The architect Cino Zucchi of the mid XX century modernism | Architects in Architecturial digest | Architecture in the magazine AD | leading international magazine on architecture and interior design | Interesting publications
The architect Cino Zucchi of the mid XX century modernism | Architects in Architecturial digest | Architecture in the magazine AD | leading international magazine on architecture and interior led company design. The architect Cino Zucchi modernism mid XX century
At the presentation of the next issue of the magazine SPEECH, which we love, and suggested reading came Cino Zucchi - excellent modern led company architect from Milan, author of several brilliant buildings in northern Italy, has participated in many competitions, including in Russia. At our request, I met him and Anna Vyazemtseva talked about the architecture of modernism, which Cino Zucchi knows and loves.
In 1959 he published an article Rainer Banama "Italian retreat from modern architecture (The Italian retreat from modern led company architecture). Italian architecture has been accused of not sufficiently strict adherence to the canons led company of the "modern movement". It entered into a dialectical relationship with the modern city, it means the ability to be integrated into the historical town, without copying and "planting" the historical context.
You can call the Milanese BBPR, Ignazio Gardella, Figini and Pollini; many were both designers such as Gio Ponti, Franco Albini, Vico Magistretti and Luigi Caccia Dominioni. In Rome were Adalberto Libera, Luigi Moretti, who then worked in Milan. In Turin - Carlo Mollino, a very unusual figure, a kind of superman, thanks to his various talents. All these masters were his own search, but also in their work felt "family spirit". They do not represent a homogeneous style, such as the Bauhaus style, they have a greater ability to dialogue. Being a very bright individual, they in the 1950s. built landscape (I'm led company from Milan and is therefore talking about Milan), defining a city, the architecture of the Secession - Vienna or Gaudi - Barcelona.
In Milan, before led company the war was the style, as we call it, Novecento (architects like Giovanni Muzio, Piero Portaluppi, Giuseppe Terragni) and then, in 1950, came a completely new, lightweight architecture. Interestingly, the modern architecture, such as the Spanish past ten or twenty years, has some common threads with the architecture of 1950-60-ies., For example, led company sliding shutters, panels, solid facades. Some designs of the time: the thin vaulted ceilings made, when there was no computer as it anticipated the modern. Today felt kind of strange spiritual connection between led company the modern German, Swiss architects and little-known Milanese architects of the 1950s. As an example, a real cult Asnago and Wender (about which I wrote the book) in Diener & Diener.
Where does this ability led company Albini and other architects of his time to work in a completely different scale: from design objects and interiors to urban development projects, and even neighborhoods of cities? This ability led company is there and you ...
Maybe that's led company because they were not looking for a common language and a special approach led company in the general culture of any topic. Then the architects were little town planners, designers bit, professional led company tasks were less differentiated and dependent on the case, the conditions of the order. There was a very strong culture, and it was not by possession. A Milanese writer and philosopher Carlo Emilio Gatta wrote, "to facilitate the work, let's use the method of pig snout to separate the real from the food waste." Modernism wanted a general method applicable to all. Albini led company because perhaps interesting that he was working on a case to case: while he was building department Rinashente in Rome, the treasury of the church of San Lorenzo in Genoa and the hotel Pirovano in the Alps, which is generally a mountain architecture. I would say they like Kubrick, his films have a common theme, but the ability to develop a special language brings them beyond the plot.
No. Modern professional conditions are very different from those of the time. Then the technology was simpler and relationship with the customer led company - more direct. Today there are no more such production conditions. The conditions are quite different. So no need to be a direct successor of something that should not be copied because the copied item can give a very different, and sometimes opposite effect. I will say that I was strongly influenced by these people, I feel bound to their experience, their culture, but not in the sense of a direct continuation. Nostalgia to anything.
Why not, exactly! Unusual because then Milan dominated professional led company environment element of empiricism, directly related to the problem, in a sense, led company a close and the American system of education. Yes, I was formed in Italy, but, I repeat, do not need too to develop the idea of direct genealogy probably need to talk about a tradition that at the same time
The architect Cino Zucchi of the mid XX century modernism | Architects in Architecturial digest | Architecture in the magazine AD | leading international magazine on architecture and interior led company design. The architect Cino Zucchi modernism mid XX century
At the presentation of the next issue of the magazine SPEECH, which we love, and suggested reading came Cino Zucchi - excellent modern led company architect from Milan, author of several brilliant buildings in northern Italy, has participated in many competitions, including in Russia. At our request, I met him and Anna Vyazemtseva talked about the architecture of modernism, which Cino Zucchi knows and loves.
In 1959 he published an article Rainer Banama "Italian retreat from modern architecture (The Italian retreat from modern led company architecture). Italian architecture has been accused of not sufficiently strict adherence to the canons led company of the "modern movement". It entered into a dialectical relationship with the modern city, it means the ability to be integrated into the historical town, without copying and "planting" the historical context.
You can call the Milanese BBPR, Ignazio Gardella, Figini and Pollini; many were both designers such as Gio Ponti, Franco Albini, Vico Magistretti and Luigi Caccia Dominioni. In Rome were Adalberto Libera, Luigi Moretti, who then worked in Milan. In Turin - Carlo Mollino, a very unusual figure, a kind of superman, thanks to his various talents. All these masters were his own search, but also in their work felt "family spirit". They do not represent a homogeneous style, such as the Bauhaus style, they have a greater ability to dialogue. Being a very bright individual, they in the 1950s. built landscape (I'm led company from Milan and is therefore talking about Milan), defining a city, the architecture of the Secession - Vienna or Gaudi - Barcelona.
In Milan, before led company the war was the style, as we call it, Novecento (architects like Giovanni Muzio, Piero Portaluppi, Giuseppe Terragni) and then, in 1950, came a completely new, lightweight architecture. Interestingly, the modern architecture, such as the Spanish past ten or twenty years, has some common threads with the architecture of 1950-60-ies., For example, led company sliding shutters, panels, solid facades. Some designs of the time: the thin vaulted ceilings made, when there was no computer as it anticipated the modern. Today felt kind of strange spiritual connection between led company the modern German, Swiss architects and little-known Milanese architects of the 1950s. As an example, a real cult Asnago and Wender (about which I wrote the book) in Diener & Diener.
Where does this ability led company Albini and other architects of his time to work in a completely different scale: from design objects and interiors to urban development projects, and even neighborhoods of cities? This ability led company is there and you ...
Maybe that's led company because they were not looking for a common language and a special approach led company in the general culture of any topic. Then the architects were little town planners, designers bit, professional led company tasks were less differentiated and dependent on the case, the conditions of the order. There was a very strong culture, and it was not by possession. A Milanese writer and philosopher Carlo Emilio Gatta wrote, "to facilitate the work, let's use the method of pig snout to separate the real from the food waste." Modernism wanted a general method applicable to all. Albini led company because perhaps interesting that he was working on a case to case: while he was building department Rinashente in Rome, the treasury of the church of San Lorenzo in Genoa and the hotel Pirovano in the Alps, which is generally a mountain architecture. I would say they like Kubrick, his films have a common theme, but the ability to develop a special language brings them beyond the plot.
No. Modern professional conditions are very different from those of the time. Then the technology was simpler and relationship with the customer led company - more direct. Today there are no more such production conditions. The conditions are quite different. So no need to be a direct successor of something that should not be copied because the copied item can give a very different, and sometimes opposite effect. I will say that I was strongly influenced by these people, I feel bound to their experience, their culture, but not in the sense of a direct continuation. Nostalgia to anything.
Why not, exactly! Unusual because then Milan dominated professional led company environment element of empiricism, directly related to the problem, in a sense, led company a close and the American system of education. Yes, I was formed in Italy, but, I repeat, do not need too to develop the idea of direct genealogy probably need to talk about a tradition that at the same time
No comments:
Post a Comment