f.f.
In his article ‘Adolf Loos, 1870-1933’, first published in the pages of the Italian magazine Casabella in November 1959, Aldo Rossi denounced that the work of the Austrian architect had been subject to vulgar simplifications.

Rossi’s understanding of Loos’s work and essays was a key moment on the debate on the heritage of modern architecture, in particular, about the work of the so-called ‘masters of the modern’: in the context of the Italian architecture, with respect to previous publications, it was offered a ‘new’ vision of Loos architecture.

v.g.
I met Aldo Rossi, who was only four years younger than me, as a student when I was a tutor in the course of Ernesto Rogers and Aldo was working on a thesis on neoclassicism, later in Casabella as a friend and editor.
In 1963 I participated (together with Guido Canella) in an issue of the magazine Rassegna on the ‘Novecento’ movement, […] of the common interest in the tradition of the ‘return to order’ against the avant-garde. […]
Moreover, it was precisely these discussions, that fit into a general reflection around the complexity of the different souls of the “modern project”, that interested the group of my generation around Casabella. So, it was, then, a new vision with respect to the previous generation of the great masters of the modern, different also from the classical historiographies of the Modern Movement and very different from that of Zevi.
In this sense, Loos (and De Finetti) will also be the object of attention beyond the 1960s. Hence the From here emerge the issues of Casabella dedicated to Expressionism, to Perret, to Behrens, to Van de Velde, to the Amsterdam School and also to Loos; especially in the connections with Karl Krauss, Altenberg, the ‘Vienna school of logic’ and the first volume of Canetti’s autobiography.