Chapter cemetery architecture

Between 1967 and 1982 Alessandro Anselmi and Paola Chiatante designed the new municipal cemetery of Parabita, in the province of Lecce, conceived as a set of buildings linked together in a unitary spatial design. “The project of the cemetery of Parabita” says Anselmi “was born in an atmosphere of comparison and controversy in the situation of Italian and European architecture of those years [...]. Our obsession was with two categories that we considered constitutive of the conceptual dynamics of architecture: geometry and history, the rigor and coherence of form, that is, the image that form had assumed in particularly significant moments of human development [...]. We, therefore, operated a manipulation of the archetype, a distortion of the image utilizing a simple formal act: that of the dimensional leap, the leap in scale”.

“The same fate befalls cemetery architecture, particularly cemetery extensions made during the twentieth century, but for other reasons. In particular, this architectural category is the victim of a legacy of the past that reduces death to a taboo, which is why including cemeteries in architectural discourse is still quite difficult today.”

Chapter animal architecture and for animals

The entire oeuvre of Günther Domenig is characterized by an overwhelming break with the traditional canons of modern architecture towards a new interpretation of the discipline linked not only to the study of a new style - often defined as “organic mannerism” - but also to an introspective and psychological journey into the personality and private sphere of the architect himself. Between 1974 and 1977, Günther Domenig and Volker Giencke and the engineer Otto Thaller designed a multi-purpose building for a school for nuns to house a canteen, a conference room, and a theater. The result is an all but anonymous shell, a complex organism whose surface is freely modeled and in whose execution the workers themselves participated creatively, involved by the architects in the gestation process of the work.

“Organic and biomimetic forms such as those designed by Domenig were, in the 1970s, a revolutionary response to the rigidity of the Modern Movement, not always appreciated by critics and architectural history.”

Chapter leisure architecture

“Come in, messieurs et madames, to the music-filled barn, to see an authentic sidereal fleet, back from millennial voyages, to listen to the melodies of other cosmos, other planets, and star systems flying to the sound of the mazurka, of meteors swaying with the fox-trot.” This is how Studio65 describes, in 1972, their project to furnish a discotheque in the Turin area. The underground club is accessed through a tunnel that leads to the underground space, a square space with an amphitheater from the outside. The disc-jockey’s cabin and the bar are two spaceships; the ceiling is made of “fake” gold. There are some segments of ionic columns, archaeological finds of ancient terrestrial civilizations for tables.

“Clubs, resorts, cruise ships, after the Second World War with the economic boom in Europe and America was born a new architecture dedicated to leisure and human well-being. In the seventies, the principles of such architecture were taken to extremes thanks also to a process of revision of the architectural principles, leading to the birth of a new architecture called then fantastic, radical, and visionary, of which we still tend to talk too little.