Designers who imagine a flexible design without renouncing to the quality of craftsmanship; reproducible in series, but limited; industrial, but actually made in family-run factories, with versatile equipment, able to reorganize the production cycle to adapt to the new prototypes.
Using a metaphor, Nervi and Morandi can be defined as haute couture tailors, as ateliers; and instead Zorzi a ready-to-wear designer, who no longer designs a unique garment, but is just like the first Milanese designers of the early seventies who parade with their small collections: a minimalist designer, if we wanted to look for a definition for his style.
The residential building in Gallaratese, built between the end of the Sixties and the beginning of the Seventies, is emblematic of Rossi’s “razionalismo esaltato”. A long, rectilinear building body, opened by a regular sequence of square windows and porticoes, is cut by an expansion joint so large that it becomes an opportunity to break the extreme simplicity and regularity of the building.
His work affirms architecture as an intellectual construct, just as his pure, vernacular forms evoke a city filtered through memory and narratives constructed over time. In the combination of these elements, architecture emerges as a cultural practice capable of offering different layers of meaning to those who use it.
The city . . . is to be understood here as architecture. By architecture, I mean not only the visible image of the city and the sum of its different architecture but architecture as construction, the construction of the city over time. Aldo Rossi