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ancoPurini:StudyofArchitecturalElements(1968)
October 12, 2014 by fosco lucarelli 1 Comment

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r 11-12 (Nov-Dec 1972) of Italian architecture magazine Controspazio presented a retrospective of the earliest

earches by the couple Franco Purini / Laura Thermes.

was part of an ongoing series titled LarchitetturaInterrotta (Interruptedarchitecture) and the same

ed another retrospective dedicated to arch. Ludwig Leo that we already featured on Socks.

of the relation between the base, the volumes and the linear elements; analysis of a process of construction;
axonometries related to the phases of the definition of the building.

relatively young Purini and Thermes, architects, teachers and writers, have started a collaboration since 1966 after

h Ludovico Quaroni at the Faculty of Architecture of Rome La Sapienza and working with both Maurizio
Vittorio Gregotti. Their work, based upon the practice of the architecturaldrawing, confronts the lines of
and of the classical tradition with suggestions of metaphysical character. Their recognition came, rather than from

ork, after participating to the very first Venice Biennale of Architecture (1980) when they were called by Portoghesi

or of Controspazio) to contribute, along with other renowned architects, to the design of the Strada Novissima

ng drawings are from one of the paragraphs of the Controspazio retrospective, titled 1968. Studio di elementi
1968.Studyofarchitecturalelements). The following introduction was written in Italian by Franco Purini.

ese drawings it is attempted a classification of typical situations in the relationship between the volume

e), the plane and the linear element, in a hypothesis of architectural composition as a form of notation or

cube, the base, the linear element (column, tower), the wall are the pieces of a series of formal connections,
elementary formulation of the construction, referring particularly to the theme of the trilithon.

reduction of the objects (elements) to a limited number, the classification by sections of their relations, the

truction of space as coexistence of these objects and as a ratio with respect to a reference plane (base or

, allows to set up a description of the composition based on a closed number of propositions, in an attempt

nstrain the project by forcing the comparison with a series of primary preordinate situations.

central reference is to the structure of a classical temple and to the special connection that is built into it

ng the constituent elements.

is hypothesis it is present the reference to the construction site (as the place of technological practice),

e functional processes are interpreted in their succession and in the order of the artefacts (the base, the wall

defines it in the elevation, the superimposed trilith) that are produced there.

analysis by parts of the building tends to express this growth through additions of finite objects. That makes

ssible to rethink the constructiveprocess within a series of stages, each determined in its own formal

nomy. (translated from Italian by Socks)

este tavole si tentata una classificazione di situazioni tipiche del rapporto tra il volume (il cubo), il piano e

mento lineare, in una ipotesi di composizione architettonica come una forma di notazione o scrittura .

bo, il basamento, lelemento ad andamento lineare (colonna, torre), il muro sono i pezzi di cui si propongono

ne connessioni formali in una formulazione elementare della costruzione , riferita particolarmente al tema

mpianto trilitico.

duzione degli oggetti (elementi) ad un numero limitato, la classificazione per sezioni dei loro rapporti, la

uzione dello spazio come compresenza di questi oggetti e come rapporto rispetto ad un piano di

mento (basamento 0 muro), permette di istituire una descrittiva della composizione basata su un

ero chiuso di proposizioni, nel tentativo di condizionare il progetto obbligando al confronto con una serie di

zioni primarie preordinate.

erimento centrale alla struttura del tempio classico e alla particolare connessione che si costruisce in esso

li elementi costitutivi.

esente in questa ipotesi il riferimento al cantiere (come luogo della pratica tecnologica), i cui procedimenti

onali sono interpretati nella loro successione e nellordine dei manufatti (il basamento, il muro che lo

isce in alzato, il trilite sovrapposto) che vi si producono.

alisi per pezzi della costruzione tende ad esprimere questa crescita per addizioni di oggetti finiti. Cio

ette di ripensare il procedimento costruttivo dentro una serie di fasi determinate ciascuna nella

ria autonomia formale.

omeoftheimagestoenlarge.

Classification through sections of spatial situations

Project for a lamellar skyscraper (perspectives, elevations and sections)

Project for a lamellar skyscraper (perspectives, elevations and sections)

the attack situations between volumes and base. Relationships in elevation between base, plates (walls) and linear

yalsolike

elements (pillars, gates, towers)

enting
ntality:the
ionforthe
LesHallesin
Monestiroli

Reinventing
Monumentaly:the
Competitionforthe
DistrictofLesHalles
byA.Monestiroli(1979)

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PeugeotSkyscraperin
BuenosAires,aProject
byMaurizioSacripanti
(1961)

Introducing:MICRO
CITIES

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Tagged With: drawings

pv says
October 13, 2014 at 6:13 pm

s very good from Purini, at that time he did very interesting work which was influenced by the Roman

ct Maurizio Sacripanti (with whom Purini collaborated) and the painter Gastone Novelli. However compared to

eferences, Purini was much more abstract and to a certain extent he anticipated both Eisenmans early houses

e work of Japanese anti-metabolist architects such as the great Hiromi Fuji.

these projects makes one wondering what happened to Purini after. How someone who could do this amazing

ould have design such horrible stuff, like the Casa del Farmacista in Gibellina and even worst the Eurosky

n Rome.

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