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#giorgio grassi
darquitectura · a year ago
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Giorgio Grassi Public Library 1989 - Groningen
(via)
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normally0 · a year ago
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The New Library of the Universe
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derearchiviatoria · 9 months ago
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Monument to the resistance Brescia, Italy 1965 Giorgio Grassi (1935–) Luca Meda (1936–1998)
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juliaknz · 2 years ago
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Giorgio Grassi / Casa sul Lago D‘Iseo Vello Di Marone, 1962.
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tobebuild · 2 years ago
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Student Residence, Chieti Giorgio Grassi 1979
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subtilitas · 3 years ago
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Giorgio Grassi - Renovation of the Sagunto Roman theater, Valencia 1985-1992. Via, 2, (scans via), photos (C) Duccio Malagamba.
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loeilareaction · 2 years ago
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Giorgio Grassi, Monumento ai caduti della Resistenza a Brescia, 1965
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cicichip · 3 years ago
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Restoration of Sagunto Roman Theatre, Valencia  - Giorgio Grassi
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thenamesofthings · 6 months ago
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TOWARD A COMMON TENDENCY
While cities were undergoing a process of unbalanced transformations [after WWII], Aldo Rossi and Giorgio Grassi had been actively writing for the Casabella of [Ernesto] Rogers, questioning the ideological nature of the functionalist city and proposing an alternative framework based on a morphological and typological understanding of the contemporary city which appeared to provide more urban continuity (Rossi, 1962). Between 1966 and 1967, with the publication of L’Architettura della Città and La Costruzione Logica dell’ Architettura, Rossi and Grassi finally unveil their reevaluation of the discipline of architecture, which now ought to be grounded into an understanding of those primal forms (building types) that distinguish the modern European city. Both Rossi and Grassi asserted the inevitability of a rational methodology based on the generative qualities of dominant building types that would eventually set up architecture as the measure of architecture, elucidating its genealogy and future directions through a catalog of autonomous principles, mostly typological, which were particularly showcased in the San Rocco Housing Unit in Monza.
Architecture was to be, in Aldo Rossi and Giorgio Grassi’s words, an “autonomous phenomena” [sic] that required a disciplinary refunding; [sic] a tendency that rejected interdisciplinary remedies, and that did not pursue nor was immersed in the political, economic, social and technological events of the time (Hays, 2000). In so doing, architecture could reveal rather than suppress its own analytical creativity through focused interventions. Clearly, the methodological work of Tendenza seemed to offer an interesting case study of a design practice that focused more on an analytical understanding of the post-war Italian cities and the implementation of a comprehensive urban plan based on the continuity of typological approaches. Tendenza, originally formulated as a methodological response to the reductive aesthetic of the International Style, is usually associated with a Milanese group close to Rossi and Grassi. While looking at its linguistic roots, the Italian word Tendenza underlines an attitudinal predisposition to act and behave in a certain ideological way; thus, the term itself implies the existence of a very well defined programmatic orientation driven by a common idea or methodological practice. . .
--Pasquale Da Paola, "Toward A Rational Architectural Practice: The Particular Case of Giorgio Grassi" (2013)
The late Aldo Rossi and Giorgio Grassi were Marxists working under the influence of Manfredo Tafuri. It would seem almost exactly backwards that a Marxist would argue for disciplinary autonomy, as that might authorize an endless stream of individualistic expressions; yet somehow, their politicized practice led them to a purified version of tradition. I wish I could get my hands on an English translation of Grassi's Logical Constructions (1967) to follow the argument first-hand. I don't see much to be learned from sub-scholarly essays as I've quoted above. Aside from the paucity of actual information in Da Paola's text, it's impossible to take seriously a writer who can't discern the singular from the plural of simple nouns, or who doesn't understand that the semi-colon is used to link two closely related independent clauses, not a dependent to an independent.
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normally0 · a year ago
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Housing the New Museum of Theatre We need to pause; housing? Whether it is to provide or to occupy? What status must a citizen attain? Has the trials of bureaucracy become a political theatre? An architect supports architecture, but does a citizen support citizenship? There is an overabundance of critical issues that mar the path of shelter that by rights is the primordial responsibility of the state. As architects, we have designed this situation but we have not gauged the playfulness of the economy. We all arise from this earth.
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derearchiviatoria · 9 months ago
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Public library in Porta Volta Milan, Italy 1990 Giorgio Grassi (1935–)
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veredes · 2 years ago
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Carlos Martí Arís, arquitecto esencial | Fernando Moral Andrés
Carlos Martí ha vivido y vive por y para la arquitectura. Sus ideas y proyectos son el reflejo de una actitud vital donde el investigar, el pensar y el proponer han sido los verbos conjugados para entender e impulsar una disciplina que debe ayudar a mejorar los lugares de los ciudadanos.
[...]
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tobebuild · 5 years ago
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House, Fagnano Olona Giorgio Grassi 1978
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jeroenapers · 5 years ago
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Je kan het bijna als woonboot op Lago d’Iseo beschouwen, maar dit huis van Giorgio Grassi in Vello di Marone is in 1962 gewoon op de wal gebouwd.
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neueregel · 2 years ago
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chez-mimich · 3 years ago
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CUORE DI CANE 
Michail Bulgakov scrisse “Cuore di cane” nel 1925 e in Unione Sovietica il romanzo fu pubblicato solo nel 1987, mentre in Italia la pubblicazione avvenne poco prima, alla metà degli anni Sessanta. Chiedersi “perché”, equivale a prendere coscienza di cosa abbia rappresentato quel testo e tutta la produzione letteraria di Bulgakov per il regime sovietico, ma anche per i benpensanti delle società occidentale. “Cuore di cane” adattato per il teatro da Stefano Massini e messo in scena ieri sera al Teatro Grassi di Milano, per la regia di Giorgio Sangati, è un testo, surreale, tremendamente attuale nelle Russia sovietica, ma che sembra fuori posto nella nostra “società liquida” (con tendenza alla putrefazione). Com’è noto lo scienziato Filipp Filippovič Preobrazénskij è alla ricerca della formula per trasformare il cane Pallino in un essere umano, “l’uomo nuovo” tanto caro a tutti i regimi della storia, quelli in cui ,alla normale “evoluzione”, si è voluta sostituire una forzata “rivoluzione”, come ricorda il regista Giorgio Sangati in un’intervista. L’esperimento riesce, grazie al trapianto di una ipofisi umana nel povero animale e si potrebbe dire che “purtroppo” riesce, poiché le conseguenze sono disastrose: il cane Pallino diventa il cittadino Pallinov, anzi il compagno Pallinov che si insinua nella vita famigliare del prof. Preobrazénskij, e del suo bracio destro Bormentàl, delle cuoca Darj’a Petrovna e della giovane cameriera Zina Prokof’evna. Pallinov porta il dubbio, insinua il sospetto, dubita delle convenzioni. La prevedibile soluzione al problema è l’operazione contraria, far tornare Pallinov ad essere il cane Pallino. Portare in scena “Cuore di cane” era un’operazione prevedibilmente difficile, né più né meno come l’esperimento del Prof. Preobrazénskij e come quell’esperimento è riuscita a metà. Un testo troppo ingenuo per i nostri tempi disincantati, cinici ed incarogniti. Se, nell’intento di attualizzare il testo, il giovane regista ha pensato ad un’agnizione del cane Pallino in quanto nuovo “emarginato”, mi sembra di poter dire che anche questo esperimento è fallito, forse anche per il testo troppo datato che appare oggi come una pallottola spuntata. Mi sembra invece ancora molto attuale ed interessante la meditazione quasi strutturalista sull’uso delle parole del povero uomo-cane che non sa ben attribuire i significati ai significanti. Una “mise-en-scène” appena sufficiente che non riesce ad essere riscattata dall’indubbia bravura di Paolo Pierobon nei panni di Pallino-Pallinov.
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wmud · a year ago
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giorgio grassi - biblioteca pubblica, groningen, netherlands, 1989 foto - giorgio grassi
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normally0 · a year ago
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Theatre of the Absurd
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