HARTAIXX2016-V010000

Summary

The video script discusses Aldo Rossi's exploration of architectural types and their relationship with the city. Rossi believed that the 'architectural type' is the essence and end of architecture, yet remains inexhaustible. He applied this concept in his designs, notably the Cemetery of San Cataldo, which contrasts traditional burial hierarchies and presents a 'city of the dead' with its own permanence and continuity. His work emphasizes the continuity of urban forms and the role of architecture in shaping and reflecting history.

Takeaways

• 🏛️ Rossi's career was focused on the relationship between individual architectural elements, the discipline of architecture, its origins, and its culmination.
• 🔍 He explored the interplay between architectural practice and theory, concluding that the 'architectural type' is both the beginning and end of architecture, yet remains inaccessible and inexhaustible.
• 🏛️ Rossi viewed the architectural type as a historical manifestation, with recurring patterns and forms that persist through time despite changes in use and function.
• 📚 In 'Architecture of the City,' Rossi emphasized the continuity of urban types, using 'permanences' to describe the enduring presence of these types.
• 🏟️ The Roman coliseum at Lucca exemplifies 'propelling permanence,' maintaining its form through various functional transformations from a quarry to a market and housing.
• 🏗️ Rossi's most famous project, the Cemetery of San Cataldo in Modena, demonstrates his concept of architectural type in relation to the city, with its distinct types and central axis.
• 🔄 Rossi's cemetery design contrasts with the traditional 19th-century cemetery layout, reversing the hierarchy by placing the remains of the indigent in the most prominent location.
• 🏰 The design elements of Rossi's cemetery, such as the cube for ceremonies, ossuaries, and the truncated cone for a chapel and remains, reflect a modern reinterpretation of traditional funerary architecture.
• 🏙️ Rossi's walls, with their stark openings and triangular roofs, draw references from both ancient Etruscan urns and modern architecture, including his own previous work.
• 🌆 The concept of the cemetery as an 'analogous city' is central to Rossi's work, with graves as houses for the dead and monuments as permanent city fixtures.
• 🗺️ Rossi's aerial perspective drawings emphasize the elevational and plan views, highlighting the stepped pyramid-like form that suggests a return to the primitive origins of architecture.

Q & A

What was the central theme of Aldo Rossi's career?

Aldo Rossi's career was centered around exploring the relationships between individual elements of architecture, the discipline of architecture itself, its beginnings, and its ends, as well as the relationship between architectural practice and everyday architecture as a theoretical intellectual project.

What does Rossi mean by 'architectural type'?

Rossi referred to 'architectural type' as the beginning and end of architecture, an unavailable but real object that generates and serves as a reference for all of architecture, yet cannot be exhausted by either architectural practice or theory.

How did Rossi view the relationship between architecture and the city?

Rossi believed that architectural elements constitute the city, and the city acts as a determinant matrix or fabric that brings these elements into being.

What is the significance of 'permanences' in Rossi's work?

In Rossi's work, 'permanences' convey the persistence of types over time, despite various changes in use, as exemplified by the Roman coliseum at Lucca, which retained its form through multiple functional changes.

Can you describe the Cemetery of San Cataldo by Rossi?

The Cemetery of San Cataldo in Modena is Rossi's most famous project, designed in 1971. It features three distinct architectural types along a central axis: a large open cube, vertical rectangular slabs for ossuaries, and a large truncated cone housing a chapel and a place for the ashes of the indigent.

How does Rossi's design of the Cemetery of San Cataldo contrast with traditional 19th-century cemeteries?

Rossi's design reverses the traditional hierarchy found in 19th-century cemeteries, where the remains of the upper class were typically buried in the central chapel. In Rossi's cemetery, the truncated cone, which is the highest feature, houses the remains of the indigent.

What architectural elements does Rossi use to create a sense of starkness in his cemetery design?

Rossi uses stark walls with openings without muntins or mullions, and steeply pitched triangular roofs, reminiscent of Etruscan funerary urns and modern architecture, to create a sense of starkness in his cemetery design.

How does Rossi conceptualize the cemetery as an 'analogous city'?

Rossi views the cemetery as an 'analogous city' where graves are analogues of houses for the dead, and monuments are analogues of permanent city monuments. This concept highlights the idea of the cemetery as a city for the dead.

What is the significance of the stepped pyramid reference in Rossi's design?

The stepped pyramid reference in Rossi's design suggests a connection to architecture in its most primitive state, possibly alluding to Hegel's view of the pyramid as the beginning of architecture.

How does Rossi use shadows in his architectural drawings?

Rossi casts shadows toward the viewer in his drawings, creating a sense of depth and emphasizing the architectural forms. This technique also references Étienne Boullée's funerary architecture, where shadows form the primary decoration.

What is the role of the cube in Rossi's Cemetery of San Cataldo?

The cube in Rossi's Cemetery of San Cataldo is intended for funeral ceremonies and civil ceremonies, serving as a central gathering space within the cemetery.

Outlines

00:00

🏛 The Architectural Type and Its Permanence

This paragraph discusses the Italian architect Aldo Rossi's lifelong exploration of the relationship between individual elements of architecture and the discipline as a whole. Rossi's focus was on the concept of 'architectural type,' which he viewed as the genesis and culmination of architecture, yet one that could never be fully realized by practice or theory. He studied historical examples and urban patterns, emphasizing the continuity of urban types over time, referring to them as 'permanences.' The Roman coliseum at Lucca serves as a prime example of this concept, as it has undergone various functional changes while maintaining its original form. Rossi's work, particularly the Cemetery of San Cataldo in Modena, exemplifies his ideas about architectural type and its relationship to the city, with the cemetery's design reflecting recurring patterns and forms.

05:02

🏙️ Rossi's Cemetery: A Social and Architectural Hierarchy

The second paragraph delves into the design of Rossi's Cemetery of San Cataldo, contrasting it with the traditional 19th-century Italian cemetery design. Rossi's approach subverts the social hierarchy by placing the remains of the indigent in a prominent location, traditionally reserved for the upper class. The stark walls of the cemetery, reminiscent of Ludwig Hilberseimer's work, feature a steeply pitched triangular roof, drawing references to Etruscan funerary urns and Rossi's own Gallaratese housing project. Rossi's concept of the cemetery as an 'analogous city' is highlighted, where graves are seen as houses for the dead and monuments as permanent fixtures akin to those in a living city. The aerial perspective of the cemetery, with its stepped pyramid-like feature, suggests a connection to the most primitive forms of architecture, possibly referencing Hegel's view of the pyramid as the beginning of architectural history. The use of dramatic shadows in Rossi's drawings adds a layer of emotional depth, aligning with his essay on Étienne Boullée's funerary architecture.

Keywords

💡Architectural Type

Architectural Type refers to the fundamental forms and recurring patterns in architecture that manifest throughout history. In the video, it is the central concept that Aldo Rossi believed to be both the beginning and the end of architecture. It is described as an 'unavailable but real object' that is the reference for all architectural practice and theory, yet it cannot be fully exhausted by either. The script uses the Roman coliseum at Lucca as an example, illustrating how the architectural type persists despite changes in function over time.

💡Permanence

Permanence, as used in the video, conveys the enduring nature of architectural types over time, regardless of changes in their use or function. Rossi emphasized this concept in his book 'Architecture of the City,' suggesting that urban types maintain a sense of continuity. The Roman coliseum serves as an example of 'propelling permanence,' where its form remains constant despite various functional changes from a quarry to a market and housing.

💡Cemetery of San Cataldo

The Cemetery of San Cataldo in Modena is a project by Aldo Rossi, which won him a competition in 1971. It is a significant example of Rossi's exploration of architectural types and their relationship to the city. The cemetery is designed with distinct architectural elements along a central axis, including a cube, ossuaries, and a truncated cone, each serving different functions. The design contrasts with traditional cemeteries by reversing the hierarchy and placing the remains of the indigent in a prominent location.

💡Analogical City

The concept of an 'Analogical City' is introduced by Rossi to describe the cemetery as a city of the dead, with its own architectural elements analogous to those found in a living city. Graves are likened to houses for the dead, and monuments to permanent city structures. This concept is integral to understanding Rossi's vision of the cemetery as a reflection of urban life, where the architectural elements serve as a metaphor for the social structure and functions of a city.

💡Etruscan Funerary Urns

Etruscan Funerary Urns are mentioned in the video as a reference point for the triangular shape of the truncated cone in Rossi's cemetery design. The similarity between the shape of these ancient urns and the modern architectural feature highlights Rossi's interest in historical continuity and the influence of past forms on contemporary architecture.

💡Housing Project Gallaratese

The Gallaratese is a housing project by Rossi located just outside Milan. It is brought up in the video to draw a parallel between the concept of housing for the living and the tombs as houses for the dead. This comparison underscores Rossi's idea of the cemetery as an 'analogous city,' where the architectural elements serve similar purposes to those in a city for the living.

💡Stepped Pyramid

The stepped pyramid is an architectural form that is referenced in the video, particularly in the aerial perspective of Rossi's cemetery design. The triangular feature in the middle of the cemetery is likened to a stepped pyramid, suggesting a connection to the most primitive forms of architecture and possibly alluding to the philosophical ideas of Hegel about the origins of architecture.

💡Étienne Boullée

Étienne Boullée is a French architect mentioned in the video in relation to his funerary architecture. Rossi's approach to casting shadows in his drawings is compared to Boullée's work, where the shadows themselves become a form of decoration, adding depth and emotion to the architectural forms. This reference highlights the importance of light and shadow in architectural expression.

💡Ludwig Hilberseimer

Ludwig Hilberseimer is a German architect whose work is reminiscent of the stark walls in Rossi's cemetery design. The script mentions the similarity in the austere walls of the cemetery, which are topped with sharply pitched triangular roofs, drawing a connection between modern architectural styles and historical references.

💡Cesare Costa

Cesare Costa is an architect of the 19th-century cemetery adjacent to Rossi's Cemetery of San Cataldo. The script contrasts the traditional hierarchy and design of Costa's cemetery with Rossi's innovative approach, emphasizing the shift in how the remains of different social classes are treated and represented in the architectural layout.

💡Indigent Remains

Indigent Remains refers to the remains of individuals who are poor or without families to claim them. In the video, Rossi's design places these remains in a prominent location within the cemetery, reversing the traditional hierarchy found in Costa's cemetery. This decision is a deliberate statement on social equality and the dignity of all individuals, regardless of their social status.

Highlights

Rossi's career focused on the relationship between individual architectural elements and the discipline as a whole.

He explored the intersection of architectural practice with everyday architecture and theoretical intellectual projects.

Rossi defined the 'architectural type' as both the beginning and end of architecture, yet it remains inaccessible and inexhaustible.

The architectural type, as an unavailable but real object, generates and serves as a reference for all of architecture.

Rossi considered architecture's manifestation in history through recurring patterns and forms.

The city is viewed as a determinant matrix that brings architectural elements into being.

In 'Architecture of the City,' Rossi emphasizes the continuity of urban types and their 'permanences' over time.

The Roman coliseum at Lucca exemplifies 'propelling permanence,' maintaining its form through various functional changes.

Rossi's Cemetery of San Cataldo in Modena reflects his concept of architectural type and its relationship to the city.

San Cataldo's design juxtaposes with a 19th-century cemetery, creating a set of three distinct cemeteries.

Rossi's cemetery features three distinct architectural types along a central axis: a cube, ossuaries, and a truncated cone.

The truncated cone in Rossi's design houses the remains of the indigent, reversing the traditional hierarchy of burials.

The cemetery's walls are stark, with openings that lack muntins or window frames, reminiscent of Hilberseimer's work.

Rossi's design references Etruscan funerary urns and modern architecture, including his own previous work.

The cemetery is envisioned as an 'analogous city,' with graves as houses for the dead and monuments as city landmarks.

The aerial perspective of the cemetery reveals a stepped pyramid-like feature, suggesting primitive architectural forms.

Rossi's use of shadows in his drawings casts them toward the viewer, creating a somber atmosphere.

The shadows in Rossi's drawings are the only 'inhabitants' of the city, adding to the melancholic tone of the architecture.

Transcripts

K. MICHAEL HAYS: Rossi spent his entire career thinking

about the relationships between individual elements of architecture

and architecture as a discipline, the very beginnings of architecture

and the ends of architecture.

And he spent his career exploring the relationship

between architectural practice and the kind of everyday level and architecture

as a theoretical intellectual project.

He came to the conclusion that what he called the architectural type was

the beginning and the end of architecture,

but that the architectural type could never

be exhausted either by architectural practice or by architectural theory.

That the type, this unavailable, but real object

that both generated and, sort of, became the reference for all of architecture

was itself inaccessible and inexhaustible.

When Rossi thought about type, he was considering architecture

as its manifest in history in various examples

and, sort of, recurring patterns and recurring forms

that emerge at different times in history but seem correlated.

But he was also thinking about architecture in the city.

For him, the architectural elements constitute the city.

But at the same time, the city is this, kind of, determinant matrix or fabrics

that bring the elements into being.

In his book "Architecture of the City,"

he emphasizes the continuity of these urban types.

He uses the word "permanences" to convey the sense of persistence

of types over time through various different kinds of uses.

One of the examples he gives is the Roman coliseum

at Lucca, which first of all, in medieval times

was used as a, kind of, quarry.

The stones from the Roman

coliseum were taken as spoils

to construct medieval churches,

and then it later became a market, and then later housing,

but, as you can see in the photograph, the diagram

or the "type" of the coliseum remains over all those functional changes.

This is an example of what Rossi calls a "propelling permanence."

The form remains, but it carries us through changes in history,

changes in function, and even changes in the way

that the coliseum is inhabited.

In his own work, the idea of architectural type

and its relationship to city can best be seen in his most famous project, which

is a cemetery, the Cemetery of San Cataldo in Modena

for which he won the competition in 1971.

The site for the cemetery is exactly adjacent to an existing 19th-century

cemetery by Cesare Costa.

In between Rossi's cemetery and Costa's cemetery

is a much smaller Jewish cemetery,

and so the three cemeteries together make up this set.

Rossi's cemetery is almost exactly the same size and shape

as Costa's cemetery.

It's about 325 by 175 meters.

It's surrounded by a two story wall, which

later was changed to three stories.

You can enter at either south gate or the north gate.

Along this north/south axis, Rossi's places

three distinct architectural types.

First of all, very like the monument of Cuneo, is a large cube:

a large empty -- Rossi even said, abandoned cube.

It doesn't have a roof.

It's open to the sky.

Rather than the strip windows or the narrow windows of Cuneo,

it now has these punched repetitive square windows.

There are no mullions, no frames to the windows.

If we continue along the axis, we confront another feature:

this triangular shape in plan, but consists

of vertical rectangular slabs that increase in height

as they decrease in width.

These would be the ossuaries, which would house the remains of the body,

and we can walk through those ossuaries along the axis

until we finally come to the third feature, which

is a large truncated cone.

The cone is higher than any of the other features.

The cube was intended by Rossi to be used for funeral ceremonies, but also

civil ceremonies.

As I said, the slabs were intended as ossuaries,

and then the top part of the cone is a chapel.

But then in a room, at the bottom part of the cone,

would be a place for the ashes, for the remains of the indigent.

Now this is an important feature.

If we compare this to the cemetery of Costa, certain contrast arise.

In the cemetery of Costa, which is typical of 19th-century

Italian cemeteries, usually in the center would be a chapel,

and this chapel would be where the remains of the upper-class families

would be buried.

Along the porticoes to the side of the chapel

would be for other, perhaps not noble families,

but other upper-class families,

and the indigent who may not have been even known

or who may not have had families would be placed in the earth.

But, of course, the earth, the graves of the earth filled up very, very quickly,

and it was allowed that, every eight years, the bones

could be taken out and put in a common grave.

So Rossi in a way has reversed that hierarchy.

The truncated cone, which is higher than any other feature,

now houses the remains of the indigent, and exactly along the axis,

along that central axis where previously the noble families and the upper class

would have been buried.

And I think that contrast is very intentional and very sharp.

The walls around the cemetery are very, very stark.

Again, they have openings without muntins or mullions or window frames.

It reminds you of some of the German architect Ludwig Hilberseimer work,

except that Rossi places a kind of sharply

steeply pitched triangular roof on top of these otherwise austere walls.

Rossi talks about the tops of Etruscan funerary urns,

which have a similar triangular shape.

So he's getting multiple references, references to Etruscan urns,

references to modern architecture, but also he's

making references to his own work.

Rossi compared the walls to his own housing project

called the Gallaratese just outside Milan,

and he makes the point that, in very, very early times,

the grave was just thought of as a kind of house for the dead,

or the tomb was thought of as a room for the dead.

So for him, this contrast between the housing of living bodies,

the housing of dead remains, is part of what

he means when he thinks of the cemetery as an "analogous city."

The graves are analogues of houses, houses for the dead.

The monuments are analogues of the permanent monuments

that would take place in a city, though in a city there

would be inhabited monuments.

So the cemetery is a city of the dead, but it's also

what Rossi calls an "analogous city."

In this aerial perspective, which Rossi uses

to show both the elevational perspective of the building

and also, at the same time, its plan, you can

see that that triangular feature in the middle

almost takes on the characteristics of a stepped pyramid.

It seems to be rising up from the ground.

And I think this reference somehow is--

there are other references that are to architecture

in its most primitive state.

I even think of Hegel who thought of the pyramid

as a very beginning of architecture,

and I can't imagine that this reference to Hegel

and to the beginnings of architecture is lost on Rossi.

Look at the way Rossi cast the shadows.

It's very interesting that he cast the shadows toward the viewer.

I think what he's thinking of here is something

that he referred to in his own essay on the French architect Étienne Boullée.

He's thinking about Boullée's own funerary architecture,

and he says, "It does not seem possible to me

to conceive anything sadder than a monument composed

of a smooth, naked and unadorned surface, of a light absorbent material,

absolutely bare of details, and of which the decoration is

formed by a composition of shadows, drawn by shadows still darker."

Look again, at Rossi's drawing, how dark the shadows are.

It's as if the shadows are the only inhabitants of the city.