Tuesday, October 22, 2013


1950 masterpiece by Luigi Moretti (1907/73)
Early example of postmodern architecture and interpretation of cultured and refined elegance that stands out among the contemporary limitless real estate speculation
The deep and clear vertical incision gives light to the staircase at the center of the building 
"This house is the most mature expression of Luigi Moretti's architectural research. (...) The symmetry determined by the vertical incision is maintained only in the body of the projecting floors, because both the shape of the base covered in travertine (wider at the right) and the shape of the crown (different heights of the two inclined parts) tend to contradict that symmetry" (Piero Ostilio Rossi)
"The criticism of the postwar period has never forgiven the solid link with the economic right wing and the real estate speculators. He was a student of Gustavo Giovannoni and an embarrassing demon for the Roman culture, boasting of working only for nobles and oil aristocrats. We would love what is beautiful to coincide with what is good, right and useful, but instead architecture, like life, is contradictory and cannot be explained by a formula. Seen through the innocent eyes that bind form, ethics, politics, the Sunflower House is a luxury version of the many Roman buildings of real estate speculation. But, instead, it is also an extraordinary work. Moretti has carefully weaved a bright wall of windows and then opened it by a vertical cut in which the dark shadows of the rough stone base of the atrium violently flow back. A bit of madness on the solidity of the Roman walls. A baroque machine that has nothing, however, of the forms of the past. Perhaps this deep understanding of the continuity of modern and the sense of innovation, is one of the most effective antidotes that Moretti has left us against the arbitrary and narcissistic result of much contemporary architecture" (Giuseppe Strappa)

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