Aldo Rossi was an Italian architect and designer who achieved international recognition in four distinct areas: architectural theory, drawing and design, and also product design.

1. ALDO ROSSI
Theory of Architecture
Submitted by:
Noora Fairooz-1180100766
Shamil Afreen-1180100786

2. 1. About
2. Philosophy
3. Neo-Rationalism
4. Post-Modernist
5. Repetition and Fixation
6. Influence from Artist
7. History through Monuments
8. Theory
9. Works
10. Product Design
11. Exhibits
12. Architecture
CONTENT

3. Name Aldo Rossi
Born 3 May 1931, Milan, Italy.
Died 4 September 1997, Milan, Italy
Awards Pritzker Prize
Buildings Monte Amiata Complex, Teatro Carlo
Felice, Teatro La Fenice, Bonnefanten
Museum.
❖ Aldo Rossi is one of the most influential architects during the period
1972- 1988.
❖ He achieved international recognition in three distinct areas,
- Theory
- Drawing
- Architecture
❖ His career as a theorist began to take shape during the years Aldo Rossi
worked for an Italian magazine ‘Casabella-Continuità’
❖ In 1990, he won the The Pritzker Prize.
❖ He published the book, ‘The Architecture of the City’, which was
translated in several languages and is still a most referred Urban design
book.
❖ As a master draftsman, steeped in the tradition of Italian art and
architecture, Rossi's sketches and renderings of buildings have often
achieved international recognition long before being built
Aldo Rossi

4. Philosophy
❖ Neo-Rationalism
❖ Postmodernist
❖ Repetition and Fixation
❖ Influence from Artist
❖ History through Monuments

5. Neo-Rationalism
❖ Rossi argued that the a city must be studied and valued
as something constructed over time.
❖ Of particular interest are the urban artefacts that
withstand the passage of time. (Despite the modern
movement polemics against monuments).
❖ This post-modern approach is known as
‘Neo-Rationalism’.
❖ Rationalism- a belief or theory that, opinions and
actions should be based on reason and knowledge
rather than on religious or emotional believes.

6. Postmodernist
❖ Rossi was also classified simply as a Postmodernist,
because he rejected aspects of modernism and utilised
aspects of historical styles.
❖ Aldo Rossi's unfinished San Cataldo Cemetery in
Modena, Italy, is considered one of the first and most
important Postmodern buildings.
❖ Rossi once declared that "I cannot be Postmodern, as I
have never been Modern," yet his cemetery for Modena
displays the strong colouring, bold form and historically
referential detailing that became synonymous with the
movement.

7. Repetition and Fixation
❖ The primary elements of architecture are repeated again and again in his work as Aldo Rossi engages in a determined search for
essential forms based on what Aldo Rossi refers to as "repetition and fixation."

8. t
Influence from Artist
❖ Inspired by the urban landscapes of Italian painters Mario
Sironi and Giorgio Morandi, Aldo Rossi produces
haunting images in which his buildings and others in the
city shrink.
❖ This design shows how the city responds to the city,
slightly exaggerated in proportion.
❖ Some of his designs were heavily inspired by the works
of de Chirico.
❖
Aldo Rossi's Et
Cardman, Hoshau,
Milan
Paintings of de Chirico and Mario Sironi

9. History through Monuments
❖ In his writings, Rossi criticized the lack of understanding
of the city in current architectural practice.
❖ He argued that a city must be studied and valued as
something constructed over time; of particular interest
are urban artifacts that withstand the passage of time.
❖ 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.
❖ Inspired by the persistence of Europe's ancient cities,
Rossi strove to create similar structures immune to
obsolescence.
Cemetery of San Cataldo

10. ❖ Rossi’s design theory evolved from a wide range of influences: from architect and
theorist Adolf Loos, to early Italian modernism, to surrealist painter Giorgio de Chirico.
❖ His book, L’architettura della città (The Architecture of the City), is to this day
considered a pioneering work in urban theory.
❖ The book argues that architects should be sensitive to urban/cultural context, making
use of historical design precedent rather than trying to reinvent typologies.
❖ Rossi held that the city remembers its past through monuments. This position is called
neo rationalist, since it updates the ideas of the Italian rational architects of the 1920s
and ’30s, who also favored a limited range of building types.
❖ In his book, A Scientific Autobiography, he describes an auto accident that occurred in
1971 as being a turning point in his life, ending his youth, and inspiring a project for
the San Cataldo Cemetery at Modena.
❖ It was while he was recuperating in a hospital that he began thinking of cities as great
encampments of the living, and cemeteries as cities of the dead.
Theory

11. Works
❖ Product Design
Conico
La Conica
La Cupola
❖ Exhibits
Venice Biennale Architettura
❖ Architecture
San Cataldo Cemetery, Modena, Italy
Bonnefanten Museum
Teatro del Mondo -Venice Italy
Hotel II Palazzo, Fukuoka, Japan
Art Gallery Fukuoka
Monument in Piazetta Manzoni
Ca’ di cozzi

12. Conico
Aldo Rossi, as a designer, who is the author of product design and a number of
mass-production. His product designer work starts in 1980 when he decides to participate
in the project of “Alessi”, “Tea & Coffee Piazza”. After the competition he becomes
interested in product design and starts working on a coffee maker series. Aldo’s individual
building style exposes well in his la-conic and micro-architectural forms.
His most famous works are Conico and La Conica (1983), conical metal teapot and
coffee maker, which is kind of continuation of the “Alessi” project. These are Ross first
mass-produced products that became eighties one of the top design symbol.
Product Design
Conico
La Conica

13. La Cupola
La Cupola(1988)also one of the coffeemaker series, in
this case, Rossi gets very close to the requirements and
taste of the society. This coffee maker is made from
aluminum and to keep the temperature it has a thick
aluminum base.La Cupola is designed to make Italian
mocha.

14. Venice Biennale Architettura
Aldo Rossi was selected by the then Venice Biennale Architettura (Venice
Architecture Biennale) president Paolo Portoghesi to direct the Venice Architecture
Biennale on two different occasions.
For the 1985 exhibition, Rossi invited established and emerging architects from all
over the world to participate in Progetto Venezia (Venice Project), to explore
interventions and reinventions of different sections of Venice. For the 1986
exhibition, Rossi focused on exploring the work of dutch architect Hendrik Petrus
Berlage (Amsterdam, 1865-1934), and in particular Berlage proposal to look at the
buildings in the context of their history and how contemporary architecture should
keep with the past. These were topics that Rossi himself had focused as a main
concern in his books The Architecture of the City and A Scientific Autobiography.
Exhibits

15. San Cataldo Cemetery, Modena, Italy
❖ It came at a time when architects were questioning the tenets of the Modern
Movement.
❖ Unadorned exterior, insistent static volumes and chilly uniformity of negative space
is a visual reticence that is solemn, yes, but also eerie and discomforting
❖ The cemetery is the very embodiment of this notion of collective memory, and
Rossi here creates a haunting and enigmatic city of the dead.
❖ Rossi envisioned for the “city of the dead”- a free standing red ossuary at the
entrance in form of a cube; positioned between the two repositories .
❖ It was envisioned to form a series of repositories like the bone structure in a
human.
Architecture

16. Bonnefanten Museum
A design derived overlapping/ similar to his coffee pot designs
❖ A three-dimensional incarnation of a de Chirico
❖ One of five buildings clustered on a triangular parcel intersected by two new
streets on the Monte Amiata site.
❖ Designed an elongated slab with a continuous outer corridor, or ballatoio—a
building form popularized in the 1920s and one “as recognizable to Italians
as townhouses are to the English.”
❖ Result was a nearly 200 meter block of two- and three-story flats raised on
thin rectangular piers enclosing a public arcade.

17. Teatro del Mondo -Venice Italy
❖ Built earthly on the edge of the water, it is a light floating octagon theatre.
❖ Its structure expresses the solid certainty of inert matter, against the fluid, watery
agitation of life around.
❖ Determined to survive in memory the way its masonry withstands time, and it hides its
timeless monumentality behind a causal conjunction of schematic pieces bordering on
the picturesque in the coloristic cube of the seaside tavern.
❖ The mineral impassivity of its geometry is what freezes its forms in a still landscape.
❖ Design also shows recessed windows with cornices.
❖ Flat roof with conical tower tops
❖ Cast in rough cement and composed of the parts of an ancient coffin, its roof-shaped lid
having slid off and come to rest on a stump of a column and a thin access.

18. Hotel Il Palazzo, Fukuoka, Japan
❖ Built in 1987 in Japan
❖ Built in Post-Modern style in an urban context
❖ Comprises mainly of brick masonry with expressed steel lintels
❖ Reinterpretation of classical orders again with cornices and recessed windows.
❖ Flat roof, Squarish plan and red in color (like the Ossuary in San Cataldo).

19. Art Gallery Fukuoka, 1989, Japan
❖ It was built in 1989.
❖ The walls are clad with corrugated metal, which contrasts the two 26 ft tall doric columns.
❖ Behind this grand portico is the stucco facade, framed by two brick fin walls.
❖ Inside are two floors of open display space. It is built to stand for only three years.
❖ A semi circular roof also seen in his earlier works like Bonnefanten Museum and
cultural centre in Milan.

20. Monument in Piazetta Manzoni, 1988, Italy
❖ A triangular source of water added as a feature in many of his
buildings
❖ Flat roof
❖ Use of tiles

21. Ca’ di cozzi, Verona, Italy
❖ This was his last architectural project.
❖ The whole area measures 67,00 mc. He was asked to create a district with shops,
offices and apartments.
❖ This project has been based on three main elements: the green open space of the
hills, the hierarchy among residences and offices, and finally the reference to, not the
copying of, Venetian Architecture
❖ The idea is that the entire district is constructed with local materials.
❖ Semi circular and triangular roof top
❖ Use of cornices and columned portico
❖ Recessed windows

22. THANK YOU