The Making Of (A New) Rome

by flaunt

Agostino! Hand me my bacolo di Euclide!
The implosion of the Roman empire after a 1200-year run—a demise we like to blame, perhaps ignorantly, on general malaise and lead poisoning—left in its wake; mildewed thermaes, decaying stone amphitheaters, and steadily chipping mosaics keen to spend the next thousand years pacifying tourists dizzily flocking over from Florence, weak to the ankle with Stendhal syndrome. Even oft in tune with the future, neorealist auteur Federico Fellini, saw Rome in baroque-slathered glasses

The Making of (a New) Rome—on view January 22-March 1, 2014, at the The Italian Cultural Institute in Los Angeles—seeks to provide a counterpoint to the city’s sacred cut landscape, exploring contemporary creations within the municipality, via lectures, photographs, drawings, and scale models, all—ambitiously—nine hours outside of the Central European Time zone. Here, architects within the exhibit provide a few authoritative views. Eschewing our suggestion to list their favorite cat names, it’s clear that—even for an architect—the Italian-born proverb, “Shoemaker, not above the sandal,” holds steadfast.

Tommaso Valle Tommaso Valle founded the Studio Valle Progettazioni in 1957, an architectural firm that has worked in public spaces (including banks, schools, and train stations).

Valle balances his professional project commitments with a university career at La Sapienza University in Rome.

Here Tommaso Valle provides his most inspirational buildings, still standing, around the world: In the vast national and international architectural landscape, there are many projects that I could list as sources of inspiration. Below is a list of some that I consider particularly important for my education and growth as an architect, as well as for their mix of creativity, form, technology, function, and research on the expressive potential of the structure, all features that characterize the architectural language of Studio Valle.

-Tempio di Poseidone, Capo Sounio (V sec. a.C) -Pantheon, Roma (II sec. d.C.) -Basilica di San Vitale, Ravenna  (VI sec.) -Cattedrale di Notre Dame, Chartres (VII sec.) -Kiyomizudera Temple, Kyoto  (780) -Angkor  Wat (1113-1150) -Filippo Brunelleschi, Cupola di Santa Maria del Fiore (1418-1436) -Francesco Borromini, Sant’Ivo alla Sapienza (1642-1660) -Erich Mendelsohn, Torre Einstein  (1918-1924) -Mies van der Rohe, Padiglione di Barcellona (1929) -Pier Luigi Nervi, Hangar per l’aviazione Italiana ad Orvieto (1935) -Le Corbusier, Cappella di Ronchamp (1950-1955) -Giovanni Michelucci, Chiesa sull’Autostrada del Sole (1960-1963) -Zaha Hadid, Museo nazionale delle arti del XXI secolo (1998-2010)

Franco Purini Franco Purini is an Italian architect, urban planner, theorist, and teacher.

His 1966 collaboration with wife Laura Thermes spawned a long-term business partnership including the House of the Pharmacist in Gibellina (1980) and the Churchyard of the Chapel of St. Anthony of Padua in Poggioreale (1987).

Here Franco Purini provides an alternative answer: In this answer I will limit myself to pointing out only one of the things that I feel is boring for an architect. It is the so-called Vitruvian triad, the firmitas, the utilitas, and venustas, three categories disposed at the vertices of an equilateral triangle, and in the center of it, would situate the sense most correct and lasting of architecture. I would like to abolish these three concepts not because they are outdated but because they are so obvious as not to have the most operative value. In addition, they foreshadow an architecture so balanced to become conformist, while I think that to imagine, design, and build a building requires to be excessive, visionary, and able to go beyond convention.

Marco Petreschi Marco Petreschi founded the Interior Architecture and Furniture program at the University of Rome-La Sapienza in 2001 and led the program until 2006. His theoretical and applied research has been widely published, and he has participated in international architectural competitions, and the design and construction of public buildings.

Here Marco Petreschi provides the civic codes he might like to see abolished: I would like to abolish all codes where violence goes beyond reason and tolerance.

Arabella Rocca Arabella Rocca joined the faculty of the Architecture program at the University of Rome-La Sapienza in 1998 and won a European Community Action Scheme for the Mobility of University Students scholarship in 2001. She has worked on numerous professional projects and achieved partner status at Alvisi Kirimoto + Partners in 2008.

Here Arabella Rocca provides her most inspirational buildings, still standing, around the world: -The pantheon in Rome -The Centre Pompidou of Piano and Rogers in Paris -The Seagram building of Mies Van Der Rohe in New York -The Niteroi Contemporary Art Museum of Oscar Niemeyer -The Unité d’Habitacion of Le Corbusier -The Tsikasu Asuka Museum, of Tadao Ando in Osaka 

Courtesy the architect or firm/Italian Cultural Institute Los Angeles.