One Project, Multiple Works. The introduction of my monograph by Luigi Prestinenza Puglisi

Here I reproduce the introduction to my monograph, written by Luigi Prestinenza Puglisi. As previously mentioned in this blog, this text marked the beginning of a fruitful association with AIAC—the Italian Association of Architecture and Criticism, of which Prestinenza is President.

One Project, Multiple Works

This publication presents a single project, although com- posed of a collection of works inherently diverse from each other. What unites them, as if they were fragments of a multifaceted portrait of the same designer, is the method. This method requires a consistent, rational approach, characterised by a focus on materials, construction integrity, and functional standards. It also recognises that there cannot be identical solutions for buildings in geographically distant areas or with different functions.

As Paolo Lettieri explains, a hospital must convey a rational, scientific, and technical approach distinct from that of a recreational centre. It is much like choosing clothes for different occasions and circumstances. It may seem obvious, but the attire one wears to the beach is not the same as that chosen for a formal meeting. Yet, whether on the beach or at a formal meeting, we can distinguish those dressed appropriately from those who are not, those who exhibit creativity and innovation from those who do not.

What are the main characteristics of the buildings de- signed and constructed by Paolo Lettieri? First and fore- most, there is a sense of proportion. Regardless of their size, the buildings are always relatable to the human scale. They avoid the overwhelming and intimidating vastness. From this stems the second characteristic: integration with the context, where the building seeks dialogue, creating contrasts and suggesting harmonies. However, this is achieved while avoiding, and this is the third characteristic, static and rigid forms.

If you look at the buildings illustrated in this book, it is evident that behind a rational approach, there is always an expressive and organic component, a dynamic foundation in the composition of forms. Yet, this is always within a logical interaction, wary of vernacular tendencies.

If you ask Paolo Lettieri who his favourite architects are, he will answer Frank Lloyd Wright, Alvar Aalto, Rudolf Schindler, Eero Saarinen. This response might seem puzzling, given the rationalist approach of many of his works. How- ever, it is particularly useful for understanding them when viewed with a discerning eye.