Misplaced Pages

#676323

36-590: The museum was founded in 1884 as the historical and archaeological museum of the Dutch province of Limburg. The name Bonnefanten Museum is derived from the French 'bons enfants' ('good children'), the popular name of a former convent that housed the museum from 1951 until 1978. In 1995, the museum moved to its present location, a former industrial site named 'Céramique'. The new building was designed by Italian architect Aldo Rossi . With its rocket-shaped cupola overlooking

72-441: A continuity. These aspects can be synthesized in two complementary points: - Gardella's architecture always maintains a composure that could be called 'classic'. This can be deduced from the extreme refinement of his details, which are comparable to those of his contemporary and friend Franco Albini , whether by control of the complete design of a building or because of the design of architectural spaces. In his architecture there

108-517: A deal was negotiated between the collectors Jo and Marlies Eyck and the province of Limburg. The result was that the Eyck collection of postwar art and the castle of Wijlre and its grounds, are now part of the museum. Aldo Rossi Aldo Rossi (3 May 1931 – 4 September 1997) was an Italian architect and designer who achieved international recognition in four distinct areas: architectural theory, drawing and design and also product design. He

144-747: A huge leap forward when Aymonino allowed Rossi to design part of the Monte Amiata complex in the Gallaratese quarter of Milan. In 1971, he won the design competition for the extension of the San Cataldo Cemetery in Modena , which made him internationally famous. After suspension from teaching in Italy in those politically troubled times, he moved to ETH Zurich , occupying the chair in architectural design from 1971 to 1975. In 1973, he

180-615: A strictly professional form of practice like the Modern Movement or the International Style . His Uffici Alfa Romeo (1969) opposed the use of industrial materials and the development of a complex program. But Gardella strictly controlled the form, imposing a symmetrical composition. In the 1980s he seemed to stick to the Post Modern , but he did not in reality share its principles. Thus he himself said, "It

216-557: Is a great difference. The materials have changed, as have the decorative elements and the conception of volume. This is clearly owed to his will to take up influences from the built environment or context. From among his first buildings one could note the Antitubercular Dispensary of Alessandria (1934–38) which is one of the masterpieces of rationalist architecture. Before the war he also participated in several important architecture competitions such as: In

252-605: Is a preoccupation with and emphasis on the immediate, on the style of the moment, and a research for a kind of timelessness. - Complementing this aspect is his capacity to change registers, to adapt himself to the genius loci (the spirit of a place), as few other architects have succeeded to do. If the almost contemporary Case Borsalino in Alessandria are compared with the Casa alle Zattere in Venice, one realizes that there

288-420: Is always difficult to say who are the fathers and who the sons. But Mario Ridolfi and I said, jokingly, that if we were really the fathers of all the works exhibited (at the 1980 Venice Biennale) we would have to admit (...) to having gone to bed with women of every type and every race." (s. Guidarini, 2002). In reality there are aspects of his work that remain the same throughout his long career and constitute

324-605: Is one of the Italian Rationalists, but his use of local construction techniques, like the famous brick screen of the Dispensario in Alessandria, makes him in some ways a heretic. In the 1950s he came closer to regionalist currents, but his buildings also maintained an abstraction that distanced them from the most famous works of Neoliberty or Neorealism . In the 1960s and 1970s he seemed to adhere to

360-739: The American Academy of Arts and Letters and the following year he received their special cultural award in architecture and design. He died in Milan on 4 September 1997, following a car accident. Posthumously he received the Torre Guinigi prize for his contribution to urban studies and the Seaside Prize of the Seaside Institute, Florida, where he had built a detached family home in 1995. On appeal, his proposals won

396-766: The Parc de la Villette in Paris, the other for the Deutsches Historisches Museum in Berlin, which was never brought to fruition. In 1989, he continued product design work for Unifor (now part of Molteni Furniture ) and Alessi . His espresso maker La Cupola , designed for Alessi came out in 1988. In 1990, he was awarded the Pritzker Prize . The city of Fukuoka in Japan honoured him for his work on

SECTION 10

#1732779878677

432-591: The eminences grises of Italian architecture, still produced significant projects, like the Faculty of Architecture of the University of Genova (1975–1989), which brought him once more to the front lines of the architectural debate. Gardella's activity has had a determining role in the field of design as well, starting as early as 1947, when he founded the Azucena Agency with Luigi Caccia Dominioni ,

468-543: The 1999 competition for the restoration of the Teatro La Fenice , Venice and it reopened in 2004. In 1999, the Faculty of Architecture of the University of Bologna , based in Cesena , was named after him. His earliest works of the 1960s were mostly theoretical and displayed a simultaneous influence of 1920s Italian modernism ( see Giuseppe Terragni ), classicist influences of Viennese architect Adolf Loos , and

504-531: The Bonnefanten Museum consists of four main sections: Since Alexander van Grevenstein became director in 1986, the Bonnefanten Museum has focused mainly on contemporary art. The main focus of the permanent collection is on: The collection also features video art and room-size installations by younger artists: Atelier Van Lieshout , Francis Alÿs , David Claerbout , Patrick Van Caeckenbergh , Roman Signer , Franz West , Pawel Althamer . In 2011,

540-840: The Bonnefanten Museum in Maastricht by the Delft architectural firm Ufo Architecten. The MAXXI museum in Rome staged a retrospective titled Aldo Rossi, The Architect and the Cities in 2021. Aldo Rossi won the prestigious Pritzker Prize for architecture in 1990. Ada Louise Huxtable , architectural critic and Pritzker juror, has described Rossi as "a poet who happens to be an architect." In addition to architecture, Rossi created product designs, including: Ignazio Gardella Ignazio Gardella (30 March 1905 in Milan , Lombardy – 16 March 1999)

576-520: The Bonnefanten Museum its distinctive character. The department of old masters is located on the first floor and displays highlights of early Italian, Flemish and Dutch painting . Exhibited on the same floor is the museum's extensive collection of Medieval sculpture. The contemporary art collection is usually exhibited on the second floor and focuses on American Minimalism , Italian Arte Povera and Concept Art . The second and third floors are also used for temporary exhibitions. The collection old art of

612-454: The City ( L'architettura della città , 1966) and A Scientific Autobiography ( Autobiografia scientifica , 1981). The largest of Rossi's projects in terms of scale was the San Cataldo Cemetery, in Modena , Italy, which began in 1971, but is yet to be completed. Rossi referred to it as a "city of the dead". The distinctive independence of his buildings is reflected in the micro-architectures of

648-566: The Milanese scene together with whom he took part in the creation of the Italian Modern Movement . His long professional activity, which began before his graduation at the end of the 1920s with his father Arnaldo Gardella  [ it ] (1873–1928), produced an enormous quantity of projects and realizations. In the same years he was a leader of important cultural events, like CIAM (in 1952 he founded, with others,

684-457: The author, "in discrete disorder", brings back memories, objects, places, forms, literature notes, quotes, and insights and tries to "... go over things or impressions, describe, or look for ways to describe." In the same year, he won first prize at the international competition for the design of an apartment block on the corner of Kochstraße and Wilhelmstraße in central Berlin . In 1984, together with Ignazio Gardella and Fabio Reinhart , he won

720-567: The city from 1956 to 1972 ). He married the Swiss actress Sonia Gessner, who introduced him to the world of film and theatre. Culture and his family became central to his life. His son Fausto was active in movie-making both in front of and behind the camera. His daughter Vera was involved with theatre. He began his professional career at the studio of Ignazio Gardella in 1956, moving on to the studio of Marco Zanuso . In 1963 also he began teaching, firstly as an assistant to Ludovico Quaroni (1963) at

756-435: The city remembers its past (our "collective memory"), and that we use that memory through monuments; that is, monuments give structure to the city. Inspired by the persistence of Europe's ancient cities, Rossi strove to create similar structures immune to obsolescence. He became extremely influential in the late 1970s and 1980s, as his body of built work expanded and his theories were promoted in his books The Architecture of

SECTION 20

#1732779878677

792-648: The competition for the renovation of the Teatro Carlo Felice in Genoa , which was not fully completed until 1991. In 1985 and 1986, Rossi was director of the 3rd (respectively 4th) International Architecture Exhibition at the Venice Biennale including further away display spaces such as Villa Farsetti in Santa Maria di Sala . In 1987, he won two international competitions: one for a site at

828-474: The early postwar period, Gardella took up once more his activity with full vigor, producing many important works and some masterpieces such as: The publications of Gardella, though they include many articles and projects published in all of the major international reviews, are not just of theoretical interest. A list of his publications is available at: Gardella also had an important role in education, from his invitation in 1949 by Giuseppe Samonà to be part of

864-428: The first that inaugurated Italian design production of high quality. Gardella designed primarily decorative furniture objects. If one looks for Ignazio Gardella's style, one is likely to be disoriented. His projects, over the years, changed according to changing architectural tendencies, often anticipating them, but always containing elements that diverged from the current with which they might be associated. Gardella

900-907: The hotel complex The Palace and he won the 1991 Thomas Jefferson Medal in Public Architecture from the American Institute of Architects . These prestigious awards were followed by exhibitions at the Centre Georges Pompidou in Paris, the Beurs van Berlage in Amsterdam, the Berlinische Galerie in Berlin and the Museum of Contemporary Art in Ghent, Belgium. In 1996, he became an honorary member of

936-513: The products designed by Rossi. In the 1980s, Rossi designed stainless steel cafetières and other products for Alessi , Pirelli , and others. For the Venice Biennale in 1979, Rossi designed a floating Teatro del Mondo that seated 250 people. For the Venice Biennale in 1984, he designed a triumphal arch at the entrance to the exhibition site. In 2006 two pylons based on an original 1989 design by Aldo Rossi were erected in front of

972-495: The reflections of the painter Giorgio de Chirico . A trip to the Soviet Union to study Stalinist architecture also left a marked impression. In his writings, Rossi criticized the lack of understanding of the city in current architectural practice. He argued that a city must be studied and valued as something constructed over time; of particular interest are urban artifacts that withstand the passage of time. Rossi held that

1008-529: The river Maas , it is one of Maastricht's most prominent modern buildings. Since 1999, the museum has become exclusively an art museum. The historical and archaeological collections were housed elsewhere. The museum is largely funded by the province of Limburg . In 2009, the museum celebrated its 125th anniversary with the exhibition Exile on Main Street . In 2012, Stijn Huijts became director. The combination of old art and contemporary art under one roof gives

1044-598: The school of urban planning in Arezzo , then to Carlo Aymonino at the Institute of Architecture in Venice . In 1965, he was appointed lecturer at the Polytechnic University of Milan , and the following year he published The Architecture of the City , which soon became a classic of architectural literature. His professional career, initially dedicated to architectural theory and small building work took

1080-553: The staff of the IUAV . His academic career brought him to the post of Professore Ordinario in 1962, which he held until 1975. Gardella won many prizes, among which are the: Premio Nazionale of Olivetti for Architecture (1955), the 1977 Medaglia d'oro del Presidente della Repubblica ai benemeriti della Scuola, della Cultura e dell'Arte (Gold Medal), the Leone d'Oro alla carriera dalla Biennale di Venezia (1996), Honorary membership in

1116-580: The summer session in Venice; in 1959 he participated in CIAM X in Otterlo in the Netherlands), or the first INU conferences (starting in 1949). The figure of Gardella remained at the pinnacle of Italian architecture for all of the 1960s and '70s, with intense professional activity whose importance is proven by his presence in international publications. In the last phase of his life, Gardella, now among

Bonnefantenmuseum - Misplaced Pages Continue

1152-907: The teaching profession in Italy, teaching architectural composition in Venice. In 1979, he was made a member of the prestigious Academy of Saint Luke . Meanwhile, there was international interest in his skills. He taught at several universities in the United States, including Cooper Union in New York City and Cornell University in Ithaca (New York State). At Cornell, he participated in the Institute for Architecture and Urban Studies joint venture with New York's Museum of Modern Art , travelling to China and Hong Kong and attending conferences in South America. In 1981, he published his autobiography, A scientific autobiography . In this work

1188-591: Was an Italian architect and designer . Born into a family of architects, the first of whom was his namesake Ignazio Gardella Sr.  [ it ] (1803–1867). Gardella graduated in engineering from the Politecnico di Milano university in 1928, and later earned a degree in architecture from the Istituto Universitario di Architettura di Venezia (IUAV) in 1949. In his university years he came into contact with other young protagonists of

1224-728: Was director of the International Architecture Section at the XV Milan Triennial Exhibition of Decorative Arts and Modern Architecture , where he presented, among others, his student Arduino Cantafora . Rossi's design ideas for the exhibition are explained in the International Architecture Catalogue and in a 16mm documentary Ornament and crime directed by Luigi Durissi and produced along with Gianni Braghieri and Franco Raggi. In 1975, Rossi returned to

1260-641: Was one of the editors of, the architectural magazine Casabella-Continuità , with the editor in chief Ernesto Nathan Rogers . Rossi left in 1964 when the chief editorship went to Gian Antonio Bernasconi. Rossi went on to work for Società magazine and Il_contemporaneo, making him one of the most active participants in the fervent cultural debate of the time. His early articles cover architects such as Alessandro Antonelli , Mario Ridolfi , Auguste Perret and Emil Kaufmann and much of this material became part of his second book, Scritti scelti sull'architettura e la città 1956-1972 ( Selected writings on architecture and

1296-620: Was one of the leading proponents of the postmodern movement. He was the first Italian to receive the Pritzker Prize for architecture. He was born in Milan , Italy . After early education by the Somascan Religious Order and then at Alessandro Volta College in Lecco in 1949, he went to the school of architecture at the Polytechnic University of Milan . His thesis advisor was Piero Portaluppi and he graduated in 1958. In 1955, he had started writing for, and from 1959

#676323