. , 15 . 16 . 18 , in the lost Being precisely Being precisely theoretical theoretical . 12 (still in its early (still in its early content of history content meant increasing meant increasing 11 , was at the bottom of at the bottom , was . 17 ied by the deep content of deep content the ied by ϔ it is necessary for all the all the for it is necessary , although not , although . 19 forgotten social demands architectonic practice architectonic and a condemnation of the abandoned . 14 and their per l’Architettura. the MSA to their protest present To stages) to that reality of the grand architecture of the architecture of the grand reality that stages) to that in their past, the meaning of tradition rescuing opinion had been For the giovani delle colonne this was the ideological was delle colonne this the giovani For link their them to that allowed premise choice Expanding his relection to the widest scope of to Expanding his relection he continued: architecture, realistic artists to be aware of the existence, at the at the existence, of the be aware artists to realistic proven have already that of models heart of tradition, society of the contents the interpret as able to themselves feelings its representing thoroughly applied them, that the visibility of the initiative of the group and entering and entering of the group of the initiative the visibility and its modern architecture about Italian the debate the consideration into take all if we above teaching; towards of the MSA of the members interest stated that changes in the role a formative giving architecture society Italian in the place taking were In his dissertation, referring to the work of the present of the present the work to In his dissertation, referring , Canella afirmed: members of the MSA the need of explains probably This statement delle colonne, of using of the giovani provocation in elements well-recognized historical to references an a memento, obviously It was memory. collective imagery catalogue which, formal certain appeal to had not of the group, the members to according and that would potential all its expressive exhausted place a new of action in a project allow freedom contemporary success within and unprecedented able to as long as it was investigation, architectural the past. to connected elements clearly provide came the accusation, not much that reading From the “old guard” against concealed, that Canella directed had not his point of view, from which, of the MSA, the functionalist from detach themselves been able to In his opinion, the of the Modern Movement. precepts maintained some of the Modern Movement architects to linked deinitely tradition, towards kind of rejection did tradition Consequently, the concept of historicism. role, concept in its architectural a live not represent in time frozen an argument becoming this way the concept of tradition, its interpretation, and, if I may, and, if I may, its interpretation, of tradition, concept the of thought, your line us from separates what its feeling, of this original reasons the it is one of think we honestly debate Silvano Tintori clariies that, in his controversial ex ex clariies that, Tintori in his controversial Silvano columns Como–, the broken –a jetty in Lake tempore speculation, hit by the landscape of the lake represented the to of the aggression that is, the irst symptoms miracle Italian heritage of the historical state the interpretative mistake of the Modern Movement: of the Modern Movement: mistake the interpretative If, in fact, dismiss beforehand us to it is not possible for Modern Movement, «solutions» of the it is not certain that forms be against dismiss or to to possible either and our study. our consideration imposed to […] are functional origin in a simple do not have their they Since justi instead demand, but are and descriptive social demands in their the by history, aspects […] celebratory According to these young people, the these young to According the with together To inish his speech, Canella answered the accusations inish his speech, Canella answered To the to linked – deeply that ‘old’ generation made by – of the irst Italian Modern Movement investigation concept of tradition: of the about their interpretation of literary accusation Having said that, the we consider past, the for whose of yearning, of love complacencies, use of columns, the by evoke to we would like atmosphere least. say the to […] out of place, and pinnacles, friezes and columns that fact the not deny does this However, live of autonomous the to subject all elements are arches moment historical in each artistic expression, each

. 6 , it the the 3 , about It was relationship, relationship, . 5 small revolution , a movement that , a movement 8 that –in the words that –in the words . project-place tradition giovani delle colonne delle giovani the interest in an architecture in an architecture interest the Our disagreement with the the with Our disagreement . According to Aldo Castellano to . According

2 student minorities . 10 use of columns, arches and pinnacles in use of columns, arches . states in a recent interview: ' interview: in a recent states 7 4 do not know how control their rage their control how do not know ' (F1). However, that apparently isolated event event isolated that apparently ' (F1). However, provocative gathered together the rationalist core– who proposed proposed who core– the rationalist together gathered (F3) in architecture’ about ‘tradition a public debate delle colonne as of the giovani as the main argument of the professionals the modus operandi opposed to of framework within the rationalist moved who the perhaps, closer to was, which the north of Italy, trend European not a group: we were only two (Virgilio Vercelloni and only two Vercelloni we were (Virgilio not a group: an eight- columns», «of the tempore ex me); and the classroom carry out in the we had to that hour project an episodic from emerged a week, once workshop situation of the most critical students interest the had aroused and Tintori by started The debate in the 4th year. Composition Architectural in the 5th year Vercelloni –Dean of the School Portaluppi Piero course of Professor the regarding of Architecture– a vivid of students, activating that group reached was about the concept of debate one of those It was of De Carlo– the need to face, also at the schools of architecture, also at the schools of architecture, face, the need to thought of architectural risky innovations Finally, in June 1955, the approach adopted by the by adopted in June 1955, the approach Finally, the to thanks recognition delle colonne achieved giovani Guido Canella and Aldo by written of the report reading di Studi of the members of the Movimento in front Rossi Silvano Tintori recalls: recalls: Tintori Silvano in the course Composition Architectural of the teaching dissatisfaction the from stemmed last year of our degree disappointing Modernity the of the from coming the to respect with post-war, Italian of the reconstruction one (The Unité French and the new cities) English (the in Marseille and Nantes) Le Corbusier by d'Habitation is very likely that only some of them used these formal some of them used these formal only that likely is very In this respect, academic projects. in their references Tintori Silvano In the School of Architecture of the Milan Polytechnic Polytechnic of the Milan School of Architecture In the in use to started of students a group in the mid-ifties, very sessions a series of tempora ex their academic a to linked were which references, personal stylistic rise to giving grounding, and traditional certain historic limitations of the the report to that intended a protest education of that the university di maniera razionalismo the time offered. The their formal studies earned the young Michele Achilli, Michele Achilli, the young studies earned their formal Guido Canella, Calzavara, Daniele Brigidini, Maurizio Aldo Lazzari, Giusa Marcialis, Laura Drugman, Fredi y Virgilio Tintori Giacomo Scarpini, Silvano Rossi, the nickname of Vercelloni according to Giancarlo De Carlo’s deinition in Casabella- De Carlo’s Giancarlo to according Contiuità magazine with the explicit goal of shaking the stagnated situation goal of shaking the stagnated with the explicit in the Tintori, to According of the Milanese architecture. capital city of Lombardy, of the a civil society culture to the oriented sensitive to not only against city […] in full confrontation prevailed, on philosophy but also the formalism, rationalist the progress to had yielded it was based: one which which and technology During the years 1954 and 1955, the most active focus focus 1954 and 1955, the most active During the years surpassing the limits of developed, of the controversy of the role and achieved the university, nourished which of revision, atmosphere In a general and limitations of the question about the achievements the new social demands and facing modern architecture delle colonne aimed at reactivating concerns, the giovani In pointing at the heart of the matter. the controversy a quite provided this sense, the school of architecture the magnitude of the provocative ield for action limited carry out. to wanted discourse that they within the adopted had The design attitude they Giancarlo De Carlo’s had attracted academic world of the –at that moment president (F2) attention di Studi per l’Architettura Movimento ante Francesca Fiorelli 'I giovanni delle delle 'I giovanni Tradition colonne.' and continuity litteram. * Photographs are the spanish version attached in

CPA 5 - 136 - not onlyaesthetic butalsosocialandeconomic complete acceptance ofthe demands of citizens by art, signiicance ofthe architect’s job development ofthepastinorder to specifythe was necessary to scrutinizeclosely thearchitectural speciic problems ontheirownand, therefore, it proposal ofthegiovani dellecolonne–couldnotsolve languages According to DeCarlo,therestoration of on theconceptof Art criticGilloDorlescentered hisirstintervention issue. degli studentiarchitetti With theselastwords endedthereading ofthe knew itwasimpossibleto students, who were looking for strongly rejected theretrospective lookofthoseyoung Dorles hadsaidattheMSA meeting,sincehealso De Carlo’s pointofviewdidnotmuchdiffer from what when infact itwasonlyawayto hideinconformism architect observed that concreti perigiovani delle colonne few monthsafter GiancarloDeCarlo’s article cutanea which would tryto overcome thelimitationofa on expression mediated by architectural forms, butone became evident; for astyle thatwould notonly focus In theirspeechthedesire for a to them,essential. legitimation oftheintervention ofarchitecture became, historical Italiancity. Inthissense,theaspectofsocial part ofsocietyandatanurbanlevel, above allinthe provocative callofattention, ofeasy assimilationonthe Modern Movement. Theirexperience intended to bea to theconsolidated principlesoftheheritage to addan‘unprecedented’ alternative, incultural terms, the real value ofthatexperience lay inthedaringwill Apart from thepersonaldesignvariations (F4,F5,F6), most vivid stageofrationalism. Universal Man dictators andbankers useto weepover the celebrations of eclecticism, thesame symbolsonwhich bureaucracies, not haveanything new;they are stilloldcolumns from to him,theirprotest hadreached: triviality andtheabstract according andfutiletone that, previous DeCarloopenly statement, criticizedtheir realistic a the onesthatintheirirstproposals would have created Itmusthavethought. beenthoseelementsoftradition was adoptingsomeshadesoftheGramscian current of ontheotherhand, within anideologicalvisionthat, and to beableto give historical material anewlight but to subjectthematter to analytic consideration, formal languageembraced by theModernMovement, any solutionjustbecauseitdid notdirectly belongto the It was, aquestionofnotdismissingbeforehand infact, context inwhich thearchitect would have hadto work analytic positioninregards to theconditionsof strategy focused ontheneedto maintain arealistic role oftheindividual intheirsociety. Therefore, their The inally taken to thepagesofspecializedmagazines. thought oftheyoung studentsandthequerelle was theoretical, oftheprovocative character oftheline which were mainly theformal aspects,more thanthe Thus, theelementsfor adisagreement becameapparent, going to design. as completely unnecessary inthebuildingsthey were considered thestylistic return ofarches andcolumns debate suggested by thegiovani dellecolonne,Dorles the explicit agreement withthetheoretical terms ofthe the character ofCollege conventionality andthelackoftalentthatwas spoiling considered thisto besobecause,above all,itrejected protest ofthecolumns)hadapositive meaning.He Casabella-Continuità, directed by Ernesto N. Rogers new, realistic architecture. Traditionally newand Relazione deglistudentiarchitetti 22 20 . by meansofageneral understandingofthe –just asheinterpreted theoperational 27 . realism , openingapublicdebate onthe 26 their .However, inspite ofthis , emphasizingthenecessary ϔ ind any, feigning determination ϔ irst movement progressive solutions where they 29 25 Their columns do . ,inwhich the was publishedin old mummi architecture (the Problemi 23 Relazione . Despite indagine 28 24 ϔ ied . , 21 . territories stillto beexplored the entrance ofthe newModernMovement into new a neweclecticism tradition from falling (ordeclining)into the tradition. For DeCarlo,itwas essentialto prevent towards theuseofreferences taken from historical debate was, intheend,aboutformal aspectdirected buildings, streets, squares, residential areas, etc university life, fascinating themost as to howdifferent revisionist attitudespermeated modern architecture. Theirexperience isparadigmatic 40s, were following arevisionist lineofinvestigation of generation ofarchitects from that, thesecondhalf of the out anissueexistent anddiscussedbetween a investigation, Rogers aimedto a publication. Paying specialattention to modernItalian of thetime,clearly deining theeditorial lineofthe magazine intheieldofarchitectural production Rogersian editorial highlighted theobjectives ofthe director from January1954to January1956.Theirst Casabella-Continuità, magazine inwhich heworked as retrospection through theeditorial publised in Rogers was carryingoutanexercise ofinterpretative critically proposing the Movement inthehistory ofarchitecture, butalso College, notonly proclaiming therole oftheModern the traditional teaching methodologyfollowed atthe used to give ground-breaking lessonswithrespect to Rogers’s moduleinthe50s–recently observed, Rogers As Silvano Tintori –who was ateaching assistantin poetic experiences ofthe ModernMovement made inthe90s,Rogers’s abilityto period. GuidoCanellaacknowledged, inastatement BBPR sincetheirstyears ofthesecondpost-war respect to theinvestigative line conducted by thegroup people… fashion, for the damaging mistakes ofmediocre a contention damfor fantasy licenses, for provisional and control ofthe people.Tradition asadisciplineis the acceptance ofacollective control ofpublicopinion of highknowledge; respect towards tradition implies it exists…Tradition asaresult ofcollective conscience, events does notexist initself; itexists when menfeel constantly their own course. modify of Thecontinuity isfullofcontinuoushistory conscious actionsthat in which that everything can happen,happens;human isnottheHuman history sameastheofnature, history In 1955,atameetingoftheMSA, Franco Albinistated: a more orlessparticularway intheirowndesignwork. their interest inthesubjectoftradition, embracing itin inluential membersoftheMSA hadpublicly showed In thissense,itshouldberemembered thatalsoother average citizen of theMSA andthe Despite thecommoninterest between themember consequences couldbedrawn. inluence ofasuppositionfrom which noproductive which was suffering, inhisownwords, thenegative well astowards thearchitectural profession initself, The initiative ofthe generous distress of thatmovement thathaditsoriginsinan To thatend,DeCarlomadecleartheintrinsiclimitations obtaining thechairof compulsory subjectinthethird year, andten years later, module professor attheMilanPolytechnic; irstteaching the year to bemore precise), Ernesto N. Rogers was a at thebeginningof50s(in1952-1953academic university coursesatthetime.Itshouldbenoted that those who were notcontent withthecontents taught in essence andthe re-connect with tradition, to recognize itshumanistic of thegiovani dellecolonne–basedontheneedto Consequently, itisnotacoincidencethatthediscourse kept until1969. language Caratteri stilisticiecostruttivi deimonumenti 33 34 . –formulated atheoretical analogywith andtheirneedof ϔ igurative means[…]ofitsexpressive towards academicinstructionas , butto maintainitasa youngsters ofthe columns youngsters ofthe columns Elementi dicomposizione continuità 32 . 30 universality ofculture universality a home,schools, public ofthenew bring back to life the rebellious stimulus for 35 initial and ϔ . inthe ield of 36 , thatis, pointed . ,the . which he ,

through aprocess of well-known cultural heritagewould nothave gone tradition would have lostweight iftheforms ofa contemporary. Research onthesigniicanceof forms, aseithereducated orspontaneous,old perspective, which revisited pre-established (national) demands attitudes people shouldberesponsible for certainnostalgic author’s thesis,andmaintainedthat alsoyoung expressed hispartialdisagreement regarding this an editorial note thatheadedthetext, inwhich he Rogers quoted Giancarlo DeCarloinhisarticle, Therefore, itdoesnotcomeasasurprisethat Pagano’s research by canonicalhistoriography, already present in especially oftheexperiences leastcelebrated This needfor exploration andrediscovery – space understood as to blendinto auniquetradition representation offorms, itwould have beenpossible opinion, only by beingacquainted withtheintrinsic suf academic teaching andinto the wider, andnot of culture, to go schemes beyondthe stylistic of proclaimed theneedto (in theeditorial oftheissue202 in1954),Rogers Some monthsafter beingincharge ofthemagazine passive copy understood as guidelines for amethodologybasedon knowledge for arelection thatwould lay downthe historical consciousness,seenas thenecessary magazine andconnected withthepursuitofacritical Giuseppe Pagano andEdoardo Persico’s Casabella starting pointfor theinvestigation carriedoutby the development ofanation ofthe history being certain contents incertain givenforms architecture as Rogers emphasized theneedto understand determined codebook ofsolutions.Consequently, essential step inorder notto fall inthe useofapre- understanding ofhistorical reality, seenasan of hisrelection regarding thenecessary was oneofthemainpredicaments becoming,infact, dangerously persecuted by The new speech insideCasabellaitself. and criticismhadtaken placewithinthefreedom of of continuità,aprecept around which agreements methodological relection focused onthesubject and defend it time inwhich they live:interpret itandthen, proclaim artists to betalented untilthey grasp the ofthe reality intheir work ontheoriginality other; itisessential for responsibility, to their originsonthe onehand,andto deduce, therefore, that the artisthas,inturn,adouble As ainalpointto hisarticle,Rogers stated: youngsters ofthe columns subversive concernurged by the discourse ofthe linguistic codestillbeingdeined,together withthe The use ofnon-assimilated forms reached, which would have to beunderstood as Rogers, aformalist conclusionwould be inevitably would gobeyond theconceptof content alone,buttheirbalancedcompendium According to Roger’s theory, notonly forms, nor understood from a or formal mummiication;norcoulditbeproperly Tradition was to him,asynonym not, offolklore styles emphasizedinademagogicway. intellectual andanachronistic the ideaof tradition ϔ iciently explored, reinterpretation 37 the key pointofthis synthesis, linked together in . A and 46 academicism continuity . continuity 38 45 educated tradition . . continuity in time; continuity in intime;continuity continuity dynamic continuity andnotasa dynamic continuity the synthesis ofthe expression of 41 modernismo dimaniera 43 –, deinedtheprinciplesofa thatheconsidered to bethe oftradition according to a new ϔ revision inlightofthe local .Inthiscase,according to , withoutproducing an ield ofspontaneous art , according to Rogers, extend the boundaries would pushAldoRossi to the modernformalists 44 . crystallization both 40 tradition . spontaneous , tradition tradizione 42 through .

39 one can ofpast . Inhis any , ,

- 137 - I giovanni delle colonne. Tradition and continuity ante litteram. . modern ied ϔ authentic . It would be . It would solidi 69 ), to the studies the studies ), to 71 . the different spirits of different the 67 , according to Banham’s Banham’s to , according TRADITION CONTINUITY ALDO ROSSI GUIDO CANELLA (implemented by many of them many by (implemented 70 GIOVANI DELLE COLONNE GIOVANI regression and marked by the diversity of its interests, of its interests, the diversity by and marked . . The magazine became again the center of a the center became again . The magazine in their constructions without making an 72 68 personal through the columns of Casabella through The management of the magazine was branded as being branded was magazine The management of the too of divergence the from that became apparent reality under the no longer stay points of view that could De Carlo resigned why continuità– reason same motto in 1957 connotations about the with clear negative controversy Rogers which to than operational, critical line, more adapting it, guidelines suit a perhaps, to had provided and attitudes of interests spontaneous development of the in the protest since the beginning of the 50s latent delle colonne. giovani a youth If, on the one hand, it is true that it was the sharpness of their the other, on experience, as can be seen which discourse cannot be ignored, a revision to in addition movement ‘action-reaction’ the Modern interested that had already process clearly ield, and was also in the international Movement in the CIAM of the 50s recognizable by Rossi and Canella on the city as an open ield for and Canella on the city as an open ield for Rossi by project to and related both theoretical relection, planning enough to refer to the CIAM which took place in Otterlo place in Otterlo took the CIAM which to refer to enough debate the MSA months after 1959 –few in September De article– in which controversial about the Baham’s (F10), (1954) in Matera of residences project Carlo’s in Milan (1950-1958) Velasca as the Torre as well criticized strongly (F11, F12), were Rogers by presented Alison Smithson– because of embracing by –especially old forms actually that were ind some to effort judgment), as one of the starting points of a cultural urban and sociologic– that goes –architectural, process of the re-consideration from Even though the debate promoted by the giovani delle the giovani by promoted the debate though Even the rejected they colonne –in which education of the linguistic cannons of the university their limitations in reveal to had started time, which a of has not been exempt answer– of a social terms all of its aspects and not regression’ certain ‘formal of its contents a good conclusion; some reached have of Italian fuel the development to contributed have or less evident, more left traces, and have architecture, of the period. architects of the young work in the mature ground the breeding formed Their student performance of the the basis of Italian theory of architecture for second half of the 20th century (F13, F14). (rather can be understood their proposal Therefore, of than in terms modern project the the limits of a private conversation. Rogers defended defended Rogers conversation. of a private the limits to debate; architectural of the an update for the need of works in of the magazine limiting the interest stop consciousness the contemporary to art, but presenting solutions to offer the past that could instances from the freedom to of view, his point From problems. current a prophetic of the magazine, the approach to of choice as scope of in the broadest added, understandable hint was inseparable Rogers, and, to relection culture sensitive the Modern Movement from – 66 by by – Casabella- – besides 61 65 the youngsters youngsters the – as can . 60 –Aldo Rossi, Silvano Silvano Rossi, –Aldo of the national , continuity and crisis signed by Vittorio Vittorio signed by . His question marked a . His question marked Bottega d’Erasmo Bottega 58 Casabella-Continuità the Italian retreat from from retreat Italian the in which the development of the development in which . Continuità o crisi? Continuità 63 , which this author categorically this author categorically , which regressive aspect regressive impasse , that is, according to Rogers, to fall in the fall to Rogers, to , that is, according protest of the columns of the protest –which was not considered by Reyner Reyner by not considered was –which history as a process 57 Can architecture develop the premises of the of the premises the develop architecture Can was revealed. At the time, some of the At revealed. was 64 . From the outside, the Italian situation was situation was the outside, the Italian . From . L’impegno della tradizione della L’impegno 62 59 modern investigation was stagnated was modern investigation represented, in fact, the two sides of the same coin, as sides of the same coin, as in fact, two the represented, as well negative be the legacy, to considered are they to periods. Thus, his opening of previous as positive, those –also to of the project experiences the different disapproved have time he would at a different which eclecticism– can the established because of representing to and response as an acknowledgment be considered that situation of Tintori (at centro studi) and Guido Canella studi) and Guido centro (at Tintori Banham’s article contributed to make more obvious obvious more make to article contributed Banham’s positions different the existing between the division of the MSA, under the common denominator connected De Carlo and Rogers’s between until the confrontation department of and the editorial perspective Continuità authors of the In his view of of the experience this point of view, From columns of the turning point that was revealed in his magazine through through in his magazine revealed turning point that was de of Le Havre the publishing of the reconstruction of the project Perret, Auguste the by Isola (F9), followed Gabetti and Aimaro Roberto article the Banham in his attack to Modern Movement the in 1959 Review The Architectural in stated Gregotti, as well as a paper on Art Nouveau by Aldo Aldo by on Art Nouveau as a paper as well Gregotti, Rossi scene reinforced, in an osmotic process, some of the topics some of the topics in an osmotic process, reinforced, of continuità. theory Rogers’s N. Ernesto by promoted the for delimit the premises to contributed Hence, they a possible original operative of development progressive method. of the Italian architects 50s, the reservations In the late the concern suggested extent, a large to relected, in his paper Rogers by meetings as of the MSA also be seen in the minutes Banham’s by started a consequence of the debate On magazine. of the English article, as spokesperson of the concern caused by the existence of the threshold puzzlement, subjective as by as well results concrete numerous by felt was of frustration a certain degree that situation, described towards Italian architects De Carlo as the by same trap as the Modern Movement. as the Modern same trap an he was which the situation, in examined Rogers party: active This is the its course? or is it changing Modern Movement continuity or crisis? problem: what got Rogers the disapproval of the rest of the of the rest the disapproval got Rogers what His circles. members of the Milanese professional compile an him to had taken critical attitude –which in the Italian magazine– of projects eclectic review but perhaps not so view, a pluralistic expressed and reinforced, experiences of contemporary linear, that could no longer end within a debate paradoxically, perceived as a reality characterized, according to De to according characterized, as a reality perceived constant in which a reality problems; unsolved Carlo, by and where aspects converged igurative discussion over to limited often was of the major architects the work minor responsibilities Vittorio Gregotti, Julia Bani, Gae Aulenti, Luciano Julia Bani, Gae Aulenti, Gregotti, Vittorio part of the were Tentori and Francesco Semerani department.editorial the to the opening of the magazine precisely It was the identiied as belonging to designs architectural Gentili Eugenio –a deinition coined by neoliberty style the to with respect tone with a controversial Tedeschi the issue 215 of of contents stressing the urgency of studies of that kind, which kind, which studies of that of the urgency stressing interpretation to and of a key understandable were However, he promoted. the one to in accordance meant motifs igurative and contents recovering formal purely could lead them to and this trusting taste interventions . , ideas in the in the . Rossi . Rossi . 47 52 dry . (F8). 53 49 Continuità o Continuità having been the having been the ic investigation promoted by by promoted ϔ looking at certain looking at certain . a new interest in a new interest 56 ined as a timid and ined as a timid ϔ , had cast doubt on the ined, but as the freedom of freedom ined, but as the ϔ 54 would take place, working place, working take would continuity ically coherent and, on the and, on the coherent ically ϔ . An experience that was not that was . An experience (F7) was published in the well- published in the (F7) was 51 on a concept of tradition which, which, of tradition on a concept was not de the tradition of modern Italian of modern Italian tradition the any indiscriminate abuse indiscriminate any 48 and, however, they operate operate they and, however, igures of the past of the igures operational and conceptual tools, tools, and conceptual operational , Rogers observed, observed, , Rogers ϔ speak about the study of a language of a study of a language speak about the 55 . That life and that form of art which, to to of art which, and that form . That life . As a matter of fact, he highlighted how of fact, he highlighted . As a matter . , connecting it to the theoretical charge of charge the theoretical , connecting it to Il concetto di tradizione nell’architettura nell’architettura di tradizione Il concetto only the course of events could and can offer and can of events could course only the 50 published in 1957. He stated that they (those that they published in 1957. He stated will try to draw the life of art itself from ideas from of art itself life the will try draw to modern implementation ield of taste ield the Rogersian editorials appearing in Casabella- editorials the Rogersian 1954 and 1955 Continuità in the years culture That is to say, the kind of say, That is to selection the conscious to directed was Rogers to brought when elements, which, of traditional with an period and treated the contemporary achieve language, would contemporary equally reasoning a theoretical to according original results as with an as well with tradition, impregnated of rationalism. relection international of the the alternative Within this framework, a conscious delle colonne represented giovani redirect action to focused his essay his focused in his own words, which world disciplinary formal the to way of holding had de ancient civilizations acceptance as the history of what was forging, choice and one, broader another which from of an order, rational means of the by be reached newer could had been done so far criticism of what Rogers accepted the validity of their linguistic the validity accepted Rogers of tradition, of the deepest levels research nostalgic attitudes with askance […] in the use of […] in the askance with attitudes nostalgic architectural According to the proposal of ‘the youngsters of ‘the youngsters the proposal to According means of the selection of by of the columns’, and of arches and the recovery types historical a their original context, from columns extrapolated language to a traditional from of forms transposition a known at the time Italian magazine Società time Italian magazine known at the investigate irst the Milanese neoclassicism and, later and, later neoclassicism the Milanese irst investigate of the city. architecture on, the still a student, 25, and his when barely was Rossi paper milanese neoclassica Ernesto N. Rogers’s work, and before him the BBPR before and work, Rogers’s N. Ernesto what represents afterwards, Aldo Rossi and young Bonicalzi describes as Rosaldo methodology and the tools of scienti tools and the methodology and strict relations direct more establish to other, experience real with This would correspond in architecture to the to in architecture correspond This would identiication and implementation, on the one hand of some which were in a tension that tended to individuate individuate to tended that in a tension were which scienti methods research crisi? youngsters) more general scope which is reinforced by the deepest deepest the by is reinforced which scope general more of tradition levels success of those young people, although he had not people, although success of those young them in his editorial quoted directly only purely contemporary, but also the experience the experience but also contemporary, purely only the discussed by as heritage– here –understood as as well event as a historical Modern Movement, comparisons that needed to set of possible the single from be removed they they past styles and forms, even from schemes, and abstract concept a scholastic to according repeated, prosaically of tradition Rossi, According to Rossi, the crisis in the architectural the crisis in the architectural Rossi, to According basis of a on the developing was thought formalism theory, considering that, Gramsci’s following expressions but are other, the from one do not come of what development historical the by always renewed is real prime mover of this revival of this prime mover to keep the dificult balance between theoretical theoretical the dificult balance between keep to of the proposals. the formalization and content accused of was himself, who Rogers ϔ

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