<p> 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.</p><p> 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.</p><p> 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.</p><p> 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.</p><p> Polesello recalled why he and Rossi had been attracted to Rashomon (羅生門, 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).</p><p> 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.</p><p> 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, insist on “abstract column”, which should sign “itself ” and could not be direct reference of architectural historical archive as what Rossi said as “fragment”.</p><p> 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.</p>