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AS URBAN PRINCIPLE.
Michele Caja
Starting from the exhibition Rational Architecture: The reconstruction of
the European City (Bruxelles 1978)1, which is the sequel on a more
international scale of a previous exhibition coordinated by Aldo Rossi at
the Triennale di Milano (Architettura razionale, Milano 19732), the
concept of reconstruction, applied to the particular case of the European
city, is introduced to affirm a generation of architects and experts of urban
questions who, under the definition of rationalism, mainly intend the
analogy between city and architecture as defined by Alberti. The Alberti’s
art of building is here declined, from urban point of view, as art of re-
building the own characters of the European historical city.
In the essay The Reconstruction of the City Leon Krier explains through
words and projects what he means under the term reconstruction: the
rediscover of the typologies und the urban spaces of the historical city,
canceled by the ideology of the Modern Movement and its anti-historicism.
History is seen as a typological archive of spaces, like the street and the
square, architectures and monumental buildings, directly related to
Durand’s Typologies of institutional Monuments6.
But reconstruction means also, more directly related to the praxis of the
architects, a way to solve the difficult relation between the old and the new,
both on an urban as on an architectural scale. On one side, the
reconstruction involves urban spaces, showing the possibility to integrate
existing parts inside a new architectural composition. According to Rob
Krier, the elements of urban reconstruction – the street, the square and the
monuments –become operative for the reconstruction of the European
city. In particular, he refers to German cities damaged in the Sixties by
functionalist and infrastructural planning, which destroyed the physical
structure of their centers. The form and the structure of the new
interventions are dictated by the morphology of surrounding context, but
also by the memory of the historical sites themselves. His proposals for
Stuttgart, those of his brother Leon for Echternach (1979) or the one of
Bernard Huet for Rochefort-sur-Mer (1977) are to be intended in this
sense7. (fig. 2)
On the other side, reconstruction involves problems of “integration”,
bringing as examples paradigmatic projects, like the reconstruction’s
project of the castle in Abbiategrasso by Giorgio Grassi (1970), the
transformation of the inner court of a school in Broni by Aldo Rossi (1971)
or the one for the New Art Gallery of St-Andrews by James Stirling (1972).
The common elements of these projects are the research of a continuity
between old and new structures, even if the “reconstructed” parts are not
only “integrated” in the old ones, in a mimetic way, but maintain their
identity as new architectural interventions8. (fig. 3)
In its critical attitude against the principles of Modern planning and its
idea of an open city into the nature, the urban concept of reconstruction
keeps together two different theoretical tendencies. On one side, more
nostalgically oriented, the above mentioned research line of the Kriers,
who rediscovers the qualities of the historical urban spaces transforming
them as a-historical formal schemes adequate to the contemporary city9.
On the other side, on the American continent, the struggle of Colin Rowe
against the Modern Movement and its concept of the city as an ensemble of
decontextualized objects as he writes, in different occasions, at the end of
the Seventies10. Putting in opposition the historical centers of Parma and
St. Die’ by Le Corbusier, represented in their simple structure of built and
unbuilt elements through the black-an-white technique, he immediately
demonstrates the difference between historical and modern town-
planning. On one side the compact texture of the city, where the voids are
defined by squares, streets and inner courts, on the other one the void as a
spatial continuum in which, like free-standing objects, stay the modern
buildings. (fig. 4)
The permanence of the city, as intended by Aldo Rossi, is here not only
evoked in allusive terms, but literally reconstructed in its urban and
building substance. A similar attitude used by the Milanese architect, as he
composes historical typologies in his Berlin’s intervention on the
Schützenstrasse, where he literally re-construct, using the technique of the
collage, typological fragments of a typical block of the Berlin of Stone, as
good described by Werner Hegemann in the Thirties15. Exactly one of those
blocks, against which most of the architects of the Modern Movement –
from Walter Gropius to Ernst May, from Ludwig Hilberseimer to Martin
Wagner – had struggled against, seeing them as paradigmatic symbols of
all the evils of the city of the XIX century16.
Notes
1 Rational Architecture: The reconstruction of the European City,
exhibition catalogue edited by R. Delevoy, A.A.M., Brussels 1978.
14 Peter Eisenman versus Leon Krier, “My ideology is better than yours”, in
19 Der Italienische Palast als Modell: der Bezug zur Stadt /Il palazzo
italiano come modello: il rapporto con la città, in Potsdam & Italien. Die
Italienrezeption in der Potsdamer Baukultur / La memoria dell’Italia
nell’immagine di Potsdam, edited by A. Burg and M. Caja, Potsdam 2011.