計画系　777 号 4校

日本建築学会計画系論文集 第85巻 第777号， 2437-2445，2020年11月
【カテゴリーⅢ】 J. Archit. Plann., AIJ, Vol. 85 No. 777, 2437-2445, Nov., 2020
DOI https://doi.org/10.3130/aija.85.2437

ジャンウーゴ・ポレゼッロの設計思想とアルド・ロッシとの “ 円柱論争 ”
ジャンウーゴ・ポレゼッロの設計思想とアルド・ロッシとの“円柱論争”
－「ポレゼッロ - ロッシ」の青春時代の協働とテンデンツァ運動への理論的寄与－
—「ポレゼッロ-ロッシ」の青春時代の協働とテンデンツァ運動への理論的寄与—
—「ポレゼッロ-ロッシ」の青春時代の協働とテンデンツァ運動への理論的寄与—
GIANUGOPOLESELLOʼS
GIANUGO
GIANUGO POLESELLO’S
POLESELLO’S ARCHITECTURALIDEOLOGY
ARCHITECTURAL
ARCHITECTURAL IDEOLOGYAND
IDEOLOGY AND“COLUMN
AND “COLUMNDEBATE”
“COLUMN DEBATE” WITH
DEBATE” WITH ALDO
WITH ALDO ROSSI
ALDO ROSSI
ROSSI
-- Collaboration
Collaboration in
in Architect
Architect Adolescence
Adolescence of
of Polesello-Rossi
Polesello-Rossi for
for Theoretical
Theoretical Contribution
Contribution to La Tendenza
to La Tendenza--
－ Collaboration in architect adolescence of Polesello-Rossi for theoretical contribution to La Tendenza －

片片桐 桐悠悠自自＊1
片桐 悠自 *
*

Yuji
Yuji KATAGIRI
KATAGIRI
Yuji KATAGIRI

Gianugo Polesello
Gianugo Polesello was
was one
one of
of the
the oldest
oldest partners
partners of
of Aldo
Aldo Rossi.
Rossi. They
They collaborated
collaborated each
each other
other in
in early
early 1960s,
1960s, including
including Resistance
Resistance
Monument in
Monument in Cuneo
Cuneo and Centro Direzionale
and Centro Direzionale di
di Torino
Torino in
in 1962.
1962. Published
Published one
one year
year after
after Rossi
Rossi had
had died
died in
in 1997,
1997, Polesello’s
Polesello’s memorial
memorial
monograph testified their common interest in Akira Kurosawa, Stalinist Architecture, De Chirico, Wittgenstein, and Raymond
monograph testified their common interest in Akira Kurosawa, Stalinist Architecture, De Chirico, Wittgenstein, and Raymond Roussel, Roussel,
who urged
who urged them
them to
to use
use metaphor
metaphor in
in designing
designing architecture.
architecture. This
This study
study focused
focused on
on the
the “column
“column debate”
debate” between
between Polesello
Polesello and
and Rossi,
Rossi, and
and
revealed their mutual influence and the contribution of the their adolescence in early 1960s to the origin of La Tendenza
revealed their mutual influence and the contribution of the their adolescence in early 1960s to the origin of La Tendenza..

Keywords :: Gianugo
Keywords Gianugo Polesello,
Polesello, Aldo
Aldo Rossi,
Rossi, Architectural
Architectural Design,
Design, “Column
“Column Debate”,
Debate”, Collaboration,
Collaboration, La
La Tendenza.
Tendenza.
ジャンウーゴ・ポレゼッロ, アルド・ロッシ,
ジャンウーゴ・ポレゼッロ, アルド・ロッシ, 建築設計，“円柱論争”,
建築設計，“円柱論争”, 協働, 協働, テンデンツァ運動.
テンデンツァ運動.

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Tokyo University of Science, Ph.D.

─ 2437 ─
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Fig.1, 6.: Canadian Centre for Architecture (websites, last accessed on 31 July 2020),
Fig.2.: Gianugo Polesello 1960-1992 (1992), Fig.3.: Aldo Rossi: Buildings and
Project(1985). Fig.4.: DEL MONACO (2013), Fig.5,7.: LAMPARIELLO (2017),
Fig.8.: shot by author, Fig.9.: Gianugo Polesello, Progetti di architettura (1983).


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«# 
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>P?P=)$" ·¤~U


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a£¨ D !ÀȪ-ŕˍƔʑDˠɄDɧ̠>/<Qǖ"WZY
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AVXĆȉɡAÌ̟Ģʽƴ]Q6W1–¢z£DŌħE̔A
––£
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ƴDěɇȿ>/<̤õ]@1+>EŬ˳=&YQD=E@$96


--$̡ˎɡANY@WF£uDDZ%–wƒ›}†x™
Dɂȹ]çğX1Y+>A̰)< 6$Q/Z@
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ÀȪAb¥ p¥~œ>/<DƔʑūDŝĊ]ɶ1+>Ƌ
ÒŢDg¡™>˘ʚDǍ́č> !˛þDßͅ]Ǟɶ1Y+
>]æç/6>˚Y+>%=&Y+Dˆ&–¢z£DęȐ@
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z£E£uDŧĈ«DǿøD‹¨ƒ…¨>/<ƚ
ɡƟ͇]®"6> "Y7[!
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 ¹²'!oQFN9<O

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|£n]ˑʙDsb¥:&=–¢z£A˼ĭ/6 Rossi's entry, Summaries of Technical Papers of Annual Meeting, Architectural
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Japanese)
z£I+ZAE\2$7%©ʪAù]/6ÓijA“¨v%

ȇ¼ ÞŖ : ƒ ˆD~e¥ƒ£§‚a¢€ah…¨¢D6PD˩˥ʈLj
Ā$Z< Y`¡„§£u
~¨ Œ$Wd¨‚a‡I
(1962)>`¡„§£uDƯĉȑ, ǵȄƔʑŢËŕËŢˏ˺ɀȓț̾, Ɣʑ
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 ȦĤ§Ƽď, pp. 205-206, 2015. 7.
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›‡wa£¨ AVZF–¢z£D˩˥A#)YƋÒŢɡ
Aldo Rossi, Umberto Allemandi & C., 2003.(in Italian)
ǤÓEȤªˡƜȤDZƜðƜ> 96ëƉ/Ȥɴ@Ɯƿ [“la 15) MONESTIROLI, A.: Antonio Monestiroli (intervista) Architettura Razionale,
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)Y̺ȯőƜ-Z6ʆDZÑQƒ ˆ CDA#)YɑÑD”¨
¡Dʰ$Z6ƀŕ@ȤDZƜƉͅD³ƒQŒƜA#
$WENô6[fuori scala]QD]ƭĪ/< YșP<ųɽƴD͔
+ZWDĘøɡľƜEwo¨¡]ő"<Q©ŦDƋÒŢɡˀƁ
Ĩ©ƴ]ɶ/ľƜɡ@ƚƐ]ʦǓ1Y5ZT"Aơ͜W͝D˥
əEù˶=&2/˹P < Y[indecifrabile]
Å˨͢ȄɲʄE JSPS ɼɲ̃ 19K15193(ˆDžɲʄ)DĄǀ]Ġ)<ʼnʊ-Z6
ʼnʊ˷ȍ̝ʀ=–¢z£A̵1Yš¨¡b¥|¨Aư(Ư0< 67
6̴ɃȤƝȩ̫͜ŇŢ̹ŕŢ͝Aȼ(ƾ˻DƼ]ˑ/6 @#ȄʂE
2020 ƊƐǵȄƔʑŢËŕË͜COVID-19 DƟ͇=̳á³ȣ͝DȓțĘʂv
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]ŕƈAăʊÚȤ/˩˥ƲƺDųʆ>ìȁɒƱ> !˸Ƕ]ǷɴA/6
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18) POLESELLO.G.: Gianugo Polesello. Architetture 1960-1992. Electa, 1992.
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Aldo Rossi, Umberto Allemandi & C. , 2003, pp.17-41. (in Italian).
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─ 2443 ─
 計画系　777 号 4校

America:1976-1979, MIT Press, 1979. ȵ25) POLESELLO. op.cit., p.20.

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24) ROSSI, A.: Aldo Rossi jiden (A Scientific Autobiography), tras. by Miyake, R., ȵ27) ʊʸEÈÿA1968-1970 ƊÿƤD̓Dˆ¨ƒ(I Quaderni azzurri È
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:
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25) ROSSI, A.: Aldo Rossi: Buildings and Project, Rizzoli, 1985. ʼǺ]ǷW$A/61969 Ɗ 12 Ȁ 2 ǵA#)Y£uDïɨɡʷŰ=E
26) ROSSI, A.: L'architettura della Città (The Architecture of the City), Città Studi ‚§k qDǝ 6ōSeŸ¨ŸDŇu£¨†Djw|¥m@?Dǯ
Edizioni, 1995 (in Italian). ɉɡbš¨vDʳ%ˤ˴ɡ@˸ɒAČǡ-Zƥ@ ±ʴɡ̝ʀD!8Aǯ
27) ROSSI, A.: Toshi no kentiku (The Architecture of the City), Tairyudo, tras. by ɉɡǸä%̩Cħ\-ZY+ZWDǸä-˘ʚDȜǀ%͍ǚ
Fukuda. S and Oshima.T., 1991. (in Japanese) ɡ̦ƃ>/<Y˸ɒä]Ǟɶ1Y˱ʝEǒʂ]ěɇ; ɉȒ(2019).


: ̦ƃDƔʑ, ŕŻĵˋ, ɺɗǻˌ˫, ŕ͚ŋǽƏ, 1991. ȵ28) GRASSI, op.cit.
28) ROSSI, A.:I quaderni azzurri, copia anastatica a cura di F.Dal Co, Electa, 1999 ȵ29) MONESTIROLI(2003), op.cit., pp.64-65.
(in Italian). ȵ30) £uA#)Y¡¨y¡DDžȳDěɇA: <EȬDʊʸD
29) WITTGENSTEIN, L.: Ronritetsugakuronkou (TRACTAUS LOGICO- ˑ́Ǭč˸ŢË=Dɞˑ]ěɇ;ɉȒƷˀ, ɷ˵ʴ̦ƃDu¡¢` 
PHILOSPPHICUS, 1933), Iwanami Publisher, 2003. (in Japanese) w™Ɣʑ˩˥ǩʻA#)Y`¡„§£uDDžȳ͜‘£y‚͝,

daƒp¥u|b¥:˸ɒĵŢ˸ʷ, ̪ɮˇȟ˫, źȴǽƏ, ,2003.

‹‡¡ 3˄ˏDǩʻǂÿ§68 Ɗ§21 ¯ʖ, ˑ́Ǭč˸ŢËʉ 14 Ļ
30) WATSON.V.: Architectures of Nothing: Aldo Rossi and Raymond Roussel, ŕ Ë , ¿ ̦ ŕ Ţ ʩ ħ À ̴ Ţ ̤ Ȕ 1B06, ¿ ̦ ŕ Ţ , 2019 Ɗ 7 Ȁ 7 ǵ ,
Proceedings of The Fifth International Conference of The European Architectural https://www.repre.org/conventions/14/p3/index.php, ǿʞ`myw 2020 Ɗ 4 Ȁ
History Network, pp.307- 316. 2018. 10 ǵ.
ȵ31) ROSSI(1975), “Architettura per i musei”(1968), p.325.
š ȵ32) QA2 ]ěɇQA Dˢ˵AÅ-Z6ÀĩʜƗ]˚Y>¡¨y¡Ed
ȵ1) `¥ƒ†h§›‡wa£¨ Evž¡vž§nŸu>kfa aƒp¥u|b¥>²^=ïɨD³=œ(ʷŰ-Z6@#£u
DŢɔű(1977)=ēã/˜ŸˆžɼŕŢ=ǩ͆]>96Ɣʑū§ɒ˸ū ˀÌ=D¡¨y¡DěɇE¤ƒ{¥%˱/ ; WATSON(2018).
=Y@#¥‚¥€_̜ćDdzǟ*>@96 1973 ƊDʉ 15 Ļ˜Ÿ ȵ33) ROSSI (1979), p.18.
ˆƒ f¥…¨¢Aěă/6Àɋ=QY2019 Ɗ 11 ȀA̘Ě/6 ȵ34) POLESELLO, op,cit., pp.25-26.
ȵ2) POLESELLO (2003), pp.17-41. ȵ35) Aldo Rossi: Buildings and Project, Rizzoli, 1985.
ȵ 3 ) Õ " F  n  a f ¢ w (2009)  l Ÿ ¡ „ (2019) % ě ɇ / < Y; ȵ36)âĪ/̦ƃD̵×[il rapporto tendenza/città]]˚Y̸X=ɻ%5D̵×
Gutiérrez,(2009); GHIRARDO(2019). AŴƱ/ŜP6DEʉ 12 Ļƒ f¥…¨¢D6PAvœ¥d¨r§–
ȵ4) POLESELLO, op.cit., pp.18-19. ¢z£>Ÿ¥~ewq§¥ƒ¨ >ēã/6˜ŸˆD_ ¨†̗
ȵ5) @#Studio di Architetettura(SDA)D¹ĈDŽĩɽE5DƤQ£uD¹ XDñ̳ɞ˥ə=Y+D‘£vemƒEÒVXơ%˦˸/6ɻ̟
ĈDŽĩ>/<Ô\Z6£u>š¨}Dô̊=Y˜Ÿˆ>–¢z E̦ƃAų1YħɒµʴDĸ͌ʕ]˾˸1Y>+[$WŜM96͜ʊʸ
£DǨ̥A̎ d¨‚a‡A¹ĈDŽ%96;LAMPARIELLO(2017), p.95. ˫, ğXȻ/ʫ£u͝, QA2.
ȵ6)`d¢¨ ECD ˩˥ʈLjDȑĀȄµʴ̦ƃIDųNJ>/<DƔʑū ȵ37) POLESELLO, op.cit., p.38.
D̦ƃɡǞȑDLJ˭ƴ]˳Pȇ¼Q5DȦĤɡƼʴ]˭Ö1Y±ʸD ȵ38) Ibid.
˾˸EƔʑA#)YƲƺɡh¡|…aDǷɶ% 1962 ƊA£uAV ȵ39) ̳$Z6̦ƃ˥əA£uELJùɡ=X˛Ŧ-Z6̲0
9<@-Z6+>]ƔʑĤɡAƚ˷/< Y;Aureli(2008); ȇ¼(2015). 6̦ƃ˥ə]µƙ/6> !; ȇ¼(2015), op.cit., p.206.
ȵ7) LAMPARIELLO(2017). ȵ40) LAMPARIELLO, op.cit., p.136.
ȵ8) AYMONINO(2002), p.59. ȵ41) POLESELLO, op.cit., p.33.
ȵ9) ̴Ƀ(1994)]ěɇIUAV AɛŢ/6̽A–¢z£D˩˥w|vh= ȵ42) ROSSI, I quaderni azzurri (12), Alcune mie architetture giugno 1972, copia
Ţ^7̴ɃE–¢z£D˩˥DžȳA#)YŲȳÑʕAƉͅľ§ǯͅ anastatica a cura di F.Dal Co, Electa, 1999.
ľ§ʆͅľAì̗1Y 2 :Dn „›‚¨¡%Y+>]ǷW$A/ ȵ43)Ÿ§ƒc¨¢ƒÚ̞̹S`ƒ f 5 D’¡¥D‰¨¢¥§v¨
6–¢z£A#)YʆDZя¢¨™DƼ˽]ɶ/6̴ɃD˸ǬEľ „¡¥m(1961)DƟ͇%˚WZŭȲDz˩̤õAƉͅ˥əDwƒŸb‘Ɏ
Ţɡ§ƼďŢɡAɿȁDQD=YM6ʏ˚D̸Xķ©D–¢z£D DŪ̧ʰ%@-Z6> !; LAMPARIELLO, op.cit., pp.100-101.
šIJ³Aǽ$Z6Óū˸=Y>ʷ"WZY ȵ44) POLESELLO, op.cit., p.37.
ȵ10) Ibid., p.125. ȵ45)ƒ ˆ CD(1962)DʵƊDʉ 13 Ļ˜Ÿˆƒ f¥…¨¢DȠ
ȵ11) m¢š¥ELucus͜ȕD³Dʺň>@Yȃʆ͝DțƱ]Dž%$X (1963)=E£u>š¨}Eēã/6%–¢z£Eēã/@$96
A–¢z£DÓūɲʄ]ˎ9625 ȄD÷Ȍ>ȤªˡƜD• ¨™] ȵ46) POLESELLO, op.cit., p.24.
Q:ƒ fw§s¥sŠŃĐD¢vw|¥w˨Ʊ͑(1966)A: ȵ47) Ibid.
<Ÿ¨†D}¥d™D–¢z£IDƟ͇AˤĜ1Y@?Ɣ ȵ48) Ibid.
ʑ˸ɡA˂İȼ ɲʄ=Y; CLEMENTE(2016). ȵ49) Ibid.
ȵ12) POLESELLO (2003) , op.cit., p.25. ȵ50)̴Ƀ, op.cit., p.99; –¢z£D˩˥=EˡȌEK>^?Ô\Z2Ô\
ȵ13) Ibid., p.41 Z6Ǫŷ@ o¨w=EȬƉDƆɎAȌ÷]̧ʰ1Y̽A‹¨rŸɎD
ȵ14) ɻEƇAw|¨ ¥ǹÆDŕƔʑDƕ̀ʸ6Y+>]ˀÄ>QA˪ ȋȜ]ǥǓ1Y6PAǘɖ-Z6>̴ɃEǔǢ1Y
/< Y+ZE̎ÆƔʑAǾ\Y̩˘@Ɣʑ>@X"6%?! !ɒ ȵ51)ðȌEðʌ>/<IJĩ-Z< YDEȄƛ=Y%ðʌD³AðȌ
ɘ$0&͎NWZ@(@96͜ªţ˫͝, £u (1984), p.91. DʭŶ-Z6ŝ]˳PY+ZWD˘ʚEȦĤ$WƗ&ô-Z6˘ʚ=
ȵ15) Ibid, p.171. XĨǹÄ́ȦĤɡ@QD=Y̴͜Ƀ˫͝, Ibid.; Progetto realizzato
ȵ16) GRASSI(2008), p.57. G., Polesello, C.Aymonino, V.Gregotti, V.Pastor, A.Rossi, L.Semerani, G.Valle,
ȵ17) POLESELLO, op.cit., p.21. Marsilio Editori, Venezia, 1980, p.121.
ȵ18) MONESTIROLI(2008). ȵ52) POLESELLO, op.cit., p.25.
ȵ19) Ibid., p.70. ȵ53) ̴Ƀ, op.cit., p.102; –¢z£DƔʑDêŅ̃ʰ˥əA#)YȌƓA
ȵ20) Ibid. ĽMZ6ƍŌA`rŸS£¨—Dg¡™s¥—¡qƍŌAȜǀ
ȵ21) MONESTIROLI(2003), p.64. «D͍Î%Y> !M6Ÿ‡£uŃĐ˥ə(1980)•£¨†œ͒
ȵ22) POLESELLO, op.cit., p.20. ˥əȑ(1983)@?=EðƜĂŌɎDðƘ]Ô96ƍŌ%êÑ˥əA#
ȵ23) Ibid. @#£uD͔ȎǹÆAĠ)6ǩʻA: <E_ ¨ )Y̌ʫDʞɄM6EʡʐɄ>/<ʟNħ\-Z6
†%˱/ ; FABBRINI(2018). ȵ54) +DľɊEȬ]ěɇ; RAKOWITZ(2012), p.20.
ȵ24) GRASSI, op.cit. ȵ55) MONESTIROLI(2012), p.1.

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計画系　777 GIANUGO
号 POLESELLO’S ARCHITECTURAL IDEOLOGY AND “COLUMN DEBATE” 4校
WITH ALDO ROSSI
- Collaboration in Adolescence of Polesello-Rossi for Theoretical Contribution to La Tendenza-
GIANUGO POLESELLOʼS ARCHITECTURAL IDEOLOGY AND “COLUMN DEBATE” WITH ALDO ROSSI
－ Collaboration in architect adolescence of Polesello-Rossi for theoretical contribution to La Tendenza －

Yuji KATAGIRI
Yuji KATAGIRI ＊1
*

*Assistant
＊1 Professor, Department of Architecture, Faculty of Science and Technology, Tokyo University of Science, Ph.D.
 Assist. Prof., Dept. of Architecture, Faculty of Science and Technology, Tokyo University of Science, Ph.D.


Giaugo Polesello(1930-2007), one of oldest collaborators of Aldo Rossi (1931-1997), was the architect who taught
in Istituto Universitario di Architettura di Venezia (IUAV). Polesello-Rossi group had worked several works in
1960-62. Famously, Polesello, Rossi, and Luca Meda (1936-1998) collaborated in Centro direzionale di Torino and
Resistance Monument in Cuneo in 1962.
Although their contemporaries such as Carlo Aymonino, Antonio Monestiroli, and Giorgio Grassi testified their
ideological similarity and political approach to the architecture, Polesello was almost overlooked in former studies
on La Tendenza.
This study focused on the collaboration between Polesello and Rossi in early 1960’s, in order to reveal Polesello’s
theoretical and ideological contribution to La Tendenza movement. The purpose is to reveal their mutual influence
between Polesello and Rossi in their common ideology and detect when the conflict happened in their architectural
ideology. It mainly focused on Polesello’s memorial document for Rossi, ͆Ab initio, indagatio, initiorum; ricordi e
confessioni” (first presented in 1998 in «Care Archietetture» published in 2003), among the documents concerned
with La Tendenza movement.
 In the first chapter, it extracts their ideological and religious background through that memorial document of
Polesello, with those of Monestiroli and Giogio Grassi. According to Grassi, they two took the way “in the opposite
direction”. Polesello recalled their metaphysical thinking style from religious high-school days. That was why they
agreed with Stalinist architecture and consisted counterpart against the main stream of Communist-Modernist
architects, while both joined Italian Communist Party in their youth.
Polesello recalled why he and Rossi had been attracted to Rashomon (⨶⏕㛛, Film directed by Akira Kurosawa).
The second chapter treated their devoting into arts, paintings, philosophy and literature. Polesello was strongly
attracted to Wittgenstein, through whom Rossi found the idea of Analogous City (see also, Katagiri, October 2019,
AIJ). Also their common background was De Chirico’s painting, and they composed the image components,
learning from Roussel’s method of Comment j'ai écrit certains de mes livres (How I Wrote Certain of my Books).
In the third chapter, it traced their collaboration in Project in Via Farini in Milan (1960), Centro direzionale di
Torino (1962) and Country Club in Fagagna (1962). In the chapter, the geometrical combination of sphere and
regular square was shared by them and it was shown that the abstract forms of components are common language
for Polesello-Rossi group.
Then, in the fourth chapter, it reached Polesello-Rossi’s “Columm debate”. According to Polesello’s confession, he
accused Rossi of proposing of column with the base like Monumental Fountain in Segrate (1965). Polesello, in
opposite, insisted on “abstract column”, which should sign “itself ” and could not be direct reference of
architectural historical archive as what Rossi said as “fragment”.
The debate on the column caused the end of their collaboration. However, they kept common adolescence in their
mind. In short, the use of abstract components in primitive geometry gave them the architectural ideological
stance for the design and influenced the architectural design in the origin of La Tendenza.

（2020 年 4 月 10 日原稿受理，2020 年 7 月 28 日採用決定）

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