Among the works of other authors, who refer to the poetics of A. Rossi and more or less close to him in experience, we can mention the researches of the COPRAT group, in particular the popular housing in corso Garibaldi in Mantua (1981), strongly characterized by a severe volumetric cadence that isolates the individual lodgings, closed by an architraved loggia of sure resonance, in which allusions to the Roman Foschini of corso Rinascimento echo; then the project for the competition for the Rialto Bridge in Venice (1985), essential in its synthetic figure with a gigantic ” tympanum ” crossing the waters. And also the projects of A. Ferlenga, in particular the one for the Poble Nou in Barcelona (1980); the works of the Swiss B. Reichlin and F. Reinhart, mostly operating in the Swiss Ticino area, of which the “ Palladian ” Casa Tonini in Torricella (1972-74), the Casa Sartori (1976-77) must be remembered), the Casa Rivola in Rivera (Canton Ticino); the presence of L. Scacchetti,
According to ITYPETRAVEL, the leader of a ” logical ” classicism, surpassing the ” rationality ” of rationalism, played on a rigid procedural ” fixation ”, is G. Grassi, whose excavation in the classical lesson is a modality for a ” logical construction ” of the new architecture, aimed at rediscovering those ” constant elements ”, the ” aspects of generality ”, the ” perpetual forms ” deposited in it. ” Logical construction ” that would like to pursue the ” not achieved ” aim of architectural rationalism: that of architecture as a science. A ” construction ” that takes the form of the repeated exploration of a few, indeed very few, organizational schemes of the ancient heritage. Between these, the complete or ancipital symmetry, the equivalent and constant cadences and rhythms, the portico placed in front of the building blocks; tools bent to fix the many themes of architecture. Among the results achieved by this poetics of the “ equal ” we should mention some works in which, after the remarkable project developed with A. Monestiroli of the middle school in Tollo (1975), of intense quality, the arcade-loggia theme returns – pilaster box juxtaposed or combined with distilled building images in a few sip of compositional combinations. Thus in the Student House in Chieti (1976), in the project for Four residences in Miglianico (1979), on the theme of the rustic villa; and in the House in Rauchstrasse in Berlin (1984). Along the lines of these researches, essentialized almost to repetition, mono-tone.
On a level of greater autonomy than the classical code, other architects place themselves who, using an approach freer than memory, resonate a particularly rich range of grafts. Forerunner and leader of this attitude is P. Portoghesi, whose decisive importance as a critic and architect since the 1950s we mentioned at the beginning. His research, after an exploration carried out in the Sixties on organizational ways of modern language, rethought in a spatial feeling, polarized on circular modules (Casa Andreis, 1969; Casa Paganica, 1970; Cultural Center in L’Aquila, 1982), in particular in the IACP houses in Anguillara (1979-85), in the project for the shopping center for the city of Vallo di Diano (with G. Ercolani and G. Massobrio), in the high result of the façade of the Strada Novissima at the 1980 Biennale, in the ENEL residential complex in Tarquinia (1981-85) and in the project for the City of Science in the Testaccio district of Rome (1983), makes use of the acute sensitivity to capture active ideas of the historical culture and architectural tradition of the place with highly valued results. In a similar way, in the long design story of the new Mosque in Rome (1975-91), through the beloved Baroque mediation of G. Guarini, he comes to creatively communicate with the Arab architectural tradition: by delivering a building whose value of the interior space deposits a spiritual and formal result of considerable significance.
The work of the GRAU group (Gruppo Romano Architetti Urbanisti), for whom the architecture of the modern movement was re-immersed in continuity with the eclectic and neoclassical one, in the name of the common emergence from the historical cycle of the bourgeoisie. Therefore a different tradition of architecture sought against the exasperating figure of the ” new ”, typical of the modernist avant-gardes; positive recovery activated by the vivid solicitation of L. Kahn’s architecture and centered, as Portoghesi would say in 1980, on a “rediscovered organic complexity”. This is a character which, beyond the personal cadences, which are also particularly qualifying and which will become evident especially after the loosening of the group after 1968, will be integrated with a more decisive acceleration towards the semantic depth of architecture. Thus in the high result of the Parabita Cemetery (1967-72) by A. Anselmi and P. Chiatante, then taken up again in subsequent works for Santa Severina by A. Anselmi and G. Patanè (Cemetery, 1982, and Piazza, 1983). Thus the new symbolic-geometric complexity unfolded in the competitions for the State Archives in Florence (1972) and for the 1973-75 Sanremo Flower Market (A. Anselmi, P. Chiatante, R. Mariotti, F. Pierluisi). The novelty of the first season of the GRAU lies in an entry, which is often overlapping, in the constitutive mechanism of the form of systems of definition, of geometric tracing, of projective organization of images, of graphic polarizations, external to the constructive law of the artefact: inserted with the aim of intercepting – enriching or contesting – the natural law of the organism, in order to get out of the predictable tone of the implant and arrive at the estranged aura pursued. Sometimes touching effective syntheses (Parabita), sometimes failing when the difficult merger fails to bring to maturity the intellectualistic procedure (Sanremo flower market, first project). Difficult hybridizations that seem to be decreasing in importance in the works of recent years. Of these, the many building interventions in Cori should be noted, including the Carpineti Houses by M. Martini, F. Montuori, F.
