Inarchitecture,Rationalism (Italian:razionalismo) is an architectural current which mostly developed fromItaly in the 1920s and 1930s.Vitruvius had claimed in his workDe architectura that architecture is a science that can be comprehended rationally. The formulation was taken up and further developed in the architectural treatises of theRenaissance. Eighteenth-century progressive art theory opposed theBaroque use ofillusionism with the classic beauty of truth and reason.
Twentieth-century Rationalism derived less from a special, unified theoretical work than from a common belief that the most varied problems posed by the real world could be resolved by reason. In that respect, it represented a reaction toHistoricism and a contrast toArt Nouveau andExpressionism.
The termRationalism is commonly used to refer to the widerInternational Style.[1][2][3][4]
The name Rationalism is retroactively applied to a movement in architecture that came about during theAge of Enlightenment (more specifically,Neoclassicism), arguing that architecture's intellectual base is primarily in science as opposed to reverence for and emulation of archaic traditions and beliefs. Rationalist architects, following the philosophy ofRené Descartes emphasized geometric forms and ideal proportions.[5]: 81–84
The FrenchLouis XVI style emerged in the mid-18th century with its roots in the waning interest of the Baroque period. The architectural notions of the time gravitated more and more to the belief that reason and natural forms are tied closely together, and that the rationality of science should serve as the basis for where structural members should be placed. Towards the end of the 18th century,Jean-Nicolas-Louis Durand, a teacher at the influential École Polytechnique in Paris at the time, argued that architecture in its entirety was based in science.
Other architectural theorists of the period who advanced rationalist ideas include AbbéJean-Louis de Cordemoy (1631–1713),[6]: 559 [7]: 265 theVenetianCarlo Lodoli (1690–1761),[6]: 560 AbbéMarc-Antoine Laugier (1713–1769) andQuatremère de Quincy (1755–1849).[5]: 87–92
The architecture ofClaude Nicholas Ledoux (1736–1806) andÉtienne-Louis Boullée (1728–1799) typify Enlightenment rationalism, with their use of pure geometric forms, including spheres, squares, and cylinders.[5]: 92–96
The term structural rationalism most often refers to a 19th-century French movement, usually associated with the theoristsEugène Viollet-le-Duc andAuguste Choisy. Viollet-le-Duc rejected the concept of an ideal architecture and instead saw architecture as a rational construction approach defined by the materials and purpose of the structure.
The architectEugène Train was one of the most important practitioners of this school, particularly with his educational buildings such as theCollège Chaptal andLycée Voltaire.[8]
Architects such asHenri Labrouste andAuguste Perret incorporated the virtues of structural rationalism throughout the 19th century in their buildings. By the early 20th century, architects such asHendrik Petrus Berlage were exploring the idea that structure itself could create space without the need for decoration. This gave rise tomodernism, which further explored this concept. More specifically, the Soviet Modernist groupASNOVA were known as 'the Rationalists'.
Rational Architecture (Italian:Architettura razionale) thrived in Italy from the 1920s to the 1940s, under the support and patronage ofMussolini'sFascist regime. In 1926, a group of young architects –Sebastiano Larco,Guido Frette,Carlo Enrico Rava,Ubaldo Castagnoli (later replaced byAdalberto Libera),Luigi Figini,Gino Pollini andGiuseppe Terragni (1904–43) – founded the so-calledGruppo 7, publishing their manifesto in the magazineRassegna Italiana. Their declared intent was to strike a middle ground between the classicism of theNovecento Italiano movement and the industrially inspired architecture ofFuturism.[9]: 203 Their "note" declared:
The hallmark of the earlier avant garde was a contrived impetus and a vain, destructive fury, mingling good and bad elements: the hallmark of today's youth is a desire for lucidity and wisdom...This must be clear...we do not intend to break with tradition...The new architecture, the true architecture, should be the result of a close association between logic and rationality.[9]: 203
One of the first rationalist buildings was thePalazzo Gualino inTurin, built for the financierRiccardo Gualino by the architectsGino Levi-Montalcini andGiuseppe Pagano.[10]
Gruppo 7 mounted three exhibitions between 1926 and 1931, and the movement constituted itself as an official body, the Movimento Italiano per l'Architettura Razionale (MIAR), in 1930. Exemplary works include Giuseppe Terragni'sCasa del Fascio inComo (1932–36), The Medaglia d'Oro room at the Italian Aeronautical Show in Milan (1934) by Pagano andMarcello Nizzoli, and the Fascist Trades Union Building inComo (1938–43), designed by Cesare Cattaneo, Pietro Lingeri, Augusto Magnani, L. Origoni, and Mario Terragni.[9]: 205–9
Pagano became editor ofCasabella in 1933 together with Edoardo Persico. Pagano and Persico featured the work of the rationalists in the magazine, and its editorials urged the Italian state to adopt rationalism as its official style. The Rationalists enjoyed some official commissions from the Fascist government of Benito Mussolini, but the state tended to favor the more classically inspired work of the National Union of Architects. Architects associated with the movement collaborated on large official projects of the Mussolini regime, including theUniversity of Rome (begun in 1932) and theEsposizione Universale Roma (EUR) in the southern part ofRome (begun in 1936). The EUR features monumental buildings, many of which evocative of ancient Roman architecture, but absent ornament, revealing strong geometric forms.[9]: 204–7
In the 1950s in Italy, studies on rationalism and the methodology of science were developed in the twentieth century in particular byGualtiero Galmanini, who left an imprint that was later followed by many, influencing thestarchitects of his time.
In the late 1960s, a new rationalist movement emerged in architecture, claiming inspiration from both the Enlightenment and early-20th-century rationalists. Like the earlier rationalists, the movement, known as theTendenza, was centered in Italy. Practitioners includeCarlo Aymonino (1926–2010),Aldo Rossi (1931–97), andGiorgio Grassi. The Italian design magazineCasabella featured the work of these architects and theorists. The work of architectural historianManfredo Tafuri influenced the movement, and theUniversity Iuav of Venice emerged as a center of the Tendenza after Tafuri became chair of Architecture History in 1968.[5]: 157 et seq. ATendenza exhibition was organized for the 1973Milan Triennale.[5]: 178–183
Rossi's bookL'architettura della città, published in 1966, and translated into English asThe Architecture of the City in 1982, explored several of the ideas that inform Neo-rationalism. In seeking to develop an understanding of the city beyond simple functionalism, Rossi revives the idea oftypology, following from Quatremère de Quincy, as a method for understanding buildings, as well as the larger city. He also writes of the importance of monuments as expressions of the collective memory of the city, and the idea of place as an expression of both physical reality and history.[5]: 166–72 [11]: 178–80
Architects such asLeon Krier,Maurice Culot, andDemetri Porphyrios took Rossi's ideas to their logical conclusion with a revival of Classical Architecture and Traditional Urbanism. Krier's witty critique of Modernism, often in the form of cartoons, and Porphyrios's well crafted philosophical arguments, such as "Classicism is not a Style", won over a small but talented group of architects to the classical point of view. Organizations such as the Traditional Architecture Group at theRIBA, and theInstitute of Classical Architecture attest to their growing number, but mask the Rationalist origins.
In Germany,Oswald Mathias Ungers became the leading practitioner of German rationalism from the mid-1960s.[11]: 178–80 Ungers influenced a younger generation of German architects, includingHans Kollhoff,Max Dudler, andChristoph Mäckler.[12]
