Beyond Modernism The critique to Rationalism, Team 10, Neorealism, Archigram, Aldo Rossi, Venturi, Colin Rowe

1. Beyond Modernism
The critique to Rationalism
Alberto Iacovoni, Marialuisa Palumbo | Cornell in Rome

2. Warsaw after Second World War
1. This is Tomorrow

3. Paolozzi, Drink Dr.Pepper, 1948

4. This Is Tomorrow, Whitechapel Art Gallery, August 1956, London

5. This is modern art to entertain people, modern art as a game
people will want to play. The sense of involvement and fun
carries through in the press clippings; journalists were most
taken by the fact that the show was opened by Robby the
Robot, star of the sci-fi movie Forbidden Planet and easier to
book than Marilyn Monroe.
Reyner Banham

6. Richard Hamilton, Just what is it that makes today's homes so different, so appealing?, 1956

8. 1967

9. Constant Nieuwenhuys, New Babylon, 1959

10. The project of New Babylon only intends to give the minimum
conditions for a behaviour that must remain as free as possible. Any
restriction of the freedom of movement, any limitation with regard to
the creation of mood and atmosphere, has to be avoided. Everything
has to remain possible, all is to happen, the environment has to be
created by the activity of life, and not inversely.
Constant

12. Constant Nieuwenhuys. New Babylon Nord, 1971

13. CIAM 2, The Existenzminimum, 1929
2. From CIAM to Team 10

14. CIAM 4, The Functional City, 1933

15. Ernesto N. Rogers, Jose Luis Sert and Jacqueline Tyrwhitt, The Heart of the City, CIAM VIII, 1952

16. Alison and Peter Smithson, CIAM IX, 1953

18. Nigel Henderson

19. Van den Broek & Bakema, The Lijnbaan shopping promenade, Rotterdam, 1953

23. Alison and Peter Smithson, CIAM X, 1956

25. Otterlo Meeting 1959, organized by Team 10

26. Alison and Peter Smithson, Robin Hood Gardens, 1966-1972

29. Alison and Peter Smithson, Street in the air, 1953

31. Aldo van Eyck, Orphanage, Amsterdam, 1960

36. Georges Candilis, Alexis Josic, Shadrach Woods, Toulouse le Mirail, 1962-1972

42. 3. The Italian Retreat

43. Belgioioso, Peressutti e Rogers
(BBPR), Torre Velasca, Milano,
1950-57

45. “Abbiamo dovuto recuperare il senso della tradizione che,
pur vivendo implicito nelle opere dell’architettura moderna…
era stato messo provvisoriamente in disparte nell’azione
rivoluzionaria della polemica di cui doveva colorarsi ogni
azione contingente per vincere le remore del culturalismo
accademico, nostalgico e reazionario”
“Ora, se vi è qualcosa di insito negli europei… è il senso
della storia…”
“Contro il cosmopolitismo… noi dobbiamo cercare di
armonizzare le nostre opere con le persistenze ambientali,
sia con quelle della natura che con quelle create
storicamente dall’ingegno umano”
“crediamo ancora nell’utilità di una battaglia ideale nel
campo dell’architettura, nei suoi profondi contenuti umani,
politici, sociali, in senso antifascista, democratico,
progressista”
E.N.Rogers

46. Ignazio Gardella, Abitazioni alle Zattere, Venezia, 1958

47. Gabetti e Isola, La Bottega d’Erasmo,
Torino, 1953

48. L.Quaroni, M.Ridolfi, Quartiere Tiburtino a Roma, 1954

50. Federico Gorio, Michele Valori, Ludovico Quaroni, Piero Maria Lugli, Luigi Agati, La
Martella, Matera, 1952-1954

55. 4. 1966: 3 books and 3 possible directions...

56. 1

57. Alison e Peter Smithson, scuola di Hustanton, 1949-54

59. Archigram, Plug-in city, 1964

60. Archigram, Walking Cities, 1964

63. Archigram, Ron Herron, Instant City, 1969

65. Haus-Rucker-Co, Yellow Hearth, 1968

66. "...The device consisted of a pulsating bubble inside a large
inflatable capsule, which was supported by a waist-high metal
frame. At it's core was a bed with ample room for two people to
recline and take it easy. A repeat pattern of inflation and deflation
created a soft, pulsating rhythm, to which the inhabitants were
supposed to adapt and relax."
Haus-Rucker-Co, Yellow Hearth, 1968

67. "...Mind-Expander I and Mid-
Expander II were similar to the
helmets, only bigger and with
an intimate seating arangement
for two. They featured an
electronic display of light and
sound, which was intended to
induce a trance-like state
similar to that reached through
mind-bending drugs or a
shamanic ritual."

68. Superstudio, Adolfo Natalini, Cristiano Toraldo di Francia, Alessandro and Alberto
Magris, Pietro Fassinelli, 1966.

69. Superstudio, Architettura
Interplanetaria, 1967

70. Superstudio, Monumento Continuo, 1969

71. Superstudio, Supersuperfice, 1972

72. Archizoom, Andrea Branzi, Gilberto Corretti, Paolo Deganello, Dario and Lucia Bartolini,
Massimo Morozzi, No-Stop City, 1969

73. Archizoom, No-Stop City, 1969

74. 2

75. Venturi, Complextity and Contradiction in Architecture, 1966

76. Robert Venturi, Decorated Shed diagrams in “Learning From Las Vegas”, 1972

77. Robert Venturi, Decorated Shed

78. Charles Moore, Piazza d'Italia, New Orleans 1975-78

79. 3

80. Rossi, The Architecture of the City, 1966

81. Aldo Rossi, progetto per il nuovo teatro Paganini e sistemazione di piazza della
Pilotta a Parma, 1964

82. Aldo Rossi, Carlo Aymonino, Gallaratese, 1969-73

84. Aldo Rossi, Cimitero di Modena, 1971

85. Aldo Rossi, La città analoga, Biennale di Venezia, 1976

87. Aldo Rossi, Teatro del Mondo, Venezia 1979, Biennale di Venezia 1980

88. 5. Collage City
1978