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Urban Reflection Of The City As A Fabric: Urban Thesis

1690 Words7 Pages

City as a Fabric : the URBAN reflection on the city in the late sixties AROUND LA TENDENZA AND ALDO ROSSI

INTRODUCTION

The urban reflection of the city and her perifery of the period from 1960 to 1970 is characterized by the emergence of an architectural movement, around Aldo Rossi, called later the ‘Tendenza’. Questioning and revendicating the autonomy of Architecture, this emerging group, tried to formulate the contemporary discourse to escape from the modernist image of the concept of avant-guarde.
Therefore, facing to the complex heritage, in a postwar context what is the state of the architectural and urbanistic discipline? How a new generation of architects aim to outground their modernist antecessors? What are the issues involved …show more content…

Wanting a real break with the dogmas and forms of avant-guardes conveyed by the international style, Paolo Portoghesi will write about them : « Today, there are new problems which cannot be resolved with the Modern’s impoverish language, this language reduced to an elementary geometrical system. » 3
This new generation before to take action to build, will first conceptualize a new relationship to the city and the architecture with a replay (proofreading) of the urban fact and a return to history. They take a critical look on the realizations of their predecessors. Their wish is to establish a strategy of project which integrates economic and social changes according to a Marxist reading of the …show more content…

In spite of the scale of the programs, the governmental plan makes his own Bruno Zevi’s vernacular positions and aims to promote a ‘weak’ rationalism connected with the context, using at the same time and in right proportions craft and local methods with the industrial process. In sectors often situated in the periphery, even with the constraints of strict guidelines, each architect is free to develop his own approach and architectural expression. Several operations were launched through all the country like at Cesate in 1951 by BBPR with Franco Albini and Ignazio Gardella, or at Mestre and at Palerme in 1953 by Giuseppe Samonà or still the Tusculano district by Adalberto Libera. Two of these experimental projects stand out, both in the periphery of Rome, like La Martella of Ludovico Quaroni at Matera and the famous Tiburtino district, which associated a new generation of architects (Carlo Aymonino, Mario Fiorentino and Carlo Melograni) with Mario Ridolfi and Ludovico Quaroni. Each of them, responds to a precise urban and social model, ‘il quartiere’ based on the articulation between individual and collective

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