and unreal. [Daniel Libeskind]
[BOTH] Teatro del Mondo travelling to Dubrovnik
Archizoom / 1968 - Andrea Branzi, Gilberto Corretti, Paolo Deganello, Massimo Morozzi, Daro and Lucia Bartolini
ARCHIZOOM a play on Archigram and the 4th issue of their magazine titled ZOOM! city not as a project, but as a theory - therefore remains not on the level of design as with Rossi - it is only a projection, not a project
Graphic language of Archizoom - first page in the book on No-Stop City - non-figurative
[BOTH] Pop-culture models (games) and a poster for the No-Stop Theatre made to accompany No-Stop City
Mirrored model of No-Stop City by Archizoom, showing infinite nature of the project
The endlessly repetition plan view of the top view of No-Stop City, showing the repetitive grid
Interior model view of No-Stop City, where the workers live and work
Interior model view of No-Stop City, where the workers live and work
The only place where the factory model and the consumption model come together is the supermarket. This is the real yardstick and model of the future city and consequently, of reality as a whole: homogeneous utopian structure, private functionality, rational sublimination of consumption. [...] The supermarket foreshadows an image-free structure, but one which offers an optimium system of information [...] The landscape no longer exists as an external phenomenon since the profound nature of capitalism becomes a formal freedom expressing all its rational potential. [Archizoom]
Archizoom as architecture s equivalent to Andy Warhol and his Campbell Soup cans