Topic: Critique the works of two architects Type: Article Critique Subject: Architecture Academic Level: Masters Style: Harvard Language: English (U.S) Number of pages: 8 (double-spaced, Times New Roman, Font 12) Number of sources: 15 Task details: 
Critique two architects; Aldo Rossi & James Stirling in relation to the following four themes: Spatiality: Space & Place
 Temporality: Time & temporality
 Topography: Inhabitation & Horizon
 Meaning: Poetics & Technology You must use footnotes to in-text cite sources.


3. Topic: Critique the works of two architects
Type: Article Critique Subject: Architecture Academic Level: Masters
Style: Harvard Language: English (U.S)
Number of pages: 8 (double-spaced, Times New Roman, Font 12)
Number of sources: 15
Written by: https://writersperhour.com
Task details
Critique two architects; Aldo Rossi & James Stirling in relation to the following four themes;
Spatiality: Space & Place
Temporality: Time & temporality
Topography: Inhabitation & Horizon
Meaning: Poetics & Technology
You must use footnotes to in-text cite sources.
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4. Introduction
Aldo Rossi is among the greatest architects behind notable architectural designs and
models in the period between 1972 and 1988. He is acknowledged to have had a distinct prowess
in drawing, architecture and theoretical practice. As an architectural theorist, he emphasized the
autonomy of architecture with recognizable control, disputing the initially widely held traditional
architectural practices and theories. Accordingly, Aldo Rossi's works were mostly inclined to
urban theory and modernism as depicted in his book Architecture of the City, which is to date
considered the leader of urban theory. Rossi is also described as an architect who insisted on
assigning meaning and poetic value on his architectural works. Through analysis of his advocacy
for urban architectural theory and modernism, it extensively comes out that his architectural
themes directly correlate the design and construction complexities of temporality, meaning,
spatiality, and topography .1
Sir James Stirling is another architect whose architecture has by far been measured
beyond his works and projects, renowned in the periods between 1964 and 1992. His work has
also been criticized as some of his designs are noted to be malfunctioning in the modern times,
for instance, the ancient universities of Cambridge and Oxford. On a positive note, however,
James Stirling is as well creative pronounced among the top architects of Britain. Thus, he
continues to be honored, especially after being inaugurated with the Stirling Prize after his death,
taking his name. Most of his work, some of which were completed after his death, signifies the
mixed arrays of architectural complexities he employed. Criticized for shifting from modern
Kening, S. ‘Review typology. ‘ The Architect, 6, (2006), 001-012. (p. 11)1
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5. architectural contexts, his designs encompassed broader ranges of historical meaning, and
spatiality contexts, which have shed new light in today’s architecture.
Critique of Aldo Rossi and James Stirling
Temporality
Rossi's work depicts the subject of temporality and time according to how he advocated
for the need of redefining urban architecture along with its cultural context. Rossi's re-definition
maintained on the fact that urban architecture should encompass the aspect of continuity, culture
and historical representations rather than architectural designs aimed at recreating new
typologies. In particular, his criticisms about lack of comprehension of modern cities primarily
depicted the subject of temporality and time judged by his theoretical argument that cities must
be valued as urban artifacts architecturally designed and constructed over time to survive the
passage of time. This is, for instance, the reason Rossi stressed that monuments provide structure
to the city, in that, cities recall the past through monuments. Rossi's typical example of this is
evidenced by his work of the San Cataldo Cemetery in the city of Modena, Italy; where he
brought out his theoretical perspective of assigning cultural, continuity, repetitive, and historical
meaning of the dead that at one point occupied the city .2
Rossi's project in the urban model, particularly in public buildings had reference to
architectural designs that signifies the characteristics of time. For instance, in the Verona city
construction shown from the drawing in figure 1, Rossi insists the promotion of architecturethe
Moneo, J. R., & Cariño, G.. Theoretical anxiety and design strategies in the work of eight2
contemporary architects. (Cambridge: MIT Press, 2004). P. 83
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6. construction with locally available materials. In particular, red stones together with other local
building materials were used to plaster mortar walls to create a mix of pale and bright colorings.
This implies that good architectural theory and practice should appreciate the surrounding
aspects of beauty. Beauty in this case is the architectural design that creates a historical city that
consists of many aspects like construction with local materials and monuments that over time
would remind the city of its past, present, and the relationship between its inhabitants and
construction.
Contrary to Rossi's works, Sir James Stirling architectural works cannot be easily
categorized as most of his projects were inclined to the post-war British architectural culture.
Most of his early work depicts historical meanings and representations as he opted to retain
historical facades, but at the same time reconfiguring the architectural concept especially
pertaining to culture and the possibility of transformation. For instance, by looking at the
structure of the No 1 poultry building completed thereafter his demise, it represents a Sir
Stirling's combination of historical, cultural conditions explicitly portrayed by its color (the red
brick buildings), formalism, and the relationship with the urban context that represents the theme
of meaning and time. This clearly indicates Stirling's complex architectural legacy that can only
be defined within the context of urban historical precedents.
Topography
However, Rossi’s primary component of architectural practice and theory, which as
opposed to Stirling, can only be understood from architectural essentials based on the subject of
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7. topography in the aspects of inhabitation and horizon. According to Rossi’s final architectural
drawing projects, shown in figure 1 & 2, it depicts a district city of apartments, shops, and
offices surrounded by hills and a view which stands out distinguished in an outskirts locality.
This particular project defines Rossi’s architectural concern and value for autonomy and natural
conformity to the topographic and scenic characteristics. This included aspects such as the green
visible spaces on the hills, the hierarchical relationship between inhabitant’s residential houses
and offices, scenic permanence, and the reality of urban continuation. Generally, Rossi’s
architectural forms also convey powerful presence of topographical aspects registered by his
extensive use of L- and U-shaped architectural designs, elevating buildings above the ground to
characterize the linear and central elements in architectural design of city planning. In the same
manner, Rossi’s successes in his ending decade, especially in Germany and Japan, are tied to
scenic and topographic location designs combined with his manipulative skills for lights,
shadows, and timeless symbolisms.
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8. !
Figure 13
Meaning
Even judging from his joint architectural works with James Gowan whom he worked
with for an extended period on various projects, it is realizable how Stirling consistently assigned
the language of vernacular sources and modernism to bring out the transparency of poetic value
and meaning in architecture. This is what produced Stirling's extensive urban museum projects,
for instance, Stuttgart and Cologne in Germany. To a great extent, his poetic value and meaning
in architecture was primarily driven by the themes of the central drum, cornice, arcades, and
winding paths widely revealed by most of his projects not built. Still, similar themes are
recognizable from some of his built projects, for instance; the Neue Staatsgalerie Stuttgart
View over the hills, original sketch, by Aldo Rossi, 1996: Rossi, A. Aldo Rossi: drawings and3
paintings. (Princeton Architectural Press, 1993)
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9. depicts it all. Furthermore, the Stuttgart museum portrays a very cordial and monumental spatial
design, meshing with the existing city, at the same time representing topographic scenery as it
includes a series of designs in classical ramps and terraces. This makes Staatsgalerie one of
Stirling's fantastic and toughest works that encompasses the utmost architectural complexity and
highly fascinating buildings of the twentieth century .4
Several projects and works of Rossi also signify that he was a great poet of architecture.
Huxtasble L. Ada described Aldo Rossi as a “poet who happens to be an architect.” Rossi’s
debate on style also depicts how he applied poetic value in architecture. In particular, he
criticized the lack of comprehension of the city in architectural practice. His argument was that
the city must be examined over time to get a deeper and inner meaning of cities permanence.
This is, for instance, what hugely inspired Rossi’s unquestionable theoretical approach to
designing public buildings, his emphasis on using local materials, and his perspective on the role
of monuments and assigning social meaning. This aspect of poetic value is essentially what
inspired Rossi to strive in creating an ageless originality, not novel, but found within the context
of formal types .5
Stirling, J. F. ‘Neue Staatsgalerie Stuttgart. 110072. (2007). 224-309. (p. 229)4
Moneo, J. R., & Cariño, G. Theoretical anxiety and design strategies in the work of eight5
contemporary architects. (Cambridge: MIT Press, 2004). P. 141-147
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10. !
Figure 26
Rossi, “a poet who happens to be an architect”, proves this statement from his unique and
universal architectural designs evidenced from his manipulative skills and use of personal
approaches, mainly signified by his structural shape designs of the cone, square, and cylinder
mixed with unexpected pillars and scales of colonnades as well as shades and shadows of natural
lighting. Perhaps, this is what is portrayed in the Hotel II Palazzo in Fukuoka, Japan. The solid
block hotel is amber-colored and rests on top of a stone base with columns in a curved design,
but with the absence of windows. As "a poet who happens to be an architect", he describes the
arguably absence of windows as "a room with a view" by primarily maintaining that important
aspects are love, life and stay in the hotel.
Spatiality
The fountain, original sketch, by Aldo Rossi, 1996: Rossi, A. Aldo Rossi: drawings and6
paintings. (Princeton Architectural Press, 1993)
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11. In the project for replacing and reconstructing the Carlo Felice Theater in Genoa, bombed
in the Second World War, Rossi's approach proves a lot to do with the characteristics of
spatiality. His project doesn't interfere with the location and placement of the structure at all but
brings in aspects that suit novel spaces and functions. At the same time, the project conveyed
originality that preserves the historic integrity of the theater, bombed in the Second World War.
As a matter of fact, Rossi's reconstruction project of the theater was just like the city, in that, the
theater itself is a stage or place where various functions take place, thereby has to encompass
activities, organization, and new spaces leading into several other spaces/places.
Stirling's drawings of the Staatsgalerie in Stuttgart also reveal his complexities and
refined skills of composing, defining and presenting a complete design that has spatiality
elegance. It is in the background of this project that the works of Stirling acquires novel meaning
of space and place. It is defined to encompass the spatiality that is over-determined while at the
same time exhibiting the characteristics of an urban composition. The Staatsgalerie in Stuttgart,
in particular, demonstrates the spatiality quality as it is built in a sense that is very
accommodating, has unforgettable images and objects, perfectly balances the reality that exists
between motion and monumentality, and physically captures the art of contemporary urban
development. This proves beyond doubt the historical architectural legacy of Stirling's advances
towards designing of cities and buildings for the contemporary society that lives through time .7
Baker, G. The architecture of James Stirling and his partners James Gowan and Michael7
Wilford: A study of architectural creativity in the twentieth century. (Farnham, Surrey, UK,
England: Ashgate, 2011). p. 76
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12. Conclusion
Aldo Rossi is widely known for his projects and works in architecture. Drawing his
theoretical and practical designs from a wide variety of influences, he managed to become one of
the renowned architects across the world today. In Italy, his legacy still lives, especially marked
by the notable works and designs he left behind. Furthermore, architects have continued to be
enthusiastic about Rossi’s works in their architectural paths towards redefining designs and
deeper meaning in the contemporary construction industries through the realization of the
architectural quality characteristics such as topography, spatiality, temporality, and meaning.
Essentially, Rossi’s primary elements of architecture, especially in urban theory have been
employed and repeatedly used by architects to rediscover the deeper aspects of "immovable
architecture" and "timelessness".
Stirling’s architecture in comparison to Aldo Rossi, however, takes a different direction
since his works to date are considered unique and quite difficult to categorize. A substantial
amount of his work has been subjected to lots of criticisms and architectural mockery that
demonstrates his architecture to have been encompassed with the absence of ideas on how
buildings or constructions relates to the surroundings, as well as site selection. On a positive
note, Stirling is recognized as honorable architect who used his wits, skills, and courage to
traverse great heights in architectural novelty. This merely proves that despite the challenges any
person aspiring to be an architect might be facing, it is through dedication, creativity and
persistence that will earn the contemporary world professional and quality architects.
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13. Personal opinion
Judging from the above statements, it is conclusive that architecture takes transcends
through time and only embraces continuity through creativity, dedication, and willingness to
learn. Aldo Rossi, for instance, took a path of redefining modern architecture that still lives on
till today, both in practice and theory. Sir Stirling, on the other hand, though greatly criticized for
his works is still regarded as a creative and iconic architect. It is through their interests and
architectural passion for promoting continuity and dynamism in architectural practice that today
architects get to learn the various architectural elements and characteristics of specialty,
modernism, and continuity. Accordingly, architecture is simply a practice mixed with artistic
creativity and willingness to embrace the continuity as depicted by the critiques of these two
architects.
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14. References
Aldo Rossi. JOURNAL OF THE SOCIETY OF ARCHITECTURAL HISTORIANS, (n.d.).
378-379.
Arnell, P., Scully, V. J., Rossi, A., & Moneo, J. R. Aldo Rossi, buildings, and projects. (Rizzoli
Intl Pubns, 1985). 7-14.
Baker, G. The architecture of James Stirling and his partners James Gowan and Michael
Wilford: A study of architectural creativity in the twentieth century. (Farnham, Surrey,
UK, England: Ashgate, 2011). 73-88.
Clark, R. H., & Pause, M. Precedents in Architecture: analytic diagrams, formative ideas, and
parties. (John Wiley & Sons, 2012). P. 131-144.
De Solà-Morales, I., & Whiting, S. (1997). Differences: topographies of contemporary
architecture. MIT Press.
Ghirardo, D. ‘In Memory of Aldo Rossi 1931–1997. ‘ Journal of Architectural Education, (n.d.).
146-147.
Girouard, M. (1998). Big Jim: the life and work of James Stirling. Chatto & Windus.
Goldschmidt, G., & Klevitsky, E. Graphic representation as reconstructive memory: Stirling’s
German museum projects. (Springer London, 2004). pp. 37-61.
Jencks, C., & Chaitkin, W. Architecture today (pp. 292-311). (New York: Abrams, 2006).
Kening, S. ‘Review typology ‘. The Architect, 6, (2006). 001. 9-15.
Moneo, J. R., & Cariño, G. Theoretical anxiety and design strategies in the work of eight
contemporary architects. (Cambridge: MIT Press: 2004). 239-248
Punter, J. ‘Post-modernism. ‘ Planning Practice and Research, 2(4), (1988) 22-28.
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15. Rossi, A. Aldo Rossi: drawings and paintings. (Princeton Architectural Press: 1993).
Rossi, A., & Geisert, H. Aldo Rossi, architect. (London: Academy Editions, 1994).
Stirling, J. F. ‘Neue Staatsgalerie Stuttgart. ‘ 110072. (2007). 224-309.
Stirling, J. (1981). James Stirling. Place of publication not identified: Hyatt Foundation.
Swenarton, M., Avermaete, T., & van den Heuvel, D. (Eds.). Architecture and the Welfare State.
(Routledge, 2004). P. 103-117.
‘The architecture of James Stirling and his partners James Gowan and Michael Wilford: A study
of architectural creativity in the twentieth century. ‘ Choice Reviews Online, (2012)
49-2474.
‘The Architecture of the City Aldo Rossi Diane Ghirardo A Scientific Autobiography Aldo Rossi
Lawrence Venuti. ‘ JOURNAL OF THE SOCIETY OF ARCHITECTURAL HISTORIANS,
(n.d.). 86-88.
Zimmerman, C. ‘Photography into Building in Post-war Architecture: The Smithsons and James
Stirling. ‘ Art History, (n.d.). 270-287.
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