By Lawrence Venuti, Aldo Rossi
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It has no centrality on the ground level; the eentraIity exists in the cireulation of the balconies and in the incline of the pointed roof. I liked the idea of this interior indine so much that I built a structure in which eommon elements and joints were disengaged as in a temporary construction, and this in fact is what gives the theater its temporary appearance. Thus, in the structure the rods and brass joints, which look almost gilded, move closer together and become superimposed, creating a skeleton, a machine, a living device that no longer has its original shape and cannot be compared to a scaffold.
This perhaps beeame elearer in the project for Chieti. Now, while we talked with the patients ofthe mental hospital, the project for the student housing became bound up with Trieste, and the young sturients and the ex-patients who had to be reestablished in a new house in turn became merged with the city architecture. The project formed a bridge between the city ofTrieste and the strong, rugged terrain which alloweri the sea to penetrate as far as the karst formation. Few eities can be comprehended from above as Trieste can,just as in few other cities ean one walk along the harbor and go out on the piers with such a sense of festivity.
Perhaps this goal is really the preserve of the engineer; in reality, it is a very modest goal, but it is attained only with much difficulty. so the static quality of the place, its relation to the water, and the tower. 52 The more boundless an analogy, the more fixed it is, and in this duality lies a measuml madness. 1 think I have listed a few built works which preoccupy me. like the Tempio Malatestiano in Rimini or Sant'Andrea in Mantua, because there is something in them which cannot be modified and which simultaneously re-engages time.
A Scientific Autobiography by Lawrence Venuti, Aldo Rossi