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.

(1931 - 1997)

 Achieved international recognition in four distinct areas: theory, drawing, product design and architecture

MAJOR WORKS
San Cataldo Cemetery, Modena, Italy (1971).

Teatro del Mondo, Biennale di Venezia (1979) Disegni e foto.

Apartments Sdliche Friedrichstadt for the IBA 84 exhibition at Berlin (1979).

 Broni elementary school, with Arduino Cantafora.

Teatro Carlo Fel Apartments Sdliche Friedrichstadt ice in Genoa, Italy (1981). Centro direzionale, Perugia, Italy (198288). Palazzo Hotel in Fukuoka, Japan (198689).

 Bonnefanten Museum, Maastricht, The Netherlands (199094). Quartier Schtzenstrasse in Berlin, Germany (199498). Mojiko Hotel, KitaKyushu, Japan (1996-1998) Ca' di Cozzi in Verona, Italy, his last project.

STYLE

Looshaus in Michaelerplatz, Vienna

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.

 In his writings Rossi criticized the lack of understanding of the city in current architectural practice. 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.

BONNEFANTEN MUSEUM, MAASTRICHT, THE NETHERLANDS (199094).

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 SCHTZENSTRASSE ,BERLIN, GERMANY (199498)

Aldo Rossi used the historical urban structure of the division of land into small plots as his concept for Quartier Schtzenstrasse.

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.

Schtzenstrasse is a copy of the courtyard facade of the Palazzo Farnese in Rome.

SAN CATALDO CEMETERY, ITALY

The grounds on which Aldos 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 (198689).

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.

 The lobby is small in size with a high ceiling offering a modern European touch. 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.

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 ditalia 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"

THANK YOU
By Shefali Chavan (10031ac030) Nawal Soofi (10031ac022)