For any architect familiar with the name Aldo Rossi, several images certainly come to mind: Rossi’s design for a tall, domed espresso pot, his floating Teatro del Mondo for the 1979-80 Venice Biennale, and the drawings, if not the buildings themselves, for the San Cataldo cemetery (1971-84), in Modena. These and more of the work of the Pritzker Prize-winning Italian architect appear in a new Princeton University School of Architecture exhibition, “Aldo Rossi: The Architecture and Art of the Analogous City,” curated by architectural historian Daniel Sherer. Perhaps the most ambitious exhibition at Princeton since architecture dean Monica Ponce de Leon established an active exhibitions program at the school in 2016, it is the first retrospective of Rossi’s work in the United States since 1976.
While relatively small given the span of Rossi’s productive career, Sherer’s show nonetheless packs a wallop: from the vivid blue end walls and elongated pedestal covered with drawings and objects in the main exhibition space to the many vitrines that spill into the school’s lobby, where Sherer displays books, magazines, and videos to contextualize Rossi’s career, including his role in the 1960s Italian Tendenza, which abandoned utopian modernism for critical and political realism in architecture.
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