method Lambertucci
Alfredo Lambertucci in more than forty years of activity has signed many important works, but it makes sense from the most famous: 524 housing and the services provided since 1972 on behalf of the Institute of Rome in independent housing area plan Vigne Nuove. This is a historically significant because it will represent a solidification point between the culture of the architects of those years and the general willingness to intervene in the problems of the city On the one hand there is the urge social and political life (the time for battle on the house) that is condensed in a series of laws (from 167 to 865) that enable the public to hand to intervene in large remote areas with specially drawn plans. More aware of the other designers have now developed themes such as "large", the integration of housing and services, growth of the city "for parts", the "town-design" aiming at designing innovative and appropriate all'impellenza needs. There are theoretical issues, as mentioned above, which arise from reflection engaged about a decade earlier by Giuseppe Samona ( Urban planning and the future of the city , 1959) and Ludovico Quaroni, in a famous project to Mestre (the Barene San Giuliano), had anticipated the ideas that had developed between then go to Rome, Milan and Venice.
Lambertucci When designing with Lucio and Vincenzo Passarelli Vigne Nuove, looks back on four decades of activity, with size and sensitivity, has gone through various phases of postwar Italian architecture.
His first work, the Church of Consalvi in \u200b\u200bthe Marche, is dated 1953. The designer conceived the building as a small farm, with the same dissonance, the different heights of the parties, the deep cone of shadow volumes dig: it would certainly liked to Joseph Pagano, author in 1936 of an anthropological survey ( Rural Architecture Italian ) that served as a means of tackling monumental waste and to bring out his manifesto of "current architecture". That is functional, measured, well-built, attached to the real needs and not the ego of the designer.
After this test, "neo-realist" and the houses of INA Rimini, Lambertucci tunes still above the building with the Italian debate Laterza of Bari, revealing a sensitivity texture to the rhythm of the facade (which has little to envy to the contemporary works of Franco Albini and Ignazio Gardella), but the designer also derives from its direct association with the painting: an experiment "private" but obviously important as it was for his friend Francis Berarducci. This attention to the modulation of the elements, but also looking for relationship with the surrounding environment, is also at the Institute of Pharmacology at the University City of Rome (with Claudio oil). A work of 1958 that may go unnoticed only to those who are inattentive to the wisdom of the composition of different parts, proportions, good taste that emanates from the entire building.
Lambertucci Experience firsthand the issues of great size in the sixties in a project to Secondigliano with Sergio Lenci. "A real dwelling unit to an open city and unlimited-writes on" The Laboratory "Spring '95-it contains within itself all the services and identifies an area as densely urban core from which depart Cross buildings linear and are filled to the areas surrounding the park. "
are ideas that will come back and at the same time will change just Vigne Nuove. Together with Mario Fiorentino Corviale and Tor Sapienza Alberto Gatti, Vigne Nuove work is the "symbol". While Corviale incorporates the idea of \u200b\u200bthe box of compact 'Unité d'habitation to bank between town and country, Tor Sapienza one of the great courtyard of apartment 'Villa Immeuble , Vigne Nuove combining the two models of the original master Le Corbusier marks a third way. On one hand, proposes an idea of \u200b\u200bcontainment fortified (symbolized But from zigzagging walls of the cylinder-spaced bastions of staircases), other circuit that protects a town of three thousand inhabitants include not only residences but also equipment public at different scales, community services, green spaces. The collection is divided into different profiles and connects the heart of its services with the surroundings through a pedestrian bridge.
Many hopes are concentrated in the project: in addition to already mentioned the climate center, we recall the conviction, so steadfast, that the city had yet to extend, even "split" stand-alone configuration, the belief that new interventions could redevelop the periphery speculative through the provision of new services, the trust that the seed of a more modern and efficient living processes could engage in more outreach activities. And then the statement of standards, finally recognized with the Law of Bridge 1967, prefabrication, at least outside of the panels to modernize the yard, the rational study of the distribution systems, and housing density within the large (425 inhabitants per hectare) necessary intervention.
Also, if we look at the building as an art object can only give us pause: there notes to consolidated city with different eyes, reminds us of the challenges of urban living, a willingness to boldly represent an alternative but is remembrance of our ancient hill settlements.
The intertwining of the ideological-political moment and the strength of the solution architecture means that new take on the Vigne relief of a witness whose approach with the respect due to a real effort. This does not mean, of course, develop a critical reflection. Lambertucci does it in first person in his mind that bell'intervento Camerino "The experience of New Vine has been, for me, a very rich test leads to the conviction of what was behind the basic research and the quality of its aggregation and integration in relation to changing social conditions, cultural and economic. Ultimately, we still proceeded from a handbook that had its roots in studies of the 30s and a regulatory environment with which they were trying to meet new emerging needs by sector. "
The difficulty Vigne Nuove, like other major projects of public housing architecture of the period, he lived was also the hope of resolving legitimate architectural design (the large-scale image innovative and modern urban dwelling) simultaneously the long series of constraints and requirements (operational, cultural, economic, psychological, manufacturing, regulatory) that fall within the context, some immature in Italy, of public housing. The clash between the tension in the renewal and the overall frailty of our "living culture" (for example Lambertucci, points out that considerable difficulty was that the recipients had no experience of living in a city or in a sector that Italy is still missing relevant scientific a post-evaluation of interventions ) has led to various challenges. But it is equally true that above all we must allow time architecture of sedimentation and, Vigne Nuove, this process is bearing fruit.
Architect thereafter carries out many other experiments both on the university home: from cooperatives in Ferrara, the row houses in Genzano, by his winning design on New types of residential accommodation in Emilia Romagna for research in key more analytical about the Villas in the Roman hills, or in arrangements for Testaccio in Rome. We hope to see you again its a piece of that city, twenty years later, to take stock of these new research and do not forget, at the same time, the courage and the challenge of urban living that has shown Vigne Nuove.
235 The number of "Building People" helps us to reflect over the whole of his work through two lengthy articles. We must be grateful to the authors and Vincenzo Costanzo Michele Giordano, who has tested and commissioned and published research well, because it is an original contribution and necessary for those who want to better understand the work of Roman architects in its design edge. In the two articles are regularly mentioned, and described carefully, architectures Lambertucci and certainly the reader will find many useful materials to their reflection.
The contribution closes with a sketch of the architect for the expansion of the courthouse Macerata. According us is a good choice because we believe it is a very meaningful project. The towers of his native city and next to the jagged profile of the body made up by himself in 1967 raises a pure cylinder, just recorded with a vertical knife, which has a base fabric with the next new classrooms illuminated from above .
This design and this would be enough to make us understand the sensitivity and culture of the designer. But we believe that this project, early in the pipeline, will say much on these times today: far from the ideological certainties of the Seventies, but also more open to the manifold, the fragments, tensions, capable, there it is hoped, leaving traces in Italy made that in addition to its function, and be well built and carefully detailed, suggestive. Teach us to look again and discover new relationships between contemporary architecture and our past.
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