对这位意大利建筑师，作家和设计师的一次重要的全新探讨，他的作品为后现代运动铺平了道路。

对阿尔多•罗西（Aldo Rossi，1931年至1997年）建筑风格的这次关键性重新评估同时探讨了他的文字作品，素描和产品设计，包括他为意大利公司Alessi设计的咖啡壶和钟表。罗西是**个获得普利兹克奖的意大利人，他拒绝现代主义，而是寻求一种可以超越战后意大利法西斯主义美学遗产的建筑形式。罗西是一位有远见的人，他不允许当代潮流主导他的思想。他的巴洛克式的感性和诗意的方法出现在他的建筑物和《城市建筑》等重要著作中，激发了批评家艾达•路易丝•赫克斯伯特（Ada Louise Huxtable）将他描述为 “一位碰巧是建筑师的诗人”。

黛安•吉拉多（Diane Ghirardo）探索了各种类别的大型建筑——纪念碑，公共建筑，文化机构，剧院和公墓——大量借鉴了以前未公开的档案材料，始终将罗西的著作放在最前面。通过深入研究罗西的多面人生，他丰富的作品以及他自己的反思之间的关系，本书提供了一次对罗西的建筑和战后意大利建筑位置的批判性新认识。

An essential new look at the Italian architect, writer, and designer whose work paved the way for the postmodern movement

This crucial reassessment of Aldo Rossi’s (1931–1997) architecture simultaneously examines his writings, drawings, and product design, including the coffeepots and clocks he designed for the Italian firm Alessi. The first Italian to receive the Pritzker Prize, Rossi rejected modernism, seeking instead a form of architecture that could transcend the aesthetic legacy of Fascism in postwar Italy. Rossi was a visionary who did not allow contemporary trends to dominate his thinking. His baroque sensibility and poetic approach, found both in his buildings and in important texts like The Architecture of the City, inspired the critic Ada Louise Huxtable to describe him as “a poet who happens to be an architect.”

Diane Ghirardo explores different categories of structures—monuments, public buildings, cultural institutions, theaters, and cemeteries—drawing significantly on previously unpublished archival materials and always keeping Rossi’s own texts in the forefront. By delving into the relationships among Rossi’s multifaceted life, his rich body of work, and his own reflections, this book provides a critical new understanding of Rossi’s buildings and the place of architecture in postwar Italy.