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…