It is only since the end of the Nineteenth century that women were admitted to schools of Architecture, starting from Finland; from then on, though small steps, the female contribution to architecture has become increasingly authoritative and valuable. An invisible thread combines the stories and careers of female architects who with courage and passion have continued their life and emancipation projects, linking their hopes to those of today’s women. The focus of this contribution is on the tangible sign that the activities of two women of the Twentieth century have left on the architecture of the past, through restoration, recovery and functional renovation. Liliana Grassi (1923–85) approached the world of culture and profession in the immediate aftermath of the war. Therefore, her idea of restoration is anchored to a profound knowledge of the history of architecture and an equally deep design capacity, in order to spread the value of the cultural quality of contemporaneity through the study of history, the alacrity of research and the freedom of fantasy. Gae Aulenti (1925–2012) is one of the most important figures of architectural research of the latest times, especially for her urban and architectural interventions. Among her works, she is the author of the interior design of the Gare d’Orsay in Paris, turned into a museum; the restoration of Palazzo Grassi in Venice; the adaptation of the National Art Museum of Catalonia in Barcelona; the restoration of Palazzo Branciforte in Palermo and the recovery of the Quirinale Stables in Rome. Through all her work, we can observe her idea of restoration which is a graceful new-ancient combination where the inevitable differences between what has been and what will be are treated with harmony. This association will guarantee the reintegration of ancient buildings into the dynamism of contemporary life. The purpose of this contribution is to focus the attention to the ideals and professional activities of these two architects as a result of their talent; we will demonstrate how they were capable of combining recovery and innovation through interventions on historical prominences, with particular reference to modern elements, materials, space solutions and languages.

Combining new and ancient: the design experiences of Liliana Grassi (1923-1985) and Gae Aulenti (1927-2012) between recovery and innovation.

RIBERA, Federica
;
CUCCO, PASQUALE
2018

Abstract

It is only since the end of the Nineteenth century that women were admitted to schools of Architecture, starting from Finland; from then on, though small steps, the female contribution to architecture has become increasingly authoritative and valuable. An invisible thread combines the stories and careers of female architects who with courage and passion have continued their life and emancipation projects, linking their hopes to those of today’s women. The focus of this contribution is on the tangible sign that the activities of two women of the Twentieth century have left on the architecture of the past, through restoration, recovery and functional renovation. Liliana Grassi (1923–85) approached the world of culture and profession in the immediate aftermath of the war. Therefore, her idea of restoration is anchored to a profound knowledge of the history of architecture and an equally deep design capacity, in order to spread the value of the cultural quality of contemporaneity through the study of history, the alacrity of research and the freedom of fantasy. Gae Aulenti (1925–2012) is one of the most important figures of architectural research of the latest times, especially for her urban and architectural interventions. Among her works, she is the author of the interior design of the Gare d’Orsay in Paris, turned into a museum; the restoration of Palazzo Grassi in Venice; the adaptation of the National Art Museum of Catalonia in Barcelona; the restoration of Palazzo Branciforte in Palermo and the recovery of the Quirinale Stables in Rome. Through all her work, we can observe her idea of restoration which is a graceful new-ancient combination where the inevitable differences between what has been and what will be are treated with harmony. This association will guarantee the reintegration of ancient buildings into the dynamism of contemporary life. The purpose of this contribution is to focus the attention to the ideals and professional activities of these two architects as a result of their talent; we will demonstrate how they were capable of combining recovery and innovation through interventions on historical prominences, with particular reference to modern elements, materials, space solutions and languages.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11386/4718972
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