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"It is therefore necessary to realize that the Tendenza has by now achieved an unquestionable presence and authority thanks to the precision of its forms and to the clarity of its principles. From Aldo Rossi's book ['The Architecture of the City' (1966)] to the contributions of Giorgio Grassi and Carlo Aymonino [Aymonino's ‘Origini e sviluppo della città moderna' (1971), and Aymonino and Rossi's ‘La Città di Padova' (1970)], to the work of diffusion conducted after 1969 by a few editors of Controspazio (up to the dissolution of the Milanese editorial staff in 1973), the Tendenza succeeded in providing a real alternative to the facile utopias, to the abstraction of ‘revolutionary' discourse, and to geometrical research as an end in itself, and in finally confronting the sovereignty of the most accredited Italian professionalism in the field (Gio Ponti, P. L. Nervi)."
SCOLARI, Massimo. The new architecture and the avant-garde. In: HAYS, Michael. Architecture theory since 1968. Nova York; Cambridge; Londres: Columbia Books of Architecture; The MIT Press, 1998. p. 126-145. Grifos originais. [Publicado originalmente no catálogo da XV Trienal de Milão]
"It is true that Rossi's positions would not be known in detail until the French translation of L'architettura della città in 1981. But another love story, seemingly more on the order of love at first sight than of Rossi's long seduction, had appeared with the relations that brought together the editorial boards of Architecture Mouvement Continuité, in Paris, and of Controspazio, which was in the process of moving from Milan to Rome. The idyll was to culminate in the parallel publication of a special issue of AMC on Italy and an issue of Controspazio on the French scene."
"Nothing could be further from the Populist programme, at least at its origins, than the Italian Neo-Rationalist movement, the so-called ‘Tendenza', which was clearly an attempt to save both architecture and the city from being overrun by the all-pervasive forces of megalopolitan consumerism.
This return to the ‘limits' of architecture was initiated by the publication of two singularly seminal texts, Aldo Rossi's L'architettura della città (1966) and Giorgio Grassi's La costruzione logica dell'architettura (1967). [...]"
"Other Italians who made important contributions to the Tendenza were Vittorio Gregotti, whose book Il territorio dell'architettura (1966) had an extensive influence, and Enzo Bonfanti, who with Massico Scolari edited the Neo-Rationalist magazine Contraspazio [sic] in the second half of the 1960s. finally credit has to be accorded to Manfredo Tafuri, whose writings were a major influence on the movement, and to Franco Purini and Laura Thermes, whose theoretical projects explored the potential range of the Neo-Rationalist syntax. [...]"
FRAMPTON, Kenneth. Modern architecture: a critical history. 2. ed. Nova York; Londres: Thames and Hudson, 1985. Grifos originais.
"[...] Founded in 1969 by Paolo Portoghesi in the wake of the 1968-69 student protests in Italian schools of architecture, Controspazio (1969-80) was dominated by two young architects and theorists, Ezio Bonfanti and Massimo Scolari, and influenced by Aldo Rossi. Unlike Mendini's Casabella, Controspazio focused on the discipline of architecture itself, but with a specifically political approach. Its main theme was the reinvention of a rationalist tradition in response to the crisis of modernism. Within this perspective, it devoted monographic issues to topics such as the Bauhaus and Russian Constructivism. It soon became the magazine of the Tendenza, in 1973 giving an entire issue to the Triennale, which was curated by Rossi."
AURELI, Pier Vittorio. The project of autonomy: politics within and against capitalism. Nova York: Buell Center; FORuM Project; Princeton Architectural Press, 2008. Grifos originais.
"Paolo Portoghesi, head of the Architecture Department at the Milan Polytechnic, founded Controspazio in 1969 amid political and student unrest and disciplinary uncertainty. Published by Dedalo and funded by advertising and subscriptions, Portoghesi declared the monthly's viewpoint as one that rejected ‘the paragons of evasion: the renunciation of architectural engagement that finds no outlet in a precise political positioning of its labor [or] refuge in disciplinary research detached from a precise general strategy." Instead, Controspazio solicited intellectual and methodological investigations of alternative modes of intervening in quotidian, material reality. The inaugural issue engaged themes such as phenomenology, politics, and autonomy. [...]"
COLOMINA, Beatriz; BUCKLEY, Craig (Ed.). Clip, stamp, fold: the radical architecture of little magazines, 196X-197X. Barcelona; Nova York: Actar, 2010. Grifos originais.