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I

CONTEX T

17

Man put stone on the ground in order to recognise place in de midst of the unknown universe and thereby measure and modify it.

Vittorio Gregotti

I.1

Aldo Rossi

I.2

Vittorio Gregotti

19

1. Stephen Sennott, R. (ed.) (2005). Encyclopedia of 20th Century Architecture. New York: Taylor & Francis Ltd.

2. Rossi, A. (2009). Architectuur van de stad. Amsterdam: Boom

3. Avermaete, T., Havik, K., Meijsmans, N., & Teerds, H. (2009). Editorial. On Territories, 80, 1-6.

4. Goossens, G. (2007). Bonnefantenmuseum, Het Gebouw. Oberhausen: Plitt GmbH. p.17

5. Leading Italian architects, members of La Tendenza, graduated from the Polytechnic of Milan, published a book in 1966 wherein context plays a major role.

I.1. On 03-12-2014, from: http://blogdephaco.blogspot.nl

I.2. On 03-12-2014, from: http://lightstorage.ecodibergamo.it

Context

Inside architecture, the context is the consistency within a building occurs.[1] In the narrow sense of the word, one refers with context to the built or natural environment of a building, so the physical context. Rossi gives the following definition of physical context: a unique environment consisting of concrete forms, structures and nature, this may or may not be constructed by man.[2] This essay looks at context in a more narrowed down meaning, so the physical context.

Vittorio Gregotti says about architecture: Architecture must reflect the landscape as an ensemble and must reveal the essence of the landscape.[3] Aldo Rossi says: Architecture ensures the continuation of the historic city and thus guarantees the continuity and growth of a city.[4] The physical context is appointed in both conceptions of architecture. This chapter examines the reciprocal relationship between the physical context and the architectural design of these architects.

Aldo Rossi and Vittorio Gregotti are two prominent Italian architects who have meant a lot for the post-war architecture and particularly the neo-rationalism. In Italy, the neo-rationalism, called La Tendenza, is represented by architects like Aldo Rossi, Vittorio Gregotti and Giorgio Grassi. Aldo Rossi and Vittorio Gregotti studied at the Polytechnic of Milan in the same period. The vision of Aldo Rossi about the relationship of architecture with the physical context reveals in his book L’architettura della città of 1966. The vision of Aldo Rossi is analyzed in this chapter by using this book. Gregotti’s vision regarding the relationship of architecture with the physical context reveals in his book: Ill territoria dell’architettura of 1966. This book is not fully translated from Italian, therefore some translated fragments of this book are analyzed in this chapter. The many similarities between the two architects[5] - that emerge in this paragraph - justify the choice of these two architects. In this chapter, the relationship between the physical context and architecture of Rossi and Gregotti exposed, hereby discusses ideas and designs of both architects.

First of all we will discuss the concept of Rossi and Gregotti on architecture and physical context. Then a project of the architects (Bonnefantenmuseum: Rossi and University of Calabria: Gregotti) is analyzed from two perspectives: the influence of the physical context on architecture and the influence of the architecture on physical context.

I.3

Influence of an urban artifact

Urban Artifact

Quality + Technique + concept

Permanence

Collective memory

Architecture

In�uence

Yes/no ?

Yes/no ?

Yes/no ?

Yes

Yes

Yes

21

6. Rossi, A. (2009). Architectuur van de stad. Amsterdam: Boom. p.149

7. Collective memory: collection of conscious and unconscious memo-ries.

8. Genius Loci: the genius of the place or atmosphere.

9. urban artifact: An object or ar-chitectural building that resembles the identity of the city in a certain epoch of time and is permanent.

Vision Rossi

The vision of Rossi on architecture and physical context says that the context has to be influenced or transformed by architecture. Rossi indicates that the city is one big artifact or artwork that consists out of from smaller forms. For Rossi permanence and quality is important, which are closely connected. Quality is not treated literally in his book, but it is described in a different way. He writes mainly that a building can be permanent because it is based on a clear concept. The concept must be understood by everyone, like the technology that enables this concept and translates it into a visual object.[6] The conclusion can be drawn that quality is the only thing that causes a building to stand the test of time.

Rossi sees the city as causal to architecture. The city is a total collection of different fragments and elements. According to Rossi architecture is the opposite of all the other arts, because it gives a concrete shape to society and defines a place that reject the natural order.The city needs architecture to shape it, but it will also need a foundation, a functional grid, which lies underneath the city that will give structure. This allows the concept of a city always remains the same. According to Rossi, this is not experienced as such. The city map is not an element that works on the collective memory[7] of people, because it is not visible from street level.

Architecture itself comes from the collective memory of a particular culture or city, which was developed in the course of time. Each city is therefore made up of historical features creating a unique genius loci[8] which creates the city as urban artifact[9]. This would also mean that a locus is not permanent in its present form, but an ever-changing phenomenon. When something new is added to the city or context, or something is changed, this will also affect the locus. The construction of the city as a work of art is an ongoing process, therefore a concrete history and timeline of the development of the human being. Each unique building provides the locus with new values, therefore architecture should not be bound by function or style. Rossi gives as reason that both are bound to time, necessity and representation of man. The only thing that a project can become permanent, or in other words a monument, is technology. According to Rossi it this relates to the realization of the autonomous principles and survival. The conclusion can be drawn that architecture is made by means of a concept that had been derived from analysis of the context, and made visual through technical solutions, whereafter it can enter into confrontation with the city.

I.4

Scheme of vision Gregotti

measurement

utilization

modi�cation

redouble

situate

origin of architecture:Put stone on the ground in

order to recognise place in de midst of the unknown universe

Revealing nature, nature is displayed as

an ensemble

23

10. Avermaete, T., Havik, K., Meijs-mans, N., & Teerds, H. (2009). On Territories. Editorial, 80, 1-6. p.1

11. Gregotti, V. (1996). Territory and Architecture. In Nesbitt, K., An Anthology of Architectiral Theory 1965-95. New York: Princeton Ar-chitectural Press.

12. Gregotti, V. (1996). Territory and Architecture. In Nesbitt, K., An Anthology of Architectiral Theory 1965-95. New York: Princeton Ar-chitectural Press.

13. Avermaete, T., Havik, K., Meijs-mans, N., & Teerds, H. (2009). On Territories. Editorial, 80, 1-6. p.6

14. Gregotti, V. (2009). The form of the Territory. Editorial, 80, 7-22. p.12

Vision Gregotti

Gregotti explained his point of view in contrast to the underlying reasons of Aldo Rossi’s book Architettura Della Città (1966).[10] He notes that architecture also plays an important role in the rural landscape, not only in the urban area which is the city. Gregotti says that architecture makes a big contribution to the landscape of the rural and urban areas and also to the infrastructure. He pleads to expand the domain of architecture; it should not only stick to schemes of an historical city. According to Gregotti architects should also take into account the material condition of a greater territory. That would mean that architects should get in touch with the physical context.

Following the philosophy of Martin Heidegger, Gregotti claims that the origin of architecture lies in placing the first stone on the ground to recognize a place, measure it and to be able to modify it.[11] This statement runs parallel with Gregotti’s general definition on the task of an architect: Creating an architecture of context by revealing nature by means of modification, measuring and utilization, redoubling and situating the landscape.[12] Gregotti’s theory concerns recognizing relations in the landscape and influence the landscape with architectonic interventions. Architecture should be used to show the landscape as an ensemble and to reveal the essence of the landscape.[13] Concrete examples of revealing a landscape are: geometric organization/ordinance of the landscape and idealizing it. The architects should, prior to the design process, attempt to find an operational and methodological unit that can be defined, without taking in account function and scale.[14] Gregotti also defines an architect as an engineer of the landscape. This is certainly the case when an architect tries not only to organize the functional aspects but also dares to realize a more audacious geography.

I.5

Maastricht, 18th century, the historical city

I.6

Rossi, A. Bonnefantenmuseum, 1995. Rear facade

I.7

Maastricht, Wiebengahal

I.8

Rossi, A. Bonnefantenmuseum, 1995. Buttresses

I.9

Rossi, A. Bonnefantenmuseum, 1995. Steep stairs

I.10

Liege, Montagne de Bueren

25

15. Rossi, A. & Barbieri, U. (1996). Bonnefantenmuseum. Maastricht: Bonnefantenmuseum. p.15

16. Goossens, G. (2007). Bonne-fantenmuseum, Het Gebouw. Ober-hausen: Plitt GmbH. p.31

I.5. Goossens, G. (2007). Bonne-fantenmuseum, Het Gebouw. Ober-hausen: Plitt GmbH. p.6

I.6. On 03-12-2014, from: https://nl.pinterest.com





Bonnefantenmuseum (Aldo Rossi, Maastricht, 1995)

The building makes use of elements that form the core of the architecture of the building, with the aim to express the remembrance of the ship sailing tradition in Dutch cities and the role of the River Maas. In the words of Aldo Rossi:“From the entrance hall the visitor proceeds directly to the living heart of the museum, which is entered with fear and trepidation. How difficult it is, almost impossible I daresay, to define this essence. Is the museum a collection of mementoes of life or is it itself part of our lives? My architecture leaves an open verdict in this regard. Nonetheless, the substance of the museum is the origin and end of our cultural decadence”[15]

Influence of physical context on architectureThe Bonnefantenmuseum Rossi makes use of artifacts, buildings and places in which the identity of the city and memories of community inherent in their physical form: The ruins of the Wiebengahal (Image I.7), the River Maas, passing ships and the old city on the other side of the river with its numerous towers, churches and monasteries (Image I.5). The location of Maastricht and its relation to the countries Germany and Belgium is also characteristic for the place. Aldo Rossi says: The idea for the design of the museum came from this impression of the character of the place.[16] An urban plan designed by Jo Coenen & Co was made for the site; the former industrial site was replaced by a new district, Céramique. In addition, the entire industrial area was razed to the ground, except for the Wiebengahal. The Wiebengahal is for Rossi an artefact which indicates the identity and plays an important role in the history of the city. The collective memory of the city, which is present in physical forms in the city, is used by Rossi as inspiration for the design of the museum. The collective memory is translated into the building material, color and typical elements. The dimensions of the Wiebingahal, color and material are adopted and incorporated into the design. Through this the relationship between the two buildings is clearly visible. The side walls of the middle portion of the building containing buttresses that are similar of the structure of churches (Image I.8). It is not about the constructive aspect of the buttress, but the association that it is providing to the visitor. It refers to the many churches and religion which is situated in Maastricht. Another example is the dome. It refers to the church, but also to a tower between river and sea. The materialization indicates an association with the industry, through his sinking liner. The characteristic long steep stairs in the museum (Image I.9), is clearly derived from the Montagne de Bueren in Liege (Image I.10), the handrail is an exact copy.

I.6

Rossi, A. Bonnefantenmuseum, 1995. Rear facade

I.7

Maastricht, Wiebengahal

I.11

Centric museum archetype from Durand and Rossi’s interpretation in relation to the context.

I.12

Rossi, A. Bonnefantenmuseum, 1995. ‘Verlust der mitte’

27


The physical context is understood by Rossi as an objects with a memory, in other words, a history. The way how it affects its architecture, should therefore be viewed from this perspective. Rossi’s design of the building can be understood as a large collection of archetypes and fragments. For the museum, he used an archetype from Durand (Image I.11). It is a centric model of a museum. Rossi removed parts of the original type, which discarts the original idea of a clear center. His sketch where it emerges is captioned ‘Verlust der mitte’ (Image I.12) This is also the title of a book by art historian Hans Sedlmayr, in which he describes the modern art and modern man, where humanism (center) is replaced by the autonomous. This means there is a double meaning behind this configuration of the museum. The entrance uses the typology of the ancient Egyptian pylon, the dome the typology of the dome.

Influence of architecture on physical contextThe building faces the historic city and the river. In this way a link is established there, creating an obligation between the historic city, the river and the site of the Museum (Image I.15). The centralized organization of Durand’s type of centric museum has been adapted by Rossi. The central intovert nature of the building, is turned into an outwardly facing building. The center will be lost. This procedure makes it possible to establish a relationship with the River Maas, and the historic city across the river. Rossi wants to keep the continuity of the historical city intact; its architecture is aimed to promote this. The physical context is affected in such a way that the identity of the city is not lost, but just developed to the next stage. The physical context is brought together in a new perspective through archetypes and collective memories, in one place. Rossi brings architectural fragments (Image I.16) together in a new place, creating architecture that suggests many new associations. The past and present are brought together. An alternative is created within reality. For Rossi architecture is equal to an artifact. Because the building evokes many associations to an individual and particularly the inhabitants of the city, it has the opportunity to become an urban artifact. The association is, in fact associated with a memory, sometimes a precious memory. For example, the building that the individual passes every day on his way to school and the feeling of security and recognition that the individual experiences at that particular place in the city of Maastricht. These precious memories can be recognized in the museum of Rossi. The individual, therefore, recognizes the city and themselves back into the building. This means that the community will moved by these associations that the architecture provides. This is Rossi’s strategy to let the building succeed in its quest to become an urban artifact. Only time can tell if the building will become part of the lives of the community and the city.

0 10m 25m

I.14

Floor plan: ground floor

0 100m 200m 400m

I.13

Situation

I.15

The building faces the historic city and the river

01X

5X

2X

0 1X 5X2X

0 10m 25m

0 100m 200m 400m

29

I.18

Routing through the museum0 25m 50m 100m

MAASSQUARE

entrance

tower as endpointin architectural routestairs as an announcement

to the tower tower presenting itself to surroundings

I.16

The tower is placed separate from the main building

I.17

Entrance of the building

0 25m 50m 100m

I.20

Situation

I.19

Gregotti, V. University of Calabria, 1973. Aerial photograph

0 40m 200m80m

0 200m 500m0 1X 5X2X

31

I.20

Situation

17. Rykwert, J. (1995). Vittorio Gregotti & Associates. New York: Rizzoli. p.15


19. Tafuri, M. (1982). Vittorio Gregotti: Buildings and Projects. New York: Rizzoli. p.51

I.19. On 04-12-2014, from: sites.googlegroups.com

University of Calabria (Vittorio Gregotti, Cosenza, 1973)

Gregotti won - with a team of young architects - a competition for the design of the University of Calabria in Cosenza in 1973.[17] This chapter focuses on the design of Gregotti Associati for the competition. Some of the elements of the design are not realized, or in a different way.

The design for the University of Calabria has a linear structure of 3200 meters long.[18] This structure crosses the mountains of the Crati valley. The university has 21 block-shaped buildings, these buildings have a square floor plan with dimensions of 25.2 by 25.2 meters. These buildings are connected to each other by means of a metal bridge (Image I.21). The buildings are positioned at a grit of 25.2 to 25.2 meters (Image I.22), and extend to a maximum of two modules relative to the organizing axis (bridge). This results in a ribbon of 110 meters in width.

Influence of the physical context on architectureThe block-shaped buildings have a range of two to five layers of construction, the height of the buildings above the bridge remains the same (Image I.25). The depth of the buildings is determined by increase and decrease of the height of the landscape. The buildings are accessible from the bridge and the ground level.The lecture halls are suspended between two block-shaped buildings, the sloping shape of the lecture halls follows the slope of the mountain, this ensures continuity of the natural slope and the possibility to create paths below the halls (Image I.24).The principle of a bridge with neighboring buildings with a varying number of layers of construction makes it possible to realize a campus at this difficult area of hills and valleys.

Influence of architecture on physical contextThe first purpose of the plan to build the university is the principle of settlement.[19] This principle is based on a discontinuous line and its relationship with the hilly landscape. The principle is a way to regulate the large-scale design and provide a recognizable identity. An arrangement in a discontinuous straight line is an ancient and characteristic method to regulate settlements in Calabria. The strategy of the plan is to restore the balance of the Crati valley and to provide services. The relationship of university with the entire area, including several settlements is stronger than just the relationship of university with the city of Cosenza. The town of Cosenza served as a support for the first phase of the design for the university. The

0 25m 50m 100m

25,2m 25,2m

25,2

m25

,2m

7m

I.22

Grit of 25.2 to 25.2 meters

I.21

Metal bridge and routing

0

0

25m

25m

50m

50m

0 1X 5X2X

0 1X 5X2X

100m

100m

33

20. Morpugo, G. (2008). Gregotti & Associates: The Architecture of Ur-ban Design. New York: Rizzoli. p.66


22. Morpugo, G. (2008). Gregotti & Associates: The Architecture of Ur-ban Design. New York: Rizzoli. p.66


I.23. Tafuri, M. (1982). Vittorio Gregotti: Buildings and Projects. New York: Rizzoli. p.52-53

linear structure partly stems from the need to develop its ends: individualized and privileged territorial points (Image I.26). On one side is the junction of two highways and on the other side is the railway and the newly built railway station. This creates a system that underlines the university’s regional character and ensure that the territory would be involved in campus.The horizontal line of the bridge expresses the difference height of the terrain clearly. The southern slopes are planted with olive trees, this creates an alternating succession of buildings and natural spaces. The bridge gives order to the rhythmic positions of the buildings and planting on the hills.[20] In addition, the bridge is a design method of making elements of the landscape measurable.

The University of Calabria is the first project which is shown from an aerial perspective (Image I.23).[21] This manner of presentation was crucial to show the core of the design for the university. Thereafter aerial perspectives have played a major role in Gregotti‘s way of working, this is a way to think visually about a project in the context of the territory.

Gregotti designed a university campus in Palermo in 1969. In this project the combination of architecture and geography plays a major role.[22] The campus of Palermo has no linear discontinuous shape which is comparable to Calabria. The buildings of the campus in Palermo are situated at a central area in the countryside.

The landscape defined the formation of the complex.[23] The university is an important building, both by example for a combination of geometry and elasticity and the adaptation of the complex to the landscape.

I.25

The height of the buildings above the bridge remains the same

0 25m 50m 100m

0m 5m 10m 25m

I.24

The sloping shape of the lecture halls follows the slope of the mountain

I.23

Gregotti, V. University of Calabria, 1973. The University of Calabria shown from an aerial perspective

0 5m 10m 25m

0 50m 100m 200m

35

0 40m 200m80m

I.26

Individualized and privileged territorial points

0 200m 400m0 1X 5X2X 1000m

I.27

Rossi, A. De architectuur van de stad

I.28

Gregotti, V. Il territorio dell’ architettura

37

I.28

Gregotti, V. Il territorio dell’ architettura

Conclusion

The research about the two different opinions about architecture of Gregotti and Rossi in relation to the physical context can be translated into a conclusion. It is very clear that for Gregotti architecture has to display the landscape as an ensemble to reveal the essence. Rossi describes architecture as an urban artefact, which displays the identity of de historic city and plays a vital part in the continuity of the city. The architecture of these two architects needs to be observed and approached in a way that is not similar. It takes place on different scales. The first is the scale of the landscape as an ensemble, which may contain both the city and the surrounding countryside. The other scale is focused on the city and individual objects. In both cases, the historical value of the site plays a role in the architecture. Gregotti finds this in the analysis of territorial points in the landscape and Rossi in the fragments of the city. The physical context is therefore also used in various ways in the design process. Gregotti defines architecture in a way that reflects the ensemble of the physical context. The architecture is thus localized and exists in form and programme as part of the physical context. There is a unity between territorial points. Rossi has a relationship with the physical context in the sense that it, in addition to the place of the building, also occurs beyond. The building fits into its surrounding environment, the physical context, but also cites typologies and elements from other regions closeby. In the analysis to the design of the University of Calabria and the Bonnefanten Museum, many views respectively Gregotti and Rossi on ‘architecture and physical context’ are recurrent. The University of Calabria emphasizes connecting territorial points, restoring the balance in the valley and emphasizing the undulating landscape. The creation of a coherent place of recognition and identity is the starting point for Gregotti. The Bonnefantenmuseum requires an approach that is closer, in terms of fragments, or collage of architectural elements, which is visible on both short distance and long distance. Rossi brings architectural fragments together in a new place, creating architecture that suggests many new associations. The past and present are brought together. An alternative is created within reality. The memory of a physical object and the role it plays in the development and identity of the city. It adds a new chapter to an existing book. People remember the places and buildings they visited in the past as they observe the Bonnefantenmuseum. They remember the artifacts and there valuable meaning. In this way, the architecture of Rossi can itself be an artifact, because people recognize themselves and the city in the architecture.

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