Aldo Rossi.pptx111
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Transcript of Aldo Rossi.pptx111
Ar. Aldo rossi
• One of the most influential architects during the period
1972-1988
• Received 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.
• became a faculty member in the School of Architecture in
Milan in 1965 and at the University in Venice in 1975.
ALDO ROSSI
(1931 - 1997)
• Achieved international recognition in four distinct
areas: theory, drawing, product design and
architecture
• San Cataldo Cemetery, Modena,
Italy (1971).
• Teatro del Mondo, Biennale di Venezia
(1979) Disegni e foto.
• Apartments Südliche Friedrichstadt for the IBA 84 exhibition at
Berlin (1979).
MAJOR WORKS
• Broni elementary school, with Arduino Cantafora.
• Teatro Carlo Fel Apartments Südliche Friedrichstadt ice
in Genoa, Italy (1981).
• Centro direzionale, Perugia, Italy (1982–88).
• Palazzo Hotel in Fukuoka, Japan (1986–89).
• Bonnefanten Museum, Maastricht, The Netherlands
(1990–94).
• Quartier Schützenstrasse in Berlin, Germany (1994–98).
• Mojiko Hotel, KitaKyushu, Japan (1996-1998)
• Ca' di Cozzi in Verona, Italy, his last project.
• His earliest works of the 1960s were mostly
theoretical and displayed a
simultaneous influence of 1920s Italian
modernism classicist influences of Viennese architect Adolf Loos, and the reflections of the painter Giorgio De
Chirico.
STYLE
Looshaus in Michaelerplatz, Vienna
• 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.
• In his writings Rossi criticized the lack of
understanding of the city in current architectural
practice.
BONNEFANTEN MUSEUM, MAASTRICHT, THE NETHERLANDS (1990–94).
• One of the most striking forms standing on the east bank of the
Maas is the Bonnefanten Museum .
• The museum occupies a site that was formerly
home to the Sphinx/Societe
Ceramique ceramics factory.
• The tubular tower has whitewashed base, zinc-clad cupola and circular.
• Protection, preservation and security are bound to
the function of the museum building as
safekeeper of heritage.
• The main entrance for the museum is tucked away
at the back of the building.
• The soaring four-storey high ceiling and luminous space make a good first
impression.
• A circular opening or oculus in the roof allows natural light to
accent the stone and brick walls, steel beams and keruing
wood floors.
QUARTIER SCHÜTZENSTRASSE ,BERLIN, GERMANY (1994–98)
• Aldo Rossi used the historical urban structure of the
division of land into small plots as his
concept for Quartier Schützenstrasse.
• Two of the buildings are reserved
exclusively for residential apartments the rest provide for a mixture of residential and commercial use.
• The intense colorfulness, inspired by the colors of antique architecture, tie the block together and draws attention to the
allotment structure, which distinguishes the individual houses.
• Rossi used particular colors for particular
facade materials; the more "artificial" the
material, the more "vivid" the color.
• The plan, inspired by the building blocks of 19th century Berlin, is organized around two large and two small interior courtyards
that fill the block with light.
• Schützenstrasse is a copy of the courtyard facade of the Palazzo
Farnese in Rome.
SAN CATALDO CEMETERY, ITALY
• The grounds on which Aldo’s cemetery was built
was first the home of ancient cemetery by
‘Cesare costa’ from 1858 to 1876.
• Aldo refused the ideas from costa in 19th century winning
competition in 1972.
• The scheme was reworked in 1976 and construction begun in
1978.
• Rossi uses a bounding wall and break down
the rectangle into series of zones.
• The Rossian cemetery has no roof, floors, windows or doors;
instead it is only a shell with openings.
• Some of the openings are for light, others for
views, access, and even containment of
cremated bodies.
• Many do not hold this building in high esteem, as they find it depressing
or ugly.
• But Rossi found a way to make architecture
metaphysical; the visitor is inevitably confronted
with the thought of death, where truths are constant
and irrevocable. • The city itself is the collective memory of its people, and like memory
it is associated with objects and places.
PALAZZO HOTEL , FUKUOKA, JAPAN (1986–89).
• Hotel II Palazzo in Fukuoka, Japan,
combines elements of a typical palazzo facade,
including projecting cornice, with the intense
red found in Japanese traditional architecture,
and the green of patinated bronze.
• The hotel is a cedar red building that has hints of Italian architecture. With it's bright colors, it is not
difficult to locate the hotel.
• a feeling of walking into a museum rather then a
hotel.• Fukuoka being the gateway to southern
Japan, has rich history and tradition with plenty in the area for visitors to
do and see.
• The lobby is small in size with a high ceiling offering a modern European touch.
CONCLUSION
• He won the prestigious Pritzker Prize for
architecture in 1990.
• In the year 1991 he won the Thomas Jefferson medal as well as the
“campione d’italia” nel mondo prize .
• Ada Louise Huxtable,
architectural critic and Pritzker juror, has described Rossi as
“a poet who happens to be an architect."
“The city is the locus of the collective memory.”
" If you want to find something new
you must do the same things"
ByShefali Chavan (10031ac030)Nawal Soofi (10031ac022)
THANK YOU…