1. ALDO ROSSE
Centro torri in parma
Theatro del mondo in venice: Pocono moutains,pennsylvania

2. Aldo Rossi (born 1931), one of the most influential architects during the period 1972-
1988, has accomplished the unusual feat of achieving international recognition in three
distinct areas: theory, drawing, and architecture. After receiving his architecture degree
at the Polytechnic University in Milan in 1959, Aldo Rossi served as a course assistant
to prominent architects Ludovico Quaroni and Carlo Aymonino. Aldo Rossi became a
faculty member in the School of Architecture in Milan in 1965 and at the University in
Venice in 1975. In addition to these regular appointments, his growing fame brought him
positions as a professor in Zurich, Spain, and the United States
Aldo Rossi 's career as a theorist began to take shape during the years Aldo Rossi
worked with Ernesto Rogers on the leading Italian architecture magazine Casabella-
Continuita (1955-1964).
Although early film aspirations were gradually transposed to architecture, he still retains
strong interest in drama.
Inspired by the urban landscapes of Italian painters Mario Sironi and Giorgio
Morandi, Aldo Rossi produces haunting images in which his buildings and others in the
city shrink, while everyday objects such as coffeepots and cigarette packs swell to fill
the frame.
Rossi has spent time developing his architectural voice, and pen. Words as well as
drawings and buildings have distinguished him as one of the great architects. As a
master draftsman, steeped in the tradition of Italian art and architecture, Rossi's
sketches and renderings of buildings have often achieved international recognition long
before being built.

3. ALDO ROSEE WORKS
1.Theatro del mondo in venice
2.Centro Torri In Parma
3.San Cataldo Cemetry In Modena
4.Pocono Mountains ,Pennsylvania
5.Theatre Light House, Tornotto
6.Civic Centres In Perugia
7.GFT Fashion Group In Turin

4. Theatro del mondo in venice:
―IN ALL OF HIS ARCHITECTURE HE HAS ALWAYS BEEN
FASCINATED BY THEATRE."
For the Venice Biennale in 1979, he designed the Teatro del Mondo, a
floating theatre, built under a joint commission from the theatre and
architecture commissions of the Biennale. It seated 250 around a
central stage. It was towed by sea to the Punta della Dogana where it
remained through the Biennale. Rossi described the project in its
site, as "a place where architecture ended and the world of the
imagination began."
Made of plywood, it was build on a barge, and was moved around
Venice – creating a puzzle piece of a building which continually
changed its relationship to its neighbors. At one point, the theater was
―docked‖ at the end of Piazza San Marco, closing it‘s open end
temporarily.
The design of teatro del mondo or venetian theatre is characterized by
three factors
1. having the use of delimited sace even if the position of that space is
unspecified finding its meaning as a shape in terms of the forms of the
venetian monuments around it.
2. Being on water , its chief characteristic- a raft, a ship the limit or
confines of venetian construction.
3. it has been been built of wood and stood as a huge piece of carpentry
barely masked by the gilt and stucco decoration.

5. CENTRO TORRI IN PARMA:
It is a regional shopping center outside Parma rises up out of
the flat plains with 50-ft-high brick towers that both carry the
name of the center and provide a setting for billboards and
advertising.
The towers are terracota brick buildings and writing town centre
up high against the sky accentuates the effect.
As is the case of public buildings that have their own names
written across their facades, indicating more than function
The towers ar edesigned to be seen from the parma express
way.
On foggy days these stand like light houses.
More recently, he completed
a major building for
Genoa, the Carlo Felice
Theatre which is the National
Opera House. In the project
for the Carlo Felice Theater
in Genoa, Aldo Rossi 's task
was to replace the theater
that was bombed in World
War II. His project leaves the
old facade intact but
accommodates full complex
of new functions and spaces.

6. SAN CATALDO CEMETRY IN MODENA:
The typology of the building is characterized by straight collonaded
walkways, with bodies arranged on either sides.
The collonaded walk ways are external and central running along the
ground floor the upper floors and the floors below the ground.
These buildings consist principally of the burial niches.
The lower floors are reached from external colonnades.
On the floor below ground the burial niches are arranged in grid
design, forming large courtyards, the courtyards being made of earth
removed from the burial niches.
Around the courtyard lie the bodies. The relationship is the opposite of
the typology of courtyard houses.
Ossuaries are located in centre of buildings forming triangle.the
ossuaries are located at the centre of the area in a succession of
buildings forming a triangle, the central spine expands toward the
base and the arms of the finale transverse block close u slightly.
These two monumental elements are connected to the ossuaries
through an osteological arrangement.
Essentially cube and cone are used describing death and memory.

7. POCONO MOUNTAINS ,PENNSYLVANIA:
The Pocono Pines Houses in Pocono, Pennsylvania represent one of
his first completed buildings in the United States.
These family houses in a wooded area in the pocono mountains are
conceived and realized using local materials and methods of
construction similar to those used through out united states.
Though still adhering to the traditional new england style the
architecture attempts to interpret this style in a personal way.
For this reason the proposal and the realized buildings appear slightly
out of shape in relation to traditional architecture.
THEATRE LIGHT HOUSE, TORNOTTO:
This is an amphitheatre, a water filtering station on lake Pontario is an allusion to the
roman theatre which forms a bridge between the greek theatre and the modern theatre
.
The three facades that define the stage present a variety of architectural styles and
flanked on either side by a bare tower.as a mari time the light house also connects with
similar ort cities.

8. CIVIC CENTRES IN PERUGIA:
Two civic center projects in Italy indicate the
range of his responses to a similar program.
In Perugia, a large civic center (1988). with
town hall, theater, and housing project, is
elevated on a parking podium and mediates
between the historic city and the postwar
business center. The U-shaped Town
Hall, with shops below and offices above, is
bisected by a galleria raised high on slender
piers. Adjoining the town hall but irregularly
placed on the parking podium are the
theater, with its freestanding conical
entrance tower, and a long, slender housing
block. The disposition suggests an
accretion of disparate buildings over time
rather than a complex planned for
uniformity. Although here as elsewhere
drawing on simple local types, Aldo Rossi
also transforms them, as Aldo Rossi does
with the public arcade that slices through
the town hall.

9. GFT FASHION GROUP IN TURIN:
Aldo Rossi designed an office building on an L-shaped
site with an angled corner entrance of smooth brick.
Aldo Rossi repeats a motif from Borgoricco when Aldo
Rossi anchors the entrance with giant double columns
surmounted by a green steel I-beam lintel. By
incorporating a smaller version of the double column I-
beam lintel motif in the auditorium. Aldo Rossi
emphasizes the parallel between public, urban scale
and the theater as a smaller version of the city. Street
elevations of the two lateral wings incorporate stone
porticoes, a traditional urban element in the
Piedmontese city, but Aldo Rossi also modulates the
surface by extending the stone revetment up to the first
floor and framing the stone piers with green steel I-
beams.

10. Style in architecture:
Viennese architecture and the sources of northern classicism and poetry
would command in his thinking.
In his search for norms, Rossi confronts the typological schemes of modern
architecture with their ancient and vernacular counterparts; in his
formulation of an architecture for present conditions, he plumbs the first
truly normative concepts that undergird neoclassicism. He has no use for
period ornament, no interest in cut-rate imitation; what he
intimates, instead, is the possibility of an order of things that allows us to
experience the present as a suspended moment in the passage from the
past into the future.
Le Corbusier's plastic forms were generated from the machine and
light, Rossi's are from a classical, more conventional signage, stripped of
detailing to bare surface. LIGHT IS NOT AS IMPORTANT AS SHADOWS
IN ROSSI'S ARCHITECTURE. The shadow, a ghost from the
past, simultaneously conceals and accentuates his volumentric designs . In
this respect his architecture is more similar to that of Boullee's in its
monumental scale, historicist tendencies and dramatic shadows
Rossi's architecture is a fusion between certain aesthetic qualities of both
architects which is where his particular signage is read.
Aldo Rossi avoids historical and technological detailing in favor of preserving
the integrity of the volumes, which then convey the quality of structures that
have stood since antiquity.

11. What Rossi sees as the essential characteristics of historical models are represented in a form stripped of
ornament (and any significant detailing). These forms become highly emotive for Rossi because their
memory/meaning is one of extension from past monuments, a transference of responsibility and meaning, while
retaining enough of a transformation to elude any specific historical reference.
On a solid foundation of theory, he uses his talents and ability to solve design problems in memorable and
imaginative ways.
Rossi has once said, "I believe it to be significant, above all, because of the simplicity of its construction, which
allows it to be repeated.―
In a period of diverse styles and influences, Aldo Rossi has eschewed the fashionable and popular to create an
architecture singularly his own.
PHILOSOPHY:
Rossi's buildings affirm themselves in the power of forgotten events. Time has escaped, but the objects remain
like childhood memories, at once tiny and gigantic, or rather measured by an unchanging scale of their own.
Rossi defines architecture as designs (forms) which have persisted over time to become types. Those types
constitute the history of the city or its memory, and the culture of the present. Functions vary over time but form
remains. It is the desire for permanence that is so characteristic of his work. The history of the city is composed by
those designs which persist over time to become types. This permanence of memory (meaning) in the city is
based on two principles:
memory - Urban facts which are permanent; those which withstand the passage of time and eventually become
monuments.
monuments - These give meaning to the life of the city through memory.
"Change is within the very destiny of things, for there is a singular inevitability about evolution ...The singular
authority of the built object and the landscape is that of a permanence beyond people."

12. CONCLUSION:
One can wear a Rossi wristwatch, sit in a Rossi chair sipping espresso from a Rossi coffee pot, don clothes
from a Rossi armoire, promenade through a Rossi mega-shopping center near Parma, see an opera in his
Genoese theatre, and even reserve a plot in the giant Rossi cemetery at Modena.
And all this would be a proverbial tip of the iceberg, from the immense reservoir of his imagination .
"WHEN FUTURE HISTORIANS LOOK FOR AN EXPLANATION AS TO WHY THE DESTRUCTIVE TENDENCIES THAT
THREATENED OUR CITIES CHANGED, ROSSI'S NAME WILL APPEAR AS ONE OF THOSE WHO HELPED TO ESTABLISH
A WISER AND MORE RESPECTFUL ATTITUDE."
This rarest of architectural capacities, the power to be radically of a place and to impart a meaning to objects
far beyond their origin, makes of Rossi an architect whose reflections, lectures, and buildings capture our
attention. He has escaped the sacrifice typically exacted for such ubiquity—uncritical servitude to economic
interests and schematic reduction of ideas to mere patterns and fads—and continues to expand the sheer
magnitude and depth of his projects across countries and continents.
HE WON THE PRITZKER AWARD IN ARCHITECTURE AND WHERE THE JUROR HAS DESCRIBED ROSSI AS "A POET
WHO HAPPENS TO BE AN ARCHITECT."
This award is regarded as noble prize in architecture and is given to someone who know human
behavior, understand structures and materials, and how to shape forms and spaces to serve intended purposes
in inspired and original ways.
We are at an unfortunate loss of these imaginations as this laureate died in an accident in 1997, but his ideas
are yet to be shaped, he is one of the very few architects who proved the fact that
‗ Architecture is timeless or the same with any art’