Abstract
AbstractÁkos Moravánszky explains why for him ‘the traces of Mediterranean Rationalism in the new Swiss‐German architecture are like the imitation stitching on the moulded plastic dashboard of a new car’. It is an influence which, despite the undeniable impact of Aldo Rossi and the Ticino School at ETH Zurich in the 1970s, remains skin‐deep, sharing little with the present in terms of ideology or the interpretation of the historic past. Copyright © 2007 John Wiley & Sons, Ltd.
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