How To Build A Bird Playgym

Franco Pure-between

In a volume of the Library of modern culture, Manfredo Tafuri published a drawing of two students of the Faculty of Architecture of Rome. The work reproduced on the cover, was next to that of Aldo Rossi, Carlo Aymonino, Ludovico Quaroni and a few other Italians. In 1968 he could look at opening a student protest, or super-critical that an assessment can sometimes afford, but the next production of Pure Franco (who has since been working with his wife Laura Thermes) ruled in favor of the author Theories and History of Architecture . To establish itself as one of the most significant theoretical and Italian architects Today, Pure Franco followed a typical route to a certain extent, to other individuals.

Typical, because he graduated later (in 1971, more than thirty years) because then taught to Reggio Calabria, official satellite of the School of Rome, and he has come to the capital in 1981 as a professor (and now teaches in Venice Laterza published Compose the architecture on the themes of his teaching IUAV).



singular, because in the crucial years of training has worked with Maurizio Sacripanti-architect-visionary, popular in Rome in the sixties, and then with Gregotti with whom he collaborated on major projects in Milan of the early seventies such as the University of Calabria and Palermo Zen.

Pure, from an early age, did not let flatten in schools belonging to different experiences but has built its specificity. He was able to draw on the lessons of classical rigor of Saverio Muratori and, on the opposite side, the one that is rooted in modern Bruno Zevi. The founding moment of the young Roman intelligentsia of the seventies (the magazine Controspazio Paolo Renato Nicolini and Portuguese) has seen outstanding protagonist together with Francesco Cellini, Alessandro Anselmi, Laura Fraticelli and others.

His name is internationally known primarily for being the champion of the so-called architectural drawings that Roman architecture from the gallery of modern art Francesco Moschini, has made known his job a bit 'all over the world.



In the eighties what at first glance appears to be a turning point. Pure and Thermes begin to build. The house of the pharmacist in Gibellina (1981) is based on the idea of \u200b\u200bderivation-Mannerist-house in the house. The four fronts correspond to different programs (pharmacy access, entry to the dwelling, fence of a walled garden, parking for guests) and the shapes change radically on different schedules. It abandons the criterion of stylistic coherence to the diverse and open to the collage with a valid result in the characterization of both interior spaces that public image.

A realization of particular relevance is that of public housing in Naples for the post-earthquake reconstruction program. Pure and Thermes (with A. Aymonino, G. and N. Blacks Surchat) based their design on the contrast between the short-onto which mainly apartments-and the space occupied by the stairs. The project consists of 65 homes so a board consisting of a succession of spaces served and serving space that exemplifies the fundamental connection of each apartment complex. In addition to using natural materials like travertine in contrast with the walls plastered and the points of exceptional floor plan, and enhances the image of a monument to the court of distribution with the stair-tower in the past had been studied in several designs.

The design for the new station Termini moves in the relationship between rarefaction (Piazza dei Cinquecento in the large populated by a few objects metaphysical) and densification (with the development of green roofs over the docks and a new parking system). The five squares

Pure-Thermes build Gibellina to follow the idea of \u200b\u200bpublic space with a perimeter of the porch aqueduct (Rome clear memory of urbanization in the former breadbasket of Italy). This project creates a public space efficient in a city that precisely this challenge was not able to solve.



along the periphery the Rome ring road (in the recent competition of ideas for the area east of the city) the group of Pure uses a fragmentation of the volumes that, like the frames of a film, can be reassembled only by the vision in motion. Finally, in competition for the expansion of the Faculty of Architecture of Rome, the comb structure of the building is reinterpreted as a pre-existing absolute rule to design the expansion.

* An exhibition of his drawings housed in the library of the Academy of Brera is revealing. In black ink and all the same size, the subject of the thirty drawings represents a single theme: the wall pierced by a window square and overlapping textures, plant matter, deep contrasts. The reason is duplicated, turns, breaks and, when viewed in rapid succession, the images form a virtual kaleidoscope. But if the effect is easy to replace the scrutiny, the quality of design, craftsmanship tract, virtuosic control of black and white surfaces. No inch of paper is left unexplored. The pure white is part of a dialectic tight that saturates the paper.

is enough to justify this exhibition at the prestigious academy that once belonged to Camillo Boito, but the meanings extend beyond the visual arts.

These designs have little in common with those of the great architects and designers of this century. Very little with those of Louis Kahn, where the sign-in charcoal and air-travel light or with those of Le Corbusier or waving with all those atmospheric Frank Lloyd Wright. The contact is remote Giambattista Piranesi. Engraver of the eighteenth-century Rome, Pure has the same visionary, the same sense of vertigo, the same down to the bottom vortex of soul and thought, inevitably confront the same archaeological layer of Rome (but also similar expertise and constant productivity).


LAMINATED

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Referrals are closer in time Sacripanti, and Mario Ridolfi. Pure retains the tension of the first that was new to the Futurist Antonio Sant'Elia, the second the density of the design as a tool of thought. In the Architect who has linked his name to Terni (Ridolfi has realized there is finally a lot of architecture and building up its project for the Town Hall) is a design that explores the implications of construction, in Pure is a drawing-writing: Ridolfi look down at what the architecture should be, Pure upward, the theoretical foundation. Suffice it to note the titles that the author, almost shyly (known as Gianni Contessi who along with Fernando De Filippi Director of Brera has been promoting the event), written in pencil in his drawings.

The series begins and ends with the title of a book How you act and in architecture from the first volume of Nanni Balestrini seventies, the second from a recent written Gregotti. Each design within these two brackets is signed with an infinitive verb: strain, superimposed layering and so on. Overall it is therefore a practical demonstration of "How you act in architecture" observatory purine.

designs become examples of a synthetic and do have the same force as a summary of cover pages of the books of the Enlightenment. Their placement in the library with its rare works of Eighteenth century emphasizes its true meaning.


CROWDED

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Pure uses from time to time different means to say the same thought. "Everything starts with the writing and everything is back to writing," he says. Design, construction, projects through "the many areas of mass society with the force of a slogan and the weight of reflection essays." The development of his thesis is conducted with such consistency and with such intensity as to stimulate reflection, evaluation, a new writing.

course vocation and theoretical manuals, establishing a set of attitudes to direct the design is shared by other theorists, architects today. Peter Eisenman, with his graft , folding , scaling, for example, there has based its teaching.

With the work of former member of the New York Five and Theoretical In-between, Pure provides affinity, but also significant differences. Even Pure, like many of his generation, is the result of the big-bang sixties when the overall vision held together by the masters of modern explodes in a series of details. Pure works for exclusion rather than inclusion. The social and psychological sciences, the specific technology and are planning for him to be damn ball outside perimeter. The center is not what revolves around the architecture, but rather the architecture itself, or rather the foundation that motivates learning. ( teaching architecture is the title of his first book). Pure

But, unlike Eisenman, is not too interested in the purely syntactic nor all'allusività metaphorical meanings that the U.S. has rediscovered the last decade. The objective of purine-and can not be that way for a Roman architect-is historical in nature. Pure

took the unique experience of European art produced in our country are Futurism and Metaphysical. The first, have already gone missing in the thirties (except for some work Oriolo Mazzoni, Luciano and Carlo Mollino Baldessarri) the Met, however, helped him noticed for the first-Edoardo Persico-to form a singularity of 'Italian architecture already works with some of Gardella, of Freedom, the BBPR.

Aldo Rossi since the sixties raised the Met and made it the key ingredient of its architecture. Futurism, by contrast, has never been recovered except by Luigi Pellegrin, Sacripanti, Leonardo Savioli or Aldo Loris Rossi, but without exceeding the experiences of individuals. It remains to Renzo Piano, the Genoese architect but has toned down the obvious Futurist traces of its first projects, a new internationalism. Pure

But often speaks of the marginalization of our country, of our being the periphery. He argues that our architecture must take a heavy simple stone, poor: French far eclecticism, glass mirror Americans of every fashionable paraphernalia. Maybe he thinks that component to value that, looking at the cinema than to the buildings, you might call Neo-realist.

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Romans and Gra De Renzi

The stereotype wants a confrontation between Rome and Milan. The first is back, and provincial steppingstones to power, the second - "transmission belt with Europe" - not necessarily cutting edge of industry. Let's be clear: there is much truth. Marcello Piacentini, who ruled the Italian architecture between the wars, could not be Roman while Joseph Pagano, director of Casabella, working in Milan. Yet when we look at the whole architecture of that period that we are, we find that these differences affect more the exception than the rule, as the leading figures and opinion makers the built landscape. The history of the city becomes more complex and difficult, but even more fascinating.

on two wheels, navigating the streets and squares sometimes find anonymous architecture, child out of the limelight, but a city that tell the history and character. In Rome, in Quadrio Pirani turn of the century row houses in San Saba, Innocenzo Sabbatini popular of the many interventions by the mysterious inner gardens or the flying fortress of the Tiber Giulio Gra Flaminio.



This is a building without an author long been so little studied it was the designer, but that strikes anyone who approached him: citizens common as a director Nanni Moretti who dedicated a beautiful sequence in his "Dear Diary". All of this building is striking: the size, color, shaping profile, materials, details, and only his strong stand on the banks of the Tiber, but also his mysterious Roman to be discovered because non-trivial quotation.



The "Gra Condominium" is located in an area of \u200b\u200bintensive high ten multi-storey buildings, not far from the Olympic stadium. The relationship between architecture and cities, many obsessions that created the Italian architects, there is a summary. The economic reasons for imposing the maximum use of the lot are not accepted practice with an amorphous building. While responding to the logic of the optimization of land, building and using the usual type of apartment building, the building is able to characterize the morphology of the Tiber when the building stops to make way all'invaso aligned with the bridge leads to the Foro Italico. The building has a facility in "U", which opens its two secondary arms on the side streets. The united front on the Tiber is also expressed by a great distance. The treatment is asymmetrical with a ninety-degree angle to adjust on a small road nearby, but with a rounded shape and separate the different levels sull'invaso now occupied by the adjacent park created for the World Cup 90. If the architecture in the city not can do without the economic and land density, here we show that mass and plastic cube can have values \u200b\u200bthat they return to the city as surplus value of images. At the end of architecture is one reason that it would not be even worth remembering.



But the interest, and the true worship of some building to this episode, goes further. The condo Gra is one of the few examples of this century who can take advantage-without resorting to linguistic elements and decorative-classical direct derivation from the lessons of the late Renaissance Rome. The composition is divided in three parts of the structure of the building codified in the sixteenth century: a base comprising the first two floors, an elevation that unifies the next three, a band of crowning the top level. Lashed by the powerful tapering piers tilted, the building touches the sky with the disarticulation of the volumes that the two floors above the crown of the attic, floors and terraces are released to create a fluid contact with air. The nautical metaphor and the driver is intertwined with that of the classical temple.

The close-up view allows you to discover other qualities. First to find the chiaroscuro of the century architecture, with the deep cone of shadow that creates the giant order system of access and hollow out the middle part of the elevation. Then the accuracy details and the entire construction. Finally, the rich chromaticism played on the relationship between four materials: travertine used in the base and crown, the brick at the three levels of elevation, the towers in front of the attic and back, the green marble in the hole of the façade features dual inputs.

But which path through biographical and professional Giulio Gra has come to build this work so beautiful and unique?

Gra was born in 1900 in Rome where he studied engineering, graduating at twenty-two. His teachers are Gustavo Giovannoni and especially Peter Aschieri realizes that in the Twenties and Thirties solid and honest work of industrial architecture that, without formality, refer to Peter Behrens and the first modernist buildings. Immediately after graduation, he joined his brother Henry became co-owner of a solid and reputed construction industry: most of his works becomes the result of a path from design implementation covers all phases of construction. The solidity of the construction firm, the classification of laborers and the accuracy of projects ensures that blocks of housing based on an economic program content and partially funded by the state (the clients are often co-employees of the government) have a ' image and decor well above the actual budget. Gra reveals a lot of attention in studying the volumetric ratios and distribution systems in relation to situations where buildings are located. Widening, intersections, axial or frontal views in perspective become occasions for joint construction and characterization of the environment.

For the first ten years, his research is certainly expressive of the rearguard. Pursuing a classical language trying to imbue its factories plasticity late Renaissance. The terraced street Sacchetti (1926-1928) and the Via Mangili (1928) in the elegant Parioli district, the buildings over to Trieste (1928-1930), the building on Avenue of the Arts (1929-1930) and the palace the square of the Navy (1930-1931) exhibit decorative elements derived directly by Michelangelo, Carlo Rainaldi, Giacomo della Porta: rusticated in the basements, the timpani and riquadrature a newsstand for windows, large balconies of several floors of the building in exceptional items. Often the image is developed through a typical trick of mannerism: "the building in the building" that wants the presence of parties formally committed to dialogue with the whole. More than half a century after construction, these structures enrich the patina and flavor of the time immersed in the greenery that surrounds them on all sides, the classical forms are transformed into romantic ruins which dilutes the original rhetoric.

Passing this phase is marked by the convent in Via Cairoli, 1933. Here Gra stripping language, remove the decorative elements of a more direct from the Renaissance while retaining the classic design themes and a sense of the building. Happen to the convent of unrealized projects in Catania and Novara in which he began to study the elements that apply in his masterpiece completed in 1939. The Condominium Gra is the manifesto of a way for the Roman architecture that remains largely unexplored, even by its creator. In fact, the engineer after the war, he portrays himself and will plan more until his premature death in 1958.

If there is one book authors and writers who on one occasion in their lives were able to launch an authentic message, Giulio Gra with us, perhaps, in front of a designer "of a single architecture." Yet what he did in his condominium on the Tiber Flaminio, it seems sufficient to give testimony to a genuine research and to indicate one more way.

*

"The exercise of discipline is ethical conduct in which their profession is seen essentially as a collective work within a tradition of urban construction and operating effectively and is, therefore, a concrete expression of a architectural culture that, even if it can be described as moderate, is exemplary in terms of professional consistency. " And 'This is the interpretive key which is traced career and copious production of the Roman architect Mario De Renzi. The book Mario De Renzi. The architecture as a profession Maria Luisa of Blacks, is divided into three parts. The first two are examined "The work between the wars" and "The experience of war" with lyrics rich in information and references and an interesting illustrative material. The third part is a register of 138 projects with each of the basic data, archival sources, a bibliography and some pictures. It is a valuable historical contribution because some projects do not appear in the first monograph in 1981 by Carunchio.

back over the work of Mario De Renzi through this monograph makes to discover a prominent figure and also a contradictory figure that characterizes the work. If the opinion is certainly shared by Maria Luisa Blacks (which ascribes the entire output by a professional consistency moderate) except in a few works by De Renzi shows a culture to date, opened an intelligence and talent of the first magnitude. The distinction, however, in today's very little chance, between prose and poetry, between current production and synthesis significantly becomes necessary to grasp the originality of his contribution: 4:00 to 5:00 buildings rising canny craft a true expression to exceed its shallows of context Roman and should appear in any of our in-depth survey of modern architecture. The contradiction is that the relevance of these works was very foggy here (and critically underrated) just by the abundance of production of De Renzi. On the other hand is a fact inherent in his personality. A strong natural tendency for the architecture, is associated with a "joie de vivre" that accommodating and Roman Bruno Zevi-albeit with affection and recognition among the very few value-could not remember when he wrote after the death on L ' Espresso .

Compared with the theme of the city, the architect makes a powerful style steering: the exaltation of the vertical, the balconies that wrap around the corners, and especially the great towers of glass scales are reasons absorb and revived the themes of futurism. Antonio Sant 'Elia and partly the expressionism of Erich Mendelsohn are clearly known to De Renzi. This is not a superficial epidermal adhesion, but a source of inspiration that is combined with the wise resolution urban distribution, construction and economic architecture of both original and just followed (except in the few works of Gino Capponi and Angiolo Mazzoni). The expressive value of the building is condensed in the court: the symbol of a city within a city, a new aspiration to rooted in a familiar building type, date of adoption of glass and steel together with the permanence of stone and brick in the base of ' plaster in elevation. E ' a space full of references and meanings that do not escape the feeling that Ettore Scola takes a single scene of his film "A Special Day".

The mixture of futurism and verticality found in the first work that achieves with Adalberto Libera, especially in the stylized fasces which places the entrance to the exhibition of the fascist revolution of 1932. But it is placed on the Aventine in the year following that a new clot is achieved. And 'one of the paradigmatic examples of that intersection that has a typically Roman one part an update of techniques and materials and adherence to the composition for separate entities is derived from the functional and the other the persistence of a strong value figural object. The first show is in the public hall (with its large windows and glass in the treatment volume of cement) and the iron logic of the system divided into separate components (the porch, the volume of the room, the office blocks), the seconds in the use of symmetry, the sheer volume covered in marble, to the way the stairs are told in front. Libera and De Renzi abandon the dictates of the transparency feature to take a big frame that only ambiguously reveals the stairs outside: through the use of a geometry of rafters with a trend opposite corner of the ramps. It 'the same procedure used in the rear, where the wall is covered with small incisions square so that it becomes an event formal self. The form in this climate takes an independent value, he says, referring to the whole affair and architecture, but within the coordinates of the contemporary language, echoing the world of classical buildings and for history and context is always present in the imagination of Roman architects .



The first work on which it is worthwhile to focus attention is the palace Federici (See Route De Renzi and Rome, Domus 730) designed in 1931. De Renzi is a successful young architect. Pigeonhole an impressive series of statements in competitions, collaborated with influential and powerful men like Alberto Calza Bini, chief architect and founder of the Union of the Faculty of Architecture in Naples, where De Renzi is professor of design. The architect is also an active member of the association of "Students of Architecture," a group linked to Gustavo Giovannoni and attentive to rediscover the values \u200b\u200brooted in the built heritage of the region. The production in the Twenties refers to the themes of the classical language consolidated. The main source is, like its contemporary Giulio Gra which recently we have dealt with the sixteenth-Roman, but on occasions less courtly love is enriched by a sincere commitment to the themes of Baroque architecture and less spontaneous and naive interventions in several locations in Lazio.



As De Renzi has practiced and understood the theories related rationalism during the thirties appears in another of his major works on the house of the Tevere Flaminio '33 with Calza Bini. Here form and program tend to overlap with the clarity of the poster. Related to the need they face privileged binds a clear overlap of the projecting balconies that mark the exact opposite in horizontal bands. Rhythm and simplicity, strict adherence to the program plan and elevation, formal elegance in an abstract can also be found in its design-for-Free again with the exhibition of the colonies in 1937, a true manifesto of a modus operandi all in the rationalism.

After the war, we have a new test of sensitivity accommodation incorporating the ferment of contemporary architectural debate. In 1949 we find him with Saverio Muratori in urban planning and design of some buildings in the neighborhood Ina Valco home in St. Paul. The Scandinavian moods, strong in the climate of our first war, engage in his love for old buildings spontaneous. The result is challenging especially in the way the buildings relate to the new urban fabric. The system of roads does not overlap with the sterile grid pattern of Le Corbusier or the picturesque village of contemporary Tiburtino Ludovico Quaroni and Mario Ridolfi. Here, urban design and type of building they live in a coordinated system, which will be another good test in the Tuscolano 1956. The building types tower in-line or come into direct contact with the road and help to establish the city through the continuity of the edges or the orientation of the arms of the triangular tower on the axes prevalent.

But in the climate of the new Association for Organic Architecture (APAO) active in Rome in the early postwar years that De Renzi created his latest masterpiece. In the project of your own home at Sperlonga, 1952, the architect is measured by his aspirations, his desires, his own talent. The good-natured and easygoing professional I reveals a safe, aggressive rock that rests on a building that takes its inspiration from the surrounding matter for deep excavations and projections of a composition that constantly turns on itself. A poster of great beauty, wisdom and strength left a legacy long before the disease take away the creative energies and lead to death.