ALDO ROSSE

Theatro del mondo in venice:

Centro torri in parma

Pocono moutains,pennsylvania

Aldo Rossi (born 1931), one of the most influential architects during the period 1972-1988, has accomplished the unusual feat of achieving international recognition in three distinct areas: theory, drawing, and architecture. After receiving his architecture degree at the Polytechnic University in Milan in 1959, Aldo Rossi served as a course assistant to prominent architects Ludovico Quaroni and Carlo Aymonino. Aldo Rossi became a faculty member in the School of Architecture in Milan in 1965 and at the University in Venice in 1975. In addition to these regular appointments, his growing fame brought him positions as a professor in Zurich, Spain, and the United States

Aldo Rossi 's career as a theorist began to take shape during the years Aldo Rossi worked with Ernesto Rogers on the leading Italian architecture magazine Casabella-Continuita (1955-1964).

Although early film aspirations were gradually transposed to architecture, he still retains strong interest in drama.

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, while everyday objects such as coffeepots and cigarette packs swell to fill the frame.

Rossi has spent time developing his architectural voice, and pen. Words as well as drawings and buildings have distinguished him as one of the great architects. 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. 

ALDO ROSEE WORKS

1.Theatro del mondo in venice

2.Centro Torri In Parma

3.San Cataldo Cemetry In Modena

4.Pocono Mountains ,Pennsylvania

5.Theatre Light House, Tornotto

6.Civic Centres In Perugia

7.GFT Fashion Group In Turin

Theatro del mondo in venice:

“IN ALL OF HIS ARCHITECTURE HE HAS ALWAYS BEEN FASCINATED BY THEATRE."

For the Venice Biennale in 1979, he designed the Teatro del Mondo, a floating theatre, built under a joint commission from the theatre and architecture commissions of the Biennale. It seated 250 around a central stage. It was towed by sea to the Punta della Dogana where it remained through the Biennale. Rossi described the project in its site, as "a place where architecture ended and the world of the imagination began."

Made of plywood, it was build on a barge, and was moved around Venice – creating a puzzle piece of a building which continually changed its relationship to its neighbors. At one point, the theater was “docked” at the end of Piazza San Marco, closing it’s open end temporarily.

The design of teatro del mondo or venetian theatre is characterized by three factors

1. having the use of delimited sace even if the position of that space is unspecified finding its meaning as a shape in terms of the forms of the venetian monuments around it.

2. Being on water , its chief characteristic- a raft, a ship the limit or confines of venetian construction.

3. it has been been built of wood and stood as a huge piece of carpentry barely masked by the gilt and stucco decoration.

More recently, he completed a major building for Genoa, the Carlo Felice Theatre which is the National Opera House. In the project for the Carlo Felice Theater in Genoa, Aldo Rossi 's task was to replace the theater that was bombed in World War II. His project leaves the old facade intact but accommodates full complex of new functions and spaces.

CENTRO TORRI IN PARMA:It is a regional shopping center outside Parma rises up out of the flat plains with 50-ft-high brick towers that both carry the name of the center and provide a setting for billboards and advertising. The towers are terracota brick buildings and writing town centre up high against the sky accentuates the effect.As is the case of public buildings that have their own names written across their facades, indicating more than function The towers ar edesigned to be seen from the parma express way.On foggy days these stand like light houses.

SAN CATALDO CEMETRY IN MODENA:

The typology of the building is characterized by straight collonaded walkways, with bodies arranged on either sides.

The collonaded walk ways are external and central running along the ground floor the upper floors and the floors below the ground.

These buildings consist principally of the burial niches.

The lower floors are reached from external colonnades.

On the floor below ground the burial niches are arranged in grid design, forming large courtyards, the courtyards being made of earth removed from the burial niches.

Around the courtyard lie the bodies. The relationship is the opposite of the typology of courtyard houses.

Ossuaries are located in centre of buildings forming triangle.the ossuaries are located at the centre of the area in a succession of buildings forming a triangle, the central spine expands toward the base and the arms of the finale transverse block close u slightly.

These two monumental elements are connected to the ossuaries through an osteological arrangement.

Essentially cube and cone are used describing death and memory.

THEATRE LIGHT HOUSE, TORNOTTO:

This is an amphitheatre, a water filtering station on lake Pontario is an allusion to the roman theatre which forms a bridge between the greek theatre and the modern theatre .

The three facades that define the stage present a variety of architectural styles and flanked on either side by a bare tower.as a mari time the light house also connects with similar ort cities.

POCONO MOUNTAINS ,PENNSYLVANIA: The Pocono Pines Houses in Pocono, Pennsylvania represent one of his first completed buildings in the United States. These family houses in a wooded area in the pocono mountains are conceived and realized using local materials and methods of construction similar to those used through out united states.

Though still adhering to the traditional new england style the architecture attempts to interpret this style in a personal way.For this reason the proposal and the realized buildings appear slightly out of shape in relation to traditional architecture.

Two civic center projects in Italy indicate the range of his responses to a similar program. In Perugia, a large civic center (1988). with town hall, theater, and housing project, is elevated on a parking podium and mediates between the historic city and the postwar business center. The U-shaped Town Hall, with shops below and offices above, is bisected by a galleria raised high on slender piers. Adjoining the town hall but irregularly placed on the parking podium are the theater, with its freestanding conical entrance tower, and a long, slender housing block. The disposition suggests an accretion of disparate buildings over time rather than a complex planned for uniformity. Although here as elsewhere drawing on simple local types, Aldo Rossi also transforms them, as Aldo Rossi does with the public arcade that slices through the town hall.

CIVIC CENTRES IN PERUGIA:

GFT FASHION GROUP IN TURIN:

Aldo Rossi designed an office building on an L-shaped site with an angled corner entrance of smooth brick. Aldo Rossi repeats a motif from Borgoricco when Aldo Rossi anchors the entrance with giant double columns surmounted by a green steel I-beam lintel. By incorporating a smaller version of the double column I-beam lintel motif in the auditorium. Aldo Rossi emphasizes the parallel between public, urban scale and the theater as a smaller version of the city. Street elevations of the two lateral wings incorporate stone porticoes, a traditional urban element in the Piedmontese city, but Aldo Rossi also modulates the surface by extending the stone revetment up to the first floor and framing the stone piers with green steel I-beams.

Style in architecture:Viennese architecture and the sources of northern classicism and poetry would command in his thinking. In his search for norms, Rossi confronts the typological schemes of modern architecture with their ancient and vernacular counterparts; in his formulation of an architecture for present conditions, he plumbs the first truly normative concepts that undergird neoclassicism. He has no use for period ornament, no interest in cut-rate imitation; what he intimates, instead, is the possibility of an order of things that allows us to experience the present as a suspended moment in the passage from the past into the future.

Le Corbusier's plastic forms were generated from the machine and light, Rossi's are from a classical, more conventional signage, stripped of detailing to bare surface. LIGHT IS NOT AS IMPORTANT AS SHADOWS IN ROSSI'S ARCHITECTURE. The shadow, a ghost from the past, simultaneously conceals and accentuates his volumentric designs . In this respect his architecture is more similar to that of Boullee's in its monumental scale, historicist tendencies and dramatic shadows

Rossi's architecture is a fusion between certain aesthetic qualities of both architects which is where his particular signage is read.

Aldo Rossi avoids historical and technological detailing in favor of preserving the integrity of the volumes, which then convey the quality of structures that have stood since antiquity.

What Rossi sees as the essential characteristics of historical models are represented in a form stripped of ornament (and any significant detailing). These forms become highly emotive for Rossi because their memory/meaning is one of extension from past monuments, a transference of responsibility and meaning, while retaining enough of a transformation to elude any specific historical reference.

On a solid foundation of theory, he uses his talents and ability to solve design problems in memorable and imaginative ways.

Rossi has once said, "I believe it to be significant, above all, because of the simplicity of its construction, which allows it to be repeated.“

In a period of diverse styles and influences, Aldo Rossi has eschewed the fashionable and popular to create an architecture singularly his own.

Rossi's buildings affirm themselves in the power of forgotten events. Time has escaped, but the objects remain like childhood memories, at once tiny and gigantic, or rather measured by an unchanging scale of their own.

Rossi defines architecture as designs (forms) which have persisted over time to become types. Those types constitute the history of the city or its memory, and the culture of the present. Functions vary over time but form remains. It is the desire for permanence that is so characteristic of his work. The history of the city is composed by those designs which persist over time to become types. This permanence of memory (meaning) in the city is based on two principles:

memory - Urban facts which are permanent; those which withstand the passage of time and eventually become monuments.

monuments - These give meaning to the life of the city through memory.

"Change is within the very destiny of things, for there is a singular inevitability about evolution ...The singular authority of the built object and the landscape is that of a permanence beyond people."

PHILOSOPHY:

CONCLUSION:

One can wear a Rossi wristwatch, sit in a Rossi chair sipping espresso from a Rossi coffee pot, don clothes from a Rossi armoire, promenade through a Rossi mega-shopping center near Parma, see an opera in his Genoese theatre, and even reserve a plot in the giant Rossi cemetery at Modena. And all this would be a proverbial tip of the iceberg, from the immense reservoir of his imagination .

"WHEN FUTURE HISTORIANS LOOK FOR AN EXPLANATION AS TO WHY THE DESTRUCTIVE TENDENCIES THAT THREATENED OUR CITIES CHANGED, ROSSI'S NAME WILL APPEAR AS ONE OF THOSE WHO HELPED TO ESTABLISH A WISER AND MORE RESPECTFUL ATTITUDE." 

This rarest of architectural capacities, the power to be radically of a place and to impart a meaning to objects far beyond their origin, makes of Rossi an architect whose reflections, lectures, and buildings capture our attention. He has escaped the sacrifice typically exacted for such ubiquity—uncritical servitude to economic interests and schematic reduction of ideas to mere patterns and fads—and continues to expand the sheer magnitude and depth of his projects across countries and continents.

HE WON THE PRITZKER AWARD IN ARCHITECTURE AND WHERE THE JUROR HAS DESCRIBED ROSSI AS "A POET WHO HAPPENS TO BE AN ARCHITECT." 

This award is regarded as noble prize in architecture and is given to someone who know human behavior, understand structures and materials, and how to shape forms and spaces to serve intended purposes in

inspired and original ways.

We are at an unfortunate loss of these imaginations as this laureate died in an accident in 1997, but his ideas are yet to be shaped, he is one of the very few architects who proved the fact that

‘ Architecture is timeless or the same with any art’