I never met Aldo Loris Rossi in person, the Neapolitan architect, urbanist, and landscape architect, author of a design philosophy that did not end with his death (which occurred in 2018), but whose masterclass continues in terms of imagination, science, and conscience. A true Neapolitan, it can be said that he left us an inestimable legacy of publications, built works, thriving projects, and suggestions that are worthy of his elevation to the pantheon of fervent minds, which were once called superior and are so.
They concern the Phlegraean Fields, the Vesuvian area, and the historic centre, with a syntactic ability to connect the particular to the general and vice versa. Naples, in its language, is vertical and unachievable, but also a great unfinished work, majestic and fragile, confined to a small territory, unable to provide a decent setting for its neighbourhoods, and always on the brink of new renaissances, ruinous falls, great culture, and boisterous folklore. I never met him in person, but I listened to him for years on his segment on Radio Radicale, where he outlined what he considered the vectors of modernity, that is, projecting oneself into the future without leaving anything behind, not even the tattered and dishevelled; he himself, imposing and majestic as Neapolitans know how to be in the style of Raimondo di Sangro, Vincenzo Cuoco, and Eleonora Fonseca Pimentel, continuing through Benedetto Croce and Gerardo Marotta.
Aldo Loris Rossi is the mirror image of Anna Maria Ortese and Curzio Malaparte, but he is a voice for all of Italy, whose art, creativity, and style build their foundations and reach their heights, creating a system, and in this he requires Neapolitan character, as demonstrated by his metro stations and the peaks of his business district.
And creative artists are needed, like him, scientists as well.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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