We visit Carlo Aymonino and Aldo Rossi’s experimental housing project in the Gallaratese district of Milan, completed in Aymonino was involved in several city-centre planning schemes, including those at Bologna and Turin (both ), Reggio Emilia (with Constantino Dardi. Permalink: ; Title: Carlo Aymonino / Aldo Rossi: Housing complex at the Gallaratese Quarter Milan, Italy,

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Aymonino, Carlo

Carlo Aymonino, Aldo Rossi e outros. The complex as designed by Aymonino wishes to underscore every resolution, every joint, every formal artifice. And it is here that we find, facing the aggregation of Aymonino’s signs, the absolute sign of Rossi.

L’architecture dans le boudoir: OppositionsNova York, n. However, another aspect of this design was made clear to me by Fabio Reinhart driving through the San Bernardino Pass, as we often did, in order to reach Zurich from the Ticino Valley; Reinhart noticed the repetitive element in the system of open-sided tunnels, and therefore the inherent pattern. I understood on another occasion how I must have been conscious of that particular structure – and not only of the forms – of the gallery, or covered passage, without necessarily intending to express it in a work of architecture.

In like fashion I could put together an album relating to my designs and consisting only of things already seen in other places: I do not believe that these designs are leading away from the rationalist position that I have always upheld; perhaps it is only that I see certain problems in a more comprehensive way now.

Theorizing a new agenda for architecture: Princeton Architectural Press, The semantic overtones are again erratic, and focus on such oppressive meanings, because the building is oversimplified and monotonous.

Serious critics and apologists for them, such as Manfredo Tafuri, find themselves evading the obvious in their attempt to justify such buildings with elaborate, esoteric interpretation.

: Carlo Aymonino: Books

The most enigmatic, not to say hermetic, aspect of his thought resides in his unstated preoccupation with the Panopticon cf. Michel Foucault’s Surveiller et punir of under the rubric of which he would surely include – after Puqin’s Contrasts of – the school, the hospital and the prison.

Rossi seems to have obsessively returned to these regulatory, czrlo, institutions which for him, in conjunction with aymonlno monument and cemetery, constitute the only programmes capable of embodying the values of architecture per se. After the thesis that Loos first set out in his essay Architektur ofRossi has recognized that most modern programmes are inappropriate vehicles for architecture and for him this has meant having recourse to a so-called analogical architecture whose referents and elements are to be abstracted from the vernacular, in the broadest possible sense.


To this end his Gallaratese apartment block, designed as part of Carlo Aymonino’s housing complex built on the outskirts of Milan inwas an occasion to aymonin the architecture aympnino the traditional Milanese tenement. Similarly his town hall for Trieste, projected in the form of a penitentiary inwas both a homage to the local 19th-century building tradition and a sardonic comment on the ultimate nature of modern bureaucracy.

Yet they no more represent themes than functions; rather they are the forms in which life, and therefore death, are manifested. I could speak in this sense of still other projects which I have so far barely touched upon, projects like the housing block at San Rocco and that for the Gallaratese quarter in Milan. The first dates back to ; the second to Concerning the former I have mentioned only the superimposition of the Roman grid and the subsequent shifting of this grid, creating an effect like the accidental crack in a mirror.

Concerning the latter, I have mentioned its size and simplicity, in the sense of a rigorous technology. Yet in speaking of the forms in which human life is manifested, I ought to elaborate further on some of those structures with which this sense of life has been associated for me and which have impressed me from an archaeological and anthropological point of view ever since my early youth.

I have mentioned the corrales of Seville, the courtyards of Milan, in particular the courtyard of the Hotel Sirena; and the balconies, arcades, corridors, as well as the literary and actual impressions made on me by convents, schools, barracks.

In a word, those forms of dwelling – together with that of the villa – are stored in the history of man to such a degree that they belong as much to anthropology as to architecture. It is difficult to imagine other forms, other geometric representations, precisely because we do aymlnino already have examples of them.

The MIT Press,grifo do autor. Every classical architect from Le Corbusier to Ledoux and Ictinos is lurking behind the piers.


All of Italy is there in public grandeur and private poverty and indomitable rhetorical stance. An American cannot fail to guess that Louis Kahn is also present.

His majestic drawing of the hypostyle hall at Karnak – where the columns are neither structurally muscular nor sculpturally active but simply enormously there, modeling the light, taking up space – seems almost prototypical of Rossi’s colossal columns here. These are so big in relation to their modest load that there seems to be no structural compression upon them and they remain purely visual beings, apparitions stepping forward among the flat piers.

Made in Milan: inside Carlo Aymonino and Aldo Rossi’s iconic Gallaratese housing project

Whatever the case, the colonnade of the Gallaratese is the ultimate space of dream. It is only fair to Freud to note that there may well be a sexual element in this as well, since the long, taut shape of Rossi’s slab is clearly read as a car,o intruding into Aymonino’s brown, amonino, L-shaped building. Whatever the reasons, and they are surely many, something deep is touched, some need of the soul for space and grandeur, for glory, love, and connection, some generous wish not verbalized but pictorially represented here.

The MIT Press, Once completed inMonte Amiata tried to sell it off to the municipality of Milan, and then in decided to sell the dwellings aymonkno a reduced price to enable lower income earners to become home owners. In the same year, groups of students and workers occupied the buildings until they were forcibly removed by the police.

Most of the commercial and public uses envisaged for some of the units failed, and after a few years, home owners decided to gate the housing complex, thwarting the idea of Gallaratese 2 as an active fragment of a new, ccarlo city.

Matteotti Village and Gallaratese 2: Architecture and the Welfare State. Aldo Rossi, [; ]: Otherwise, observation – and eventually participation – give way to disorder. The language of post-modern architecture.