The year 1966 demarcated a borderline in the urban design discipline. Three books published that indicated a change of direction: City architecture by Aldo Rossi, The territory of architecture by Vittorio Gregotti and Complexity and contradiction in architecture by Robert Venturi. Aldo Rossi, in contact with Ernesto Nathan Rogers and “Casabella-Continuità”, shifted the attention to the historic, consolidated city, the monument and urban rules of archaeological fabric, while Vittorio Gregotti developed a research trend that founded architecture on geography. Finally, Robert Venturi opened up the architectural project, revealing its relations with media culture and with the contradictions of the consumer society. Critical essays investigated the phase following the second half of the Sixties, at the time when Aldo Rossi began, in 1976, to travel across America, invited by the Institute for Architecture and Urban Studies to show his works at a series of exhibitions. His book A Scientific Autobiography, written and developed in America, belonged to this phase, which characterised at an international level by the birth of Paper Architecture (the movement that had placed design at the centre of reflection as the expression of new spatial poetics). The essay aimed to show a change in the paradigm of Rossi’s thought, no longer and solely focusing on past and physical architecture, but unrelentingly entwined with the individual and personal destiny of the Milanese architect. Memory became an active, live field of investigation, as Rafael Moneo maintains on Rossi’s thought, in which an objective vision of architecture no longer counted but one that included the subject and his fragments.

中文翻译：

---

奥尔多·罗西：“自传”及其片段

1966 年划定了城市设计学科的边界。出版的三本书表明了方向的变化：阿尔多罗西的城市建筑，维托里奥格雷戈蒂的建筑领域和罗伯特文丘里的建筑中的复杂性和矛盾。阿尔多·罗西与埃内斯托·内森·罗杰斯和“Casabella-Continuità”接触，将注意力转移到历史悠久的、综合性的城市、纪念碑和考古结构的城市规则上，而维托里奥·格雷戈蒂则发展了一种基于地理的建筑研究趋势。最后，罗伯特文丘里打开了建筑项目，揭示了它与媒体文化和消费社会矛盾的关系。批判性文章调查了 60 年代下半叶之后的阶段，当时阿尔多·罗西于 1976 年开始，受美国建筑与城市研究所邀请，周游美国，在一系列展览中展示他的作品。他在美国撰写和发展的著作《科学自传》就属于这一阶段，其特点是纸建筑的诞生（这一运动将设计置于反思的中心，作为新空间诗学的表达）。这篇文章旨在展示罗西思想范式的变化，不再仅仅关注过去和物理建筑，而是与米兰建筑师的个人命运无情地交织在一起。正如拉斐尔·莫内奥 (Rafael Moneo) 对罗西的思想所坚持的那样，记忆成为了一个活跃的、现场调查的领域