Architecture of Analogy

A Model School: Aldo Rossi’s School at Fagnano Olona

Posted in Discourse, PhD by Cameron McEwan on May 3, 2012

The recently established Foundation for Architecture & Education is an independent forum for the exchange of ideas about architecture and founded by Samuel Penn and Penny Lewis, who tell us, “Architects work within a rich canon. Defining the position of contemporary work in relation to the vast body of work that has gone before it is important.” The Foundation for Architecture & Education organises events, produce publications and coordinate a post-graduate course in architectural studies. The premise of which is to provide a framework in which each participant can develop their understanding of the discipline through the study of built work. The year long course is split into three parts: Model, which involves the study of a building that exemplifies a particular idea about architecture; Axiom, which demands that participants develop a clear position on their own practice in the context of a broader appreciation of shared concerns for architecture; and Locus, which offers the opportunity to design a building in a specific location. The building chosen to study in Model provides the building type to design in Locus. Each year, a new question is asked, which will be returned to in all of the work undertaken. This year is the question of size: what size should a building be?

This post is about term one Model, which concludes with an Open Review this Saturday 5th of May after a talk and presentation by architect Raphael Zuber and Christoph Gantenbein on Friday night. The building selected to study is Aldo Rossi’s school at Fagnano Olona, a small town, 40 km northwest of Milan. Designed in 1972, Rossi had built only the Segrate town square in 1965 and the Gallaratese housing block in 1970, completing the school at Fagnano Olona in 1976. Thus, it is considered one of Rossi’s early works.

Rossi A (1972-76) Fagnano Olona Elementary School [Photograph: McEwan C 2011]

The selection of this building is: first, Rossi is regarded as a significant architect and Fagnano Olona school is recognised as significant in the development of Rossi’s built and theoretical work. Second, when published, it is often illustrated in plan only and as with all of Rossi’s projects, is accompanied by beautiful sketch studies and photographs. However, the site context and sectional drawings are almost always missing. Third, the building type is sufficiently complex to use as a base for term three, Locus. Finally, and from a personal point of view, Rossi forms the foundation of my PhD, and as readers of this blog will know, there was really no other choice…

Fagnano Olona school is defined by its courtyard plan-form and axially-arranged accommodation. The elevation is punctured with large square openings set in line with the internal wall thus articulating the shadow that falls on the external surface. One enters underneath a large clock, and with the adjacent conical brick chimney (containing the plant), it is like walking into a painting by de Chirico or Sironi. When I visited (see this post), it was the Summer holiday so the school was empty and the association of de Chirico was perhaps intensified by this. The chimney marks the entrance and primary axis of the school, which is organised northeast to southwest between an assembly hall and a linear pergola. Within the courtyard, wide steps lead to the double height gymnasium on the northeast, from which one can look toward the cylindrical library with its glazed roof. Double-corridor wings surround the courtyard and contain twenty-two classrooms (over two floors), staff facilities and a dining hall.

Rossi A (1972-76) Fagnano Olona Elementary School [Re-drawn by McEwan C 2012]

It is interesting to note a recent AR. The February 2012 issue has a short section on schools, in which Christian Kuhn offers four attributes for the building type: flexibility, clustering, common core, and connectivity. We can analyse Fagnano Olona via these attributes.

Kuhn’s attribute clustering, is the division of the school into a hierarchy of smaller clusters. We can see this at Fagnano Olona in the blocks that extend outward from the central courtyard. The longer ones contain four classrooms with a corridor that is 2.5m, and repeat over two floors. The shorter ones contain three classrooms and a room off the corridor (the courtyard end), used as an informal teaching/learning space. These cluster blocks are a single storey with a 2m corridor. The blocks frame an external space with trees and grass.

Flexibility is about the granularity of room sizes and not necessarily about open-plan layout. At Fagnano Olona, the classrooms are repeated units, arranged within the four linear blocks. The other two block contain staff rooms and the dining hall. There is variation in this. At the end of each block the final classroom extends to the width of the corridor. A further subtle variation exists in the northwest end classrooms because the corridor is widened to 2.5m, from the 2m width of the southeast block. Thus, there are three classroom forms, although a fourth informal one exists as the teaching/learning space, which is roughly half the size of the small classrooms and constitutes both circulation space and space for learning.

At Fagnano Olona the common core is the central courtyard with steps. A playground, assembley space, town square and theatre. But also the informal teaching/learning spaces act quite readily as an indoor meeting place.

The final attribute that Kuhn offers is connectivity: the school as a node in a wider network of learning. He cites other learning institutions including secondary/primary school, nursery, and library at the local level; with ICT connections at the global level. At Fagnano Olona, the school includes a library, the circular element in plan, which is also part of the courtyard and adjacent to the entrance. One imagines this space to be used by the community as, for example an exhibition space.

The significance of Rossi’s work is in it’s associative links and typological investigation. Fagnano Olona is no different. A de Chirico clock and chimney mix with the pergola as a reference to the archetypal hut. The courtyard is a typological form, a town square, its steps like an amphitheatre. The library which looks like a baptistry. At Fagnano Olona my interest is in the clarity of composition and investigation of repetition and variation.

Although Rossi is often attacked for dismissing human scale, studying Fagnano Olona in detail reveals the opposite. From the over-scaled square windows which contain four smaller-sized square windows within, to the subtle difference in corridor width, the modest teaching/learning spaces and in particular I was struck by the ledge at the entrance vestibule where children can sit and shelter from the rain, peering, and thinking about that strange chimney, framed by a large square window.

Theory of Types/Dream-work: Rossi speaks to Palladio via Canaletto

Posted in PhD by Cameron McEwan on March 19, 2012
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Dundee School of Architecture and Duncan of Jordanstone School of Art run a Seminar series in which one (or two) PhD Candidates present their work in progress. It runs fortnightly at lunchtime, and last week was my turn.

The timing was good. I delivered a lecture to Year 3, two weeks before, which allowed me, first to consolidate my thinking on how to introduce Rossi (in broad terms); and then, Year 3 were subjected to a minor speculative foray… They may or may not have known this.

The second half of that lecture was on Rossi’s Analogical City Panel from 1976. An enigmatic montage of Rossi projects, superimposed with projects of his references, condensed, into a single image. The PhD Seminar started from here and I visually de-condensed the image, speaking about Rossi’s conversation with Palladio, via Canaletto and locating some of the primary urban types. The panel was published in Lotus International number 13, where Rossi writes of the relationship between reality and imagination, or in his words, the “dialectics of the concrete.” Imagination as a concrete thing.

 

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It’s a funny type of memory, that.

Posted in PhD by Cameron McEwan on March 14, 2012
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Something between remembering and forgetting? The dialectic that exists in memory, I mean the mis-

 

In The Architecture of the City architect Aldo Rossi says that the past is being partly experienced in the present. With Paris and the thesis of sociologist Maurice Halbwachs on Collective Memory in mind Rossi writes, “… the actual configuration of a large city can be seen as the confrontation of the initiatives of different parties, personalities, and governments. In this way various different plans are superimposed, synthesised, forgotten, so that the Paris of today is like a composite photograph, one that might be obtained by reproducing the Paris of Louis XIV, Louis XV, Napoleon I, Baron Haussmann in a single image.” Forgotten. This passage brings to mind one by psychoanalyst Sigmund Freud who in, Civilisation and Its Discontents uses the city of Rome as an analogy to illustrate the accumulation and preservation of material in one’s unconscious. Freud writes that in mental life nothing that has once existed is ever lost. He asks us to imagine Rome to be like the unconscious, “a psychical entity with a similarly long, rich past, in which nothing that ever took shape has passed away, and in which all previous phases of development exist beside the most recent.”

 

And back to Rossi. He concludes A Scientific Autobiography by re-drawing twelve projects. His selection dates from 1962 to 1980, and each are signed summer, “estate 1980.” These fragments exist alongside one another in the present.

 

In my investigation of this, each of Rossi’s twelve projects are superimposed. Like in Freud’s Rome, a composite image is built. Starting with Gallaratese (1970) in Milan, then Segrate (1965), Modena (1979), Venice (1980) and others, each project is drawn, and then painted over. Drawn then painted over, and the process is repeated for each. Rossi’s twelve projects exist in a single image, superimposed. The present image partly experienced by the previous one, or two or three. The drawing sits somewhere between remembering and forgetting. A kind of mis-remembering.

 

Theory of Types/Dream-work: Work in Progress PhD Seminar 12 March

Posted in PhD by Cameron McEwan on March 9, 2012
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The drawings of Italian architect Aldo Rossi condense critical reflections on his own projects with studies of his architectural and everyday references, in a dense combination of lines and images. His buildings are a complex mixture of building typologies, and historical critique. Rossi’s writings are a similar hybrid of visual/textual references and reflections. Aldo Rossi’s drawings, buildings and writings are the result of an analogical thinking process. The aim of this PhD is to articulate a more precise way of understanding the deeply enigmatic processes of Aldo Rossi’s analogical thinking and practice.

This seminar presents current work in progress. It will first outline the scope of the PhD and then focus discussion on Rossi’s Theory of Types via Freud’s Dream-work.

Alliance & Rebellion: An exhibition curated by The Paper Gentlemen

Posted in Discourse, PhD by Cameron McEwan on January 28, 2012
From left to right: scale model by Stephen McCullough; mixed media drawing by Cameron McEwan; painting by Christy Yates.”]

The Paper Gentlemen is a collaboration between three MArch students from the Material Unit at Dundee School of Architecture. Alliance & Rebellion is the first of a series of exhibitions which, according to the Gents, “aims to reactivate a dormant space and encourage collaboration within our varied arts community.”

The exhibition is currently on show at The Faircity Auction House, First Floor Gallery, 52-54 Canal Street, Perth.
The drawing continues the After Architect Aldo Rossi series. A montage of the twelve projects that illustrate Rossi’s A Scientific Autobiography, more of which in a forthcoming Post.

 

Continuing the After Architect Aldo Rossi series.”]

 

The Interplay of Text and Image

Posted in PhD by Cameron McEwan on November 30, 2011
topography of the portfolio”]

In the dull lit Studio space of this November morning, I had a gruelling Supervision on the interplay between text and image in this PhD.

Some snaps…

portfolio and phd”]

The Architecture of the City at IUAV

Posted in Discourse, PhD by Cameron McEwan on November 2, 2011
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First published by Marsilio in Padova, Italy 1966, Aldo Rossi’s The Architecture of the City celebrates its forty-fifth anniversary this year with a new 2011 Italian edition. In honour of this, the IUAV University of Venice organised an international conference and exhibition, supported by the Fondazione Aldo Rossi, the MAXXI Architettura, Rome and Casabella, the journal that Rossi first wrote for and then edited.

Aiming to promote an open and wide discussion on all things Rossian, the conference first recalled the original context that generated the text; then mapped the network of translations that The Architecture of the City undertook; and finally it investigated the contemporary threads of Rossi’s legacy.

Alberto Ferlenga, Director of Doctoral Studies at IUAV and author of many texts on Aldo Rossi, introduced the conference by stating that The Architecture of the City was conceived as an, “in progress synthesis of a particular time period for urban studies.” He said that the matters mentioned by Rossi are still only partly developed and waiting for further consideration by an architectural community looking for theoretical orientation. Ferlenga compared the text to one of those “unfinished works” that Rossi continuously re-worked: a sketch, a plan, a building.

Many presentations emphasised the importance of Ernesto Rogers and Casabella had on Rossi. Serena Maffioletti, and others, said that the journal was the first to publish Rossi’s writings and was among the first to publish his designs. The individual writings for Casabella were thus the route towards The Architecture of the City. The book, then is a collage. Diego Seixas Lopes considered the fragmentary nature of The Architecture of the City to be a collage-like construction. He noted that the wide range of sources from disparate fields intertwined with mentions to Milizia (Enlightenment architecture), Poete (French geography), de Saussure (linguistics) and memories of cities walked by Rossi. Showing preliminary photographs of the making of the book, it looks similar to the way Rossi makes the Blue Notebooks. Freehand writing, with sketch drawings and photocopies of “things” pasted together.

The Verbal and Non Verbal”]

I learned via Elisabetta Vasumi Roveri that the alternative title of The Architecture of the City was to be The City Planning Manual. Uncannily timely, my own contribution noted the alternative title of Rossi’s second book A Scientific Autobiography was to be Forgetting Architecture. I used the article by Adam Caruso titled Whatever Happened to Analogue Architecture and published in AA Files 2009 as my starting point to investigate a lineage of Analogue Architecture from Aldo Rossi to the contemporary Swiss architects Christian Kerez and Valerio Olgiati. I outlined the article by Caruso, who offered a concise section on Aldo Rossi’s two tenure’s at ETH Zurich in the 1970s (Kerez and Olgiati are one step removed from being students of Rossi), and then considered the opposition offered by Carl Jung to Sigmund Freud on analogical thinking. Jung said that analogical thinking was both verbal and non verbal, which invites speculation on the relationship between writing and built form. I suggested the image mediates. Similarly when we speculate on Rossi’s alternative title, Forgetting Architecture, the opposite of forgetting is remembering; and via Freud it is mis-remembering that mediates. Equating these two mediating principles, I offered an analogical reading of Kerez and Olgiati, and suggested thus the contemporary state of Analogue Architecture. A controversial implication. The title of my own contribution was rather cheekily Whatever Happened to Analogue Architecture? Perhaps I should drop Caruso an email…

and Caruso A (2009) Whatever Happened to Analogue Architecture [article title] Mis-remembering the Image. Somewhere between the verbal and non verbal”]

Now for the exhibition. The publishing history of The Architecture of the City was presented as original books, artefacts; around which, a timeline according to Rossi’s Blue Notebooks was charted. Extracts of which were scattered as loose fragments. A little bit lost looking.

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The publishing history reads: Italy 1966, Spain 1971, Germany 1973, Portugal 1977, Italy 1978, France 1981, Spain 1982, USA 1982, Greece 1987, Japan 1991, China 1992 (2 of), Brazil 1995, Italy 1995, Portugal 2001, Italy 2006, and the new 2011 Italy Edition. It is interesting to note the front covers. For example, the first edition of Italy 1966 superimposes a Renaissance Ideal City over an aerial landscape; Italy 1978 shows the Mausoleum of Hadrian (later transformed into the Castel Sant’Angelo). While France 1981 the Analogical City appears five years after it was first presented, then Japan 1991 the Mausoleum again after it was used by Eisenman in the 1982 USA introduction where he juxtaposed a drawing of a labyrinth, setting up ideas about journey and transformation. The China 1992 shows the Analogical City for the second time. The new Edition for 2011 is from an ArtForum article titled Fragments and depicts a storyboard dated 1987 New York.

And those enigmatic Blue Notebooks. Text-based notes, diagrams of objects and projects, self portrait sketch studies, fragments of train tickets, photocopies of newspapers and photographs of views are pasted within. Indeed, I took pleasure in finding out that the Notebooks measure 220mm by 175, when laid flat.

These are just a few highlights in a short Blog Post. The conference was dense with knowledge, intensely focused and in true Rossian style, it was both lucid and murkily ambiguous. I am grateful for the opportunity to share such a platform and thank those who selected my proposal. Indeed, especially to Eamonn Canniffe who forwarded me the Call for Papers and Graeme Hutton for allowing me the short leave. My only criticism is that there was very little questioning of Rossi in general, and considerably less questioning directed at the speakers, in particular. Perhaps this is okay but resistance is welcome, and criticism directed at the individual research presentations should have been encouraged.

The City That Thinks; A Walk on the Digital Sublime

Posted in Discourse by Cameron McEwan on November 2, 2011
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Two views of the Exhibition “City That Thinks” by Paul Guzzardo, a media artist and attorney based in St. Louis and Buenos Aires.

Duncan of Jordanstone College of Art until November 11

 

To walk on the digital sublime  click here

 

The City is like a large House

Posted in Discourse, PhD by Cameron McEwan on October 4, 2011
and Study of Tenement Housing Type Perth [CAD plan section elevation]”]
McEwan C (2011) Tenement Housing Type Perth [Photomontage

Ordinary housing largely forms what we call the built environment, the city. Italian architect Aldo Rossi said that the city is built around fixed points, “monuments.” These are large collective elements surrounded by ordinary housing. In the 1966 The Architecture of the City Rossi developed a theoretical framework for the typology of buildings and their relationship to the city writing, “the study of the individual dwelling offers one of the best means of studying the city and vice versa.” The dwelling is thus both individual and collective. It refers to both itself; and analogically to the wider city, like Alberti’s analogy.

 

This article was first published in the Brick issue of Mat.zine edited by Ryan McLoughlin.

 

The Serpentine Pavilion: Zumthor’s Box from Bengal

Posted in Discourse by Cameron McEwan on August 6, 2011

Vertical articulation of hessian fabric and detail”]An austere Swiss agricultural shed has been transposed to the centre of Hyde Park, London. Last week I had the pleasure of meeting the Project Context team in this most modest of objects. This year’s 11th Serpentine Pavilion is by architect Peter Zumthor, a timber framed structure wrapped in a hessian fabric and coated in idendenpaint. The fabric is rolled over a plywood surface with thin overlaps that create a vertical articulation. It is rough to touch and my sudden association with this jute thread is now to Bengal and even Dundee…

The linear courtyard plan is skewed from the Serpentine Gallery and reads as a sequence of rectangles, one inside another. With openings shifted horizontally one sidesteps from exposed park-to-path-to-dark corridor-to-enclosed garden, the hortus conclusus by Dutch designer Piet Oudolf. A stained blue ledge surrounds the garden and as one looks up, the extreme pitch of the roof frames both the sky and the immediate foliage.

”]With a clear set of oppositions: solid to void, enclosure and exposure, dark to light, solid and unsolid, Zumthor’s black box is an elegant alternative to the busy compositions of previous Serpentine Pavilion’s.

The role of the Serpentine Pavilion has been to offer architects who have not built in the UK a commission to design the temporary structure in Hyde Park and sited on the Gallery’s lawn for the summer months. Zaha Hadid built one in 2000, Oscar Niemeyer in 2003 and Rem Koolhaas in 2006. However with Frank Gehry having built a Maggies Centre in Dundee before the Serpentine, and Zumthor’s house in Devon for Living Architecture underway, perhaps the Serpentine brief requires a further subtle modification.

Route to enclosed garden and view of enclosed garden”]
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