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Information to Users INFORMATION TO USERS This manuscript bas been reproduced ftom the microfilm master. UMI films the text directly ftom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be trom any type ofcomputer printer. The quality ofibis reproduction is depeDdent UpoD the quality ofthe copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper a1ignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. A1so, if unauthorized copyright material had to he removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by seetioning the original, beginning at the upper left-hand corner and continuing ftom teft to right in equal sections with small overlaps. Each original is alsa photographed in one exposure and is included in reduced form at the back ofthe book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Righer quality 6" x 9" black and white photographie prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to arder. UMI A Bell & Howe1llnformaliOD Company 300 North Zeeb Raad, ADn Arbor MI 48106-1346 USA 313n61-4700 8OOIS21-0600 NOTE TO USERS The original manuscript received by UMI contains pages with slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI L'ANALOGUE D'ALDO ROSSI Bernard Olivier School ofArchitecture, McGi11 University, Montréal .If thais subminedto the FacuJty ofGraduate Studies andReseœ'ch in partialfulfilment ofthe requirements ofthe degr. ofMoster ofArchitecture C Bernard Olivier, 800t 1996. National Ubrary Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1 A 0N4 Ottawa ON K1 A 0N4 C8nada canada The author has granted a non· L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library ofCanada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies ofthis thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership ofthe L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son perousslon. autorisation. 0-612-29851-5 Canadrl li TABLE DES MATIÈRES PAGEnTRE TABLE DES MATIÈRES i RÉsUMÉ - ABSTRACT ü REMERCIEMENTS üi LISTE DES ILLUSTRATIONS iv INTRODUCTION 1 l'aaIoIie - téIuIœ CHAPITRE 1 UN RAnONALISME EXALTÉ 8 la plllioade Roaen -l'exaitatioD cie Boullée CHAPITRE 2 LES AMBIGuITÉS DU TYPE 28 le type empirique - le type icWal- la th60rie des penner-ces CHAPITRE 3 UN TYPE ANALOGUE 38 ADalogie et an:Wtype -la compuIIivi~et la questiOD duprogramme - la CIbiDe -lacWposiÛOD - QJkIiiapbie et lbeeDce CHAPITRE 4 LA VILLE ANALOGUE, LA TECHNIQUE ET L'IDENTITÉ 62 la ville -ope -ltideDtitlS et latedIIIiq8 CONCLUSION 71 ANNEXE BIOORAPIDE D'ALDO ROSSI 74 smLIOGRAPHIE 75 • iii .' RÉSUMÉ Ce mémoire pœsente différents aspects de la perIS&Se de l'architecte Aldo Rossi en rapport avec l'aualogie. L'idée de type, au centre des théories de l'~rchiteetllre de la ville, est réinterprétée ici à la lumière des idées sur l'analogie exposées daDs l'Autobiographie scientifique. Les iDfluenees d'Étienne-Louis Boullée et d'Ernesto Rogers sur Rossi sont discutées. Le type architectural de Rossi est i8pP1ochi de l'archétype JUDgi~ dont les aspects numineux et compulsif permettent de rauacher le type à l'idée d'architecture en tant qu'iDstrumcnt et appareil. Le thème rossieD de la cabine et de la mer, aiDsi que celui de la cWposition sont analysés afin d'illustrer les concepts précédents. La cWposition amène une discussion de certaines ambivalences de Rossi à l'qard des possibilités de l'architecture contemporaine. L'aspect moral et politique de ces théories sur l'analogie est fiDalemeot abordé dans la discussion de la vUle analogue et de la technique. ABSTRACT This paper presents different aspects ofarchitect Aldo Rossi's tbought re1ated to !""!-om:. The idea oftype which is cen1ral to 17Ie kchilecture ofthe City, is reintelpreted S. bere in relation with Rossi's ideas about analogy which are proposed in A Scientiflc r:- ". C. Autobiography. The influence of Éûenne-Louis Boullée and Ernesto Rogers are '-;:.: À- discussecl. Rossi's architectural type is relatecl to Carl Jung's archetype whose numinous j IDd compulsive aspects relate type to Rossi's icleas about architecture as iDstrument or ;_ apparatus. The tbeme ofthe cabine and the ses. and tbat ofdeposition are 8D8lyzed in ,1 order to illustrate the ideas above. The deposition introduces a discussion of Rossi's ambivalence about the mie oftype and the possibilities ofarchitecture today. FiDaIIy, the r. moral and plUtical aspects of tbese tbeories about analogy is presented in relation to '~,: • Rossi's ideas ofthe anaIogous city and oftechnique. iv • REMERCIEMENTS La préparation de ce mémoiJe a représenté pour moi une entreprise d'une envergure ïœdite. Ccci explique les fiublesses doDt fait preuve le résultat final. Si ce texte comporte néaDmoiDs certaiDes qualités, j'en suis redevable à ceux qui m'ont aicW dans cette entreprise. Mes coU~ des RmiDaires ont inspiré l'enthousiasme qui m'. soutenu durant le IODg travail solitaire qui • suivi. Les suggestions de Marco Frucarï, au début de ma recherche, m'ont amcn6 à explorer des parallèles qui se sont avérés importants dans la red6finition ete mon sujet. Les commentaires cie Ricardo Castro S1U' mon premier brouillon m'ont rassuré et aid6 à achever le remaniement qui a suivi les critiques précises, nombreuses et coDS1rUctives d'Alberto Pérez-G6mez, directeur du programme de mal'bise. Celui-ci, tout au IonS de ces quatres dernières années, a ravivi mon intéltt pour la réflexion sur l'architecture, grke autant à la force de ses convictions qu'à l'étendue de son maditiOD. Je dois enfin remercier Maja. Durant cette p6riode, eUe était mon amie ct eUe est devenue ma femme, puis la mère de ma fille. Sans son support et sa patience, tout ceci n'aurait pas porté mut. • y • LISTE DES ILLUSTRATIONS Page titre Aldo Rossi, Sons titre, 1977, techniques mixtes. (tiœ de.4ldo Roat: 1JrawIIIp tIIIdPtIbrIiItp. p. 113) Figure 1 C'fNJalogy in 2.5M-8hilre /PO» p. 7 (1ft de Ekctroftic News, 25 man 1996. p. 6) Figure 2 studio BBPR mocbitectes (Lodovico B. Belgiojoso, EDrico p. Il Peressutti, Ernesto N. Rogers), Vue de la Toue Velasca, Milan, 1956-1957. (m.! de NW! 11ll11tm hchileeture. p. 156) Figure 3 Aldo Rossi, Architects strldyïng Boullée, 1989, graphite sur p. 21 papier. (tir6 de Aldo Roat: 1JrawIIIpllIIdPtIbrIiItp. p. 140) Figure 4 Etienne-Louis BouD6e, J'ue intérieure du cénotaphe de p. 23 Newton, Encre et lavis. (tiJé de BmllUe & ~bcIIitectlft, p. 71) Figure 5 G. NiemaDJ1, Recon.rtnlction du plan du ptÛtli8 de Dioclétien, p. 30 Split, C1'OtItïe. (tiœ de The hc~t:IIft 0/'.city, p. 179) Figure 6 Vue de la statue de San Carlo Borromeo, Arona.. p. 47 (tUé de Aldo Roui: Draw. tIIId p....p. 91) Figure 7 Pierre Paul Rubens, La descente de la croix, vers 1613, buile p.S8 sur panneau (tUé de JlJIbmr, plaDdle DO. 4) Figure 8 Antonio Canaletto, RüJlto con il ponte secondo il progetlO di p. 65 PaJlodio e con a/tri ediftcipal/Qditmi, huile sur tone. (tUé de Le Venale poaIblll: Da PII1ltJdlo (1 lA Owbu.rler, p. 76) Figure 9 Aldo Rossi, lA città ana/oga, 1977. p. 67 (tir6 de .4ldo Rouihc1IJIeCl, p. 99) • 1 • INTRODUCTION Aldo Rossi apparait souvent comme un cas singulier dans le contexte de l'architecture contemporaine, semblant ignorer l'évolution des modes m:bitecturales et répondre à ses propres principes et critères. Cette singularité de Rossi dans le contexte actuel ne signifie pas cependant que ses thèses et son travail soient S8DS pn!c6dents. La recherche que j'ai faite pour ce texte m'a permis cie réaliser combien Rossi, malgré les apparences, n'était pas un original isoJé, un iconoclaste, mais plut6t l'élève consciencieux cie quelques maitres chez qui il a puis6 ressentiel de ses idées. L'un des modèles qu'adopte Rossi est Adolf Loos, architecte dont les idées souvent conservatrices étaient, paradoxalement, en désaccord avec celles qui pmralaient autour de lui, d'une manière tout-i-fait analogue à Rossi. 1 Dans un article de 1982 consacré à Adolf Loos, Rossi décrit comment il voit le travail de Loos et, par extension, celui de tout architecte ou artiste: in the end the guIf betwecn art and profession, builcliDg 1r8de and monuments was bridged in the Iife ofAdolf Loos as in those ofail great artists, tbrough the search for the basic human condition without a preteDse ofinterest in anything else - even in aestbeûcs.2 Cette rechen:he de la «conclitioo humaine fondamentale» marque rensemble de l'oeuvre de Rossi. Des divers moyeus utilisés par Rossi clans cette recherche, ClDalogie_ est l'un des plus importants. Cet aspect des tWories de Rossi coostituc me contribution 1 Rossi écrit l propos cie c:eae situation de Loos des mots qui pournieDt aussi bien .'appliquer à lui·m&ne: «Loos 6t8it 1DIIqu6 ... UIl au.... siDplier qu'il De pln'allit peut'" pIS lui-meme • cMchiffrcr: le pouvoir siDgulier d'irriter ou.
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