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ALDO ROSSI’S TYPES AS THRESHOLD BETWEEN THEORY AND REALITY

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 Content

Introduction..............................................................................................................…….......…….....3

1. The Characteristics of Type……………..…………….....................................................................4

1.1 Type and History…………….………......................................................................….......4

1.2 Type and Formal Theory…………….………..........................................................….......6

2. The Monte Amiata Complex and Gallaratese…………….………....…............................….….......7

2.1 Historical Background………….………...................................................................….....7

2.2 The Translation of a Theory………….……….................................................…..….......10

3. The similar floor plans of different projects………….………..............................................….......11

3.1 Introduction to Similarity: San Rocco by Rossi and Grassi......…...............….....…...….11

3.2 The Floor Plans in Comparison...........................…...........…………………….....….......12

Conclusion.....…………………………………………………………….....................................….......18

Bibliography..........................................……………………………….………………………….….......20

List of Figures......……..........................……………………………….………………………….….......22

[2555 Words]
 Introduction

The aim of the following research is to investigate the theory of the Architect Aldo Rossi and the
relation to urban building types, especially domestic types, designed by himself, in a critical way.
Moreover it is attempting to describe the position Rossi has been building for himself and
questioning, whether the ‚type‘ was, as a rational system of repetitive production, being applied to
the shape of the built form – neglecting the actual housing scheme and its possible variations.

The era of Neo-Rationalism in Architecture (1960 – 1970) was introduced by a movement called
Tendenza in Italy. In contrast to the International Modernism and the dogmas of the De Stijl and
Neues Bauen movement (1917 – 1931), Tendenza was describing a practice to, firstly, return to
Architecture as a technical, but aesthetic discipline, for example in the attempt to solve the
problems of architecture in relationship with the analysis of the urban structure. Secondly there
was a shift of interest from addressing the problem of destruction of cities due to social changes
and the social reorganizing processes of urban development.1

Together with this, there was an attempt to ‘register form as the new paradigm of architecture as
opposed to […] "functionalism" […] and to develop an "urban science" distinct from city planning.' 2
Among other important representatives was Rossi with L’architettura della città (1966), and Grassi
with La costruzione logica dell'architettura (1967).

In this research cases of housing projects by Rossi are analyzed, with a focus on Gallaratese,
which has a particular floor plan reappearing in other housing projects by Rossi and Grassi. It is
important to ask the question, whether the assumption of Aldo Rossi about a disinterest of
reinterpretation of the floor plans was a subjective choice in itself or was emerging out of his
theory.

1
Kuhnert Nikolaus, Stefan Reiß-Schmidt, “Thesen Zur ‘Rationalen Architektur’ Entwerfen Mit Invarianzen
Und Vorstellungsbildern.”, ARCH+ 37: Der Tod Der Architektur, no. 37 (April 1, 1978): p.30. www.arch-
plus.net/home/archiv/artikel/46,2277,1,0.html Accessed: 09-12-2019.
2
Turan, Belgin. "Is "Rational" Knowledge of Architecture Possible? Science and Poiêsis in "L'Architettura
Della Città"." Journal of Architectural Education (1984-) 51, no. 3 (1998): pp. 158-65. www.jstor.org/
stable/1425504 Accessed: 09-12-2019.

3
1. The Characteristics of Type

What were, according to Rossi, the characteristics needed in order for Architecture to be
considered as belonging to a type? In the following chapter influences and essential points of
Rossi’s definition of type will be depicted.

1.1 Type and History

The first complete formulation of an idea of Architectural type Rossi refers to, was introduced by
Quatremère de Quincy in Dictionnaire historique de l’Architecture (Paris, 1832). According to this,
type describes something, which ‘presents less the image of a thing to copy or imitate completely
than the idea of an element which ought itself to serve as a rule for the model’ 3. Beginning with the
19th century, type becomes part of Geometry: with the help of his drawing studies Durand intends
that simplified serial elements of individual buildings illustrate generic principles of architectural
form. He is thus convinced that the form of the buildings could be found through simply creating
catalogues of these elements and applying them. Architectural type is becoming serialized.4

Figure 1: Drawings of J.N.L. Durand, Recueil Et Parallèle Des Édifices, 1801. 5

3
Rossi, Aldo. Die Architektur Der Stadt: Skizzen Zu Einer Grundlegenden Theorie Des Urbanen. Trans-
lated by E. Blum, J. Fezer, G. Fischer and A. Schnell. Berlin: Birkhauser Architecture, 2015, p.27.
4
Madrazo, Leandro. "Durand and the Science of Architecture." Journal of Architectural Education (1984-)
48, no. 1 (1994): p.13. doi:10.2307/1425306 Accessed: 08-12-2019.
5
Ibid. p.13.

4
With Architecture committing itself to mass production, further theories emerged reducing the
Architecture to its minimum of functionality. Aldo Rossi criticizes the opinions of modernist
movements. Linked to this he argues that Neues Bauen, which promotes a ‘naive functionalism’6 is
something that can’t be developed further. He picks up the definition of type from Quatremère de
Quincy. Additionally Anderson notices that Rossi was strongly influenced by Neoclassicism,
especially by the Architects Adolf Loos and Heinrich Tessenow:

‘Consider again the position taken by Rossi. In dismissing the Secession and the Bauhaus
for their assimilation of craft and technique under artistically controlled “industrial design” he
implicitly places Behrens and the Werkbund (exhibiting Neues Bauen with its
Weissenhofsiedlung) in opposition to his “trio of masters”: Loos, Tessenow, and Mies.’ 7

Additionally, Rossi thinks the type is emerging out of the historically established architectural form
and, thus, can be reduced to its most basic elements and be repeated. As Manfredo Tafuri pointed
out, Rossi’s typological research is bound to a disinterest in major changes. Its repetition recalls
Tessenow’s will for naivete.8 Followingly, Rossi is talking about the historical model of a building
consisting of types, or being a type itself, and the way it should reappear in urban environments of
the future. Type is conceived as a result of a long history, thus being proved as working model, an
indication of adaptivity.9

Figure 2: (from top) Aldo Rossi: Typological diagram of XIII Triennale;

housing at Milan: typical plan and ground floor plan

10
residential unit in S. Rocco a Monza

6
Rossi, Aldo. Die Architektur Der Stadt: Skizzen Zu Einer Grundlegenden Theorie Des Urbanen. Trans-
lated by E. Blum, J. Fezer, G. Fischer and A. Schnell. Berlin: Birkhauser Architecture, 2015, pp.29 - 31.
7
Anderson, Stanford. "The Legacy of German Neoclassicism and Biedermeier: Behrens, Tessenow, Loos,
and Mies." Assemblage, no. 15 (1991): p.74. doi:10.2307/3171126 Accessed: 10-12-2019.
8
Tafuri, Manfredo. History of Italian Architecture, 1944 ‐ 1985. 1985. Translated by Jessica Levine. MIT Press ,
1988.
9
Rossi, Aldo. Die Architektur Der Stadt: Skizzen Zu Einer Grundlegenden Theorie Des Urbanen. Trans-
lated by E. Blum, J. Fezer, G. Fischer and A. Schnell. Berlin: Birkhauser Architecture, 2015, p.40.
10
Bandini, Micha. "TYPOLOGY AS A FORM OF CONVENTION." AA Files, no. 6 (1984): pp. 73-82.
www.jstor.org/stable/29543402 Accessed: 08-12-2019.

5
1.2 Type and Formal Theory

Figure 3: Diagram – The Theory of Aldo Rossi11

Besides Rossi treats urban planning as a formal theory. As we can see in this diagram Rossi’s
theory was intending to perform both as an analytical tool, presenting the city in its parts and as a
whole image (Cittá per parti and Cittá analoga), as well as an interpretive method, establishing
Archetypes and Typological Schemes. As he focuses the reader’s attention on the hypothesis that
planning should be based on a formal-logical operation, this results in a ‘theory of permanence’ 12,
which is influenced by Marcel Poëte 13 and describes reoccurring patterns and forms that emerge in
different times in history but are related to each other 14. Nevertheless, the built forms of the city are
not only theoretical. What happens to the interior of the built form? Does Rossi consider this in
domestic types?
11
Kuhnert Nikolaus, Stefan Reiß-Schmidt, “Thesen Zur ‘Rationalen Architektur’ Entwerfen Mit Invarianzen
Und Vorstellungsbildern.”, ARCH+ 37: Der Tod Der Architektur, no. 37 (April 1, 1978): p.28. www.arch-
plus.net/home/archiv/artikel/46,2277,1,0.html Accessed: 09-12-2019.
12
Rossi, Aldo. Die Architektur Der Stadt: Skizzen Zu Einer Grundlegenden Theorie Des Urbanen. Trans-
lated by E. Blum, J. Fezer, G. Fischer and A. Schnell. Berlin: Birkhauser Architecture, 2015, pp.42 - 46.
13
Poëte, Marcel. Introduction à l'Urbanisme: L'évolution des villes - La Leçon de l'Antiquité. Paris: Boivin &
cie; 1967. In: Rossi, Aldo. Die Architektur Der Stadt: Skizzen Zu Einer Grundlegenden Theorie Des
Urbanen. Translated by E. Blum, J. Fezer, G. Fischer and A. Schnell. Berlin: Birkhauser Architecture,
2015, p.32.
14
Rossi, Aldo. Die Architektur Der Stadt: Skizzen Zu Einer Grundlegenden Theorie Des Urbanen (Trans-
lated by E. Blum, J. Fezer, G. Fischer and A. Schnell). Bauwelt Fundamente, German Edition. (Berlin:
Birkhauser Architecture, 2015), p.9.

6
2. The Monte Amiata Complex and Gallaratese

In order to explore the previous question housing projects of Rossi and Grassi, will be portrayed in
this chapter, after having studied the case of the Monte Amiata Complex. The examples include
the floor plans of Grassi and Rossi’s San Rocco housing Complex (Monza, 1970), Gallaratese
housing (Milan, 1972), Grassi’s Casa Dello Studente student halls (Chieti, 1976), as well as
Rossi’s Südliche Friedrichstadt housing (Berlin, 1988).

2.1 Historical Background

After the Second World War there was a shortage of housing in Europe. Milan reacted to the crisis
by drafting a series of housing plans in several parts of the city. One site was a working-class area
owned by the Monte Amiata Società Mineraria per Azioni. In 1967, the project for the Monte
Amiata housing complex consisting of five buildings (A1, A2, B, C, D) was given to Carlo
Aymonino. He invited Aldo Rossi to design a part of the northern extension, building ‘D’. As we will
notice, this was a perfect opportunity for Rossi to translate his theory on Architecture and Urbanism
into the non-descriptive building type, that could change its function according to future utilization.
It should become an enduring urban element, which was one of Rossi’s highest principles15.

Figure 4: The differences between both Architect’s approaches to the Monte Amiata complex (Rossi: left,
Aymonino: right) 16
15
Rossi, Aldo. Die Architektur Der Stadt: Skizzen Zu Einer Grundlegenden Theorie Des Urbanen. Trans-
lated by E. Blum, J. Fezer, G. Fischer and A. Schnell. Berlin: Birkhauser Architecture, 2015, p.43.
16
Archdaily. "AD Classics: Gallaratese Quarter / Aldo Rossi & Carlo Aymonino" Last Edited: March 14,
2017. www.archdaily.com/867165/ad-classics-gallaratese-quarter-milan-aldo-rossi-carlo-aymonino Ac-
cessed: 09-12-2019.

7
While Aymonino works with a variety of different domestic typologies, from courtyard apartments
to units accessed by an interior corridor, just like in Le Corbusier’s Unite d’habitation, Rossi is
rather showcasing elements of worker’s housing with each residential unit being accessible from
the gallery. Aymonino’s introduces typological variety, whilst Rossi’s building, by contrast, is
entirely repetitive inside and out.

Figure 5 and 6: The complexity of Aymonino’s contribution 17

17
Atlante Architettura Contemporanea. "Unità residenziale Monte Amiata‘‘ Last Edited: 2018. www.at-
lantearchitetture.beniculturali.it/unita-residenziale-monte-amiata/ Accessed: 09-12-2019.

8
In contrast Rossi’s buildings measures 200m and is a single block made out of concrete. It is lifted
from the ground, standing on an arcade, which starts at the street and extends into the centre of
the complex, occupying the whole ground floor. It has a monumental, dramatic aura and no
ornamentation – entirely white and wrapped in indefinable character.

Figure 7: The facade of Gallaratese 18

Figure 8: The ground floor plan of Gallaratese 19

18
Archdaily. "AD Classics: Gallaratese Quarter / Aldo Rossi & Carlo Aymonino" Last Edited: March 14,
2017. www.archdaily.com/867165/ad-classics-gallaratese-quarter-milan-aldo-rossi-carlo-aymonino Ac-
cessed: 09-12-2019.
19
Archimachina. "Housing Typology: Gallaratese" Last edited: October 27, 2015. www.archimachina.word-
press.com/2015/10/27/gallaratese-housing/ Accessed: 07-12-2019.

9
2.2 The Translation of a Theory

According to Moneo Gallaratese is ‘in effect a compendium of Rossi’s theoretical work during those
years’20, since here one can see the influences and an interest in the monumental presence. The
project is a typical search for the relationship of analogical theory of the city and type. This
relationship can be clearly seen in the collective memory of traditional Milanese, multi occupancy,
tenement and the corridor, as well as the aim to reinterpret the type of a single block. It is ’an
analogical relationship with certain engineering works that mix freely with both the corridor typology
and a related feeling I have always experienced in the architecture of the traditional Milanese
tenements‘, says Rossi21. It is clear to see, that Rossi perceives the corridor as a typology, located
into the building and the city, in a rational context.

Figure 9: The corridor of Gallaratese 22

20
Moneo, Rafael. “On Typology“, Oppositions – A Journal for Ideas and Criticism in Architecture, no. 13
(MIT Press, 1978). www.doarch152spring2015.files.wordpress.com/2015/01/moneo_on-typology_oppos-
itions.pdf Accessed: 10-12-2019.
21
Garnham, Trevor. Architecture Re-assembled: The Use (and Abuse) of History. London:Routledge,
2013, p.181. www.doi.org/10.4324/9780203528297
22
Divisare. "ALDO ROSSI GALLARATESE HOUSING D BLOCK" Last edited: March 26, 2017. www.divis-
are.com/projects/340795-aldo-rossi-burcin-yildirim-gallaratese-housing-d-block Accessed: 09-12-2019.

10
3. The similar floor plans of different projects

Moving on to detail, let us look at the examples including floor plans of the San Rocco (Monza,
1970), the Gallaratese (Milan, 1972), Grassi’s Casa Dello Studente (Chieti, 1976), as well as
Rossi’s Südliche Friedrichstadt (Berlin, 1988).

3.1 Introduction to Similarity: San Rocco by Rossi and Grassi

Figure 10: Floorplan of San Rocco 23

The San Rocco Housing, was a collaborative project between Rossi and Grassi. This housing
scheme was never built, but is, again, a perfect example of repetition and pure formalism.

Grassi explains, that the ‘process of description and classification […] is implemented to compare
and contrast a specific object and its internal qualities with the scope of representing them in a
diagrammatic way, which is immediately intelligible and applicable.’24

23
Paola, Pasquale De. “Toward a Rational Architectural Practice: The Particular Case of Giorgio Grassi.”
(2013), p.216.
24
Grassi, Giorgio. La Costruzione Logica dell’ Architettura (1967). New Edition. Milan: Franco Angeli, 2008.

11
3.2 The Floor Plans in Comparison

Figure 11: Floorplan of housing typologies of San Rocco 25

Figure 12: Floorplan of housing typologies of Gallaratese 26

Figure 13: Floorplan of housing typologies of Gallaratese in Detail 27

25
Paola, Pasquale De. “Toward a Rational Architectural Practice: The Particular Case of Giorgio Grassi.”
(2013), p.216.
26
Archimachina. "Housing Typology: Gallaratese" Last edited: October 27, 2015. www.archimachina.word-
press.com/2015/10/27/gallaratese-housing/ Accessed: 07-12-2019.
27
Rossi, Aldo. Buildings and Projects. Compiled and edited by P. Arnell and T. Bickford. New York :
Rizzoli, 1995.

12
Figure 14: Floorplan of housing typologies of Südliche Friedrichstadt 28

Figure 15: Building Südliche Friedrichstadt 29

28
Rossi, Aldo. Buildings and Projects. Compiled and edited by P. Arnell and T. Bickford. New York :
Rizzoli, 1995.
29
Berlin.de “Wohnhaus & Mietshaus Kochstraße 1 & 2 & 3 & 4 Wilhelmstraße 36 & 37 & 38“
www.stadtentwicklung.berlin.de/denkmal/liste_karte_datenbank/de/denkmaldatenbank/daobj.php?

13
 30
Figure 16: Grassi’s student halls project Casa Dello Studente

31
Figure 17: Floor plan (cut out) of typologies of student halls project Casa Dello Studente

obj_dok_nr=09050469 Accessed: 09-12-2019.

30
Divisare. "GIORGIO GRASSI STUDENT HALLS OF RESIDENCE IN CHIETI" Last edited: Februrary 16,
2017.. www.divisare.com/projects/337701-giorgio-grassi-student-halls-of-residence-in-chieti Accessed:
10-12-2019.
31
Ibid.

14
 32
Figure 18: Corridor of student halls project Casa Dello Studente

33
Figure 19: Corridor of Gallaratese

32
Divisare. "GIORGIO GRASSI STUDENT HALLS OF RESIDENCE IN CHIETI" Last edited: Februrary 16,
2017.. www.divisare.com/projects/337701-giorgio-grassi-student-halls-of-residence-in-chieti Accessed:
10-12-2019.
33
Arne Masik Metaphysical Photography. "Aldo Rossi: Pale Photos Between The World Of The Living And
Dead" www.arnemaasik.org/galleries/aldo-rossi/ Accessed: 10-12-2019.

15
Given these examples, we can notice, that the floor plans share the same features, although they
are located in different places or have different functions: going further into detail, one can clearly
see that this typology is not only applied to housing in case of Gallaratese and the Südliche
Friedrichstadt, but also to the Student Hall Project.

It is interesting to observe, that the units are arranged in the same way and their size is easily
adapted to the building depth since it is a linear slab or a composition of linear slabs to a block in
the case of San Rocco (see: Figure 11, Housing Type A, B and C).

The rooms are organized around an Entrée space: the bathroom and the kitchen are located on
the right and the left side of the entrance, while two additional rooms are placed in front of the
entrance, again, on each side. In some cases there is a balcony, occupying half of the unit’s
facade, whereas in other cases the balcony is bigger or not existent.

Figure 20: Diagrams of floor plans: San Rocco (Monza, 1970), Gallaratese (Milan, 1972), Südliche
Friedrichstadt (Berlin, 1988), Casa Dello Studente (Chieti, 1976), 34

34
Hilâl Kuşcu, 10.12.2019, London. Own drawings of the Author.

16
Besides the phenomena of the floor plan, we can observe further similarities. These are for
example the aim to achieve symmetry and the element of the corridor and gallery serving as
access to units or permeable base in Gallaratese and Casa Dello Studente. Peter St. John reveals
the fact that Rossi refers to the galleried Milanese ballatoio housing of the 1920s. The block, has a
domestic scale despite of being a social housing project, so St. John calls it ‘a poor man’s version
of Le Corbusier’s Unite d’Habitation’. But going back to Gallaratese, its facade contributes to the
fact, that the building doesn’t declare any interest of showing the viewer what is happening inside.

35
Figure 21:The monumental facade of Gallaratese

This leads the reader to think of Rossi as an Architect working also in domestic and housing scale
and therefore this raises to the question, whether the building is designed for the resident living
inside or for the image of conceiving the city as a (analogical) whole. There is a fundamental
difference: Rossi is partly ignoring to address the people living inside – the form of the type
becomes one of the highest principles throughout different work. 36 Keeping Aldo Rossi’s theory in
mind, one could state, that the type is the beginning and the ultimate ending of Architecture
because it advocates for the huge collection of historical forms being a resource for future design.
This consistency of Rossi being under obligation of his theory in all of his work is leaving us with
the following question: Why does Rossi repeat the symmetrical floor plan, while the type of the built
form is translated into different compositions and forms, showing that variations among types are
possible and supporting his argument of adaptivity?

35
Divisare. "ALDO ROSSI GALLARATESE HOUSING D BLOCK" Last edited: March 26, 2017. www.divis-
are.com/projects/340795-aldo-rossi-burcin-yildirim-gallaratese-housing-d-block Accessed: 09-12-2019.
36
St. John, Peter. “Inspiration; Aldo Rossi’s Gallaratese Housing’’, Building Design Magazine, Issue 2008
(London: April 5, 2012): pp.12-15.

17
 Conclusion

Why are Rossi and Grassi not interested in discussing the dwelling although they were interested
in the relationship of the city and Architecture? What does this relationship ‘include’? This brings
the discussion back to the table of Durand. It occurs that Rossi (and Grassi in these examples) turn
a blind eye on the interior of the buildings, where the living in the city goes on, on an extremely
formalist level. One ultimate solution of a type stands, in my opinion, in conflict with Rossi’s ideas
of permanence as an adaptive practice. Therefore the question, whether for Rossi it is reasonable
to think that one typology should be established and applied to everything else, is arising.

One the one hand, one thing that could have been reasonable, would be regarding the continuous
floorplan as a choice of fragmenting a single block, in order to give opportunities in further
transformation of the interior. The housing scheme shows a sense of flexibility by being
minimalistic and dividable. It can be read as a series of individual housing plans, next to each
other, without showing interest in variation but giving an impression of individual ownership. Due to
Rossi’s statements about type allowing for changing functions in the future 37 and thus, being able
to transform from social housing into another usage, this line of thought seems reasonable.
Nevertheless, it still remains theoretical, because Rossi doesn’t tell anything about the inner
organization of the ideal type. On the other hand ‘Rossi’s types communicate only with themselves
and their ideal context. They become […] mute reminders of a more or less perfect past, a past
that may not even have existed’. 38 ‘These ideas may not function well in the present if they remain
in their original conception, but by means of the “compulsion to repeat” they are updated,
reconfigured, and made useful to the author-architect. If the aim underlying all of the above is, [...]
a wish fulfilment, then it seems plausible that the objective of Rossi's repetition is the fulfilment of
an unrealized desire.’39

Therefore symmetry and repetition of a simple floor plan, which is working, and thinking further
could even be considered as naive functionalism, could act as a safe method providing the
possibility to shift the viewers attention on the form of a building – the element, which is examined
thoroughly in Aldo Rossi’s theory.

37
Rossi, Aldo. Die Architektur Der Stadt: Skizzen Zu Einer Grundlegenden Theorie Des Urbanen. Trans-
lated by E. Blum, J. Fezer, G. Fischer and A. Schnell. Berlin: Birkhauser Architecture, 2015, p.43.
38
Moneo, Rafael. “On Typology“, Oppositions – A Journal for Ideas and Criticism in Architecture, no. 13
(MIT Press, 1978): p.37. www.doarch152spring2015.files.wordpress.com/2015/01/moneo_on-
typology_oppositions.pdf. Accessed: 10-12-2019.
39
Rossi, Aldo. “A Scientific Autobiography.“ Oppositions – A Journal for Ideas and Criticism in Architecture
(Cambridge: MIT Press, 19 ) In: Lobsinger, Mary Louise. "That Obscure Object of Desire: Autobiography
and Repetition in the Work of Aldo Rossi." Grey Room, no. 8 (2002): p.42. www.jstor.org/stable/1262607.
Accessed: 07-12-2019.

18
The findings of L’Archittetura della Cittá are, in these terms, incomplete or only focusing on the
relationship of the built form in context with the city, but isn’t the city inhabited by people, living and
working inside those buildings? The question, whether a housing typology is universal and can be
applied to multiple buildings, in various locations, remains to be examined in Rossi’s theory.

19
 Bibliography

Literature
Anderson, Stanford. "The Legacy of German Neoclassicism and Biedermeier: Behrens, Tessenow, Loos,
and Mies." Assemblage, no. 15 (1991). doi:10.2307/3171126 Accessed: 10-12-2019.

Bandini, Micha. "TYPOLOGY AS A FORM OF CONVENTION." AA Files, no. 6 (1984): pp. 73-82.
www.jstor.org/stable/29543402 Accessed: 08-12-2019.

Garnham, Trevor. Architecture Re-assembled: The Use (and Abuse) of History. London:Routledge, 2013,
p.181. www.doi.org/10.4324/9780203528297

Grassi, Giorgio. La Costruzione Logica dell’ Architettura (1967). New Edition. Milan: Franco Angeli, 2008.

Kuhnert Nikolaus, Stefan Reiß-Schmidt, “Thesen Zur ‘Rationalen Architektur’ Entwerfen Mit Invarianzen Und
Vorstellungsbildern.”, ARCH+ 37: Der Tod Der Architektur, no. 37 (April 1, 1978).
www.archplus.net/home/archiv/artikel/46,2277,1,0.html Accessed: 09-12-2019.

Madrazo, Leandro. "Durand and the Science of Architecture." Journal of Architectural Education (1984-) 48,
no. 1 (1994). doi:10.2307/1425306 Accessed: 08-12-2019.

Moneo, Rafael. “On Typology“, Oppositions – A Journal for Ideas and Criticism in Architecture, no. 13 (MIT
Press, 1978). www.doarch152spring2015.files.wordpress.com/2015/01/moneo_on-typology_oppositions.pdf
Accessed: 10-12-2019.

Paola, Pasquale De. “Toward a Rational Architectural Practice: The Particular Case of Giorgio Grassi.”
(2013), p.216.

Poëte, Marcel. Introduction à l'Urbanisme: L'évolution des villes - La Leçon de l'Antiquité. Paris: Boivin & cie;
1967.

Rossi, Aldo. “A Scientific Autobiography.“ Oppositions – A Journal for Ideas and Criticism in Architecture
(Cambridge: MIT Press, 19 ) In: Lobsinger, Mary Louise. "That Obscure Object of Desire: Autobiography and
Repetition in the Work of Aldo Rossi." Grey Room, no. 8 (2002). www.jstor.org/stable/1262607. Accessed:
07-12-2019.

Rossi, Aldo. Die Architektur Der Stadt: Skizzen Zu Einer Grundlegenden Theorie Des Urbanen. Translated
by E. Blum, J. Fezer, G. Fischer and A. Schnell. Berlin: Birkhauser Architecture, 2015.

St. John, Peter. “Inspiration; Aldo Rossi’s Gallaratese Housing’’, Building Design Magazine, Issue 2008
(London: April 5, 2012)

20
Tafuri, Manfredo. History of Italian Architecture, 1944 ‐ 1985. 1985. Translated by Jessica Levine. MIT Press ,
1988.

Turan, Belgin. "Is "Rational" Knowledge of Architecture Possible? Science and Poiêsis in "L'Architettura
Della Città"." Journal of Architectural Education (1984-) 51, no. 3 (1998): 158-65.
www.jstor.org/stable/1425504 Accessed: 09-12-2019.

Online Sources:
Archdaily. "AD Classics: Gallaratese Quarter / Aldo Rossi & Carlo Aymonino" Last Edited: March 14, 2017.
www.archdaily.com/867165/ad-classics-gallaratese-quarter-milan-aldo-rossi-carlo-aymonino Accessed: 09-
12-2019.
Divisare. "ALDO ROSSI GALLARATESE HOUSING D BLOCK" Last edited: March 26, 2017.
www.divisare.com/projects/340795-aldo-rossi-burcin-yildirim-gallaratese-housing-d-block Accessed: 09-12-
2019.
Divisare. "GIORGIO GRASSI STUDENT HALLS OF RESIDENCE IN CHIETI" Last edited: Februrary 16,
2017.. www.divisare.com/projects/337701-giorgio-grassi-student-halls-of-residence-in-chieti Accessed: 10-
12-2019.

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 List of Figures

Figure 1: Madrazo, Leandro. "Durand and the Science of Architecture." Journal of Architectural Education
(1984-) 48, no. 1 (1994). doi:10.2307/1425306 Accessed: 08-12-2019.

Figure 2: Bandini, Micha. "TYPOLOGY AS A FORM OF CONVENTION." AA Files, no. 6 (1984).

www.jstor.org/stable/29543402 Accessed: 08-12-2019.

Figure 3: Kuhnert Nikolaus, Stefan Reiß-Schmidt, “Thesen Zur ‘Rationalen Architektur’ Entwerfen Mit Invari-
anzen Und Vorstellungsbildern.”, ARCH+ 37: Der Tod Der Architektur, no. 37 (April 1, 1978)8. www.arch-
plus.net/home/archiv/artikel/46,2277,1,0.html Accessed: 09-12-2019.

Figure 4: Archdaily. "AD Classics: Gallaratese Quarter / Aldo Rossi & Carlo Aymonino" Last Edited: March
14, 2017. www.archdaily.com/867165/ad-classics-gallaratese-quarter-milan-aldo-rossi-carlo-aymonino Ac-
cessed: 09-12-2019.

Figure 5: Atlante Architettura Contemporanea. "Unità residenziale Monte Amiata‘‘ Last Edited: 2018. www.at-
lantearchitetture.beniculturali.it/unita-residenziale-monte-amiata/ Accessed: 09-12-2019.

Figure 6: Ibid.

Figure 7: Archdaily. "AD Classics: Gallaratese Quarter / Aldo Rossi & Carlo Aymonino" Last Edited: March
14, 2017. www.archdaily.com/867165/ad-classics-gallaratese-quarter-milan-aldo-rossi-carlo-aymonino Ac-
cessed: 09-12-2019.

Figure 8: Archimachina. "Housing Typology: Gallaratese" Last edited: October 27, 2015. www.archimachin-
a.wordpress.com/2015/10/27/gallaratese-housing/ Accessed: 07-12-2019.

Figure 9: Divisare. "ALDO ROSSI GALLARATESE HOUSING D BLOCK" Last edited: March 26, 2017.
www.divisare.com/projects/340795-aldo-rossi-burcin-yildirim-gallaratese-housing-d-block Accessed: 09-12-
2019.

Figure 10: Paola, Pasquale De. “Toward a Rational Architectural Practice: The Particular Case of Giorgio
Grassi.” (2013).

Figure 11: Ibid.

Figure 12: Archimachina. "Housing Typology: Gallaratese" Last edited: October 27, 2015. www.archimachin-
a.wordpress.com/2015/10/27/gallaratese-housing/ Accessed: 07-12-2019.

22
Figure 13: Rossi, Aldo. Buildings and Projects. Compiled and edited by P. Arnell and T. Bickford. New York :
Rizzoli, 1995.

Figure 14: Ibid.

Figure 15: Berlin.de “Wohnhaus & Mietshaus Kochstraße 1 & 2 & 3 & 4 Wilhelmstraße 36 & 37 & 38“
www.stadtentwicklung.berlin.de/denkmal/liste_karte_datenbank/de/denkmaldatenbank/daobj.php?
obj_dok_nr=09050469 Accessed: 09-12-2019.

Figure 16: Divisare. "GIORGIO GRASSI STUDENT HALLS OF RESIDENCE IN CHIETI" Last edited: Februr-
ary 16, 2017.. www.divisare.com/projects/337701-giorgio-grassi-student-halls-of-residence-in-chieti Ac-
cessed: 10-12-2019.

Figure 17: Ibid.

Figure 18: Ibid.

Figure 19: Arne Masik Metaphysical Photography. "Aldo Rossi: Pale Photos Between The World Of The Liv-
ing And Dead" www.arnemaasik.org/galleries/aldo-rossi/ Accessed: 10-12-2019.

Figure 20: Hilâl Kuşcu, 10.12.2019, London. Own drawings of the Author.

Figure 21: Divisare. "ALDO ROSSI GALLARATESE HOUSING D BLOCK" Last edited: March 26, 2017.
www.divisare.com/projects/340795-aldo-rossi-burcin-yildirim-gallaratese-housing-d-block Accessed: 09-12-
2019.

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