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San Rocco
Issue 5: Scary Architects
What is San Rocco Magazine?
SAN ROCCO is a magazine about architecture.
SAN ROCCO does not solve problems. It is not a useful magazine.
SAN ROCCO is neither serious nor friendly.
SAN ROCCO is written by architects. As such, SAN ROCCO is not particularly intelligent, or philologically accurate. In SAN ROCCO, pictures are more important than texts.
SAN ROCCO is serious. It takes the risk of appearing naive.
SAN ROCCO will not last for ever. There will be no more than 20 SAN ROCCOs for the single five-year plan.
San Rocco is the name of a place in Monza, not a nice place. Giorgio Grassi and Aldo Rossi engaged in a design competition for this place in 1971. The project was not built; ordinary housing blocks were built instead.
A few negligible drawings of the San Rocco project have survived in old monographs, along with a black-and-white photograph of the competition model. It is a picture taken from above of the white plaster model. Close to the buildings there is a large label in relief lettering that casts dramatic shadows and reads “MONZA – SAN ROCCO scala 1:500″
San Rocco was the product of the collaboration of two young architects. San Rocco did not contribute to the later fame of its two designers. It is neither “standard Grassi” nor “standard Rossi”. Somehow it remains between the two, strangely hybrid, open and uncertain, multiple and enigmatic.
The purity and radicalism of the design does not involve any intolerance. San Rocco suggests an entirely new set of possibilities. It seems to be the beginning of a new type of architecture, or the first application of a new type of architecture, or the first application of a new – and happy – design method that has not been developed further.
San Rocco proposes the possibility of reusing architectural traditions that lie outside of private memory (contrary to Rossi’s usual approach) without erasing personal contributions (contrary to Grassi’s usual approach). In San Rocco, common does not mean dry, and personal does not mean egomaniacal. San Rocco seems to suggest the possibility of an architecture that is both open and personal, both monumental and fragile, both rational and questioning.
Issue #5 is about Scary Architects, and includes the following articles:
Scary Portraits
Godzilla Is My Co-pilot: A Ride into the Milanese Hinterland in Search of the Evil Buildings by Guido Canella by Andrea Zanderigo
Baroque or Brooklyn by Ludovico Centis
Matthew Barney, the Tabernacle and the Mormon Plot by Dan Handel and Mauricio Quirós Pacheco
Organization Todt: The Building of the Present by Dan Handel and Mauricio Quirós Pacheco
Klingenberg: A Biography by Matt Litvack and Iason Tsironis
Scared Architects and the Law by Fabrizio Gallanti
Of Elephants, Sharks and Ducks (and a Lion) by Maria Conen and Victoria Easton
A Letter from Curaçao: Carlos "Carel" Weeber Writes to Atelier Kempe Thill by Oliver Thill
Paul Rudolph: Song of Deeds by William Watson
You Cannot Not Know (His) History by 2A+P/A
The Stanley Cup: An Inquiry into the Essence of Monumentality by Pier Paolo Tamburelli
And Justice for All! by Matteo Ghidoni
The Trellick Tower: The Fall and Rise of a Modern Monument by Mariabruna Fabrizi and Fosco Lucarelli
Architecture, Gender and Disaster (Why Zaha Hadid Is Scary) by Die Architektin (Verein für)
The Watchful Golden Tower by Mika Savela
Illegitimate Architecture by Allyn Hughes
Collodi, Vignola and the Nightmares of Italian Children by Valter Scelsi
The Ballad of Master Manole by Lina Scavuzzo
Determining Indeterminacies by Andreas Lechner
Method as Form by Kersten Geers
Architecture Takes Command by Stefan Staehle
In Search of the Ernst Stavro Blofelds of Architecture by Martin Zemlicka
Scary Architects and Scared Clients: A Portrait of Aris Konstantinidis by Nikos Magouliotis
Notes on Thomas Bernhard's Korrektur by Daniele Pisani
The Mother, the Son and the Architect: Notes on a Petra Noordkamp's Video by Christophe van Gerrewey
and Djenne by Bas Princen
SOLD OUT!
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