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Unintentionally, the article heralds a theme that would become a key tenet of post-modern architecture. But let us take things in order. In the second half of the s, Robert Venturi published his book Complexity and Contradiction in Architecture, which would revolutionize architectural thinking. In his delicately ironic throwaway style, Venturi accused the modern movement of rejecting what in fact was the natural difference between the outer and inner aspect of a building. This led him to draw an important conclusion: if the distinction between the exterior and interior of a building was a self-evident fact, then the two environments should play different roles - the interiors should concentrate on domestic life while the exterior should be part of the public realm. Venturi lived in the heyday of pop art, advertising hoardings and the aesthetics of consumption. As a result, his programs were of hyper-domestic interiors and hyper-pop exteriors. Here too, however, some introduction is needed. In recent years, we have witnessed what can be called a physiological sea change in buildings triggered by the increasingly stringent energy-saving requirements they must meet. Several designers - certainly not the best on the market - became so technically specialized in the building envelope that buildings themselves started being described exclusively in terms of thermal coefficients. However, unlike the American architect, Femia conceives of restyling as discreet, eschewing anything that might resemble an advertising billboard. In other words, restyling can be implemented within the context of large urban blocks, the basic unit of European cities like Paris, Berlin, and Milan. The frontage on viale Melchiorre Gioia has a tight series of narrow bow windows in the shape of truncated cones extending the full height of each story. Five of them project further out than the others, their useable floor area turning them into closed balconies overlooking the street. The shades of the enclosure glass range from blue through to gray. Stripped of decorations and moldings, modern architecture has, since its beginnings at the end of the 18th Century, been the art of instilling rhythm. Subsequently, with expressionism, it became a plastic art form - think Gehry and Hadid - even sculptural art. But for Femia - and for most Italian architects - architecture that resembles plastic sculptural art is unacceptable. Femia subscribes to all this. He understands that if architecture is to serve the city, its expressivity must be exercised in the rhythm given to its various segments. In this particular case he has taken things to extremes, juxtaposing different rhythmic patterns as if they were fragments of several buildings that time has amalgamated together. Login Register. IT EN. Architecture Design What's On Talks. 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Subscribe to our newsletter. Related Articles. And perhaps open-space offices, which are overrated and already out of New buildings are gradually altering the face of the city, which is now well on the Publish your work.
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