Kersten Geers Knihy

In the 1960s, American architect Robert Venturi made a case for the difficult whole, opposing mainstream modern architecture that ignores all the intricacies of life and produces pure space, or "easy unity". The architecture Venturi was aiming for embraces diversities, inevitable in any project. This new book, edited by Architecture Without Content, a research group at Ecole Polytechnique Federale de Lausanne's School of Architecture, offers a fresh analysis and a thorough re-evaluation of Venturi s idea of "the difficult whole" as both a looking glass and a possible tool for architecture today. Through a radical re-reading of found material from the Venturi Scott Brown archives, the editors seek to propose a credible alternative to contemporary architectural discourse. Its format combines the ambiguity of interpretation with the factual material, keeping the precision of the argument. This elusive position is elaborated in essays, complemented by interviews with Kazunari Sakamoto and Alvaro Siza.Around 35 projects by Venturi Scott Brown, and also by Alvaro Siza and James Stirling, form a visual narrative with original plans and sections and other archive material as well as new perspective images and photographs especially produced for this book.

This collection presents issues 6-10 of "Everything" (published 2020-2021): reports on the studio of the same name led by Kersten Geers, Fabrizio Ballabio, Jelena Pancevac and Guido Tesio at the Accademia di Architettura in Mendrisio. 0The second series of "Everything" presents a body of work produced during 2020/21 academic year and it is a continuation of the research on architecture and city that takes Milan and its hinterland as a case study. The theoretical framework for these projects starts from various spin-offs of Aldo Rossi's Analogous City, and it moves on to the 1965 Team 10 meeting in Berlin, at which Oswald Mathias Ungers presented his work for the first time. This diverse collection of projects is used as a device to instigate an argument on two hypothetical architectural types: A Big House and A Tall House

This book is part of the 'Everything without Content' series by Kersten Geers, Jelena Pancevac and Joris Kritis, and it presents the work Giancarlo de Carlo built in Urbino in the 1960s and 70s, in the shadow of his involvement in Team 10 debates that challenged modernist doctrines on architecture and urbanism. Giancarlo de Carlo first visited Urbino in 1951 to carry out a minor refurbishment of the offices of the rector of the University. This was the beginning of his lifetime engagement with the small town where he continued working over the next five decades. The eight buildings in this book are presented in drawings by students of the Academy of Architecture USI, Mendriso, and photographs by Stefano Graziani.

Rossi’s urban theory of “collective memory” interpreted through 23 architectural projects The great Italian architect, designer, theorist and printmaker Aldo Rossi (1931–97) galvanized the postmodernist architectural movement in the middle of the 20th century with his unique synthesis of influences such as Adolf Loos, Giorgio de Chirico and Soviet architecture. From his publication Architecture of the City (1966) to his 1976 exhibition Analogous City , Rossi spent a decade developing a theory of urban design that focused on the “collective memory” of a city as an essential element of its urban planning and gave consideration to how buildings and urban areas age over time.Here, Rossi’s theory is applied to his own works from that period, both built and unbuilt, in a careful selection of 23 projects that express this memory-based paradigm of civic existence and construction. Aldo The Urban Fact thus unifies Rossi’s theory and practice, demonstrating the visionary dimension driving his singular brand of postmodernism.