Teresa Stoppani: Onkraj aldorossija (Teoretska praksa arhitekture pri delu)

Delo Alda Rossija, ki je nastajalo od petdesetih do devetdesetih let prejšnjega stoletja, ostaja kritična točka v arhitekturi po modernizmu. Pod vplivom njegovega poučevanja in projektov se je izoblikoval stil s skupino privržencev, ki so ustvarjali prozaične imitacije njegovih risb, oblik in lakoničnih volumnov. To so bili aldorossiji osemdesetih in devetdesetih let prejšnjega stoletja. Zanimivo, tudi sam mojster je takrat postal aldorossi, saj je tudi sam ponavljal svoj nabor form, ki so bile takrat v arhitekturni kulturi in praksi po vsem svetu že dobro znane.

A če postavimo ob stran idiosinkratičnosti in posnemanja, Rossijevo kritično in teoretično delo v obliki poučevanja, pisanja in projektov še naprej zahteva pozornost, saj zastavlja neprijetna vprašanja, pa tudi zarisuje možne načine delovanja v sedanjosti. Pogledati moramo v ozadje, za hipnotično zapeljivost Rossijevih podob in tiho slovesnost njegovih samoreferenčnih arhitekturnih form, ter preusmeriti pozornost od individualnih oziroma individualističnih spominov h kolektivni razsežnosti njegovega dela. Rossijeva dela izpostavljajo relacijsko naravo arhitekture in mesta ter ponujajo možnost, da se sedanjih družbenih in okoljskih problemov lotimo s kolektivno energijo ter kopičenjem vzajemnih vplivov in prilagoditev.

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The work of Aldo Rossi, which spans the 1950s through the 1990s, remains a critical point in post-modernist architecture. The influence of his teachings and projects created a distinct style, as well as a cohort of followers who produced pedestrian imitations of his drawings, forms, and laconic volumes. They were the aldorossis of the 1980s and 1990s. Curiously, even the maestro became an aldorossi, as he continued to reiterate his personal schemata which by then had become familiar to architecture culture and practice around the world. 

Yet, beyond idiosyncrasy and imitations, Rossi’s critical and theoretical work in his teaching, writing, and projects continues to demand attention, giving rise to uneasy questions and possible ways of operating in the present. We need to look behind the hypnotic seduction of Rossi’s imagery and the silent solemnity of his self-referential architectural forms, and shift our attention from individual(istic) memories to the collective dimension of his work. Rossi’s work exposes the relational nature of architecture and of the city, and offers the possibility of approaching present social and environmental concerns with collective energy and an accumulation of mutual influences and adjustments.

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Tereso Stoppani zanima razmerje med arhitekturno teorijo in procesom projektiranja, njeno delo pa se osredotoča na vplive drugih kritičnih prostorskih praks ter filozofije na to, kar je specifično arhitekturno. Njen trenutni projekt raziskuje krizo arhitekturne forme in preučuje njeno materialnost (Dust, Atomised) ter »manjšinske« in neortodoksne prakse (Invisibles, Monsters). Njena dela vključujejo knjige Paradigm Islands: Manhattan and Venice (2010), Unorthodox Ways to Think the City (2019), This Thing Called Theory (sourednica, 2016) in Body Matters (v delu, 2025).

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Teresa Stoppani is interested in the relationship between architecture theory and the design process. Her work focuses on the influences of other spatial and critical practices as well as philosophy on the specifically architectural. Her current project explores the undoing of architectural form, in which she studies its materiality (Dust, Atomised) together with minor and aberrant practices (Invisibles, Monsters). Her books include Paradigm Islands: Manhattan and Venice (Routledge 2010), Unorthodox Ways to Think the City (Routledge 2019), and the co-edited This Thing Called Theory (Routledge 2016) and the forthcoming Body Matters (Routledge 2025).

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Predavanje bo v angleščini. / Lecture is in English.

Predavanje je del programa razstave Teoretska praksa arhitekture pri delu v Galeriji Dessa. Več na povezavi: https://www.dessa.si/program/teoretska-praksa-arhitekture-pri-delu